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Contents for October 31, 2013

Layne Redmond, FF Alumn, In Memoriam

Layne Redmond 1952 - 2013

[This tribute to the life of Layne Redmond was written by academic, activist, and performance artist, Wendy Griffin. Wendy Griffin is the Academic Dean at Cherry Hill Seminary and Professor Emerita from California State University in Long Beach. She and Layne have been friends since the early 90s.]

Layne Redmond, author, mythologist, teacher, historian and drummer par excellence, passed over early Monday morning on October 28, after fighting breast cancer for several years.

Born in 1952, Layne lived her early life in Florida, graduating from the University of Florida and doing Master's work in art. A move to New York put her in touch with well-known drummer Glen Valez, who promised to teach her how to play the hour-glass drum known as the dumbek. The Fates intervened, however, for when Layne arrived for her first class, Glen told her his ceramic dumbek had fallen and broken. He handed Layne a frame drum and, in a very real sense, Layne never put the frame drum down.

As she grew more proficient as a frame drummer, she began to teach other women and formed performance groups that did drumming rituals on the solstices and equinoxes. Traditional holidays were reimaged, as Valentine's Day became a ritual dedicated to Innana and Demuzi and reenactments were done of the procession of women drummers on the walls of Hathor's temple in Egypt.

During her 15 year research on the drum, Layne discovered a large number of ancient images of women playing the frame drum from the Mediterranean and almost no images of men and the drum. Incensed by one museum's description of these drummers as women with cakes, Layne began writing "When the Drummers Were Women," the book that explored the little-known history of the frame drum as a sacred tool, the fact that the primary percussionists for a period of almost 3000 years in the Mediterranean were women, and the reasons why that changed and the information was lost.

The book was immensely popular and translated into German, Dutch and Persian. Layne collected thousands of images, and in the majority, the drummers were Goddesses or their priestesses. The many images and histories of women with powerful spiritual authority and the use of the drum as a sacred instrument resonated strongly in the contemporary Pagan and Goddess communities. Some women's groups began to incorporate the frame drum into their sabbat rituals.

In 2000, DRUM! Magazine listed Layne as one of the 53 Heavyweight Drummers Who Made A Difference in the '90s. She was the only woman on the list, as well as the first woman to have a Signature Series of drums with Remo, one of the world's largest manufacturers of drums. Layne recorded, taught and performed internationally. Among the many things for which she will be remembered is returning the frame drum to Malta, and the group of women she taught there still performs spiritual rituals.

While performing at the UFBA Percussion Festival in Salvador, Brazil, Layne became fascinated by the spiritual tradition of Candomble. She spent the last few years filming the living presence of the Orixas in modern Brazilian culture.

When her breast cancer returned this year, Layne faced it with fierce courage, deciding to live her life fully until the very last moment. A few months ago, she began to turn her film on the Orixas into short videos she could post on Youtube. She wanted to make sure those who contributed to her filming on Kickstarter would see the results of their generosity. When she went into hospice, she told friends that she was only alive to finish that work.

Thirteen days before the very end, a friend helped Layne slip out of hospice in North Carolina and go to her 43rd high school reunion. From there she went to Manatee Springs, a place from her childhood. "Really," she wrote on FaceBook the day of her last visit, "I was raised in the womb of Oxun."

And now Layne Redmond, High Priestess of the Drum, has returned to Her. We are impoverished by her loss but immensely enriched by her life.

See more at: http://wildhunt.org/2013/10/layne-redmond-1952-2013.html#sthash.Rcy1KvfG.dpuf

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1. Pope.L, Martha Wilson, FF Alumns, at Clemente Soto Velez Cultural Center, Manhattan, Nov. 16

POPE.L - CAGE UNREQUITED
Saturday, November 16, 10:58 am
Clemente Soto Vélez Cultural and Educational Center, 107 Suffolk St #312 (FREE)

Iconic performance artist Pope.L's (formerly William Pope.L, b. 1955, Newark, NJ; lives and works in Chicago) Cage Unrequited is a 25-hour marathon reading of John Cage's edited anthology, Silence: Lectures and Writings(1961) by over 80 invited collaborators. The performance functions as a refuge, proposing a relationship between the earlier artist's ideas of indeterminacy, mysticism and chance and the work of contemporary black artists.

Three Duets, Seven Variations, a special series for the Performa 13 biennial, pairing six intergenerational artists, including Martha Wilson of Franklin Furnace, for seven programs, is presented as part of Radical Presence: Black Performance in Contemporary Art. This program is organized by Adrienne Edwards, Performa, and Thomas J. Lax, The Studio Museum in Harlem.

Radical Presence is curated by Valerie Cassel Oliver, Senior Curator, Contemporary Arts Museum Houston, and presented in New York in two parts: Part I at New York University's Grey Art Gallery (September 10-December 7, 2013) and Part II at The Studio Museum in Harlem (November 14, 2013-March 9, 2014).
Co-organized by the Grey Art Gallery, NYU; The Studio Museum in Harlem; and Performa.

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2. Priscilla Stadler, FF Alumn, at Space Gallery, Long Island City, Queens, Nov. 6-23

For the FAVORS project, I challenged the people of Queens - and beyond - to disprove the stereotype of New Yorkers as cut-throat egomaniacs by doing favors for friends, family, and strangers.

What happened? Come to the FAVORS installation at Space Gallery, 29-09 39th Ave, Long Island City from November 6 - 23 and find out!

Friday November 8 - Opening Reception 6 - 9 pm, featuring favors-related readings by authors Audrey Dimola and Elisa Monstesinos
Saturday November 16 - All-ages FAVORS Workshop 10:30 am - noon (rsvp required:doingfavors@gmail.com )

Saturday November 23 - Closing Celebration and Artist's Talk with Panel Discussion on the Cultures of Favors, 4 - 6 pm featuring community organizer (and LaG and Hunter graduate) Adriana Escandon on favors as survival in immigrant communities and Rose Tang, artist/journalist on the commercialization of favors in China

The installation is made of over 120 paper spirals, each inscribed with a favor someone did. To experience it, you walk through it, touch it, read it.

I hope you'll be able to join us at one or more of the events or stop by the gallery. It's about 4 blocks north of Queens plaza, near the 7, N,Q, E, R, and M* trains. I'll be there on Saturdays during the show, or if you want to set up another time to meet me there, just drop me a line: priscillastudio@gmail.com .

It's been an exciting year collaborating with the public as co-creators of the piece, partnering with community organizations, having dialogues with so many people about the meaning of favors in diverse cultures and contexts, and encouraging favor-doing for friends, family, and strangers! You can still participate by posting a brief description of a favor you've done a facebook.com/FAVORS or favorscommunity.wordpress.com.

Happy favor-doing!

Priscilla Stadler
Interdisciplinary Visual Artist
www.solanima.net

The FAVORS project:
https://www.facebook.com/FAVORS
doingFAVORS@gmail.com
favorscommunity.wordpress.com
doingfavors.tumblr.com
@doingFAVORS - twitter, instagram
text or call FAVORS hotline 646-543-4715
write: Priscilla Studio, 44-02 23rd St. #421, L.I.C., NY, 11101

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3. Istvan Cantor, FF Alumn, at Grace Exhibition Space, Brooklyn, Nov. 8

Hiroko Tsuchimoto, Istvan Kantor, Lindsey Allgood, Morgan Schagerberg, The Amazing Hancock Brothers and NON GRATA!!!

Grace Exhibition Space
840 Broadway
Brooklyn
Friday, November 8
9:00 Doors 9:30 Performance
Donation within your budget

ISTVAN KANTOR

Istvan Kantor's work is intellectually rebellious, anti-authoritarian, as well as technically innovative and highly experimental. His action based media art explores the body and technology. Also known as Monty Cantsin Amen, he has recently infiltrated Berlin's underground art and music scene, performing karaoke style revolutionary-songs. He has been seen waving red flags in the streets in Budapest, Paris, New York, London, Novi Sad, Chiang Mai, Yogykarta, Singapore, Tokyo, Ottawa, Toronto, Montreal, Calgary, Piotrkow, Krakow, Poznan, Wroclaw, Tallinn, Riga and elsewhere.

He initiated the international operations of the Neoist Conspiracy in 1979 in Montreal. He has been jailed many times for his blood-interventions in museums. He is also a recipient of many prestigious awards among them the TELEFILM Canada prize for Best Canadian Film and Video (Toronto, 1998), the Governor General's Award of Canada for Visual and Media Arts (Ottawa, 2004) and the European Media Arts Festival Award (Osnabruck, Germany, 2009). His three children, Jericho, Babylon and Nineveh were born in the 90's, in Toronto.
Istvan Kantor www.thebrooklynrail.org/arts/june04/kantor.html

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4. Jennifer Monson, Julie Tolentino, FF Alumns, at The New Museum, Nov. 16, and more

We are pleased to announce that The People to Come's archive will be featured in the New Museum's exhibit, Performance Archiving Performance, opening on November 6, along with archiving projects by Jennifer Monson, Julie Tolentino and Sara Wookey.

In conjunction with the exhibit, a canary torsi will stage a real-time archiving installation in the New Museum Theater during museum hours, December 11-14. The installation will culminate in a "Closing the Archive" musical concert with the musicians of The People to Come where a digital installation of the piece will be launched, December 15, 4-5PM.
We hope you can join us at one or more of the events at The New Museum!

Cheers,

Yanira + the Team of THE PEOPLE TO COME

PERFORMANCE ARCHIVING PERFORMANCE: The People to Come
November 6-January 12 Museum Hours Exhibition of the archives
http://www.newmuseum.org/pages/view/performance-archiving-performance

November 16 2-4PM Artists' Talk
with Yanira Castro, Kathy Couch, Jennifer Monson, Julie Tolentino, Sara Wookey, and curator Travis Chamberlain
http://www.newmuseum.org/calendar/view/performance-archiving-performance-artists-talk

December 11-14 Museum Hours Real-time archiving installation

December 15 4-5PM Closing the Archive concert
http://www.newmuseum.org/calendar/view/the-people-to-come-closing-the-archive-concert-1

LOCATION
The New Museum, 235 Bowery, New York, NY

a canary torsi

Direction & Choreography: Yanira Castro
Performance & Choreography: Simon Courchel, Luke Miller, Peter Musante, Peter Schmitz, Darrin Wright
Installation, Lighting & Costumes: Kathy Couch
Web Direction: Sam Lerner
Sound: Stephan Moore
Musicians: Peter Bussigel, Stephan Moore, Caroline Park, Tim Rovinelli, Suzanne Thorpe
Archivists: Tess Dworman, Kirsten Schnittker, Kimberly Young

"The People to Come" is made possible in part with co-production support by Vermont Performance Lab and funding from The Jerome Foundation. Support and composer commission funds are provided by New Music USA's Live Music for Dance program. "People" was developed through a 2013 Choreography Fellowship and a 2012 Media Residency Fellowship at Maggie Allesee National Center for Choreography, and development residencies at The Yard, Vermont Performance Lab and Lower Manhattan Cultural Council's Swing Space program through a real estate donation from Savanna.

The New York Premiere of "The People to Come" was sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by the Brooklyn Arts Council, Inc. (BAC). People at The Invisible Dog Art Center is made possible, in part, by The Invisible Dog's Kickstarter donors and a canary torsi's Kickstarter donors.

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5. Susan Newmark, FF Alumn, at Figureworks Gallery, Brooklyn, opening Nov. 8

Layered Narratives
An Exhibition by Susan Newmark
Figureworks Gallery Nov. 8 - Dec. 15, 2013
Reception Nov. 8, 6-9 PM

168 North 6th Street Williamsburg Brooklyn NY 11211
1 block south from the Bedford Avenue stop on the L train.

Gallery hours: Fri-Sun 1-6 PM
718.486.7021
www.figureworks.com harris@figureworks.com
www.susannewmark.com snewmark.fleminger@gmail.com

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6. George Ferrandi, LuLu LoLo, Micki Watanabe Spiller, Harley Spiller, FF Alumns, at Wayfarers, Brooklyn, opening Nov. 9

LuLu LoLo exhibiting in Ransom
Opening Reception: Saturday, November 9th, 6 - 10 pm
Wayfarers is ever so proud to present:
Ransom:
A demanding collaboration with over 300 artists.

November 9th - December 1st, 2013

http://www.brooklynwayfarers.org/

Wayfarers is located at 1109 Dekalb Ave, Brooklyn, NY 11221 and is open Saturdays and Sundays, 12-6 pm.
Wayfarers set out to design an inventive project that could incorporate the range of skills and approaches an open call for entries would generate, as well as acknowledge the fact that we were going to demand money (which would be necessary to cover our administrative costs, but still made us uncomfortable). We developed the idea for Ransom - a group show that was open to absolutely anyone who paid the ten bucks for the submission fee. We spread the word about the show and 275 artists from all over the world committed to participate. Based on that number, we wrote a True Story with *275 words, and assigned one word to each of the artists. They were to make their words out of virtually any material and then send them to us so that we could arrange them on the walls of the gallery to spell out the True Story in the style of a giant, three-dimensional ransom note.

*A real life fact changed in the True Story, so we added a footnote, and recruited more word-makers. Then another fact changed (real life is slippery), and we recruited more word-makers for that footnote. The current word count for Ransom is 329 and holding. The story, as of this writing, is still true...

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7. Gearoid Dolan, FF ALumn, at The Front, Manhattan, thru Nov. 2

Gearoid Dolan aka screaMachine: projection installation @ The Front, on 11th St. between Ave A and Ave B in the East Village, NYC.
10/28 - 11/02. Opening reception 10/29 (anniversary of Hurricane Sandy) 6-9pm

Hurricane Sandy arrived at the shores of New York City on October 29th, 2012, bringing with it high winds and a storm surge that raised the sea levels by many feet. Coinciding with a full moon, which also causes raised sea levels during high tide, Sandy produced a swell of 13 to 14 feet at about 8pm when the tide was fully in. With sea walls rated to withstand up to 11 feet of surge, the waters around Manhattan and in many other places in the city and all along the eastern coast, topped the barriers and came flooding into neighborhoods, reeking havoc in its path.

This is the simple story of one such neighborhood, the East Village, in Manhattan's Lower East Side, where the East River waters topped the sea walls at 20th Street, at the top of Avenue C, turning Avenue C into a fast flowing river as the water made its way downtown into the lower lying areas south of 14th Street.

Two people, neighbors in the same building on 11th Street and Avenue C, like many others, set out to document the calamity and its aftermath, using the tools of their trade.
Gearóid Dolan, aka screaMachine, an East Village activist and political artist (screaMachine.com), grabbed his video camera, microphone and still camera and captured what he could of the storm in action from various vantage points on the corner of C and 11th, and continued to photograph the destruction the following days.
Gianluca Tramontana, musician, music critic and radio show host (Sitting with Gianluca: sittingwith.com), armed with a recorder and microphone, took to the streets in the following days and interviewed a variety of neighbors, documenting their stories and experiences and broadcasting them on the radio in lieu of his usual music discussion and presentations.

Only recently did they each share what they had documented, so for the one year anniversary of the event, with their building still far from recovered and both having suffered thousands of dollars of loss, Dolan pieced together a work utilizing some of the captured elements from both, producing this screaMachine work, simply titled "Sandy @ C".

Sandy @ C is simple, yet horrifying: few could have imagined their street turning into a fast flowing, swirling river, over 5 feet deep in places, picking up cars, trash-cans, uprooting trees and entering buildings, filling their basements and ground floors, shorting out electricity and all forms of telecommunications, including telephones, cell towers, cable systems, Internet of all types, heating systems (it was a very cold period and the lack of heating and light persisted for many weeks) and much more. The Con Edison plant, located on Avenue C at 13th street, just around the corner from where the video was shot, succumbed to the flooding after about an hour, and with a giant explosion of blue light, went dead and the area and entire downtown region blacked out, and all was silent with the exception of distant car alarms automatically functioning due to being under water.

While the area is not nearly the worst effected by the storm and many have similar stories and worse, Sandy @ C gives a personal insight into the at-the-minute reaction of kids commenting people reacting and a community coming together to help each other through difficult times. Dolan, due to his practice of producing outdoor projected works all over the city, was fortunate enough to have 2 gas powered generators, which he took out and shared with others, pumping out basements and charging devices. Many cooked whatever food they had, about to spoil from no refrigeration, and took it outside and shared with anyone in need. Others did what they could, shared what they had and a community was stronger for it. They got almost no help from the City or Government.

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8. Elana Katz, FF Alumn, at Diehl CUBE, Berlin, Germany, Nov. 12, and more

Dear friends,

I am honored to be showing work this November in Berlin at the new project space of Volker Diehl, Diehl CUBE: http://diehl-cube.com/cube/

Diehl CUBE operates parrallel to Galerie DIEHL (http://www.galerievolkerdiehl.com/), and suggests a reconfiguration of the concept behind the art gallery. It is an "alchemist laboratory", providing a purposeful context for statement-based "immediate" art. I will be showing, for the first time publicly, a piece that deals with naming the nameless, in which I work with discarded German gravestones from the World War II period. I will also give a talk on November 12th, on the ongoing project I have been pursuing for the past two years in Romania and Serbia, concerning memory and historical erasure.

Please find additional details at this link: www.diehl-cube.com/installations/future/

If you happen to be in Berlin, it would be a great pleasure to have you there!

My best,
Elana

RSVP: https://www.facebook.com/events/1429144960641108/?previousaction=join&source=1#

elana katz
berlin studio: +1 917.231.0747
tel (us): +1 508.380.3304
tel (germany): +49 (0)163.8972830
www.elana-katz.com

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9. Jeff McMahon, FF Alumn, in The New York Times, Oct. 23, and more

October 23, 2013
Lights! Camera! Inaction! It's Performance Art
To the Editor:
Re "For Her Next Piece, a Performance Artist Will Build an Institute" (front page, Oct. 20):
I'm delighted that performance art, or any art at all, makes it to the front page, but I suggest an update to the idea that performance art pieces "are not theater" and "tend to emphasize the direct, unmediated relationship between artist and audience."
Look closely at the accompanying photo: all those lights and cameras and it's not mediated? When a deliberate act is performed before an audience, it's theater.
Jackson Pollock performing painting, David Tudor sitting down to "play" the piano by not playing, or Marina Abramovic staring across a table: all variations on theatrical play, manipulating narrative, time, context, intention and reception.
For the artist as well as for many of the participants, it may be a ritual, but that doesn't keep it from being theater. Same, by the way, for that other article on the front page, the G.O.P.'s "civil war"; yet another kind of theater, whether or not its participants deem it so.
JEFF McMAHON
Tempe, Ariz., Oct. 21, 2013
The writer, a performance artist and writer, is an associate professor of film, dance and theater at Arizona State University.
and

JEFF MCMAHON: his essay on photography and public interaction with the form, TAKING PICTURES, in The Kenyon Review Online Fall 2013 issue, just out. Also as a podcast
http://www.kenyonreview.org/kr-online-issue/2013-fall/

Jeff McMahon
Associate Professor
School of Film, Dance, and Theatre
Herberger Institute of Design and the Arts
Arizona State University
POB 872002
Tempe, AZ 85287-2002
(480) 965-9444
jeffmcm@earthlink.net

www.jeffmcmahonprojects.net
http://theatrefilm.asu.edu/
www.vimeo.com/jeffmcmahon
http://www.jeffmcmahonprojects.net/wordpressblogjeff/
http://www.indietheaternow.com/Playwright/jeff-mcmahon

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10. Magdalen Wong, FF Alumn, at Outlet, Brooklyn, opening Nov. 7

OUTLET Co-Director Julian A. Jimarez Howard joins forces with curators Jason Andrew and John Silvis to bring a new vision to the Bushwick art scene.

Presenting:

Fresh!
a group show featuring ten artists
Reception: Thursday, November 7, 2013, 6-10pm
On view through December 8

Genesis Belanger
Theresa Daddezio
Matthew Hillock
Cooper Holoweski
Roberto Jamora
Robin Kang
Christopher McDonald
Jimmy Miracle
Andrew Szobody
mAgdalen Wong

Bushwick, Brooklyn- Continuing their aggressive and passionate dedication to the bourgeoning Bushwick art scene, curator / producer Jason Andrew and artist / curator John Silvis join forces with co-director / curator Julian A. Jimarez Howard in launching the new management of OUTLET. In a convergence of experience and visual aesthetics the new management offers a distinctive brand that pushes the boundaries of curatorial practice, collaboration, and exhibition design.

OUTLET 253 Wilson Ave | Brooklyn, NY | 11237

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11. Beth B, Julie Atlas Muz, FF Alumns, at SVA Theater, Manhattan, Nov. 15

Sandra Schulberg & Beth B invite you to the
U.S. Premiere of

EXPOSED by Beth B

with Live Performances

DOC NYC Film Festival, Friday, Nov. 15, 9:30pm at SVA Theater, 333 W. 23rd St., New York City

World Famous *BOB*, Rose Wood, Dirty Martini, Tigger!, Mat Fraser, Julie Atlas Muz, Bunny Love, Bambi the Mermaid, and James Habacker use satire and their own bodies to send up conventional notions of body image, gender, and sexuality in their modern burlesque performances. New York underground filmmaking legend Beth B enters their subversive world, both on stage and behind-the-scenes, in this entertainingly provocative portrait of NYC artists gleefully breaking taboos as they entertain.

MUSIC BY
Jim Coleman, JG Thirlwell, Elysian Fields, The Jon Spencer Blues Explosion, The Children, Ian Smit, Brian Lease,
Greg Garing

Vet experimental helmer Beth B turns her all-embracing camera on the alternate burlesque scene in the intelligent and enjoyably outrageous "EXPOSED."
--Variety, Jay Weissberg

Purchase tickets atL http://www.docnyc.net/film/exposed/#.UmUrgijPUso

It would be wonderful if you could Twitter and facebook people.

Maybe: "Expose Yourself...and watch others do the same" OR "Liberation of the body...and the mind" would be a good Tweet? Can you send to everyone you know and urge them to blast their contacts as well.

Thanks!! Hope to see you at the Premiere!!

xoxox Beth B
www.exposedmovie.com
www.bethbproductions.com

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12. Raphael Montanez Ortiz, FF Alumn, in The New York Times, Oct. 23

The New York Times
October 23, 2013
Bang! Kaboom! Art!
By BLAKE GOPNIK

WASHINGTON - The rubble from a "concert" in which a piano gets smashed; a sculpture that slowly pushes apart its gallery; a drawing by a modern master completely erased by a rival - all are masterworks from a neglected trend in which artists have been more into breaking than making. "Damage Control: Art and Destruction Since 1950," a show that opens on Thursday at the Smithsonian's Hirshhorn Museum here, is built around such harm-full works.
"The possibilities for destruction in the world itself - whether from atomic bombs, from the Holocaust, from the environment or from our own warped psychology - are so great, and so powerful, that, particularly in this postwar period, there was a feeling that the artist had to go beyond just making a painting, or just making a sculpture that didn't move, but something that almost fought fire with fire," Kerry Brougher, the Hirshhorn's interim director, said during a telephone interview that also included Russell Ferguson, a professor of art at the University of California, Los Angeles. They are both curators of the show.

Mr. Ferguson said that for the artists in the show, "there's an element of attraction to a completely, almost anarchic destructive impulse, yet at the same time, they want to get on top of that, get control of it."

On the exhibition's opening weekend, Raphael Montañez Ortiz, who was born in Brooklyn in 1934, will be reprising his 1966 "Piano Destruction Concert," in which he takes an ax to its titular instrument. "We are all natural Nazis, fascists, murderers, full of repressions and hate," Mr. Ortiz declared in 1968. "Instead of pouring out our natural aggressions on people, we should use them in an artistic framework."

Mr. Ortiz's original performance was part of a monthlong Destruction in Art Symposium that was organized in part by Gustav Metzger, the inventor of "auto-destructive" art. In 1961, Mr. Metzger had donned protective gear, picked up a spray-gun of hydrochloric acid, then dissolved three giant canvases that he had stretched - so that his "paintings" ended up no longer existing at all. (Pete Townshend of the Who was an art-school student of Mr. Metzger's, and credits him with inspiring his guitar smashing.)

"I asked Metzger if he could do an acid painting here, but he said that he can no longer physically do it," Mr. Brougher added.

Speaking by phone from outside Cambridge, England, the 87-year-old Mr. Metzger explained that his art has its roots in the horrors that Jews and others faced under the Nazis, and in his own flight from Germany to England in 1939. "Pessimism is at the core of the theory of auto-destructive art," he said, in an English with German cadences.

"The world and its fears and its dangers," he added, "it is everyday within me, at the core of my being." Al Masino, who is in charge of installation at the Hirshhorn, said that "Damage Control" has been challenging at every level of the health-and-safety bureaucracy. Chris Burden's gallery-destroying sculpture, titled "Samson," was made in 1985 and consists of a turnstile that bars the entrance to any exhibition that shows it. As each visitor passes through, massive gears are set in motion that push two beams out, with some force, against the gallery walls. In theory at least, if a show with "Samson" in it proves to be a big blockbuster, its walls could come tumbling down.

Mr. Brougher pointed out that "Samson" has come to address the obsession that today's museum boards have with attendance numbers. "But in this case," Mr. Brougher said, "success could also bring the museum down."

Mr. Masino said that just finding a way for those beams to stay perched overhead was an engineering nightmare. (Then the work got held up at customs near its home in Brazil, and has not made the trip to Washington.)

Another work intended for "Damage Control" was made by the Los Angeles artist Liz Larner in 1987 and is a two-foot-square block of hazardous substances. Its list of materials includes saltpeter (an ingredient in gunpowder), ammonium nitrate (used in the Oklahoma City bombing) and TNT itself.

"We went through quite a lot of effort to get it," Mr. Ferguson said, but in the end there was no way to convince shippers to take it. (The work is illustrated in the catalog instead.) Even the more standard objects in the exhibition present a destructive, even anti-art attitude that goes against a museum's instinct to preserve and protect. Consider Robert Rauschenberg's "Erased de Kooning Drawing," from 1953, or Harold Eugene Edgerton's footage of nuclear explosions, a kind of self-portrait of "Death, the destroyer of worlds," in the phrase attributed to Robert Oppenheimer. There's a painting by Ed Ruscha that imagines the Los Angeles County Museum of Art being lost in a raging inferno. This is a work of art, you could say, imagining its own fiery death. Will there be some people who might take the wrong kind of inspiration from this?

"A bunch of 15-, 16-year-old kids, who are already excited when they get here - this show could put them over the edge," Mr. Masino said. A huge color photo by Jeff Wall from 1978, "The Destroyed Room," gives an image of what many suburban teenagers still dream of doing to their parents' tidy home.

"Damage Control" includes a video by Roy Arden that documents the riots that raged in 1994 after Vancouver's hockey team lost the Stanley Cup. Mr. Ferguson pointed out that, in the reliably left-wing art world, images of people who take to the streets are often read "as heroic rebels confronting the state - we think of the Egyptian Spring or Paris in '68."

But as viewers watch Mr. Arden's video, Mr. Ferguson said, "it becomes clearer and clearer that these people have no political agenda at all." As people take it in, he added, "we have to ask: What's our relationship to this kind of spectacular - and in this case completely unmotivated - violence?"

One could also ask whether, deep down, the art of destruction caters to a cultural taste for such havoc. Mr. Brougher said that museum officials gave thought to such issues, and that staff members would be extra alert for audience misbehavior. But Mr. Ferguson said that for the artists in the show, "it's not just 'Smash everything up and it's done.' "

"It's a matter of using that attraction to the destructive impulse to get to a place where they have actually made something," he said.

He recalled how even Picasso, seen as one of the greatest creators, once said, "With me, a picture is a sum of destructions." To create anything new, Mr. Ferguson said, "you're constantly having to clear everything else out of the way, and that can involve a profoundly destructive element."

"Damage Control: Art and Destruction Since 1950," opens on Thursday and runs through May 26 at the Hirshhorn Museum, on the National Mall, Washington; (202) 633-1000, hirshhorn.si.edu.

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13. Alina and Jeff Bliumis, FF Alumns, now online

Dear friends and colleagues,

In early September, we placed the following call for participation in local media and via social networking sites to Lecce residents: "Husband and wife artist team are offering a painting in exchange for an invitation to a family dinner. Please email or call for more info."

October 11 through October 17 we had meals with ten families all over Lecce. Along the way, we met wonderful people, had meaningful conversations, enjoyed tasty meals and gained a new perspective on the Lecce community.

A Painting For A Family Dinner / Lecce, Italy October 11 - 17, 2013

IMAGES ARE HERE: http://bliumis.com/painting_lecce.htm
Please, take a look.

Sincerely,
Alina and Jeff Bliumis
http://www.bliumis.com

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14. Tomislav Gotovac | Slaven Tolj, F FAlumns, at Oval, Torino, Italy, Nov. 7

www.artissima.it
8-10 November 2013
Oval - Lingotto Fiere
parking entrance Via Nizza 230
pedestrian entrance Via Nizza 294
I - 10126 Torino

7 November 2013
Press preview
Collectors' preview (by invitation)
Vernissage (by invitation)

8-10 November 2013
Open to the public
All days
12.00 pm - 8.00 pm

Galerie Michaela Stock | MAIN SECTION, booth PINK 2
Sandro Ðukić | Tomislav Gotovac | Slaven Tolj.

The Croatian Contemporary Art Scene is defined by a specific dynamic of rupture and continuity. The show Speak Quietly at this year's Artissima combines two generations of Croatian artists: Tomislav Gotovac, film-director, concept & performance artist; Slaven Tolj - multimedia artist, curator, director of MMSU Rijeka and the emerging artist Sandro Ðukić, who studied at Đuro Seder (Gorgona Group) and afterwards with Nam June Paik and Nan Hoover.

For ticket requests and general inquiries please write to info@galerie-stock.net.

CURRENT SHOW AT THE GALLERY:

SILENT WORK | IGOR EŠKINJA, ALEKSANDAR GARBIN, ANTUN MARAČIĆ, SILVO ŠARIĆ, PREDRAG TODOROVIĆ & GORAN TRBULJAK
11. October - 15. November 2013
curated by Sabina Salamon, curator at the MMSU Museum of Modern and Contemporary Art Rijeka and Slaven Tolj, artist & director at the MMSU Rijeka.

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15. Mira Schor, FF Alumn, at CB1 Gallery, Los Angeles, CA, thru Dec. 8

Mira Schor, FF Alumn, at CB1 Gallery, Los Angeles, Oct.19-Dec.8
207 W 5th St Los Angeles, CA 90013
(213) 806-7889

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16. Terry Dame, FF Alumn, at Dixon Place, Manhattan, Nov. 3, and more

Hello Friends,

Here is the hit list for my November performances. Button up your overcoat and come on out and hear some live sounds. Lots going on this month starting this Sunday, Nov 3rd.
It is time again for Weird Wednesday. This is a monthly showcase dedicated to presenting instrument inventors and players of objects and other musical oddities. Each month I present two guests artists plus a new offering by yours truly, the chief weirdo for an evening of exquisite musical weirdness.

November's edition is particularly weird as it is on a SUNDAY, November 3rd... in Manhattan at Dixon Place and at 7PM. It is going to be a weirdly amazing show!
Episode 9 - Weird Times presents the amazing Sxip Shirey and the dynamic duo The Kinematics.

Sxip Shirey's music is beautiful, surprising, deep and will twist your head right around. Ecstatic melody, unimaginable sounds and deep sexy beats played Industrial Flutes, Bullhorn Harmonicas, Regurgitated Music Box, Triple Extended Pennywhistles, Miniature Hand Bell Choir, Obnoxiophone, Glass Bowls With Red Marbles, human beat box and a clutch of curious objects.www.sxipshirey.com/

The Kinematics is Daniel Jodocy and William McIntyre playing music for hand built percussion, wind, and string instruments as well traditional percussion and electronics. The Balloon Bassoon Organ, the tape drum set, Gobichans, and a host of weird little suitcase music boxes paired with vibraphone and electronics create musical delight for all the senses. www.thekinematics.com/

As usual I'll be debuting some unusual new works in progress on the Horn of Plenty Sounds along with perhaps some old favs the Barps and Sitello! www.terrydame.com

THIS SHOW IS GOING TO BE AMAZING!!!

Come join the weirdness.
Sunday November 3rd 7pm
Dixon Place
161A Chrystie St.
Manhattan
www.dixonplace.org

Other exciting upcoming Terry Dame performances:

November 14 at Spectrum
Eavesdropping: Objective Sound
Performing solo and with Katie Down
An extravaganza of workshops, talks, and performances that explore music created with found objects, nonconventional instruments, electric sound sources, and other oddities.
Presenting artists include Katie Down, Terry Dame, Daniel Davidovsky, Nadav Assor, and Ronen Shai.
Noon - 5pm: Instructors will prepare their presentations. Members of the public are welcome to witness the magic coming into being
5 - 8:00: Workshops
8:30 - 11: Concert
Full day pass: $25/20 students and seniors
Evening concert: $15/12 students and seniors

November 24th at Dixon Place 11:30am
The Secret City - Trash edition
Solo performance on the Horn of Plenty Sounds and other invented instruments constructed from recycled objects.
www.thesecretcity.org

Hope to see you somewhere along the musical path.
Til then...
Peace,
Terry

www.facebook.com/events/550190645057290/

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17. Pauline Oliveros, FF Alumn, at Eyebeam, Manhattan, Nov. 1

CT-SWaM: Anthology of Text Scores by Pauline Oliveros
November 1st 2013 7:00PM

Pauline Oliveros and Ghost Ensemble celebrate the release of Oliveros's Anthology of Text Scores with a book signing and interactive=2C multimedia concert performance. Ghost Ensemble will present several works from this groundbreaking collection of masterful scores including those less often performed.

More information>> (http://eyebeam.org/events/ct-swam-anthology-of-text-sc=
ores-by-pauline-oliveros)
http://fashion.eyebeam.org/

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18. Joseph Kosuth, FF Alumn, at Galerie Imane Farès, Paris, France, thru Dec. 21

Mohssin Harraki and Joseph Kosuth
absence-presence, twice
October 24-December 21, 2013

Galerie Imane Farès
41 rue Mazarine
75006 Paris
France
Hours: Tuesday-Saturday 11am-7pm

T +33 (0) 1 46 33 13 13
contact@imanefares.com

www.imanefares.com

Imane Farès is delighted to present the forthcoming exhibition absence-presence, twice with the artists Mohssin Harraki (b. 1981; Asilah, Morroco) and Joseph Kosuth (b. 1945; Toledo, Ohio, USA). They have known each other for several years. Mohssin Harraki already created a video and interviewed Joseph Kosuth for his show Some videodialogues with other artists at the Lavomatic studio Seamus Farrell in Saint-Ouen in 2010. However, it's the very first time that they will exhibit together. The title of the exhibition absence-presence, twice refers to the relation between physical absence and mental space that both artists explore in a challenging dialogue.

Mohssin Harraki creates drawings, videos, installations, photography and performances in which he addresses cultural, political and historical themes such as the genealogy and the transmission of power, the formation of the collective conscience and memory. The artist proceeds by creating a dialogue with his peers, with artists or with people he meets in the streets.

Joseph Kosuth is one of the pioneers of conceptual and installation art, initiating language-based works and appropriation strategies in the 1960s.

On the occasion of this two-person dialogue with Mohssin Harraki, Joseph Kosuth utilizes the English etymology of the word 'light' as a connective structure for a new installation comprised of individual works, putting in play fragments from Albert Camus' 1942 book L'Étranger (variously translated The Stranger or The Outsider in English) in French, Arabic, and English.

About the gallery
Founded in 2010, Galerie Imane Farès presents an interesting mix of challenging young upcoming and more established contemporary artists from the Middle East and Africa.

Continuously evolving the gallery invites regularly new artists and curators, leading to a fresh, daring and dynamic program. Each year five exhibitions take place, interchanging solo and group shows, in which the artists are invited to create a dialogue and to reflect on a common compelling theme. Galerie Imane Farès is engaged in research: essays are commissioned from prominent curators to accompany the exhibitions, edited in a journal. The gallery also supports publications and monographs of the artists.

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19. Michel Auder, FF Alumn, at Portikus, Frankfurt, Germany, thru Nov. 17

Michel Auder
Selected Works
October 31-November 17, 2013

Portikus
Alte Brücke 2 / Maininsel
60594 Frankfurt am Main

www.portikus.de

Opening: November 1, 8pm, followed by drinks and selected films by Douglas Gordon in the film class kitchen, Städelschule

Artist talk: October 30, 7pm
Michel Auder and Douglas Gordon, Frankfurter Kunstverein

Lecture Städelschule: October 31, 4pm

Portikus is proud to present the filmic oeuvre of French-American artist Michel Auder. The exhibition is set up to screen a different work every day, allowing his practice, which spans over four decades, to unfold its narrative qualities. Auder has lived and worked in New York City since 1970, where he was part of the circle of The Factory, and since has produced an extensive body of work. Auder's films and videos are documents of times and places, subjective observations by someone who is concerned with his surroundings and the people that play a role in his vicinity. Auder believes, "Artists are translating the appearance of time according to their appreciation of it." His most well known work, Chelsea Girls with Andy Warhol, which he shot between the years 1971 and '76, has become a seminal document of New York in this era. His portraits of individuals, social dynamics between people, interiors or shared communal events reflect the intimacy between the artist himself and what is depicted using images and sound to translate relationships.

Sampling has always played a central role in Auder's practice. While he continues to record his surroundings, he also repeatedly comes back to working with existing material. This not only shows an interest in continually provoking the present with historical moments and nostalgias, but also in showcasing the transformation of the moving image as a medium. Auder explains his fascination with the more recent developments in film as follows; "By the year 2000, we all became filmmakers, mostly for the worst and in some cases for the better. We all have a digital tool, or two, in our pockets. By using these recording devices new authors have emerged, telling stories like never before; Film Novelists, Film Playwrights, Film Poets, Film Essayists, Film Painters, Film Biographers, Film Columnists, Film Reporters, Film Animators, Film Wordsmiths, Film Scribes, Film Sculptors, Film Scribblers..."

The selection of films shown at Portikus reflects on the range in Michel Auder's production. The works selected are short pieces that are screened in a daylong loop to allow aspects of sampling and repetition to emerge, predominantly focusing on sound as an integral component of his practice.

Michel Auder's exhibition at Portikus is made possible through the B3 Biennial of the Moving Image, Frankfurt, which runs from October 30 until November 3. The exhibition continues until November 17.

Curator: Sophie von Olfers

Portikus
Alte Brücke 2 / Maininsel
60594 Frankfurt am Main
T +49 69 962 44 540
info@portikus.de
www.portikus.de

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20. Warren Lehrer, FF Alumn, new book launch at WNYC, Manhattan, Nov. 1, and more

FF Alumn Warren Lehrer

New BOOK Launch and Performance
Friday Nov 1st at 7 PM
The Jerome L. Greene Performance Space @WNYC
44 Charlton Street, New York, NY, 10014
BOOK LAUNCH - Performance/Reading

Of an illuminated novel written, designed, and performed by Warren Lehrer

hosted by Brian Lehrer

F E A T U R I N G
A multimedia performance/reading of A Life In Books: The Rise and Fall of Bleu Mobley‹ an illuminated novel that contains 101 books within it, all written by a controversial author who finds himself in prison looking back on his life and career. In this funny, thought provoking performance, Lehrer presents an overview of Bleu Mobley's Life in Books via many of Mobley's cover designs, book-like objects, and other biographical materials including animations and video performances of Mobley book excerpts by the bandBETTY, beatbox poet Chesney Snow, actress/poet La Bruja, and a live appearance by actress/author Judith Sloan. The resulting retrospective explores the creative process of a writer/artist, as it reflects upon a half century of American/global events, and grapples with the future of the book as a medium, and the lines that separate and blur truth, myth, and fiction.

Reserve Tickets Now!
http://tinyurl.com/WarrenLehrerNOV1

Published by GOFF Books, 380 pages, 4-color throughout, hardcover, $34.95,
ISBN: 978-1-939621-02-3

³In A Life In Books, Warren Lehrer has written a profound commentary on this nausea-inducing unique moment in the grand transition from Silly Mind to Machine Mind. Amusingly and smartly enough, he may have helped transition ³the last great American novel² to the first ³great illustrated novel² which is how novels started. A Life In Books is brilliant, beautiful, delicious for eyes and mind.² Andrei Codrescu, poet, novelist, journalist, public radio commentator

For anyone who has ever resisted judging a book by its cover, now's your
chance: In A Life In Books, author and graphic design visionary Warren Lehrer crafts a vivid kaleidoscopic odyssey that frames one man¹s life through not one, but one hundred different books‹and book jackets. In this quirky, yet unmistakably modern evocation of the illuminated manuscript, Lehrer¹s book reminds us that we are what we do. And, for that matter, what we publish.² Jessica Helfand, graphic designer, writer, educator, founding editor Design Observer

³In the era of cookie-cutter books and rubber-stamped stories, Warren Lehrer¹s A Life In Books is fresh, original, idiosyncratic, beautiful, and important.² Rabih Alameddine, novelist and painter, author of Koolaids, Hakawati, and I, the Divine

If you won¹t be in NY on Nov 1st, here are other dates on Warren's Fall Tour. Tell your friends:

Oct 11, 7:30pm Book Signing AIGA National Conference Minneapolis Convention Center Oct 17, 5:15pm Performance/Reading School of the Art Institute of Chicago http://tinyurl.com/ol6nrro Oct 24, 7pm Performance/Reading Art Institute of Boston http://www.lesley.edu/warren-lehrer/
Nov 7, 7pm Performance/Reading Art Center College, Pasadena, CA
Nov 11, 7:30pm Performance/Book Signing Skylight Books, Los Angeles, CA http://tinyurl.com/nvyzkyq Nov 12, 7:30 Performance/Book Signing The Booksmith Bookstore, San Francisco, CA Nov 13, 7pm Performance/Book Signing Book Passage Bookstore, Corte Modera, CA Nov 23, Miami Book Fair Performance/Reading, Miami, FL

For further information http://www.alifeinbooks.net/ or call 718.784.4066

A Project of EarSay
Warren Lehrer¹s A LIFE IN BOOKS: The Rise and Fall of Bleu Mobley was developed as a project of EarSay and made possible (in part) by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and a Joseph Leff Senior Faculty Research Award from Purchase College, SUNY. Subsidized studio space for rehearsals provided by the A.R.T./New York Creative Space Grant, supported by the Andrew W. Mellon Foundation and a residency space grant from the LaGuardia Performing Arts Center (LPAC).

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21. Barbara Kruger, FF ALumn, at Kunsthaus Bregenz, Austria, thru Jan. 12, 2014

Barbara Kruger
Believe + Doubt
19 October 2013-12 January 2014

Kunsthaus Bregenz
Karl-Tizian-Platz
6900 Bregenz
Austria

www.kunsthaus-bregenz.at

The solo exhibition by Barbara Kruger for the Kunsthaus gives visitors a chance to explore the wide range of her artistic practice in different media. Alongside a host of her celebrated photocollages from the 1980s and a four-channel video work of 2004, she is for the most part presenting new installations in Bregenz that have been especially conceived for the unique Kunsthaus architecture.

What makes her videos, installations, collages, posters, and photographs compelling, among other things, is how she consciously reflects the art system-its hierarchies and strategies as well as its presentational and distributional relations. Again and again, Barbara Kruger breaks out of this system's closed circuit by conceiving projects for magazines, poster walls, or other media and sites in public space.

Throughout her career, Barbara Kruger has reflected on or augmented the formal, thematic, and visual messages of these specific communication strategies, often unmasking their problematic ambiguity in the process. Just as the distribution and presentation sites she has used (e.g. magazines, posters) are characterized by a certain transience and intensified circulation, so too Kruger often insists on the ephemeral physical status of her works, since her wall and large-scale spatial installations are usually destroyed at the end of an exhibition. That they can be installed again in the same or in a different form on another occasion is just one of the ways in which the artist comments, with relish and wit, on the complex commodity character of art.

Ultimately, Barbara Kruger's works are characterized by a high level of social commitment, advocating women's rights, freedom of opinion, a critical awareness of the seductions of consumer culture, and of how power, or the lack of it, determines the feel of our days and nights. These-in the best sense of the word-striking works are captivating for their immediacy, their directness of address, involving the viewer by means of questions or clear-cut statements. Depending on their message, her text-image designs provoke the viewer to contradict, endorse, laugh, or ponder. No one is left cold.

KUB Arena
Dora García
The Sinthome Score
19 October 2013-12 January 2014

The Spanish artist Dora García's conceptual works comprise photographs, films, performances, and installations frequently involving actors from performance and theater as well as members of the audience. She designs stories, scenarios, and situations which permit her to experiment, interfere with, and invert expectations. The results are performative, site-specific ensembles opening up the exhibition space.

Dora García has taken part in numerous important exhibitions, such as the 54th Venice Biennale 2011, as well as dOCUMENTA (13) in Kassel in 2012. Her recent project The Joycean Society (2013) is a film project in which she accompanied a James Joyce reading group based in Zurich for a year, whilst they developed ways of interpreting and translating Finnegans Wake.

An interest in language is crucial to all of García's work: for creating communities, as an access code to secret societies, as a space for action, as well as the structure of the unconscious. For The Sinthome Score, developed especially for KUB Arena, García raises questions of representation and translation whilst incorporating the collaboration of the local population.

For the exhibition, KUB Arena will be opening an additional entrance bearing the inscription Sinthome. The term originates from a text by the French psychoanalyst Jacques Lacan, Seminar XXIII - Le Sinthome (1975-1976). An involvement with James Joyce's work caused Lacan to reconsider his model of the Borromean rings, expanding it to include the Sinthome, the core of the subject binding the three rings. The converted backdoor of KUB offers an alternative way of entering the institution, to approach this area made spatial, from the rear whilst simultaneously encountering objects and people. Using the German translation by Max Kleiner (2007), Dora García has constructed a score for performers from the region. The ground floor of the Kunsthaus will provide a stage for numerous interpretations of García's score, an exploration of the unconscious in which the public can participate.

For further information: www.kunsthaus-bregenz.at

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22. Frank Moore, FF Alumn, at Temescal Art Center, Oakland, CA, Nov. 2

FRANK MOORE
world-known shaman performance artist,
1946-2013

A MUSICAL DANCE JAM CELEBRATION!

Bring your passions and musical instruments and your senses of adventure and humor.
Other than that,
ADMISSION IS FREE!
(But donations are encouraged.)

ARE YOU HUMAN ENOUGH FOR THIS?

Saturday, November 2, 2013
8pm

TEMESCAL ART CENTER
511 48th Street
Oakland, CA 94609-2058
For more information
Call: 510-526-7858
email: fmoore@eroplay.com
http://www.eroplay.com/events.html
http://www.temescalartcenter.org/

Download poster here: http://www.eroplay.com/FrankMoore-nov2013.pdf

"Lauded and controversial shaman performance artist Frank Moore ... will be sure to baffle your mind. Moore will attempt to reimagine human emotion through the use of musicians, actors, dancers, and members of the audience.
It's experimental performance art at its most experimental."
George McIntire, San Francisco Bay Guardian

"Frank Moore, a genius explorer of the frontiers of human affection" - www.reddit.com

"One of the country's most controversial and profound artists." Kotori Magazine

"...He's wonderful and hilarious and knows exactly what it's all about and has earned my undying respect.
What he's doing is impossible, and he knows it. That's good art...." L.A.
Weekly

Resisting "the easy and superficial descriptions..., Moore's work challenges the consensus view more strongly in ways less acceptable than...
angry tirades and bitter attacks on consumer culture." Chicago New City

"If performance art has a radical edge, it has to be Frank Moore." - Cleveland Edition

"Transformative..." Moore "is thwarting nature in an astonishing manner, and is fusing art, ritual and religion in ways the Eurocentric world has only dim memories of. Espousing a kind of paganism without bite and aggression, Frank Moore is indeed worth watching." High Performance Magazine

"Surely wonderful and mind-goosing experience." - L.A. Reader

"...one of the U.S.'s most controversial performance artists,...." - P-Form Magazine

"We came, we saw, we read local performance artist-provocateur Frank Moore's poem...
experience the joys of unsettled discomfort..." - Kimberly Chun, SF Chronicle

"(Frank Moore is) the king of eroticism." - Mike Trachel

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23. Jide Ojo, FF Member, launches new website, www.afrofinearts.com

I am delighted to introduce www.afrofinearts.com. After so many years of working on the "Children of the Ancestors" and other art works, the website is now ready.

Making art by engaging in the creative process has always been my great joy. It is a labor of love. By bringing into life a new art form I hope to transcend artistic schools of thought. I use familiar materials to create the unfamiliar. Sometimes the end results are recognizable, most times they are not. When I move from one completed art project to another, I always seek to improve on my performance from one project to the next.

Jide Ojo

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24. Heather Cassils, Tobaron Waxman, FF Alumn, at Stamp Gallery, College Park, MD, thru Dec. 6

QUEER OBJECTIVITY

A NEW EXHIBITION CURATED BY KRIS GREY AT THE STAMP GALLERY

Artist & Curator Talk, Wednesday, October 23rd, 7PM

Opening Reception: Thursday, October 24th, 2013 5-8PM

COLLEGE PARK--Md. The Stamp Gallery at the University of Maryland College Park will be presenting their new exhibit Queer Objectivity. The exhibition is open to the public October 21st through December 6, 2013 with an opening reception Thursday, October 24, 2013 from 5-8pm.

Queer Objectivity is a curated exhibition that brings together sixteen emerging and established artists diverse in their identities, experiences, materials and approaches. Some of the artwork exhibited addresses the body in relation to objects. Others may present the body as an object itself. Still further, some work presents objects as conduit for the body to another realm. There will be a range of artwork displayed including photography, sculpture, performance, and new media. Throughout the run of the show, Stamp Gallery will present extended programming, lectures, artist visits, and performances exploring the intersections of race, class, ability, sex, sexuality and gender through the lens of visual culture.

"Recent scholarship in material studies and phenomenology has challenged the traditional notion that human bodies are stable entities divorced from other objects in the material world. The elevation of queer theory to academic prominence and the emergence of new types of feminism have further complicated the separation between personal and political - bodies and objects. Materially, the human body is comprised of separate, interacting, individual elements and forces that are often reduced to being seen as one. So too, the intricacies of bodies and their relationship to other objects, animated or not, get flattened into a binaristic body/other dichotomy." - From the Curatorial Statement of Kris Grey

Artists featured in this ambitious exhibition include: AK Burns, Heather Cassils, Nicolaus Chaffin, Mary Coble, Lauren Denitzio, Brendan Fernandes, Kris Grey, Gordon Hall, Katie Hubbard, JJ McCracken, Cupid Ojala, LJ Roberts, Coral Short, Caitlin Rose Sweet, Tobaron Waxman, and Jade Yumang.

https://www.facebook.com/events/602283046481382/

Performers: AJ Durand, Edie Fake, Rami George, Gordon Hall.

The Stamp Gallery is located on the first floor of the Adele H. Stamp Student Union-Center for Campus Life, at the University of Maryland, College Park. The gallery is free and open to the public Mondays-Thursdays 10:00AM-8:00PM; Fridays 10:00AM-6:00PM; and Saturdays 11:00AM-5:00PM. For more information about the exhibition and the program log on to http://www.thestamp.umd.edu/gallery or contact the gallery at 301-314-8492 or stampgallery@umd.edu

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25. Stephanie Brody-Lederman, FF Alumn, at OK Harris Gallery, Manhattan, opening Nov. 2

Stephanie Brody-Lederman will have a solo show of paintings and art objects at OK Harris Gallery, 383 West Broadway, NYC 10012.
The show will take place from November 2 - December 7, 2013.
The artist will be present on Saturday, November 2nd from 3 - 5 pm

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26. Kyle deCamp, FF Alumn, at Theatre de la Cite Internationale, Paris, France, Nov. 5-8

URBAN RENEWAL a multimedia solo performance by Kyle deCamp www.kyledecamp.com

mardi 5, jeudi 7
et vendredi 8 novembre théâtre de la Cité internationale 17, bd Jourdan • 75014 Paris www.theatredelacite.com administration • 01 43 13 50 60 réservations • 01 43 13 50 50
Buildings are unstable, memory a force to be reckoned with. In a multimedia environment of projected space, Urban Renewal maps a piece of land in Chicago, drawing world history into a clash with individual lives.

Urban Renewal est une histoire simple : celle d'une adulte pas du tout sentimentale qui se rappelle l'immeuble où elle habitait. En l'occurrence, un bout de terrain à Chicago dont le spectacle va survoler l'histoire, de -5 000 ans av. J.-C. à sa transformation récente en parc de jeux. Urban Renewal est une sorte de sorcellerie spatiale et multimédia qui mélange en un récit émouvant les histoires tragicomiques de l'architecture, de la politique et de l'urbanisation.

[création] présentée pour la première fois à Paris
In English and French, translation and surtitles by Denise Luccioni.

conception, texte, design, direction et performance Kyle deCamp • vidéaste Joshua Thorson • directeur associé Yehuda Duenyas • son Travis Just • lumière Scott Bolman

production en cours, avec le soutien de la Fondation d'entreprise Hermès dans le cadre de son programme New Settings, présenté dans le cadre du programme New Settings #3 de la Fondation d'entreprise Hermès.
21h • jeudi 7, vendredi 8 novembre
20h • mardi 5 novembre
durée • 60min
(!) vous pouvez enchainer avec le spectacle qui suit le même soir
tarif réduit dès le 2e spectacle • plein 22 € • réduit 16 € • moins de 30 ans 13 € • étudiants, intermittents et demandeurs d'emploi 11 € • moins de 12 ans 7 €

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27. Raquel Rabinovich, FF Member, at Marc Straus, Manhattan, thru Nov. 3

A group of my paintings from the 60's and 70's is included in the exhibition LINE & FORM at Marc Straus. The gallery is located at 299 Grand Street (Allen and Eldridge) in Manhattan. The show will be on view through November 3.

Thank you!
Raquel Rabinovich

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28. Barbara Rosenthal, FF Alumn, at Central Booking, Manhattan, opening Nov. 7

Barbara Rosenthal's piece, "Spine in Bluejeans Triptych", 2005, will be exhibited in the "Anatomy and Medicine" show at Central Booking, an artspace at 21 Ludlow Street, Lower East Side, New York CIty, Nov 7-Jan, opening 6-8pm on Thursday, Nov. 7. It depicts composited X-rays of her spine and pelvis through blue jeans, and therefore including a zipper and button.

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29. Stacy Scibelli, F FAlumn, at The Slipper Room, Manhattan, Nov. 3

http://www.slipperroom.com/event/368417-guest-event-paradiso-new-york/

"Paradiso is a live stage event that will debut at The Slipper Room. Produced by Stacy Scibelli and Rachel Fainter, this modern retelling of Dante's Alighieri's travels through Heaven will feature aerial acrobatics, live opera and piano, contemporary dance, and more.

A corresponding gallery exhibition of drawing, painting, and sculpture will accompany the events that is free and open to the public. Paradiso show dates are Oct. 20th and Nov. 3rd.

The Slipper Room
167 Orchard St
New York, NY, 10002
http://slipperroom.com

Stacy A. Scibelli
stacyascibelli.com

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30. Kelman Duran, FF Alumn, at Otras Obras, Tijuana, Mexico, thru Nov. 11

Otras Obras is pleased to announce its seventh exhibition, James Benning & Edgardo Aragón. The exhibition will open Friday, 25 October, from 6-10 PM, and will continue until Sunday, 11 November. The space is located at Francisco I. Madero 1250, Zona Centro, 22000 Tijuana, B.C., México. This exhibition is curated by resident curatorKelman Duran.

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Goings On is compiled weekly by Harley Spiller