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Contents for January 08, 2014

1. Royal Osiris Karaoke Ensemble, FF Alumns, at Participant, Manhattan, Jan. 11-12

Dearest Friends, Critics, and Futures of Either:

We of Royal Osiris Karaoke Ensemble have had a most prosperous year,
and as a direct result of your enjoyment of our spectacle, we have been asked to re-perform our work

Royal Osiris Karaoke Ensemble
Everything One in the Disc of the Sun
A Self-Help Karaoke Opera

as part of the inaugural festival Special Effects

Saturday, January 11 @ 8 pm
Sunday, January 12 @ 2 pm

253 E Houston Street
New York, NY 10002

also featuring The Prodigal Sun Spiritual Supplies Boutique

tickets $20
(includes libations & karaoke)
buy tickets here


In Everything One in the Disc of the Sun, three Osirian priests gather at a pseudo-Egyptian karaoke bar at the end of time to perform their favorite tracks from the self-help repertoire. Under the cosmic glow of an LED pyramid, Royal Osiris Karaoke Ensemble sings, chants, and recites forgotten hits from the VHS vaults of gurus, cult leaders, corporate speakers, and extraterrestrial mediums, which they channel through an embedded in-ear karaoke machine. Combined with original songs, gestural fragments of the Death Trance Dance, compulsive drinking rituals, video projection, and other cultural flotsam, Royal Osiris Karaoke Ensemble entombs the lost relics of a future civilization in lyrical self-preservation.
Conceived by Royal Osiris Karaoke Ensemble (Tei Blow and Sean McElroy)
Featuring Tei Blow, Siobhan Gandy, and Sean McElroy
Costume Design: Daniel Blow
Lighting & Mummification: Ben Demarest
The Prodigal Sun Spiritual Supplies Boutique: Youree Jong Choi
Documentation by Maria Baranova
Produced in Association with Immediate Medium
Management by Alexandra Rosenberg

Royal Osiris Karaoke Ensemble is Tei Blow and Sean McElroy. They met at Stanford-Hofstra-University-of-Phoenix-Online in the year 2519, where they were both Women's Studies majors. All of their performance work is an extension of their collaborative thesis project, Isis On Top: Manifestations of Female Darwinianism in Neo-Lewinskian Diegeses. They were awarded Best Original Song Not Written by Thought in 2561 by the Horus Council, and nominated for Best Underwater Spectacle in 2057 for their performance He is I, A Man's Story which premiered at the annual Opening of the Mouth Ceremony at the Temple of Khonsu in Thebes. Royal Osiris Karaoke Ensemble has performed rituals at JACK (2013), the Prelude Festival Closing Night Party at Littlefield Brooklyn (2013), AUNTS at Arts@Renaissance (2013), The James Farley Post Office as part of The Future at the End of the World, produced by Immediate Medium and curated by Andy Horwitz (2012), and Kate Werble Gallery (2008). Their next project is a collaboration with Kanye West.

Everything One in the Disc of the Sun was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation, the Lambent Foundation, The SHS Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Development and production of this project was made possible through Immediate Medium's artist development program, which promotes collective production and knowledge sharing among IM-affiliated artists. Produced, in part, through Kori Rushton and IRT's Residency Season. Originally presented by JACK.

Contemporary Performance announces the inaugural festival Special Effects from January 9-12, 2014. The festival consists of six artists from the Contemporary Performance Network presenting work at The Wild Project in the NYC's East Village and Participant Inc. Curated by network editors Caden Manson and Jemma Nelson the four day festival will hold panel and artist events, launch the Contemporary Performance Almanac13 book and throw nightly performance parties in the Wild Project Bar. Artist driven and oriented, Special Effects gathers experimental performance works by practitioners exploring contemporary issues. Drawing on a network of over 15,000 artists who are part of www.contemporaryperformance.com. The festival samples the diversity and richness of the international discipline of performance and presents an open forum for critical thinking on the issues of the day.



2. Joseph Keckler, FF Alumn, in the Village Voice, now online
If You Could Make One Change in NYC in 2014, What Would You Do?
New York resolutions
by Raillan Brooks Wednesday, Jan 1 2014
Joseph Keckler Musician and performance artist
"I'm on a kick to turn down music in restaurants and bars so we can liberate conversation and stop paying to be tortured. They crank it up because they think people buy more drinks when the music is loud. It's true, people do buy more drinks - in a desperate attempt to ameliorate the distress they feel at not being able to communicate with the human in front of them! How many times must you find yourself inches from some possibly great mind of your - or any - generation who has been reduced to monosyllables, grotesque gesticulations, and facial contortions that convey all the nuance of an emoticon? The NYPD should immediately halt all other programs to focus solely on the issue of café volume control so that intellectual hubs may again spring forth in our great city. I can't wait to watch some toughie in an overcoat bursting into a bistro and flashing a badge that says "shhh." End the violence! Lest anyone think I'm showing signs of early-onset curmudgeonliness, I want to state that I do hope to see more unregulated gyration, orgies, and graffiti this year. Even in combo."

The complete article is available online here:



3. Dick Higgins, Allan Kaprow, Yoko Ono, FF Alumns, in The New York Times, Jan. 3

The New York Times
Visual Portents of a Silent Bolt of Thunder
MoMA's 'There Will Never Be Silence,' About John Cage
JAN. 3, 2014

Critic's Notebook

On Feb. 7, 1943, John Cage made his first New York public appearance at the Museum of Modern Art with a performance of percussion works that featured his wife, Xenia (whom he would divorce three years later), and Merce Cunningham (who would replace her as his life partner).

"I'd come from Chicago and was staying in the apartment of Peggy Guggenheim and Max Ernst," Cage recounted later. "Peggy had agreed to pay for the transport of my percussion instruments from Chicago to New York, and I was to give a concert to open her gallery, The Art of This Century. Meanwhile, being young and ambitious, I had also arranged to give a concert at the Museum of Modern Art. When Peggy discovered that, she canceled not only the concert but also her willingness to pay for the transport of the instruments. When she gave me this information, I burst into tears. In the room next to mine at the back of the house, Marcel Duchamp was sitting in a rocking chair, smoking a cigar. He asked why I was crying, and I told him. He said virtually nothing, but his presence was such that I felt calmer."

Seventy years later, Cage is back at MoMA, the subject of an exhibition that charts the influence of Duchamp and other visual artists on his experiments with chance operations that culminated in his groundbreaking and still-controversial four minutes and 33 seconds of silence. The score to that work, first performed by the pianist David Tudor for a stunned audience in Woodstock, N.Y., in August 1952, is in the museum's collection and serves as the fulcral point of the show "There Will Never Be Silence: Scoring John Cage's 4'33." "

Like much of Cage's work, the show is suffused by a meditative wit that wears its transcendent ambitions lightly. Works that investigate chance and indeterminacy through found objects, monochrome canvases and the playful use of language invite the visitor to explore new ways of engaging not only with the art on the walls, but with the outside world, too.

"It offers the opportunity to let us be taken into something else," said David Platzker, the show's curator. "It's the possibility of passing through boredom into fascination."
The first part of the exhibition consists of works Cage directly interacted with, talked about or owned, like Richard Lippold's 1947 "Five Variations Within a Sphere (for John Cage)." These delicate geometric wire sculptures hung in the apartment on Monroe Street on the Lower East Side that Cage moved into after his separation from Xenia.
Early examples of improvisation and chance operations in visual art include Kurt Schwitters's "Merz" series, which incorporates found materials, and Duchamp's "3 Standard Stoppages," created in 1913-14 by dropping three-meter-long threads onto a canvas and cutting out the contours they happened to form.

At Black Mountain College in North Carolina, where Cage served on the summer faculty, he met Anni and Josef Albers, artists who had fled Hitler's Germany. Josef Albers's stunning 1944 woodcut "Tlaloc" sets a white geometric figure against a backdrop animated with the natural grain of wood, which looks like rippling waves. The element of chance that shapes the natural movement of the background adds to the precarious quality of the artificial structure superimposed on it.

Two paintings by Mark Tobey, a practicing Buddhist whom Cage met in the late 1930s, show the artist turning away from iconography and toward a mystical form of abstraction. After viewing his works one day, Cage wrote, "I happened to look at the pavement, and I noticed the experience I had was the same as the experience of looking at the Tobey." It's not that the pavement looked like a Tobey. It was rather the act of searching for patterns or noticing color and texture in the pavement that Cage now experienced as art.

The final nudge toward Cage's silent work came from Robert Rauschenberg, whom he met in 1951, while the artist was working on his white paintings. These smooth, monochrome canvases went a step further than Barnett Newman's "The Voice," which is also part of the show. That painting is almost entirely white, too, but the variations in brush strokes and a subtly vertical line running down one side like a scar give the viewer's eye plenty to engage with.

By contrast, Rauschenberg's white paintings were not articulated in any way, Mr. Platzker said. "Cage recognized that what Rauschenberg had done was remove all the elements of 'art,' " he said. "And that if you put up a painting like that in a room, it's going to interact with the light and dust particles in the air."
In August 1952, Cage presented the first of his multimedia Happenings at Black Mountain and used Rauschenberg's white paintings as a backdrop. (Soon afterward came the premiere of "4'33" " in Woodstock.)

At that first performance of "4'33" ," Cage later recalled, the audience was presented with "what they thought was silence, because they didn't know how to listen." In fact, the rendition was "full of accidental sounds."

"You could hear the wind stirring outside during the first movement," he continued. "During the second, raindrops began pattering on the roof, and during the third, people themselves made all kinds of interesting sounds as they talked and walked out."
The original score, which used traditional musical notation to mark three "movements" of extended rests, does not survive. The one on display at the museum uses proportional notation, with a series of vertical lines on blank paper that mark the duration of each silence, pulling together spatial and temporal measurements.

The second part of the exhibition looks at the Fluxus movement and traces Cage's own influence on artists, beginning with those he taught in his course on experimental composition at the New School. MoMA's collection includes notebooks from that course, photographs of the class itself and pieces directly derived from it by students including George Brecht, Allan Kaprow, Dick Higgins and others.

Yoko Ono and La Monte Young provide playful examples of verbal instructions. Ms. Ono's book "Grapefruit" is open to a page containing "Kitchen Piece," dating from the winter of 1960. "Hang a canvas on a wall," she writes. "Throw all the leftovers you have in the kitchen that day on the canvas. You may prepare special food for the piece."
The question of what art is and how to consume it continues to occupy the art world. Perhaps Walter De Maria, whose stainless-steel sculpture "Cage II" closes the exhibition, speaks for many visual artists when he writes of Cage: "I never did like his music actually. But the ideas were always well stated."

"There Will Never Be Silence: Scoring John Cage's 4'33" " runs through June 22 at the Museum of Modern Art; 212-708-9400, moma.org.
A version of this article appears in print on January 4, 2014, on page C1 of the New York edition with the headline: Visual Portents Of a Silent Bolt Of Thunder



4. John Baldessari, Raphael Montanez Ortiz, Robert Rauschenberg, FF Alumns, in the Wall Street Journal, Jan. 8

The Wall Street Journal, Jan. 8, 2014
Arts & Entertainment
Creative Destruction
by Richard B. Woodward
Jan. 7, 2014 5:52 p.m. ET

When visitors step off the escalator at the Hirshhorn Museum and Sculpture Garden and enter "Damage Control: Art and Destruction Since 1950," they are greeted by towering Kodachrome images of slow-motion explosions. Blooming into flowery clouds, these shots of nuclear tests-excerpts from 1950s films made by the defense contractor Edgerton, Germeshausen & Grier for the U.S. Atomic Energy Commission-are like a silent ballet for smoke monsters.

Nothing that follows in this smart, provocative show, which is about the dangerous wish to eradicate the past and start anew, can match the hellish beauty of these toxic pictures.
That hasn't stopped curators Kerry Brougher and Russell Ferguson from filling the outer ring on the second floor with 100 or so works that play with the crunching, fiery theme of violence. All of the paintings, sculptures, drawings, photographs, films and performances-by a stellar group of artists from the U.S., Europe and Asia-are about the spectacle of destroying things.

As such acts can arouse contrary reactions, depending on who is doing the destroying, what is being destroyed and why, the show is guaranteed to upset and divide audiences.
Artists have for a long time smashed all sorts of things on purpose. A Yamaha grand piano lies in shambles in the first room. It was recently demolished by Raphael Montañez Ortiz, author of the 1962 Destructivist Manifesto, who has done this more than 80 times since the 1960s for filmed concerts that explore the post-John Cage sonic regions between noise and music. (Rock 'n' roll equipment bashers and feedback freaks who seek high-art credibility can cite Mr. Ortiz as inspiration.)

The thing destroyed can be someone else's art or one's own. In 1953 Robert Rauschenberg asked Willem de Kooning for a drawing to erase. De Kooning reluctantly agreed to the collaboration, but gave the younger artist a work so deeply marked it took Rauschenberg a month to wipe clean. "Erased De Kooning Drawing" shares a room with documents from John Baldessari's cremation of his own pre-1970 oeuvre. He photographed the act, confirmed it in a newspaper notice, and even made cookies from the ashes.

Another kind of whimsy can be found in car-crash photographs from the 1950s to '70s by the Swiss policeman Arnold Odermatt. He focused not on human victims, but on smashed auto bodies as a new, delicate form of sculpture. (His 1965 image of a Volkswagen VOW3.XE +0.07% in an Alpine lake, Hitler's "People's Car" sinking in a Romantic setting, is the catalog cover.)

"Damage Control" brings back forgotten movements, such as Auto-Destructive Art. Its 1961 manifesto, written by Gustav Metzger, a Polish Jew who had fled the Nazis for England, called on artists to harness the forces of nature in order to make public art that would disintegrate in moments or years. ("Not interested in ruins," the manifesto specified.) In a 1963 film he is seen torching a hanging sheet into ashy wisps.
Jean Tinguely, the Swiss Dadaist inventor of clanky, self-immolating machines, is prominent here. An archival find is a 1962 performance, improbably commissioned by NBC, where he is seen prowling Las Vegas junkyards for stuff to blow up in a casino parking lot. The network not only devoted 22 minutes of air time to his actions, but also employed David Brinkley to explain them as a commentary on U.S. consumerism.
The British artist Michael Landy, a fan of Tinguely, used his personal belongings for public spectacle in his audacious piece "Break Down." In 2001 he rented a London shop where visitors could watch over 11 days as a machine he conceived of destroyed everything he owned. The 16-minute video documents the slow compacting and shredding of 7,227 items-books and bedding, art by friends as well as his own art, and finally a coat given to him by his father. The pipe-dream of starting one's life again without any baggage has seldom been so poignantly realized.

Questions about artistic license to destroy grow more vexing in a gallery where three photographs of Ai Weiwei show him dropping and smashing a Han Dynasty urn. This 1995 work is not far from a kindred desecration by Jake and Dinos Chapman, who in 2004 drew in colored pen on Goya's series "The Disasters of War," claiming that their additions "improved" the 80 etchings.

In neither case did the artists rely on reproductions, as many other artists since Marcel Duchamp have done. Mr. Ai irreparably broke a third-century Chinese artifact; and the Chapman brothers have marred a set of rare masterworks.
It's a toss-up which action is more irresponsible. Is Mr. Ai's forgivable because of his dissident status? Or is it less so because the urn is no longer recognizable as a functional object, whereas most areas in Goya's etchings remain untouched by the Chapmans' graffiti? Why do both gestures seem more scandalous than, say, composing a disco version of Beethoven's Fifth Symphony? Is it their arrogance or the permanence of the harm they've done to another's work of art?

The curators go too far in apologizing for artists who trash the past for a giggle. But there's no denying that strains of Modernism (and capitalism) encourage disruption. Futurism was only one movement that believed art could "move forward" only by razing the old order.

Dario Gamboni's catalog essay takes care to distinguish among various individuals or groups that have defaced art in the name of a higher calling. He mentions Mary Richardson, who in 1914 took a meat cleaver to Diego Velázquez's "Rokeby Venus" at the National Gallery in London. (To protest the imprisonment of fellow suffragette Emmeline Pankhurst, "the most beautiful character in modern history," Richardson thought it right to destroy "the most beautiful woman in mythological history.") Tony Shafrazi spray painted "KILL LIES ALL" on "Guernica" in 1974, when Pablo Picasso's mural was still at MoMA. (He claimed his actions were an anti-Vietnam War protest and an attempt "to bring the art absolutely up to date" and "give it life.")
Self-righteousness can justify any act of havoc. In 2001 the Afghani Taliban dynamited the Buddhas in Bamiyan, calling them idols of the infidels. In a Byzantine art exhibition now at the National Gallery of Art one can see classical statues that were vandalized in the fourth century by Christians who "improved" Greek and Roman art with incised crucifixes.

Historical cycles of political and religious fervor, though, should not obscure the fact that, when safely consumed, mayhem is a basic food group in the world's entertainment diet. Science-fiction movies pump up their box office numbers with ever more extravagant disasters, as Mr. Brougher writes in his essay.

Watching things explode can be mesmerizing, as in Ori Gersht's "Big Bang I" from 2006, a slow-motion video of a flower vase's shattering. David Letterman used to feature a popular segment in which things were thrown off buildings or crushed by steamrollers, to the delight of his audience. "Mythbusters" often relies on similar small-scale acts of televised havoc.

"Damage Control" brings together artists from different eras who don't usually schedule play dates. Bruce Conner's "A Movie," his 1958 montage of nukes and nudes, turns out to be a distant relative of Douglas Gordon's 2007 "Self Portrait of You + Me" series, portraits of celebrities with faces deformed as if by an atomic blast.

The curators want us to share in the anarchic glee, safely contained by a museum. But behind the fun and games, their expertly installed show also raises difficult-to-answer questions about technology, politics, the role of an avant garde in history, and what we want art and artists to do for us.

Mr. Woodward is an arts critic in New York

Damage Control: Art and Destruction Since 1950
Hirshhorn Museum
And Sculpture Garden
Through May 26



5. Helen Mayer Harrison & Newton Harrison, FF Alumns, at Ronald Feldman Fine Arts, Manhattan, opening Jan. 11

January 11 - February 8, 2014

[The Harrisons'] work is a prime example of the potential of ecoart to create knowledge that promotes cultural change. Ruth Wallen, Leonardo XLV, no. 3, 2012

Helen Mayer Harrison & Newton Harrison are the first recipients of the Corlis Benefideo Award for Imaginative Cartography, presented at the Annual Meeting of the North American Cartographic Information Society (NACIS) on October 9, 2013 in Greenville, South Carolina.

Ronald Feldman Fine Arts will exhibit, Global Mapping, an overview of the life-long work of Helen Mayer Harrison and Newton Harrison, pioneers of ecologically-oriented art, whose visionary proposals have influenced long-term public policy in the United States and abroad. For more than forty years, the Harrisons' expansive practice, realized in collaboration with experts from other disciplines and often commissioned by government and art institutions, has been to map out specific geographical areas at ecological risk to encourage public discourse and community involvement. Their impassioned works serve as both a meditation on global ecology and also as a futuristic vision, often with proposals for environmental change and recovery.

The Harrisons' mapping - on large wall panels and synthesized with aerial photographs and narrative text of Socratic reasoning - dominates the exhibition space. The artworks are selected from large-scale installations of projects from the early seventies to the present. Similar in appearance to the wall panels, a floor panel allows the viewer to walk on a topographical map of the Sierra Nevada mountain range, a work from Force Majeure, the Harrisons' current on-going series which addresses the effects of global warming on an unprecedented scale.

Earlier works, From The Lagoon Cycle (1974-1984), Law of the Sea Conference from the 1976 Venice Biennale, and Baltimore Promenade (1981), focus on watershed restoration, agricultural and forestry issues, and urban renewal, as well as providing a history of the Harrisons' engagement with the topic of global warming.

Reflecting the Harrisons' international perspective and the scale of their research, the exhibition includes projects that study the eco-systems of large bodies of water from around the world: the Sava Riverin former Yugoslavia, the Yarkon River in Israel, and the Salton Sea and the Bays at San Francisco in the state of California.Their titles often incorporate visual metaphor to define and unify the large geographical areas under consideration: A Vision for the Green Heart of Holland, Peninsula Europe, Greenhouse Britain, and Tibet is the High Ground.

Helen Mayor Harrison and Newton Harrison, Emeriti Professors in the Visual Arts at the University of California at San Diego and currently research professors at University of California at Santa Cruz, have been represented by Ronald Feldman Fine Arts since 1974. The recipient of numerous awards, they delivered the convocation address at the College Art Association 100th Year Anniversary Conference in 2011. They have exhibited internationally, and their work is in the collections of many public institutions including The National Museum of Modern Art, The Pompidou Center, The Museum of Modern Art, and The Chicago Museum of Contemporary Art.

There will be a reception Saturday, January 11: 6 - 8. Gallery hours are Tuesday - Saturday, 10 - 6. Monday by appointment. For information, contact Varvara Mikushkina at (212) 226-3232 or Varvara@feldmangallery.com.

31 Mercer Street | New York, NY 10013 | 212-226-3232 | www.feldmangallery.com



6. Mendi and Keith Obadike, FF Alumns, at the Whitney Museum of American Art, Manhattan, Jan. 14

Tuesday, January 14
6:30-9:30 pm

Whitney Museum of American Art
945 Madison Ave
NY NY 10021

Cory Arcangel, yada yada yada (2013)

This two-part symposium addresses the transformation of the museum in the age of social media. How does the presence of networked digital devices affect our experience of art in the museum's galleries? In what ways do these historical shifts in the mediation of our perception reflect our beliefs about the function of the museum in our society? How can we understand the role that the numerous corporate digital platforms utilized by museums and their publics play in the presentation of art? We will explore the ways in which rapid public sharing from within the museum transforms our attitudes toward works of art and the spaces that house them, seeking to assess the stakes of this affective digital economy.

Distinguished scholars, curators, and artists discuss these questions in two sections-a panel of long-form presentations followed by a fast-paced series of short creative lecture propositions, followed by discussion among audience and participants.

Part I: Long-form Panel
6:30-7:45 pm
Opening remarks and discussion moderated by Christiane Paul.
Jonathan Crary
Edward A. Shanken
Donna De Salvo
Part II: Micro-lectures
8-9:30 pm
Seven-minute presentations.
Discussion (moderated by Christiane Paul and Gordon Hall).
Ben Thorp Brown
Lauren Cornell
João Enxuto and Erica Love
Sarah Hromack
Forrest Nash
Mendi and Keith Obadike
Will Pappenheimer
Brad Troemel

Tickets: $8 general admission; $6 senior citizens and students. This program is free for members but advance registration is required by emailing memberinfo@whitney.org with your name and membership number. This event will be utilizing a site-specific network developed by programmer and activist Dan Phiffer. Please bring your laptop or device for use.




7. Helen Varley Jamieson, FF Alumn, in Wellington, NZ, Munich, Germany, and online, Jan. 9-10

Happy new year everyone :)

As we move into 2014, the auspicious 10th birthday of UpStage is less than a week away! Dedicated UpStagers are busy with final preparations for the launch of UpStage v3, three performances, the networked symposium, and a planning meeting that will take place over two days on 9-10 January.

There are physical venues at 19 Tory Street, Wellington, and Signalraum, Munich; and of course, everything is accessible online.

The performances are:
Vita cyberformativa by Miljana Peric
Balloon by Petyr Veenstra, Floris Sirag and Gabriella Sacco
Etheatre Project and Collaborators.

Information about the performances and presentations is available here http://upstage.org.nz/blog/?p=5782

the full programme, with time converters, is here

There will be live links from the programme to the stages on the day.

The networked symposium takes place online and at Signalraum in Munich, with presentations by Annie Abrahams, Isabel Valverde and Christina Papagiannouli. There will be live links to the presentations from the programme page. Thanks very much to Horst Konietzny and his team at Signalraum for hosting the symposium.

We would also like to thank MAD emergent art centre in Eindhoven for streaming support, AUT for the student programmer team, and CityLink for their ongoing hosting of the UpStage server.

And of course big thank yous to those who have donated! If you haven't yet, it's not too late to surprise us with a birthday gift to UpStage - show your support and appreciation for 10 years of fun and experimental cyberformance in UpStage!

We look forward to seeing you all at the celebrations!

vicki smith & helen varley jamieson
UpStage birthday architects



8. Linda Montano, FF Alumn, now online at http://youtu.be/KOADiitlxZg

Linda Montano, FF Alumn, now online at http://youtu.be/KOADiitlxZg



9. LuLu LoLo, FF Member, at Fluz Factory, Manhattan, Jan.15

January 15, 2014 @ 7pm
LuLu LoLo will be the Emcee for Flux Factory's 2014 Benefit "Not So Silent Auction"
79 Walker Street, 6th Floor, NYC



10. Matthew Silver, FF Fund recipient 2013-14, crowned Mr. Lower East Side 2014

Matthew Silver, Fund Recipient 2013-14, was crowned Mr. Lower East Side 2014!

Here's a link to Bowery Boogie's recap of the event: http://www.boweryboogie.com/2014/01/swinging-balls-recap-15th-annual-mr-lower-east-side-pageant-photos/



11. Miao Jiaxin, FF Fund recipient 2012-13, now online

There is in article in Hyperallergic on Miao Jiaxin's Fund piece: http://hyperallergic.com/101377/the-point-of-no-return/



12. Sonya Rapoport, FF Alumn, at Techfest, 2014, Bombay, India, Jan. 30-Feb. 12

Sonya Rapoport, FF Alumn, Techfest, 2014, IIT Bombay, India, January 30 - February 12, 2014.

Sonya Rapoport, Franklyn Furnace Alumn, will be exhibiting her web-based project "Kabbalah/Kabul: Sending Eminations to the Aliens" at Techfest 2014 in Bombay, India from January 30 - February 12, 2014.

Techfest, Asia's largest science and technology festival, promotes technology, scientific thinking and innovation. It takes place on the campus of IIT Bombay at Powai, Mumbai.

"Kabbalah/ Kabul: Sending Emanations to the Aliens", encodes altruisms into a form that could be transmitted across interstellar space by radio or laser signals. Emanations are derived from the Tree of Life, the main icon of Kabbalah, in which ten creative forces intervene between the infinite and our created world.

The web narrative, set in the Afghanistan war, opens with an animation of a US helicopter carrying the altruistic emanations into outer space. The image morphs into embryonic stem cells superimposed on a spinning ring of Al Qaeda terrorist cells. When selected by the viewer, each stem cell differentiates into a body part and displays hybrid images of the war in Afghanistan and an altruistic element derived from DNA fusion. A winged Golem catapults the element into outer space to communicate with the aliens, while the Earth-bound viewers absorb the altruistic mantras into their own psyches.





13. Betty Tompkins, FF Alumn, at Bortolami, Manhattan, opening Jan. 9


The exhibition, titled A Chromatic Loss, examines the poetics and politics of the body, technology and the shape of time in the binaries of black and white. The exhibition's restrictive palette allows the artwork's immanent criticality and material subversiveness to simultaneously cohere as a unified collective and maintain divergent subject positions. In this exhibition, established artists such as Betty Tompkins, Tom Burr, John Coplans, Donald Moffett and Nancy Grossman, coexist alongside an emerging generation of artists, including Wyatt Kahn, Xylor Jane, Robert Zungu, Dave Hardy, Michelle Lopez and Archangelo Sassolino, to deploy abstracted, allegorical and symbolic representations of the body within a post-historical culture.

A Chromatic Loss makes our current cultural climate seem strange. For example in the work of Betty Tompkins, Wyatt Kahn, Dave Hardy and John Coplans, bodies -- representational and abstract -- are depicted as fragmented, disjointed, composite and reconfigured. We are meant to question why anthropomorphic representations might appear shattered and re-sutured in 2014. Or in the case of Michelle Lopez, why a vertical, folded, powder coated sheet of black and white metal rings true as an airplane wing dislocated from its cabin after a crash or perhaps a crushed metaphoric body holding itself upright by leaning against the gallery wall. The tenuous relationship between man and nature on the brink of environmental apocalypse manifests itself through the Minimalist application of silk worm cocoons on painted tempera wood boards from emerging artist Robert Zungu or through the kinetic sculptural poems of Italian artist Arcangelo Sassolino's, whose air compression tank rhythmically fills and deflates an empty plastic water bottle. Through his highly sophisticated, yet deceiving low tech sculpture, Sassolino reminds us that, in time, even machines will breathe. The exhibition proposes that after the shock, trauma and quotidian nature of atrocity, Speech feels even more unattainable, repressed (Grossman), censored (Tompkins) or even voyeuristically unzipped (Moffett). Finally, the viewer is implicated through their own reflection in Tom Burr's dark gray smoke screen or in Xylor Jane's hand painted dot matrix depicting the countdown of a bedside digital alarm clock or perhaps a timer slowly waiting for the events of the morning to detonate.

An opening reception will be held on January 9th from 6 - 8 PM.

Bortolami | 520 West 20th Street | New York | NY | 10011

Galerie Rodolphe Janssen









Goings On is compiled weekly by Harley Spiller