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Contents for July 21, 2014

1. Jane Dickson, Martha Wilson, FF Alumns, at George Adams Gallery, Manhattan, thru Aug. 15

The Horse Is in the Cart
Jane Dickson, John Waters, Martha Wilson, Robert The, and Robert Arneson
Please stop by if you find yourself in Chelsea!
Open now thru August 15th, 2014

George Adams Gallery
525-531 West 26th Street, NYC
For more information click here

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2. Mona Hatoum, FF Alumn, at The New Museum, Manhattan, thru Sept. 28

Here and Elsewhere
July 16-September 28, 2014

New Museum
235 Bowery
New York, NY 10002

www.newmuseum.org

The exhibition Here and Elsewhere presents the work of over 45 artists who share roots in the Arab world and a critical sensibility with regard to images and image-making. The title of the exhibition is borrowed from a 1976 film-essay by directors Jean-Luc Godard, Jean-Pierre Gorin, and Anne-Marie Miéville. Their film, Ici et ailleurs (Here and Elsewhere), was conceived as a pro-Palestinian documentary, but evolved into a complex reflection on the ethics of representation and the status of images as instruments of political consciousness. Taking inspiration from Godard, Gorin, and Miéville's film-which has had a strong impact on an entire generation of artists in various Arab countries-the exhibition pays particular attention to the position and role of the artist in the face of historical events.

An unconventional form of lyrical documentary and personal reportage emerges in works in which the artist is vested with the responsibility of revising dominant historical narratives. Other artists in the exhibition undertake experimental approaches to archival materials, rewriting personal and collective histories. For others, traditional mediums like painting, drawing, and sculpture record subtle and intimate shifts in perception, using images as tools for self-discovery and chronicles of current events.

A reflection on what is at stake in the act of representation characterizes many of the works in the exhibition, as artists reconsider the task of witnessing and documenting social and political changes. While a number of pieces initiate a reflection on images as sites of conflict or spaces of intimacy, others develop a critique of media representation and propaganda.

Here and Elsewhere does not propose a fixed definition of Arab art or a distinctive regional style. With the renegotiation of location and perspective evoked in the exhibition's title, the show calls attention to specific cities and art scenes while emphasizing the importance of dialogues that extend internationally. The exhibition illuminates similar insights and affinities as well as dramatic differences, revealing multiple social and aesthetic landscapes rather than a fictional sense of unity. Emerging from the works of this distinguished group of artists are less the contours of an imagined geography-to paraphrase the words of Edward Said-than new critical attitudes toward art and images that encourage us to look "elsewhere" in order to understand our "here."

Here and Elsewhere is organized by the New Museum's curatorial department, led by Massimiliano Gioni, Associate Director and Director of Exhibitions, with Natalie Bell, Curatorial Associate, Gary Carrion-Murayari, Kraus Family Curator, Helga Christoffersen, Assistant Curator, and Margot Norton, Assistant Curator.

Participating artists:
Abounaddara, Etel Adnan, Rheims Alkadhi, Basma Alsharif, Ziad Antar, Marwa Arsanios, Kader Attia, Yto Barrada, Anna Boghiguian, Fouad Elkoury, Simone Fattal, Mekhitar Garabedian, GCC, Fakhri El Ghezal, Tanya Habjouqa, Rokni Haerizadeh, Rana Hamadeh, Shuruq Harb, Susan Hefuna, Wafa Hourani, Ali Jabri, Khaled Jarrar, Lamia Joreige, Hiwa K, Amal Kenawy, Mazen Kerbaj, Bouchra Khalili, Maha Maamoun, Hashem El Madani, Marwan, Ahmed Mater, Abdul Hay Mosallam, Selma and Sofiane Ouissi, Jamal Penjweny, Mohamed Larbi Rahali, Marwan Rechmaoui, Abdullah Al Saadi, Hrair Sarkissian, Hassan Sharif, Wael Shawky, Mounira Al Solh, Suha Traboulsi, Van Leo, Ala Younis (a curatorial project of archival materials and artworks by Adel Abidin, Mustapha Akrim, Yto Barrada, Neïl Beloufa, Mohssin Harraki, Mona Hatoum, Amina Menia, and Abdul Hay Mosallam), and Akram Zaatari

Support
Here and Elsewhere is made possible by:
The Andy Warhol Foundation for the Visual Arts
Elham and Tony Salamé

Major support provided by:
Sirine and Ahmad Abu Ghazaleh
LibanPost
Saradar Collection
Maria and Malek Sukkar

The exhibition publication is made possible by Dana Farouki.
Airline Partner: Etihad Airways Abu Dhabi and Air Berlin
The International Leadership Council of the New Museum is gratefully acknowledged.
Special thanks to The Standard, East Village.
Additional support provided by Patrick and May Merville and the Robert Mapplethorpe Photography Fund.
Additional support for the publication provided by the J. McSweeney and G. Mills Publications Fund at the New Museum.

About the New Museum
The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, the New Museum is a center for exhibitions, information, and documentation about living artists from around the world. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.

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3. Marni Kotak, FF Alumn, in Brooklyn Paper, July 18

Marni Kotak

http://www.brooklynpaper.com/stories/37/29/24-mad-meds-marni-kotak-2014-07-18-bk_37_29.html

GO Brooklyn / Bushwick / Art
Marni Kotak will go off her meds for new performance piece
By Danielle Furfaro
The Brooklyn Paper

Chill on the pills: Performance artist Marni Kotak is going off her meds - and turning the experience into a work of art.

On July 18, performance artist Marni Kotak will start gradually weaning herself off the psychiatric medication she has been taking for the past two years. It will be done under supervision from her psychiatrist - but also under the gaze of the public eye, as Kotak is turning the experience into a performance installation at Microscope Gallery in Bushwick.

This is not Kotak's first slice-of-life performance. In 2011, she famously gave birth to a healthy baby boy in a gallery, as a gaggle of people watched and the media snapped photos. Kotak's husband subsequently made a painting with the afterbirth.
Reporter Danielle Furfaro caught up with Kotak to find out what life is like when life is art.
Danielle Furfaro: What inspired you to do this project?

Marni Kotak: As I don't clearly delineate between my life and my art, whatever I am focused on in my present life becomes the content of the art exhibition I am simultaneously working on. Right now I am dealing with how to be a whole person in today's crazy world, without just taking a pill to numb myself. Not an easy task for anyone, I would say.

This is real endurance art, finding a way to be truly happy, centered, fulfilled in a world that doesn't really support art or real life, that is focused on profit, rather than people.
DF: I understand that you suffered from postpartum depression. What has your life been like since the birth of your child?

MK: It's really wonderful and very busy. It has been a little difficult balancing everything as a working mother. As for the medical system, my experience in the hospital was very traumatic for me and not one I'd like to relive. Follow up treatment has been problematic. I am addressing these struggles through my work in this upcoming exhibition.

DF: What meds are you currently on? Why did you decide to get off them?

MK: The medicines I'm dealing with are Klonopin, Wellbutrin, and Abilify. Medicines, as you know, can have serious side effects. I know that medication works for some, especially in short term acute treatment situations. But there is conflicting evidence on whether or not long-term treatment is actually beneficial, and I am concerned about the risk of side effects growing the longer I take them, so I don't want stay on meds indefinitely.

DF: I know you intend to make videos, photography, and sculptures. Will you also be doing things in person in the gallery?

MK: Yes, there will be videos, photography, and sculptures and also I am transforming the gallery, like I did with the birth, into a place where I feel comfortable and calm, this time to get mentally healthy and detox from psychiatric meds.
I will be resting, exercising, writing in my journal, meditating, and talking to family, friends, and gallery visitors that I welcome into my intimate space. What I want to show through my performance is an alternative to the hospital model (which, from my experience, was about staying in bed, being quiet, and being evaluated by doctors who were dispensing pills) - one that is more active, empowering and involves authentic communication.

DF: What are you hoping that the audience will learn?

MK: My performance is taking place in real-time it is real life. Hopefully the performance is helpful for others to see that it is possible to be involved in our own treatment, to remember that we are not a diagnosis, despite the prevalence of people prescribed drugs for mental health issues.

"Mad Meds" at Microscope Gallery [4 Charles Pl. at Myrtle Avenue in Bushwick, (347) 925-1433, www.microscopegallery.com]. July 18-August 25 at various times, to be announced. Opening July 18 at 6 pm. Free
Reach reporter Danielle Furfaro at dfurfaro@cnglocal.com or by calling (718) 260-2511. Follow her at twitter.com/DanielleFurfaro.

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4. Dustin Grella, FF Alumn, now online at inspire.adobe.com

Dustin Grella:
http://inspire.adobe.com/2014/6/18/slate_of_hand.html?scid=social27602216

Slate of Hand
By Stefan Gruenwedel

Dustin Grella is a stop-motion animator who knows something about getting his hands dirty - not from dirt, but from dusty chalk, which he uses to draw colorful, dreamy scenes on large chalkboards rescued from century-old schoolhouses. Inspiration comes from the spoken words recorded by strangers, friends, and himself.
His arduous artistic process destroys as much as it creates. After quickly drawing a scene on a chalkboard with multiple sticks of chalk (technically pastels), he photographs the scene and then erases it, or a portion thereof, so he can draw the next iteration of the animated sequence, photograph the chalkboard again, and then erase some more before drawing the next moment in time. After doing this a dozen times, he's taken enough photos to last one second of video.
The impermanence of Dustin's individual chalk drawings is not an accident; he's well schooled in life's impermanence. He almost died in a freak accident that left him partially paralyzed, and his younger brother was killed in Iraq. An epiphany during a six-month road trip to the Panama Canal gave him the direction and confidence he needed to embark on his artistic career.
He debuted in 2009 with "Prayers for Peace," a short narrative that explores the memory of his brother in Iraq. Created primarily with his parents in mind, it won numerous awards at film festivals and continues to haunt viewers today. In early 2014, Dustin animated answering-machine messages left on special phones as part of a site-specific art project at the Sundance Film Festival.
When he's not attending film festivals, Dustin works in a light-filled studio in the South Bronx area of New York. That's where I reached him.
Art as meditation
Gruenwedel: Were you an avid drawer early on?
Grella: As a kid, I would draw these huge war scenes with my friends. They started out small, just the size of one piece of paper. Then we taped the pieces of paper together to create huge scrolls.
But I didn't really understand the joy of drawing until I was 30. I was drawing one day and, before I realized it, the whole afternoon had passed. I began to see drawing as a place you could go - almost like a meditation.
I didn't chase a creative career until I was in my mid-30s. The first time I defined myself as an artist, I was 35. I was crossing the border into Guatemala when a border-crossing guard stopped me to ask what my occupation was. I said, "I'm an artist." I remember it so vividly because I was almost afraid to say it. I was waiting to see what his response would be. Was he going to tell me, "No, you're not!" or something like that?
Gruenwedel: What gave you the confidence to say that you were an artist?
Grella: It was right after my brother was killed in Iraq in 2004. I'm sure it had much to do with his death. He died at 21. I realized then that I needed to do exactly the things that I wanted to do. There's just not enough time to do anything else. I drove down to the Panama Canal on a six-month solo journey. Once I was in another environment, in Central America, I was able to reinvent myself.
Gruenwedel: And you've been working as an artist since then?
Grella: Yes.

An organic medium
Gruenwedel: You create animations with pastels, an impermanent medium. What steered you toward this approach?
Grella: I was studying 3D animation at school and I wanted to understand the rendering process. We were working with [Autodesk] Maya and we'd set up keyframe A and keyframe B. Then you'd hit "Render" and go home. The next day, you'd come back to check it and see what you got. My animation projects started as tests because I really wanted to understand the rendering process.
Then I saw a Radiohead video that was a simple chalk drawing. I thought I should try drawing with chalk to study the render process. I really liked the organic look and feel of the chalk. It was a two-second stop motion, just 30 frames long, shot at 12 frames a second.
Gruenwedel: What about the color in the animations? Do you draw with different colors of pastels or colorize in post-production?
Grella: The colors are from the pastels I use when I draw the images on slate. I only do color correction in [Adobe] Premiere Pro.
In the very beginning, I tried to use chalkboard paint, but it leaves a big smear. It doesn't create a clean line and there's no color for just a standard shot. So I use pastels to draw on the slate. With pastels, I can create very brilliant colors and I can blend them to add just about any color I need.
Personal project
Gruenwedel: Your "Prayers for Peace" animation is amazingly cinematic. The tilting perspective and the way things move remind me of classic filmmaking - the kinds of compositions you see in black-and-white movies. They emphasize form and structure over color or action. How did that evolve in your work?
Grella: Up until that project, I was making abstract animations, no narratives. In the "Prayers for Peace" project, I had a story to tell. And the audience that I had in mind as I created it was my mother and father.
I wanted to make the film relatable for them. I realized that sometimes chalk drawings are difficult for people to digest. So I made the first couple of shots very slow and drew them as realistically as possible to help them get into it.
Phoning it in
Gruenwedel: You've been working on the "Animation Hotline" series for a couple of years. What inspired you to start the project?
Grella: I had just finished the seven-and-a-half-minute "Prayers for Peace" and thought, "I have to do a bigger film next time." But feeling pressured to make something bigger and better brought a lot of fear into my creative process. So I decided to make short animations - very short, like a 15-second or 30-second short.
I knew that most of my days are relatively boring. So I thought, "What if there was a way that I could harvest one short story from everyone?"
I had a phone line I wasn't using and there was an answering machine attached to it. I posted the number, asking people to please call it and leave me messages, so I can make animations based on their audio clips. By now I've created about 150 shorts.
Gruenwedel: How many drawings do you make for a typical storyboard?
Grella: I typically create about six images for a 30-second piece. They're all different. It depends on whether I need to translate the story to someone. If the story requires displaying a lot of images in rapid succession, then I'll draw more.
My theory is that if the story is compelling, if the story is good, then people are going to watch it. The most important part for me is the narrative. The visuals I'm creating are just the icing on the cake; my drawings just push the story along. And sometimes it's very simple, especially if the storytelling stands alone.
Gruenwedel: After you create your storyboard sketches, do you start drawing from the first frame, sequentially, until you're done?
Grella: Usually I draw from beginning to end, especially if the animation includes shots where I'm actually drawing the transition. When I created the clip in the "Ode to Bike Sharing" animation, I drew the keycard that Citibank likes to use. On top of that I drew a scene from a park in France. So really there is this one image of the keycard, but while people are watching, they are seeing the transition between the two images.
So, for those kinds of shots I have to draw them sequentially. And it can be tricky. I don't really time it out as much as maybe I should. I just get in there and start drawing from one shot to the other.
That's where the Rate Stretch tool in Premiere has been really effective. I can just start drawing and capturing frames. And the clip can come out 10 frames per second or it can come out 30 frames per second of transition. I'll just stretch it to the necessary length.

Gruenwedel: In that animation, the bike is in the middle and the wheels are turning - and as they turn, images are going behind it. Is that something you did in post?
Grella: Yes. That was done in [Adobe] After Effects. I drew all the pieces on the chalkboard first, captured them, and then moved the project into After Effects.
Gruenwedel: It's amazing to see the guy doing backflips. It's so clean. I'm trying to understand how you can draw this animation frame by frame, erasing it and then drawing it again. When you draw cell animations, you can use the other pages as a reference.
Grella: Eadweard Muybridge took thousands of photographs in sequence. To draw that guy doing that backflip, I used 12 of Muybridge's photographs as a reference to draw the frames of that shot. I use a lot of Muybridge's images; they're public domain.
Sometimes I draw freehand but other times I project the reference image onto the slate and trace it, then turn off the projector and take a photograph. For the guy doing the backflip, I traced each of the 12 images.
Gruenwedel: Then when the bike key is superimposed over him, did you create that superimposition by drawing a different clip and combining the two clips in post?
Grella: Yes, that one is superimposed. The background drawing is the locks from the bike, and the drawing of the guy is on top of that, in a separate layer. Then he jumps off the end and the rest is drawn freehand. I created the lock transition by erasing parts of the slate. I just erased the whole board.
Gruenwedel: On average, how long does it take you to animate a 30-second video?
Grella: In the studio, I can complete 15 seconds of an "Animation Hotline" style in a day. If I'm creating a project using the "Prayers for Peace" style, I can do about six seconds a day.
New life for old tech
Gruenwedel: Is the "Animation Hotline" project sponsored?
Grella: I still do most of them just as a personal project. Sometimes somebody will pay for them. HP sponsored 10 at the Sundance Film Festival in January 2014. They were amazing to work with because they gave me free rein. Since we were at Sundance, I thought we might as well create animations about stories we gathered there.
Gruenwedel: What types of things did the team do for that project?
Grella: We built hotspot boxes for the "Animation Hotline" project. They were old televisions with retro telephones mounted on top.

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Life's turning points
Gruenwedel: What sequence of events led to where you are today?
Grella: In 1995, I was 24 years old and at a Grateful Dead concert. A roof I was standing under collapsed and fractured my C7 vertebra. I am a C7 quadriplegic. I have full use of my right hand. I can still use the fingers on my left hand to type, but it's not as nimble.
My brother was killed in 2004. That was the next major event.
I drove down to the Panama Canal in 2005. I was coping with my brother dying while I was traveling on that trip. I spent a great deal of time driving through 11 countries for six months - just driving and thinking.
Before that trip, I was doing things - going to school and taking computer studies - but I wasn't drawn to anything in particular. When I returned from that trip, I knew exactly what I wanted to do. After I graduated in 2007, I got my master's degree two years later and then it was like boom-boom-boom: I started working as an animator.
Gruenwedel: Do you think your accident affected the subject matter of your art, or is it irrelevant?
Grella: It's impossible for it to be irrelevant because I have to navigate those issues every day. When you said you wanted to ask some questions about me being in a wheelchair, I was a bit hesitant at first. Obviously when people see me, they see me sitting in a wheelchair, but a lot of times I'll forget that that's part of who I am.
Take Chuck Close, for instance. He is a painter and you see his work exhibited all over the world. He has all kinds of shows going on in many galleries. However, I didn't know he was in a wheelchair until just a couple of years ago. I heard that his style changed at some point in time in his career. However, I didn't know that it changed because of the wheelchair, because of his disability.
I thought, "Wow, that's really something. I want to live up to that. He's on a level playing field with other artists and not known for being a disabled artist."
Learning from mistakes
Gruenwedel: Any tips for people who are interested in doing animation?
Grella: Animators need an opportunity to explore and make mistakes. It is really important. That's the first thing I suggest.
A lot of my original work was just about trying new things. I'd make mistakes, try another thing, make more mistakes, and then ask people for advice. I definitely didn't develop my technique in a vacuum. I asked a thousand people a million questions.
Another thing is to actually do it. Physically get in there and put the pen to the paper, or put the pencil to the paper, or the chalk to the chalkboard. Get your fingers on the keyboard of a computer - whatever your medium of choice.
Do not let distractions or fear divert you from doing it. For me, there was a lot of fear in the beginning when I started creating animations. I would come up with a million excuses to not do something. I think the key is to just roll up your sleeves, get in there, and start doing it.
CREDITS

Author Stefan Gruenwedel
Video Dustin Grella
Layout Carlos Ramos
PUBLISHED
June 18, 2014

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5. Barbara Hammer, FF Alumn, at Austrian Cultural Forum, Manhattan, July 23

Jane Brakhage, 1975, 10 minutes will screen in a free program titled
Mirror Me: Experimental Selfies
July 23 @ 7:30 pm at the

Austrian Cultural Forum
11 East 52nd Street
New York, NY 10022

http://www.acfny.org/event/mirror-me-experimental-selfies-1/

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6. Mona Hatoum, Liz Magic Laser, Pauline Oliveros, FF Alumns, at Nam June Paik Art Center, Gyeonggi-do, Korea, thru Nov. 16

Good Morning Mr. Orwell 2014
17 July-16 November 2014

Opening: July 17, 5pm

Opening performance:
Exonemo, DesktopBAM
Taiyun Kim& Ji Hyun Yoon, Hello, World!
Pauline Oliveros, Rock Piece, King Kong Sing Along Simultaneously

Nam June Paik Art Center
10 Paiknamjune-ro Giheung-gu
Yongin-si Gyeonggi-do
446-905 Korea

press@njpartcenter.kr

www.njpartcenter.kr

Nam June Paik Art Center is pleased to present a special exhibition, Good Morning Mr. Orwell 2014, in celebration of the 30th anniversary of Nam June Paik's monumental satellite project of the same title.

In 1949, George Orwell published the dystopian novel 1984, depicting a dark future in which surveillance and control by tele-communication become a routine, and made a pessimistic prediction that humans will be controlled by mass media in 1984.

As a refutation of Orwell's prediction, Nam June Paik said, "He was half-right" and directed the satellite TV show Good Morning, Mr. Orwell to show the positive utilization of mass media by means of art. On January 1, 1984, Paik linked New York and Paris live via satellite in collaboration with around 30 teams, 100 artists and four broadcasters and aired music, fine arts, performance, fashion show and comedy that cross the borderline between popular and avant-garde art in real time. Above all, these various genres of arts were edited and displayed on one TV screen. This show was broadcast live in New York, Paris, Berlin, LA, Seoul, etc. and is estimated to have been watched by over 25 million TV viewers. The pictures of Lorenzo Bianda, who was an official photographer of the New York studio of Good Morning Mr. Orwell, give witness to this encounter of the century.

Now, the year 2014, is the time to look into the eyes of ourselves seeing this positive festival in commemoration of the 30th anniversary of Good Morning, Mr. Orwell. Today's global networking system using the internet beyond satellite makes both stronger controls and broadened freedom possible. This exhibition aims to ask about the possibility of making a new node and link to change this network as well as to pose a question of control/freedom that becomes more complicated and secret day by day.

In this perspective, this exhibition offers a selective overview of the works of present-day media artists, who make their position remarkable regarding tele-communication and network system. First of all, the artists deal with the network of surveillance and control, which George Orwell predicted as a character of dystopian future. Among others are Sompot Chidgasornpongse's Disease and a Hundred Year Period, and Okin Collective's Seoul Decadence, Mona Hatoum's So Much I Want to Say that call into question the freedom of expression. Lee Boorok and Finger Pointing worker are accusing the institutionalized tragic such as war and nuclear power. The videos of Paul Garrin, one of the Paik's staunchest colleagues, mark the beginning of so-called "viral video," recording the irrationality of the society.

But it is remarkable that most of the artists are trying to face up to the reality as squarely as possible, by seeing through the ambivalence of telecommunication and networking. William Kentridge and Sanhee Song reveal a so called "heterotopian" perspective in the Foucaldian sense and Exonemo's Supernatural brings into museum space a split presence as it is. Liz Magic Laser and Bjørn Melhus are accentuating the characteristics of mass media. A new possibility to use the CCTV Camera in a very artistic way can appear in Jill Magid's Evidence Locker and Harun Farocki's Counter-Music .

Opening performances will take place featuring Exonemo, Japanese media duo and Pauline Oliveros, post-Cagean sound artist. And these performances will be integrated in the so-called "meta-data performance by Taiyun Kim& Ji Hyun Yoon, Hello, World!

Artists
Lorenzo Bianda, Sompot Chidgasornpongse, Exonemo, Harun Farocki, Finger Pointing Worker, Paul Garrin, Mona Hatoum, William Kentridge, Taiyun Kim& Ji Hyun Yoon, Lee Boorok, Liz Magic Laser, Jill Magid, Bjørn Melhus, Okin Collective, Nam June Paik, Remove Architecture, Sanghee Song

For the latest information, follow NJP Art Center on Twitter and like NJP Art Center on Facebook.

Curated by Sohyun Ahn and Suyoung Lee

For press enquiries, contact: press@njpartcenter.kr / T +82 31 201 8559 / F +82 31 201 8530

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7. Stanya Kahn, FF Alumn, at Electronic Arts Intermix, Manhattan, July 30

STANYA KAHN

Screening and Artist Talk
EAI is pleased to present a screening and conversation with Stanya Kahn, whose video works draw on the artist's interdisciplinary approach to performance, filmmaking, writing and sound design. A selection of Kahn's videos, including It's Cool, I'm Good (2010, 35:27 min), Arms Are Overrated (2012, 11:36 min), For the Birds (2013, 4:38 min), and a trailer for her new feature, Don't Go Back to Sleep (2014, 4:14 min), will be followed by a conversation between Kahn and critic and curator Ed Halter.

Wednesday, July 30, 2014
6:30 pm

Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th floor
New York, NY 10011
www.eai.org

Admission $ 7.00 / Students $ 5.00

Free for EAI Members:
www.eai.org/eai/membership.htm

RSVP: rsvp@eai.org

Stanya Kahn's solo and collaborative work mines the psychological landscape of America-particularly Los Angeles, where Kahn is based-as a distillation of the absurd and violent events that have ushered in the new millennium, seemingly already rushing towards an apocalyptic finale. With a comedian and poet's keen eye for observational detail, Kahn creates an uncanny vision of contemporary life that is at once comical and starkly poignant.

Kahn co-created a defining body of video during this century's aughts with artist Harry Dodge, many of which featured Kahn as the human equivalent of a malapropism: a woman in high-heels whacking weeds, a shifty character in a Viking helmet loitering in parking lots. These figures and their peculiar situations collided the influence of Samuel Beckett and avant-garde theater with the provocative caricatures of Richard Pryor and Lily Tomlin, and highlighted Dodge and Kahn's depiction of the California landscape as emblematic of a distressed society.

This theme is extended in Kahn's It's Cool, I'm Good, in which she appears as a mysteriously bandaged and ambiguous figure hobbling around the Salton Sea and Los Angeles on crutches. Economic collapse, urban tension and ecological demise are real and metaphorical contexts for the pressurized state of personal trauma, which is in this case represented symbolically by full-body injuries from a mysterious cause. Arms Are Overrated-which stars two wads of paper in typical LA scenarios, including the aftermath of a bloody car wreck-and the animation For the Birds are more abstract, but both complement the sardonic wit and existential yearning conveyed in It's Cool.

Most recently, Kahn completed Don't Go Back to Sleep (2014), a feature film project set in freshly built suburban developments in Kansas City, Missouri. In an essay commissioned by Grand Arts to accompany the presentation of the film, Ed Halter writes of the indelible atmosphere conjured by Kahn's visual and audio lexicon.

Stanya Kahn is an interdisciplinary media artist living and working in Los Angeles. She received a Bachelors degree in Interdisciplinary Social Science from San Francisco State University in 1992 and a Master of Fine Arts degree from Bard College in 2003. Kahn has received multiple awards including the Franklin Furnace Fund for Performance Art Grant in 2001; the Durfee Artist's Resource Grant in 2006, 2008, and 2009; a Guggenheim Fellowship in 2012; and was a 2014 Artadia Grant Awardee. Her solo performance works have toured nationally and internationally, and she was a founding member of the performance group/band CORE. Kahn's writings appear in journals and anthologies including Nothing Moments and Userlands, Soft Targets Journal of Art and Theory, LTTR and Movement Research. She teaches as adjunct faculty at UCLA, Cal Arts, UCSD, and has taught in the MFA programs at USC and UCLA.

Kahn's recent work Don't Go Back to Sleep premiered at her solo exhibition at Susanne Vielmetter in Los Angeles and was also shown at her solo exhibition at Grand Arts in Kansas City in 2014. Kahn's work has been shown in numerous other venues, including the 2008 Whitney Biennial; 2010 California Biennial at the Orange County Museum of Art; The Museum of Modern Art, New York; The New Museum, New York; Museum of Contemporary Art, Los Angeles; the Getty Center, Los Angeles; Hammer Museum, Los Angeles; Sundance Film Festival; Center for Art and Media, Karlsrühe; P.S.1 Center for Contemporary Art, New York; Contemporary Center for Art, Vilnius, Lithuania; MIT, Cambridge; ICA, Philadelphia; Kunstalle, Bonn, GDR; Brooklyn Museum, New York; The Hayward Gallery, London; and Elizabeth Dee Gallery, New York, among many others.

Ed Halter is a critic and curator living in New York City. He is a founder and director of Light Industry, a venue for film and electronic art in Brooklyn, New York, and his writing has appeared in Artforum, The Believer, Bookforum, Cinema Scope, frieze, Little Joe, Mousse, Rhizome, Triple Canopy, the Village Voice and elsewhere. He is a 2009 recipient of the Creative Capital | Warhol Foundation Arts Writers Grant, and his book From Sun Tzu to Xbox: War and Video Games was published in 2006. From 1995 to 2005, he programmed and oversaw the New York Underground Film Festival, and he has curated screenings and exhibitions at Artists Space, BAM, the Flaherty Film Seminar, the ICA, London, the Museum of Modern Art, the New Museum, PARTICIPANT INC., and Tate Modern, as well as the cinema for Greater New York 2010 at MoMA PS1 and the film and video program for the 2012 Whitney Biennial. He teaches in the Film and Electronic Arts department at Bard College, and is currently writing a critical history of contemporary experimental cinema in America.

About EAI
Founded in 1971, Electronic Arts Intermix (EAI) is one of the world's leading nonprofit resources for video art. A pioneering advocate for media art and artists, EAI fosters the creation, exhibition, distribution, and preservation of video art and digital art. EAI's core program is the distribution and preservation of a major collection of over 3,500 new and historical media works by artists. EAI's activities include viewing access, educational services, extensive online resources, and public programs such as artists' talks, exhibitions and panels. The Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and also features extensive materials on exhibiting, collecting and preserving media art: www.eai.org

For more information, and to become a member, please visit: https://www.eai.org/eai/members.htm
Electronic Arts Intermix
535 West 22nd Street, 5th Floor
New York, NY 10011
t (212) 337-0680
f (212) 337-0679
info@eai.org
EAI on Facebook
EAI on Twitter

EAI's Public Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and are also 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.

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8. Vernita N'Cognita, FF Alumn, at Cannon's Walk, Manhattan, thru mid-August

Vernita N'Cognita
presents
"Security/Insecurity"
Exhibition & Performance
July 19-mid-August, 2014
exhibition opening Saturday July 19 6-8
with
performance @8PM
by
Sean Carolan & Vernita N'Cognita
Cannon's Walk (206 Front St)
2/3 to Fulton St @the South St. Seaport

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9. Alina & Jeff Bliumis, FF Alumns, at Denny Gallery, Manhattan, opening July 24

Alina & Jeff Bliumis: Thank You Paintings Exchange at Denny Gallery from July 24 to September 7, 2014
Opening Reception on Thursday, July 24, from 6 to 8 p.m.

Alina & Jeff Bliumis will present Thank You Paintings Exchange at Denny Gallery from July 24 to September 7, 2014.

Thank You Paintings Exchange initiates a series of material, social, gestural, intellectual and monetary exchanges between artist and collector, with the commercial art gallery as site and passive participant. The fifteen paintings on view depict scenes of everyday life: a woman sitting on a deserted beach, children playing, cars parked in front of a suburban home, etc. Each painting has the text, "Thank You For Your..." painted on it, completed with words such as "Email," "Poem," "Kiss," "Prayers," "Dance," "Pants," "Thoughts." Sometimes a viewer might detect a relationship between the text and the subject of the painting, but there is no deliberate, direct relationship. The painting points toward the value of the painting as an artwork, while the text points toward the exchange the artists propose to initiate with the collector.

In order to acquire a painting, the collector must participate in the exchange the artists have proposed, giving the artists the object, gesture, concept, etc. for which the painting "thanks" them, in addition to making a flat $1,000 financial transaction. The interaction between artist and buyer must be in some way documented, whether that document is the object that is exchanged ("Thank You For Your Pants") or a photograph of the exchange ("Thank You For Your Hug"), or a written text ("Thank You For Your Thoughts"). The original documentation of the exchange will immediately replace the purchased painting on the wall and a copy of it will be stapled to the back of the painting. The actions and objects requested by the artists may be creatively interpreted by the collector. For example: to exchange for the "Thank You For Your Poem" painting, the collector might give a poem they have written or their favorite poem, it might be hand-written, emailed, or on the page of a book.

Alina & Jeff Bliumis use artistic initiatives to start public dialogues about the politics of community, cultural displacement, migration and national identity. Their projects often progress in a range of forms - a community survey turns into an artist book, then into a performance, then public art, then a participatory event, then an installation. By using socially engaged projects embedded in the real world - performance, photography, sculpture, installation, participatory events and social experiments - they are building an inclusive spirit and a collective imagination. Their core concern is to set spaces of "co-active being" and "co-active thinking." All participants in the works are equal co-creators, and they consider a project complete when it comes full circle by reporting back to the community where the project was initiated.

Jeff Bliumis (born Kishinev, Moldova) and Alina Bliumis (born Minsk, Belarus) live in New York City and have been collaborating since 2000. Jeff received his BA from Columbia University, New York in 1981. Alina received her BFA from the School of Visual Art, New York in 1999 and a diploma from the Advanced Course in Visual Arts in Fondazione Antonio Ratti, Como, Italy in 2005, with visiting professor Alfredo Jaar. They have exhibited at the first, second and third Moscow Biennales of Contemporary Art (Moscow, Russia), Busan Biennale 2006 (Busan, South Korea), Centre d'art Contemporain (Meymac, France), Museum of Contemporary Art, Cleveland (Cleveland, USA), Bat-Yam Museum (Bat-Yam, Israel), the Jewish Museum (New York, USA) the Victoria and Albert Museum (London, UK). They have been the recipents of a number of grants, fellowships and residencies, including the Franklin Furnace Fund, New York (2010-2011); Six Points Fellowship, New York (Alina Bliumis 2007-2009); Trust for Mutual Understanding, New York (2005/2006/2009); Black and White Project Space Residency, Brooklyn, NY (2009); Art in Public Spaces Grant, Lower Manhattan Cultural Council, New York (2008); Strategic Opportunity Stipend, New York Foundation for the Arts, New York (2008); Puffin Foundations Grant, New York (2008) and Quartier 21 Residency, Museums Quartier, Vienna, Austria (2005). Their work resides in various private and public collections, including the Moscow Museum of Modern Art (Russia), Bat-Yam Museum (Israel), the Saatchi Collection (UK), the Harvard Business School (USA), the Museum of Immigration History, Paris (France) and the Victoria and Albert Museum, London (UK).

The artists will be present for in-person exchanges on Thursdays from 4 to 8 p.m. during the run of the exhibition, and September 6 - 7 from 12 to 6 p.m.

Please join us for an opening reception on Thursday, July 24, from 6 to 8 p.m. SUMMER HOURS are Tuesday, Wednesday and Friday, 12. to 6 p.m., Thursday 12 to 8 p.m. (when the artists will be present), and other days by appointment. The gallery will be closed for a summer recess from August 9 to 18. Denny Gallery is located at 261 Broome Street in New York City. For further information, contact Elizabeth Denny at 212-226-6537 or by email atelizabeth@dennygallery.com.

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10. Magie Dominic, FF Alumn, interview by Open Book Ontario, now online

Open Book: Ontario
Toronto, Canada
July 17, 2014
On Writing, with Magie Dominic
http://ow.ly/zhxXJ

Magie Dominic is a Newfoundland writer and artist living in New York. Her poems and essays have appeared in numerous publications and her art has been exhibited in Toronto and New York. Magie's first memoir, The Queen of Peace Room, was shortlisted for the Canadian Women's Studies Award, ForeWord magazine's Book of the Year Award and the Judy Grahn Award. Her latest memoir Street Angel (Wilfrid Laurier University Press) will be published on July 24.

Magie speaks with Open Book about returning to her early days in Newfoundland, the importance of speaking your story and riding in a VW bus with Allen Ginsberg.

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11. Jennifer Miller, Julie Atlas Muz, Carmelita Tropicana, FF Alumns, at Coney Island USA, Brooklyn, Aug. 8

dr. lucky's surrealist burlesque presents Flaming Creatures, Coney Island USA, burlesque at the beach, with Jennifer Miller, Julie Atlas Muz, Carmelita Tropicana, FF Alumns, and others, August 8, 2014, 10 pm,
coneyislandusa.com
doctorofburlesque.com

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Goings On is compiled weekly by Harley Spiller