2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Contents for January 25, 2016

1. Iris Rose, James Siena, David Cale, Joseph Keckler, FF Alumns, at Dixon Place, Manhattan, April 1


The seven original members of Watchface, which existed from 1983 to 1991, are reuniting for the first and only time to celebrate the 30th Anniversary of Dixon Place and the launch of the Watchface Archives website. Their connection extends back to 1986, when Dixon Place first began presenting performance art. The show celebrating this milestone will include performances from all Watchface members, representing many of the 40 shows created during their years together. Guest artists will also perform Watchface material.

Watchface was:
Chazz Dean
Kurt Fulton
Kim X Knowlton
Melanie Monios
Iris Rose
James Siena
Maggie Siena Guest artists:
David Cale
Nancy Howell
Joseph Keckler
Carol Lipnik
Yael Nachajon Dance Company
Helen Russell

The event benefits both Dixon Place, an artistic incubator and nonprofit institution supporting the creative process by presenting original works by over 1,000 artists a year, and the creation of the Watchface Archives website.

You can visit the Watchface page on the Dixon Place website for more info:



2. Angel Nevarez, Valerie Tevere, FF Alumns, at ICA Philadelphia, Feb. 3-Mar. 27

Happy New Year!

Valerie and I are excited to share the news of our upcoming survey exhibition at ICA-Philadelphia. The show will highlight a number of projects from 2008 to the present, including our Manifesta 8 commission What we might have heard in the future. and our newest film Memory of a Time Twice Lived.

It would be wonderful if you can make it to the show which runs from Feb 3-March 27, 2016. Please help spread the word.

warm regards,




3. Alison O'Daniel, Andrea Zittel, Julie Tolentino, FF Alumnsm at Paramount Ranch, Agoura Hills, CA, Jan. 30-31

Gem/Mineral Expo & Painted Rock Auction

January 30-31 at Paramount Ranch

It's time for High Desert Test Sites' annual HDTS Gem/Mineral Expo and Painted Rock Auction! Inspired by the gem and mineral mecca, Quartzsite, Arizona, the HDTS Gem/Mineral Expo features our own vast array of gems, minerals, and crystals for sale at every price range, from $1 to $100.

Concurrent with the expo is the Painted Rock Auction-a silent auction of artist-painted rocks, inspired by Scott and Tyson Reeder's project, General Store Rocks (originally featured in Amy and Wendy Yao's Art Swap Meet at HDTS 2004). Bid on original "painted rocks" by some of our favorite artists and collaborators, and support HDTS. All proceeds from this two-part event go towards HDTS programing and operating expenses.

The event will take place at:
Paramount Ranch-2903 Cornell Road, Agoura Hills, CA 91301
$10 admission (cash only), free for students
January 30-31, 2016, 11 am-5 pm

Participating artists include:
Adam Marnie
Adam Silverman
Adrienne Adar
AL Steiner
Alice Konitz
Aline Cautis
Alison O'Daniel
Allan McCollum
Amy Yao
Andrea Zittel
Ben Hagari
Bettina Hubby
Bob Dorberger
Brigid McCaferty
Chiara Giovando
Corrina Peipon
Ektor Garcia
Emily Mast
Gabby Strong
Halsey Clark Rodman
Jay Lizo and Frauke
Jedediah Caesar
Jesse Sugarman
Jim Drain
Jonah King
Julie Tolentino
Karen Lofgren
Katie Bachler
Kelly Gazlay
Kim Zitzow
Kristen Van Deventer
Lauren Anderson
Lea Cetera
Lior Shvil
Lisa Schonberg
Maryrose Crook
Neil Doshi
Orr Herz
Pam Lins
Patrick Jackson
Patrick Walsh JP3
Piero Golea
Rebecca Gates
Samatha Roth
Serra Fels
Tara Jane O'Neil
Tatiana Vahan
Totally Blown
Vanesa Zendejas
Yoshua Okon



4. John Baldessari, Hans Haacke, Lorraine O'Grady, Ed Ruscha, Kiki Smith, Annie Sprinkle, Robin Tewes, Julie Tolentino, William Wegman, Lawrence Weiner, Martha Wilson, FF Alumns, at Sikkema Jenkins & Co., Manhattan, Jan. 30



Hosted by SIKKEMA JENKINS & CO 530 W 22nd St.

Over 1500 original postcard-sized artworks by:
Kara Walker, Mark Bradford, Catherine Opie, Ed Ruscha, Katherine Bernhardt, John Baldessari, Wangechi Mutu, Arturo Herrera, Kay Rosen, John Waters, Kiki Smith, Lawrence Weiner, Polly Apfelbaum, Kerry James Marshall, Julie Mehretu, Tony Feher, Annie Sprinkle, Hans Haacke, Lorraine O'Grady, Nayland Blake, Marilyn Minter, Ryan McNamara, Martha Wilson, William Wegman and many MORE*

SATURDAY, JANUARY 30 from 10 AM - 6 PM
SUNDAY, JANUARY 31 from 12 PM - 4 PM
Whether you walk away with a piece created by a famous artist or discover someone new, everyone finds something they love at Postcards from the Edge. All postcard artwork only $85 each. Artworks displayed anonymously. Artist's name revealed after purchase. First-come, first-served. $5 suggested admission.

All events hosted at
Sikkema Jenkins & Co.
530 W 22nd Street, NYC



5. Tim Burns, FF Alumn, at Anthology Film Archives, Manhattan, Feb. 5-6


Tim Burns is a legendary figure in the history of Australian underground art. He rose to notoriety in the early 1970s with a series of (literally) explosive art actions, before decamping to New York, where he lived until the mid-1990s. Tim Burns was a pioneer in the Super 8 New Wave in New York, and was deeply involved with the film and theater community downtown at that time. Working in various media - film, video, theater, installation, painting, books - over the last forty years, Burns sets up situations that critically reflect on our hypermediated, industrialized western society. Burns is currently based in Western
Australia, near the town of York, and we're thrilled to welcome him back to NYC for these rare screenings.
Presented with generous support from the National Film and Sound Archive of Australia, and the Department of Culture
and the Arts, Western Australian Government

WHY CARS? - CARnage!
1979, 60 min, Super 8mm-to-digital
"With a calculated indifference to craft, Burns celebrates
himself in a portrait of the artist as a post-conceptual
composite of Alfred Jarry and Ralph Nader. WHY CARS?
details Burns' strenuously bizarre campaign to establish
pedestrian crosswalks in his Australian hometown, then
follows the extension of his work across the globe to
TriBeCa." -J. Hoberman, VILLAGE VOICE
• Fri, Feb 5 at 7:30.

1978, 60 min, Super 8mm-to-digital
"Conceived as a Brechtian vision of the Left's role in
world affairs, particularly the fascist overthrow and
1973 assassination of Allende in Chile." -Tony Reck,
1981, 25 min, Super 8mm-to-digital
A documentary drama about heroin addicts in a Lower
East Side apartment, based on a play called "The Needle
Vestal" by beat writer Sinclair Beiles.
• Sat, Feb 6 at 6:00.
1980, 80 min, 16mm
"Achieves a potent immediacy - it's like a cross between
Newsreel's AMERICA 1969, Godard's NUMERO DEUX,
and B-movies' THE OFFENDERS." -J. Hoberman,

1991, 16.5 min, 16mm
"A funny, sad, exasperating and delightful film which
parodies cinema verite." -AUSTRALIAN FILM INSTITUTE
• Sat, Feb 6 at 8:15.

Each month we showcase work by individuals operating at the vanguard of non-commercial cinema, moving-image artists who are



6. Alicia Grullon, FF Alumn, at SVA, Manhattan, Jan. 28-29

Hello Friends and colleagues:

Quick news on upcoming events.

Next week at SVA, I will a part of an exciting panel and exhibition. First off:

Thursday, Jan 28th, 6:30-8:30PM at SVA MA Curatorial Practice I'm part of panel on "Articulating Artwashing, Gentrification, and Responsibility: What is the Place of the Curator?" with Alicia Grullon, Imani Henry, Duron Jackson, Manon Slone, and Dexter Wimberly moderated by Ikechukwu Onyewuenyi.

Friday, Jan 29th, 6-8 opening reception of "Crushing Debt" at SVA MA Curatorial Practice a show on the accelerating growth of student loan debt and its economic / emotional repercussions. For this, I collaborated with MA Art Therapy students in a new piece regarding my debt. Other great participating artists include: BFAMFAPHD, Nicky Enright, and Dennis Delgado curated by Jovana Venegas.

Hope to see you then. Stay tuned. More soon....
Alicia Grullon



7. RT Livingston, FF Alumn, at Montecito Aesthetic Institute, CA, opening Jan. 14


Artists: RT Livingston & Francine Kirsch

RT Livingston is a conceptual artist who in 2006 moved from New York to Santa Barbara where she continues making art that focuses on the environment. Paintings from her series "THE CiC:I drawing the line where the water meets the sky" and PETRIFIED TRUNKS are visual metaphors for clean water and air: LIFELINES to existence on Earth.

Francine Kirsch immigrated to the US in the 70's from Fance. After studying ceramics at SBCC, she ventured to Japan where for five years she immersed herself in the study of cermaics. The recurrent themes of her sculptures are inspired by the harmonious lines found in nature. She explores simple forms and sensual curves in her female torsos.

Exhibition Dates: January 14th, 2016- May 11th, 2016

Artist Reception: January 14th, 2016, 5:30pm - 7:30pm

Gallery Hours: Monday - Friday, 9am - 5pm (805)565-5700

Montecito| Aesthetic| Institute
1150 Coast Village Road, Suite H
Montecito, CA 93108

Susan Tibbles Curator/Director


Survival, in one way or another, is the overriding theme of my work. Everything I create: Installation, video, photography, music, sound, writing, ephemeral and site specific works, regardless of the medium used, comes from transposing an idea into a physical object guided by a painterly aesthetic. After several years away from painting, the magnificence of the west coast has inspired me to, once again, take brush in hand as a way of expressing my connection to the environment.

Paintings from the series THE CiC: I draw the line where the water meets the sky and PETRIFIED TRUNKS are visual metaphors for clean water and air. Water and air, as subject matter, have held me in their grips for decades. The ocean's moods-its mercurial nature, its iridescence, its evanescence, its calm, its power, its fury inspires me to paint the horizon over and over again. I paint what I see, therefore the title. The CiC: I draw the line where the water meets the sky, represented by the physical act of drawing a line across the horizon, also expresses my philosophical point of view. Clean air and water are lifelines to the survival of all life on Earth, our home planet. The word water, written cursively and barely visible, creates a wave pattern flowing beneath the surface of some paintings. As two-dimensional objects, the paintings are static, yet like the ocean, they shift with the light. The audience creates the sense of kinetic movement by simply walking past each painting. Ever since childhood I've been fascinated by trees. The PETRIFIED TRUNKS make clear our connection to all living beings. Their bark, limbs, foliage, crowns, are the template of our own bodies. Our relationship with them is symbiotic.
Trees take in carbon dioxide and exhale oxygen, allowing us to breathe freely.
The grisaille PETRIFIED TRUNKS form a link to the renaissance, when artists,
working two-dimensionally, used monotones to simulate three-dimensional
modeling and imitate sculpture. The TRUNKS also connect to ancient Greek
architecture where stone caryatids, columns sculpted as female figures, were
used to support the heavy roof beams above their heads.
The PETRIFIED TRUNKS bravely face an uncertain world. They keep the sky
from falling.
RT Livingston



8. Alison O'Daniel, FF Alumn, at Barkar Hanger, Santa Monica, CA, Jan. 28, and more


I am writing to invite you to a performance commissioned by JOAN this Thursday evening at the Art Los Angeles Contemporary Fair :


still from The Tuba Thieves, directed by Alison O'Daniel, cinematography by Meena Singh

For several years I've been working on a film called The Tuba Thieves that explores multiple relationships to sound and listening. The title of the film derives from a rash of tuba thefts that occurred for several years across the Los Angeles area. During the long process of constructing the film, I've become increasingly concerned and excited about issues surrounding expanding film-making to conscientiously be guided by collaboration, ethical filmmaking and ethical representation, shared power and authorship, the loosening of control around narrative and how stories are told - all of these ideas circulating back to the process of deeply listening and considering.

It's been an absolute pleasure to continue working with Manuel Castaneda, the band director and all of the unbelievably talented Centennial HS marching band students to build this performance. Come revel in their hard work, talent and brilliant minds.

The performance will begin at 7pm at the entrance of the Barkar Hanger in Santa Monica on Jan 28th.

Here is information: https://artlosangelesfair.com/news-202 and http://joanlosangeles.org/alison-odaniel/


I have some new work in SIREN, a 10 person group show at FiveCar Garage. The show consists of all sound-based work and is available to see by appointment only for quiet viewing. The show will run for two months and during ALAC there are a few viewing times:

TUES Jan 26th 11-1pm
Friday Jan 29th 11-1pm
Sat Jan 30th 5-7pm - with a performance by my friendJennifer Sullivan (RSVP necessary)

I hope you are well.

best wishes,



9. Jay Critchley, FF Alumn, at Florida Atlantic University, Boca Raton, opening Feb. 4

School of the Arts
University Galleries
777 Glades Road
Boca Raton, FL 33431
tel: 561.297.2966
fax: 561.297.2166

Polly Burks

FAU Presents Exhibition of Political Satirist and Activist Artist Jay Critchley

BOCA RATON, FL. Internationally renowned for his humorous
conceptual and performance artworks that address controversial social and political issues, artist Jay Critchley will be featured in a solo exhibition of his 30 year career, "Jay Critchley, Incorporated," in the University Galleries' Schmidt Center Gallery within the Dorothy F. Schmidt College of Arts and Letters at Florida Atlantic University, 777 Glades Road, Boca Raton campus. The exhibition will be on view from Friday, Feb. 5 to Saturday, April 2, 2016 and will include new, multimedia collaborations with FAU faculty and students as well as re-creations and documentation of Critchley's earlier works.

An opening reception will be in the Schmidt Center Gallery on Thursday, Feb. 4 at 6:30 p.m.

"Jay Critchley, Incorporated" culls together approximately 125 works including sculptures, installations, photographs, videos, posters and live performances by Critchley and his collaborators. Critchley uses ritual, wordplays and the mainstream media to address governmental power and corporate greed and their impact on areas such as the environment, health, sexuality and public discourse.

He often founds corporations to structure his work, using the very tactics used by marketing specialists: logos, trademarks, press releases, media conferences, newspaper ads, public appearances and billboards. The exhibition features these decades-long projects along with documentation of the vast media attention they have received. Critchley also endeavors to build community and works collaboratively with other artists and the public.

The exhibition will feature a series of collaborative, multidisciplinary installations
with FAU departments of music, visual arts and art history, and theater and dance. Outdoor works will be created especially for the exhibition.

"We are honored to present this exhibition at FAU, where the South Florida community will have the opportunity to view Jay Critchley's brilliant combination of art, activism and humor," said Rod Faulds, director of the University Galleries. "Critchley's collaborations with FAU faculty and students have inspired a shared sense of public engagement. In this election year, we hope that Critchley's works will help to ignite discussions about the sociopolitical issues of our time."

Exhibition highlights include:

- "Theatre in the Ground at Septic Space", Critchley's backyard septic tank theater that has presented, since 1997, classical and contemporary opera, drag, art installations, poetry, and performance. This exhibition was called "Provincetown's only true underground art scene" by the New York Times.

- FAU art students will recreate Septic Space and experimental sound collaborations with FAU Associate Professor of Music James E. Cunningham.

- "Old Glory Condom Corporation: Worn with Pride Countrywide", launched in 1989 to
promote safe sex and AIDS awareness, and includes sculptures, a press conference video and corporate "promotional materials" such as posters and campaign buttons.

- "Nuclear Recycling Consultants", launched in 1983 to repurpose abandoned nuclear power facilities. Among Critchley's numerous public proposals are Three Mile Island Historic Nuclear Park and Planned Community and luxury seaside radiation cottages with Meltdown Mall, BTU Bar and Half Life Jogging Track.

Critchley lives and works in Provincetown, Mass., where he has been involved in community building and activism for more than 30 years. He founded and directs the Provincetown Community Compact, an advocacy and philanthropic organization that supports the Provincetown arts community, and the annual event Swim for Life, now in its 29th year, which has raised $4 million for HIV/AIDS, women's health and the community.

Critchley's work has been exhibited and performed in museums, galleries, parking lots and beaches throughout the United States, Europe, Colombia, Argentina and Japan. He has received grants and awards from the Smithsonian-Cooper Hewitt Museum (NY), Massachusetts Cultural Council, Art Matters (NY), and artist residencies from Harvard University, Williams College (MA), Harvestworks Digital Media Arts Center (NY), Fundacion Valparaiso (Spain) and CAMAC (France), among others.

His work is found in the collection of the Museum of Modern Art (NY), among others.
His works have received extensive media coverage, including articles and reviews in
Newsweek, New York Times, The New Yorker, Village Voice, People, Playboy, Boston Globe, NPR, CNN and others.

"Jay Critchley, Incorporated" originated at the Provincetown Art Association and Museum in 2015. An illustrated catalogue with essays by curator Bailey Bob Bailey, Faulds, Christopher Busa and Tim Norris accompanies the exhibition. The University Galleries will offer an extensive series of programs in connection with the exhibition including a reading by Jay Critchley from his fictional memoir, "Uncle Jay," on Friday, Feb. 5, 7 p.m.; a lecture on activist art by a visiting art historian; and weekly readings from "Uncle Jay" by FAU Department of Theatre and Dance students.
For more information and a full schedule of events, call the University Galleries at 561-297-2661 or visit www.fau.edu/galleries



10. Nicolás Dumit Estévez, Lorraine O'Grady, FF Alumns, in new publication

Carnival and Performance Art of the Caribbean
Published by Independent Curators International and Contemporary Art Center, New Orleans
Edited by Claire Tancons, Krista Thompson. Foreword by Neil Barclay, Renaud Proch. Text by D. Eric Bookhardt, Petrina Dacres, Paul Goodwin, Shannon Jackson, Erica Moiah James, Nicholas Laughlin, Thomas J. Lax, Alanna Lockward, Kobena Mercer, Annie Paul, Claire Tancons, Krista Thompson, Yolande-Salomé Toumson.
EN MAS' is one of the first publications to give serious scholarly attention to contemporary art works considering carnival in the 21st century, filling a gap in two decades of exhibitions of contemporary Caribbean art that did not explicitly address carnival as an artistic practice. A hybrid exhibition catalogue and academic reader with a lively carnivalesque feel, it presents nine newly commissioned artist projects by John Beadle, Charles Campbell, Christophe Chassol, Nicolás Dumit Estévez, Marlon Griffith, Hew Locke, Ebony G. Patterson, Lorraine O'Grady and Cauleen Smith. The book also includes a timeline of diasporic pan-Caribbean carnivals, tracing the influence of Caribbean carnivals and festivals on the theater, dance, and Broadway stages in New York and London, in contemporary art galleries and biennials from São Paulo to Havana to Gwangju, at the Olympics as well as in protest and other movements.
Featured image is reproduced from EN MAS'.

To order, please email orders@artbook.com



11. Sol LeWitt, FF Alumn, at Cardi Gallery, Milan, Italy, opening Jan. 26

Sol LeWitt
January 27-April 15, 2016

Opening: Tuesday, January 26, 7pm

Cardi Gallery
Corso di Porta Nuova 38
20121 Milan
Hours: Monday-Friday 10am-7pm,
Saturday by appointment

T +39 02 45478189
F +39 02 45478120


Cardi gallery in Milan is pleased to present Sol LeWitt. On display is a selection of 13 works from the '60s to the 2000s.

Sol LeWitt (b.1928, Hartford, Connecticut; d. 2007, New York) is a leading figure of Minimalism and pioneer of conceptual art. Redefining art production by exploring ideas rather than conventional aesthetics, he distilled art to its essentials. Based on mental structures and concrete visual structures, his work was characterized by a constant spirit of inquiry, resulting in unquestionably and invariably original work. In his long artistic career, LeWitt managed to achieve a perfect balance between perceptual and conceptual quality, between the simplicity of geometric order and the search for beauty and intuitive creativity.

LeWitt was pivotal in the creation of the new radical aesthetic of the 1960s that was a revolutionary contradiction to the Abstract Expressionism current in the 1950s and '60s New York school. He overturned the conventional rules of artistic practice and of the material production of artworks, dismissing, with his conceptual approach, notions of non-repeatability and of the importance of manual ability, attributing absolute priority to the idea: "The work is the manifestation of an idea. It is an idea and not an object." In LeWitt's view, his work was not essentially a manual practice but was first and foremost a question of producing a pure, platonic idea, which could then be handed over to someone else for material execution, provided his instructions and the intentions of his idea were respected. In 1967, after taking part in the show at the Jewish Museum in New York, he wrote "Paragraphs on Conceptual Art." "If the artist carried through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product," stated LeWitt. "All intervening steps, scribbles, sketches, drawings, failed work models, studies thoughts, conversations, are of interest. Those that show the thought process of the artist are sometimes more interesting than the final product." (LeWitt, "Paragraphs on Conceptual Art," Artforum, Vol.5, no. 10, summer 1967, pp. 79-83). This "making an idea the work" has meant that the output of this magnificent American artist can now be found around the world-in leading museums, public buildings, private homes, foundations and even in remote universities.

The first part of the masters' artistic production was Minimalist and pivoted around the geometric figure of the cube: in order to be able to activate and utilize "form" as a "means," LeWitt elected to work with basic shapes, such as cubes (whether solid, open or skeletal) and lines, that might function as modules, elements that are at once independent and interdependent, a visual lexicon always subject to LeWitt's artistic syntax and grammar. By the same token, LeWitt's "concepts" were generally quite simple ("ludicrously simple," in LeWitt's own estimation), consisting, for instance, of simple numeric progressions or sequences of colour combinations. The visible, tangible, results, however, the delicate lattices, the muscular installations, the mind-boggling and genre-breaching series of permutations, were not simple at all, but rather beautifully complex and complexly beautiful, delights for both the intellect and the eye, often achieving what Smithson referred to as "intersections with infinity."

In 1968, LeWitt began to conceive sets of guidelines or simple diagrams for his two-dimensional works drawn directly on the wall, executed first in graphite, then in crayon, later in colored pencil and finally in chromatically rich washes of India ink, bright acrylic paint, and other materials. In the 1980s, in particular after a trip to Italy, LeWitt started using gouache, an opaque water-based paint, to produce free-flowing abstract works in contrasting colours. These represented a significant departure from the rest of his practice, as he created these works with his own hands. LeWitt's gouaches are often created in series based on a specific motif. The structural principle of LeWitt's artistic production is the ars combinatoria: cubes, circles, triangles, pyramids and lines, or, as in this case, rectangles and parallelograms are dismantled, reiterated and modulated according to standardized spatial proportions and combined in new ways. The artist reinvented the artistic process, playing on the variability and intermittency of the geometric structures that underpin Western notions of space.

With this show Cardi gallery confirms once again its interest for historical artists, national or international.

Press contact: Elena Bodecchi, elena@cardigallery.com



12. Cassils, FF Alumn, in Park City, UT, through Jan. 31

INEXTINGUISHABLE FIRE to Make U.S. Premiere at the
2016 Sundance Film Festival

The installation from Canadian, Los Angeles-based artist Cassils uses techniques borrowed from Hollywood stunts to speak to the violence of war

"Inextinguishable Fire put a match under our certainties and perceptions, making you confront what you might prefer to ignore." - The Guardian

Los Angeles - An installation of the film Inextinguishable Fire created by Cassils, will make its U.S. premiere at the 2016 Sundance Film Festival.

The piece will be displayed as part of the New Frontier program in Park City, UT from January 21-31 in Park City.

A recent live performance of the work at London's National Theatre as part of the SPILL Festival prompted rave reviews from The Guardian and a feature in the New York Times.

Inextinguishable Fire aims to make spectators engage with the media's often constructed images of violence and war. Witnessing it's impact in the form of a slow motion video displaying Cassils being set on fire, this performance for the camera features the artist engaged in a treacherous fire stunt. The final film makes the stunt's theatrics as visible as the ostensible risk.

Using techniques borrowed from Hollywood stunts, the 14-second live burn is extended to 14 minutes of slow motion flame, shot at 1000 frames per second. Slowing the burn down requires the viewer to spend time in a world reduced to fleeting headlines on our Twitter and Facebook feeds. The film plays on a continual loop referencing the cycles of political uprising and apathy, life and death, ignition and extinguishment. The title of the piece references Harun Farocki's eponymous 1969 film, which reflects on the impossibility of effectively representing the horror of napalm on film.
"When we show you pictures of napalm victims, you'll shut your eyes.
You'll close your eyes to the pictures.
Then you'll close them to the memory.
And then you'll close your eyes to the facts."
-Harun Farocki, 1969

Though the stunt is a simulation of violence, it still presents real danger. This possibly volatile situation is captured to create an image where immanent physical danger, empathy for those experiencing violence, and the privilege of distance from such circumstances operate simultaneously in one transparent performance.
The artist will be on hand the first weekend and available for interviews.
Previous films by Cassils include Hard Times, 2011-2013, Fast Twitch// Slow Twitch, 2011, Tiresias, 2010 and 10104 Angelo View Drive (At Home With the Toxic Titties), 2016 (all distributed by Ronald Feldman Fine Arts).
For more information about Inextinguishable Fire and Cassils, visit: http://heathercassils.com/portfolio/inextinguishablefire/

Media contact:
Kyle Stephan, Studio Manager for Cassils



13. Olivia Beens, Susan Newmark, FF Alumns, at Carter Burden Gallery, Manhattan, opening Feb. 4

Carter Burden Gallery

Olivia Beens: On the Wall

exhibiting with
Betty McGeehan, Susan Newmark and Sumayyah Samaha in Recent Work
Helen Iranyi in Paintings

Opening Reception
Thursday, February 4th, 2016, 6 - 8 p.m.

A program of the Carter Burden Center

Carter Burden Gallery presents three new exhibitions: On the Wall featuring Olivia Beens, Recent Work in the east gallery featuring Betty McGeehan, Susan Newmark and Sumayyah Samaha,Paintings in the west gallery featuringHelen Iranyi. The exhibition runs from February 4th through 25th.

Olivia Beens' large-scale installation will be featured in the gallery space On the Wall. The artist is presenting an installation comprised of a painted scroll with collaged photographs and text. Beens' painted the scroll on an Amtrak train traveling from New York to Arizona. The handwriting, text, and photographs link the artist to her mother's past. The work is an homage to the artist's mother.

Carter Burden Gallery
548 West 28th Street, #534
New York, NY 10001

Tuesday to Friday 11 AM to 5 PM, Saturday 11 AM to 6 PM




14. Irina Danilova & Hiram Levy, Nicolás Dumit Estévez, FF Alumns, at Temporary Storage Gallery, Brooklyn, opening Feb. 19

We are pleased to announce the 5th BRURAL exhibition that is opening February 19th in Bushwick. The BRURAL (Brooklyn+Ural) series examines two art worlds as they emerge and intersect in an increasingly shared artistic sensibility. Our previous BRURAL exhibition, after last winter's show in Brooklyn, completed a full year run with two exhibitions in Russia, one at the Nizhniy Tagil Art Museum, as part of the Ural Industrial Biennial of Contemporary Art and in Okno gallery in Chelyabinsk.

Hiram and Irina,
Project 59, Inc.

Project 59, Inc. is pleased to announce
BRURAL: CROSSROADS OF EQUALITY AND IRREGULARITY, the fifth exhibition in the BRURAL series of collaborations between artists and curators from New York and Ural Region in Russia.

February 19, 2016 - March 6, 2016,
Wednesday - Saturday, 1 - 7 pm
Opening: February 19, 7 -10 pm

Curator: ILYA SHIPILOVSKIKH Director of Art Gallery at Boris Yeltsin Center in Yekaterinburg


Starting from Aristotle, uniformity is considered the most fundamental property of time, but everybody goes different distances for common intervals, a day, month, year or life. The irregularity of our trajectories is in continual co-existence with constant properties. We all set different goals, we have different starting points. Is there is a chance for equality in the modern world with more than six billion people, thousands of large and small nations, more than a hundred countries, diversity of economic structures and forms of socio-political and cultural life. Time passes differently for different cultures: for Russians who came to the Urals to live among Zyrians, Komi, Khanty, Tatars and Bashkirs or for Europeans who sailed to America to settle among indigenous peoples and then were joined by many nations from all over the world. How do different ideas, cultures and worlds coexist in both areas? Does the irregular distribution of freedom among various groups create the irregular distribution of rights among people, social and legal inequality? This exhibition tries to make visible the key points of our differences and conditions for co-existence in different systems of coordinates: geographical parameters along with social and cultural environments.

Both Brooklyn and the Ural region have recently transformed from rundown stagnating places into hubs of contemporary art. To offer artists and curators from New York and the Urals an opportunity to present their works and expand cultural dialogue, Project59, Inc. founded the BRURAL (Brooklyn+Ural) series, which examines two art worlds and their relations.

Previous BRURAL exhibitions:
2012 BRURAL: Art/&/of/?/vs./or/Design, curated by Agata Iordan, It investigated, criticized and was inspired by the symbiosis of art and design, their boundaries and attitudes.
2013 BRURAL: peripheral vision, curated by Daria Kostina, The exhibition focused on the underground phenomena and artists with alternative paths.
2014 BRURAL: Shattering Phenomena, curated by Svetlana Shlyapnikova. It looked at the parallel natural devastating phenomena Superstorm Sandy and Chelyabinsk Meteorite through the eyes of artists who faced them in New York and Chelyabinsk.
2015 BRURAL: Skin of Liberty, Fractured and re-Structured, curated by Vladimir Seleznev. The exhibition investigated art in postindustrial environments and presented artist from Nizhny Tagil and New York.

The BRURAL series represents curators and artists from New York in collaboration with curators and artists from four Ural cities, Chelyabinsk, Yekaterinburg, Perm and Nizhny Tagil, located on an approximately 400 miles stretch on the Europe/Asia border, 1000 miles from Moscow and populated with descendants of native tribes, migrants from industrial revolution, wars and political exile.

The exhibition BRURAL: Crossroads of Equality and Irregularity is comprised of objects and installations, video art, documentary films, archival materials, drawings, graphics, and mixed media works. Curator Ilya Shipilovskikh and two artists from Perm will be present.



15. Brendan Fernandes, FF Alumn, newsletter

Dear Friends!
I hope the new year has begun on a productive note and that you are enjoying 2016 thus far. I began the year with much excitement, where last week I opened a solo show at the Agnes Etherington Art Centre at Queen's University. The show "Lost Bodies" is a collaboration with the Textile Museum of Canada where I am using artefacts from both institutions to question the missing dances and masquerades once performed by these objects. If in the area please try and see the show, I am most proud of and excited by it. As always, many thanks for your continued support, and until our paths cross again.
Sending my best always, Brendan



16. Simone Forti, Charlemagne Palestine, FF Alumns, at Vleeshal Markt, Middleburg, The Netherlands, Jan. 30-April 3

Simone Forti
Here It Comes
January 30-April 3, 2016

Simone Forti & Charlemagne Palestine, "Illuminations": April 2-3
Vleeshal Markt

Zusterstraat 7
4331 KG Middelburg
The Netherlands

Twitter / Facebook / Instagram

Curated by Roos Gortzak

From January 31 until April 3, Vleeshal presents a comprehensive solo exhibition by artist, choreographer, dancer and writer Simone Forti (1935, Italy) at both of its locations. Although Simone Forti has performed in the Netherlands in the 1980s, this is the first solo show of her seminal oeuvre here.

Simone Forti came to prominence in the 1960s, in a historical moment of rich dialogue between visual artists, musicians, poets and dancers. Despite being a key figure in the Minimal Art movement, she remains relatively unknown in the visual arts world. As Sabine Weingartner writes in a 2014 frieze review of Forti's large retrospective in Museum der Moderne, Salzburg: "Her exclusion from Minimalism's generally male canon was reinforced by dance's longstanding reputation as an uncritical, 'feminized' art form rooted more in physical gesture than intellectual rigour." Over the last years, Simone Forti's work has received the attention and recognition that it deserves, culminating in the recent acquisition of the "Dance Constructions" (1960-61) by the Museum of Modern Art in New York.

Forti's work has made a major contribution to the intersection of sculpture and performance and helped to create a sensibility for "what we know about things through our bodies." As early as 1960, at Reuben Gallery in New York, she created the object-centred happenings See Saw and Rollers. A year later, she presented Five Dance Constructions and Some Other Things as part of a series organised by composer La Monte Young at Yoko Ono's studio in New York; radically new dances made up of everyday movements, performed in interaction with sculptures and objects.

From January 30 until March 28, this legendary series of "Dance Constructions" will be performed at Vleeshal Markt by a group of "movers." Choreographer Sarah Swenson, authorised representative of Simone Forti, will teach the "Dance Constructions" to them, except for See Saw which follows a different scheme: artists Mie Frederikke Christensen (Denmark, 1989) and Margaux Parillaud (France, 1989) have been invited to develop a new version of this work, which Forti once described as a "domestic drama." Nominated for the Gerrit Rietveld Award 2015 with their performance Well Now, it Looks as if You are Armed for Battle, the artist duo is free to direct See Saw in whatever way they feel is fitting.

From March 28 until April 2, Simone Forti and long-time collaborator Charlemagne Palestine will use Vleeshal Markt as a rehearsal space to work on a new version of their "Illuminations" series, to be performed there on April 2 and 3. Asked in an interview by Astrid Kaminski whether she is continuing to do new work, Forti replied: "You could just as well ask: what about breakfast-will you still have breakfast in the morning?"

Both Simone Forti and Charlemagne Palestine, who have collaborated since 1971, have been to Middelburg before: Forti in 1980, when she performed during the interdisciplinary arts festival Forum, and Palestine on several occasions, including a solo show at Vleeshal in 1979 and various concerts for Stichting Nieuwe Muziek (Foundation for New Music).

At Vleeshal Zusterstraat a selection of Forti's works from different periods will be exhibited-with drawings, photographs, videos, and documentation of performances.

An earlier version of Simone Forti's exhibition Here It Comes (curated by Axel Wieder) was on view at Index - The Swedish Contemporary Art Foundation in Stockholm, from September 4 until November 15, 2015.

Funded by Mondriaan Fund and City of Middelburg.

For press requests, please send us an email to office@vleeshal.nl or call us on T +31 (0)118 652200.



17. Claes Oldenburg, FF Alumn, in The New York Times, Jan. 22

The New York Times, Jan. 22, 2016
Inside Art

When the Minneapolis Sculpture Garden opened in 1988 - the first partnership of its kind between a city parks department and a museum - the architecture critic Paul Goldberger wrote that few things were "as desirable to integrate with cities as sculpture, and as difficult." But the Walker Art Center in Minneapolis pulled it off, he said, creating "the finest new outdoor space in the country for displaying sculpture," and a link in a "complex chain of urban events, not an isolated place unto itself."
Now, almost 30 years in, the garden, a model for outdoor urban galleries around the country, is undergoing a two-year, $10 million face-lift. On Friday, the Walker is set to announce that the updated garden will be substantially transformed with work by high-profile new artists from around the world, many of whom have not worked outdoors or at such a scale.

While most favorites will remain - notably "Spoonbridge and Cherry," by Claes Oldenburg and Coosje van Bruggen, a Minneapolis landmark - the garden's look will be substantially different, with 16 new pieces by artists including Theaster Gates, Liz Larner, Philippe Parreno, Mark Manders and Katharina Fritsch, whose "Hahn/Cock," an ultramarine rooster more than 20 feet tall, might challenge "Spoonbridge" as the garden's cynosure.

"We see this as an incredible opportunity to bring what was, in its time, the model for these kinds of urban spaces into the 21st century," said Olga Viso, the Walker's executive director, who described the project as one of the most important accomplishments of her eight-year tenure. "It's the most beloved civic space in Minnesota," she added.

The garden, scheduled to reopen in June 2017, will include the first permanent outdoor work by Mr. Gates, known for his transformation of a group of properties on the economically struggling South Side of Chicago into an arts-based community center. Mr. Manders, Mr. Parreno, Aaron Spangler and Nairy Baghramian will also be making their first permanent outdoor works in this country. And five of the 16 new works will be by women, a priority for Ms. Viso, who said that Ms. Fritsch's blue rooster would be a kind of feminist riposte to monumental 20th-century sculpture, most of it by men. "It promises to be the new 'Spoonbridge and Cherry,'" she said, "in respectful but provocative dialogue with it - a kind of pop dialogue."



18. Barbara Kruger, FF Alumn, in The New York Times, Jan. 22

The New York Times, Jan. 22, 2016
Inside Art

Emoji Art in Vancouver

One would not expect to see emoji adorning a turn-of-the-century rotunda, but these are part of Barbara Kruger's site-specific work anchoring "MashUp," opening next month at the Vancouver Art Gallery.

Her commission, installed on the rotunda's bottom two floors, quotes from texts on colonialism and histories of oppression that she found particularly fitting for the building, once the site of Canada's Supreme Court in British Columbia.

Among them: "A man screaming is not a dancing bear" (Aimé Césaire, the Martinique-born poet, writer and politician); "Perfect order is the forerunner of perfect horror" (Carlos Fuentes, the Mexican writer and novelist); and "the globe shrinks for those that own it" (Homi K. Bhabha, the India-born cultural theorist). The emoji occupy the second-floor niches, along with words like "blame," "shame," "tame" and "maim."

"I wanted to engage notions of both how we receive the world and how it comes to us - how the emotive reaches us now," Ms. Kruger said. "Whoever thought that haiku would be the language of the future through Twitter."

"MashUp," by multiple artists, covers 40,000 square feet and offers a history of art-making starting in the early 1900s, focusing on techniques used in montage, collage and assemblage. Bruce Grenville, a senior curator, said Ms. Kruger's piece responds to digital technologies in a physically historical context.

"It's a rearticulation of space," he said, commending "her ability to read architecture and to see the power of language and to twist them together in a way that opens the other one up."



19. Valery Oisteneau, FF Alumn, at KGB Bar, Manhattan, Jan. 26 and more

Anarchy For A Rainy Day (Spuyten Duyvil 2015)
Valery Oisteneau


Tuesday Jan. 26, KGB Bar, 85 E., 4th St., Manhattan, 7-9 pm, book launch for Valery Oisteneau's new poetry collection


Jan. 30 Cornelia Street Café, 29 Cornelia Street, Manhattan, 6-8 pm



Goings On is compiled weekly by Harley Spiller