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Contents for June 06, 2017

Diane Torr, FF Alumn, In Memoriam

The pioneering performance artist and gender activist Diane Torr, who died on 31 May from a brain tumour, at age 68, was a border-crosser in every sense. Born in Peterborough, Ontario, she grew up in Aberdeen, Scotland. A youthful participant in feminist radicalism in London at the turn of the seventies, Torr undertook dance training at Dartington College of Arts before relocating to New York in 1976, initially to study with Merce Cunningham. The strictures of such training, however, appealed to her less than the more improvisatory, interdisciplinary opportunities afforded by the city’s downtown performance art scene. From 1978, she began making experimental movement pieces for loft spaces, clubs and bars in the East Village, but these were as likely to be informed physically by her aikido training (undertaken for self defence) or by gogo dancing (she worked cash-in-hand in New Jersey girlie bars) as by modern dance technique.

Torr’s recontextualisation of erotic dancing to art contexts (e.g. GoGo Girls Seize Control, 1981) proved highly controversial at a time when the women’s movement tended routinely to condemn pornography and sex workers. Her response – “morality demands a budget” – reflected her working class roots. Torr’s unapologetic embrace of the sexy and sensual proved highly influential in the early evolution of the WOW Café (Women’s One World), which she helped establish from 1982. This women-only performance space – home also to Split Britches, Holly Hughes and others – was a venue where, free of “the male gaze”, a new feminist eroticism began to supplant 1970s asceticism.

Torr’s performance works during the 1980s – often made as collaborations with other artists – focused increasingly on questions of gender identity and expression: Arousing Reconstructions (with Bradley Wester, 1982) explored androgyny, while the title of Girls Will Be Boys Will Be Queens (with Chris Koenig and Lizzie Olesker, 1986) speaks for itself. From 1989 onwards, she began experimenting with the physical movements and expressions that would permit her – at just 5’3” – to “pass as male” in everyday situations. Together with transsexual make-up artist Johnny Science, who specialised in the application of fake facial hair, Torr developed “drag king workshops” in which women were encouraged to venture out into the city, posing as male characters of their own invention. Initially viewed by Torr as a form of feminist empowerment, an opportunity to experience male privilege first-hand, her workshops became internationally influential in the emergence of “drag kinging” as a popular feature of lesbian subculture. As transgender identities also became increasingly accepted within queer culture in the 1990s, Torr’s workshops were used by many trans-curious participants as a means to experiment with new, male identities. She featured on numerous TV shows, and performances such as Drag Kings and Subjects (1995) translated her workshop experiments into theatrical form.

Torr moved back to Scotland in 2002, after 26 years in New York, and worked extensively in continental Europe over the next decade – while also being invited as far afield as Istanbul and New Delhi. Torr’s singular importance in the history of female-to-male gender-crossing is documented in her book Sex, Drag and Male Roles (co-authored with Stephen Bottoms, 2010), and the impact of her workshop on one group of Berlin participants is superbly captured in Katarina Peters’ feature documentary Man for a Day (2012). Despite her fame as a drag artist, though, Torr remained restlessly curious in her other creative enquiries – in dance, film, installations and relational events. Her last performance, Donald Does Dusty – an homage to her brother Donald, who died of AIDS in 1992 – played a successful run at the Edinburgh Fringe in 2015.

Torr is survived by her daughter, Martina Meijer, and her brother, David Torr.

-Stephen Bottoms

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1. Reverend Billy, Pat Oleszko, Lucy Sexton, Martha Wilson, FF Alumns, at Trump Tower, Manhattan, June 14

Prominent NYC Artists Announce "Art Rising" Performance Inside Trump Tower on June 14th, Trump's Birthday

Public Garden Inside Trump Tower to Be Turned Into Free Art Venue in Celebration of Art & Rebuke to Trump's Proposed Funding Cuts

New York -- Artists will hold an Art Rising performance at a public garden inside Trump Tower to encourage the public to utilize Trump's garden, beautify the neglected space, and ridicule Trump on his birthday. The June 14th event, organized by Take Trump Tower and curated by Caterina Bartha, is the latest in a series of direct actions at Trump Tower that utilize the skyscraper as a living lab to educate voters and elected leaders about the risks of Trump's presidency.

The lunchtime performance will feature leading NYC artists and include a one-act play, music, dance, and poetry. Intended to give a gift to New Yorkers on Trump's birthday rather than Trump himself, the zero-cost performance occurs as Trump threatens to eliminate the National Endowment for the Arts and National Endowment for the Humanities. Performances will span a range of subjects including climate change and Trump's alleged collusion with Russia.

Artists will hold the performance at the fifth floor garden in Trump Tower, which is required by city zoning law to be accessible to the public seven days a week from 8 am to 10 pm. Trump agreed to create the public garden in a 1979 agreement with NYC in exchange for a zoning variance to build an additional 20 stories on the tower. The agreement netted Mr. Trump an estimated$530 million in profit but the president has violated the public spacerequirement on several occasions by closing the garden at intermittent times without justifiable cause and neglecting the space.

WHO:
Reverend Billy, The Church of Stop Shopping
Bartees Cox, Stay Inside
Kyle Dacuyan, Pen America
Ty Defoe, playwright with 24 Hour Plays
Pat Olesko, costume performance
Sarah Sandman, Brick x Brick
Lucy Sexton, Factress
Jody Sperling, Time Lapse Dance
Martha Wilson, http://www.marthawilson.com

CONTACT: Ben Rubin | brubin@climatenexus.org | 917-749-3694
#TakeTrumpTower

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2. Linda Mary Montano, FF Alumn, at Grace Exhibition Space's Rosekill Farm, Rosendale, NY, July 14-16

Linda Mary Montano Workshop:
"Blessing Our Glands"
July 14-16th
Grace Exhibition Space's Rosekill Farm
Rosendale, NY

Friday
Lunch at 12pm
Introduction at 2 pm
Dinner at 7pm

Saturday Day
Lunch at 12pm
Workshop for Participants as a Public Performance...............8am-5pm

Saturday Evening
Blessings for Public...6-8pm
Dinner at 8pm

Sunday Day
Self Healing of Glands and Concluding Performance by Workshop Participants 8-3pm

Please bring clothing of one color from the chakras of your choice. Example: all red, all purple, etc. Please be prepared for all types of weather. Bring a blanket, swimwear, sunscreen, long pants, socks, long sleeve shirts, natural tick repellant, etc. Chakra colored clothing is for Saturday night, and also please bring a wig if you have one!

Cost: Sliding Scale $50-$200, meals and camping included. Please email or call for reservation, address, and any questions.

Linda Mary Montano is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano's influence is wide ranging - she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London.

www.lindamontano.com
www.rosekill.com
graceexhibitionspace@gmail.com
646-578-3402

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3. Pope.L, FF Alumn, receives Whitney Museum of American Art's Bucksbaum Award

Established in 2000 by longtime Whitney trustee Melva Bucksbaum and her family, the Bucksbaum Award is given every two years in recognition of an artist, chosen from those included in the Biennial, whose work demonstrates a singular combination of talent and imagination. In addition to receiving a $100,000 grant, each Bucksbaum laureate is invited to present an exhibition at the Whitney sometime within the succeeding two years. Conceived to encourage an artist who has previously produced a significant body of work, whose project for the Biennial is itself outstanding, and whose future artistic contribution promises to be lasting, the Bucksbaum Award acknowledges an artist's full spectrum of production: past, present, and future.

Chicago-based artist Pope.L is the recipient of the ninth Bucksbaum Award. The Award is presented to an artist selected from among the sixty-three participants in the 2017 Biennial. Pope.L is a visual artist and educator whose boundary-breaking practice spans nearly four decades and includes performance, painting, installation, video, sculpture, and theater. Best known for enacting arduous and provocative performances and interventions in public spaces, Pope.L addresses issues and themes ranging from language to gender, race, social struggle, and community.

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4. Mariella Bisson, FF Member, now online

I have been hard at it, fighting the evil empire with my gluestick and exacto knife. My new book is called The First 100 Days in the Dark. And it is under the name BOLDFACE. They are FUNNY, nasty, angry, and I hope you like them. A sampling to make you laugh first thing in the morning...

You can see them all at

http://www.boldfaceadailypoem.com see the section called Daily Poems

thank you.

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5. Dara Birnbaum, FF Alumn, at Marian Goodman Gallery, Manhattan, thru June 10

Dara Birnbaum's "Psalm 29(30)" at Marian Goodman, New York
May 4-June 10, 2017

Six years in, Syria's Civil War has been the subject of a vast quantity of information-in the form of user-generated video, reportage, news analysis, social media updates-and yet we seem no nearer to an adequate means of representing it. Representation and resolution are often intertwined: the clarity of a representation, the point at which visual material resolves into an image, is a question of the way in which content is subjected to form. We are still seeking a form with which to organize the barrage of information from Syria into a coherent image that will make the conflict materially sensible for those only able to apprehend it from afar.

Documentary media have historically been the privileged modes through which to process such crises. News reportage now constitutes the most prolific of these, if also the noisiest. But contemporary art, with its recently intensifying interest in documentary strategies, has been quick to respond as well: through photography and reenactment-such as Ai Weiwei's restaging of the shocking photograph of Alan Kurdi, the Syrian toddler who drowned off the coast of Turkey, with the artist himself as the dead child-as well as more "archival," object-based exhibitions of work made by Syrian artists or migrants. Meanwhile, documentary cinema-including films such as Silvered Water, Syria Self-Portrait (2014), Our Terrible Country (2014), and, most recently, Last Men in Aleppo (2017)-has arguably been more effective, at least in its ability to represent a set of distances: between Syria and the West, the conflict and its spectators, the real and its representation.

Now showing at Marian Goodman, New York, Dara Birnbaum's video installation Psalm 29(30) (2016) lies somewhere in between these modes. Made in collaboration with Michael Saia, who edited the work, and scored by two works by the composer Neil Benezra, the installation comprises six channels of video that contrast original high-definition video images of placid European landscapes (specifically, Lake Como and the Italian Alps) with found low-resolution video images of violent conflict. Five of these channels, each with its own flatscreen, express this contrast through montage and superimposition. Picture-postcard depictions of Romantic vistas are interrupted by brief glimpses of cellphone imagery: diaphanous fog becomes dust and smoke; glorious sunsets, explosions, and gunfire. A sixth channel-projected inside a black-box enclosure which the gallery's introductory text refers to as a "heart-chamber"-presents the images that, outside, could only tenuously impose themselves: fuzzy pictures taken by combatants at the center of the conflict, firing rifles through holes, ducking around corners in order to flee tanks and enemy gangs.

Amid the works' many contrasts, the most striking is that between the textures of the original and the appropriated imagery: the exquisitely framed versus the handheld; the HD versus the compressed; the flat, timeless, and generic versus the textured, immediate, and highly specific. These contrasts recall the ways in which Birnbaum's work with appropriated imagery has functioned throughout her career: as a means of making material and sensible a set of ambivalences. Her most iconic works-such as the set of videos she made between 1978 and 1983 using footage pilfered from television shows including Wonder Woman, Kojak, and PM Magazine-took up a paradoxical position between sexy video-promo allure and trenchant media critique. These works did not merely translate, simulate, or echo television's imagery in new forms-as did that of Richard Prince, Cindy Sherman, and other Pictures Generation contemporaries-but engaged the hybrid apparatus of television itself: the media of the video signal and tape, as well as the television set and all of the tools employed in the industry to process it.

For Birnbaum, emphasizing the materiality of media technologies has served as an important means of emphasizing the way in which video art is both a collaborator and a critic of the industries of commercial image-making. The installation of her early works-such as the exhibition of her 1978 video Technology/ Transformation: Wonder Woman in a hair salon in New York's Soho, or her Documenta 7 installation of PM Magazine/Acid Rock (1982) in a setting constructed out of the same Speed-Rail frame system commonly used in television studios-foregrounds rather than obscures video's complicity with the media industry. Media images, in Birnbaum's work, are not simply objects of critique or the diaphanous tentacles of ideology, but materially ingrained in everyday life.

Consciously or not, Psalm 29(30) too materializes a set of uncomfortable facts about contemporary art's effort to represent the crisis of Syria. In those images filmed during Birnbaum's residency at the Rockefeller Foundation's Bellagio Center on Lake Como, it materializes the art world's systems of financial support: systems that are often structured around and situated in Western centers of cultural heritage and dependent on philanthropic capital. It also materializes the guilt inherent in this position for artists as well as institutions, a guilt that can only be felt as contrast or distance between nations, or classes, or ways of life. In this sense, Psalm 29(30) materializes an illusion of distance, whereas it should be materializing complicity.

Leo Goldsmith is a writer and curator based in New York. He is a PhD candidate in the Department of Cinema Studies at New York University, where he is completing a dissertation on found footage. With Rachael Rakes, he co-edits the film section of The Brooklyn Rail.

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6. Felix Gonzalez-Torres, FF Alumn, at Fondation Beyeler, Basel, Switzerland, June 15

The Fondation Beyeler and the Felix Gonzalez-Torres Foundation invite you to a book launch and conversation to celebrate the publication of the book:

Felix Gonzalez-Torres: Specific Objects Without Specific Form

Elena Filipovic, Director of Kunsthalle Basel, will be in conversation
with artist Tino Sehgal

Thursday, June 15
11am

Fondation Beyeler
Baselstrasse 101, CH-4125 Riehen/Basel

Felix Gonzalez-Torres: Specific Objects Without Specific Form documents the groundbreaking exhibition curated by Elena Filipovic with Danh Vo, Carol Bove, and Tino Sehgal that traveled to WIELS, Brussels; Fondation Beyeler, Basel/Riehen; and MMK Museum für Moderne Kunst, Frankfurt in 2010 and 2011. Filipovic curated a retrospective at all three venues, evolving at each location. Midway through each exhibition, Filipovic's installation was removed or altered by one of the artists who was invited to completely reconsider and re-install their own version of the exhibition without any limitations. The result of this structure was a profound meditation on the role that ongoing change and renewal play in Gonzalez-Torres's work.

The book has been years in the making as Elena Filipovic and the Felix Gonzalez-Torres Foundation worked together to find the best ways to present the complexities and nuances of the exhibition. The book includes installation views of each version of the exhibition and an expansive illustrated checklist with images of each artwork in every instance of its installation. The book's structure allows the reader to see the immensely different ways the artworks can be installed as well as how context acted on and through each piece.

Ticket included in museum admission.
Places are limited.

fondationbeyeler.ch

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7. Michelle Stuart, Mona Hatoum, Xaviera Simmons, FF Alumns, at Wexner Center for the Arts, Ohio State University, Columbus, OH, thru July 30

GRAY MATTERS
May 20 - July 30, 2017

Join us for Gray Matters, a multifaceted survey of 37 contemporary women artists who have explored the practice of grisaille-the French term for working in shades of gray. Ranging from emerging to well-established, these artists challenge an all-too-simplistic notion of colorless "neutrality" as they reveal the variegated spectrum of black, white, gray, and everything in between.

Gray Matters is the first exhibition organized by Michael Goodson since he assumed the role of Senior Curator of Exhibitions at the Wexner.

http://www.wexarts.org/exhibitions/gray-matters

This spring, see the vibrant world between black and white. Join us for Gray Matters, a multifaceted survey of 37 contemporary women artists who have explored the practice of grisaille-the French term for working in shades of gray. Ranging from emerging to well-established, these artists challenge an all-too-simplistic notion of colorless "neutrality" as they reveal the variegated spectrum of black, white, gray, and everything in between.
In uniting over 50 remarkable works across media, Gray Mattersprovides a clarifying, focused lens through which to see the world afresh. You'll encounter Roni Horn's Opposites of White (2006/15), substantial glass sculptures that appear as pools of water-at once transparent and reflective, both mirrors and lenses. An artist typically associated with vividly colorful portraits of black women, Mickalene Thomas narrows her palette for Hair Portrait #20 (2014)-without relinquishing her celebratory use of rhinestones. The immense, sculptural graphite drawings of Nancy Rubins radiate the abundant energy expended in their making while begging reconsideration of the pencil's power. Featuring her signature veils of ink, Marlene Dumas's Betrayal (1994) offers blurred, indeterminate portraits of women: a meditation on sameness and difference, and on how time affects one's worldview. Julie Mehretu's six-panel print Epigraph, Damascus (2016) constructs what she has described as "story maps of dislocation," here providing a portrait of the war-torn Syrian city. Mary Reid Kelley's arresting, award-winning video This is Offal (2015-16) contemplates mortality and abandonment through a dialogue between a deceased woman and her organs. And the earliest work in the exhibition, Vija Celmins's 1964 painting Heater, sets the glowing red center of an electric space heater amid a field of deep grays-reminding us of the constant, ever-shifting dialogue between hot and cool, color and shadow.
Gray Matters is the first exhibition organized by Michael Goodson since he assumed the role of Senior Curator of Exhibitions at the Wex, and the survey enriches a calendar year of programming in which every artist featured in our galleries is a woman.

Organized by the Wexner Center for the Arts.
Support for this exhibition is provided by Mike and Paige Crane and Neil K. Rector.

ARTISTS IN THE EXHIBITION
Tauba Auerbach • Carol Bove • Gisele Camargo • Vija Celmins • Bethany Collins • Marsha Cottrell • Tacita Dean • Tara Donovan • Marlene Dumas • Michelle Grabner • Josephine Halvorson • Mona Hatoum • Roni Horn • Cristina Iglesias • Jennie C. Jones • Toba Khedoori • Laura Lisbon • Suzanne McClelland • Julie Mehretu • Katie Paterson • Joyce Pensato • Amalia Pica • Mary Reid Kelley • Michal Rovner • Nancy Rubins • Arlene Shechet • Erin Shirreff • Amy Sillman • Xaviera Simmons • Diane Simpson • Lorna Simpson • Avery Singer • Michelle Stuart • Mickalene Thomas • Kara Walker • Rachel Whiteread • Carmen Winant

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8. Barbara Hammer, FF Alumn, at Julia Stoschek Collection, Dusseldorf, Germany, opening June 10

BARBARA HAMMER
Generation Loss: 10 Years Julia Stoschek Collection

Opening: Saturday, June 10th, 11am-5pm
On View: June 10th, 2017 - June 10th, 2018

Julia Stoschek Collection
Schanzenstraße 54
40549 Düsseldorf, Germany
Barbara Hammer's 1990 experimental short film Sanctus has been selected for inclusion in Generation Loss: 10 Years Julia Stoschek Collection. The exhibition celebrates 10 years of the collection in Germany, and aims to show, through time-based media, the interrelationships within the collection and also to leave, change, and subvert the way in which generations - both artists and technologies - inherit their precursors.

and

"SANCTUS" AT PALAZZO FORTUNY

Sanctus is on view and open to the public
in Intuition at Palazzo Fortuny, Venice, Italy
May 13 - November 26, 2017
www.barbarahammer.com

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9. Jody Oberfelder, FF Member, at NY Live Arts, Manhattan, June 29-July 1

THE BRAIN PIECE, A PARTICIPATORY DANCE WORK BY
CHOREOGRAPHER AND DANCER JODY OBERFELDER,
AT NEW YORK LIVE ARTS
PART INSTALLATION AND PART PROSCENIUM PERFORMANCE,
OBERFELDER'S LATEST CREATION TAKES ON THE INTERACTIVITY
OF THE BRAIN
72 AUDIENCE MEMBERS ONLY PER PERFORMANCE
JUNE 29-JULY 1 AT NEW YORK LIVE ARTS

Choreographer and dancer Jody Oberfelder, creator of
4Chambers, a dance about the human heart, is now taking on the brain. The Brain Piece, presented June 28-July 1, at New York Live Arts, is part installation and part proscenium performance, designed to allow audiences to have an intimate experience with their own minds and bodies. Only 72 audience members at a time are invited, yielding a personalized and engaging experience.

Performed by Oberfelder with Mary Madsen, Pierre Guilbault, and Hannah Wendel, The Brain Piece evokes tangible and interactive experiences, where dance, music, visual art, film, and words enliven the inner life of the brain through overlapping perceptual domains. With set design by Juergen Riehm (with Penelope Phy and Tine Kindermann), lighting design by Kate Bashore, and film by Eric Siegel and Oberfelder, her new work invites the audience to be part of an immersive cerebral and sensorial installation, leading spectators through various spaces, each dedicated to one aspect of the brain.

Entering the intellectual and sensorial world of The Brain Piece, the audience has access to a heightened subjective experience of the brain. The piece celebrates the brain's neuroplasticity, the ability to form connections. "My new work illuminates the "dance" that continuously takes place in our minds," states Oberfelder. "By watching and participating in the piece, the audience will experience their brains moving, dancing, working and playing, and understand dance as a language that goes directly to the brain."

Oberfelder and Siegel created the short film Dance of the Neurons, presented as part of
the performance, by consulting with Ed Lein, a neuroscientist at the Allen Institute for
Brain Research. Neuroscientists Dr. Weiji Ma and Cecilia Fontanesi consulted on the
project as well. The music for the piece was written by the composers and sound
designers Daniel Wohl, Sean Hagerty, Missy Mazzoli, Andy Akiho, Almeda Beynon, and
Angelica Negron.

ABOUT
Jody Oberfelder is a director, choreographer, and filmmaker. With her company, she
has performed internationally at NoD (Prague), Gallus Theater (Frankfurt), Guelph
Dance Festival (Canada), Centre National de la Danse (Paris), International Festival
of Modern Dance in Seoul, Belgrade Dance Festival, and The Merchant House
(Amsterdam) and nationally at Dance Place (Washington DC), Jacob's Pillow, MASS
MoCA, and The Yard, amongst other venues. Her most recent work, 4Chambers, was
performed in an historic home on Governors Island and in a former hospital in Brooklyn.
Oberfelder also presented work at Abrons Arts Center, Dixon Place, Schimmel Center
for the Arts, Symphony Space, The Jewish Museum, The Flea Theater, Joyce SoHo,
and PS 122.

Jody Oberfelder Projects is honored with creative support from CEC ArtsLink, The
Joyce Theater (a Joyce Soho Residency Grant), funding from New York Foundation for
the Arts' BUILD Grant, NYC Department of Cultural Affairs, Lower Manhattan Cultural
Foundation, New Music USA, Harkness Foundation for Dance, Starry Night Fund,
and many generous individual donors. These performances are a part of New York Live
Arts PLUS programming.

PERFORMANCE VENUE AND DATES:
THE BRAIN PIECE
JUNE 28 AT 7:30 PM
JUNE 29-JULY 1 AT 7:00 PM & 9:00 PM
NEW YORK LIVE ARTS
219 WEST 19TH STREET
NEW YORK, NY 10011
STUDENTS $25 GENERAL $35
OPENING NIGHT BENEFIT $200
FOR TICKETS: NEW YORK LIVE ARTS
###
PRESS CONTACT:
Heidi Riegler
RIEGLER MEDIA | MARKETING
347 513 5047
heidi@rieglermedia.net

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10. EIDIA House, FF Alumns, at Plato's Cave, Brooklyn, thru June 10

EIDIA House, Plato's Cave extends exhibition of Ford Crull & Anthony Haden-Guest, "UNTITLED" to Saturday June 10, 2017. There will be a performance by Crull and AHG with Jim Costanzo on horn this Friday June 9, @ 7pm.
See http://platocave.weebly.com/ for original PR. Also visit: http://www.eidia.com/ for more info.

EIDIA House
PLATO'S CAVE
14 Dunham Place
Brklyn, NY 11249

Thank you, look forward to seeing you!
Melissa Wolf and Paul Lamarre

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11. Russet Lederman, FF Alumn, at Magnum Foundation, Manhattan, June 17

Russet Lederman and 10x10 will be presenting a reading room at Magnum Foundation, 59 E. 4th Street, Saturday June 17 from 12-7 pm as part of AWAKE a book and zine bazaar. More info at 10x10photobooks.org and magnumfoundation.org

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12. Annie Sprinkle & Beth Stephens, FF Alumns, at Documenta 14, Kassel, Germany, June 8-24

FF Alumn Annie Sprinkle and her partner/collaborator Beth Stephens are please to announce that they are official artists in Documenta 14. They will be in Kassel, Germany from June 8 through June 24th, and will have a visual art exhibit, do five of Ecosex Walking Tours, and host a Sidewalk Sex Clinic offering free sex advice from a diverse dozen sex educators. (June 8/9 Previews, June 10 Opening, June 14 through 18th. Ecosex Walking Tours., June 22. Sidewalk Sex Clinic Sidewalk Sex Clinic.) The duo will return to Kassel for Sept. 6, when Documenta will present the world premiere of Sprinkle and Stephens' new documentary film, Water Makes Us Wet.
Call for Collaborators for their Documenta 14 public program: Sprinkle and Stephens are inviting sex educators of all kinds to join them on June 22 for a performance to offer free sex advice to the public as performance and public service. Write anniesprinkle@me.com if you want more detailed information.

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13. Vito Acconci, Lilliana Porter, and Dolores Zorreguieta, FF Alumns, at Arte x Arte, Buenos Aires, Argentina, June 10-September 9

Vito Acconti and Dolores Zorreguieta part of the exhibition La imaginación del Desastre, The imagination of the Disaster at Arte x Arte from June 10 to September 9.

Curated by Jorge Zuzulich and Pablo Orlando

Vito Acconti (United States) - Luciana Airas - Nestor Baltodano (Costa Rica) - George Bataille (France) - Marcelo Bordese - Alfonso Castillo - Juan Cuello - Echo & The Bunnymen (United Kingdom) - Liliana Felipe - Juan Manuel Fiuza - Miguel Harte - Alejandro Kuropatwa - Leo Masliah (Uruguay) -The Police (United Kingdom) Liliana Porter - Alfredo Prior - Carol Reed (United Kingdom) - Edmundo Rivero - Olivier de Sagazan (Congo) - Tom Waits (United States) - Dolores Zorreguieta *

*All from Argentina unless noted

Opening: June 10, 1:30PM

Arte x Arte
Fundacion Alfonso y Luz Castillo

Tuesday to Friday from 1:30PM to 8PM - Saturday from 3PM to 7PM
Lavalleja 1062
Buenos Aires
Argentina

+54 11 4773 2738 / 4772 6754
info@artexarte.com.ar
www.artexarte.com.ar

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14. LuLu LoLo, FF Member, at The Parkside Lounge, Manhattan, June 11

LuLu LoLo reading from her one-person play: "38 Witnessed Her Death: I Witnessed Her Love: The Lonely Secret of Mary Ann Zielonko"

Sunday June 11 4PM -6PM
The Parkside Lounge, 317 E Houston Street, New York, NY 10002

LuLu LoLo & Laylage Courie
Hosted by Great Weather for Media http://greatweatherformedia.com/calendar/

Plus open mic. 21+. 2 drink minimum (alcohol or no). $2, suggested donation.
Hosted by David Lawton

This week, we bring you two writers whose words cross over to the space shared by poetry, theatre and performance art.

LuLu LoLo is a playwright/actor, performance artist, and activist. LuLu has written and performed eight one-person plays Off-Broadway. Her plays and poetry have been published in Nerve Lantern Axon of Performance Literature, Meta-land Poets of the Palisades II, and 365 Women a Year a Playwriting Project. Her ongoing performance project Where Are the Women? highlights the lack of public monuments honoring women in New York City and was highlighted in the New York Times. LuLu was a 2013 Blade of Grass Fellow in social engagement and a Lower Manhattan Cultural Council Writer in Residence in 2008. LuLu is a board member of the City Reliquary Museum, the Remember the Triangle Fire Coalition, and the Vito Marcantonio Forum. www.lululolo.com

Laylage Courie is a poet, performer, and maker of things-from-words. Her most recent thing is a record: the soon-to-be-released art-pop experimental concept album these fountains rare. Her writing has appeared in Fence, Adbusters, 2RiverView, and The Open Page. As a performer she has appeared in theaters all over New York in her own and others work. You can listen to her do strange readings of poetry on her podcast Cosmic Dream Radio which is available through itunes or atwww.luminouswork.org/podcast. Her imaginary friend blogs atwww.conversewithbirds.org

LuLu LoLo

Website: lululolo.com
Facebook: LuluLoloProductions
Facebook: Where Are the Women?
Twitter: @FabLuLuLoLo
Instagram: TheLuLuLoLo

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15. Marni Kotak, FF Alumn, at Microsope, Brooklyn, June 5

Monday June 5, 7pm
Artist Talk w/ Marni Kotak
Conversation and Q&A with the artist
Multi-media and performance artist Marni Kotak joins us after hours on Monday June 5th to discuss her current exhibit at the gallery "Treehouse", including her ongoing durational performance installation of the same title and her new "Raising Baby X: Five Years", recorded from the viewpoint of her son, whom the artist has outfitted with a GoPro camera since the age of three months. Video excerpts of the nearly 6-hour video will also be screened.

As in her previous exhibitions - among others "The Birth of Baby X" in which the artist gave birth to her son Ajax as a performance and "Mad Meds" where she slowly attempted to withdraw from psychiatric medications prescribed for postpartum depression - Kotak continues to use her own life experiences as they are happening - most recently a major fire in the artist's home - as her work. With "Treehouse" Kotak's main struggle is to maintain sanity in the aftermath of the fire and in the context of current world events and to prevent stress from damaging her relationships with friends and family, especially her husband and son.

"The idea of self-care and play is a response to the pressures of the capitalist system, where we often feel that our time is not our own but focused on achieving the aims of those in power, or reacting to some perceived crisis. [...] In our contemporary society where many of us find our human rights under attack and our livelihoods threatened, it is us, the people, not profits, that matter most. [...] Taking the time to enjoy ourselves with family, friends and loved ones is essential..." - Marni Kotak

More info about the exhibition "Treehouse" can be found below.

Marni Kotak is a multimedia and performance artist presenting everyday life being lived. She has received international attention for her durational performance installation / exhibitions including "The Birth of Baby X" (2011) in which she gave birth to her son as a live performance and "Mad Meds" (2014) during which the artist slowly withdrew from psychiatric medications prescribed for postpartum depression. Kotak's works have also appeared at the Santiago Museum of Contemporary Art, Santiago, Chile, Artists Space, Exit Art, Momenta Art, English Kills Gallery, Grace Exhibition Space, among others. She has performed extensively in the US and abroad. Kotak has been featured in ArtFCity, Artforum, Blouin Artinfo, Art Pulse, The Huffington Post, Hyperallergic, Los Angeles Times, Studio International, The Brooklyn Rail, The New York Times, The Village Voice, Washington Post, among many others. She has also appeared on Good Morning America (ABC), CBC Radio, NPR, and other broadcasts. Grants include Franklin Furnace Fund Award (2012-13) and the Brooklyn Arts Council among others. She received a BA from Bard College and an MFA from Brooklyn College.

With the underwriting support of the Robert D. Bielecki Foundation

Current Exhibition

Marni Kotak
Treehouse
May 12 - June 18, 2017
Microscope is very pleased to announce Treehouse the fourth solo exhibition by Marni Kotak at the gallery.

Kotak, whose previous exhibitions include "The Birth of Baby X" (2011), "Raising Baby X: Year 1" (2012) and "Mad Meds" (2014), continues in Treehouse to present life as art, this time in the context of a recent and major fire in the artist's and family's home and art studio, involving substantial losses of possessions, temporary displacement, and a long restoration, testing the artist's sense of security and familial stability.
The new photographs, paintings, videos, sculpture and a durational performance installation - most of which were made in direct responses to the event or its recovery process - find the artist reflecting upon life decisions and striving to achieve a less anxious existence, focused on what she considers most important. In a series of impromptu performance photographs shot on the night of the fire, Kotak appears as a trespasser in the devastation of her own home; sculptures upon closer look are revealed as the actual charred remains of earlier works shown at the gallery; and paintings featuring texts written in red oil pen on gold-painted wood, copied from the artist's diary entries, including erasures, reflect her conflicting emotions: despite the extensive damages, fortunately no one was seriously injured.

A durational performance and installation work also titled "Treehouse", positions the exhibit in the here and now. Conceived as a gift for her son Ajax and an act of rebellion against a society that tends to undervalue personal time, the triangular-shaped wood structure - elevated on tree stumps, with chalkboard paint on its interior walls - is proposed as an alternative world for playing games, for making art, and for enjoying each other's company free from fears and distractions, both immediate and seemingly distant. Kotak, who will be in the space on most days, at times accompanied by her son, invites the public to join her in setting aside time for meaningful endeavors and to contemplate the concepts of love and compassion, beyond their clichés.
Two new video works, recorded over months and years, offer broader context. In "Fire", a roughly 20-minute video, Kotak records the aftermath from the initial inspection of the damage room-by-room, to discussions with fire officials, to the beginning of the re-construction process, before passing the camera to her son to record the family's return to their "new" home just before Christmas. Everyday moments stand alongside monumental occasions in "Raising Baby X: Five Years" a nearly 6-hour video portrait of Kotak's family life culled from hundreds of hours of footage shot entirely from the view point of the artist's son, whom she has regularly equipped with a GoPro camera since the age of three months.

Marni Kotak is a multimedia and performance artist presenting everyday life being lived. She has received international attention for her durational performance installation / exhibitions including "The Birth of Baby X" (2011) in which she gave birth to her son as a live performance and "Mad Meds" (2014) during which the artist slowly withdrew from psychiatric medications prescribed for postpartum depression. Kotak's works have also appeared at the Santiago Museum of Contemporary Art, Santiago, Chile, Artists Space, Exit Art, Momenta Art, English Kills Gallery, Grace Exhibition Space, among others. She has performed extensively in the US and abroad. Kotak has been featured in ArtFCity, Artforum, Blouin Artinfo, Art Pulse, The Huffington Post, Hyperallergic, Los Angeles Times, Studio International, The Brooklyn Rail, The New York Times, The Village Voice, Washington Post, among many others. She has also appeared on Good Morning America (ABC), CBC Radio, NPR, and other broadcasts. Grants include Franklin Furnace Fund Award (2012-13) and the Brooklyn Arts Council among others. She received a BA from Bard College and an MFA from Brooklyn College.

Marni Kotak: Treehouse opens Friday May 12 and continues through June 18. Opening Reception: Friday May 12, 6-9pm. Hours: Thursday to Monday, 1-6pm.

For inquiries please contact the gallery at inquiries@microscopegallery.com or by phone at 347.925.1433.

MICROSCOPE GALLERY
1329 Willoughby Avenue, 2B
Brooklyn, NY 11237
Hours: Thurs to Mon, 1-6pm
or by appointment
T: 347 925 1433
info@microscopegallery.com
www.microscopegallery.com

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16. Anya Liftig, FF Alumn, in The New York Times, June 1

The New York Times
June 1, 2017
By Gia Kourlas

NEW DANCE ALLIANCE'S ANNUAL PERFORMANCE MIX FESTIVAL at University Settlement (June 8, 7 and 8 p.m.; through June 11.). A pair of double bills opens this festival, curated by Karen Bernard: "Ode2Fool," a collaboration by Julian Barnett and Jocelyn Tobias that explores artistic motivations, and "face dance" by Anya Liftig, which is performed in a tent onstage. The Performance Mix Festival, as you may have gleaned, skews toward the experimental. Later that night, Clara Furey, from Montreal, and Peter Jasko, based in Belgium, unveil "Untied Tales (the vanished power of the usual reign)." This hallucinatory retelling of "Hansel and Gretel" celebrates its American premiere before it travels to the Venice Biennale. The festival continues through June 11, with productions by 20 dance artists, as well as a community breakfast and a dance party.
newdancealliance.org/performance-mix-festival

Performance MIX 31
Presented by New Dance Alliance
University Settlement
184 Eldridge St
NY, NY

Anya Liftig performing Thursday, June 8, 7pm.
Tickets 15$

Anya Liftig known for her intriguing, multidisciplinary performances, will present a new iteration of her Face Ballet. Performed in a tent onstage, Liftig's "face dance," which is projected from inside the tent using light and a live feed from her camera, creates a striking choreographic shadow dance on the walls of the tent.

more info:
http://newdancealliance.org/performance-mix-festival/

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17. Nicolás Dumit Estévez Raful, FF Alumn, now online at hereinjamaica.com

HEREINJAMAICA.COM
Online exhibition and archive by Nicolás Dumit Estévez Raful
http://www.hereinjamaica.com/

Starting last June, Nicolás Dumit Estévez Raful teamed up with NLE to launch HERE IN JAMAICA, an open call inviting people to create evidence of moments in which life and art come together in Jamaica, Queens. The artist documented these twenty-plus actions that now live on in a new digital archive, HEREINJAMAICA.COM, designed by Melissa Bell. To celebrate the launch of this online project, NLE will be highlighting a different project from Jamaica each week on our social media. Follow us on Instagram, Facebook, and Twitter.

Explore this poignant record of actions ranging from Shervone Neckles' wellness cart offering free herbs and teas to mall pedestrians, to a reflective graffiti-inspired piece created by Lady K. Fever (Kathleena Howie) on the window of a former furniture store. Nicolás' website encourages the ongoing resonance of each performance and allows the work to be accessed by an ever-widening audience.

HERE IN JAMAICA was commissioned on the occasion of Jameco Exchange and as part of Once Upon A Place, a five-part public engagement series that presented an arts-based oral history model to reflect on Jamaica's identity as one of the world's most ethnically diverse neighborhoods and a multi-modal transportation hub.

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18. Jeff McMahon, FF Alumn, at Dixon Place, Manhattan, July 12

JEFF MCMAHON presents SOME MEN. McMahon and others perform new monologues, provocations, invitations, fulminations, including (Ob)scene, earlier presented as part of the After Orlando International Theatre Action (multiple venues). With contributions by former students Toussaint Jeanlouis and Brandon Ferderer. Dixon Place Lounge, 161-A Chrystie Street, NYC Wednesday, July 12 7:30pm

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19. Rosamond S. King, FF Alumn, summer events

Rosamond S. King's Brooklyn Summer and/in Movement

Dear friends,

This summer, I'll be in Brooklyn, going to free concerts, enjoying the city - and doing some readings, talks, and performances!

Summer 2017 Events (scroll down for more information):
a) My poetry collection Rock | Salt | Stone (Nightboat Books) is available for reading and teaching!
b) Readings at WORD! A Caribbean Lit Fest in Brooklyn 11 June
c) Performance at the New Traditions Festival 18 & 19 June
d) Talk at the Museum of Food and Drink, 20 July
e) Talk at the Brooklyn Museum, 17 August
f) Shout-outs

a) Get Rock | Salt | Stone - or order it for your class, from:
b) Small Press Distribution: http://www.spdbooks.org/Products/9781937658618/rock--salt--stone.aspx
c) amazon.com
d) Your favorite local bookseller - while you're there, tell them I'm available for readings!

a) WORD! A Caribbean Lit Fest, sponsored by the Caribbean Cultural Theatre
11 June, 12-8pm at Restoration Plaza, 1368 Fulton Street
b) I'm speaking on the "Caribbean Literature & Life" panel, 4:30-5:30 &
c) I'm reading in the "Finale," 6-7pm
https://www.facebook.com/caribbeantheatre/

a) If you missed my performance of "Tiny Winey" at Dixon Place last year, you can see it - with many other talented performers - at the New Traditions Festival, sponsored by the Dance Caribbean Collective
18 June with post-show talkback; 19 June with post-show reception
at the Mark Morris Dance
Get tickets here
More information here: http://dancecaribbeancollective.org/new-traditions/new-traditions-festival-2017/
a) I'm speaking at the new Museum of Food and Drink panel, "American Food & Immigration Policy: Past, Present, & Future"
20 July, 6:30-8pm, 62 Bayard Street, Williamsburg
Tickets (includes food and drink) or more information here or MOFAD.org
a) I'm speaking on the panel "Bottom in de Road," curated by Caribbeing
17 August at the Brooklyn Museum
more information available soon!

a) Shout-outs! CONGRATULATIONS TO:
Madhu H. Kaza, who edited a thoughtful, moving issue of Aster(ix) devoted to "Kitchen Table Translation" (and I'm not just saying that because one of my poems is in there!). http://asterixjournal.com/asterix-issues/
André Zachery, choreographer, dancer, and sound designer, who will be teaching a weeklong intensive at Movement Research based on his Physical Propulsion technique - http://www.renegadepg.com/
Shivanee Ramlochan, who recently published her amazing first poetry collection, Everyone Knows I Am a Haunting - order it now! http://www.peepaltreepress.com/authors/shivanee-ramlochan

www.rosamondking.com

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20. Peter Cramer, FF Alumn, at Le Petit Versailles, Manhattan, June 11

HOPE LIVES 2
Visual Art Exhibition Curated by Chev D'Orange
JUNE 4-26

Opening Reception & BBQ
JUNE 11
2 PM
LE PETIT VERSAILLES COMMUNITY GARDEN
346 E. Houston St. / 247 E. 2nd St.
RAIN OR SHINE

Ya like BBQ! Well, Hope Lives 2 is an outdoor art show for folks who like BBQ!

Wayne Bressler
Charles Bryant
Peter Cramer
Jean Foos
Scott Gibson
George Gutierrez
Deb Holcombe
Jill London
Leslie Lowe
James McNally
Paul Nowell
orange
Hermes Payrhuber
Ethan Shoshan
Nicholas Vargelis
John Wujcik

Garden Open Hours: Wednesday - Sunday 2-7pm.

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21. Emma Amos, Ida Applebroog, Dotty Attie, Cynthia Carlson, Petah Coyne, Howardena Pindell, Miriam Schapiro, Joan Snyder, Nancy Spero, Athena Tacha, Robin Tewes, FF Alumns, at Rutgers, New Brunswick, NJ, thru July 30

Guerrilla (And Other) Girls: Art/Activism/Attitude
February 4, 2017 - July 30, 2017
Eisenberg Gallery at the Zimmerli Art Museum Gallery/Rutgers
Gallery

Through their use of bold graphics, statistics, and irreverent humor, the Guerrilla Girls have been exposing inequalities within the art world (and the world) with witty posters, performances, and guerrilla tactics since they became active in 1985. This exhibition includes a selection of posters donated by a former Guerilla Girl in 2010 to the Miriam Schapiro Archives on Women Artists, which are housed in Rutgers University Libraries Special Collections and University Archives, as well as a selection of work from the museum's collection by the coalition of women who were aligned with the group. Artists in the exhibition include: Pat Adams, Emma Amos, Ida Applebroog, Dotty Attie, Cynthia Carlson, Petah Coyne, Leslie Dill, Jackie Ferrara, Rene Green, Deborah Kass, Bonnie Lucas, Grace-Graupe Pillard, Howardena Pindell, Miriam Schapiro, Faith Ringgold, Joan Semmel, and Joan Snyder, Nancy Spero, Athena Tacha, Robin Tewes, Helen Miranda Wilson.

Organized by Donna Gustafson, Curator of American Art and Mellon Director for Academic Programs; Betty Jarvis, MA Art History, Rutgers 2016; and Austin Losada, Curatorial Intern.

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22. Valerie Tevere & Angel Nevarez, FF Alumns, spring-summer events

Dear Friends and Colleagues,

We'd like to share with you a recent artist writing piece and a few potential ways we may meet up in-person, converse, and sing.

Also, we'll be heading to Southern California and Mexico City this summer! Drop us a note if you find yourself there.

All best,
Valerie & Angel

Spring 2017
BOMB Magazine: Artist Writing
A Punch in 4/4 Time
by Valerie Tevere and Angel Nevarez
BOMB #139 / Spring 2017

June 11, 4-6PM
Pioneer Works: Second Sundays
Artists-in-Residence
Nevarez & Tevere in-residence: February-June, 2017

Please join us for Second Sundays from 4-6pm on June 11th. It'll be our final open studio as we're off at the end of June.

Pioneer Works
159 Pioneer Street, 3rd Fl.
Studio #3B
Red Hook, Brooklyn
Directions

June 16, 7-9PM
Another Protest Song: Karaoke with a Message

We're hosting another iteration of protest karaoke, this time in the North Hall of Pioneer Works. Another Protest Song is communal, social, and musical. We invite you to choose from (and sing!) 1000s of songs included in our APS songbook.

Pioneer Works
159 Pioneer Street
Red Hook, Brooklyn
Directions

July - August, 2017
Grand Central Art Center
Artists-in-Residence

After much time away, we're excited to be living and working again in Southern California.

CSUF Grand Central Art Center
125 N. Broadway
Santa Ana, CA

July 24-27, 2017
SOMA Summer

We'll be working with SOMA Summer organizing a special session and conducting studio visits with participants.

SOMA
Calle 13 #25
Col. San Pedro de los Pinos
03800 Ciudad de México

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23. Arlene Rush, FF Member, launches new website at http://arlenerush.com/

ARLENE RUSH

NEWSFLASH

New Website & Article on Vasari21 by Ann Landi

After a year of hard work and dedication my team and I are delighted to officially announce the launch of my new website http://arlenerush.com/ I hope you find this website, with a fresh look, gives you a broader picture of my practice. Any questions, suggestions, feedback or comments, please email me. Thank you!

Art scholar and publisher Ann Landi has profiled my practice on Vasari21. Her insights allow for a greater perspective into my work, and I hope you enjoy learning more about the influences that have played a significant role in my artistic practice!

Copyright (c) 2017 Arlene Rush, All rights reserved.

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Goings On is compiled weekly by Harley Spiller