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Contents for July 13, 2020

Weekly Spotlight: Jump-Start Performance Co.: Steve Bailey, Diana Rodriguez Gil, and Michael Marinez, FF Alumns, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/135/rec/1

This week’s Spotlight is on “Asalto” a collaborative performance by Jump-Start Performance Co. - Using choreography, installation, music, and video as metaphoric and literal representations of political and institutional violence, the 18-minute recording from 1994 shows the audience and artists interacting with packed dirt, burnt clothing, haunting objects, sculptures, and drawings inspired by Francisco Goya war prints. Bathed in fluorescent light, “Asalto” plays with the relationship between light and dark to explore the many faces of violence. (Text by Mamou Samaké, FF Intern, July 2020)

Link: https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/135/rec/1

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1. Susana Cook, FF Alumn, at Dixon Place online, July 29

Dixon Place presents Susana Cook's
BLUES in DRAG
A DP TV Program
July 29th, 2020 at 7:30PM
FREE

The militarized, uptight, uncomfortable police uniforms that attempt to convey strength, toxic masculinity and authority has clearly failed us. They scare us. Sneakers, dresses and more gender fluid attire will make us feel safe.

De-Funding the police. Saving $500 millions annually in NYPD uniforms.
#dixonplace, #dptv and #hotfestival

http://dixonplace.org/performances/blues-in-drag-07-29-20/

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2. Guadalupe Maravilla, FF Alumn,at P P O W, Manhattan, thru Aug. 14

Noplace

Joel Dean
Raque Ford
Ficus Interfaith
Guadalupe Maravilla
Devin N. Morris

July 13 – August 14, 2020
Summer Hours: Monday - Friday, 12-5pm
Advanced appointments encouraged

P·P·O·W is pleased to present Noplace, a physical and virtual exhibition curated by Eden Deering, which brings together artists whose practices connect in their collective utopian pursuit, their make-believe places reflecting the ills of our society, while simultaneously communicating alternative ways to exist in this world.

In Utopia (1516), the English lawyer, social philosopher, author, statesman and Renaissance humanist, Sir Thomas More coined the term ‘Utopia’ in his sociopolitical satire. Combining the Greek words “not” (ou) and “place” (topos), 16th century readers would have translated the new word to ‘Not place’ or ‘Noplace’. More’s Utopia was an imaginary arcadian paradise, off the coast of an inexact location in the ‘New World’. Describing this Utopia as the blueprint for a perfect society, More conceived of a place that offered the material benefits of a welfare state, promoted religious freedom, tolerated euthanasia as well as divorce, and abolished the societal constructs of private property, monarchy, and military.

Written against the backdrop of the tyrannical reign of King Henry VIII, Utopia sat in stark contrast to its societal context, which was without freedom of speech or thought, where one man accrued vast wealth, while thousands of others starved. By naming the island ‘Utopia,’ or ‘Noplace’, More emphasized the island’s non-existence, allowing him to discuss real monarchical corruption, while preserving his head (which Henry VIII put on a spike in 1535). By creating a fantastical positive ideal, More communicated the injustice of his lived reality while simultaneously making an appeal to humanity’s capacity for change.

Devin N. Morris abstracts American life and subverts traditional value systems through describing the puzzle of existence, examining racial and sexual identities in collaged two-dimensional and three-dimensional objects. Creating elaborately constructed environments using commonly found household materials and fabrics, such as carpets, wooden furniture, lamps, and windowpanes, Morris’s surreal landscapes combine grandparents’ living rooms, church pews, funeral home parlors, and hospital waiting rooms in a puzzle of memory. For this installation Morris looks specifically at the black body, showings its matriculation through space as fragmented, filled with many dialects, and constantly rearranging and often speaking in translation.

Joel Dean creates symbols that reflect the contaminated cosmos of the American Dream. Late last year, Dean began a series of letter paintings based on drop caps, the enlarged initials of Medieval illuminated manuscripts, that are today more commonly associated with fairytales and fantasy narratives. These paintings represent the condition in which a letter, once a single unit of information, becomes an enigmatic and multitudinous pictorial vessel. Beginning each with the form of a single letter, Dean intuitively transforms the initial shape into an inhabitant of its own expanded world over several months. Depicting each letter in an entangled mix of organic growth and man-made mechanisms of industrial expansion, Dean’s paintings highlight the structural and visual parallels between written systems and the complex worlds they describe. Dean’s imagined constructions give meaning to the isolated letters, just as the letters initially informed the evolution of the surrounding imagery.

Combining histories of pre-colonial Central America, personal mythology, and collaborative rituals, Guadalupe Maravilla’s Disease Thrower #4 functions as a headdress, instrument, and shrine. Through the incorporation of materials collected from sites across Central America, anatomical models, and sonic instruments such as conch shells and gongs, Maravilla describes such sculptures as “healing machines”, ultimately serving as symbols of renewal, generating therapeutic, vibrational sound. Throughout the exhibition, Maravilla will perform weekly sound baths for groups of five to seven visitors.

In largescale painted plexiglass sculpture’s punctuated with diaristic narrative etchings, Raque Ford envelops her audience, folding their reflections into a material and emotional drama. Exploring narratives of black female identity through constant juxtaposition, Raque Ford’s work lives between abstract and personal, masculine and feminine, lightness and darkness, and timidity and aggression.

Ficus Interfaith is a collaboration between Ryan Bush and Raphael Martinez Cohen. As much a research initiative as a sculptural practice, Ficus Interfaith pursues projects that focus on their personal and collective interactions with the “natural” by way of relearning production methods that investigate ingenuity and novelty as it emerges from craft. Using terrazzo, a composite material consisting of leftover marble, glass, and other waste, used to make decorative floors since antiquity, Ficus Interfaith embraces the spirit of collaboration and reuse. In Noplace, the duo will present a terrazzo triptych depicting a fire overwhelming the hearth of a nonspecific domestic interior, its flames licking the frame of a generic landscape painting hanging overhead. Such works operate as metaphors for other worlds, and ultimately become portals with the potential to activate the viewer’s imagination in the present.

Devin N. Morris (b. 1986, Maryland) lives and works in Brooklyn. Morris was recently in The Aesthetics of Matter, the first NYC curatorial project by Deux Femme Noires: Mickalene Thomas and Racquel Chevremont. He was also featured in the New Museum’s MOTHA and Chris E. Vargas: Consciousness Razing—The Stonewall Re-Memorialization Project, and the two-person show, Inside Out, Here, at La Mama Gallery, curated by Eric Booker (Studio Museum, Exhibition Coordinator). Morris is the founder of 3 Dot Zine, which is an annual publication that serves as a forum for marginalized concerns and recently hosted the Brown Paper Zine & Small Press Fair with the Studio Museum in Harlem and created a site-specific installation at the MoMA PS1 2018 NY Art Book Fair. His 2017 solo show at Terrault Contemporary was listed in Artforum as the “Best of 2017,” and he was named by Time Magazine in 2017 as one of “12 African American Photographers You Should Follow.”

Joel Dean (b. 1986, Georgia) lives and works in New York. He graduated from the School of the Art Institute of Chicago with a Bachelor of Fine Art in 2009. He is a recipient of the Ellen Battell Stoeckel Fellowship from the Yale University Summer School of Music and Art. His work has been included in exhibitions at Tatjana Pieters, Ghent; Prairie, Chicago; Cordova, Barcelona; Alyssa Davis Gallery, New York; Species, Atlanta; Bureau, New York; ISCP, New York; Weekends, London; MX Gallery, New York; Bodega, New York; and Jancar Jones, Los Angeles. He had his first solo exhibition in New York, The Fugitive, the Repeat Offender, and the Running Joke, at Interstate Projects in 2018.

Guadalupe Maravilla (b. 1976, San Salvador) currently lives in Brooklyn, New York, and Richmond, Virginia, where he is an Assistant professor at Virginia Commonwealth University. He received his BFA from the School of Visual Arts, and his MFA from Hunter College in New York. He is the recipient of numerous awards and fellowships including a Guggenheim Foundation Fellowship in 2019. His work is in the permanent collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; and the Institute of Contemporary Art, Miami. Additionally, he has performed and presented his work at the Whitney Museum of American Art, New York; the Metropolitan Museum of Art, New York; the Institute of Contemporary Art, Miami; Queens Museum, New York; The Bronx Museum of the Arts, New York; El Museo del Barrio, New York; Museum of Art of El Salvador, San Salvador; X Central American Biennial, Costa Rica; Performa 11, New York; Performa 13, New York; Shelly & Donald Rubin Foundation, New York; and the Drawing Center, New York, among others.

Raque Ford (b. 1986, Maryland) lives and works in Brooklyn, New York. She received her BFA from Pratt Institute and her MFA from Rutgers Mason Gross School of the Arts. Recent solo exhibitions include My Biggest Fan, CAPITAL, San Francisco, CA; con•fi•dence, Williamson and Knight, Portland, OR; Karafun, The Fort, Brooklyn, NY; Carolyn, Shoot the Lobster, New York, NY; It’s All About Me, Forget About You, Species, Atlanta, GA; That Which We Call a Rose by Any Other Name Would Smell As Sweet, Soloway, Brooklyn, NY; and Raque, Welcome Screen, London, UK. Recent two-person and group exhibitions include Retrograde, Deli Gallery, Brooklyn, NY; Soul is a four letter word, Museum Gallery, Brooklyn, NY; and In Practice: Fantasy Can Invent Nothing New, Sculpture Center, Queens, NY. She is the recipient of the 2017 Louis Comfort Tiffany Biennial Award, was awarded a residency at the International Studio and Curatorial Program (Brooklyn, NY), and was a resident at S1 (Portland, OR). Ford will have a solo exhibition at Martos Gallery, New York in the fall of 2020.

Ficus Interfaith is a collaboration between Ryan Bush (b. 1990, Colorado) and Raphael Cohen (b. 1989, New York City). Their work has been the subject of solo exhibitions at Incident Report, Hudson, NY; Jack Chiles, New York, NY; Interstate Projects, Brooklyn, NY; Prairie, Chicago, IL; Proxy, New York, NY; among others. In 2018, they were artists in residence at 2727 California Street, Berkeley, CA and Shandaken: Storm King, NY. Ficus Interfaith will have a solo exhibition at Deli Gallery, New York in the fall of 2020.

To ensure the health and security of our community, P·P·O·W will be implementing enhanced safety measures in accordance with government regulations and city guidelines for reopening. With these concerns in mind, kindly note that we will be taking the following precautions:

- All staff and visitors will be required to wear masks. Masks and hand sanitizer will be provided for visitors at the front desk
- The gallery will admit a maximum of five visitors at a time and have a reduced number of staff on-site
- Prior to entry, visitors will be required to sign a log for contact tracing.
- The front desk will abide by a paperless policy. In lieu of physical copies, the exhibition press release, checklist and other details will be available via QR downloads
- All staff and visitors must maintain a social distance of no less than 6 ft

P·P·O·W
535 West 22nd Street, 3rd Floor
New York NY 10011
Tel: + 1 212 647 1044

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3. Anahí Cáceres, FF Alumn, now online

Finishing the first semester of 2020, we want to share the Annual Show of the Cátedra Anahí Cáceres,Universidad Nacional del Arte, which this time is virtual.
On April 15 we were going to open it at the Galley Pueyrredón of the UNA, but suddenly time stopped. In an instant we reached the most feared future, and suddenly learned a new format in everyday life.
"Un viaje del dato a la materia”(A trip from data to matter) is the name of our work, which proposes a truly solidary sense of technology, which has definitely prevailed in our lives.

https://www.youtube.com/watch?v=TNhxju70PdM&feature=emb_logo

see all the material produced in the Project:

http://www.arteuna.com/deldatoalamateria

http://www.arteuna.com/deldatoalamateria/Textos/Libro_deldatoalamateria_web.pdf

*Anahí Cáceres*
Fb Estudio Del Proyecto al barniz: https://www.facebook.com/anahicaceres.estudio/?ref=bookmarks
Blog A. Cáceres: http://www.anahicaceresarteuna.wordpress.com
Blog Cátedra Cáceres: http://www.catedracaceres.wordpress.com
Fb A. Cáceres: https://www.facebook.com/profile.php?id=100005498797910
arteUna: http://www.arteuna.com
Fb arteUna: https://www.facebook.com/arteUna?ref=hl

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4. Claire Jeanine Satin, FF Alumn, at The Library of Congress, Washington, DC, and more

The Mart Museum of Modern and Contemporary Art, an international institution, in Rovereto Italy is acquiring a work by Claire Jeanine Satin. The artist visited there in 2015 during the last of three artist residencies to Venice Italy.

In addition, the Library of Congress Rare Books and Special Collections has just purchased three additional bookworks from the artist. The Library is now one of the largest collections of my books in the country. Very happy and grateful for all this acknowledgement of my work.

My exhibition “From Concept To Creation: the Bookworks and Related Works of Claire Jeanine Satin”. Remains in the dark at The Jaffe Center for the Book Arts Florida Atlantic University Boca Raton Florida remains in the dark for the foreseeable future as the university sadly is closed.

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5. Joseph Nechvatal, FF Alumn, at Galerie Richard, now online

Galerie Richard / Kunstmatrix is presenting an online immersive exhibition of Joseph Nechvatal's Informed Men (1986-1987) https://artspaces.kunstmatrix.com/en/exhibition/1653891/joseph-nechvatal-informed-men

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6. Allan Schwartzman, FF Alumn, live online, July 15

Wednesday, July 15, 2020, 12pm (ET)

To celebrate the opening of Kazuo Shiraga: Tales of the Water Margin on FM Virtual, on-view July 15th through September 30th, we are pleased to invite you to a walk-through of the groundbreaking exhibition with Paul Schimmel and Allan Schwartzman on Wednesday, July 15th at 12pm (ET).

Featuring twenty-seven large-scale masterworks on loan from Japanese and American museum collections, that are titled after the Chinese literary classic, Tales of the Water Margin; the exhibition examines Shiraga’s life-long love of Chinese culture through some of his most iconic foot-paintings.

To register for the virtual walk-through, please click here: https://zoom.us/webinar/register/WN_x8xwPRVPQqO8SQE0CiBL7w

For information or questions, contact: virtual@fergusmccaffrey.com.

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Goings On is compiled weekly by Harley Spiller