Contents for November 7, 2016
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1. Martha Wilson, FF Alumn, at SOHO20 Gallery, Brooklyn, Nov. 15
2. Linda Stein, Martha Wilson, FF Alumns, at A.I.R Gallery, Brooklyn, opening Nov. 17
3. Ken Dewey, Jon Hendricks, Carolee Schneemann, FF Alumns, at IFC Center, Manhattan, Nov. 12, 16
4. Jacob Burckhardt, FF Alumn, at LOCAL92, Manhattan, Nov. 10
5. Stacy Scibelli, FF Alumn, at Field Projects, Manhattan, thru Dec. 10
6. Jay Critchley, FF Alumn, at The Smell, Los Angeles, CA, Nov. 11
7. Robert Galinsky, FF Alumn, at Rikers Island Jail, NYC, Nov. 9
8. Nicolás Dumit Estévez Raful, FF Alumn, now online at elmuseo.org
9. Peter Cramer & Jack Waters, Ishmael Houston-Jones, Sarah Schulman, FF Alumns, at St. Mark’s Church in the Bowery, Manhattan, Nov. 19
10. Joyce Cutler-Shaw, FF Alumn, at UC San Diego, CA, thru Jan. 4, 2017
11. Fred Wilson, FF Alumn, at the Brooklyn Museum, Nov. 12
12. Moya Devine, FF Alumn, at Women’s Museum of California, San Diego, Nov. 4-27
13. Robert Rauschenberg, Cathy Weis, FF Alumns, at WeisAcres, Manhattan, Nov. 13
14. Rev. Billy, FF Alumn, in The Wall Street Journal, Oct. 25
15. Rachel Frank Zachary Fabri, FF Alumns, at BRIC, Brooklyn, opening Nov. 9, and more
16. Studio REV, FF Alumn, receives Sundance + Rockefeller grant, and more
17. Alvin Eng, FF Alumn, now online at https://vimeo.com/189958499 and more
18. Carolee Schneemann, FF Alumn, in The New York Times, November 4
19. Liliana Porter, Ana Mendieta, FF Alumns, at Art Basel, Miami Beach, FL, Nov. 30-Dec. 4
20. Shirin Neshat, Krzysztof Wodiczko, FF Alumns, in The New York Times, Nov. 4
21. Laurie Anderson, FF Alumn, in WSJ Magazine, Oct. 24
22. Eidia House, FF Alumns, at Plato’s Cave, Brooklyn, Nov. 19-Dec. 10, and more
23. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, Nov. 20
24. Terry Dame, FF Alumn, at Trans-Pecos, Flushing, Queens, Nov. 7
25. Bob Goldberg, FF Alumn, now online at https://washboardjungle.hearnow.com/
26. Penny Arcade, FF Alumn, at St. Ann’s Warehouse Dumbo, Brooklyn, Dec. 1-11
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1. Martha Wilson, FF Alumn, at SOHO20 Gallery, Brooklyn, Nov. 15
Don’t miss out on your chance to support SOHO20, and take home a fabulous artwork -purchase your tickets today!
For over 40 years, SOHO20 has been supporting the work of women in the arts, and we invite you to help us celebrate! Both an artwork auction and party, this event will be a celebration of our first, very successful year in the heart of the emerging Brooklyn art scene, and will also support our programming for the year to come.
Honoring
Martha Wilson
Tues. November 15, 2016
6PM – VIP Hour
7PM – Regular ticket entry
SOHO20 Gallery + Studio 10
56 Bogart Street, Brooklyn NY, 11206
Contact
benefit@soho20gallery.com
718-366-3661
Benefit Host Committee
Katya Grokhovsky, Carla Hernandez, Lucy Hodgson, Dena Muller,
Nana Olivas, Rachel Steinberg, Harry J Weil
Thank you to Studio 10 for hosting us, and to The Lagunitas Brewing Company
and
Here are a few of the sites where you’ll find the Martha Wilson / Fresh Art International podcast episode:
Fresh Art International
http://www.freshartinternational.com/2016/11/03/martha-wilson-on-political-performance-art/
Twitter
https://twitter.com/freshartintl
Facebook
https://www.facebook.com/FreshArtInternational/
Instagram
https://www.instagram.com/freshartintl/
iTunes
https://itunes.apple.com/us/podcast/freshartinternational/id499581084
SoundCloud
https://soundcloud.com/freshartinternational/martha-wilson-on-political-performance-art
Public Radio Exchange
https://beta.prx.org/stories/190628
Best regards,
Evelyne Zapata
Fresh Art International
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2. Linda Stein, Martha Wilson, FF Alumns, at A.I.R Gallery, Brooklyn, opening Nov. 17
Overlap: Life Tapestries
Curated by Vida Sabbaghi
November 17 – December 18, 2016
Opening Reception: November 17, 6 -8 p.m. and a post-reception conversation, 8-9 p.m.
DUMBO’s First Thursday Art Walk: December 1, from 6:00 p.m. to 8:00 p.m.
A.I.R. Gallery is pleased to announce Overlap: Life Tapestries, an exhibition curated by Vida Sabbaghi, which includes photos, fabric collage, clothing, video, paintings, and drawings. The artists-Alice Hope, Sascha Mallon, Michela Martello, Shari Weschler Rubeck, Bastienne Schmidt, Linda Stein, Martha Wilson, and Kumi Yamashita-imaginatively recreate the tapestry of their lives to diversify the narrative surrounding women and the art they produce, while mapping relationships between personal and public life. Women must continually tell their stories about the ways gender, race, and class discrimination overlap and intersect, and how this defines their lives.
Intersectionality, the theory underpinning this exhibition, acknowledges and considers the various facets of the artists’ identity. The originality in their work takes precedence and challenges the assumptions and stereotypes of female artists and the work they produce. The term ‘intersectionality’ was coined by Kimberly Crenshaw, a civil rights activist and a professor of law at UCLA and Columbia University Law School, to challenge the notion that a woman’s experience throughout her life is determined solely by her gender. Crenshaw eschews the single issue approach to an individual’s identity (e.g., race only, gender only, or class only), arguing that forms of oppression are experienced and enacted in multiple and often simultaneous ways. Gendered oppression, for example, cannot be separated from racism; they are inextricably linked.
Overlap Conversations on (un)Warping Sexism in the Arts
[A post-reception conversation on Thursday, November 17, 8:00 PM to 9:00 PM]
Overlap, the warp-systemic marginalization and the weft -intersecting identities, weaves a tapestry on visibility, validation, and artistry in a textural discussion on women and sexism in the arts, and the challenges and successes women artists experience today.
Questions to open the conversation:
How does sexism in the art world impact the curator and artist relationship?
How can feminist identity confront sexism in the art world?
How can awareness of intersectionality challenge marginalization in the art world?
How have current trends changed feminist underpinnings in the art world?
Conversants:
Vida Sabbaghi, Curator of Overlap: Life Tapestries
Karen Keifer-Boyd, Professor of Art Education & Women’s, Gender, & Sexuality Studies at Penn State.
Bastienne Schmidt, an award-winning photographer and artist.
Linda Stein, an American sculptor and feminist and founding president of the non-profit, HAVE ART: WILL TRAVEL! Inc. (HAWT).
Moderator, Martha Wilson-Founder and Executive Director of Franklin Furnace
CURATOR BIO
COPE NYC Founder and Director, Vida Sabbaghi is a curator, historian, designer, and educator with 15 years of experience in the arts. COPE NYC, provides an innovative approach to promoting social relations through art and design, community art projects, exhibitions, conferences, and round table discussions, and art education and art making for senior citizens centers, health and wellness centers, K-12 public and private schools, and post-secondary schools. Visit: www.aninclusiveworld.com and
http://www.airgallery.org/exhibitions/current/ for more information.
For all press inquiries, please contact; Roxana Fabius, Executive Director.
The gallery is wheelchair accessible.
A.I.R. GALLERY | 155 Plymouth St. | Brooklyn, NY 11201 | airgallery.org | info@airgallery.org | (212) 255 6651 | Wed – Sun 12-6pm
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3. Ken Dewey, Jon Hendricks, Carolee Schneemann, FF Alumns, at IFC Center, Manhattan, Nov. 12, 16
KEN DEWEY – THIS IS A TEST
Showtime:
Sat Nov 12, 2016, 7:00 PM | IFC Center (SOLD OUT)
Wed Nov 16, 2016, 9:45 PM | IFC Center (ticket sales are just now being made available for purchase online so if they are not being sold when you first try, please try again later – thank you).
Tickets: http://www.thekendeweyfilm.com/
Expected to Attend: Sally Williams; executive producers Suki Dewey, Ariane Dannasch, Christopher Dewey; subjects Carolee Schneemann Anthony Martin, Lee Breuer, Jon Hendricks, Prof. Andrew V. Uroskie, Leil Lowndes, Yvette Nachmias Baeu
WORLD PREMIERE An unheralded yet pivotal figure in the art world of the 1960s and ’70s, Ken Dewey was a visionary artist and iconoclast. In his too-brief career, he introduced sitespecific participatory happenings to audiences in Europe and America and supported other artists through his position at the New York State Council on the Arts. With unprecedented access to Dewey’s extensive archive, and through interviews with contemporaries like Carolee Schneemann and Don McLean, Sally Jean Williams cements his lasting influence on our cultural landscape.
Section:
Art + Design
Themes:
ArtsHistoryNYCPerformanceWomen Directors
Official Site: http://www.thekendeweyfilm.com/
Director: Sally Jean Williams
Producer: Sally Jean Williams
Cinematographer: Thorsten Thielow, Alex Hubert
Editor: Justin Redding
Music: Terry Riley, Don McLean, Odetta, Mahuia Bridgman-Cooper
Running Time: 90
Language: English, Swedish
Country: USA, New Zealand
Year: 2016
Please also visit The Ken Dewey Facebook Page for updates, here: https://www.facebook.com/KEN-DEWEY-This-Is-A-Test-563435340358877
SALLY WILLIAMS
KEN DEWEY – This Is A Test
Producer.Director.Writer
GERMANY. (+49) 15756622903
USA. (+1)9082498258
NZ. (+64)21715300
https://www.facebook.com/pages/Ken-Dewey/563435340358877?ref=hl
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4. Jacob Burckhardt, FF Alumn, at LOCAL92, Manhattan, Nov. 10
Come to a screening of a new music video!
NEW YORK, OR AMMAN, by Jacob Burckhardt and Fares Rizk
Produced by Fares Rizk
Camera and Editing By Jacob Burckhardt
Script and concept by Marisa Malone
Starring Fares Risk as Sultana,
Michael J. Burg, and Marisa Malone
At LOCAL92
92 Second Avenue, New York
Free Admission! Buy a drink!
Thursday, November 10
Screenings every half hour from 5 to 8PM
Sultana, a New York downtown celebrity, goes back to Jordan.
A love affair with her adopted city of New York where she can be herself, in contrast to her home country, Jordan .
Her relationship with her boyfriend of 21 years who keeps telling her he is straight.
Must she keep pretending to love girls for the approval of her mother and her siblings?
In New York harbor, her BFF surprises her with her boyfriend and tells her it is the land of opportunity, where all her dreams come true.
Wadi Rum, or 42nd street?
Lady Liberty, or Omar Sharif?
Knafe, or cappuccino?
NEW YORK, OR AMMAN!
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5. Stacy Scibelli, FF Alumn, at Field Projects, Manhattan, thru Dec. 10
Show #35: Julie spoke softly under her long skinny nose
Curated by Paulina Bebecka
Dates: November 3 – December 10, 2016
Opening: Thursday, November 3, 6-8 pm
Field Projects is pleased to present Julie spoke softly under her long skinny nose, curated from Field Projects’ recent open call by guest curator, Paulina Bebecka, Director of Postmasters Gallery. The exhibition features works by Sachiko Akiyama, Jayson Bimber, Amber Boardman, Margarida Correia, Julie Curtiss, Alexandra Evans, Scott Everingham, Nicasio Fernandez, Benjamin Lankton, Danielle Eliska Lyle, Shona McAndrew, Rebecca Ness, Catalina Ouyang, Kyle Petreycik, Cecilia Schmidt, Stacy Scibelli, Nathan Skiles, and Brian Sparrow.
Julie spoke softly under her long skinny nose. What is he saying?
Julie said softly under her long skinny nose. No clue. She was already tired. Tired and old. Memories of her young hopes have past and gone, only lingering about like a fleeting yet persistent stench of rot. And now this idiot on the television irritating her with complete nonsense! She would have a field day if she met him in person! That will never happen. He doesn’t know or care that she exists.
Julie’s brain is completely intact. Clear. Sharp. Full of plots and intrigues. Only tired. Tired of remembering to take the meds. Tired of feeding herself. Tired of having no one to speak to except the telephone company’s customer service rep, Janice, who is always pleasant. They talk occasionally. Julie always remembers to dial in; once a month actually. Janice always tells Julie about her three kids. It is a relief, a temporary one, but still a deep relief that there is a connection with a real live someone in Julie’s steadily depreciating life. The television doesn’t talk back.
Julie’s body is decrepit. That is where the stench comes from. The nurse comes in once a week with a sterile smile and strong arms. Julie doesn’t trust him. No, no. He once dared to ask her about her family! She pretended not to remember so she wouldn’t have to answer. But he helps her clean herself. He helps so she lets him in her apartment. Reluctantly. The lady in the hospital said she must listen to him. He is kind but she still doesn’t trust him and won’t listen to him. He looks too much like her second husband, her greatest love– the guy who she thought was so impressive but who turned out to be the biggest disaster of her life. He took and he lost everything of hers: Her house, her horses, her hopes. And he lost himself. If only they had lived somewhere else, away from poker and booze, if only she had been able to hold him tighter. If only she…she tortured herself with undeserved guilt. But he isn’t there. No one is. She is alone already for over thirty years. If only she knew she wasn’t the only one suffering from loneliness. If only she knew she is surrounded by it. But she doesn’t care much anymore. The idiot on TV entertains her basically. She wonders though how long it will take the nurse to find her smelly lifeless body after the day comes she finally parts from this lonely existence. How long will it take Janice to notice?
About the curator Paulina Bebecka is a New York City based an independent curator, director of Postmasters Gallery and co-founder of +ArtApp. Outside of the last 80 shows at Postmasters, Bebecka has also worked on over 40 contemporary art projects with institutions such as MoMA, The New Museum, Performa, ICP, Times Square Alliance, CUNY Segal Theatre, Socrates Sculpture Park, MoMA PS1, AICA, Public Art Fund, and The NYC Department of Parks and Recreation. Image: Shona McAndrew, Looking, Ink Jet print, 18 x 24″
Field Projects / www.fieldprojectsgallery.com / info@fieldprojectsgallery.com / 526 W 26th Street, #807 NY 10001 /
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6. Jay Critchley, FF Alumn, at The Smell, Los Angeles, CA, Nov. 11
Mobil Warming USA − go with the flow uncovers a secret, WikiLeaks hacked ExxonMobil project: Don’t Be Crude − H2O-I-L; Synthetic Water Made from Petroleum Presentation in water-starved California LOS ANGELES. Mobil Warming USA − “go with the flow”, has uncovered a secret, WikiLeaks hacked ExxonMobil plan, Don’t Be Crude: H2O-I-L, to create synthetic water from petroleum, announced CEO Jay Critchley, who will deliver a report in Los Angeles on November 11. The innovative technology is expected to increase the corporation’s profits. Reeling from an expose that it hid the link between carbon emissions and global warming for decades, ExxonMobil recently assured its stockholders that the global flow of fossil fuels would continue unabated. Climate change denialists are also very pleased with the news. “This is a radical technological breakthrough,” states an anonymous ExxonMobil executive, “Synthetic water will keep us profitable for generations to come. We’re no longer the problem, we’ve got the solution − a new liquid gold!” Mobil Warming recently issued a visionary proposal, Miami Beige − island of abandoned luxury, which envisions the waterfront Ocean Drive strip of Miami Beach, Florida as an exclusive island after expected sea level rise. Mr. Critchley will outline Mobil Warming USA’s dramatic findings, Don’t Be Crude: H2O-I-L and their broad political and environmental implications for water-starved California on Friday, November 11 at 8:00pm at The Smell, 247 S. Main St, Los Angeles. His talk is part of the Institute of Sociometry Fair, is EMANCIPATION, which runs from November 11-13, 2016.** Jay Critchley − artist, activist and entrepreneur − has founded numerous projects and corporations, including: NRC, Nuclear Recycling Consultants; IRS, International Re-Rooters Society; Old Glory Condom Corporation − “worn with pride country-wide”; and, TACKI, Tampon Applicators Creative Klubs In’l. Based in Provincetown, Massachusetts, this multi-media artist’s work and activism have traversed the globe, showing in Argentina, Japan, England, Holland, Germany, Columbia, France and Spain. His 2011 exhibition in Chelsea, NYC received key reviews in the New York Times, The New Yorker and the Village Voice. His movie, Toilet Treatments, won an HBO Award at Provincetown Film Festival. He has taught at the Museum School at MFA Boston, and has had residencies at: Harvard University; AS220, RI; Williams College, MA; Real Art Ways, Hartford; Milepost 5, Portland, OR; Fundacion Valparaiso, Majocar, Spain; and CAMAC, Marnay-sur-Seine, France. www.jaycritchley.com Critchley is founder and director of the Provincetown Community Compact, which integrates the environment, economy and culture, and sponsors the annual Swim for Life community building and benefit. The first museum survey of his work was held at the Provincetown Art Association & Museum, and at Florida Atlantic University, Boca Raton, FL in 2015/16. **The Institute of Sociometry: Born from the same 90’s Culture Jamming movement as The Yes Men, The Cacophony Society and The Church of the Subgenius, the Institute of Sociometry or is has accredited over 600 “special agents” from 23 countries. Sociometry as a title and term was literally picked out of a dictionary and co-opted by The Institute of Sociometry founder Peter Miles Bergman in 1995. is practices “guerrilla Sociometry” which is similar in focus to real Sociometry yet it in no way conforms to the rigorous demands of science or mathematics! Instead, is deploys strategies from: ‘Pataphysics, DADA, Fluxus, Situationism, Neoism, Immediatism, Psychogeography, and Ontological Anarchy. is EMANCIPATION – The Institute of Sociometry Art Fair 2016 Since 1996, The Sociometry Fair has followed the quadrennial schedule of the Presidential Elections moving to a new city and DIY underground venue each time. After over 20 years, is EMANCIPATION is the 6th Sociometry Fair. is EMANCIPATION is equal parts pseudo-science fair, rock festival, documentary screening and lodge convention with participants ranging from a Guggenheim Fellow to a local Los Angeles 1st grader. Participants document “guerilla Sociometry” – propaganda, documentary, pranks, armchair cultural anthropology and interventionist art – on science fair style tri-fold displays. Displays relate to the theme: “individuals and their relationship to groups”. is EMANCIPATION features work from over a dozen professional artists and non-artists alike, curated by Denver-based artist and Design Professor Peter Miles Bergman and Zoe Larkins, Curatorial Associate at the MCA Denver. Music at is EMANCIPATION is EMANCIPATION will feature two nights of experimental and avant-garde rock music at The Smell curated by LA musician Zach Lewis of Hex Horizontal and Prissy Whip. Hex Horizontal will headline Friday 11/11 with Oort Smog and Ted Byrnes. Nocturnal Habits, the new band from Unwound front man Justin Trosper, will headline Saturday 11/12 with Qui and Traps PS. The Smell, an all-ages DIY venue and local legend, recently avoided demolition because of widespread public outcry from the local underground music community. Learn more here: http://laist.com/2016/08/23/smell_wont_be_demolished.php ### Contact: Peter Bergman // miles@sociometry.com // 312.731.6301 Jay Critchley reroot@comcast.net www.jaycritchley.com Full schedule of exhibition and music: http://www.sociometry.com/wpsb/?p=2674
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6. Robert Galinsky, FF Alumn, at Rikers Island Jail, NYC, Nov. 9
Galinsky hosts a live series of performers, including some Rikers Island inmates, with special guests: Cuban Jazz Artist Ray Santiago, DJ CherishTheLuv and SmaxMusic.com. The show is in celebration of Latin History Month. The show is intended to hi-light the archive of Ray Santiago as well as traditional Salsa. DJ Cherish spins beats, occasionally underscores, and SmaxMusic keep rhythm on guitar and jembe while Galinsky improvises poetry and curation of performers from the audiences and crowd.
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7. Nicolás Dumit Estévez Raful, FF Alumn, now online at elmuseo.org
Three Q&As between Nicolás Dumit Estévez Raful and: Ayana Evans, Jessica Lagunas, and Karina Aguilera Skvirsky. These interviews discuss the experiences of three of the artists part of Back in Five Minutes, the residency that Estévez Raful launched with El Museo del Barrio as part of his project Office Hours (2014)
http://www.elmuseo.org/back-in-five-ayana-evans/
http://www.elmuseo.org/back-in-five-jessica-lagunas/
http://www.elmuseo.org/back-in-five-karina/
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9. Peter Cramer & Jack Waters, Ishmael Houston-Jones, Sarah Schulman, FF Alumns, at St. Mark’s Church in the Bowery, Manhattan, Nov. 19
Peter Cramer and Jack Waters (Allied Productions, Inc.) in conversation with Sarah Schulman, Alex Fialho, and Ishmael Houston-Jones, moderated by Jaime Shearn Coan. LOST: East Village Ethos: a conversation about how local values and sensibilities historically defined by immigrant and artistic communities informed a “downtown” response to the AIDS pandemic in the 1980s/90s.
In the second of two long-form conversations contextualizing Platform 2016:Lost & Found, artists and curators revisit the community ethos of the East Village in the 1980s/90s and analogous networks of artists and activists today, in an afternoon interspersed with performance. In search of an intergenerational discussion around artistic influence, portraiture, and performed history, Lost & Found has provided four performers with “dossiers” consisting of images, flyers, biographies, documentation, and other ephemera to explore the act of reconstructing, or responding to, the life, work, and mythology of artists who have passed away.
Danspace Project’s Platform 2016: Lost and Found.
November 19th. @ 1:30pm.
St. Mark’s Church in the Bowery
131 East 10th St. (Enter on 11 St. due to construction)
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10. Joyce Cutler-Shaw, FF Alumn, at UC San Diego, CA, thru Jan. 4, 2017
The work of Joyce Cutler-Shaw, FF Alumn, in in Artists and Language, an exhibition at University of San Diego, CA, thru Jan. 4, 2017.
The UC San Diego Library pays tribute to the university’s stellar Visual Arts Department on its 50th anniversary, with three rich and diverse exhibitions reflecting the amazing creativity and innovation achieved by faculty and students over the last five decades. The Library’s Special Collections & Archives and Collection Development & Management programs have collaborated with the Visual Arts Department and the UC San Diego Faculty Club in presenting the following exhibitions:
“Artists & Language: Celebrating 50 Years of UC San Diego’s Visual Arts”
October 24, 2016 – January 4, 2016; Geisel Library, 2nd (main) floor
Program & Reception: November 4. 3-5 pm, Geisel Library, Seuss Room
Original works of art, artists’ books, and unique archival pieces from Special Collections document the intersection of art and language in the works of faculty and graduates of the Visual Arts Department. Examining the myriad ways UC San Diego artists have embraced language as a part of their art practices, demonstrating how Visual Arts has become a leader in the development and advancement of contemporary art.
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11. Fred Wilson, FF Alumn, at the Brooklyn Museum, Nov. 12
Avant Museology
A two-day symposium
November 11-12, 2016
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
United States
Taking its cue from the recently published book Avant-Garde Museology-edited by Arseny Zhilyaev, published by e-flux, and distributed by the University of Minnesota Press-the symposium will address the memory machine of the contemporary museum vis-à-vis its relationship to the current artistic practices, sociopolitical contexts, and theoretical legacies that shape and animate it. Where the museum may have once been a mere container for objects and ephemera, the mutability of the contemporary museum has facilitated the apparently seamless absorption of its own complex histories and paradoxical political and socioeconomic functions and ideas. It asks the question: can contemporary museology be invested with the energy of the visionary and political projects contained in the works that it circulates and remembers?
Friday, November 11, 6-9pm
Boris Groys: The Art Museum and Its Discontents
There is a long history of discontent regarding art museums. This discontent could be related to the main promise of the museum: to protect artworks. In response to this promise, people usually think that there is 1.) too much protection for art; and 2.) not enough protection for art. Most often, these two responses become intertwined. Though this may seem paradoxical, the art museum is nonetheless regularly criticized for being simultaneously too protective and not protective enough.
Liam Gillick, Anne Pasternak, and Nancy Spector
Liam Gillick will moderate a discussion between Anne Pasternak and Nancy Spector-who are both relatively new to the Brooklyn Museum-about reconciling progressive, community-based projects or collaborative, experimental exhibitions with the reifying effects of a major art museum. Topics will include the exhibition theanyspacewhatever at the Guggenheim Museum in 2008, which brought together a group of artists who had worked together and separately since the early 1990s but who had not yet exhibited collectively within the constructs of an institutional environment. What is lost and what is gained when collaboration is dictated by an organizing entity? Similarly, the question of translation will be applied to many of the itinerant, social practice projects of Creative Time. Is there a space for such outreach in an encyclopedic museum?
Hans Ulrich Obrist
Classical, traditional exhibitions emphasize order and stability. But in our own lives, in our social environments, we see fluctuations and instability, a plethora of choices, and limited predictability. Alexander Dorner, who ran the Hannover Museum in northern Germany in the 1920s, defined the museum as an energy plant, a Kraftwerk. He invited artists such as El Lissitzky to develop new and dynamic displays for what he called the “museum on the move,” where exhibitions would be in a state of permanent construction, and where the viewer could permanently create-and question-his or her own history.
Anton Vidokle: Immortality and Resurrection for All
Anton Vidokle will present part of a new film based on Russian Cosmist philosopher Nikolai Fedorov’s c. 1880 essay “The Museum, Its Meaning and Mission,” which is included in Avant-Garde Museology. Starring members of the present-day Fedorov Library in Moscow, as well as Arseny Zhilyaev, the film was shot last winter at the State Tretyakov Gallery, the Moscow Zoological Museum, the Lenin Library, and the Museum of Revolution. Entitled Immortality and Resurrection for All, the film is an artistic interpretation of Fedorov’s universal museum, where immortality and resurrection will be actualized.
Saturday, November 12, 11am-8pm
Arseny Zhilyaev
The editor of Avant-Garde Museology reflects upon the main conclusions drawn from his research for the book. Today many contemporary artists uphold the historical avant-garde’s negative attitude toward the museum as an institution for maintaining the class enemy’s order of things. In 1917, with the new social agenda of the Russian Proletarian Revolution, art was transformed from a bourgeois ghetto into a means of production in the service of a new communist society and a new human. Marxist museology appeared to provide a possible solution to the dilemma the historical avant-garde posed to artistic institutions. The display methodology and concept of the post-revolutionary museum drew closer to historical materialist practice, even echoing a number of avant-garde principles. According to Zhilyaev, the final stage in establishing museology as a means of production and a medium for social and human development is best described by the philosophy of Russian Cosmism, which envisioned the museum of art as the ultimate frontier for human expression-based not on social or physical contradictions, but on overcoming any limits imposed by nature or Earthbound political or economic orders.
Molly Nesbit: Duchamp’s View
Marcel Duchamp was always considered by his peers to be the outlier, not part of any one avant-garde and yet setting the benchmarks by which the radicality of their work would be measured. On a few special occasions he designed installations for avant-garde exhibitions, but this was the exception, not the rule. In March 1961, Duchamp told a group of art students at the Philadelphia Museum College of Art that the great artist of tomorrow will go underground. In the draft for this talk, he used the French word maquis. The greater place of this resistance and Résistance can be seen throughout his work and measured empirically. In his own underground there was always already a politics casting its shadows over them all.
Nikolay Punin: The Dead-end of Bourgeois Art
A few years after the Soviet Revolution, some museologists began thinking about the role of art and the art museum in the new socialist society. If socialism is the most advanced society, then its art should be the best, while the art of previous epochs must be considered inferior and presented accordingly. Thus, in the early 1930s, Fedorov-Davidov organized several “Marxist exhibitions” in which pre-Revolutionary modern art was labeled “bourgeois” and “formalistic.” Soon after, works by Malevich, Tatlin, and Rodchenko were removed from the museum walls and gradually erased from collective memory. Meanwhile, primarily thanks to Alfred Barr, the Russian/Soviet avant-garde was promoted and exhibited in the West and became an important part of the modern canon. However, in Russia today there seems to be a rising question of how to reclaim and reinterpret this avant-garde heritage through a different narrative, which looks for its origins perhaps not so much in Cubism and Futurism, but rather in Fedorov and Cosmism.
Fred Wilson
Wilson will speak about Mining the Museum and other museum projects that he has created over the past twenty-five years, particularly focusing on the aspects of his installations that question the orthodoxy of meaning, subvert the systems of display, and/or reveal the denial within the museum. All of Wilson’s projects are inspired by observation, not premeditated intention. Projects may include ones the artist created at The Hood Museum of Art, The Ian Potter Museum of Art (Melbourne), The Seattle Art Museum, The Whitney Museum of American Art, Old Salem Museum, The Allen Memorial Museum of Art at Oberlin College, The Museum of Contemporary Art, Chicago, and others.
Lynne Cooke
What defines whose work is shown and collected in museums of modern and contemporary art today? In the 1930s, Alfred Barr argued that the work of self-taught artists, beginning with Henri Rousseau (who had no formal academic training), constituted a tributary or division within the narratives of modern art that he was then constructing at MoMA. Recently, a number of institutions, spurred on by the example and advocacy of well-established artists, are beginning to revisit this notion-albeit in substantially revised terms.
Kimberly Drew: CTRL + F ‘Black’
Drew, a.k.a. @museummammy, will talk about her blog Black Contemporary Art, diversity in museums, and the role of the digital institution in 2016.
Fionn Meade: Objects of Prohibition
Whether it’s Trostky’s bullet-riddled villa in Coyoacán, Mexico, Leonard and Virginia Woolf’s retreat house in Sussex, or the Nietzsche House in Sils-Maria, Switzerland, a trip to the preserved and thereby altered sites of truly significant creative production falls somewhere between the tourist cliché of encountering a time capsule and courting the uncanny. Both embarrassing and comforting to the visitor, equal parts homage and opportunism, the space of the house museum provides an uneasy model for considering the critical stagecraft of museology. By considering such examples as the Avant Garde Institute in Warsaw (home and studio to the artists Henryk Stażewski and Edward Krasiński), the late Decors of poet and artist Marcel Broodthaers, alongside additional contemporary artistic examples, Fionn Meade will look to the paradoxical testament of “avant house museology” for its capacity to question and disrupt the retrospective gaze.
Irene V. Small: Notes on the Lives of Art
Avant-garde practices have frequently asked how art might become life. What if instead we questioned the life of art itself? This presentation considers the work of Brazilian artist Hélio Oiticica, whose wearable Parangolés have long embodied a paradigm of art’s exit from the museum. Yet principles of another museum-a natural history museum where Oiticica worked while he conceived of the Parangolés-complexly condition both his own participatory proposition and the afterlives of his works. Excavating these principles suggests an alternate model of a museum: one that does not stand polemically between art and anti-art (or more crudely art and life), but functions as a space for the investigation of living things.
Bruce Altshuler
The e-flux publication of Soviet writings on museums reveals a largely unknown history, one in which such familiar themes as the museum-as-mausoleum and the socio-political use of institutions are presented within the framework of Marxism-Leninism. Focusing on a variety of exhibition strategies-from early twentieth century displays in Germany, the US, and Russia, through changing postwar conceptions of museum mission, to innovative exhibition-making in the 1990s-this talk investigates how particular museological ideas have been deployed for instrumental use in very different ideological contexts.
Juliana Huxtable
Closing presentation
Avant Museology at the Brooklyn Museum is the first part of a two-city symposium exploring the practices and sociopolitical implications of contemporary museology. Developed by e-flux in collaboration with the Walker Art Center, Minneapolis, the symposium culminates in a two-day program at the Walker Art Center on November 20 and 21.
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12. Moya Devine, FF Alumn, at Women’s Museum of California, San Diego, Nov. 4-27
Moya Devine will be showing Ce C’est Bon; On Sex,Love and Bruce Lee
Nightstand
Nov 4th-Nov. 27th
Women’s Museum of California
2730 Historic Decatur Rd.
#103
San Diego, Ca. 92108
619 233- 7963
womensmuseumca.org
VIP Reception Thursday Nov. 3, 6-9 p.m.
Public Opening Nov. 4, 6-9 p.m.
Pajama Party Nov. 17th, 6-8 p.m.
This exhibit is a sculptural installation of imagined bedside furnishings by artists of the Feminist Image Group (FIG). Inspired by the historic “Womanhouse,” the artists will construct and assemble an array of imagined bedside tables, lamps, and accessories to provoke and delight the viewer. The sculptures serve as metaphors exploring female narratives of wakefulness and sleep, dreams, domesticity, self-care, eroticism, birth, and death and offer viewers an original aesthetic experience with an invitation to interact with the art.
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13. Robert Rauschenberg, Cathy Weis, FF Alumns, at WeisAcres, Manhattan, Nov. 13
November 13, 2016 at 6:00pm – Cathy Weis Projects and Sundays on Broadway present a screening and discussion work by Robert Rauschenberg lead by Julie Martin. Martin will present films and film fragments that document the performances Robert Rauschenberg created in the 1960s: Pelican, Map Room II, Open Score, and Urban Round. The presentation will be followed by a discussion. All Sundays on Broadway events begin at 6:00 pm. Doors open at 5:45 pm at WeisAcres, 537 Broadway #3, New York, NY 10012. Seating is first come, first served. Keep in mind, this is a small space. Please arrive on time out of courtesy to the artists. Free admission. www.cathyweis.org
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14. Rev. Billy, FF Alumn, in The Wall Street Journal, Oct. 25
Follow this link for the complete illustrated article. Text only follows below. Thank you.
The Wall Street Journal
If Monsanto Loses Its Name, What Will Its Haters Have Left to Hate?
Bayer’s $57 billion offer means GMO haters must rethink their insults; ‘two devils’
By JACOB BUNGE
Updated Oct. 25, 2016
Bayer is offering $57 billion for Monsanto, and that means Billy Talen has some fiery new songs to write.
The co-composer of such tunes as “Monsanto is the Devil” and “Climate Change Blues,” Mr. Talen was hard at work on a recent Sunday night on a mournful-sounding composition called “The Merger Song.”
“Are we planting aspirin this spring?” Mr. Talen softly crooned, as other members of his choral group swayed along. “What does Monsanto-Bayer bring?”
Environmental advocates such as Mr. Talen have invested years, even decades, writing chants, printing T-shirts and composing songs to jab at Monsanto Co.-or “Monsatan” as some call the company-for the chemicals and genetically modified seeds it produces.
Monsanto’s September agreement to sell itself to Bayer AG, if approved by regulators and shareholders, is widely expected by analysts and investors to result in Monsanto’s name being minimized. Bayer executives said it is too early to say what names it will use.
Activists worry the new nicknames they themselves are kicking around for the combined entity, such as “Baysanto,” may not have the same ring, and some are changing their campaigns’ names, writing new tunes and rethinking their slogans.
“As a target, it’s going to be hard to replace,” said Doug Gurian-Sherman, director of sustainable agriculture at the Center for Food Safety, which advocates for labeling genetically engineered food ingredients.
In the Lower Eastside Girls Club of New York on the recent Sunday, “The Reverend Billy Talen,” as he calls himself, although he isn’t ordained, presided over the “Church of Stop Shopping,” an anti-consumerist environmentalist collective.
In a pompadour and white polyester suit, Mr. Talen, who said he makes his living off speeches, performances and donations, was rehearsing a cappella with his choir to hammer out the merger-song lyrics the group hopes to perform at rallies and other events around the U.S. and Europe.
Monsanto has long been a target of activists who claim genetically modified organisms, or GMOs, and associated pesticides are harmful to humans and the environment. GMO proponents reject such assertions, citing scientific research. The U.S. Food and Drug Administration has concluded GMOs are safe to eat.
“We’ve seen really clearly that when we have the opportunity to talk with people about the work we do, people can begin to understand the value of modern agriculture,” said Jesus Madrazo, Monsanto’s head of global corporate engagement. “A small number of people may never be interested in having a dialogue.”
A sale to Bayer would remove an annual rallying event for anti-Monsanto groups-the shareholder meeting. Some groups buy stock to gain access and personally berate Monsanto management.
Adam Eidinger, a founder of protest group Occupy Monsanto, was arrested at the 2014 meeting after blocking Monsanto’s suburban St. Louis headquarters with cars sporting giant fiberglass sculptures of grinning corn, sugar beet and soybean plants to represent GMOs.
Occupy Monsanto is discussing whether to change its name and may shift focus to agencies that regulate GMOs.
Mr. Eidinger said he is pondering a cowboy motif, modeled on HBO’s “Westworld” series. “We’re getting a posse together,” he said. “We’re going to go after the lack of protection from the EPA, the USDA and the FDA, and totally focus on government agencies.”
Food and Drug Administration spokeswoman Juli Putnam said the FDA doesn’t regard GMO crops to present any unique risks. The EPA said the USDA regulates GMO crops and that EPA scientists evaluate risks of pesticides, including some natural toxins produced by GMO crops, to protect public health and the environment. The USDA declined to comment.
The Organic Consumers Association, which for years has spearheaded a “Millions Against Monsanto” movement and arranged marches against the company, in September rolled out a new slogan, “Billions Against Bayer.”
The old name referred to the group’s roughly one million social-media followers, said Alexis Baden-Mayer, the group’s political director. For now, she said, “billions” refers to what she said is 2.5 billion impoverished food-production workers globally, including small-scale farmers.
The group probably will update its slogans and T-shirts lambasting Monsanto, she said, though Monsanto will “represent industrial agriculture for a long time.”
Activists have fitted cars with fiberglass sculptures, such as this one shown in 2012, to campaign against Monsanto and call for genetically modified food ingredients to be labeled.
Bayer executives are hoping for a reset based on positive feelings they say consumers have toward the Bayer-aspirin brand. Werner Baumann, Bayer’s chief executive, in a September address extolled Bayer’s “absolutely stellar reputation,” while lamenting Monsanto’s “very, very bad” image in Germany due to GMO mistrust.
Bayer spokesman Christopher Loder said: “Together with Monsanto, we look forward to open and meaningful dialogue with any group interested in working together to sustainably advance the next generation of farming.”
Anti-Bayer protester James Cook hopes the Monsanto deal will bring more allies his way. A beekeeper in Barrett, Minn., Mr. Cook in June loaded a flatbed truck with cartons containing 2.6 million dead bees, which activists stacked in front of Bayer’s U.S. agricultural headquarters near Durham, N.C.
The bees, deceased of what he said were natural causes, symbolized bee deaths that activists pin on insecticides Bayer makes. The Monsanto deal, he said, “is going to bring a lot more people together.”
Bayer said its insecticides, used at recommended levels, aren’t a threat to bees.
Mr. Talen’s Stop Shopping church knows it may have to move behind its traditional lyrics, such as these in “Monsanto Is The Devil,” the fourth track of its latest album:
“Monsanto is the devil, and the devil must be slain;
“The seed she’s not a logo, can’t kill her with your name…”
For the new merger song to carry the church into the Bayer era, Nehemiah Luckett, the Stop Shopping Choir’s music director, helped compose what he called a “haunting” melody.
The idea of a lower profile for Monsanto under Bayer’s ownership, he said, was “scary.”
Conveniently, Mr. Talen and many other Monsanto-haters have also protested the German company for its insecticides and other chemicals.
“Monsanto and Bayer have been our two devils, and suddenly the two devils are marrying each other,” he said. “We have to sing about this!”
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15. Rachel Frank Zachary Fabri, FF Alumns, at BRIC, Brooklyn, opening Nov. 9, and more
Hello friends,
Hope everyone is enjoying fall. I have a number of sculptures from my Rewilding series, as well as my newest Pattern for a Yurt piece and a video in this upcoming BRIC Biennial focusing on artists in Bed-Stuy and Crown Heights.
BRIC Biennial Volume II: Bed Stuy/Crown Heights
November 10, 2016- January 15, 2017
Opening Reception: Wednesday, November 9th, 7-9 pm
BRIC House
647 Fulton Street, Brooklyn (at Rockwell Place)
Lala Abaddon | Aisha Tandiwe Bell | Jen Bervin | The Black Lunch Table | Brooklyn Hi Art Machine | Brandon Coley Cox | Zachary Fabri | Rachel Frank | Aaron Gilbert | Asuka Goto | Phoebe Grip | Ilana Harris-Babou | Maria Hupfield | Sara Jimenez | Rachelle Mozman | Kambui Olujimi | Nkiruka J. Oparah | Rachel Ostrow | Macon Reed | sol’sax | Jakob Kudsk Steensen | William Villalongo
Also, pleased to announce my work will be included in the upcoming Sharpe-Walentas Studio Program publication of Artists to Artists, Volume 2, featuring work of program alumni from 2002-2016.
Happy fall and hope to see you at the opening!
Rachel Frank
http://www.rachelfrank.com
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16. Studio REV, FF Alumn, receives Sundance + Rockefeller grant, and more
SUNDANCE + ROCKEFELLER AWARD
We are thrilled to receive a New Frontier grant from The Rockefeller Foundation and Sundance Institute in support of our upcoming film series The CareForce One Travelogues, produced with Oscar and Emmy-winning filmmaker Yael Melamede (SALTY Features). Slated for release in Spring 2017, the series features Studio REV-‘s founder Marisa Morán Jahn and her son as they travel across America in the CareForce One searching for solutions to the nation’s care crisis. Along the way, they meet up with charismatic domestic workers, employers, and allies who are building a joyous and powerful movement to improve working conditions, win rights, and shift how America values care. We’re in the midst of shooting the pilot episode now – stay tuned for details!
INTERACTIVE MEDIA LAUNCH
Know-Your-Rights Audionovelas – Now in Portuguese!
When: Saturday, November 5, 2016 from 3:00-5:00pm
Where: Northeastern University School of Law, 65 Forsyth Street in Dockser Hall, Room 230 (Refreshments will be served!)
Join Studio REV-, Brazilian Worker Center, and NuLawLab as we launch our latest know-your-rights tool for and by domestic workers! Produced by Studio REV-‘s Anjum Asharia, the Massachusetts Domestic Workers’ Hotline is accessible at any time by any kind of phone. Featuring short and humorous audionovelas in Portuguese and English, the hotline informs Massachusetts-based domestic workers about their newly-won rights and connects them to vital resources and to the growing movement.
CONVENING
Platform Cooperativism at The New School and Civic Hall
When: Friday, November 11 from 1:00-3:00pm
Where: Wollman Hall, Eugene Lang College 65 West 11th St, 5th floor
Event sold-out but will be livestreamed
“Platform cooperativism” is an emerging movement for democratic governance and collective ownership on the Internet and a fairer future of work. It is a concrete, near future alternative to the on-demand economy; it reclaims humane principles like mutuality, sympathy, and solidarity by bringing together the rich heritage of cooperativism with 21st-century technologies. Studio REV-‘s Marisa Morán Jahn shares how high-touch, low-tech offline organizing with historically under-resourced communities can build excitement and awareness about a movement while introducing individuals to an advocacy pipeline where they can translate their personal story into a larger structural story about power.
ON VIEW NOW: EXHIBITIONS
Organized by El Museo del Barrio at the Robert Blackburn Printmaking studio, Paper Hotshots is a small exhibition featuring the work of 30 contemporary artists influenced by the traditions of comics and graphic novels. The CareForce joins other artists Chitra Ganesh, Rico Gatson, Elektra KB, and others in an exploration of science fiction, fantasy, and other alternative narratives.
Presented by Newspace and the Center for Contemporary Art and Culture at Pacific Northwest College of Art (PNCA) in Portland OR, Hidden Assembly is an exhibition curated by Yaelle Amir that explores how labor is rendered invisible – an effect heightened by the expanded tech field, global outsourcing, and the rise of precarious work. Featured alongside the CareForce video, interactive media, and prints are works by artists/art groups including Gulf Labor Coalition, Michael Mandiberg, Andrew Norman Wilson, Art Handlers’ Alliance of New York (AHA-NY), João Enxuto & Erica Love, and others.
OCTOBER SPOTLIGHTS
Kicking Butt at the MoMA
On October 22, 2016 at the Museum of Modern Art, we shared the stage with butt-kicking Latinx media-makers followed by Wikipedia Edit-a-thon: Arte y Cultura Latinoamericana, an event redressing the racial and gender disparities of online presence by inviting the public to create Wikipedia posts that historicize and lift up Latino-American cultural producers.
Media Literacy Workshop & Curriculum at the Seattle Public Library
On October 27-29, Bibliobandido (a story-eating bandit) terrorized the Seattle Public Library in search of juicy stories. Luckily, Studio REV- was onsite to facilitate a paper circuitry book making workshop at the Seattle Public Library! Check out this voice-synched animation featuring young author Ruby recounting her 20th unicorn story.
Studio REV-‘s work is made possible by Sundance institute, Rockefeller Foundation, Ms. Foundation, Creative Capital; the many supporters who contributed to CareForce’s campaign and Beacon Reader; The Fledgling Fund; NuLawLab at Northeastern University’s School of Law; Miller Innovation Fund; the National Endowment for the Arts; the Media Arts Assistance Fund, a regrant program of the New York State Council on the Arts, Electronic Media and Film, with the support of Governor Andrew Cuomo and the New York State Legislature administered by Wave Farm; and The MAP Fund, a program of Creative Capital, primarily supported by the Doris Duke Charitable Foundation. Previous funders include Tribeca Film Institute, Franklin Furnace, MIT Council for the Arts, and others. Our advocacy partners include The Urban Justice Center, Greater Boston Legal Services, MIT Open Doc Lab, MIT Center for Civic Media, and other pro-bono legal services organizations around the country.
Studio REV-
601 West 26th St., Ste 325 | New York, NY 10001
www.studiorev.org | hello@studiorev.org | (917) 902-5396
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17. Alvin Eng, FF Alumn, now online at https://vimeo.com/189958499 and more
Announcing a Video Adaptation of
“TABLEAUX VIVANT”
from THE IMPERIAL IMAGE
Now available for viewing on Vimeo at https://vimeo.com/189958499
Directed by HUGH HALES-TOOKE
Written by ALVIN ENG (from his play, The Imperial Image)
With MARIE CHRISTINE KATZ as Élisabeth Vigée LeBrun
Dramaturgy by WENDY WASDAHL
Costume WENDY WASDAHL & INA BERNSTEIN of INA
With thanks to Screaming Mimi’s
Playwright Alvin Eng and dramaturg Wendy Wasdahl proudly announce their collaboration with director Hugh Hales-Tooke for a video adaptation of “Tableaux Vivant” from Alvin Eng’s play, “The Imperial Image,” featuring Marie Christine Katz as Élisabeth Vigée LeBrun, court portraitist to Marie Antoinette.
The video is now available for viewing by clicking Vimeo
We hope you will take the time to view and share this 8-minute video, thank you!
The Imperial Image is a new dramatic triptych that explores how portraits of political leaders and royalty have come to hold a powerful place in societal structures and rituals. The triptych spans three different regions and eras beginning in Mughal era India. There, we see a tipping point interaction between Emperor Akbar and Basawan, a renowned Imperial Atelier artist. The second section is a monologue from Marie Antoinette’s court portraitist, Élisabeth Vigée LeBrun, in exile in the court of Catherine the Great in St. Petersburg. (Mme. Vigée LeBrun recently had a retrospective at the Metropolitan Museum of Art.) The play concludes with a re-imagining of the circumstances surrounding Shepard Fairey’s creation of the ubiquitous “Hope” poster for Barack Obama’s 2008 presidential campaign. Last month, The Imperial Image had its premiere public reading at Howl! Arts gallery in Manhattan’s East Village.
The Imperial Image is the third work of Eng’s Portrait Plays cycle of historical dramas about artists and portraiture. Three Trees, the first work, explores the haunting relationship between Alberto Giacometti and Isaku Yanaihara. The second Portrait Play, 33 & 1/3 Cornelia Street, dramatizes the fateful axis that forever bonded the legacies of urban legend, proto-Beat poet Joe Gould, and the celebrated New Yorker writer, Joseph Mitchell, through the powerful vortex of renowned painter Alice Neel’s groundbreaking portrait of Gould.
COMING NOVEMBER 18 @ 7 pm
THE CITY AS MUSE: Louise Nevelson’s New York
A book discussion with author Laurie Wilson,
“LOUISE NEVELSON: LIGHT AND SHADOW”
Friday, November 18th, 7 pm
City Lore Gallery, 56 East 1st Street, NYC (212) 529-1955
$5 on Eventbrite or citylore.org
Copyright (c) 2016 Alvin Eng, All rights reserved.
Our mailing address is:
Alvin Eng & Wendy Wasdahl
67 Hudson Street, Apt. 5A
New York, NY 10013
Add us to your address book
www.alvineng.com
Alvin.Eng8@gmail.com
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18. Carolee Schneemann, FF Alumn, in The New York Times, November 4
Carolee Schneemann
‘Further Evidence – Exhibit A’
PPOW
535 West 22nd Street, Chelsea
‘Further Evidence – Exhibit B’
Galerie Lelong
528 West 26th Street, Chelsea
Both through Dec. 3
Carolee Schneemann made her name in the 1960s and ’70s with performance pieces and videos that pushed contemporary limits of feminist and artistic expression. But her laserlike focus, aggressively personal material and volatile intensity have carried on across the decades. This first double show since PPOW and Galerie Lelong announced joint representation of the artist last year brings welcome light to a scattershot but vital selection of hits from the ’80s and the more recent past.
The highlight at Lelong is the 2009 multichannel video installation “Precarious,” which runs an obsessive, trance-inducing loop consisting of three stable wall-size projections and two more that bounce around the room. We see images of a cockatiel violently bobbing its head like a teenager at a concert. We also see Filipino prisoners in red uniforms doing synchronized dance routines; a dancing bear on a chain; and a frame of leafy branches, accompanied by the sound of rushing water, that quivers like an unattainable fantasy of liberation from this world or from the body.
But the stronger work is at PPOW, in particular, “Fresh Blood – A Dream Morphology,” the video of a 1983 performance. Here, Ms. Schneemann veers from the mind-bending difficulty of pushing back against power in the power structure’s own language (“Are we dreaming ourselves or dreaming the dreams of the men dreaming us?”) to the kind of bedeviled search for meaning that teeters between insight and a panic attack.
WILL HEINRICH
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19. Liliana Porter, Ana Mendieta, FF Alumns, at Art Basel, Miami Beach, FL, Nov. 30-Dec. 4
2016 Film: Art Basel announces details of its 2016 Film program in Miami Beach From November 30 through December 4, 2016, Art Basel will present a premier program of over 50 film and video works by some of today’s most exciting artists from North and South America, Europe, Asia and Africa. Selected from the show’s participating galleries by David Gryn, Director of Daata Editions and Artprojx, this year’s program will include ‘Muxima’, the first film by Chilean-born artist Alfredo Jaar, as well as a silent film about music by Christian Marclay and a new work by Liliana Porter. The program will also include short films by Edgardo Aragón, Ain Bailey and Sonia Boyce, Cabelo, Kudzanai Chiurai, Martin Creed, Keren Cytter, Kim Gordon, Rodney Graham, György Kovásznai, Rashid Johnson, Li Daiguo, Li Shurui, Jillian Mayer, Ana Mendieta, Haroon Mirza, Ara Peterson, Alex Prager, Anri Sala, Wilhelm Sasnal, Tromarama and Samson Young among many others. Screenings will take place both in SoundScape Park on the 7,000 squarefoot outdoor projection wall of the New World Center, as well as on dedicated touchscreen monitors within the Film Library at Art Basel’s show in the Miami Beach Convention Center.
‘Double Bill’ program will pair two film works that share similar themes or approaches to an intense musical score: Rita Ackermann (b. 1968) and Christian Marclay (b. 1955) on Wednesday, and Liliana Porter (b. 1941) and Alfredo Jaar (b. 1956) on Friday. Porter responds to contemporary issues with the 2016 work ‘Actualidades / Breaking News’, which re-enacts newspaper stories through model trains and vintage toys.
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20. Shirin Neshat, Krzysztof Wodiczko, FF Alumns, in The New York Times, Nov. 4
The New York Times
ART & DESIGN
Hirshhorn Museum, Armed With $7.1 Million, Aims to Go Global
By GRAHAM BOWLEY
NOV. 4, 2016
The Smithsonian’s Hirshhorn Museum and Sculpture Garden. Credit Marge Ely for The Washington Post via Getty Images
The Smithsonian’s Hirshhorn Museum and Sculpture Garden on Friday announced additional steps in its effort to transform the national museum for modern and contemporary art into a more globally focused institution.
The museum – based in Washington – said it had appointed four new trustees to its 28-member board, including two from China and Australia, and that it had acquired works by international artists, including the video artist and photographer Shirin Neshat, who was born in Iran; the Polish artist Krzysztof Wodiczko; and Ed Atkins of Britain.
The Hirshhorn is currently presenting an exhibition of the work of the Icelandic artist Ragnar Kjartansson.
Melissa Chiu, who took over as director of the museum in 2014, said: “Contemporary art is a completely global and international phenomenon today. We are looking at the Hirshhorn playing a central role in that conversation about contemporary culture.”
The museum has raised $7.1 million through private fund-raising this year, which it described as the most it had ever raised in a single year. Ms. Chiu said the museum had turned to new sources of money from overseas, as well as donors in the United States.
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21. Laurie Anderson, FF Alumn, in WSJ Magazine, Oct. 24
The complete illustrated article is at this link:
http://www.wsj.com/articles/laurie-andersons-favorite-things-1477319586
text only follows below:
WSJ. MAGAZINE MAGAZINE – STILL LIFE
Laurie Anderson’s Favorite Things
The artist shares a few of her and her late husband Lou Reed’s favorite things
By LAURIE ANDERSON
Oct. 24, 2016 10:33 a.m. ET
“THE SWORD IN THE BACK was part of Lou’s weapons collection; he used it in tai chi martial arts. It’s very heavy-a medieval knight would have trouble picking it up. Lou would often get them on trips to China or Indonesia. To the right are my exercise balls-the silver one was invented by a physical therapist named Yamuna Zake. As soon as I step off a plane, I just roll on them, and it’s like having the best back massage ever. That’s my border terrier, Little Willie. We got him four and a half years ago after our dog Lolabelle died. He was picked out of a litter that was unfortunately named after the royal family: Kate, Harry and Will. But instead of William or Bill, he became Little Willie because that sounds more like a blues singer. In the middle of the framed photo is Lou’s grandmother, who was Polish. We don’t know about the other relatives in the picture. Lou designed those glasses in front, and Davide de Blasio, who is related to Mayor de Blasio, produced them in Naples. On the far left are the keys to my house and studio in New York. The small orange sculpture is a 3-D print of Lolabelle produced in 2012. It’s layers of powder fused together. The camera, a Leica M240, belonged to Lou. He was a really accomplished photographer, which a lot of people don’t know about him. In the back is Fred the holophonic head. We all live in an ocean of sounds, and holophonics is about trying to represent sound the way we actually hear it. Shortly before his death, Lou completed Lou Reed-The RCA & Arista Album Collection-released last month-a remastered anthology of 16 of his albums from 1972 to 1986. One of the things he was interested in during that period was holophonic sound. He was always experimenting with different ways to record. Remastering is a little like restoring a painting. You take off layers of stuff, and suddenly you hear the place where a track was recorded-the sticky fingers on strings, a shirt rustling against a guitar. People aren’t so used to that anymore.”
-As told to Thomas Gebremedhin
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22. Eidia House, FF Alumns, at Plato’s Cave, Brooklyn, Nov. 19-Dec. 10, and more
Plato’s Cave at EIDIA House
THE GHOSTS OF NOTHING (feat. FRANK J MILES) present
JOHNNY ON ICE
Saturday, November 12, 2016, 12:00 noon Trail Connector to the Appalachian Trail, Salisbury, Connecticut FREE & OPEN TO THE PUBLIC, free bus – info below – book in advance
Opening reception Sat. November 19, 2016, 6-8pm @ Plato’s Cave, 14 Dunham Place Bklyn, NY 11249
Exhibition: November 19 – December 10, 2016 Hours 1-6pm, Wed. – Sat. (or by appointment)
Plato’s Cave at EIDIA House
14 Dunham Place Brooklyn, NY 11249
646 945 3830 eidiahouse@earthlink.net
www.eidia.com/
http://platocave.weebly.com/
EIDIA House announces its continuing exhibition initiative PLATO’S CAVE, with the 25th artist(s) in the series, The Ghosts of Nothing (aka Sean Lowry and Ilmar Taimre) featuring Frank J. Miles in an unusual once-only offsite performance consisting of mime, music and poetic narrative at the edge of the Appalachian Trail in Connecticut.
This unique event forms part of a multi-year international project titled In Memory of Johnny B. Goode – World Tour. This “world tour,” produced by Australian artists The Ghosts of Nothing (aka Sean Lowry and Ilmar Taimre), consists of a series of brief mime-based performances developed in collaboration with performing artists around the world. Each scene within this strange expanded rock opera remedialized as mime consists of a five-minute performance presented once only in a different location. The tour commenced in 2014 and will conclude late in 2017. To date, scenes have been staged in Australia, Norway, and the USA.
This particular performance event is titled “Johnny on Ice,” and is number eight in a series of thirteen scenes altogether. We are delighted to confirm that this event will feature New York-based artist Frank J Miles. Having been involved with the project from the beginning, Miles performed in Scene 1 outside the former location of CBGB’s in on December 6 2014. (Video documentation of this and all performances to date can be viewed on The Ghosts of Nothing YouTube channel.)
The loose narrative thread that ties this project together is is thematically based around a bizarre allegorical repurposing of the fictional pop cultural figure of Johnny B. Goode anachronistically re-cast as the alienated artist/clown historically known as Pierrot. Each stage of the story is linked to a sequence of found images drawn from the iconography of the Pierrot/clown cultural constellation. In all public performance iterations, prototypical “cover song” associations are obliterated and sublimated to spoken texts made up of deliberately clichéd narrative fragments and thirteen “rondels” drawn from Pierrot Lunaire by Albert Giraud (1860-1929), presented in both their original French and in loose English (mis)translations by Ilmar Taimre.
We invite you to join us and follow the slow disintegration of Johnny. Scene by scene, Johnny sinks slowly into an ever darkening abyss of despair, drugs and self-destruction. As the title “Johnny on Ice” suggests, at this point Johnny has slipped beyond the point of redemption.
This performance will occur at 12:00 noon precisely on Saturday, November 12 on the Appalachian Trail near Salisbury, Connecticut. Meet at 11am the start of the Undermountain Trail (3 miles north of Salisbury, CT and just off Route 41 (there’s a dirt parking lot on the left hand side.) The Undermountain Trail is steep as it rises for 2 miles to meet the Appalachian Trial (wear walking shoes). We are aiming to stage the performance at noon near the large wooden trail sign where the Undermountain and Appalachian Trails meet. In the event of poor weather, the performance will take place near the start of the Undermountain Trail.
Driving instructions to Salisbury from NYC: https://www.google.com.au/maps/dir/New+York,+NY,+USA/Salisbury,+CT,+USA/@41.344423,-74.2972518,9z/data=!3m1!4b1!4m13!4m12!1m5!1m1!1s0x89c24fa5d33f083b:0xc80b8f06e177fe62!2m2!1d-74.0059413!2d40.7127837!1m5!1m1!1s0x89e77fa0838b986f:0xc3bf81a5e8b1a001!2m2!1d-73.4212318!2d41.983426
A small bus will be leaving from NYC at approximately 6.30am. Limited seating is available by emailing theseanlowry@gmail.com
For more information about The Ghosts of Nothing: www.ghostsofnothing.com Frank J Miles is the creator of Communitas: https://www.facebook.com/COMMUNITASFJM/
For PLATO’S CAVE, EIDIA House Inc. Co-Directors Melissa P. Wolf and Paul Lamarre (aka EIDIA) curate invited fellow artists to create an installation with (in some cases) an accompanying limited edition. EIDIA House functions as an art gallery and meeting place, collaborating with artists to create “socially radical” art forms-framed within the discipline of aesthetic research.
Contact Paul Lamarre or Melissa Wolf, 646 945 3830, email to: eidiahouse@earthlink.net www.eidia.com/ http://platocave.weebly.com/ Plato’s Cave at EIDIA House, 14 Dunham Place, Brooklyn, NY 11249
You have only 12 days left to see “THE BILL AND BETTY SHOW” at Plato’s Cave to Saturday, November 19, 2016,
1-6pm
Wednesday to Saturday
Plato’s Cave, 14 Dunham Place Bklyn, NY 11249
learn more here:
https://instagram.com/eidiahouse/
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23. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, Nov. 20
November 20, 2016 at 6:00pm – Cathy Weis Projects and Sundays on Broadway present Cathy Weis’ newest performance installation The Building Show featuring “her star performer”-The 537 Broadway building itself. The audience, like blood flowing through veins, moves from floor to floor where live performances take place in the rooms and hallways where SoHo history was made. Each night will feature special guest performers. Due to the popularity of this installation, space is limited! To reserve your place, email us at info@cathyweis.org. Please include your name, the date you will attend and the number of people in your party. Visit www.cathyweis.org for more information.
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24. Terry Dame, FF Alumn, at Trans-Pecos, Flushing, Queens, Nov. 7
Dear Friends,
I’m performing a set this Monday night, November 7th at the Radio Wonderland record release party. Radio Wonderland is the fantastic project of Joshua Fried, live sampling off the radio, spun into extremely danceable grooves on his rig of steering wheel and percussion shoes! You can check out his work here.
It will be an evening of election tinged creative sound making! Sonic soul soothing to help ease your election eve anxiety.
Here’s the details.
Radio Wonderland Record release with special guests
Trans-Pecos
9-15 Wyckoff Ave, NY 11385
http://www.thetranspecos.com/
https://www.facebook.com/events/185708471835503/
That’s all for now folks. Stay cool, thanks for supporting live original music and I hope to catch you soon.
Peace,
Terry
terry@terrydame.com
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25. Bob Goldberg, FF Alumn, now online at https://washboardjungle.hearnow.com/
At long last, the new Washboard Jungle album is here: SUNNYLAND! 18 songs – half of them originals, plus reinterpretations of Donovan, Ramones, Zep, Bill Monroe and the Modern Lovers, Hoosier Hotshots and more – recorded by 4 guys in three states with over 3 dozen instruments.
We hope to have a live release event for our fans in the NYC area sometime soon, but if you can’t wait, follow this link for CDBaby https://washboardjungle.hearnow.com/. Also it’s on Amazon and the iTunes Store!
“It won’t win the Nobel prize for literature, but it’s perfect for doin’ the Slack-Butt.” – McPaul Smith, independent reviewer
(album design by Stuart Cameron Vance)
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26. Penny Arcade, FF Alumn, at St. Ann’s Warehouse Dumbo, Brooklyn, Dec. 1-11
On December 1st thru December 11th Longing Lasts Longer , the show I improvised in 10 performances in front of audiences at Joe’s Pub 2014-2015 will have its American premiere at St Ann’s Warehouse Dumbo
After nearly 100 performances from The Abbey Theatre,Dublin to Speigeltent in Tasmania to Theatre Royal in Brighton UK to
Cultural Center Lublin Poland to the PowerHouse Theatre Brisbane to The Gronigen Festival Holland to The Edinburgh Festival
2017 marks for 48th year as an improvisor and actress and my 32 year creating and writing my own work
For over ten years I have only created works in progress in NY or been relegated to performing in a night club setting at Joe’s
Pub, all my productions have been mounted in Europe, the UK or Australia since 2004 so it is a BIG deal for me to be produced
at St Ann’s Warehouse in an actual theatre with a great lighting designer Justin Townsend
xoxo
penny
http://stannswarehouse.org/show/penny-arcade-longing-lasts-longer/
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Goings On is compiled weekly by Harley Spiller