Contents for November 20, 2017
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1. Barbara Rosenthal, FF Alumn, in Ragazine, now online
2. Liliana Porter, FF Alumn, at Johannes Vogt Gallery, Manhattan, thru Dec. 22
3. Galinsky, FF Alumn, at Gustavus College, St. Peter MN, thru Dec. 17
4. Susan Leopold, FF Alumn, at SVA Chelsea Gallery, Manhattan, opening Nov. 30
5. Guerrilla Girls, FF Alumns, in the New York Times, Nov. 14
6. Christo and Jeanne-Claude, FF Alumns, in the New York Times, Nov. 13
7. Carolee Schneemann, FF Alumn, in the New York Times, Nov. 13
8. Sol LeWitt, FF Alumn, at Fondazione Carriero, Milan, Italy, thru June 23, 2018
9. Judith Bernstein, Linda Montano, FF Alumns, at The New Museum, Dec. 2, 3
10. Lisa Moren, FF Alumn, at McKeldin Square, Baltimore, MD, March 31, 2018
11. Mona Hatoum, FF Alumn, at Alexander and Bonin, Manhattan, thru Dec. 22
12. Nicolás Dumit Estévez, FF Alumn, in Carribbean Sexualities, now online
13. Ron Ehmke, FF Alumn, in Buffalo, NY, Nov. 25
14. Lorraine O’Grady, Nicolás Dumit Estévez Raful, FF Alumns, at Museum of the African Diaspora, San Francisco, CA, thru Mar. 4, 2018
15. Jay Critchley, FF Alumn, in the Santa Fe New Mexican, now online
16. Verónica Peña, FF Alumn, at Stony Brook University, NY, Nov. 28
17. Doug Skinner, FF Alumn, now online at blackscatbooks.com
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1. Barbara Rosenthal, FF Alumn, in Ragazine, now online
A CRACK IN THE SIDEWALK, the bi-monthly column by Barbara Rosenthal (FF Alum) in “Ragazine,” is online for November-December, 2017: http://ragazine.cc/2017/11/a-crack-in-the-sidewalkbarbara-rosenthal/ Her topic this time is Journaling, the jumping-off point for which was the recent trove of materials brought to “La Repubblica” in Florence, by the Tuscan archeological society, which claimed that the envelope of bullets and 1967 photograph of Rosenthal and her family they unearthed while excavating a clandestine mountain munitions factory site, are linked to the Kennedy assassination. Barbara Rosenthal has kept now 77 volumes of Journals since she was 11, in 1959. The column explores the methods of such meanderings.
Barbara Rosenthal
http://en.wikipedia.org/wiki/Barbara_Rosenthal
http://www.barbararosenthal.org/
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2. Liliana Porter, FF Alumn, at Johannes Vogt Gallery, Manhattan, thru Dec. 22
Exhibition Liliana Porter-Ana Tiscornia ( works in collaboration) at Johannes Vogt Gallery N.York November 16 till December 22
“ACCOMPLICES: LILIANA PORTER & ANA TISCORNIA”
NOV. 16 – DEC. 22, 2017
OPENING RECEPTION: THURSDAY NOV. 16, 2017, 6-8 PM
Johannes Vogt Gallery is excited to feature “Accomplices,” a rare collection of collaborative works by Liliana Porter and Ana Tiscornia. In “Accomplices” we are presented with a world that borders on the line between fiction, reality, and representation. Both artists are widely recognized for their individual practices, however in what began as a happy photography accident (2004), Liliana Porter and Ana Tiscornia have through their collaborative efforts created an entirely new body of work. Porter and Tiscornia’s sharp wit creates something new through playful mischief.
Liliana Porter and Ana Tiscornia are accomplices not only in life but also in the life-long quest of art making. Their insatiable thirst for a deeper understanding of art is inspired by reciprocal critique, affirmation and day-to-day challenges. A sense of humor and wit accompanies all their interactions and creations. It seems like a natural progression to allow for a very specific synergy to happen between the two of them. Whilst accompanying each other in their individual paths as artists they have given themselves permission to enter a far more dangerous territory: becoming each other’s secret agent in completing works. In their “incognito” efforts neither one of them is wearing a mask, all accidents happen in bright daylight. Rather they become accomplices in teasing and pushing each other to unknown realms of art making. The resulting works reflect each other’s style very clearly but as in so many other cases one plus one is not just two, there is an added value, a surplus that could be described as the birth of another artist persona. “Lili-Ana” – if you will – combines the visual creations of Ana in painting, collage and sculptural assemblage with Lili’s figurines, painterly gestures, conceptual drawings and found objects.
“Accomplices” is Porter & Tiscornia’s first collaborative show with the gallery.
Liliana Porter & Ana Tiscornia Have shown their collaborative works in Relatos cómplices II (2017) at Galería del Paseo, Manantiales, Uruguay; Relatos cómplices (2016) at Galería Beatriz Gil, Caracas, Venezuela; Trabajos en colaboración (2012) at Galería del Paseo, Manantiales, Uruguay; Colaboraciones (2011) at Galería Casas Riegner, Bogotá, Colombia; Dialogue (2011) at Goya Girl Gallery, Baltimore; Diálogues and Solos (2006) at Point of Contact Gallery in Syracuse, New York; and Fictions and Other Realities (2005) at Georgia State University. Porter and Tiscornia created public artworks including Untitled with Sky (2010) a permanent installation of six faceted stained glass windows and sculptural seating at the MTA Scarborough Metro North Rail Station, NY, as well as Situations with Them at PS/IS 210 in Manhattan. Additionally, the artists worked together to produce three theatrical performances and five videos.
Liliana Porter was born in Argentina in 1941 and has been living in New York since 1964. She works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Recent solo shows include those at SCAD Museum of Art, Savannah, Georgia; Artium, Basque Museum Center for Contemporary Art, in Vitoria, Spain; El Museo Nacional de Artes Visuales in Montevideo; Museo de Arte Latinoamericano de Buenos Aires; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; Museo de Arte de Zapopan in Guadalajara, Mexico; Hosfelt Gallery, San Francisco; Espacio Minimo, Madrid; Sicardi Gallery, Houston; Galeria Ruth Benzacar, Buenos Aires; Barbara Krakow Gallery in Boston, MA. In 2017 Porter’s work was included in Viva Arte Viva, 57thBiennale di Venezia; Radical Women: Latin American Art 1960-1985, Hammer Museum, Los Angeles; Etre Moderne: Le MOMA a Paris, Foundation Louis Vuitton, Paris; Human Interest: Portraits from the Whitney Collection, Whitney Museum of American Art, New York. She debuted Domar al leon y otras dudas, her third theatrical production in June at the 2nd Bienal de Performance, in Buenos Aires, Argentina.
Ana Tiscornia was born in Uruguay in 1951 and has been living in New York since 1991. She engages several media in her practice including painting, sculpture, and installation. Her works have been exhibited in solo shows at Museo Gurvich, and Museo Blanes, in Montevideo; Galeria Nora Fisch, Buenos Aires; Josee Bienvenu Gallery, New York; Alejandra Von Hartz Gallery, Miami. Ana’s work was included in Jesualdo: la palabra mágica, Museo Figari, and Márgenes, Museo de Historia del Arte MUHAR, in Montevideo; Block Parts, Barbara Krakow Gallery, Boston; Doing and Undergoing, Columbia University, New York. She represented Uruguay in the II and the IX Bienal de La Habana, Cuba, and the III Bienal de Lima, Perú. Tiscornia is Emeritus Professor, State University of New York, College at Old Westbury, and was the Art Editor of Point of Contact – The Journal of Verbal and Visual Arts, distributed by Syracuse University Press. She writes for several specialized art publications and is the author of the book, “Vicissitudes of the Visual Imaginary: Between Utopia and Fragmented Identity”, published by White Wine Press in collaboration with Distrito Cuatro.
NEW Gallery Hours: Tuesday – Saturday 11am – 6pm and by appointment
For further details please contact Kai Mote at kai@johannesvogt.nyc or 212.226.6966
Johannes Vogt Gallery | 55 Chrystie Street, Suite 202 | New York, NY 10002
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3. Galinsky, FF Alumn, at Gustavus College, St. Peter MN, thru Dec. 17
Galinsky, FF Alumn, at Gustavus Anderson Theatre, Gustavus College, St. Peter Minnesota, November
Robert Galinsky, whose newest play “The Bench” just opened off-Broadway, will speak and coach students at Gustavus College during the final dress rehearsal and opening night of Our Country’s Good. He hopes to convey to Gustavus students that the youth he works with are really just regular people. During Galinsky’s visit he will participate in a talk-back (open to the public) following the performance opening night. Our Country’s Good runs at Gustavus’ Anderson Theatre November more info at 507-933-7590.
The Bench is currently running in Manhattan at Cherry Lane Theatre through December 17th. http://www.thebenchplay.com
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4. Susan Leopold, FF Alumn, at SVA Chelsea Gallery, Manhattan, opening Nov. 30
Hello!
I’m pleased to announce that I’m included in this alumni show at the SVA Gallery.
Street Smart: The Intersection of Art and Design in the City.
Location:
SVA Chelsea Gallery
601 West 26th Street, 15th floor
!! Opening Reception:
Thursday, November 30
6:00 – 8:00pm-Opening reception, free and open to the public.
The show is on view from November 18 – December 20, 2017
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5. Guerrilla Girls, FF Alumns, in the New York Times, Nov. 14
The complete illustrated article can be found at the link directly below. Text only follows further below.
New York Times
ART & DESIGN
An All-Woman Art Fair During Art Basel Miami Beach
By ROBIN POGREBIN
NOV. 14, 2017
Members of the Guerrilla Girls at a 30th birthday party for the group in 2015. They will exhibit four monumental billboards at an all-woman art fair during Art Basel Miami Beach. Credit Benjamin Norman for The New York Times
An art fair featuring only female artists where admission is free and nothing is for sale? These are the ways in which Fair. aims to challenge and upend the traditional commercial model during Art Basel Miami Beach this December.
The fair – to take place Dec. 7-10, the same dates as Art Basel Miami Beach, at Brickell City Center in Miami – will “address gender inequality in the art world and beyond, highlight activism in contemporary creative practices and inspire and empower women,” according to press materials.
Among those to be featured are the Guerrilla Girls, who will exhibit four monumental billboards; Yoko Ono, whose “Wish Tree” encourages viewers to attach their wishes to the branches; and Nathalie Alfonso, whose live performance is an incessant rhythm of washing away her own work, to highlight invisible labor.
The fair’s curators are Zoe Lukov, the director of exhibitions for Faena Art in Miami, and Anthony Spinello, a Miami-based curator who founded Spinello Projects, a gallery and production house. They describe Fair.’s three organizing principles as “fair market, fair play and fair trade.”
In a statement, Ms. Lukov called Fair. “just one more step forward in the dismantling of the patriarchy.”
A version of this article appears in print on November 16, 2017, on Page C3 of the New York edition with the headline: Free Art Fair in Miami Will Focus on Women.
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6. Christo and Jeanne-Claude, FF Alumns, in the New York Times, Nov. 13
The complete illustrated article can be found at the link directly below. Text only follows further below.
https://www.nytimes.com/2017/11/13/arts/christo-and-jeanne-claude.html
The New York Times
ARTS
Christo and Jeanne-Claude’s Wrapped Delights, Real and Imagined
By LIZA FOREMAN
NOV. 13, 2017
A drawing of a 1969 proposal to wrap the trees on the Champs-Élysées in Paris. The idea was rejected by the city authorities. Credit Eeva-Inkeri/Christo
BRUSSELS – In 1975, the artists Christo and Jeanne-Claude approached the civic authorities in Barcelona, Spain, with a plan to wrap the nearly 200-foot-tall Columbus Monument at the end of La Rambla boulevard. The artists, known for gigantic projects in which large structures are draped in cloth and trussed with rope, had already given their signature treatment to places such as the Museum of Contemporary Art in Chicago, a Roman-era wall in the Italian capital and a section of the Australian coastline.
“We worked with the mayor,” Christo said in a telephone interview from New York, recalling the proposal in Barcelona. “After two years, he said no. He was assassinated and killed. Not by us, but someone else. In 1981, there was another mayor. He said no. He was almost assassinated, but survived.”
“In 1984, we received a call from another mayor,” Christo added. “He said ‘please come and wrap it.’ We said we didn’t want to do it anymore. We lost the desire. In these projects, nothing is rational. They are whimsical and personal.”
The monumental works of Christo and Jeanne-Claude, his wife and artistic partner, who died in 2009, are the subject of an exhibition in the ING Art Center in Brussels called “Christo and Jeanne-Claude. Urban Projects,” which opened last month and runs through February 2018. As well as records and depictions of their large-scale projects, the exhibition includes more than a dozen ideas that were never completed – a tantalizing opportunity to imagine great works of art that never existed.
In addition to about 80 exhibits, there are over 100 photographs on display, mostly taken by the photographer Wolfgang Volz, a frequent collaborator with the artists. Dazzling and illuminated, Mr. Volz’s blown-up images rotate on LED screens, bringing many of the artists’ completed projects to life and transporting visitors to locations like New York; Sydney, Australia; and rural Japan. Included are their most famous works, “Wrapped Reichstag,” realized in Berlin in 1995, and “The Pont Neuf Wrapped,” in which they shrouded Paris’s oldest bridge in silky fabric.
The projects that never came to be are equally complex and fascinating, represented by detailed preparatory works including photomontages, drawings, collages and models. An early rejection was the National Gallery in Rome, which Christo prepared to wrap in 1967. A collage shows an artfully swaddled facade.
“The museum’s director nearly got permission,” said Patricia De Peuter, co-curator of the exhibition. It was not to be, but a year later, in 1968, Christo and Jeanne-Claude were able to realize their first wrapped building, the Kunsthalle in Bern, Switzerland. A model, a collage and a drawing by Christo show the plain-looking building transformed into something reminiscent of a finely draped Roman goddess.
Although they are only temporary, the projects cost millions of dollars to carry out. For the Reichstag, Christo and Jeanne-Claude had to raise $15 million, according to a spokesman from Christo’s office. “These projects have many dimensions,” the artist said, “like those required for urban planning of a bridge or skyscraper. Many people work on building them, like in construction. If you talk to an architect, you will see almost the same ratio of realized and not realized projects.”
Christo has lived in New York since 1964, and the exhibition has several models of projects for the city that were rejected, including ones for the Whitney Museum of American Art (at its old home on Madison Avenue, which is now the Met Breuer), a sculpture garden at MoMA, buildings at 20 Exchange Place and at 2 Broadway, and the former New York Times building at One Times Square.
Other unrealized plans on display include treatments of the Reformation Wall in Geneva; the Teatro Nuovo in Spoleto, Italy (rejected because of fire concerns); and the Ponte Sant’Angelo in Rome. A proposal to wrap the trees on the Champs-Élysées in Paris was turned down because the city authorities decided instead “to decorate the trees with electric Christmas lights,” according to the artists’ website.
Some ideas don’t die but find new homes, as the exhibition shows. A collage shows St. Stephen’s Green, a park in Dublin, which Christo said “was the perfect place for wrapped walkways,” an idea inspired by Japanese ceremonial gardens, which Christo and Jeanne-Claude first tried to create in 1969. “But we never succeeded,” he added. “Finally,” he said, “we found Kansas City,” and the idea came to fruition in Jacob L. Loose Park in 1978. The exhibition includes drawings and collages of the artists’ yellow paths, veering like a runway through the grass.
With that example in mind, could any of the rejected projects be revived?
“I would never go back to the skyscrapers in New York,” Christo said. “At the moment, I do not want to do buildings. There are some sites that I could return to. But I cannot tell you which ones now.”
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7. Carolee Schneemann, FF Alumn, in the New York Times, Nov. 13
The complete illustrated article can be found at the link directly below. Text only follows further below.
https://www.nytimes.com/2017/11/13/arts/design/carolee-schneemann-photographs-stolen-moma-ps1.html
The New York Times
ART & DESIGN
Valuable Photographs Are Stolen From MoMA PS1 – Then Mailed Back
By ANDREW R. CHOW
NOV. 13, 2017
Two photographs by Carolee Schneemann valued at $105,000 were stolen from MoMA
PS1 – and then returned in the mail.
The photographs were part of the current exhibit “Carolee Schneemann: Kinetic Painting.” The museum became aware that the photographs were stolen on Oct. 30. But four days later, the photographs were mailed back to the museum in a FedEx package, with no substantial damage or explanation, according to the New York Police Department.
On Sunday, the department released footage that it said showed a woman mailing a box containing the photographs from a shipping store in Williamsburg, Brooklyn, and asked for the public’s assistance in identifying the suspect. On Monday, a representative for the Police Department said that no arrest had been made, and that the motive for the burglary was unclear.
The exhibit is Ms. Schneemann’s first American retrospective and covers six decades of her art, including her early painting, experimental video work, photography and multimedia installations.
A representative for the museum declined to comment.
A version of this article appears in print on November 14, 2017, on Page C3 of the New York edition with the headline: Stolen Photographs Mailed Back to MoMA
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8. Sol LeWitt, FF Alumn, at Fondazione Carriero, Milan, Italy, thru June 23, 2018
Sol LeWitt
Between the Lines
November 17, 2017-June 23, 2018
Fondazione Carriero
Via Cino del Duca 4
20122 Milan
Italy
Hours: Monday-Saturday 11am-6pm
T +39 02 3674 7039
info@fondazionecarriero.org
fondazionecarriero.org
The Fondazione Carriero is pleased to present Sol LeWitt. Between the Lines, an exhibition curated by Francesco Stocchi and Rem Koolhaas and organized in close partnership with the Estate of Sol LeWitt.
One decade after the death of Sol LeWitt (Hartford, 1928-New York, 2007), Between the Lines aims to offer a new perspective on the American artist’s practice, exploring its confines-though always adhering to the underlying norms and principles of his ideas-and singling-out the most interesting moments of the method of investigation and the processes that may arise. With a considerable body of work spanning his entire career-from the famous “Wall Drawings” to series such as “Complex Form” and “Inverted Spiraling Tower,” up to the photographic project Autobiography 1980-and starting from the peculiarities of the rooms at the Foundation, the exhibition explores the relationship between LeWitt’s work and architecture.
Between the Lines is based on a powerful and innovative key to interpretation, aimed above all at reformulating the idea that a work must adapt to the architecture, thereby challenging the very notion of site-specificity. With the collaboration by the architect Rem Koolhaas-as a curator-in dialogue with the curator Francesco Stocchi, Between the Lines faces broad aspects of LeWitt’s oeuvre, with the ambitious goal of moving beyond the division that traditionally separates architecture and art history and which characterizes the artist’s entire body of work, aimed more at the process than at the final result, free from any aesthetic or idealist opinion.
The exhibition at the Fondazione Carriero stems from the desire to explore the confines of LeWitt’s work, considering his postulates as part of a new and freer system of verification, and to propose an encompassed approach to the artist’s oeuvre, characterized by emotion, adaptation and humor, as a living organism.
The exhibition is made possible thanks to a close collaboration with the Estate of Sol LeWitt and to loans from prestigious public institutions, like the Whitney Museum of American Art (New York), as well as important private collections, like the Collezione Panza.
The “Wall Drawings” on display at the Fondazione Carriero were executed in collaboration with young artists and students in Milan, under the close supervision of the Estate of Sol LeWitt
About Fondazione Carriero
Fondazione Carriero opened to the public in 2015, thanks to the great passion of its founder for art and his desire to share this passion with the public. It is a non-profit institution that joins research activities to commissioning new works for solo, and group exhibitions.
With the creation of a free venue open to everyone, the Foundation aims to promote, enhance, and spread modern and contemporary art and culture, acting as a cultural center in collaboration with the most acclaimed and innovative contemporary artists while also drawing attention to new artists or those from the past who deserve to be reconsidered. From a perspective that joins rediscovery and experimentation, investigations into any form of intellectual expression are joined with commissioning new works.
Casa Parravicini is an extraordinary place, enveloped in an impressive historical context. It is an intimate and private residence-museum where the public may discover and learn about the world of contemporary art in all its expressions: from painting to photography, sculpture to performance
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9. Judith Bernstein, Linda Montano, FF Alumns, at The New Museum, Dec. 2, 3
Linda Montano and Judith Bernstein with Margot Norton in conversation, 10am-11am Saturday, December 2.
7 GLANDETTES & 12 GLAND ANGELS explain Montano’s 7 Years of Living Art and her New Museum 7 year performance in the back window. 10 am -10:15.
For the entire day of “conversations” $5.00
Who’s Afraid of the New Now?:
40 Artists in Dialogue
December 2 & 3, 10 AM-8 PM
New Museum Theater
In celebration of the New Museum’s fortieth anniversary, an intergenerational group of forty artists will come together in conversation for this two-day event. Engaging in dialogue with each other, the artists will discuss an array of topics related to their practice, their history with the Museum, and beyond.
Participants include Paweł Althamer, Thomas Bayrle, Lynda Benglis, Judith Bernstein, Paul Chan, George Condo, Jeremy Deller, Cheryl Donegan, Carroll Dunham, Nicole Eisenman, Hans Haacke, Sharon Hayes, Mary Heilmann, Camille Henrot, Carsten Höller, Neil Jenney, Joan Jonas, Mary Kelly, Bouchra Khalili, Ragnar Kjartansson, Jeff Koons, Simone Leigh, Paul McCarthy, Donald Moffett, Linda Montano, Lorraine O’Grady, Raymond Pettibon, Elizabeth Peyton, Howardena Pindell, Faith Ringgold, Dorothea Rockburne, Martha Rosler, Allen Ruppersberg, Anri Sala, Doris Salcedo, Carolee Schneemann, Cally Spooner, Nari Ward, and more.
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10. Lisa Moren, FF Alumn, at McKeldin Square, Baltimore, MD, March 31, 2018
PRESS RELEASE
Launch of an Augmented Reality app: “NONUMENT 01:: McKeldin Fountain”
Presented by artists Martin Bricelj Baraga, Jaimes Mayhew, Lisa Moren and Neja Tomšič
LAUNCH EVENT:
Saturday March 31, 2018
McKeldin Square, Pratt + Light Street, Baltimore MD
On Saturday March 31, 2018 the artist group NONUMENT 01 launches Baltimore’s first public monument presented in augmented reality. A full-scale, 3D architecturally correct simulation of the controversial McKeldin Fountain will be available for free on Google Play and iTunes in February. The celebratory launch will take place at the original location of the demolished fountain at McKeldin Square, Pratt and Light Street in Baltimore’s downtown inner harbor. Artists and performers featured in the app will present interventions. Also, food, iPads and technical assistance will be on site.
App store launch date: February 1, 2018
Google Play: nonument01
iTunes: nonument01
Questions? Contact NONUMENT 01
nonument01.org
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11. Mona Hatoum, FF Alumn, at Alexander and Bonin, Manhattan, thru Dec. 22
Willie Doherty, Mona Hatoum, and Rita McBride at Alexander and Bonin, New York
BY BLOUIN ARTINFO | NOVEMBER 17, 2017
Alexander and Bonin presents Willie Doherty, Mona Hatoum, and Rita McBride at its New York venue.
The three-artist exhibition includes the works of Willie Doherty, Mona Hatoum, and Rita McBride. In this exhibit, Willie Doherty presents recent photographic and video works made along the US-Mexico border and on the outskirts of Pittsburgh. The images are taken near El Paso, and their titles allude to situations beyond what is visible in the photograph – to precarious conditions, uncertainty, and an escalating erosion of tolerance in the negotiation of frontiers and national boundaries. Mona Hatoum presents “SP Atelier,” an installation of drawings, embroideries, objects, and photographs gathered during a residency in São Paulo, and provides a rare view into the artist’s work process. This is a sample of materials and drawings of artworks proposed for her solo exhibition at Pinacoteca do Estado de São Paulo, Brazil. Rita McBride’s new works include “Guide Rails with Hubcaps” that take the form of white-washed split rail fencing in modular units, which direct the viewer’s eye to a cinematic tableau of six vintage hubcaps. A synergy is created by pairing these recognizable forms outside of their expected context, and exemplifies McBride’s practice of changing or subverting an object’s connotations.
Alexander and Bonin was established in 1995 by Carolyn Alexander and Ted Bonin with the primary purpose of representing and supporting the work of emerging, mid-career, and established international contemporary artists. Since its inception, the gallery has worked closely with museums and public institutions around the world, and has established a reputation for a rigorous and diverse programme. In 1997, Alexander and Bonin moved to a three-storeyed building in Chelsea, and in 2016, moved to its new location at 47 Walker Street in Tribeca.
The exhibition is on view through December 22, 2017 at Alexander and Bonin, 47 Walker Street New York, 10013.
For details, visit: www.blouinartinfo.com/galleryguide/285091/758257/home-overview
Click on the slideshow for a sneak peek at the exhibition.
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12. Nicolás Dumit Estévez, FF Alumn, in Carribbean Sexualities, now online
Amor Raro and Other Heart-Shaped Islands
A conversation between Nicolás Dumit Estévez and Arthur Avilés
This piece was recently published in “Caribbean Sexualities”
To read the full Q&A:
http://www.caribbeansexualities.org/2017/08/31/amor-raro-and-other-heart-shaped-islands/#more-395
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13. Ron Ehmke, FF Alumn, in Buffalo, NY, Nov. 25
For more information, contact: Ron Ehmke (ronehmke@roadrunner.com, 716-570-9999) or Paula Watkins (babayri@yahoo.com or 352-255-1541)
CHOOSE YER OWN ADVEN-TOURS presents
THE WORLD’S SMALLEST DISCO
Saturday, November 25, 2017, 8 pm till whenever
A pop-up dance party in downtown Buffalo (Specific location TBA on day of event)
Free Admission
For a few brief hours on the evening of Saturday, November 25, 2017, the most exclusive nightspot in downtown Buffalo, New York-if not the entire planet-will be a black 2016 Chrysler Town & Country van.
At 8 p.m. that evening, the World’s Smallest Disco will open its doors to an elite clientele: as many partygoers as can fit into the rear of the vehicle. “Dancing” may prove challenging for those lucky enough to make it past the velvet rope, as it is physically impossible for an adult human being to stand up on the “dance floor,” let alone do the Hustle, but the organizers are confident that generations of party people limbered up by years of yoga, Pilates, and bellying up to a crowded bar for an overpriced cocktail will be able to adjust to this minor limitation.
The immersive art experience is the latest micro-event conceived and executed by the team at Choose Yer Own Adven-Tours, masterminded by Western New York-based improvisational performers Ron Ehmke and Paula Watkins with assistance from a floating cast of accomplices. (In their best-known earlier collaboration, If You Love Buffalo So Much, Why Don’t You Marry It?, presented as part of the 2016 Buffalo Infringement Festival, Watkins and Ehmke performed a mass wedding of area residents to their beloved Queen City itself in the shadow of City Hall.)
The media-equipped van-a “performance truck” modeled on the current fashion for food trucks-will become the Choose Yer Own team’s mobile base of operations for several projects beginning in the Summer of 2018, for which the World’s Smallest Disco is intended as a bite-sized sneak preview.
The van-which should be hard to miss-will be parked as close to the entrance of the Buffalo Niagara Convention Center (itself boundaried by Pearl, West Mohawk, Pearl, and Franklin Streets) as possible. The specific location of the pop-up venue will be announced via social networks on the afternoon of the event. Portions of the proceedings will also be livecast via Facebook.
Admission to the World’s Smallest Disco will be free, and while a doorman/bouncer will use his discretion regarding occupancy, there will be no dress code. Would-be attendees of all sizes and shapes are welcome; brace for cold weather, prepare for a short wait to get in, and cancel all other plans, because if you miss out, the only sound you will hear is the world’s tiniest violin.
For more information, visit the World’s Smallest Disco event page on Facebook (currently https://www.facebook.com/events/154736448477067/ but a simpler URL will be forthcoming) or everythingrondoes.com.
Ron Ehmke
ronehmke@roadrunner.com
www.everythingrondoes.com
FB, YT, Twitter, Instagram: @RonEhmke
716-570-9999 (cell)
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14. Lorraine O’Grady, Nicolás Dumit Estévez Raful, FF Alumns, at Museum of the African Diaspora, San Francisco, CA, thru Mar. 4, 2018
En Mas’: Carnival and Performance Art of the Caribbean
September 20, 2017-March 04 2018
MoAD
Museum of the African Diaspora
685 Mission Street (at Third)
San Francisco, California 94105
EN MAS’ introduces performance art with a focus on the influence that Carnival and related masquerading traditions in and of the Caribbean and its diasporas have had on contemporary performance discourse and practice, in both the artistic and curatorial realms. Indeed, EN MAS’ takes into account performance practices that do not trace their genealogy to the European avant-gardes of the early twentieth-century but rather to the experiences of slavery and colonialism through to the mid-nineteenth century, the independence struggles and civil right movements of the mid-twentieth century and population migrations to and from the former colonial centers for most of the last century. EN MAS’ takes its title from a pun on “Mas'” (short for masquerade and synonymous with Carnival in the English-speaking Caribbean) and “mass” (as in the French colloquial “en masse,” meaning all together).
Throughout the 2014-2015 Caribbean Carnival season, EN MAS’ tracked nine artists -John Beadle,Christophe Chassol, Charles Campbell, Nicolás Dumit Estévez, Marlon Griffith, Hew Locke, Lorraine O’Grady, Ebony G. Patterson, and Cauleen Smith – as they engaged, transformed, or critiqued historical and contemporary Caribbean performance practices from Carnival in Santiago de los Caballeros, Port of Spain, Fort-de-France, Kingston, London and Brooklyn, to Junkanoo in Nassau and the New Orleans second line – or in their own imaginary cartographies and invented performance traditions. The resulting newly commissioned works took place according to different modes of public address and audience engagement including semi-private rituals at the margin of the festival celebrations and street processions in the midst of the carnival revelry.
EN MAS’ brings together material remnants or reconstitutions from the performances as well as photographic and filmic interpretations thus also presenting some of the best photographers, filmmakers and videographers working in the Caribbean today including Marvin Bartley, Arnaldo James, Marlon James, Raymond Marrero, Nile Saulter and Storm Saulter to name a few. A newly launched website hosted by ICI features individual artist pages where images, text, and media offer insights into the performances while tracking the exhibition tour.
The exhibition is accompanied by a publication entitled EN MAS’: Carnival and Performance Art of the Caribbean including critical essays by the exhibition curators, as well as Shannon Jacksonand Kobena Mercer, monographic texts by an array of cultural and art critics including Eric Bookhardt, Paul Goodwin, Thomas Lax, Nicholas Laughlin and Annie Paul and extensive illustrations, co-published by ICI and CAC, and distributed by D.A.P. This book is available for purchase in the MoAD Shop.
EN MAS’: Carnival and Performance Art of the Caribbean is an exhibition curated by Claire Tancons and Krista Thompson; organized by the Contemporary Arts Center (CAC), New Orleans and Independent Curators International (ICI), New York.
The exhibition is made possible by an Emily Hall Tremaine Exhibition Award. Additional support is provided by The Andy Warhol Foundation for the Visual Arts, and by the Institut français in support of African and Caribbean projects. The exhibition debuted at CAC New Orleans in spring 2015, and will tour through 2018.
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15. Jay Critchley, FF Alumn, in the Santa Fe New Mexican, now online
Here’s a followup piece from Santa Fe in The New Mexican: http://www.santafenewmexican.com/pasatiempo/art/time-is-on-their-side-santa-fe-art-institute/article_a544ecdf-54c6-530b-a453-0776ff39c11f.html
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16. Verónica Peña, FF Alumn, at Stony Brook University, NY, Nov. 28
Performance Art and The Search For Harmony
Artist talk by Verónica Peña
Staller Center for the Arts | Stony Brook University
November 28, 1pm
Please, follow this link for information about the talk:
http://art.stonybrook.edu/2017/10/17/alumnus-veronica-pena-awarded-the-jerome-foundation-franklin-furnace-award-for-emerging-artists/
VERÓNICA PEÑA is an interdisciplinary artist and independent curator from Spain based in the United States. Her work explores the themes of absence, separation, and the search for harmony through Performance Art. Peña is interested in migration policies, cross-cultural dialogue, and women’s empowerment. Recent works include participatory performances that create shared moments amongst strangers. Peña has performed in various countries around Europe, Asia, and America. In the United States, her work has been featured at Times Square, Armory Show, NYU’s Hemispheric Institute, Queens Museum, School of the Art Institute of Chicago, Grace Exhibition Space, Triskelion Arts, Defibrillator Performance Art Gallery, Momenta Art Gallery, Gabarron Foundation, Dumbo Arts Festival, and Consulate General of Spain in New York, amongst others. She is a recipient of the Franklin Furnace Fund 2017-18. She has published “The Presence Of The Absent”, a thesis about her body of work. She was a visiting artist at The School of the Art Institute of Chicago in 2016. She curates “Collective Becoming,” an initiative to make cities a place less hostile. She is currently at work on her new project about freedom, fear, and resistance, “The Substance of Unity.” http://www.veronicapena.com
Hosted by Prof. Lorraine Walsh and Prof. Nobuho Nagasawa, Department of Art, Stony Brook University.
Department of Art
Stony Brook University
2224 Staller Center for the Arts
Stony Brook, NY 11794-5400
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17. Doug Skinner, FF Alumn, now online at blackscatbooks.com
LONG LIVE LIFE is now available! It’s my seventh translation of the peerless French humorist Alphonse Allais, a favorite of Surrealists, ‘Pataphysicians, and astute readers everywhere!
This is the first publication in English of the master’s 1892 collection, VIVE LA VIE! – stories culled from the pages of the legendary Bohemian paper LE CHAT NOIR, packed with madcap (and bawdy) tales of love, adultery, the supernatural, military life, and fake news.
These texts are quintessentially Allaisian, spiked with absurd digressions, parenthetical asides, footnotes, puns, jokes, military jargon, Parisian slang, neologisms, dog Latin, literary quotations, and other unmentionable forms of wordplay. This special Black Scat edition features four additional short stories not included in the original French volume, as well as a lively introduction, illustrations, and fascinating notes on the text by Doug Skinner. Explosions of laughter guaranteed.
You can find it on Amazon, or from blackscatbooks(dot)com.
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Goings On is compiled weekly by Harley Spiller
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Franklin Furnace Archive, Inc.
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Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
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mail@franklinfurnace.org
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Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Dolores Zorreguieta, Program Coordinator
