Contents for November 30, 2020 (Scroll down for more information):
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1. Leah Aron, FF Fund recipient 2019-20, live online at the Franklin Furnace Loft, Dec. 9
2. Alicia Hall Moran, FF Alumn, named University of Miami, FL, Inaugural Chamber Music Artist-in-Residence
3. Lorraine O’Grady, FF Alumn, now online at hyperallergic.com
4. Stephanie Bernheim, FF Alumn, now online
5. Roberta Allen, FF Alumn, now online at https://www.exquisitepandemic.com/silence-death
6. Michelle Handelman, FF Alumn, live online, Dec. 3
7. Marisa Morán Jahn, FF Alumn, at Carehaus, Baltimore, MD, and more
8. Beverly Naidus, FF Alumn, now online at Women Eco Artists Dialogue
9. Jill Kroesen, FF Alumn, at The Kitchen, now online
10. Nicole Eisenman, FF Alumn, at The Contemporary Austin, TX
11. David Jelinek, FF Member, now online
12. George Bolster, FF Alumn, at Ulterior Gallery, Manhattan, Dec. 1-5
13. Nadja Verena Marcin, FF Alumn, at Centre d’Art Contemporain, Bourges, France, thru January 16, 2021, and more
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1. Leah Aron, FF Fund recipient 2019-20, live online at the Franklin Furnace Loft, Dec. 9
HEEL ON EARTH
December 9th, 2020 7pm to 8pm EST
In Heel on Earth, Leah Aron lets viewers into the dance practice she has adopted during Covid. Aron, who worked as a stripper in a bygone pre-Giuliani New York City, hadn’t danced in years when the pandemic hit. But in the privacy of isolation, she eschewed pandemic sourdough baking in favor of reclaiming her own body, hiring female dance teachers and learning routines in her Brooklyn apartment. At once a long durational performance for one, a refutation of an objectifying gaze, and a study in discipline and muscle memory, Heel on Earth invites its audience to witness the rebirth of a dancer, an anti-cam girl for the lockdown age. In collaboration with Mark Shaw. Choreography by Sophia Marrapodi and SassClass.
HEEL ON EARTH
December 9th, 2020
7pm to 8pm EST
PLEASE REGISTER AT THIS LINK: http://franklinfurnaceloft.org/heel-on-earth/
Featuring:
Leah Aron
Leah Aron is a New York-based performance artist interested in methods and aesthetics that are not traditionally associated with standards of perfection. The calamity of being female saturates her work. Aron’s body is her medium, often working with duration, repetition, movement, and stillness. Finding inspiration in her self-described surreal perception of moving through the world, she stages acts of desire and repulsion that unmask the power and trauma of identity. She holds a BFA from Tisch School of the Arts, Experimental Theater Wing.
Mark Shaw
A visual thrill-seeker and creative enabler, driven by a passion for experimentation, Mark Shaw, http://www.markshawstudio.com makes photos and videos that embrace intimacy, humor, and movement as emotional metaphor. Shaw works with filmmakers, musicians, and performing artists to document and burnish the fantastic into practical expressions.
Sophia Marrapodi
Hailing from Miami, Florida, Sophia has worked with Flo Rida, Red Rat, Guop Boys, and Pitbull and was featured in Kat Deluna’s video for Drop It Low. Sophia is a backup dancer for Kiesza and for Soave, 80s freestyle singer who has performed many times at Radio City Music Hall. Sophia teaches in New York City as well as internationally in Italy. She absolutely loves to dance – anytime she gets the chance to do it, she lights up! Her love for dance and performance is as strong as her love for people. She considers herself a perpetual student and trains in all style of dance. @sassclassnyc @sofire_dancer
This work was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council, the NYSCA Electronic Media/Film in Partnership with Wave Farm: Media Arts Assistance Fund, with the support of Governor Andrew Cuomo and the New York State Legislature, and The SHS Foundation.
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2. Alicia Hall Moran, FF Alumn, named University of Miami, FL, Inaugural Chamber Music Artist-in-Residence
Please visit this link:
Thank you.
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3. Lorraine O’Grady, FF Alumn, now online at hyperallergic.com
Please visit this link:
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4. Stephanie Bernheim, FF Alumn, now online
Wishing you a healthy, safe Thanksgiving.
On the lighter side.
http://thereinstitute.com/sub%20html/shows/4-28-20/00078%20artist.html
Stephanie Bernheim
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5. Roberta Allen, FF Alumn, now online at https://www.exquisitepandemic.com/silence-death
Exquisite Pandemic
https://www.exquisitepandemic.com/silence-death
Delighted to have 2 new amulet stories in this new literary magazine.
Amulet on the Island of Walapan begins:
His almost-wife held in her hand a piece of ‘nothing.’ At least that’s what her almost-husband
would have called it, had he called it anything at all.
Roberta Allen is a conceptual artist, fiction author and private writing instructor.
www.robertaallen.com
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6. Michelle Handelman, FF Alumn, live online, Dec. 3
Join us for a Conversation with Artist Michelle Handelman
Thursday December 3, 6:30PM EST
Presented in conversation with SNMA Executive Director HUNTER O’HANIAN Handelman will discuss the 25-year anniversary of her documentary film BLOODSISTERS: LEATHER, DYKES AND SADOMASOCHISM (1995), and her multiscreen installation IRMA VEP, THE LAST BREATH (2013) with Zackary Drucker and drag legend Mother Flawless Sabrina, both newly released by Kino Lorber.
About Michelle Handelman:
Michelle Handelman is a New York-based artist who creates large-scale moving image installations about the dark and uncomfortable spaces of queer desire. Coming up through the years of the AIDS crisis and Culture Wars, Michelle has built a body of work that confronts the things we collectively fear and deny: sexuality, death, chaos.
She is a John Simon Guggenheim fellow (2011); a Creative Capital awardee (2019); a NYFA fellow, and recipient of many other grants and awards. Her installation and performance project HUSTLERS & EMPIRES (2018) was commissioned by the San Francisco Museum of Modern Art, and her films have screened at festivals throughout the world including the Eli & Edythe Broad Art Museum, MIT List Visual Arts Center, PARTICIPANT, INC (NYC), signs and symbols (NYC), PERFORMA Biennial; The New York Film Festival at Lincoln Center; Leslie-Lohman Museum of Art, NYC (2015); The Henry Art Gallery (Seattle), AMP (Provincetown, MA), Guangzhou 53 Art Museum (China); and The Pompidou Centre (Paris) among others.
During the 1990s, Handelman was based in San Francisco where she collaborated with Monte Cazazza, a pioneer of the Industrial music scene; directed BLOODSISTERS: LEATHER, DYKES AND SADOMASOCHISM (1995), and performed in several films by Lynn Hershman-Leeson. Her work has been widely reviewed in Artforum, Art in America, Filmmaker Magazine, The New York Times, The Brooklyn Rail, and her work is in many collections including the Eli & Edythe Broad Art Museum, Kadist Art Foundation, Pigozzi Collection, di Rosa Foundation and Preserve; Zabludowicz Art Trust. She is a Professor in the Film, Media, and Performing Arts department at Fashion Institute of Technology. Learn more at michellehandelman.com.
Contact:
info@michellehandelman.com
Copyright © 2020, Michelle Handelman Studio, All rights reserved.
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7. Marisa Morán Jahn, FF Alumn, at Carehaus, Baltimore, MD, and more
Exactly a year ago, I began thinking about architectural solutions to the United States’ care crisis — a topic that has become all the more timely under the pandemic. Building off my collaborations with the National Domestic Workers Alliance beginning in 2011, I have since teamed up with MIT Associate Professor Rafi Segal, an architect who designs co-living spaces; real estate developer/urban planner Ernst Valery; and finance and healthcare expert Ellen Itskovitz to explore a new kind of intergenerational “care-based co-housing where where older and disabled adults live with caregivers and their families — along with 4 residents (e.g., chef/nutritionist, artist, nurse, and/or physical therapist).
In a Carehaus, caregivers and those who need care live in independent units clustered around communal spaces that enable shared meals, past times, relaxation, and more. The children and families of caregivers can socialize with older residents which in turn reduces the cost of childcare. Caregivers receive good wages, benefits, and build credit strength; older and disabled adults receive more quality care than they would normally be able to afford.
Our first Carehaus takes place in a historically divested neighborhood in Baltimore, bringing neighborhood stability and embodying our partner Ernst Valery’s motto of development without displacement.
In Carehaus’ five floors of shared spaces (see above), decorative motifs celebrate themes of care, racial and economic solidarity while functioning as “memory boxing” and wayfinding. I’ve been working out these motifs through silkscreen prints such as this set below honoring Clarisse Valery, a Haitian-American woman and the mother Carehaus’ third partner Ernst Valery. Clarisse’s sacrifice and selfless generosity anchored the immigrant community around her and enabled others to thrive. Motifs of tulips (symbol of love) and lioness (symbolizing family cohesion) will be echoed throughout Carehaus’ main first floor.
To ensure Carehaus Baltimore meets the needs of the local neighborhood and future residents, we’ve hosted multiple codesign sessions throughout Summer and Fall 2020 with domestic workers (nannies, housekeepers, caregivers), nurses, disability advocates, local neighborhood residents, and those with low vision. I’m now thrilled to share with you our design and keeping you abreast on our journey!
Exhibitions
May 22 – Nov 21, 2021 (Venice, Italy): Carehaus will be included in an exhibition titled “Open Collectives” led by Rafi Segal and Sarah Williams with collaborators Greg Lindsay and Marisa Morán Jahn at the 2021 Venice Biennale of Architecture curated by Hashim Sarkis exploring the theme “How Will We Live Together?”
Jan 15 – March 11, 2021 (Berlin, Germany), Carehaus will be included in Human Scale Remeasured, a group exhibition at AEDES Architectural Forum exploring the responsibility of architects, urbanists, activists, and economists to increase resilience and reduce resource consumption — from an individual to international scale.
January 7–August 15, 2021 (Chicago): Catch the Careforce One Travelogues at LatinXAmerican, an exhibition at DePaul Art Museum. Other artists include Tanya Aguiñiga, Candida Alvarez, Susy Bielak, Enrique Chagoya, Maria Gaspar, Gala Porras-Kim, Vik Muniz, Mario Ybarra, Jr., and others.
April 2021 (Houston, Texas): Curated by Steven Matijcio, the Blaffer Art Museum will feature aspects of Carehaus’ interior design, which I’ll create while serving as an artist in residence at the Cynthia Woods Mitchell Center for the Arts, a ground-breaking commissioning and presenting initiative based in the University of Houston Kathrine G. McGovern College of the Arts. Other artists in residence this year include Shaun Leonardo and Brandon Ballengée; previous recipients include Okwui Okpokwasili and Peter Born, Marc Bamuthi Joseph, SIMPARCH, Jeremy Deller, Center for Land Use Interpretation, and others.
Through mid 2021 (Durham, North Carolina): Curated by Alice Gray Stites for 21c Hotel Durham, “Gifts of Earth and Extimacy” is an installation by Marisa Morán Jahn and Rafi Segal imagining that Aphrodite, the Greek goddess of love and copper, has bestowed us three “gifts” that extend our digital, corporeal and libidinal selves.
Commissioned Performance
One part Fabergé egg, one part Busby Berkeley, “Cabaret” (April, 2020) was commissioned by Ten Tiny Dances, a dance performance festival that normally takes place on a 4 x 4 foot stage. Created while sheltering in place amidst a pandemic, Marisa Morán Jahn’s performance takes place in an even tinier stage — on top of her bathroom sink jerry-rigged with duct tape, a broken lawn table, paint, and clamp lights. Step inside into a sensuous, colorful atmosphere where mirrors multiply the syncopated movements of fingers, matching Busby Berkeley’s kaleidoscopic choreography. The multitude of fingers ‘perform’ the can-can, side step, and burlesque tease, invoking a desire for unison and intimacy. Throughout this short film, play and imaginative order enable a transcendence of the quotidian and chaotic. Curated by Karen Farber.
Carehaus Leads: Marisa Morán Jahn, Rafi Segal, Ernst Valery; CFO: Ellen Itskovitz; Carehaus Team: Alina Nazmeeva, Laura Cadena, Marisa Concetta Waddle, Paul Gruber; Additional Support: Adiel Alexis Benitez, Sarah Rege, Noa Machover
Studio: 432 Slate Hill Road, Chatham NY 12037
Email: hello@marisajahn.com
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8. Beverly Naidus, FF Alumn, now online at Women Eco Artists Dialogue
Please visit this link:
https://directory.weadartists.org/tacoma-wa-makeover/embed#?secret=vBhlALExSH
Thank you.
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9. Jill Kroesen, FF Alumn, at The Kitchen, now online
Jill Kroesen: Stanley Oil and His Mother
Now in the Video Viewing Room at
https://onscreen.thekitchen.org/media/jill-kroesen-stanley-oil-and-his-mother
Spotlighting the work of Jill Kroesen, this Video Viewing Room features a performance recording of her 1977 performance epic Stanley Oil and His Mother, along with related ephemera and an interview with Alison Burstein, The Kitchen’s Curator, Media and Engagement. As Kroesen describes it, the performance tackles the vast topics of “the history of the Western World and the lust for power” from evolution through the 20th century, calling attention throughout to “what was going on at that time in history, but also what was always the same… Nothing much got better. And then eventually everything was just a corporation. Which is still true in the world today.”
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10. Nicole Eisenman, FF Alumn, at The Contemporary Austin, TX
VIELMETTER LOS ANGELES
Nicole Eisenman
The Contemporary Austin – Laguna Gloria
Outdoor Sculpture Now on View
A work from Nicole Eisenman’s Procession, 2019, Man at the Center of Men, has been installed at The Contemporary Austin’s outdoor sculpture park, Laguna Gloria. This is the first public presentation of the bronze version of this sculpture; the plaster version was included in Eisenman’s Suzanne Deal Booth Prize exhibition at The Contemporary Austin, Sturm und Drang, and in the 2019 Whitney Biennial.
vielmetter.com
Copyright © 2020 Vielmetter Los Angeles, All rights reserved.
Vielmetter Los Angeles
1700 S Santa Fe Ave #101
Los Angeles, CA 90021
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11. David Jelinek, FF Member, now online
Please visit this link:
https://airmail.news/film-and-television/2020/11/old-school
Thank you.
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12. George Bolster, FF Alumn, at Ulterior Gallery, Manhattan, Dec. 1-5
NADA Miami
George Bolster
at Ulterior Gallery
172 Attorney St. New York, NY 10002
December 1-5, 2020
Ulterior Gallery is pleased to present works by Irish interdisciplinary artist George Bolster for the physical and digital versions of NADA Miami 2020 Art Fair. The in-person exhibition will take place at Ulterior Gallery, 172 Attorney St., New York, NY 10002 from December 1 through 5, 2020.
This NADA in-person presentation complements and is nestled within Bolster’s first solo exhibition at the gallery. After December 6, the installation will revert to Bolster’s solo exhibition, which is on view until December 20. This special presentation for NADA and the solo exhibition were carefully planned to reflect upon each other. Ulterior invites visitors to experience both presentations by the artist.
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13. Nadja Verena Marcin, FF Alumn, at Centre d’Art Contemporain, Bourges, France, thru January 16, 2021, and more
NADJA VERENA MARCIN
Even the rocks reach out to kiss you
Group show curated by Julie Crenn
Till Jan 16, 2021
Transpalette – Centre D’Art Contemporain
ANTRE PEAUX, Bourges, France
Even when the rocks reach out to kiss you is an Ecofeminist group show at Transpalette – Contemporary Art Center in Bourges, France curated by Julie Crenn and recently extended till February 21, 2020. The show features prominently Marcin’s performance-based photograph “Jedi”, shot on the archaeological site El Fuerte de Samaipata in Bolivia, which speaks to questions about the ideology of conservation, its underlying structures, defending of territory, female bodies, and psyche via performance art.
When I visited El Fuerte de Samaipata, the magnificent, prehistorical mountaintop site presented itself under a beautiful bright blue sky filled with endless puffy clouds slowly drifting against the horizon of time. At the entrance, however, a guarded visitor center threw me right out of my dreams and possibilities. Marked by a fence and an accumulation of signs with rules, it explained the battlegrounds of Western preservation. Bound to raised wooden walkways, below protected by armored guards, I was guided to walk on a predetermined path surrounding the magical rock which allowed for no further steps in its direction. No one could set foot close by nor on the top of the carved ceremonial rock other than the archeologists taking surface measurements to protect it from weathering and decay.
A genius loci that as early as AD 300 served the people of the Mojocoyas culture (later known as the Inca and Guarani) as a ritual and residential center, El Fuerte de Samaipata is nowadays reserved for science. The Ceremonial Center is a monolithic rock of red sandstone (220 meters long by 60 meters wide) carved with representations of animals, geometric shapes, niches, canals, and vessels of religious significance—laying bare to the eye but passé to life. Bolivian men of indigenous heritage proudly serve as guards of a site that is no longer theirs, forced into the norms and exercises of global conservation. The site remains a metaphor for how we experience the modern world: sterilized through distance with alien manifestations of images inside the digital ether, only representing semi-truths. The sensation of touching the surface is rendered impossible. With it, the natural and organic materials that we are all made from becoming forgotten too.
Here, it was just in the ’90s that youth pilgrimed to drink their first beer, whilst sleeping under an endless star-struck sky, to receive a destiny dream directing their lives. Here ended what spurred my ambition to refuge from reality into the sanctuary of fabulation, and, with it, into speaking to questions about defending territory, body, and psyche. My European female body as a site of ambiguous trajectories—privileged, colonial but exploited under the reign of the patriarchal domain. Becoming a female warrior to address this lack of kinds. There must have been some but they disappeared. If they didn’t exist, we have to re-invent them, to re-write history. Swinging a cactus sword that is stronger than iron. Defeating time. Making memory undone. Becoming Jedi, existing eternally at various times. Redefining territory from the past to the present. Shaping the future through the sky.
Nadja Verena Marcin, August 27, 2020
and
With artists Laëtitia Bourget, Donna Haraway, Balthazar Heisch, Suzanne Husky, ïan Larue, Nadja Verena Marcin, Annie Sprinkle & Beth Stephens, Tabita Rezaire, Lara Wonderland, Zheng Bo, and many others.
In 1972, the Meadows report entitled “Limits to Growth” was published and noted future depletion of resources and imminent dangers to the planet. The authors of the report advocated economic and demographic decline to preserve all of our ecosystems. Following the publication of this report in the United States and in Europe, Françoise d´Eaubonne, author and activist (1920-2005) realized an urgent need, that of linking feminist and environmental struggles. She spoke of ecofeminism in 1974. Because the planetary resources and the bodies of women suffer the same exploitation, the feminist activist calls for an economic, productivist, and demographic decrease. It calls for an uprising against the patriarchy (“the Male System”) and against the colonization of the collective imagination. It calls for an end to a productivist logic, for a profound change in our societies, for going beyond the struggle of the sexes in favor of taking into account living beings as a whole. Françoise d’Eaubonne’s thought is combined with those of essential activists and theorists: Wangari Muta Maathai, Maria Mies, Vandana Shiva, Starhawk, Ariel Salleh, Ynestra King, Susan Griffin, Donna Haraway, Ruth Nyambura, Emilie Hache, among others. Their actions and their writings constitute the foundations of the exhibition: ecofeminism is a tool for political action, a non-violent and protesting reflection aimed at a restorative mutation, at the affirmation of collective power and resistance. The political movement was born in a context of climatic, economic, and social emergencies. The current situation calls for visibility, greater accessibility of this thought which, on an artistic level, generates plural forms.
Le Transpalette
Centre D’Art Contemporain
24/26 route de la Chapelle
18000 BOURGES
tél. +33(0)2 48 50 38 61
and
Masterclass com Nadja Marcin
Cabíria – Festival & Prêmio de Roteiro
Rio de Janeiro | via Zoom
Portuguese & English
Nov 27, 2020 – 11 to 1 p.m. (GMT-3)
Join us via Zoom for the masterclass with artist and filmmaker Nadja Marcin on Friday, November 27, 2020, from 9 a.m to 11 a.m. EST. The 2-hrs class will be a dive into her creative process. She will elaborate on her projects in performance, photography, and film such as the performance “Ophelia”, presented on a world tour (2017-20), the short film and re-enactment of the classic “The Great Dictator”, and her experimental feature film “Pocahontas Returns”, among other works.
Aimed at creatives, screenwriters, directors, critics, actors, performers, visual artists, researchers, filmmakers in general, the master will address the development of ideas, their backgrounds, and historical and/or current references, as well as production situations or difficulties and their resolutions.
Lecture with consecutive translation to Portuguese from English.
Nadja Verena Marcin, born in Germany, is a performance artist and filmmaker who explores gender, history, morality, psychology, and human behavior through an intersectional analysis of feminism and emotional architecture in a theatrical and cinematographic context. Her works have been exhibited in different places in the world, such as the Fridman Gallery in New York; ICA Philadelphia; Garage Museum in Moscow; and ZKM Museum in Karlsruhe. She has been selected for a number of research grants, including the New York State Council for the Arts, Franklin Furnace, and Film – und Medienstiftung NRW. She has been awarded a Fulbright scholarship, holds an MFA from Columbia University, and has lectured at Wellesley College in Massachusetts as well as been invited as a critic at the International Center for Photography in New York. Her filmography includes more than ten shorts, and a feature film in the final stages.
Cabíria – Festival & Prêmio de Roteiro
18 – 29 November, 2020
Rio de Janeiro, Brasil
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Goings On is compiled weekly by Harley Spiller
