Contents for February 17, 2020 (Scroll down for more information):
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1. Arantxa Araujo, FF Fund recipient 2019-20, at Leslie-Lohman Project Space, Manhattan, Feb. 20 and more
2. Guadalupe Maravilla, FF Fund recipient 2018-19, at Knockdown Center, Queens, NY, March 14
3. Raul Zamudio, FF Alumn, now online at asiancurator.com
4. Brendan Fernandes, FF Alumn, winter news
5. Adam Pendleton, FF Alumn, now online in the New York Times
6. Jonathan Berger, FF Alumn, at Participant, Manhattan, opening feb. 23
7. ŠKART Group, FF Alumn, at Museum of Yugoslavia, thru March 2020
8. Rachel Frank, FF Alumn, at Field Projects, Manhattan, opening Feb. 20 and more
9. Rosamond S. King, FF Alumn, at New York University, Manhattan, Feb. 18, and more
10. Printed Matter announces Emerging Artists Publication Series recipients , Printed Matter announces Emerging Artists Publication Series recipients
11. Linda Montano, FF Alumn, at School of the Art Institute of Chicago, Feb. 27
12. Lorraine O’Grady, FF Alumn, at Isabella Stewart Gardner Museum, Boston, MA, thru May 19
13. Ree Morton, FF Alumn, at ICA, Los Angeles, CA, thru June 14
14. Dread Scott, FF Alumn, now online in The New Yorker
15. Penny Arcade, FF Alumn, at Pangea, Manhattan, Feb. 26-March 18
16. Barbara Rosenthal, FF Alumn, at Boddinale Film Festival, Berlin, Germany, Feb. 22
17. Paul Zelevansky, FF Alumn, now online at greatblankness.com
18. Mark Tribe, FF Alumn, at Gallery 8, Manhattan, thru March 8
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1. Arantxa Araujo, FF Fund recipient 2019-20, at Leslie-Lohman Project Space, Manhattan, Feb. 20 and more
lutxa is an immersive, socially-engaged, participatory, multimedia performance that seeks to reconnect with one’s self, and create a healthy cycle of interconnectedness, to understand our own self and our effect on our environment/others. It is an experimental practice tempting enlightenment and diminishing unnecessary suffering by recognizing (self-awareness) and fighting (lucha=lutxa) our reactive desires.
Concept by Arantxa Araujo
Performance by Arantxa Araujo
Video by Arantxa Araujo in collaboration with Wei Chao
lutxa was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation, The SHS Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council, and sponsored, in part, by the Greater New York
Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC).
lutxa presented at:
Leslie-Lohman Project Space
127B Prince St. NY, NY 10012
Thursday, 02.20.2020 at 7:30PM
Tickets: https://www.eventbrite.com/e/93384007079
Chashama Space to Present
1 Brooklyn Bridge Park
Friday, 02.28.2020 at 7:30PM
Tickets : https://www.eventbrite.com/e/93384007079
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2. Guadalupe Maravilla, FF Fund recipient 2018-19, at Knockdown Center, Queens, NY, March 14
Guadalupe Maravilla
Disease Thrower
March 14, 2020
Doors open 5pm, starts at 6pm
Knockdown Center
52-19 Flushing Ave
Maspeth, Queens, NY 11378
Free with RSVP
Facebook Event
Knockdown Center presents Disease Thrower, a new large-scale performance by Guadalupe Maravilla that draws from his autobiography to highlight the internalized effects that immigration and systemic abuse have on the body. Maravilla will transform Knockdown Center into an immersive site for new mythologies, storytelling, choreographed rituals, and healing. March 14th, 6pm.
Disease Thrower is commissioned by Knockdown Center and presented in partnership with The Chocolate Factory Theater. Commissioning support also provided by The MAP Fund. Support also provided by the Franklin Furnace Fund supported by Jerome Foundation, The SHS Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.
Eventbrite long: https://www.eventbrite.com/e/guadalupe-maravilla-disease-thrower-tickets-90870007639
Eventbrite short: https://propeller1kdc.eventbrite.com
Facebook event: https://www.facebook.com/events/460666361278656/
Website: https://knockdown.center/event/guadalupe-maravilla-disease-thrower/
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3. Raul Zamudio, FF Alumn, now online at asiancurator.com
Please visit this link:
http://asiancurator.com/raul-zamudio/
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4. Brendan Fernandes, FF Alumn, winter news
Dear Friends,
It has been an exciting start to 2020 and I am equally excited to share what I have been up to over these last few weeks.
First, a big thank you to the team at Monique Meloche gallery who, after an extended run, we closed my second solo exhibition with the gallery, Restrain. Check out some of the documentation and a great interview on the show in Flaunt Magazine.
During the run of Restrain, I also had two exceptional travel opportunities. First in December, I was supported by curator, Vivek Menezes and the Serendipity Arts Festival in traveling to and performing with dancers from Goa, India. Second to kick off January, I was supported by Azienda Speciale Palaexpo in bringing my work Art By Snapchat to Rome, Italy for its first international iteration.
Returning home to Chicago, I have been kept busy with preparations for three new solo exhibitions in the US!
At Drexel University’s Leonard Pearlstein Gallery, I opened a new survey exhibition of my work, We Want a We, on January 14th.
At the Chrysler Museum of Art, I opened, Brendan Fernandes: Bodily Forms, on January 17th.
And at Eastern Illinois University’s Tarble Art Center, I opened the second iteration of Inaction a new exhibition that opened last year at Wesleyan University’s Zilkha Galleries. Inaction opened January 18, with performance to continue into March 2020.
Last, as its very successful run continues, my exhibition Contract and Release at the Isamu Noguchi Museum has gained a great review by Helen Georgas in Hyperallergic. Many thanks!
As 2020 continues many new opportunities to make and share my work are coming up!
With hopes that our paths cross again soon,
Brendan
Copyright (c) Brendan Fernandes Studio 2020
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5. Adam Pendleton, FF Alumn, now online in the New York Times
Please visit this link:
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6. Jonathan Berger, FF Alumn, at Participant, Manhattan, opening feb. 23
Jonathan Berger, An Introduction to Nameless Love
In collaboration with Mady Schutzman, Emily Anderson, Tina Beebe, Julian Bittiner, Matthew Brannon, Barbara Fahs Charles, Brother Arnold Hadd, Erica Heilman, Esther Kaplan, Margaret Morton, Richard Ogust, Maria A. Prado, Robert Staples, Michael Stipe, Mark Utter, Michael Wiener, and Sara Workneh
February 23 – April 5, 2020
Opening Sunday, February 23, noon-7pm
From February 23 – April 5, 2020, PARTICIPANT INC is pleased to present Jonathan Berger, An Introduction to Nameless Love, co-commissioned and co-organized with the Carpenter Center for the Visual Arts at Harvard University. Taking the form of a large-scale sculptural installation that includes over 533,000 tin, nickel, and charcoal parts, Berger’s exhibition chronicles a series of remarkable relationships, creating a platform for complex stories about love to be told. The exhibition draws from Berger’s expansive practice, which comprises a spectrum of activity – brought together here for the first time – including experimental approaches to non-fiction, sculpture and installation, oral history and biography-based narratives, and exhibition-making practices. Inspired by a close friendship with fellow artist Ellen Cantor (1961-2013), An Introduction to Nameless Love charts a series of six extraordinary relationships, each built on a connection that lies outside the bounds of conventional romance. The exhibition is an examination of the profound intensity and depth of meaning most often associated with “true love,” but found instead through bonds based in work, friendship, religion, service, mentorship, community, and family – as well as between people and themselves, places, objects, and animals. Even as they are persistently unacknowledged by contemporary society at large, these instances of what Berger puts forth as “nameless love” nonetheless enable people to live wholly fulfilling lives steeped in tenderness, ardor, empathy, care, vulnerability, salvation, redemption, and pleasure.*
Over the past five years, Berger has conducted a series of dialogues with diverse subjects about these types of relationships. Drawing on conversations and correspondences, the ongoing outcome of this process is a series of autonomous texts, each of which is generated collaboratively between Berger, the subject(s), and a guest editor of specific significance to each story. In this regard, every text becomes its own idiosyncratic, collectively produced work with Berger and the invited editor (none of whom are editors by profession) in some way supporting the subject’s authorship of their own narrative. The relationships in An Introduction to Nameless Love are embodied by these hybrid texts, which incorporate song lyrics, testimonials, poetry, and scripts as well as excerpts from books, transcribed conversations and interviews, email and letter correspondence, historical documents, reportage, and journal entries. The exhibition presents a selection of these stories in the form of six differently configured and elaborately constructed large-scale text-based sculptures, evoking historical and cultural forms ranging from illuminated manuscripts to narrative tapestries and vernacular typography. Comprised of some 33,000 one-inch tin letters, meticulously fashioned by Berger and a team of associates, each letter was soldered by hand to nickel wire and affixed in various configurations ranging from scaffold-like panels to spheres, ribbons, diagonal planes, architectural dividers, and topographical surfaces. Imbued with a reverence for their subject, evidenced in the detail, effort, and labor of the human hand, the sculptures create unique embodiments of the stories they tell. Like the narratives they are based on, each sculpture is distinct; and when taken as a whole, the custom-designed font in which all are type set, the exclusive use of tin and nickel material, and Berger’s transformation of the floor into a setting of over 500,000 charcoal cubes serve to unify the texts’ eclectic contents. Through this lens, the exhibition can also be considered as a total work, much like a book with seemingly disparate chapters. The figures chronicled in this presentation of An Introduction to Nameless Love are designers Charles and Ray Eames, turtle conservationist Richard Ogust, Shaker Brother Arnold Hadd, Autistic writer/philosopher Mark Utter with his communication supporter and collaborator Emily Anderson, and Maria A. Prado, former resident of the New York City underground homeless community known as The Tunnel. Concurrent to Berger’s exhibition, Mady Schutzman published Behold the Elusive Night Parrot, a separate yet parallel work, both of which were informed by a two-year correspondence with each other. Schutzman’s book occupies its own section of the installation. An Introduction to Nameless Love is an ongoing endeavor, which will continue to evolve alongside Berger’s consistent practice of working to chronicle love in the lives of others. Future iterations will present new text sculptures and different stories that change the exhibition’s form, content, and considerations of what love can be, where it can be found, who and what can possess it, and its potential to shape experience. Jonathan Berger (b. 1980, New York) lives and works in New York City. Over the past
fifteen years, his practice has encompassed a spectrum of activity, pursuing a rigorous investigation of the many ways in which the exhibition site can be repurposed. He maintains an interest in abstract and experimental forms of nonfiction, including embodied biography and portraiture, as rendered through the creation of large-scale, narrative-based exhibitions made from both constructed and found objects. He has presented solo installation projects at the Busan Biennial, South Korea; Vox Populi, Philadelphia; Maccarone, Karma, and Grimm-Rosenfeld Gallery, New York; Frieze Projects, London; Adams and Ollman, Portland; and VEDA, Florence. His collaborative and curatorial projects have been presented at venues including MOCA, Los Angeles; The Hebbel Theater, Berlin; and The Queens Museum of Art, Participant Inc, and Performance Space 122, New York, among others. From 2013-2016, Berger served as Director of 80WSE Gallery at NYU, where he mounted a wide range of major exhibitions and collaborative projects presenting the work of Ellen Cantor, Bob Mizer, Printed Matter, James Son Ford Thomas, Michael Stipe, Vaginal Davis, Susanne Sachsse, and xiu xiu, among others. He is a Clinical Associate Professor in the Department of Art and Art Professions at New York University.
* The term “nameless love” was used by Allen Ginsberg in a 1974 Gay Sunshine Interview
with Allen Young (Grey Fox Press).
Jonathan Berger, An Introduction to Nameless Love is co-organized by PARTICIPANT INC, New York and Carpenter Center for the Visual Arts at Harvard University and is curated by Lia Gangitano, Founder/Director, PARTICIPANT INC and Dan Byers, John R. and Barbara Robinson Family Director of the Carpenter Center. It is presented in its entirety across a two-part exhibition, on view at The Carpenter Center (October 16-December 29, 2019), and at Participant Inc (February 23-April 5, 2020). PARTICIPANT INC’s exhibitions are made possible by the New York State Council on the Arts with the support of Governor Cuomo and the New York State Legislature. Our programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Archiving and documentation projects are supported by the National Endowment for the Arts.
PARTICIPANT INC receives generous support from the Harriett Ames Charitable Trust; Artists’ Legacy Foundation; Michael Asher Foundation; The Greenwich Collection Ltd.; Agnes Gund Foundation; Marta Heflin Foundation; The Ruth Ivor Foundation; The Meredith E. James Charitable Fund; Jerome Foundation; Lambent Foundation of Tides Foundation; Shelley & Donald Rubin Foundation; Andrea Stern Charitable Fund; Still Point Fund; The Jacques Louis Vidal Charitable Fund; The Andy Warhol Foundation for the Visual Arts; FRIENDS of PARTICIPANT INC; numerous individuals; and Materials for the Arts, NYC Department of Cultural Affairs/NYC Department of Sanitation/NYC Dept. of Education. PARTICIPANT INC is located at 253 East Houston Street between Norfolk and Suffolk Streets. The closest trains are the F (2nd Ave) and the J/M/Z (Essex/Delancey); the closest wheelchair accessible stop is the 4/6 (Bleecker/Lafayette). The entry is on grade and the gallery is barrier free throughout with an all gender, wheelchair accessible bathroom. Service animals are welcome. Gallery hours: Weds-Sun, noon-7pm.
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7. ŠKART Group, FF Alumn, at Museum of Yugoslavia, thru March 2020
The Nineties: A Glossary of Migrations exhibition involves the participation of thirty contemporary artists and art and activist collectives engaged in the theme of the population’s mass migrations to and from Serbia in the 1990s.
The primary concern of the exhibition is to map the different forms of engagement, from the 1990s to the present moment, which have, in the field of art, addressed social, cultural, political and legal issues created in these extremely complex and traumatic migration processes, leaving the documentary-historiography approach in the background. Apart from the artistic standpoints, the exhibition includes certain activist and civil sector initiatives and organizations, however, primarily, those either initiated by artists, or those which included in their work the collaboration with contemporary artists.
The participants of the exhibition The Nineties: A Glossary of Migrations, are: Association Apsolutno, Aleksandrija Ajduković, Dejan Dimitrijević/Nebojša Šerić Shoba, Dušica Dražić, (Dionis Escorsa), Jusuf Hadžifejzović, Kiosk – Platform for Contemporary Art, Milena Maksimović, Goranka Matić, Collective E-I-Migrative Art, Ana Miljanić/Center for Cultural Decontamination, Milorad Mladenović, Ivana Momčilović/Loran Wanson, Tanja Ostojić, Vesna Pavlović, Nikola Radić Lucati, Vladimir Radojičić, Vahida Ramujkić, Rena Rädle/Vladan Jeremić, Bálint Szombathy, Škart, Čedomir Vasić, Group 484, Cardan – Remembrence Culture, the Vojvodina Civic Centre, the Joint Campaign – Roof Overhead, and Women in Black.
Curators and exhibition conceptualists: Simona Ognjanović and Ana Panić
http://www.newmappingsofeurope.si/en/news/glossary-of-migrations_61
http://www.newmappingsofeurope.si/en/books/glossary-of-migrations_73
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8. Rachel Frank, FF Alumn, at Field Projects, Manhattan, opening Feb. 20 and more
Hi friends,
Happy February! I wanted to share with you some upcoming shows and events:
I curated the next show opening at Field Projects. Roadside Picnic uses the 1970’s science-fiction book by the same name as a template for examining the works of Naomi Nakazato and Brian Zegeer in this two-person show.
Roadside Picnic: Brian Zegeer + Naomi Nakazato
Curated by Rachel Frank
Opening Reception: Thurs., Feb. 20, 6-8 pm
Dates: February 20 – April 4, 2020
Field Projects
526 W 26th Street, #807
New York, NY
and
I also have ceramic work in a show opening up next weekend:
Claytopian NYC at Plaxall Gallery
Curated by Matt Nolen
February 20 -March 15, 2020
Opening Reception: Saturday, February 22, 7:00 – 10:00 pm
Plaxall Gallery
5-25 46th Ave. LIC, Queens, NY
Best wishes,
Rachel Frank
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9. Rosamond S. King, FF Alumn, at New York University, Manhattan, Feb. 18, and more
Conversation Feb 18
Rosamond S. King thrilled to be moderating a conversation between John Keene (@jstheater) and P. Djèlí Clark (@pdjeliclark) after they read from their works of fiction. February 18, 7-8:30 PM. The Jerry H. Labowitz Theatre for the Performing Arts. RSVP here: https://gallatin.nyu.edu/utilities/events/2020/02/JohnKeeneandPDjeliClarkinConversationwithRosamondKing.html.
and
Poetry Salon Feb 18
Join Rosamond S. King on February 18 at 6:00 PM for JP Howard’s Women Writers in Bloom Poetry Salon. The dynamic salon includes poets Cheryl Boyce-Taylor, Donika Kelly, Yesenia Montilla, and RSK. Link for RSVP here: https://www.facebook.com/events/472533550121377/
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10. Printed Matter announces Emerging Artists Publication Series recipients
Emerging Artists Publication Series
Recipients Announced!
Printed Matter is pleased to announce the winners of two open call cycles for the Emerging Artists Publication Series. The four selected artists will receive editorial and design support to realize their proposed publication projects in 2020 under the Printed Matter imprint. Recipients are awarded a prize of $1,500.
Selected projects include:
a – Catherine Feliz -When Eye Land
b – Rin Kim – Hunters Follow Harpy Shadows
c – Gabriel Pericàs -The History of Lubrication
d – Jessica Vaughn – Depreciating Assets
Read more about selected projects and winning artists here:
https://www.printedmatter.org/programs/events/1107?utm_source=Full+Contact+List&utm_campaign=3c1e17ddd8-EMAIL_CAMPAIGN_2020_02_10_06_19&utm_medium=email&utm_term=0_30fcd60143-3c1e17ddd8-210091321
The Emerging Artists Publication Series is made possible by the generous support of the Jerome Foundation, the Andy Warhol Foundation for the Visual Arts, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
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11. Linda Montano, FF Alumn, at School of the Art Institute of Chicago, Feb. 27
Please visit this link:
https://www.siskelfilmcenter.org/linda-mary-montano-laughing-crying-living-art
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12. Lorraine O’Grady, FF Alumn, at Isabella Stewart Gardner Museum, Boston, MA, thru May 19
Lorraine O’Grady: The Strange Taxi, Stretched
January 14 – May 19, 2020
Alexander Gray Associates announces The Strange Taxi, Stretched, an installation by Lorraine O’Grady on the Anne H. Fitzpatrick Façade, Isabella Stewart Gardner Museum, Boston, MA.
In The Strange Taxi, female members of O’Grady’s family-her mother, Lena, second from left, and three maternal and paternal aunts-emerge through the roof of a New England mansion to show black women escaping from the limitations placed on them in post-World War I Boston, when domestic service was virtually the only employment available to them. In the stretched version of The Strange Taxi for the Gardner, O’Grady was able to double the height of the sky above them, metaphorically giving the women (and their descendants) expanded room to grow.
Panel talk: The Larger Conversation Redefined: The Black Model in 21st Century Portraiture
Saturday, February 15, 3-5 PM
Following a screening of Lorraine O’Grady: A Portrait (2012) by Adam Pendleton, join Lorraine O’Grady and Adam Pendleton for a discussion of the body, race and gender in American Art, and the need to rethink, document and preserve new histories of diverse stories.
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13. Ree Morton, FF Alumn, at ICA, Los Angeles, CA, thru June 14
Ree Morton: The Plant That Heals May Also Poison
February 16-June 14, 2020
The Plant That Heals May Also Poison is the first major retrospective of artist Ree Morton (1936-1977) in the United States in forty years. The exhibition features several rarely seen works, including a selection of sculptures, drawings, paintings, and archival materials that span a single decade of artistic production before Morton’s untimely death in 1977. Her use of bold color, feminine imagery, and embrace of the decorative infused her objects with sly humor and asserted sentiment as a legitimate subject of artmaking. ICA LA’s presentation includes works that highlight Morton’s time in Southern California as visiting faculty at the University of California, San Diego and as an artist-in-residence at the Women’s Building in Chinatown, Los Angeles. Learn more
Institute of Contemporary Art, Los Angeles
1717 E. 7th Street
Los Angeles, CA 90021
Admission is always free.
#ICALA
One-hour free parking is now available onsite at ICA LA.
Ree Morton: The Plant That Heals May Also Poison is organized by The Institute of Contemporary Art, University of Pennsylvania, and curated by Kate Kraczon, Curator, David Winton Bell Gallery, Brown University. The ICA LA presentation is organized by Jamillah James, Curator.
Support for Ree Morton: The Plant That Heals May Also Poison has been provided by the Inchworm Fund. ICA Philadelphia was recognized as part of the inaugural Sotheby’s Prize (2017) with a commendation that applauds the breadth and depth of ambitious exhibition research for Ree Morton: The Plant That Heals May Also Poison. Additional support has been provided by the Edna W. Andrade Fund of the Philadelphia Foundation, Nancy and Leonard Amoroso, Amanda and Andrew Megibow, and Norma and Lawrence Reichlin.
The ICA LA presentation is made possible thanks to the DEW Foundation and Leslie and Bill McMorrow. Additional support is provided by Barbara Bluhm-Kaul and Don Kaul, Agnes Gund, Karen Hillenburg, Stella and Astrid Karron, Jill and Peter Kraus, the Wilhelm Family Foundation, and Friends of Ree Morton: Tim Disney, Kathleen and Chip Rosenbloom.
Ann Greene Kelly is organized by Jamillah James, Curator.
The exhibition is made possible thanks to the DEW Foundation and Michael Asher Foundation. Additional support is provided by the Wilhelm Family Foundation.
ICA LA is supported by Curator’s Council, Fieldwork, and 1717 Collective.
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14. Dread Scott, FF Alumn, now online in The New Yorker
Please visit this link:
https://www.newyorker.com/magazine/2020/02/17/can-slavery-reenactments-set-us-free
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15. Penny Arcade, FF Alumn, at Pangea, Manhattan, Feb. 26-March 18
Performance Dates:
February 26: 7pm
March 4: 7pm
March 18: 7pm
at
Pangea
178 2nd Ave, New York, NY
Notes from the Underground is an homage to the iconoclast, the outsider, the immigrant, the poor, the put down, the visionary, the failed, the bohemian — those who live at the margins of what is an increasingly entrenched, fortified and well-financed “mainstream” society. The show is told in the fragmented, disjointed vocabulary of today’s post gentrified landscape. Music and movement intersect with crackling observations on the commodification of rebellion, the nobility of failure and the complex tapestry of art, criminality, rebellion, and iconoclasm that the great tradition of the ‘underground’ is woven from.
Notes from the Underground is your next to the last chance to be in the bad part of town. With Notes from the Underground, Penny Arcade entertains her way into the debate about the new urban/suburban New York to illuminate the real values that made New York City a gritty, authentic and creative Mecca.
Miss Arcade is joined by her longtime collaborator, Steve Zehentner, who creates a live sound score that will have you jumping in your seat.
In Notes from the Underground, Penny Arcade creates an emotional, informative, an interactive theater piece that mediates through improvisational performance, storytelling, monologues, music, rants and dance to elicit a sense of freedom & individuality in the audience itself.
Penny Arcade: A runaway at thirteen, a reform-school graduate at sixteen, a performer in the legendary New York City Play-House of the Ridiculous at seventeen, and an escapee from Andy Warhol’s Factory scene at nineteen, Penny Arcade emerged in the 1980s as a primal force on the New York art scene and an originator of what came to be called solo performance art. Arcade’s brand of high camp and street-smart rock showmanship has been winning over international audiences ever since.
Penny Arcade is the author of ten full length performance pieces including the mainstream hit Bitch!Dyke!Faghag!Whore! Her work has been presented in venues as celebrated as the Sydney Opera House and as sordid as New York’s Pyramid Club.
With long-time collaborator Steve Zehentner, Arcade is the co-producer of The Lower East Side Biography Project, a video oral history project. The project’s biographies cablecast in New York City every Monday at 11pm EST.
facebook.com/LowerEastSideBiographyProject
Her first book, Bad Reputation, was published by Semiotexte/MIT, and she was portrayed by Sex in the City actress Cynthia Nixon in the film, Englishman in New York, the biopic about her friend Quentin Crisp. pennyarcade.tv
If there is an underlying thematic in all of Arcade’s work, it is perhaps this concern to advocate the full expression of our “life force”-creative, sexual, physically and verbally expressive-and to speak out against those societal and political forces that would repress such energizing self-realization.
– Stephen Bottoms, University of Leeds, U.K.
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16. Barbara Rosenthal, FF Alumn, at Boddinale Film Festival, Berlin, Germany, Feb. 22
Barbara Rosenthal, FF Alumn, at the Boddinale Film Festival in Berlin. Sat., Feb. 22, Reception: 6PM. Film: 8PM.
“Transitionals Morphing ONE”
Transitionals Morphing ONE, a digital projection “Surreal to Conceptual” photo-based video by Barbara Rosenthal with audio by London composer Matthew Lee Knowles, will be screened, a German premiere. Rosenthal will be onstage afterward to dialog in English with German translator and host, Italian ex-pat, Gianlucca Baccanico. This film festival presented Rosenthal with the Boddinale Independent Life Award, an award invented in her honor, in 2014. We are pleased to have included her in every Boddinale since our 2011 inception. For those of you who know some of the 130 performance and text-based videos she has been producing since 1976, this piece is closely akin to her other recent wall- and book-works, with much photo-digital technology.
Sat., FEB 22, 6pm Reception, 8pm Video
BODDINALE FILM FESTIVAL
Boddinale Film Festival, 8th Edition, free films, cash bar
Am Flutgraben 3
12435 Berlin, Germany
boddinale.com
https://boddinale.com/contact
Barbara Rosenthal
http://en.wikipedia.org/wiki/Barbara_Rosenthal
http://www.barbararosenthal.org/
Skype: barbararosenthal
Twitter: @BRartistNYC
Facebook: barbara.rosenthal1
Instagram: BarbaraRosenthal_eMediaLoft
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17. Paul Zelevansky, FF Alumn, now online at greatblankness.com
TO THE GREAT BLANKNESS
MAILING LIST:
“Raindrops on roses
And whiskers on kittens
Bright copper kettles and
warm woolen mittens.
Brown paper packages
tied up with strings.
These are a few of my
favorite things.”
(“My Favorite Things,” Rodgers & Hammerstein, 1959)
Please take another walk upstairs…
http://greatblankness.com/portfolio-items/4-make-a-right-turn/
AND THE FULL SET:
http://greatblankness.com/portfolio-gallery/make-a-right-turn-at-the-old-man/
PZ, 2/17/2020
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18. Mark Tribe, FF Alumn, at Gallery 8, Manhattan, thru March 8
Dear Friends,
I’m delighted to invite to you to A Perfect Storm at Faction Art Projects. Organized by Faction’s new Curator-In-Residence, Natasha Becker, the exhibition includes two of my recent landscape paintings alongside work by Tatiana Arocha, Allison Janae Hamilton, Riitta Ikonen, Lionel Cruet, Joiri Minaya and Demian DinéYazhi´.
FACTION Art Projects @ Gallery 8 New York
2602 Frederick Douglass Boulevard, NY 10030
February 15 – March 8, 2020
Opening reception: February 15, 4-6pm
Best regards,
Mark
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Goings On is compiled weekly by Harley Spiller
