Franklin Furnace’s Goings On
October 4, 2005
CONTENTS:
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1. Jenny Holzer, FF Alumn, at NYC public spaces thru October 9
2. Lisa Kron, FF Alumn, on Broadway – the Longacre Theatre, previews start March 10
3. Isabel Samaras, FF Alumn, featured on Canadian television show “SexTV”
4. Murray Hill, FF Alumn, at Mo Pitkin’s, NY, Saturdays, beginning October 1
5. Alastair MacLennan, FF Alumn, in Sète, France, September 30
6. Marcus Young, FF Alumn, on NYFA.org website
7. ‘A Living Library’ invited to participate in United Nations Commemorative Journal
8. Istvan Kantor, FF Alumn, at Chashama festival, NY , October 6-15
9. Bob Goldberg, FF Alumn, at Green-Wood Cemetery, Brooklyn, October 8
10. Lady Pink, FF Alumn, mural dedication, October 15, Bedford-Stuyvesant, Brooklyn
11. Gabrielle Hamilton, FF Alumn, in the New York Times, and forthcoming book
12. Andy Warhol, FF Alumn, at Malba, Buenos Aires, thru November 21
13. Deb Margolin, Tanya Barfield, FF Alumns, Kesselring Prize recipients 2005
14. Bob Holman, Peter Grzybowski, Rebecca Moore, at FusionArts, NY, October 9
15. Pope Alice, FF Member, in Newcastle, Australia, October 14
16. Natalie Bookchin, FF Alumn, at Mediateca di St. Teresa, Milan, Italy, October 20-November 10
17. Joan Snyder, FF Member, at The Jewish Museum, NY, thru October 23
18. Sonya Rapoport, FF Alumn, at City Gallery, New Haven, thru October 30
19. John Ahearn, Peter Cramer, Jane Dickson, Bradley Eros, Jenny Holzer, Tom Otterness, Kiki Smith, Joseph Nechvatal, Tom Otterness, Christy Rupp, and Jack Waters, FF Alumns, in Naked Eye Cinema catalogue, now online
20. Lynne Tillman, FF Alumn, in Bomb magazine, Fall 2005
21. Kriota Wilberg, Bob SIkoryak, FF Alumns, in the New York Times
22. Jeff McMahon, FF Alumn, in Journal of Performance and Art, issue #81
23. David Medalla, FF Alumn, in Berlin, October 6 th and 9 th
24. Anita Ponton, FF Alumn, at City of Women Festival, Ljubljana, Slovenia
25. Paul McMahon, FF Alumn, at Colony, Woodstock, NY, October 8, 8 pm
26. Carl Andre, Patty Chang, Circus Amok, Maureen Connor, Peter Cramer, Crash, Daze, Judy Glantzman, Mike Glier, Felix Gonzalez-Torres, Hans Haacke, Barbara Moore, Joseph Nechvatal, Claes Oldenburg, Yoko Ono, Tom Otterness, Christy Rupp, Kiki Smith, Anton Van Dalen, FF Alums, in ABC No Rio 25 th Anniversary Benefit at Deitch Projects, October 23, 4-8 pm
27. Aaron Landsman, FF Alumn, at DiverseWorks, Houston, opening October 20
28. Sabrina Jones, FF Alumn, at WW3’s 25 th Anniversary exhibit/release party, Exit Art, October 6
29. Raul Zamudio, FF Alumn, at Artist Network New York, opens October 7
30. Isabel Samaras, FF Alumn, clip from SexTV now online
31. Guerilla Girls On Tour announce U.S. touring schedule
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1. Jenny Holzer, FF Alumn, at NYC public spaces thru October 9
September 28, 2005
The New York Times
New ‘Truisms’ in Words and Light
By AMEI WALLACH
After the Sept. 11 attacks, Jenny Holzer, like so many artists, got calls asking how she would memorialize the events. All she could think of at the time was to leave bare the two scarred pits where the World Trade Center had stood. “Because I didn’t really have an answer, I kept thinking about the question,” she said one recent afternoon on the steps of the New York Public Library. Her “much delayed answer,” as she calls it, will illuminate three of the city’s most heavily trafficked locations, beginning tomorrow night.
With the help of the public art organization Creative Time, Ms. Holzer, 55, will project United States government documents and the words of some 20 international poets for 11 nights on the facades of five buildings: 30 Rockefeller Center and two other buildings in that complex (tomorrow through Oct. 2); the Bobst Library at New York University in Greenwich Village (Oct. 3 through 5); and the public library (Oct. 6 through 9). “I think the documents I used are representative of what I came across,” she said. “Ultimately, it’s a personal representation, since I made it. But it’s not a polemical selection.”
The documents and poems, though, about subjects like the war in Iraq and homeland security, do reflect the political and social passions Ms. Holzer first announced in 1977 with “Truisms,” a series of slogans she pasted on street corners and buildings.
The words to be projected against the Bobst Library will be copies of recent government documents released under the Freedom of Information Act. Many concern torture, a topic Ms. Holzer considers as central to her art as “death, dying, martyrdom, murder, slaughter, rape and more,” as she put it. The documents are e-mail messages or on letterhead from the Department of Defense (referred to as D.O.D. in the papers), the F.B.I. and other institutions whose names have been officially whited or blacked out, as has paragraph after paragraph of information.
One of the declassified documents contains three lines of information and two pages of redacted lines. One mentions investigators impersonating F.B.I. officers, so that, it says, if the “story is made public in any way D.O.D. interrogators will not be held accountable.” The reason, the document explains, is because any torture will appear to have been carried out by ” ‘F.B.I.’ interrogators.”
As a result, it adds, the F.B.I. will be “left holding the bag before the public.”
Some of these documents have been discussed in the press, including the July 10, 2001, “Phoenix Memo.” In it, an F.B.I. agent clearly states: “The purpose of this memo is to advise the bureau and New York of the possibility of a coordinated effort by Osama bin Laden to send students to the United States to attend civil aviation universities and colleges.” Blocked out are the names of the sender and many of those who received and approved the memo.
Seeing the bland, bureaucratic forms, some with graphic descriptions of torture, Ms. Holzer said, would encourage “people who are intrigued to go look for more.” Through what she calls “the art school stuff” – placement, magnification, light – she said she wanted to make the documents visually immediate and disconcertingly poetic. In test runs, these projections have enveloped passersby in white words, uncanny and sufficiently transparent to let the sturdy reality of buildings, trees and roaming dogs show through.
“There’s something about light that’s right for these terrible subjects,” Ms. Holzer said. “It’s a way of having beauty let you come closer than you might otherwise.” She noted that at the Bobst Library, the primary audience will be students. Her daughter, Lili, 17, hopes to go to N.Y.U. next year, Ms. Holzer said. Over the summer, she refused to let Lili be listed on a database of 16- to 18-year-olds that the Pentagon had begun assembling for recruitment purposes.
Ms. Holzer was born in Gallipolis, Ohio, and her austere, moralizing voice comes out of the American heartland. Her sound-bite slogans have often taken their tone from American billboards and airwaves.
She has referred to primary-source material for years. But the first time she projected such documents was in “Truth Before Power,” a 2004 exhibition in Austria. The show took its name from a phrase in a classic 1968 text by Sherman Kent, a founder of the Central Intelligence Agency, who argued that accurate information must be used in policymaking. During her research Ms. Holzer discovered the National Security Archive, a library of declassified documents created two decades ago by journalists and scholars.
“We aren’t advocates,” Thomas Blanton, director of the archive, said. “We try to show the world the argument the government has with itself. By beaming photons through the text, Jenny Holzer makes it less omnipotent, less powerful. She breaks it apart with beams of light and yet broadcasts what was a secret. So how cool is that?”
Ms. Holzer wanted to show these American documents at home in time for last year’s presidential election, but doubted it would be possible. “It seemed at one stage that anyone who said anything critical was unpatriotic, as opposed to criticism being constructive, loving and patriotic,” she said. Creative Time offered to help, and though there wasn’t time to organize the primary documents, poems of warning, war and extremis were projected around New York last November.
Some of these same poems and more will be scrolled on 30 Rockefeller Plaza and on the steps and columns of the New York Public Library. Since “Truisms,” Ms. Holzer has sought to unhinge settled beliefs through a chorus of quarreling sensibilities: “awful punishment awaits really bad people,” “morals are for little people,” “torture is barbaric.” In this case, her selection of 50 years of poems ranges from the Polish Nobel Prize-winning Wislawa Szymborska’s “Tortures” (“the body is and is and is and has nowhere to go”) to Jack Gilbert’s “Brief for the Defense” (“We must risk delight”) and valentines to New York by Walt Whitman and Allen Ginsberg. In the aftermath of Hurricane Katrina, more poems about race are being added.
“We want to leave room to be flexible if something wrenching happens that makes the selection look clumsy or cruel,” she said. And then, she added, “That would be oafish.”
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2. Lisa Kron, FF Alumn, on Broadway – the Longacre Theatre, previews start March 10
September 28, 2005
The New York Times
Arts, Briefly
Compiled by LAWRENCE VAN GELDER
‘Well’ Goes to Broadway
Written by and starring the author, “Well,” Lisa Kron’s highly praised memoir about her mother, herself and the ultimate unknowability of people, is coming to Broadway. The play, called “wonderful” by Ben Brantley of The New York Times when it opened last year at the Public Theater, is to begin previews at the Longacre Theater on March 10 and regular performances on March 30. Ms. Kron, as the daughter, and Jayne Houdyshell, as the mother, will reprise their roles; and Leigh Silverman will once again direct.
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3. Isabel Samaras, FF Alumn, featured on Canadian television show “SexTV”
Airing in late Sept./early October (SexTV airs at 9pm and is 18+)
San Francisco-based artist Isabel Samaras is known for painting humourous depictions of pop culture icons, often in sexual scenarios. Samaras conjures up a fantasy world of secret romances and forbidden love in her art, creating sexual relationships that were noticeably absent from the TV shows she grew up watching. http://www.devilbabe.com
Also featured on the show: the Japanese Pink Films of Sachi Hamano and Ron Miller (aka Don Hollywood), attorney and porn star.
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4. Murray Hill, FF Alumn, at Mo Pitkin’s, NY, Saturdays, beginning October 1
Gang!
Hello, howya doing?
I’m back in town for a long stretch and have some great showbiz news! A new joint has opened on Avenue A and 3rd Street, Mo Pitkins! Two floors -bar and cozy restuarant on the first, and an old-school intimate 60-seat showroom upstairs with a lounge. I’m happy to annouce that I’ll be entertaining at Mo’s every Saturday night at 11:30 with special guests –it’s about time we bring the weekends back to downtown! Opening night is Oct. 1st, so book your tickets now. If it’s sold-out, we’ve got a bunch more shows and the show is different each week!
Please let us entertain you as the world is coming to an end. We will get your mind off your troubles and onto some tassles.
xxoxox
Murray
MURRAY HILL, “the hardest working middle-aged man in show business” is thrilled to bring his legendary boozy and bawdy show exclusively to the newly opened Mo Pitkins every Saturday nights in October! New show every week.
Expect a good dose of Murray’s off-the-cuff-humor, zingers, crooning, comedy skits, bodacious burlesque, audience participation, special guest stars, musical acts, celebrity drop-ins, and who knows what else. As “Diddy” said in the recent MTV VMAs, “Anything can happen.”
Murray has booked a bevy of burlesque beauties: The World Famous *BOB*, DIRTY MARTINI, and PONTANI SISTERS. LANCE CRUCE, the martini man, tickles the ivories while Murray’s longtime showgirls The MURRAYETTES come in from Atlantic City every weekend to do the show. CARMINE, Murray’s Italian cousin, stops by too.
You never know what song he’ll mangle, whose drink he’ll wrangle, or who he’ll hit on, but of this you can be sure; you’ll be part of an evening –good bad and everything in between. And that’s “showbiz” – Murray Hill Style.
THE MURRAY HILL SHOW – SAT. nites!
10/1 – opening nite, 10/8, 15, 22, 29 (Halloween show)
at MO PITKINS
34 Avenue A, btwn 2nd & 3rd St.
Doors at 11:15pm, show at 11:30pm
Tix: $15.00
Reservations: (212) 777-5660
ADVANCE TICKETS
http://www.ticketweb.com Key words: Murray Hill
or
http://www.ticketweb.com/user/?region=xxx&query=search&interface=ticketweb&newhps=1&search=Murray+Hill&x=6&y=9
http://www.mopitkins.com
http://www.mrmurrayhill.com
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5. Alastair MacLennan, FF Alumn, in Sète, France, September 30
The theme of the performance festival «heritage of the avant-garde» focuses on the need to see this highly experimental field of contemporary art as a part of an important artistic heritage. One, however, that is ephemeral to its physical nature and as such with a need to be taken care of in a more explicit manner. Compared to other expressions of visual art. Its an heritage that goes back to the Italian Futurists and in France to the Paris dadaists and surrealists with historical masterpieces like « Le procés de Barres ». An experimental process that continued after the war with Picasso’s light drawing performances, the public readings of les Lettristes, “the living brushes” of Yves Klein, the performance paintings by Mathieu or Niki de Saint-Phalle, the happenings of Jean-Jacques Lebel and Dieter Roth, and of course with the Fluxus movement and Ben Vautier, not to mention the work of Robert Filliou or for that matter Orlan.
This just to shortly mention some pillars in the tradition of performance art in France and in the historical textbooks. If now somebody had forgotten about them. This is the reason why the theme of the festival will focus on the heritage of performance so that no one will miss out on it or for that matter artists of a younger generation. The heritage aspect is more important than we believe.
CURATOR: Jonas STAMPE
ARTISTS: Julien BLAINE, France / André CERVERA, France / Maria COSMES, Catalogne / Jeremy DELLER, UK / Dariusz FODCZUK, Poland / Stein HENNINGSEN, Norvège / Wladyslaw KAZMIERCZAK, Poland / Luc KERLÉO, France / Vesa LAHTINEN, Finland / Pekka LUHTA, Finland / Peter LYSACEK, Républic Czech / Alastair McLENNAN, Northern Ireland / Edwige MANDROU, France / Franck MOURIÈS, France / Paco NOGALES, Spain / Irma OPTIMIST, Finland / Désirée PALMEN, Holland / Carlos PINA, Catalogne / Pierre PINONCELLI, France / Jyri PITKÄNEN, Finland / Jouni PARTANEN, Finland / POOR ARTISTS IN RESIDENCE, Finland / Théodor di RICCO, Germany / Robin RIMBAUD aka DJ Scanner, UK / Ewa RYBSKA, Poland / Jiri SURUVKA, Républic Czech / Roi VAARA, Finland
Coordinator: Nadia Capitaine – nadia@infraction.info Director: Jonas Stampe – directeur@infraction.info
Address: Infr’Action – Festival International de Performance, 47, rue de la Liberté, 34200 Sète / France, phone +33 4 67 51 02 78, fax +33 4 67 51 02 78, e-mail : info@infraction.info
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6. Marcus Young, FF Alumn, on NYFA.org website
Hello, I just wanted to be in touch and hope you have an extra second to take a look at this article. It’s on the NYFA.org website for another week. It’s not
often I get attention from New York, so forgive me for making a bit of a deal of this. Thank you for your interest in my work. Good wishes, marcus
www.nyfa.org/current
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7. ‘A Living Library’ invited to participate in United Nations Commemorative Journal
Life Frames, Inc. and A Living Library are honored to have been invited to participate in the 60th Anniversary Commemorative Journal for the United Nations.
Our systemic world vision for A Living Library – A Global Network of Diversity and Commonality – was included in this Journal, published by the World Council Of Peoples For The United Nations, a Non-Governmental Organization affiliated with the United Nations Department of Public Information. The Journal was presented to Heads of State, World Leaders, Missions, United Nations Agencies, Governments, Universities, Museums, and other Institutions to coincide with the World Summit held at the United Nations and the Opening of the General Assembly in New York City in mid-September, 2005.
We envision that Roosevelt Island in New York City, in the middle of the East River, across from the United Nations, can become the centerpiece for this Global Opportunity and Vision.
Attached is a jpeg of our page in this 60th Anniversary Commemorative Journal. If you would prefer a PDF version please let us know. Thank you for your interest and kind support.
Sincerely,
Bonnie Ora Sherk
Founder & Director
Life Frames, Inc. & A Living Library
bonnieora@alivinglibrary.org
http://www.alivinglibrary.org
415.206.9710
212.242.1700
A Living Library, with all sectors of community, incorporates local resources and transforms them to become vibrant, content-rich, ecological learning landscapes; each Branch linked to another.
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8. Istvan Kantor, FF Alumn, at Chashama festival, NY , October 6-15
Are you in the mood for some karaoke with Che Guevara? How about a Japanese ghost story told by a Greek vampire from Queens? Or maybe you just want to spend some time relaxing with the family – La Famille Kantor, that is, Canada’s most outrageous multi-generational performance troupe, led by notorious Neoist bad boy Istvan Kantor. All this and more is on display when chashama presents Currency 2005, Oct. 6, 7, 8, 13, 14, 15, 8pm at 208 W 37. With 30 artists from 16 countries, you’ll see every kind of performance imaginable (and a few you’ve never imagined as well). And it’s all absolutely free! Six different programs featuring world-premiere presentations by the most exciting talent on the international performance art scene, Thursday through Saturday nights, at chashama’s west-side location. Don’t miss your chance to experience first-hand this fascinating festival – free to the public Thursday Oct. 6 – Sat. Oct 15, 8pm, 208 W 37 St., it’s Currency 2005 – putting the new in New York City.
You can get more information about Currency 2005 at http://www.chashama.org/currency
Looking forward to seeing you next week,
Dan McKereghan
Director, Currency International Festival of Performance
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9. Bob Goldberg, FF Alumn, at Green-Wood Cemetery, Brooklyn, October 8
ANGELS and ACCORDIONS:
A site-specific performance/walking tour of Brooklyn’s historic Green-Wood Cemetery
Saturday October 8th, 12 noon and 3pm; 2-hr. tour length
(Rain Date-Sunday, October 9th, same hrs.)
The Green-Wood Cemetery, main gate, 25th Street & Fifth Avenue, Brooklyn
Please call 718.788.7850 for reservations. For directions visit www.green-wood.com
Green-Wood Cemetery’s rolling hills and woods come to life with performers, live music and visual installations. This unique event features dancers creating a poignant dialogue between the past and present, original music by composers Todd Reynolds and Bob Goldberg and visual installations designed by photographer Alex Heilner. Performance and tour created by Martha Bowers & Dance/Theatre/Etcetera in cooperation with historian Jeff Richman & The Green-Wood Historic Fund, assisted by openhousenewyork and the Brooklyn Arts Exchange.
The music for ANGELS AND ACCORDIONS was commissioned by the American Music Center Live Music for Dance Program. This event is also made possible with support from the Green-Wood Historic Fund, the Puffin Foundation and the Brooklyn Tourism and Visitors Center.
Dance/Theatre/Etcetera is a Brooklyn-based arts organization that has been creating innovative, multi-disciplinary site-specific projects throughout New York City and beyond for the past fifteen years. The Green-Wood Historic Fund is committed to sharing the cemetery’s unique resources with the public. For more information about and directions to this event visit www.green-wood.com
http://www.dancetheatreetcetera.org/upcoming.html
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10. Lady Pink, FF Alumn, mural dedication, October 15, Bedford-Stuyvesant, Brooklyn
Artmakers Inc.
invites you to the dedication of its mural
When Women Pursue Justice
Saturday, October 15, 2005
1:30 to 4 pm
498 Greene Avenue (corner Nostrand)
Bedford-Stuyvesant, Brooklyn, NY
A collaboration of 40 professional women artists, student interns and community volunteers, When Women Pursue Justice celebrates 20th century women, and their 19th century ancestors, who have led movements for social change in the United States.
Janet Braun-Reinitz (mural designer) & Jane Weissman (project director)
Principal Artists
Rikki Asher, Leola Bermanzohn, Maria Dominguez, Lady Pink, Nina Lasky, Lucy Mahler, Kristi Pfister, Kristin Reed, Rochelle Shicoff, Tova Snyder, Nina Talbot & Susan Togut
Interns
Catherine Grullon, Taleekqua Harris, Yashanna Joseph, Erica Mercado & Brittany Simpkins
Special Thanks
Dorothy & Thomas Ballard, NYCHA, CAMBA, The Sister Fund, Milton & Sally Avery Arts Foundation, The Puffin Foundation, Open Meadows Foundation, NYC Councilmember Letitia James, NYS Senators Carl Andrews and Velmanette Montgomery, local merchants and individual contributors *
G train to Bedford-Nostrand
Info: 718.783.6082 or _ArtmakersNYC@aol.com ( mailto:ArtmakersNYC@aol.com)
Contributions from more than 150 individuals helped pay for the scaffold.
Please consider a contribution to help pay the principal artists; they worked for deferred fees. Here’s how to contribute. Make check payable to: NYFA (for Artmakers Inc.) and send it to: Artmakers Inc., c/o Janet Braun-Reinitz, 372 DeKalb Avenue, #4A, Brooklyn, NY 11205
All contributions, no matter the amount, are welcome.
New York Foundation for the Arts (NYFA) is a 501(c)(3) organization and all contributions are tax deductible.
THANK YOU!
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11. Gabrielle Hamilton, FF Alumn, in the New York Times, and forthcoming book
September 25, 2005
The New York Times
Eat, Memory: Line of Sight
By Gabrielle Hamilton, FF Alumn
A couple of years ago I placed an ad for a line cook. And there was a guy who, according to his résumé, should have been right up my alley. He held a grill position in a busy seafood joint at the shore; he had studied philosophy and political science; and he had about four years of experience in the industry. I was looking forward to meeting this guy, with whom an after-work conversation over beers might be possible, and who had just enough years in the industry to still have something to learn, but not so few that he would need to be taught everything. I called him up and we had a pleasant phone exchange. I liked his voice, his manner; he was intelligent and articulate. I invited him in for an interview the following day.
The first thing I noticed when he arrived was that he was blind. His eyes wandered around in their sockets like tropical fish in the aquarium of a cheap hotel lobby.
We managed a handshake and sat at the bar and I asked him about his responsibilities at the busy seafood restaurant, and he answered entirely reasonably. He understood the language I used and spoke it back to me: the sort of shorthand code that people who work in kitchens speak.
I said, “How many covers for lunch?”
And he said, “85 to 110.”
I said, “What kind of mis” – prep – “is there in a fried-seafood place?”
And he laughed and said, “Yeah, it’s all lemon wedges and tartar sauce.”
We talked a bit about his education in philosophy: he was a Hegel fan. Finally, I showed him our menu. He held it up to his face as if to breathe in its written contents, to discover by inhaling what it said in plain print. I felt more certain than ever when I observed this that he was blind, but naturally doubted myself because obviously the guy had worked in restaurants, something that – though we may joke – really can’t and shouldn’t be done. And in spite of the proximity to his face at which he held the menu, I thought maybe I was making some despicable assumptions about the “sight impaired” and needed to get my politics up to date. So I booked him for a “trail,” the industry equivalent of an audition.
I went right downstairs and unpinned the schedule from the cork board and penciled him into the grill station the next night. He wrote his new phone number on the top of his résumé in large unwieldy script and even managed, more or less, to locate and cross out the old number. I looked at him as directly in the eyes as I could, thinking maybe I should ask about what seemed obvious, but instead I said: “Well, you seem average in build – we have pants and jackets in the general human range, so you don’t need to bring your own whites. And you’ll just need a chef knife, a utility and a paring knife. No need to bring your 40-pound kit tomorrow.” He nodded without returning my gaze.
“Is there anything else you can think of?” I asked hopefully. He said only that he’d like to keep the menu if I didn’t mind so that he could study it a bit before his trail. Done deal. We shook hands again, miraculously.
For the rest of the day I thought that maybe he wasn’t blind, and that just because his eyes rolled around didn’t mean he couldn’t make out shape and color. But then I thought shape shmape and color schmolor, how is this guy going to dice a white onion on a white cutting board? I thought maybe I was an ignorant jerk who didn’t realize how far the blind had come. Maybe he had worked out some kind of system to compensate. I took a mental inventory of famous accomplished blind people. Could playing the piano be anything like grilling fish over open flame, in the midst of hot fryer fat, sharp knives, macho line cooks and slippery floors? What was the preferred term for blind these days, anyway?
By the morning of his trail, I had talked myself into the certainty that though blind, he was obviously “sighted” in some other way. I felt sure that I was behind the times for thinking that just because someone was blind that he couldn’t work a job as a line cook in a busy restaurant. Or even be the lunch chef of one, as his résumé claimed. I knew, vaguely, that when a person lost one sense, the others kicked in expertly to compensate. I assured myself that he had developed a system by which he heard the food, or felt the food, or smelled which plate was used for which entree. I became convinced that he, in fact, had evolved into such a higher species of line cook that we would learn greatness from him. I got so on board with the whole blind line cook thing that I was plainly righteous when asked by my incredulous and slightly unnerved line cooks why I had booked a trail with a blind guy. I practically had indignation in my tone. “What? You think just because the guy is ‘visually challenged’ that he can’t cook in a restaurant?”
When he arrived for his trail I took him around on an introductory tour of the prep area and the walk-in and the hot line. At each station, he bent over and put his forehead against everything I showed him. It was fascinating at first – and later, heartbreaking – to note the angle at which he scrutinized each item in the refrigerator.
“Over here,” I said, “is where all the proteins are kept. Fish here. Meat here. Cooked above raw. Always. O.K.?” And instead of holding the pan of pork belly close under his nose and squinting down upon it – like a very old man might do trying to read his train ticket – he instead held each item up to his forehead, above his eyebrows, and stared up imploringly into it.
We set him up in the basement prep area with a cutting board and a menial task that wouldn’t matter if he messed it up: picking parsley. This took him most of the afternoon, and it was painful to watch him bent in half, killing his back in order to have his untethered eyes close up to the cutting board.
the trail is simply the time to sniff out the guy, to see how he stands, how he holds his knives, how much he talks or doesn’t and what he says. Does he ravage everything with tongs or finesse with a fork and a spoon? Does he sit at the bar at the end of his trail and get hammered? Did he bring a pen and small pad of paper? Did he thank the people who trailed him? I wasn’t worried that he was supposed to hold down the grill station. And I didn’t give a damn about the parsley. But I understood 25 minutes into his trail that there was no system of compensation, that he had not become hypersensate and that he had not, emphatically, evolved into a superior cooking machine. Sadly, the guy was just plain blind. And I still had on my hands another 4 hours 35 minutes of a trail to honor.
The night started slowly, with just a couple of order tickets at a time. I buckled myself into a seat at the back of the bus, so to speak, right behind the blind guy in the grill station, and let my sous chef do the driving: calling out the tickets and their timing, expediting their plating and pickups. Every time an order came into our station, I quietly narrated the procedure to the trailer, and watched, slack-jawed, as he painstakingly retrieved a portion of meat from the cooler, held it to his forehead, set it on a plate and then proceeded to carefully season the countertop with an even sprinkling of salt. When the call to “fire” – start cooking – an item came, I stood back and let him place the meat onto the grill – which he managed – but I had to pull him back a few inches from the flames so he wouldn’t singe his bangs.
Eventually we fell into a kind of spontaneous, unfunny Vaudeville routine in which I shadowed him, without his knowing, and seasoned the meat he missed, turned the fish he couldn’t, moved the plate under his approaching spatula to receive the pork, like an outfielder judging a fly ball in Candlestick Park. I was not worried about him slowing down the line, as we never expect a trailer to actually perform a vital function. But I really started to feel sick with worry when he pulled a full fresh piping-hot basket of shoestring fries up out of the fat with his right hand and turned them out to drain – not into the waiting stack of giant coffee filters he held in his left hand, but into the thin air directly adjacent, pouring them out onto the dirty rubber mats and his clogs.
This did not escape the notice of the other cooks. All the lightheartedness of a good night on the line went right up the exhaust hood. The banter between salad and sauté came to a screeching halt. The fun part of getting through the night – donkey noises, addressing the male line cooks as “ladies,” as in, “Let’s go, ladies!” – was abandoned. The stern but softhearted barking from the sous chef down the line lost all playful bite and was tamed down to the most perfunctory, gently articulated “Please fire apps on seven.” With one basket of hot fries cascading to the ground, we all saw at once that this fellow was in physical danger.
In silence, I raked the fries up off the floor, trashed them and dropped another order on the double. I asked him, kindly, to step back to the wall and just watch a bit, explaining that the pace was about to pick up and I wanted to keep the line moving. This is – even when you have all your wits – the most humiliating part of a trail: when the chef takes you off of the line in the middle of your task. You die 1,000 deaths. For a blind guy with something to prove, maybe 2,000.
To this point I had somehow been willing to participate in whatever strange exercise this guy was putting himself through. I was suspending disbelief, as we are all asked to do every time we go to a play or a movie. I know that this isn’t real, but I agree to believe that it is for these two hours without intermission. But something about the realization of the danger he was flirting with in service of his project, whatever his project was, suddenly made me furious. I took over the station and started slamming food onto the plates, narrating my actions to him in barely suppressed snide tones. “This,” I practically hissed, “is the pickup on the prawns. Three in a stack, napped with anchovy butter. Wanna write that down?”
I exhausted myself with passive-aggressive vitriol. “On the rack of lamb, you want an internal temp of 125. Just read the thermometer, O.K?”
This got the attention of my sous chef, who quietly came over and asked the guy if he’d like to step into garde-manger (the cold station) for a while to see how things there ran. I was relieved to have the guy away from the fire and the fat and in the relatively harmless oasis of cold leafy salads and cool creamy dressings. And I was grateful to be rescued from my worst self. The guy spent the rest of his trail with his back up against the wall in all the stations, eyes rolling around in his head, pretending to apprehend how each station worked. I spent the remainder of his trail wrestling meat and unattractive feelings triggered by this insane predicament in which we had found ourselves.
I never did find out what he was doing. I allowed him to finish out the whole trail, and when he had changed his clothes, I encouraged him to sit at the bar and have something to eat, which he did. And as he was leaving, I said I would call him the next day, which I did. I told him that I was looking for someone with a little more power, a bit more of a heavy hitter, but that I would keep him in mind if a position more aligned with his skills became available.
This, remarkably, he seemed to see coming.
Fried Razor Clams (or Steamers)
one cup plus 2 teaspoons salt
twenty razor clams or 32 soft-shell clams (steamers)
one-half cup plus 2 tablespoons cornmeal
two quarts frying oil
two cups milk
one-half teaspoon cayenne
one half cup flour.
a. In a large bowl, dissolve 1 cup of salt in 3 quarts water. Add the clams. Sprinkle 2 tablespoons cornmeal over water. Soak for at least 1 hour.
b. Rinse the clams thoroughly, then shuck and clean them. (For help, go to www.razorclams.com.) Slice the clams into 1-inch pieces. (For steamers, pierce the bellies to prevent them from popping when fried.)
c. In a deep pan, heat oil to 360 degrees. Strain the reserved clam juice, then combine with the milk and cayenne. Add the clams to this mixture.
d. In a bowl combine the flour, remaining cornmeal and 2 teaspoons salt. Dredge clams in the flour. Shake off excess flour and deep-fry for about 1 minute. As soon as the sound of the frying quickly lowers, remove the clams to a paper-towel-lined plate. Season with salt. Serve with tartar sauce. Serves 4.
Tartar Sauce
one clove garlic
one teaspoon kosher salt
one shallot, roughly chopped
two tablespoons capers
two tablespoons roughly chopped cornichons with their juice
one-half cup plus 2 tablespoons mayonnaise
one-half cup sour cream
Juice of 1/2 lemon
one tablespoon chopped parsley
Salt and pepper to taste.
In a food processor, purée the garlic and salt. Add shallot, capers, cornichons and their juices and pulse a few times. Add the mayonnaise, sour cream, lemon juice and parsley, and pulse. Season with salt and pepper.
Brined and Braised Pork Belly and Ribs
One and 1/3 cup sugar
one and 1/3 cup kosher salt
one-half cup black peppercorns
one-half cup allspice berries
four pounds pork belly, with ribs
one rack pork ribs
four to 5 cups chicken broth
two tablespoons butter
two tablespoons dark brown sugar
two pinches kosher salt
one and 1/4 pounds red turnips, cut into half-moons
one pound Tuscan kale, thinly sliced
Salt and pepper to taste.
a. In a large container combine the sugar, salt, black peppercorns, allspice berries and 2 gallons water. Add the belly and ribs. Refrigerate 24 hours.
b. Preheat the oven to 300 degrees. Remove the pork from the brine. Reserve spices. Cut the ribs from the pork belly and each rib from the rib rack. Remove sinew.
c. Place ribs and spices in a large roasting pan. Set the belly, skin side up, on top. Pour enough broth to half cover the pork. Cover the pan with parchment and foil. Braise until a meat thermometer reads 160 degrees, about 2 hours. Let cool completely. Cut into 2- to 3-inch squares.
d. When ready to serve, preheat the oven to 375 degrees. Put belly squares and ribs on a baking pan. In a small saucepan heat butter, brown sugar, 1 cup braising liquid and kosher salt. Pour the sauce over the pork and heat in the oven, basting regularly, until warmed through, 15 minutes.
e. Meanwhile, in a sauté pan bring 1 3/4 cups of the braising liquid to a boil. Add the turnips and kale and braise, uncovered, until just tender. Season with salt and pepper. Onto each of 8 plates, place a rib, pork belly and some vegetables and top with a few spoonfuls of the brown-sugar sauce. Serves 8. All recipes adapted from Prune.
Gabrielle Hamilton is the chef and owner of Prune in the East Village. This essay will appear in “Don’t Try This at Home,” to be published by Bloomsbury next month.
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12. Andy Warhol, FF Alumn, at Malba, Buenos Aires, thru November 21
Andy Warhol
Motion Pictures / Cuadros en movimiento
Curators: Mary Lea Bandy and Klaus Biesenbach.
From September 23 to November 21 at Malba
Malba – Colección Costantini,
3415 Figueroa Alcorta Avenue
C1425CLA, Buenos Aires, Argentina
t: 5411 4808 6500 f: 5411 4808 6599
http://www.malba.org.ar/web/
Curators: Mary Lea Bandy (The “Celeste Bartos” Chief Curator of Film and Media Department of Film and Media, The Museum of Modern Art, MoMA, New York) and Klaus Biesenbach (Chief Curator of PS 1 Contemporary Art Center, a MoMA affiliate, and Curator, Department of Film and Media, The Museum of Modern Art, MoMA, New York).
Malba presents a renowned group of works by Andy Warhol, produced between 1963 and 1964, as well as his screen tests, filmed portraits made from 1964 to 1966, in an exhibition conceived and produced by The Museum of Modern Art, New York.
From 1964 to 1966, in The Silver Factory, Warhol filmed hundreds of screen tests. In these films, which are on average three minutes long, Warhol portrayed his friends: models, artists, intellectuals, actors and musicians. Klaus Biesenbach, co-curator of the exhibition, calls this period “a laboratory of fame”. And adds: “The images on display seem to link the classical museum prortrait gallery with the early days of motion pictures”.
Filmed with a still camera, the screen tests attempt to capture the glamour and personality of Warhol’s friends. The artist would afterwards alter the film speed: 16 frames per second instead of 24, which produced a sort of slow motion effect similar to very early cinema. These films are silent, black-and-white portraits of “Baby” Jane Holzer, Cass Elliott, Dennis Hopper, Gerard Malanga, Beverly Grant, Edie Sedgwick, Susan Sontag, Salvador Dalí and many others.
The show at Malba also includes some of Warhol’s most celebrated films: Sleep (1963), Kiss (1963), Blow Job (1963), Eat (1964) and Empire (1964), through which the artist greatly contributed to experimental cinema.
As was Warhol’s original intention, these two groups of works will be seen in the exhibition space, and they have been transferred to DVD format from the original 16mm prints.
Mary Lea Bandy, co-curator of the exhibition, wrote “… to young artists and enthusiasts who are growing up in a post-Warhol era of vast and varying means of manipulating and fragmenting images and sounds (…). one has only to look at the work being made today to realize we will not easily become ‘post-Warhol’ any time soon” (Andy Warhol. Motion Pictures. Curated by Mary Lea Bandy, edited by Klaus Biesenbach, KW Intitute for Contemporary Art, Berlin, Germany, 2004).
“This exhibition dedicated to Warhol’s films is very important for both Malba and the Latin American audience. It is the first show organized at Malba by The Museum of Modern Art with the collaboration of the Andy Warhol Museum. It belongs to a program of exhibitions developed by Malba that connects the fields of art and film. It also introduces a complex, intriguing and less known period of Warhol’s production, when he experimented with the cinematic image, producing an influential group of works that combine film and photography, documental and fiction, traditional portrait and performance”, states Eduardo F. Costantini Jr., Executive Director of Malba.
This exhibition was organized by The Museum of Modern Art (MoMA), New York, with the collaboration of the Andy Warhol Museum, Pittsburgh. It was made possible thanks to the generous contribution of The Museum of Modern Art’s International Council and the unconditional support of Patricia Cisneros Travel Fund for Latin America.
To purchase the catalogue, please visit Tiendamalba at http://www.malba.org.ar/web/latienda.php or call 5411 4808 6550.
Press: Elizabeth Imas / Guadalupe Requena. T +54 (11) 4808 6507/6520 | F +54 (11) 4808 6599 | eimas@malba.org.ar | prensa@malba.org.ar |*High-definition images are available.
Malba – Colección Costantini,
3415 Figueroa Alcorta Avenue
C1425CLA, Buenos Aires, Argentina
t: 5411 4808 6500 f: 5411 4808 6599
http://www.malba.org.ar/web/
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13. Deb Margolin, Tanya Barfield, FF Alumns, Kesselring Prize recipients 2005
Press Contact: Sam Rudy, 212-221-8466
DEB MARGOLIN (“THREE SECONDS IN THE KEY”)
WINS $15,000 “2005 KESSELRING PRIZE” for Playwriting
TANYA BARFIELD (“BLUE DOOR”) RECEIVES HONORABLE MENTION
Awards presented at National Arts Club November 20, 2005
September 19, 2005 (New York, NY) — Playwright Deb Margolin — author of the plays THREE SECONDS IN THE KEY, BRINGING THE FISHERMAN HOME and ROCK SCISSORS PAPER — is the recipient of the $15,000 “2005 Kesselring Prize” for playwriting, it has been announced by O. Aldon James, president of the National Arts Club, which presents the Kesselring each year to an emerging American playwright. This year marks the 25th anniversary of the Kesselring Prize.
The Kesselring Prize’s annual Honorable Mention — a $5,000 prize — is being given to Tanya Barfield, author of the plays BLUE DOOR, WANTING NORTH, and DEFACING PATRIOTIC PROPERTY.
Both awards will be presented on Sunday, Nov. 20, 2005 at the National Arts Club (15 Gramercy Park South) in New York City. The festivities will feature a staged reading of a play by Ms. Margolin, directed by Michael Parva, artistic director of New York’s The Directors Company.
The Kesselring Prize is selected each year through a unique process: the National Arts Club invites approximately a dozen theatres across the country to nominate a playwright of exceptional promise — but who has yet to receive prominent national attention — for the award. Previous recipients of the Kesselring Prize include Tony Kushner, David Auburn, Melissa James Gibson, Paula Vogel, Nicky Silver, Anna Deavere Smith, David Lindsay-Abaire, Jose Rivera, Heather McDonald, Philip Kan Gotanda, Kira Obolensky, Tracey Scott Wilson and Marion McClinton.
The winners are chosen by a distinguished panel of judges, who this year were playwright John Guare; playwright and performer Eric Bogosian; FF Alumn, and Lincoln Center’s dramaturg Anne Cattaneo.
Deb Margolin was nominated by Cleveland Public Theatre, who submitted her
along with her play THREE SECONDS IN THE KEY. Tanya Barfield was nominated by
Seattle Rep along with her play BLUE DOOR.
The complete list of nominated playwrights and nominating theatres for the 2005 Kesselring Prize are:
Actors Theatre of Louisville – Adam Bock, SWIMMING IN THE SHALLOWS
Atlantic Theatre Company – Courtney Baron, MORBIDITY & MORALITY
Center Theater Group (Mark Taper Forum) – Michelle Carter, LET THE PONY SING
Cleveland Public Theatre – Deb Margolin, THREE SECONDS IN THE KEY
The Goodman Theatre – Karen Zacarias, MARIELA IN THE DESERT
INTAR – Jorge Ignacio Cortinas, BIRD IN THE HAND
Magic Theatre – Betty Shamieh, THE BLACK EYE
MCC Theatre – Brooke Berman, A PERFECT COUPLE
Milwaukee Repertory – Itamar Moses, BACH AT LEIPZIG
Penumbra Theater – L. Trey Wilson, STAGE DIRECTIONS
The Playwrights’ Center – Allison Moore, HAZARD COUNTY
Seattle Repertory – TANYA BARFIELD, BLUE DOOR
Southern Repertory – Rosary O’Neill, DEGAS IN NEW ORLEANS
Deb Margolin is a playwright, performance artist and founding member of Split Britches Theater Company. She is the author of six full-length solo performance pieces, which she has toured throughout the United States, as well as numberous plays, including BRINGING THE FISHERMAN HOME and ROCK SCISSORS PAPER. She is the recipient of the 1999-2000 OBIE Award for Sustained Excellence in Performance.
In her New York Times review of THREE SECONDS IN THE KEY — Ms. Margolin’s play about what happens when a terminally ill woman and her son, who while away the hours watching basketball, are visited by a player who steps out of their television and into their lives — Margo Jefferson wrote, “From the first words of Three Seconds in the Key, the playwright Deb Margolin creates a spell… Every minute and every move count… A fiercely good play.”
For more information about the published version of THREE SECONDS IN THE KEY, visit www.playscripts.com
Tanya Barfield’s plays include DENT, THE QUICK, 121 DEGREES WEST, PECAN TAN, THE HOUDINI ACT, WANTING NORTH (Guthrie Theatre), and SNAPSHOT plus the book for a children’s musical, KOFI’S CIVIL WAR. As a solo performer, Ms. Barfield appeared in her one-woman show WITHOUT SKIN OR BREATHLESSNESSS. She is currently working on THE FORCE OF NIGHT, a play about four generations of black men. In 1997, Ms. Magazine named her “One of the 21 Young Women to Watch for in the 21st Centruy.”
Named in honor of the beloved playwright Joseph Kesselring, author of ARSENIC AND OLD LACE, the Kesselring Prize was first presented by The National Arts Club in 1980, funded by Mr. Kesselring’s widow, the late Charlotte Kesselring. Established in 1898, The National Arts Club was the first private club in Manhattan to include women in its membership. In addition to the Kesselring Prize, the National Arts Club confers Medals of Honor, given to individuals and/or organizations for their contributions to the arts. The National Arts Club also awards scholarships to young musicians and writers, and has an outreach program for high schools.
For information about The National Arts Club and its programs, call 212-475-3424.
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14. Bob Holman, Peter Grzybowski, Rebecca Moore, at FusionArts, NY, October 9
FUSIONARTS MUSEUM HOSTS A DAY OF MUSIC, POETRY AND INTERNATIONAL PERFORMANCE ART IN A BENEFIT FOR SINGER/SONGWRITER CARRIE BEEHAN SUNDAY, OCTOBER 9, 2005
cost of admission: $5.00 US
Performances by Bob Holman, John Farris, Rebecca Moore, Peter Grzybowski,
Nicola Frangione, Jan Swidzinski, Artur Tajber, Angel Pastor, Bob Heman and many
more to be announced. With special guests TCHIMUYU. Presented by Tribal Soundz
and featuring members of the National Song and Dance Company of Mozambique,
TCHIMUYU plays the traditional drum and dance music of Mozambique and features
high energy African drumming, timbila (xylophone) and percussion.
On Sunday, October 9th, from 3pm – 12am midnight, artists, musicians and
writers will be gathering at FusionArts Museum for a 9 hour marathon of Lower
East/East Village music, poetry and international performance art to raise money
for one of their own who needs immediate medical attention.
Singer/songwriter/artist/producer Carrie Beehan has been an integral member
of FEVA since June 2003. She is well known in the LES/EV for her contributions
to FEVA and to all three HOWL! Festivals. Carrie has served FEVA and HOWL! in
several capacities – as producer of the HOWL! 2003 trailer, as an integral
part of HOWL! Festival video productions and last, but certainly not least, as a
talented musician in her own right.
Because of her massive contribution to several departments in FEVA over the
past three years and because she has been such an integral part of the HOWL
community since it’s birth, Carrie’s is a well known face in the East Village and
Lower East Side. An expatriate New Zealander, she cut her teeth in film and
video in Australia, resided in Berlin for 11 years where she worked as a video
editor for German Televsion, as a Berlin cabaret artist and as a painter. She
now resides in New York where she pursues her singing/songwriting career.
A memorable evening was had by all at her most recent performance as part of
HOWL! Festival 2005 with legendary bassist TM Stevens. Carrie brought the
“house” down at a standing room only performance at Mo Pitkins and had her entire
East Village audience dancing in the jam-packed aisles.
Due to negligence on the part of a local EV garden, Carrie sustained very
serious nerve injuries to her right leg on the first night of the HOWL! Festival
2005. These injuries have left her unable to walk. She now requires an
estimated 6 months of physiotherapy, neural block injections and other treatments to
get her walking again. The required treatment is very, very costly and like
many artists in New York, Carrie has no medical insurance to help defray her
medical costs. She needs our help.
Please come to FusionArts Museum on October 9 to hear some great poets, to
listen to some great musicians, to see some great ephemeral art and to help a
great asset to our community get the help she needs. This event is co-sponsored
by Converging Arts Media Organization, a 501(c)3 not-for-profit arts
organization and The Federation of East Village Artists.
100% of the proceeds of this event will be donated directly to Carrie. Please
make all checks and money orders payable to Carrie Beehan.
Thanks much,
Deborah and Shalom
FusionArts Museum
57 Stanton Street
New York, NY 10002
(212) 995-5290
http://www.artnet.com/fusionartsmuseum.html
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15. Pope Alice, FF Member, in Newcastle, Australia, October 14
POPE ALICE LOVES YOU TO LIFE
An Evening @ the Lemurian (Mu) Embassy
The President of the Pope Alice Xorporation (PAX), Secretary General of the Supreme Council of Antiquities, Minister for Intergalactic Bliss and acting Planetary Lemurian Ambassador, Dr Solomon Robstein, invites you to an evening at the Lemurian (Mu) Embassy.
Dr Robstein, Cosmic Visitor, President and Ambassador, will speak of the life and times of Her Divine Holiness Pope Alice, Spiritual Leader of the Lost Continent of Mu, the Oldest Person Alive, Curator of the Universe and Extraterrestrial of Extraordinary Ability (ETOEA).
Dr Robstein will also address such issues as Nibiru – the 12th planet, mythology in a post-post modern world, the social implications of nanotechnology, the effects of gamma rays on man-in-the-moon marigolds, importing and exporting art in times of spiritual crisis, cropcircles, cosmic-cosmetic surgery (the intergalactic plastic fantastic facial) and what Pope Alice has to say of Lewis Carroll.
The evening provides you a chance to meet the ambassador and ask any pressing question you may have about HDH Pope Alice; her alleged plans for world domination and whether or not Planet Earth is due for recycling in 2012 @ the end of the Mayan Calendar.
Refreshments will be served and some merchandise will be available during the evening
Friday 14th October 2005 from 6.15pm.
YOU ARE NOT ALONE
On this evening the Lemurian (Mu) Embassy will be encountered in the same building as the Newcastle Region Art Gallery.
Newcastle Region Art Gallery
One Laman Street
Newcastle, 2300
NSW, Australia
+ 61 2 49745100 Gallery
pfinnigan@ncc.nsw.gov.au
To contact the Pope Alice Xorporation email: palice@bigpond.net.au
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16. Natalie Bookchin, FF Alumn, at Mediateca di St. Teresa, Milan, Italy, October 20-Novvember 10
CONNESSIONI LEGGENDARIE NET.ART
1995-2005
Mediateca di Santa Teresa
28, Via della Moscova, Milan
October, 20 – November, 10 2005
Connessioni Leggendarie is the first exhibition devoted to NET.ART history.
Referring to a wide audience it reviews the years from 1995 to 2005; during
this decade, artists separated by geographical and socio-political barriers
shared ideas and artworks, using them as creative weapons over a new and unique
continent: the Internet.
Working with net languages, developing collective actions with a strong media
impact, bringing irony, deconstruction and, why not, fun inside the formal
severity of digital cultures, artists belonging to NET.ART gave life to a true
legend.
Between complex theories and Dadaist euphoria, Connessioni Leggendarie will
bring us between hopes and fears of our wildly digitized time.
A decade of technical and cultural Far West, aiming to explore and to conquer
new lands, languages, behaviours, contraddictions and limits of a world
traumatically connected to the information highways.
Born with a taste of historical avant-garde and often blamed of computer and
media piracy, NET.ART hit all the aesthetic and conceptual targets in a time of
change with no precedent.
Huge emulations, spoofs and pillages reveal the borders of obsolete conventions
and legal parameters. Aesthetical viruses and media epidemics. Software hacked
to blow the user’s mind rather than the user’s computer.
The exhibition tracks the topic moments of NET.ART history, which is however
more similar to a Sergio Leone’s “dirty plot” than to the clean museum rooms:
to the historian’s methods it surely prefers the great romancer mitopoietical
ability. There’s no other way to talk about FuckUFuckMe, the website selling
fake technological apparels for cybersex, ordered by real customers as if they
were real; Nike Ground, the mock Nike campaign organized by
0100101110101101.ORG that made Wien citizens go out of their mind; the identity
correction of the Yes Men, that made G.W. Bush say: “some freedoms should be
limited”; the challenge to the esoteric American electoral machine, realized
with an auction website, where citizens were able to sell their vote directly
to the best bidder ([V]ote-auction di Ubermorgen)…
The epic narration loves digressions: that’s why Connessioni Leggendarie gathers
the fast-paced narration of these adventures and long excursuses to the
utilization of informatic languages as a poetic language [code poetry], and on
the transformation of the software into an artwork, regretting functionalities
in favour of aesthetical, conceptual or social needs [software art].
Connessioni Leggendarie isn’t, and doesn’t want to be, a final exhibition: it’s
only the first, perfectible version of the legend and an attempt to suggest to
institutions, which are often insensible, ways and formulas to preserve a
history risking to get completely lost as a document and to be at the mercy of
the ungovernable limbo of oral history. In 1995, Jeff Rothemberg warned:
“Digital information lasts forever – or for five years, whichever comes first”.
Aware of this problem, Connessioni Leggendarie tries this new rigorous
interface, using the instruments of documentation and emulation to refer to the
spirit of the legend, rather than to quote. Therefore, video documents are
displayed together with installations, dedicated PCs and panels, depending on
the characteristics of every single project.
Where and When
20 October – 10 November 2005, Mediateca di Santa Teresa, Via della Moscova 28
– 20121 Milano.
Open Monday to Friday, 10.00 a.m./6.10 p.m.; Saturday, 10.00 a.m./1.45 a.m.
Mediateca di Santa Teresa, digital department of the Braidense National Library,
is a huge “library without books”. Consultation center for online knowledge and
for the electronic publishing sources, Mediateca accomplishes many cultural and
didactic activities: meetings and conferences as well as courses and seminars
for the utilization of electronic equipment.
http://www.mediabrera.it
Invited artists
Ubermorgen (Austria)
The Yes Men (U.S.A.)
Surveillance Camera Players (U.S.A.)
Sebastian J. F. (Austria)
RTMARK (U.S.A.)
Joan Leandre \ retroYou (Spain)
Mark Napier (U.S.A.)
Natalie Bookchin (U.S.A.)
Jodi (Netherlands)
0100101110101101.ORG (Italy)
Jaromil (Italia/Austria)
I/O/D (U.K.)
Heath Bunting (U.K.)
Florian Cramer (Germany)
Electronic Disturbance Theater (U.S.A.)
Cornelia Sollfrank (Germany)
Alexei Shulgin (Russia)
Alexander R. Galloway (U.S.A.)
Adrian Ward (U.K.)
[epidemiC] (Italy)
Amy Alexander (U.S.A.)
Mongrel Project (U.K.)
Eldar Karhalev & Ivan Khimin (Russia)
etoy (U.S.A./Olanda/Germania/Austria)
Vuk Cosic (Slovenia)
Curated by Luca Lampo
Scientific board 0100101110101101.ORG, Marco Deseriis, Domenico Quaranta
Organization and production Gabriele Miccichè, Alessandro Mininno
Website http://www.connessionileggendarie.it
E-mail net.art@connessionileggendarie.it
Images and addictional texts are available at:
http://www.connessionileggendarie.it/press
Critical essays by:
Marco Deseriis, author of: NET.ART – L’arte della connessione
http://www.thething.it/netart
Domenico Quaranta, author of: NET ART 1994 – 1998. La vicenda di Äda’web
http://www.dom40.cjb.net
Catalogue ready-made, Milano. http://www.ready-made.net
Connessioni Leggendarie is promoted by Fondazione Adolfo Pini, Corso Garibaldi 1
– 20121 Milano.
Fondazione Adolfo Pini, created in memory of painter Renzo Bongiovanni, promotes
the activity of young artists in the field of painting, literature and artistic
activities in general.
The catalogue is realized with the contribution of Banca Intesa.
Press Office
Chiara Costa – tel. +39.349.1981349
Saramicol Viscardi – tel. +39.328.7516332
E-mail net.art@connessionileggendarie.it
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17. Joan Snyder, FF Member, at The Jewish Museum, NY, thru October 23
JOAN SNYDER: A PAINTING SURVEY, 1969-2005
Through October 23, 2005
Over 30 of Joan Snyder’s major works are being presented at The Jewish Museum in New York in the most comprehensive museum survey of the artist’s paintings to date. Paintings on view range from the monumental (some as large as six by twelve feet) to modest in scale. Joan Snyder first achieved recognition in the 1970s, with her “stroke” paintings. Eventually, she felt the need to move beyond these grid-based abstractions to create works that were at once more complex and personally resonant. Joan Snyder is a painter who embraces the formal qualities of abstraction while imbuing her work with narrative content that is often deeply personal and politically motivated. In her canvases she combines rich color, dramatic brushwork, and the sensuous application of a wide range of materials and colors such as velvet, silk, papier-mâché, straw, and plastic. This mid-career review has been organized by the Danforth Museum of Art in Framingham, Massachusetts, where it will be on view from November 10, 2005 through February 5, 2006
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18. Sonya Rapoport, FF Alumn, at City Gallery, New Haven, thru October 30
Sonya Rapoport, FF Alumn is exhibiting her web work, Kabbalah Kabul: Sending Emanations to the Aliens in Pixel Pops!, an all-digital exhibition featuring short videos, animations, and interactive works by approximately 30 digital artists from around the world. It takes place at City Gallery in New Haven, Connecticut, October 1-30, 2005. This is an artist-organized exhibition, coordinated by Colleen Tully and Cynthia Beth Rubin.
Rapoport’s piece is derived from the design she presented for communicating altruisms to the aliens in a SETI (Search for Extra Terrestrial Intelligence) Workshop in Paris.
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19. John Ahearn, Peter Cramer, Jane Dickson, Bradley Eros, Jenny Holzer, Tom Otterness, Kiki Smith, Joseph Nechvatal, Tom Otterness, Christy Rupp, and Jack Waters, FF Alumns, in Naked Eye Cinema catalogue, now online
Naked Eye Cinema catalogue can be viewed as PDF at: http://www.alliedproductions.org/pdf/nakedeye_catalogue.pdf
NEW PRINTS AND VIDEO TAPES
NAKED EYE CINEMA
http://www.alliedproductions.org/cgi-bin/view.cgi?n=/cinema/home.xml
An incentive has been launched putting works from the Naked Eye Cinema canon into circulation at the Film Makers Cooperative http://www.film-makerscoop.com, the archives of the Donnell Media Center of the New York Public Library ( http://www.nypl.org/branch/collections/dmc.html), and the Fales Collection at New York University’s Elmer Holmes Bobst Library. http://www.nyu.edu/library/bobst/research/fales/
Naked Eye Cinema represents a particular cross section of art and culture in the 1980’s downtown milieu distinguished by interdisciplinary crossovers, AIDS politics, queer and post feminist sexuality. The work is often marked by acknowledgement of its position in the impending culture wars and the surrounding conditions of gentrification in which the work was generated.
This preservation and distribution incentive was prompted by the Estate Project for Artists with AIDS under the direction of Jon Gartenberg in 2000, when film preservation prints, negatives and related ephemera of Jack Waters were acquired by The Film-Makers Coop and NYU’s Fales Collection. The titles selected for preservation, archival and distribution were Waters’ Berlin New York (1984 -’86), an early collaboration with Peter Cramer and Brad Taylor . The other titles under the Estate Project preservation are The Male Gayze (1990) and Diotima (1991); two works from a series on gender and sexuality that Waters has described as “The Erotic Cycle”.
(see Gartenberg’s interview with Waters at http://www.artistswithaids.org/artery/artist/artist_index.html)
These prints and other films & videos by Peter Cramer and Jack Waters are now available at the Film-Makers’ Cooperative ( http://www.film-makerscoop.com/).
Included in the selection are Cramer’s Corrective Measures (1986) Black & White Study (1990), Coney Island (1987) and Haiku Series parts 1 and 3 (1989). Additionally, films on video by Carl Michael George have been recently made available for distribution at the Film-Makers’ Cooperative. Descriptions of these newly available titles can be searched by the maker’s name at the Coop’s online catalogue.
The three Estate Project titles and Black & White Study, along with Water’s Brains By Revlon (1986) – recently screened at the New Museum’s East Village USA exhibition – have been recently acquired by the Donnell Media Center of the New York Public Library.
THE FILMMAKERS COOPERATIVE
The Film-maker’s Cooperative was started in 1960 as an artist-run cooperative spearheaded by Jonas Mekas the fomenter of what he hailed as the “New American Cinema”. As original film critic of the Village Voice and founder of New York’s Anthology Film Archives, Mekas facilitated the visibility of pioneers in the American avant garde cinema like Barbara Rubin, Stan Brakage, Amos Poe and others. At gatherings preceding the establishment of Anthology and the ‘Coop’, artists like Andy Warhol and Kenneth Anger showed their experiments in film as part of a burgeoning movement in dance, poetry, music, fashion and art. The intertwining circles of ‘60s culture is detailed in Steven Watson’s 2003 tome “Factory Made” ((Pantheon Books), An oral history chronicling the influences on and by the Warhol Factory scene.
NAKED EYE CINEMA
In the 1980s as artists, political dissidents and social dropouts increasingly flocked to the Lower East Side, partially as a result of low rents – the effect of downward spiraling real estate interests influenced by New York’s fiscal default. The close of a cycle beginning with the exodus of the middle class from urban centers starting in the 1950’s. In addition to the lure of affordable housing, the attraction of the downtown subculture that the Warholian milieu represented contributed to the draw of the social disenfranchised, underground glamour mongers, creative intellects, and the politically disenfranchised
The Naked Eye Cinema was started as a cinematic adjunct to Abc No Rio, a non profit social space and cultural center established by members of the socially conscious artists collective Collaborative Projects, Inc. (CoLab) whose ranks included, among many others, artists like Kiki Smith, Jenny Holzer, Tom Otterness, John and Charlie Ahearn, Christy Rupp, Rebecca Howland, Jane Dickson, Joseph Nechvatal, and many others. Second generation Abc No Rio artist/co-director Jack Waters conceived, with the artist Leslie Lowe, a component to No Rio’s programming that would at once facilitate the production and exhibition of their own work and that of colleagues like Kembra Pfahler, Carl George, Brad Taylor, Peter Cramer, Bradley Eros, Aline Mare – and of developing coexisting movements in experimental film like the Cinema of Transgression exemplified by the works of Richard Kern, Nick Zedd, and Cassandra Stark. Not limiting itself to the spatial confines of No Rio’s facility at 156 Rivington Street Naked Eye also exhibited at local available venues like Lowe’s Clinton Street studio, the Embargo Books LTD, a bi-lingual store and reading room run by No Rio artist Richard Armijo. Later the series showed at other venues in the city such as various community centers , The Kitchen, and at inevitable runs at the reincarnated Anthology Film Archives itself. Traveling screenings have included a coast-to-coast tour of Canada, screenings in Hamburg and Berlin, and other international venues.
Although the circle of frequently recurring exhibitors included works by Phahler, George, Eros, Penelope Wehrli , Ela Troyano, Tessa Hughes-Freeland, and others, its open curatorial policy precludes the framing of Naked Eye as a traditionally defined collective or movement, especially since programming often encompassed the inclusion of classics such as Eisenstein’s unfinished Que Viva Mexico, the works of Jean Cocteau, experimental pioneers like Maya Deran, and precursors like the New American Cinema and experimental documentary strategies like the Maysle brothers’ Grey Gardens and the films of Beat generation maker Robert Frank’s Pull My Daisy, his Rolling Stones documentary Cocksucker Blues and Deran’s Divine Horsemen. These titles were culled from collections like the Donell, Canyon Cinema, Janus Films and The Filmmakers Cooperative.
Naked Eye’s interest in socially progressive cinema also precipitated the programming of titles like the rarely seen “ Forgotten Village” written by John Steinbeck and directed by expatriot Herbert Klein , who made a personal appearance at the Naked eye’s Embargo Books screening, and Bill Gunn’s rarely shown proto-Blaxploitation vampire flick Ganja and Hess .
Naked Eye embraced expansion diversity, and inclusion by programming the works of makers like Abigail Child, Barbara Hammer, and Su Fredericks , thus continuing its tendency towards the inclusion of works by women and queers. As AIDS ravaged the underground community the programming of AIDS activist film and video makers like Jerry Tartaglia and Jean Carlomusto coinciding with the inauguration of the New York Experimental Lesbian And Gay Film Festival, which became MIX ( http://www.mixnyc.org). As a premiere venue for cutting edge film and video in its day Naked Eye along with The New York Lesbian And Gay Experimental Film Festival was an early exhibitor of the works of Todd Haynes, Christine Vachon, and Todd Verow heralding the movement that was once hailed as the New Gay Cinema, and paved the way for the development of a vital niche market that is now extant in queer targeted mainstream and cable network programming.
Expansion of the preservation and exhibition incentive will include the preservation and distribtion of Kembra Pfahler and Cassandra Stark in cooperation with the New York Filmmakers Cooperative. Similarly, discussions are in process that will merge the collection of video and films on video from the CoLab centered Monday Wednesday Friday club with distribution and exhibition endeavors by the Filmmakers Cooperative.
A catalogue of works from the Naked Eye Cinema can be viewed and downloaded at http://www.alliedproductions.org/pdf/nakedeye_catalogue.pdf
Naked Eye Cinema
P.O. Box 20260 Tompkins Square Station
New York, NY 10009
(212) 529-8815
Naked Eye Cinema is a project of Allied Productions, Inc.
A Not-For-Profit Organization
http://www.alliedproductions.org/cgi-bin/view.cgi?n=/cinema/home.xml
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20. Lynne Tillman, FF Alumn, in Bomb magazine, Fall 2005
Congratulations to Lynne Tillman, FF Alumn, on the publication of an excerpot from American Genius, A Comedy, in the Fall 2005 issue of Bomb magazine. For more information please visit www.bombsite.com
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21. Kriota Wilberg, Bob SIkoryak, FF Alumns, in the New York Times
Congratulations to Kriota Wilberg and Bob SIkoryak, FF Alumns, on the New York Times’ rave review of Kriota’s dance extravaganza, “The Bentfootes,” which features Bob’s new 7- minute animation. The full text of the article is below. Gia Kourlas also wrote a preview article in the September 29 issue of Time Out New York.
Please check it out! Only 4 more shows
Dixon Place at University Settlement:
184 Eldridge Street
(F train to 2nd Avenue)
Thursdays– Saturdays, thru Oct. 8, 8PM
$10-$15 sliding scale at door; $12 advance at theatermania.com,
TDF Thursdays only
Reservations: 212.219.0736 x110
October 1, 2005, The New York Times
A Comic Dance Dynasty, Generation by Generation by Jennifer Dunning
Kriota Willberg and her troupe, the Dura Mater dance company, use words and movement to create slyly funny, bizarre narratives. The crazy imagination of Ms. Willberg’s latest work, “The Bentfootes,” may be hard for her to top.
The piece, which opened Thursday night at University Settlement, documents and pays multimedia homage to the life and work of one Susan Bentfoote, a recently deceased New York downtown dance choreographer. She comes from an illustrious dance family, at work from the late 18th century, and their contributions to American dance are disclosed in “The Bentfootes.”
There is Daniel, who sold cigars to Ulysses S. Grant and in whose 1862 “Civil War Square Dance,” performed by Dura Mater, a caller refers to Civil War battles. (“Storm the fort, gunboats advance!” he calls out. “Fire! Reload!” with the square dancers choking, stabbing and punching one another as they dos-à-dos along.) There is poor little Giselle, a 19th-century ballerina who manages to perform despite an accident that has destroyed her balance.
And there is Junior Bentfoote, Susan’s father, who choreographed a Broadway-style musical about the postmodernist Judson Church movement. “I got a new postmodern boyfriend,” a Sutton Foster sing-alike belts out, an “aleatory chap” who shares a loft with Trisha Brown.
The family is fictitious, and their artistic efforts all mediocre. But in the best mockumentary fashion, Ms. Willberg has gathered a host of real-life luminaries who comment solemnly, on video, about the Bentfootes’ earnest efforts. James Urbaniak (“Thom Pain (based on nothing)”) is Susan’s husband, Lisa Kron is her lover, and Elizabeth Zimmer is her glamorous, formidable mother. Lawrence Goldhuber is the host of “Cooking With Dance,” interviewing Susan as he decimates a head of arugula. Jody Sperling plays a gaga dance historian, with Jack Garrett as her unctuous theater counterpart. Jill Sigman is a catty contemporary.
Ms. Willberg knows her material, but she also has first-rate collaborators, among them the costume designer Jennifer Brightbill, the animator R. Sikoryak, and the videographer David Quinn.
“The Bentfootes” will be performed Saturday, and Thursday through next Saturday, at University Settlement, 184 Eldridge Street, Lower East Side. end
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22. Jeff McMahon, FF Alumn, in Journal of Performance and Art, issue #81
Congrats to Jeff McMahon, FF Alumn, on the publication of his essay, “Future Conditional: a short time teaching in Cuba,” in PAJ: a journal of performance and art, issue #81
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23. David Medalla, FF Alumn, in Berlin, October 6 th and 9 th
David Medalla, FF Alumn, and Adam Nankervis will perform the second impromptu in their new series of participatory performances entitled “Pythagoran Conversations in Post-Einsteinian SpaceTime Continuum” in the MUSEUM MAN space at the 2nd BERLINER KUNSTSALON in the Glashaus of the Arena at Treptower Park in Berlin . The live event will take place on Thursday, the 6th of October 2005 at 6 p.m. The MUSEUM MAN space is a spacious room with pink walls bursting with glorious art works contributed by a galaxy of international artists in a collective exhibition entitled “Blue Prints of the Senses”. Some of the artists are members of the London Biennale, several of whom in fact are in Berlin, including Jill Rock (who co-curated the exhibition with Adam Nankervis), Roberta Kravitz and Debra Wagron.
The third impromptu in this new series of participatory performances by Adam Nankervis and David Medalla will take place beneath the Atom Clock at Alexanderplatz in East Berlin on Sunday, the 9th of October 2005 at 6 p.m.. These new performances by Medalla and Nankervis continue their wonderful “Cosmic Wrestling Match” at the ICA – Institute of Contemporary Art in London last September 11, 2005, during which Adam Nankervis enacted the role of the Ghost of Joseph Beuys while David Medalla enacted the role of Marcel Duchamp in the guise of Rrose Selavy. The wrestling match was refereed by English art critic Guy Brett who curated Medalla’s latest show at the ICA London.
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24. Anita Ponton, FF ALumn, at City of Women Festival, Ljubljana, Slovenia
UK artist Anita Ponton will be making three performances for the upcoming City of Women Festival in Ljubljana, Slovenia.
Anita Ponton lives and works in London. Educated at Central St. Martins School of Art and Goldsmiths College where she is currently completing her doctorate in Fine Art. Trained as a painter/sculptor, she now works principally in performance, situating her body as site, as process and as object.
Her work has been exhibited/performed internationally, including events and shows at the ICA (London), Franklin Furnace (New York), Oriel Mostyn Gallery (Wales), the Venice Biennale and the Liljevalch Kunsthalle (Stockholm). Performance festivals include the Exit Festival ( Helsinki), 7A11D festival ( Toronto), Edgy Women ( Montreal), Mountain Standard Time Festival ( Calgary). Her practice is currently concerned with the relationship of the body in performance to technology and to feminine representation.
The works presented will be ‘Still’, ‘Unspool’ and ‘Baggage’.
Please see below for festival details:
CITY OF WOMEN
11th International Festival of Contemporary Arts 7th ¯ 14th October 2005, Ljubljana, Slovenia
The City of Women Festival 2005 will focus on the concept of in/security as one of the key issues in contemporary debate. Today, security of any kind is a mere illusion; while new measures of exclusion, control and violence have all been imposed in the name of ‘security’ in order that they may be perceived as acceptable. Often, the woman’s body is a crucial locus where discourses on national identity, multicultural society and acceptable family norms are played out, sometimes in the name of equality and emancipation, and other times in the name of difference. The obsession with security and fear, surveillance and control, has also become a common issue in many spheres of cultural and artistic endeavour.
The Festival will present around 40 women artists, theoreticians and activists from UK, USA, Belgium, France, South Korea, Germany, Japan, Netherlands, Austria, Spain, South Africa, Iran, Bosnia- Herzegovina, Croatia and Slovenia, who focus on various physical, psychological, environmental, ideological, economic and political issues that pertain to in/security. The City of Women anticipates a fruitful interdisciplinary exchange. In attachment you can find this year’s festival programme. More information is to be found online www.cityofwomen.org . For photos of participants look on www.cityofwomen.org/press/galerija During the festival also look for CoWeb – the online project will offer a critical debate for which we have invited young writers, theoreticians and artists from Slovenia and abroad to enter virtual polylogue.
For additional information please contact pr@cityofwomen.org
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25. Paul McMahon, FF Alumn, at Colony, Woodstock, NY, October 8, 8 pm
PAUL McMAHON 10/8 COLONY 8PM $5
SOLO RECITAL WITH GUITAR
Paul McMahon will give a recital of twenty songs written over a period of as many years. A diaristic writer, his music mirrors the changing contours of his changing psyche and charts a path from Soho art galleries to Woodstock sweat lodges; from the head to the heart. His work has been called prophetic, but it was just stating the obvious that for some reason was not obvious to everyone.
“…floods, tornadoes and hurricanes,
the whole weather system is going insane”
The World Is Getting Harder to Live In -1990
Songs are a way of being able to discuss the contradictory nature of things that almost can’t be approached in conversation. A song can heal in a way that’s harder for a poem. That’s because pain can be dissipated through the sweet vibration of music. Music is solace for the poor and downtrodden in a way that Picasso never will be. Songs are the first history books, and still the best implement of social change, other than the Daily Show with Jon Stewart.
RECOVEREVOLUTIONARY WHARF AIR
Woodstock songwriter Paul McMahon’s rich vocals and hummable melodies don’t shy away from the deep end of the pool. An eclectic writer, he has written songs for Sinatra, John Denver and Rod Stewart. Unfortunately Sinatra and Denver never got a chance to hear them and he doesn’t know Stewart’s phone number. Do you? Luckily, John Herald did cover one of Paul’s songs. It was Bang Your Crazy Head, which he originally wrote for Charles Aznavour. Shamsi Ruhe and Syd Straw have also sung his songs.
His recordings have been mistaken for Willie Nelson and Chet Baker. He has recorded with all types of musicians and instrumentation, a dyed in the wool eclectic. Eight CD’s may be sampled at CDBaby.com. His work has been played on WKZE 98.1 in Sharon CT and WFMU-FM in the NYC area. He has played live on shows hosted by Glenn Jones, Frank Matheis, Nick Hill, Bill Berger and Todd Mack. He has performed at many venues in the US and Europe including the Bottom Line, CBGB’s and the Guggenheim Museum. The show will start at eight and pina colada is the featured cocktail
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26. Carl Andre, Patty Chang, Circus Amok, Maureen Connor, Peter Cramer, Crash, Daze, Judy Glantzman, Mike Glier, Felix Gonzalez-Torres, Hans Haacke, Barbara Moore, Joseph Nechvatal, Claes Oldenburg, Yoko Ono, Tom Otterness, Christy Rupp, Kiki Smith, Anton Van Dalen, FF Alums, in ABC No Rio 25 th Anniversary Benefit at Deitch Projects, October 23, 4-8 pm
SUNDAY OCTOBER 23 –4:00 to 8:00pm–
ABC No Rio 25th Anniversary Benefit & Silent Auction
Deitch Projects
18 Wooster Street
NYC
Join us for cocktails, buffet, performances, guest DJs, brilliant conversation and spirited bidding!!!
Participating artists include Jonathan Berger, Jennifer Berklich, Mike Bidlo, Kathe Burkhart, Mary Campbell, Amy Chan, Patty Chang, Paul Clay, Ernest Concepcion, Maureen Connor, Thom Corn, Peter Cramer, Crash, Jody Culkin, Peggy Cyphers, Daze, Mike Diana, Eric Drooker, Stefan Eins, Mike Estabrook, Peter Fend, Ebon Fisher, Fly, Robert Flynt, David B. Frye, Chitra Ganesh, Robert Goldman, Judy Glantzman, Day Gleeson, Mike Glier, A. Banks Griffin, Mimi Gross, Bob Gruen, Hans Haacke, Julie
Hair, Gibby Haynes, Geoffrey Hendricks, Brian Higbee, Becky Howland, Bill Jacobson, Stephen Lack, Leslie Lowe, Noah Lyon, Anne Arden McDonald, Mac McGill, Manny Migrino, Joseph Nechvatal, Pierre Obando, Yoko Ono, Tom Otterness, Francis Palazzolo, Kembra Pfahler, Philli, Rick Prol, Carlo Quispe, Ted Rall, James Romberger, Christy Rupp, Max Schumann, Scott Seaboldt, James Sheehan, Ethan Shoshan, Zak Smith, Kiki Smith, Swoon, Tabboo! Stephen Tashjian, Seth Tobocman, Marguerite Van Cook, Anton Van Dalen, Tom Warren, David Wells, John White, Dale Wittig, Virgil Wong, and Ricardo Zuluetta.
Carl Andre (courtesy Sur Rodney Sur), Felix Gonzalez-Torres (Carl George), Peter Moore (Barbara Moore), Claes Oldenburg (ABC No Rio/Allied Productions), Hugh Steers (Carl George), Pat Steir (Joan Moore)
PERFORMERS
Circus Amok
The Hungry March Band
Guest DJs: Dan Cameron, Carlo McCormick and other curators, writers, gallerists and artists!
The exhibition will include works from the Abc No Rio permanent collection. Browse the art archive at:
http://www.alliedproductions.org/cgi-bin/view.cgi?n=/abc/art/a1.xml
A list of the video archive at:
http://www.alliedproductions.org/cgi-bin/view.cgi?n=/abc/art/a1.xml
General info on the permanent collection at:
http://www.alliedproductions.org/cgi-bin/view.cgi?n=/abc/home.xml
Ticket prices begin at $40
http://www.abcnorio.org/benefit
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27. Aaron Landsman, FF Alumn, at DiverseWorks, Houston, opening October 20
Hello,
Meteorology be danged, I’ve got a new show opening in Houston. It’s called What You’ve Done; it was commissioned by DiverseWorks, and is co-produced with Infernal Bridegroom Productions and Project Row Houses.
What You’ve Done is part-play, part installation – it’s performed in a shotgun house in Houston’s 3rd Ward, and the audience is limited to 12 people per night. The story starts after a sister’s disappearance, and gives three different perspectives on what caused her to depart. Viewers become voyeurs, confidantes.
What You’ve Done opens October 20 and runs three weeks, with six shows per week. It is performed by the lovely and talented Eleanor Colvin, Autumn Knight and Troy Schulze, with the help of a TV/VCR and a telephone answering machine named PhoneMate. The piece is designed by local installation artist Eric Zapata. Tory Vazquez has helped fix the script.
Do you know anyone in Houston? Do you think they might like to see a show by me? Please tell them – it opens Thursday October 20 and runs three weeks, six shows a week.
Here’s where all the info. resides about dates, times, locations and tickets:
http://www.diverseworks.org/programs/perf_subscription.shtml#landsman
To find out more about the nice people who have helped make this happen
DiverseWorks – http://www.diverseworks.org
Infernal Bridegroom – http://www.infernalbridegroom.org
Project Row Houses – http://www.projectrowhouses.org
If you want to know who “Aaron Landsman” is, go here:
http://www.thinaar.com
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28. Sabrina Jones, FF Alumn, at WW3’s 25 th Anniversary exhibit/release party, Exit Art, October 6
WW3 is 25 years old! Please join us for our exhibition
and release party.
WORLD WAR 3 Illustrated
25th Anniversary Issue
Thurs, OCT. 6TH, 2005
6-8 PM
at EXIT ART 475 10TH Ave.
(at 36TH St.) NYC 10018
The release party will also be the opening of a show
of original art from WW3 with many of the artists in
attendance.
Exhibit runs through Oct 27th
Gallery hours
Tues-Thurs 10-6, Fri 10-8, Sat 12-8
WW3 is the longest running political comics zine in
history.
The new issue,”Neo Con” #36 edited by Ryan Inzana and Peter Kuper, includes art by Sue Coe, Eric Drooker, Seth Tobocman, Sabrina Jones, Mac McGill, James Romberger, Chuck Sperry, Nicole Schulman, Spain, Joe Sacco, Steve Brodner, Tom Tomorrow, Sam Weber, Barron Storey, Barry Blitt, David Rees, and a comic assembled with photos by an American Sgt. in Iraq with his commentary.
Visit our website going live next week:
http://www.worldwar3illustrated.org
Drop in any time: www.sabrinaland.com
or check me out on these sites:
www.directoryofillustration.com/SabrinaJones
www.wobblyshow.org/gallery1.php
…or call ahead: 718.284.1926
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29. Raul Zamudio, FF Alumn, at Artist Network New York, opens October 7
The:artist:networkp roudly presents “crime” curated by marchungerbuhler for the artist network, co curated by raulzamudio and (My bankroll’s swool, I’m hip, legit, and on parole… ) alfredo martinez. A group exhibition featuring, cara earl,eric doeringer, jim costanzo, wolfgang stiller, testtube, romandeingruber, stuart croft, ruben gutierrez, ayesha malik, o zhang, chanpark and bik van der pol at the:artist:networknewyork, 424 broadway 6th floor new york, new york 10013 October 7, 6-8 pm. Continues thru October 29. http://www.theartistnetwork.org
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30. Isabel Samaras, FF Alumn, clip from SexTV now online.
If you’re not in Canada you probably didn’t get a chance to see this segment on SexTV but their site has a little “clip-ette” you can view:
http://www.sextelevision.net/archives/episodeArchivesDisplay.asp?segmentID=392&seasonID=7
They even got me reading my beloved comics….
Isabel Samaras
izzycat@aol.com
http://www.devilbabe.com
Monster Illustration!
http://www.monsterillo.com
Posters @ Poster Planet:
http://www.posterplanet.com
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31. Guerilla Girls On Tour announce U.S. touring schedule
U.S. touring schedule for Guerrilla Girls On Tour
Guerrilla Girls On Tour will be performing Silence Is Violence, Guerrilla Girls On Tour Show, and our signature performance Feminists Are Funny at the following locations across the country: October: New York, Minnesota; November: Missouri; February: Texas; March: Iowa, North Carolina, Massachusetts; April: Kentucky. Also look for us in the fourth season of CUNY TV’s Women In Theatre” – dialogues with notable women in American Theatre this spring. For information about bringing our brand of satirical activism to your community call Aphra Behn at 917 742-2973 or write to aphra@guerrillagirlsontour.com. See you on the road!
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~~end~~
Goings On are compiled weekly by Harley Spiller
Click http://www.franklinfurnace.org/goings_on.html
to visit ‘This Month’s World Wide Events’.
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send an email to info@franklinfurnace.org
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Franklin Furnace Archive, Inc.
80 Arts – The James E. Davis Arts Building
80 Hanson Place #301
Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
Fax: 718-398-7256
http://www.franklinfurnace.org
mail@franklinfurnace.org
Martha Wilson, Founding Director
Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Dolores Zorreguieta, Program Coordinator
