Goings On: posted week of November 18, 2019
CONTENTS:
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1. Hampton Fancher, FF Member, at Greenpoint Palace, Brooklyn, Nov. 23
2. Marcia Resnick, FF Alumn, at Deborah Bell, Manhattan, thru Feb. 1, 2020
3. Debra Pearlman, FF Alumn, at Odetta Gallery, Manhattan, thru Jan. 4, 2020
4. Judith Ren-Lay, FF Alumn, at Pangea, Manhattan, Nov. 24
5. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, Nov. 24
6. Yvonne Rainer, FF Alumn, in The New York Times, now online
7. Angels Ribe, FF Alumn, at LOOP Festival, Barcelona, Spain, thru May 31, 2020
8. Verónica Peña, Arantxa Araujo, FF Alumns, at Prime Produce Apprentice Cooperative, Manhattan, Nov 22.
9. Chin Chih Yang, FF Alumn, at White Box, Manhattan, Nov. 20
10. Doug Skinner, Norman Conquest, now online at blackscatbooks.com
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1. Hampton Fancher, FF Member, at Greenpoint Palace, Brooklyn, Nov. 23
Shining Splice Presents:
Hampton Fancher Blade Runner Night
23rd November 2019, 5pm doors.
Greenpoint Palace, 206 Nassau Ave, Brooklyn, NY 11222 https://www.greenpointpalace.com/event-space
Join us at the Greenpoint Palace, Brooklyn, for a very special audience with Hampton Fancher, legendary screenwriter of Blade Runner and Blade Runner 2049.
The talk takes place in the month that Blade Runner is set, in the city that Sir Ridley Scott originally wanted to locate the film.
Following a low-tech screening of Blade Runner Final Cut, Hampton will discuss his work on Blade Runner, Blade Runner 2049 and much more, with the acclaimed journalist and New York Times Magazine writer Elizabeth Rubin and Charles de Lauzirika, director of DANGEROUS DAYS: MAKING BLADE RUNNER and the restoration producer of BLADE RUNNER: THE FINAL CUT.
Before the screening of Blade Runner Final Cut, we will screen a one-off introduction to the film by Sir Ridley Scott. The intro was recorded ahead of the Teesside Blade Runner convention – Scott’s home town – which was run by Shining Splice’s sister organisation Static Gallery, Liverpool, UK.
The night will include noodles and DJ sets from Joe McLaughlin and M.P. Messenie.
The screening of Blade Runner is not meant to be a sealed box auditorium experience, it’s more street level, more noise, more how Fancher envisaged the world of Blade Runner.
The cost of the ticket is for the discussion with Hampton but guests must be in the building at doors at 5pm to ensure entry is guaranteed.
Programme:
17.00 Doors/drinks
18.00 Blade Runner Final Cut
20.00 Drinks/Noodles
20.30 Q+A with Hampton Fancher (Screenplay for Blade Runner and Blade Runner 2049) and Elizabeth Rubin and Charles de Lauzirika.
21.45 Drinks/Noodles, DJs/Visuals TILL LATE
Note: Noodles and drinks not included in the ticket price
Elizabeth Rubin states:
“Hampton Fancher and I met in 1997 when Fancher and Ridley Scott optioned a story of mine in Harper’s Magazine about South African mercenaries in Sierra Leone. We have remained close confidantes ever since.”
Paul Sullivan states:
“Hampton couldn’t come to Teesside, UK, Sir Ridley Scott’s home town, for the November 2019 Blade Runner Convention, so we decided to come to Brooklyn to set up a one-night special event on Hampton’s own patch! Of course, we will show Blade Runner and eat noodles, but the talk between Hampton, Elizabeth and Charles promises to be a unique experience, an insight into the reclusive Fancher’s thought processes and stories related to the development and making of one of the greatest science fiction films ever made.”
Contact Paul Sullivan for more info/press images: info@shiningsplice.com
Telephone: 00 44 7882378463
Notes on participants:
Hampton Fancher:
Hampton Fancher is an American actor, screenwriter, and filmmaker, best known for co-writing the 1982 neo-noir science fiction film Blade Runner and its 2017 sequel Blade Runner 2049, based on the novel Do Androids Dream of Electric Sheep? by Philip K. Dick.
Elizabeth Rubin:
Elizabeth Rubin has covered conflict around the world for two decades. She has written portraits of major and minor leaders, activists, artists, mothers, soldiers, smugglers, spies and war criminals in South Asia, the Middle East, and Eastern Europe for The New York Times Magazine, The New Republic, The New Yorker, Harper’s, The Atlantic, Bidoun, Vogue, among others.
Rubin’s journalism has received many honors including the Livingston Award, the Bayeux-Calvados Award, the Kurt Schork Award. She has been a Nieman Fellow at Harvard University, an Edward R. Murrow Fellow at the Council on Foreign Relations.
She is currently at work on Studio Kabul a film about Afghan Soap Opera actresses; and completing a book called The Charismatics, set in the Great Lakes region of Africa and southern California.
Charles de Lauzirika:
Charles de Lauzirika is the producer of over 100 behind-the-scenes documentaries and featurettes, including the definitive making-ofs on BLADE RUNNER, TWIN PEAKS and The ALIEN Anthology, Lauzirika made his feature directorial debut with the psychological thriller CRAVE, starring Josh Lawson, Emma Lung, Edward Furlong and Ron Perlman. The film won several awards, including Best First Feature at the Fantasia Film Festival in Montreal, and Best Director (Next Wave) at Fantastic Fest in Austin. In addition to directing commercials, music videos and the recent satirical horror short LOVE BITE, he and Kalen Egan (Executive Producer on THE MAN IN THE HIGH CASTLE) have adapted Philip K. Dick’s futuristic drama I HOPE I SHALL ARRIVE SOON into a feature-length screenplay. Lauzirika continues to produce BTS content while developing film projects to direct.
Notes on Blade Runner:
Blade Runner is a 1982 science fiction film directed by Ridley Scott, and written by Hampton Fancher and David Peoples. Starring Harrison Ford, Rutger Hauer and Sean Young, it is loosely based on Philip K. Dick’s novel Do Androids Dream of Electric Sheep? (1968). The film is set in a dystopian future Los Angeles of 2019, in which synthetic humans known as replicants are bio-engineered by the powerful Tyrell Corporation to work on off-world colonies. When a fugitive group of Nexus-6 replicants led by Roy Batty (Hauer) escapes back to Earth, burnt-out cop Rick Deckard (Ford) reluctantly agrees to hunt them down.
The film has influenced many science fiction films, video games, anime, and television series. It brought the work of Philip K. Dick to the attention of Hollywood, and several later big-budget films were based on his work. In the year after its release, Blade Runner won the Hugo Award for Best Dramatic Presentation, and in 1993 it was selected for preservation in the U. S. National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. A sequel, Blade Runner 2049, was released in October 2017.
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2. Marcia Resnick, FF Alumn, at Deborah Bell, Manhattan, thru Feb. 1, 2020
Marcia Resnick
Re-visions & Other Visions
An exhibition of vintage photographs 1970s – 1980s
And re-introducing the new publication of her 1978 photobook Re-visions
Published by Edition Patrick Frey, Zürich
Distributed by Artbook I D.A.P.
Exhibition on view Nov. 16, 2019 – Feb. 1, 2020
Deborah Bell Photographs / 16 E. 71st Street / Suite 1D, 4th floor / NYC, 10021
Gallery hours: Wed. – Sat. / 11am – 6pm / 212-249-9400
info@deborahbellphotographs.com
www.deborahbellphotographs.com
Deborah Bell Photographs will present Re-visions & Other Visions, an exhibition of vintage photographs 1970s – 1980s, the gallery’s fourth exhibition of photographs by Marcia Resnick. A reception and book-signing to celebrate the recent re-publication by Edition Patrick Frey, Zürich, of Resnick’s landmark 1978 book, Re-visions, will be held on Saturday, November 16, from 4-8pm.
Most people familiar with the art of Marcia Resnick know it through Re-visions, her series of smart and very funny photographs tracking the passage of a pre-adolescent girl into young womanhood. Re-visions was released in 1978 to wide critical acclaim from Resnick’s artistic and literary peers, among them William Burroughs, Andy Warhol, and Allen Ginsberg. Along with her friend William Wegman, who was creating conceptual tableaux in his photography during the mid- to late 1970s, Resnick was a precursor to a broad range of artists, including Cindy Sherman, engaged in photographic storytelling.
The exhibition will also feature Resnick’s early photographs from her three series See, See Changes, and Landscape / Loftscape, in which she pursued a wide-ranging exploration of the inherent, and often humorous, contradictions between art and reality. Also on view will be portraits of musicians, artists, and writers chosen from her 2015 book Punks, Poets and Provocateurs: NYC Bad Boys
1977 – 1982 as well as selections from her column Resnick’s Believe-It-Or-Not, published in the SoHo Weekly News during the same period.
Resnick was included in 1975, along with John Baldessari, Thomas Barrow, Michael Bishop, Richard Schaeffer and William Wegman, in the ground-breaking exhibition The Extended Document: An Investigation of Information and Evidence in Photographs at The George Eastman House.
Marcia Resnick was born in Brooklyn in 1950. She received her BFA from The Cooper Union of New York City in 1972 and her MFA from the California Institute of the Arts in Valencia, CA in 1973.
Resnick’s photographs can be found in numerous institutional collections, including the Bowdoin College Museum of Art, Brunswick, ME; Carnegie Museum of Art, Pittsburgh: Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie; George Eastman Museum, Rochester; Harry Ransom Center, Austin; Harvard University Art Museums, Cambridge; Herbert F. Johnson Museum of Art, Cornell University, Ithaca; J. Paul Getty Museum, Los Angeles; The Jewish Museum, New York; Metropolitan Museum of Art, New York; The Morgan Library & Museum, New York; The Museum of Modern Art, New York; Museum of Fine Arts, Houston; National Gallery of Art, Washington, DC; National Portrait Gallery, Washington, DC; Nelson-Atkins Museum of Art, Kansas City, MO; New Orleans Museum of Art; The New York Public Library; Ryerson Image Center, Toronto, ON; San Francisco Museum of Modern Art; Santa Barbara Museum of Art; Lehigh University, Bethlehem. PA; University of Southern California Fischer Museum of Art (Los Angeles), Tampa Museum of Art (FL), Rijksmuseum, Amsterdam; Los Angeles County Museum of Art; Amon Carter Museum, Fort Worth, TX; Wilson Centre for Photography, Los Angeles, CA; Worcester Art Museum, MA
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3. Debra Pearlman, FF Alumn, at Odetta Gallery, Manhattan, thru Jan. 4, 2020
Debra Pearlman is participating in the following group show:
Turner’s Patent Yellow
Odetta Gallery November 17- January 4
by appointment
64 West 127th Street New York, New York
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4. Judith Ren-Lay, FF Alumn, at Pangea, Manhattan, Nov. 24
CRONE OF THORNS
Performance by JUDITH REN-LAY
a vocal tornado of songs and poetry
asking questions
about our shared human identity
Sunday, November 24, 2019 7:00 PM
at PANGEA 178 2nd Ave NY, NY at 11th Street
tickets: $20 in advance / $25 at the door (cash only)
advance tickets: https://www.brownpapertickets.com/event/4407302
DOORS OPEN AT 6:00 PM
$20 per person food or beverage minimum at the tables. Dinner seating begins at 6:00 PM. Seating at Pangea is communal. Other guests may be seated at the table.
presented by pangea
produced by TWEED’S Sundays at 7 Series, Kevin Malony, artistic director
Judith Ren-Lay is a multi-discipline artist who has produced work in dance, performance, music, poetry, photography, collage, drawing and sculpture as well as costume and set design for her signature solo pieces. Since 1978 her work has been part of New York’s performance world, and is archived at the New York Public Library for the Performing Arts. This is her return to performance after many years recovering from a run-in with a speeding cab.
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5. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, Nov. 24
Sunday, November 24, 2019: Sundays on Broadway and curator Cathy Weis present an evening of performances by Wally Cardona, John Jasperse, and Athena Malloy & Connor Voss.
Wally Cardona will perform material from a new work-in-progress titled GIVEN on a Sunday.
John Jasperse will share some material from current work in the studio.
In their first collaborative project, Athena Malloy and Connor Voss examine the physical, psychological, and psychic realms of the individual in combination with another being.
WeisAcres
537 Broadway, #3
All events begin at 6:00 pm – doors open at 5:45 pm.
No reservations. No late seating.
$10 suggested contribution.
Keep in mind, this is a small space. Please arrive on time out of courtesy to the artists.
For more information, visit www.cathyweis.org
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6. Yvonne Rainer, FF Alumn, in The New York Times, now online
Please visit this link:
https://www.nytimes.com/2019/11/12/arts/dance/yvonne-rainer-parts-of-some-sextets-performa.html
thank you.
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7. Angels Ribe, FF Alumn, at LOOP Festival, Barcelona, Spain, thru May 31, 2020
Under Ursa Major by Angels Ribe
By taking the autobiographic novella, Ursa Major’s Admirer by the Polish writer Sergiusz Piasecki, the exhibit offers an analysis of Angels Ribe’s work in a key of the present and coincides with one of her main lines of research: the emotional connection with nature.
Far away from any retrospective will, the sample invites us to take a tour of the artist’s work that isn’t chronological. This establishes thoughtful and intuitive links between pieces that cover more than 50 years of dedication to art. The placement not only allows us to go into the thoughts of Angels Ribe, but also makes us directly question our own relationship with the scene. Definitely, and like Piasecki narrates well, we are all bodies that walk in the darkness. And that’s what “Under Ursa Major” is about, of the intimate epic that is moving forward.
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The trajectory of Angels Ribe (Barcelona 1943) starts in the 60s with actions, installations, and performance where the body and space were the protagonists. In the 70s the artist moved to Chicago and New York where she got exhibited side by side with artists like Vito Acconci, Lauri Anderson, John Baldessari, Hans Haacke, Gordon Matta-Clarke, Lawrence Weiner, Hanna Wilke, Martha Wilson, or Krzysztof Wodiczko among others. In the 80s, Ribe returned to Barcelona, where she resumed working on sculptures that incorporated neon and iron. In the last 20 years Angels Ribe has continued working with the same themes, developing a body of work that stretches to the present but always coming from the communion between the landscape and nature.
Commissioned by: David Armengol
Inauguration: Thursday November 14, 2019
At the LOOP Festival in Barcelona
Open until May 31, 2020
Free entry
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8. Verónica Peña, Arantxa Araujo, FF Alumns, at Prime Produce Apprentice Cooperative, Manhattan, Nov 22.
COLLECTIVE BECOMING: “SANGRÍA”
Performance Art public event featuring artists ARANTXA ARAUJO, MIAO JIAXIN, and IVAN VERGARA.
Curated/organized by Verónica Peña. Hosted by Qinza Najm.
PRIME PRODUCE Apprentice Cooperative
Friday, November 22nd, 2019 7:30 – 10:00 pm
424 W 54 St, New York City
Links:
https://www.eventbrite.com/e/sangria-tickets-81880750529
https://www.facebook.com/events/2490330491224351/
COLLECTIVE BECOMING, curated by Verónica Peña, is an ongoing Performance Art initiative of international scope that wants to foster collaboration amongst artists in order to promote empathy, freedom, and human unity. “Sangría” is the fourth project to be developed under the umbrella of Collective Becoming. Previous projects include “Homeostasis”, which took place at Viridian Artists Gallery on Chelsea, New York City, 2019; “Expressions of Love, Freedom, and Resistance” at the School of the Art Institute of Chicago, SAIC, Sullivan Galleries, 2016; and “The Urban Caress”, as part of the Month of Performance Art in Berlin, Germany, 2015.
SANGRÍA is a Performance Art Series that explores human unity and the experience of life through the topic of blood, “sangre” in Spanish. SANGRE is the fluid that keeps us alive, it nourishes and cleanses our body, circulates inside us only stopping when we die, it sustains life and action, and we share it to save the lives of others. SANGRÍA, besides the well-known sweet Spanish alcoholic drink made of fruits and wine, it also means the extraction of blood, the act and effect of bleeding, and the mess caused by the act of killing. SANGRÍA (san-gree-uh) is a word that may suggest sweetness and pleasure, at the same time that evokes hard, threatening images in connection with blood. This duality inspires the first event of the series, presenting the work of artists: Arantxa Araujo, Miao Jiaxin, and Ivan Vergara.
*Free event. $5.00 Suggested donation. As part of the evening, SANGRÍA, made following an original Spanish recipe, will be offered to the audience. Purchase it online to get a better price! Profits will help to support the artists.
Curator:
Veronica Peña is an interdisciplinary artist and independent curator from Spain based in the United States. Her work explores the themes of absence, separation, and the search for harmony through Performance Art. Peña is interested in migration policies, cross-cultural dialogue, liberation, and women’s empowerment. Peña has presented her work in various countries around Europe, Asia, and America. In the United States, her work was featured at Times Square, Armory Show, Hemispheric Institute of Performance and Politics, Queens Museum, Smack Mellon Foundation, School of the Art Institute of Chicago, Grace Exhibition Space, Triskelion Arts, Defibrillator Performance Art Gallery, Momenta Art Gallery, Pøst Art Gallery, Gabarron Foundation, Dumbo Arts Festival, and Consulate General of Spain in New York, amongst others. She is a recipient of a Franklin Furnace Fund 2017-18 and was nominated to a VIA Art Fund. She published “The Presence Of The Absent”, a thesis about her body of work. She was a visiting artist at the School of the Art Institute of Chicago. She curates “Collective Becoming”, an initiative to make cities a place less hostile. She is currently at work on her project about freedom, fear, and resistance, “The Body In The Substance.” http://www.veronicapena.com @Veronica_Pena_Live_Art
For information about SANGRÍA, contact:
Verónica Peña
http://www.veronicapena.com
veronicapemar@gmail.com
(765) 237-9437
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9. Chin Chih Yang, FF Alumn, at White Box, Manhattan, Nov. 20
Dear Friends,
Hope all is well with you!
I would like to invite you to my new project “Black Hole” at WhiteBox – 213 East 121st Street, New York, NY 10035
Time: Interactive Performance on November 20 at 7pm to 8:00
Black Hole – an interactive performance/installation
My performance will outline a new architecture designed to overcome scarcity. For too long people have been at war with each other. In the modern world, at least since the 19th century, our technologies have too easily lent themselves to destruction as opposed to creation, to war instead of leisure.
In the Modernist spirit of the Bauhaus, and in light of recent news regarding the actual existence of black holes, I propose making a small “black-hole replica” within a gallery setting. This installation will primarily take the form of a circle-possibly even using real (though very much contained and controlled) fire. The air of danger surrounding the work should feel fun-a kind of friable architectural event that will invite audience-participants to enter into the circle.
The Black Hole Project maps out the union of microcosm and macrocosm in terms of a uniquely built environment. The ring of fire representing a black hole big will be large enough for people to enter and move inside of it.
As the circle is will be limited in space, people will seemingly have to fight over who gets to enter it. For this reason, I’d like to place a punching bag in the center of the circle; this suggestion that the space is designed like a boxing ring will comment on the absurdity of war in the face the unknown cosmos.
I will act as a boxing instructor, mediating and orienting how participants respond to the circular space. I will also undermine my ostensive role, encouraging participants to interact with each other conversationally and creatively, as they would with friends and loved ones in everyday settings.
Intrinsic to this project is the idea of alternative design-how novel forms of architecture can speak to the scarcity of resources created by privatization, and propose new ways of shaping and orienting ourselves within space. A black hole could be considered a future thinking site, warped by the segregation of social space.
Boxing – Rules
A kind of mock boxing match serves as the focal point of the Black Hole project. Unlike traditional boxing matches, however, which are both competitive and violent, boing at the center of the black hole is neither a contest nor a fight. Mimicking the kind of dissolution that happens within a black hole, all the inner angles and atomic aspects of fighting will become apparent. Audience-participants will partake in a form of spiritual combat, a balletic unraveling where one’s boxing gloves never make physical contact with another person’s body, yet they are always drawn to the other person like a mystic cynosure.
The substance of the project involves a controlled distancing from one’s more conflicted emotions. Like the graduated transition past a black hole’s event horizon, the experience of spiritual boxing should effect is a kind of contemplative surrender to experience. Rather than remain in our bodies, we will allow ourselves to think, move,and act in such a way that our physical being will become almost weightless, untouchable. Practicing how to position our body in relation to another’s, environed by the cosmic stillness of a simulated black hole, audience-participants will learn how to regulate their emotions through mindful concentration.
Thank you.
Chin Chih
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10. Doug Skinner, Norman Conquest, now online at blackscatbooks.com
“Black Scat Review #18” is now available! This jam-packed issue contains four pages of my comic strip “Shorten the Classics,” an excerpt from my translation of Alfred Jarry’s play “The Pope’s Mustard-Maker,” and my translations of poems by Charles Cros, Jules Jouy, and Laurent Tailhade.
You will also find contributions by Mark Axelrod, Angela Buck, Peter Cherches, Catherine D’Avis, Farewell Debut, Eckhard Gerdes, Bob Heman, Charles Holdefer, Rhys Hughes, Esteban Isnardi, Harold Jaffe, Alexander Krivitskiy, Olchar E. Lindsann, Joel Lipman, Laura Mazzenga, Jim McMenamin, Peter McAdam, Doug Rice, Jason E. Rolfe, Paul Rosheim, Gregory Wallace, and Tom Whalen, as well as posthumous offerings from Gautier, Rimbaud, and Verlaine. It’s all edited and designed by Norman Conquest of Black Scat Books, and available from Amazon. And do take a look at blackscatbooks(dot)com!
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Goings On is compiled weekly by Harley Spiller
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