Goings On: posted week of November 24, 2006CONTENTS:
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1. Rachel Rosenthal performance classes, Feb 27-Apr 17, 2007
2. Barry Wallenstein, FF Alumn, at Cornelia Street Café, Nov 30, 6 pm
3. Franc Palaia, FF Alumn, at Beacon Artist Union, Beacon NY, opening Dec 9
4. Billy X. Curmano, FF Alumn, receives 2006 Experimental Album Award
5. Tadej Pogacar, FF Alumn, in Madird, Spain, thru Nov 24
6. Alison Knowles, FF Alumn, at NJ City University, opening Nov 28, and more
7. Pamela Sneed, FF Alumn, at Long Island Univ., Brooklyn, Dec 5-19
8. Alva Rogers, FF Alumn, at Dixon Place, December 1-2, 8 pm
9. Britta Wheeler, FF Alumn, at CUNY Grad Center, Dec 5, 6-8 pm
10. Bonnie Sherk at California College for the Arts, SF, opening Nov 28, 7:30-9 pm
11. John Jesurun, FF Alumn, at La Mama, NY, Nov 26, 5:30 pm
12. Colette, FF Alumn, at Vivian Horan Fine Arts, NY, opening Nov 30, 6-8 pm
13. RENO, FF Alumn, at Bowery Poetry Club, Nov. 25, 8 pm
14. Donna Henes, FF Alumn, in Brooklyn, Dec 4, and Dec 9
15. Martha Rosler, FF Alumn, at U. N. Plaza, beginning Dec 10, 6 pm
16. Paul Lamarre, Melissa Wolf, FF Alumns, in Santa Fe, NM, Nov 29, 4 pm
17. Nicolás Dumit Estévez, FF Alumn, in Puebla, Mexico, Nov 25, 2006-Jan 28, 2007
18. Patricia Hoffbauer, FF Alumn, at The Club at La Mama, NY, Dec 1-11, 2006
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1. Rachel Rosenthal performance classes, Feb 27-Apr 17, 2007Rachel Rosenthal Teaches Her Signature Performance Technique
The Dbd Experience, a 32-hour performance weekend intensive
Friday, February 16 th to Sunday February 19 th 2007
Maximum 14 participants, so make your reservations early
The Dbd explores every aspect of performance:
Body, Voice, Concept, Dramatic Improvisation, Music, Sets, Costumes and Lighting
All levels welcome
The 8 Week Performance class
Tuesday Nights February 27 th through April 17 th 2007
The 8week class is designed for experienced performers or those who have taken the Dbd workshop. The class deepens the performers skill and focuses on developing individual performance pieces.
Limited Full and Partial Scholarships.
Application submission deadline: JANUARY 30 2007
For information or to reserve a space, call:
310.839.0661 email r2co@rachelrosenthal.org
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2. Barry Wallenstein, FF Alumn, at Cornelia Street Café, Nov 30, 6 pmTHE CORNELIA STREET CAFÉ presents
An Evening of Poetry and Music
Barry Wallenstein (poetry)
Adam Birnbaum (piano)
Bob Cunningham (bass)
Steve Carlin (guitar)
Daniel Carter (sax & trumpet)
Thursday, November 30 th, 2006 6pm
Cornelia St. Café
29 Cornelia St.
(Between Bleeker St. & W. 4th just west of 6 th Ave.)
(212) 989-9319
$10 cover (includes one drink)
$7 for students
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3. Franc Palaia, FF Alumn, at Beacon Artist Union, Beacon NY, opening Dec. 9
FRANC PALAIA-FF Alumn will present a one-man show, “Illuminated Polaroids” at
bau(Beacon Artist Union),
161 Main St Beacon, NY
Dec 9-Jan 7, 2007
The show consists of several large scale photo light boxes of Palaia’s hand colored SX-70 Polaroids. Also included are 30 hand colored original SX-70s.
For info www.beaconartistunion.com
845-486-1378
www.baupalaia.blogspot.com
Opening reception-Dec 9, 5-8pm. Gallery hours: Friday to Sun 12-6pm and by appointment.
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4. Billy X. Curmano, FF Alumn, receives 2006 Experimental Album Award
Billy X. Curmano momentarily stepped out of his free jazz combo, the New X Art Ensemble, to accept an Experimental Album Award for “Billy X: Solo Set” during the 2006 (JPF) Just Plain Folks Music Awards at the Galaxy Music Theater in Santa Ana, CA. The JPF Awards have been called the Grassroots Grammys because of their inclusiveness, but they are really an outgrowth of the independent artist internet revolution that recognizes the “other 98%” of music made around the world.
The JPF Awards were founded in 1999 as an all volunteer organization by and for musicians. As an organization, Just Plain Folks has grown to over 40,000 members involved with music. After only their first four JPF Award cycles, the comprehensive selection process they created has made them the biggest music awards program in the world.
Billy X. Curmano’s first solo CD was submitted by the independent music source, CD Baby, and was chosen from a field that included over 25,500 albums representing over 70 countries. The unusually large field of contenders makes even just a nomination to the JPF awards prestigious. As a comparison, the Grammy’s typically consider only about 1000 albums each year in their process.
The judges were chosen from a combination of industry professionals, artist/writer peers and music fans that listen and examine the material for twelve months. They are given only one criterion: Does it move you? Rewarding great music based on its own merit is what the JPF awards are all about. The freedom to choose without commercial pressure or limitations is a new experience for many of the industry pros. The JPF projects director, Linda Berger, has seen a yearly repetition of letters from A & R reps and the publisher judges who say they’re sorry they chose a song – because they know it won’t get radio airplay or be cut by a major artist – but they just really loved the song.
But that not-so-commercial work is exactly what spawned the independent music revolution and organizations like Just Plain Folks and CD Baby. “Billy X: Solo Set” fits right in. It’s homegrown, all original material, sometimes edgy with the environment, war and social justice among its themes. There were no tricks or overdubbing used in its production. It was recorded live in Studio A of the Rochester (MN) Community and Technical College and engineered by Dr. Kevin Dobbe.
The Billy X. disc was also recognized for an anti-war single, “Wagin’ War”. It remained just a nominee in the spoken word song category, but had been selected from a field of over 350,000 entrants. The awards were presented in a 5 1/2 hour show interspersed with performances from an international line-up of nominees followed by an after awards jam party.
Music legend Taj Mahal once commented, “the artists who performed at the award show renewed my faith in the continual regeneration of music. All is not lost – big business has not taken over the music… and these folks are making great music! It’s nice to see attention given to artists that are usually ‘off the radar’ to the entertainment industry.”
The work from these and other independent musicians including projects from Billy X. with the New X Art Ensemble featuring the Amazing Tess Toster Tones and duets with John Pendergast are available on the web from www.cdbaby.com and more information about Just Plain Folks is available at the www.jpfolks.com website.
The 2006 Just Plain Folks Music Awards Community Partner Sponsors included: Disc Makers CD and DVD manufacturing, TAXI, an independent A&R Vehicle and CD Baby, the largest distributor of independent music in the world.
All the best,
Billy X.
www.billycurmano.com
www.sonicbids.com/billyxcurmano
www.cdbaby.com/all/billyx
Art Works USA
28401 Hartwood Drive
Rushford, MN 55971
1.507.864.2716
billyx@acegroup.cc
For articles and a short video clip, Search Billy Curmano at:
www.mnartists.org
Electronic downloads at:
www.mp3tunes.com/BillyXCurmano
www.mp3tunes.com/BillyXCurmanoJohnPendergast
www.mp3tunes.com/NewXArtEnsemble
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5. Tadej Pogacar, FF Alumn, in Madird, Spain, thru Nov 24
Tadej Pogacar, P.A.R.A.S.I.T.E. Museum of Contemporary Art & Hetaira, Madrid
present
CODE:RED Madrid
Ojo Atomico, Madrid
14–24 November 2006
You are kindly invited to CODE:RED Madrid, by Tadej Pogacar and P.A.R.A.S.I.T.E. Museum of Contemporary Art, at Ojo Atomico, one of Madrid’s most important non-profit centers for contemporary art.
The project CODE:RED Madridstarted in 2006 as a close collaboration between Tadej Pogacar, P.A.R.A.S.I.T.E. Museum of Contemporary Art and Hetaira, a highly active civil organization in Madrid. CODE:RED Madridis part of the long term work-in-process CODE:RED, a project which investigates and discusses aspects of prostitution and sex work as a specific form of parallel economy. CODE:RED Madridproblematizes topics connected with the ongoing changes in relations between the city’s power structures and its urban minorities. Sex workers are, for example, constantly exposed to different repressive methods and regulation mechanisms which very often disregard their basic civil rights. Recent incidents of “street repression” and “city cleaning” in the historical part of Madrid sparked spontaneous revolts and street protests by the city’s minority populations.
The project CODE:RED Madrid starts in Porto, Portugal and continues with a gallery exhibition in Madrid that includes a public workshop and lectures. The gallery exhibition of CODE:RED Madridconsists of public forums, a video installation and a large wall installation with paper masks similar to the ones used recently in street riots.
Tadej Pogacar’s project CODE:RED Madrid is supported by the Ministry for Culture of the Republic of Slovenia and the Municipality of Ljubljana.
The project is organized by the P.A.R.A.S.I.T.E. Institute.
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6. Alison Knowles, FF Alumn, at NJ City University, opening Nov 28, and more
My show Time Samples opens Nov.28 at the Lemmerman Gallery of New Jersey City University for one month. The same show then travels to Lyon, France to open May 7 at the Musee de Moulages..May 23-28 I am teaching in Newcastle upon Tyne with Hannah Higgins.
Thank you.
Alison Knowles
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7. Pamela Sneed, FF Alumn, at Long Island Univ., Brooklyn, Dec 5-19
KUMBLE THEATRE for the Performing Arts announces PAMELA SNEED in her one-woman show, KONG.
LONG ISLAND UNIVERSITY – KUMBLE THEATRE
FLATBUSH AND DEKALB AVENUES DOWNTOWN BROOKLYN, NY
TUESDAYS DECEMBER 5th, DECEMBER 12th, DECEMBER 19th.
8PM TICKETS: $15 / $12 for student with ID
BOX OFFICE: (718) 488-1624
www. http://www.brooklyn.liu.edu/kumbletheater/
KONG is a new performance work by writer and performer
PAMELA SNEED.
KONG is a political tapestry weaving together current events and trends in cinema to create an evening of funny, explosive, and moving drama. In this satirical one woman show Sneed addresses cinema and the racial images pervasive in new and remade films like King Kong, Hustle and Flow and Freedomland. Sneed also tackles the current political landscape of war in IRAQ, the crisis in New Orleans, the lack of America healthcare, gay and lesbian issues, and finally the need for new kinds of activism.
PAMELA SNEED is the winner of the 2006 BAX award. She has been featured in the New York Times magazine, The Source, Time Out, Bomb, Next, VIBE, HX, Off The Record by Karl Lagerfeld, and on the cover of New York Magazine. The Village Voice says… “A Performance Poet whose writing is as smart and brave as her gorgeous body is agile.” She has toured internationally and domestically and has headlined the New Work Now fest at the Public Theater. She is the author of Imagine Being More Afraid of Freedom Than Slavery and the new manuscript, America Ain’t Ready. In 2004/5/6, She became the television voice over spokesperson for Merck and IBM’s Linux and On Demand Campaigns.
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8. Alva Rogers, FF Alumn, at Dixon Place, Dec 1-2, 8 pm
Hello All:
As many of you may know, I have turned all my attention to writing several years ago. Motherhood, stage fright, and other challenges have kept me away from performing. I am emerging on stage again and I would love all of you to come out and support this effort if your schedules permit. thank you so much!
Alva
UpComing Mondo Cane Commission
what remnants remain by Alva Rogers
fri & sat, dec 1 & 2 : 8pm
tickets: $12-$15
for more details, please visit
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9. Britta Wheeler, FF Alumn, at CUNY Grad Center, Dec 5, 6-8 pm
Please join the Art and Culture Working Group on Tuesday, December 5, from 6-8 for our third event of the semester:
Britta Wheeler will present her work on the institutionalization of performance art at the CUNY, Graduate Center, 365 5th Avenue in the Sociology Department student lounge, room 611.
“Mapping the Institutionalization of Performance Art”
Britta Wheeler is an artist and a sociologist. By becoming a participant in her research on different forms of performing arts, she seeks to combine art and sociology, viewing each from the perspective of the other. In this talk she will discuss her research on performance art 1970-2000 and her recent collaboration with Franklin Furnace in creating a map of the field of performance art.
Dr. Wheeler received her Ph.D. from the University of California, Santa Barbara in 2000, and held the Art Worlds Fellowship at the Draper Interdisciplinary Masters Program in Social Thought and Humanities at New York University from 1999 to 2002. She currently teaches at The Art Institute of New York City and lives in Manhattan with her family.
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10. Bonnie Sherk at California College for the Arts, SF, opening Nov 28, 7:30-9 pm
Brenda Tucker (415) 703-9548
btucker@cca.edu
Kim Lessard (415) 703-9547
klessard@cca.edu
PUBLIC CONTACT:
www.wattis.org
CCA WATTIS INSTITUTE FOR CONTEMPORARY ARTS PRESENTS
“How to Build a Universe That Doesn’t Fall Apart Two Days Later”
November 28, 2006-February 24, 2007
Curated by Will Bradley
San Francisco, Calif., October 2, 2006-
“How to Build a Universe That Doesn’t Fall Apart Two Days Later” revolves around contrasting visions of the future put forward in California in the mid-1970s. The exhibition is on view November 28, 2006-February 24, 2007, in the Logan Galleries on the San Francisco campus of California College of the Arts.
An opening reception will take place on Tuesday, November 28, from 7:30 to 9:00 p.m. The exhibition and reception are free and open to the public.
“How to Build a Universe That Doesn’t Fall Apart Two Days Later” takes its name from an 1978 essay with the same titleby science fiction author Philip K. Dick, in which he comparesthe speculative building of worlds by artists and writers toscenarios imagined and constructed by governments, corporations and the mass media.
Unceasingly we are bombarded with pseudo-realities manufactured by very sophisticated people using verysophisticated electronic mechanisms.… And I have to build them insuch a way that they do not fall apart two days later.
In 1974, artist Bonnie Sherk founded Crossroads Community (The Farm), an experiment in community agriculture and education, which was also a “life-scale environmental and social artwork” underneath the Army Street freeway interchange in San Francisco.
Around the same time, NASA researchers, led by Gerard K. O’Neill, were drawing up plans for the U.S. colonization of space. Their proposals were illustrated in 1976 in a series of paintings by artist Rick Guidice.
Works by contemporary artists-shown alongside Sherk’s and Guidice’s original projects-present alternate scenarios, explore the ways in which our physical reality is defined and critique the ideological narratives that attend its construction.
Artists exhibiting include Can Altay, Nate Boyce, Rick Guidice, Shaun O’Dell, Toby Paterson, Eileen Quinlan, Eva Rothschild, Katya Sander, William Scott, Solmaz Shahbazi, Bonnie Sherk and Gitte Villesen.
About the Wattis
Established in 1998, the CCA Wattis Institute serves as a forum for the presentation and discussion of leading-edge local, national and international contemporary culture. Through exhibitions, the Capp Street Project residency program, lectures, symposia, performances and publications in the fields of art, architecture and design, the Wattis Institute fosters interaction among the students and faculty of California College of the Arts; art, architecture and design professionals; and the general public.
California College of the Arts, Logan Galleries
1111 Eighth Street, San Francisco
Opening reception: November 28, 7:30-9 p.m.
Hours: Tues. and Thurs., 11 a.m.-7 p.m.; Wed.,
Fri., Sat., 11 a.m.-6 p.m.;
closed Sun. and Mon.
Cost: Free
Info: (415) 551-9210 or www.wattis.org
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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11. John Jesurun, FF Alumn, at La Mama, NY, Nov 26, 5:30 pm
LA MAMA ETC PRESENTS AN INVITED DRESS REHEARSAL OF JOHN JESURUN’S PHILOKTETES
(PRIOR TO PERFORMANCES AT THE KAAITHEATER STUDIOS/ BRUSSELS NOV. 30, DEC. 1+2)
WITH
PEDRO PASCAL
OSCAR DE LA FE COLON
MAURICIO SALGADO
Admission: Free
NO RESERVATIONS NECESSARY
5:30, SUNDAY NOVEMBER 26TH
The Club at La MaMa
74A East 4th Street
(between Second Avenue & the Bowery)
Box Office: 212-475-7710
For more information, visit the La MaMa website: www.lamama.org
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12. Colette, FF Alumn, at Vivian Horan Fine Arts, NY, opening Nov 30, 6-8 pm
INTRIGUING FACES: PORTRAITS BY COLETTE
NOVEMBER 30 – JANUARY 12, 2006
OPENING RECEPTION: THURSDAY, NOVEMBER 30TH, 6 – 8 PM
Vivian Horan is pleased to present an exhibition of Colettesized portraits. This exhibition will include selected commissioned portraits in addition to some of Colette’s own self-transformation works. Colette’s involvement with the commissioned portrait began early in her career and became highly publicized with a 1991 Munich solo exhibition The Aristocrats which featured commissioned portraits of local aristocrats and an appearance by Colette’s adopted persona, the Countess Reichenbach.
Colette has been well known over the years for self-transformation in her work. Her portraits involve a process that uses photography and paint and incorporates materials such as satin, silk, veils, flowers, glitter, statuettes and other objects which she crystallizes in an alchemical process she defines as Colettesizing.
Often placing subjects in a fabricated environment, Colette chooses artifice to create her portraits. Paradoxically, by using this approach she manages to capture her subject’s essence and spirit. Working in portraiture allows Colette to continue her exploration of role-playing and archetypes.
Colette’s art is represented in the permanent collections of several leading museums including the Ludwig Museum, the Guggenheim Museum, and the Museum of Contemporary Art of Los Angeles. Past Colettesized portraits include: Miles Davis, Peter Gabriel, Leo Castelli, Silvia Miles, Eartha Kitt, Couri Hay, Monique Van Vooren, Katarina Otto-Bernstein, and Gabriel Byrne.
Commissioned portraits by Colette are available though Vivian Horan Fine Art, 35 E. 67 th Street, NY NY 10021 – 212-517-9410 – info@vivianhoran.com
The gallery is open from Monday – Friday, 10 – 6 pm.
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13. RENO, FF Alumn, at Bowery Poetry Club, Nov 25, 8 pmRENO
WILL SOMEHOW BE FUNNY ABOUT:
“Post Election: TRUTH & RECONCILIATION, Yes –
BUT WE ARE NOT FORGETTING!”
These people committed a whole range of nasty behaviors many of which are beyond impeachable offenses and all the world needs to know that the OFFICIAL STORY is Finally synonymous with REALITY.
SATURDAY after Thanksgiving, Nov 25 @ 8PM
BOWERY POETRY CLUB
308 BOWERY (just N of Houston)
212 614-0505
Tickets: Virtuous.com/or at Door – $15/$10 underemployed
WWW.CITIZENRENO.COM
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14. Donna Henes, FF Alumn, in Brooklyn, December 4, and Dec 9
FULL COLD MOON DRUMMING CIRCLE
WITH DONNA HENES, URBAN SHAMAN
Digging in for the duration. A ritual to warm the cockles of our hearts. $25
MONDAY DECEMBER 4, 7:30PM
MAMA DONNA’S TEA GARDEN AND HEALING HAVEN
PARK SLOPE, BROOKLYN
and
SPIRIT SHOP HOLIDAY OPEN HOUSE
WITH DONNA HENES, URBAN SHAMAN
For all your holiday gift giving and ritual needs.
Join Mama Donna for mulled cider, cookies and holiday cheer.
SATURDAY, DECEMBER 9, Noon-6PM
MAMA DONNA’S TEA GARDEN AND HEALING HAVEN
PARK SLOPE, BROOKLYN
For directions
& info contact: Mama Donna’s Tea Garden: (718) 857-1343~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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15. Martha Rosler, FF Alumn, at U. N. Plaza, beginning Dec 10, 6 pm
unitednationsplaza is pleased to present a seminar and a video festival organized by Martha Rosler: Art & Social Life; The Case of Video Art. The program will begin with a public lecture by Marta Rosler on Sunday, December 10th at 6 pm.
The video festival will present a selection of early video works, dating from 1968 to present, from the personal archive of Martha Rosler, including numerous works rarely seen and largely excluded from the canonical history of video art, and others that form the backbone of early video histories as now written.
The video program will be free and open to the public daily from 2 – 6 pm at the screening room of the unitednationsplaza, starting Monday, December 11th through Friday, December 15. The schedule of screenings will be posted shortly at http://www.unitednationsplaza.org
The seminar, comprised of four evening sessions scheduled to take place from 7- 9PM, will start on Monday and continue through Thursday evening. The seminar is open to the public, however due to space limitations please register in advance with magdalena@unitednationsplaza.org
Martha Rosler: Art & Social Life; The Case of Video Art
December 10 – 15, 2006
The early history of autonomous video art is a pivot point in the internal culture wars of the art world. Starting in the late 1960s through the early 1970s, artists with quite diverse practices experimented with the new (but not yet widely available) portable video apparatuses.
Film had by mid-century superseded both architecture and music as the queen of the arts. But by the 1950s the broadcast television industry and its structures of celebrity were challenging the social status of high art. Television was a problem… and then the Portapak was invented. Video suggested varieties of freedom to artists restive about or dismissive of traditional studio practices. Video promised a sort of gesamtkunstwerk on the ruins of a high modernism that had demanded a strict separation between forms. Video offered not just the experience of time married to the illusion of space accompanied by sound; because of poor image quality, video also offered relative freedom even from the concerns of cinema/ art film/movies. It provided the opportunity to sketch or to perform, to record a gesture or a narrative, to sing in the shower or dance in the studio, abetted by simple in-camera edits. Artists could, without commitment, break free of the studio if they chose, a nd, in the political ferment and upheavals of the era, while look around, report, raise a voice, show a face, register anger, offer an opinion, analyze social structures and events, tell a joke, join with friends, and yell back at the mind-melting products of broadcast television while nevertheless making use of its capacity for instantaneous, unrecorded transmission and endless flow or using a recorded format that was easily reproducible and could be widely disseminated. The international potentials of this form were immediately obvious to artists and even museum administrators, to judge by the range of international ‘video opens’ of the mid-1970s-
The wide-open field of early video may arguably be the typical condition of a medium at birth (compare the internet, on its way from being a utopian arena of activity to a gated compound locked down by corporate toll takers, if the latter get their way). Despite the competition of sites like Youtube, video as an art form has become, by definition, an expensive captive of the gallery and museum, the black box inside the white box. But the transformative impulses that drove utopian hopes in the earliest days have not completely evaporated. It is absolutely vital to revisit early video works and their context (including the texts of the era), to provide a deep slice into the moment of origin and see what may be refurbished and adapted for the present —beyond the stylish appropriations of the 70s “look.” In the face of the Society of the Spectacle, taking back/talking back to the media was a watchword of the era, offering the hope of social transformation through art, activism, a nd community interventions. This hope animates many today, in whatever form and medium it may be furthered.
Martha Rosler was born in Brooklyn, New York, where she now lives, after spending the 1970s in California. She works in video, photo-text, installation, sculpture, and performance, and writes on aspects of culture. She is a renowned teacher and has lectured widely, nationally and internationally. Rosler’s work is centered on everyday life and the public sphere, often with an eye to women’s experience. Recurrent concerns are the media and war as well as architecture and the built environment, from housing and homelessness to systems of transport. Her work has been seen in the Venice Biennale of 2003; the Liverpool Biennial and the Taipei Biennial (both 2004); as well as many major international survey shows, including Open Systems at the Tate Modern (2005). Her work has been included in the Documenta exhibition in Kassel, Germany, and several Whitney biennials, and she has had numerous solo exhibitions. She has been invited to participate in Skulptur Projekte 07 in Münster as well as in documenta xii. A retrospective of her work, ‚Positions in the Life World,’ toured Western Europe and was shown at two New York museums from 1998 to 2000. Rosler has published fourteen books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975–2001 (MIT Press, 2004, An October Book, in conjunction with the International Center of Photography), the photo books Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rights of Passage (NYFA, 1995). Sur/Sous le Pave (Rennes, 2006), like the much earlier If You Lived Here (Free Press, 1991) addresses the urban landscape and focuses on housing, homelessness, and urban life. Rosler has been awarded the Spectrum International Prize in Photography for 2005, the Oskar-Kokoschka Prize (Austria’s highest fine arts award) in 2006, and an Anonymous Was a Woman Award for 2007. Her solo exhibition, London Garage Sale, was held at the Institute of Contemporary Arts in London in 2005. Her installation Kriegeschaüplatze (Theaters of War) was shown in Berlin (Christian Nagel) in 2006, and a selected retrospective of her work was shown at the University of Rennes.
unitednationsplaza is exhibition as school. Structured as a seminar/residency program in the city of Berlin, it involves collaboration with approximately 60 artists, writers, theorists and a wide range of audiences for a period of one year. In the tradition of Free Universities, most of its events are open to all those interested to take part. unitednationsplaza is organized by Anton Vidokle in collaboration with Liam Gillick, Boris Groys, Martha Rosler, Walid Raad, Jalal Toufic, Nikolaus Hirsch, Natascha Sadr Haghighian and Tirdad Zolghadr.
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16. Paul Lamarre, Melissa Wolf, FF Alumns, in Santa Fe, NM, Nov 29, 4 pm
If you or friends happen to be in Santa Fe, NM please drop by our
D E C O N S U M P T I O N installation at the Santa Fe Art Institute, Wednesday, November 29, at 4pm.
For more information: EIDIA- Paul or Melissa @ eidiahouse@earthlink.net or 646-217-9370.
D E C O N S U M P T I O N
INSITU – More production of less
November 1 – 29, 2006
Artists-in-Residence
EIDIA – Paul Lamarre Melissa P. Wolf
Santa Fe Art Institute (SFAI)
1600 St. Michaels Drive
Santa Fe, New Mexico 24044
505-424-5050
For more information call: 646-217-9370
D E C O N S U M P T I O N, ‘more production of less’ is a five year work-in-progress by the art group EIDIA – Paul Lamarre and Melissa P. Wolf. The installation achieves its second stage of formal realization as part of the Artists-in-Residence program at the Santa Fe Art Institute (SFAI) in November 2006.
During the month long insitu installation and performance Wolf and Lamarre address the ecological impact of not only the artist’s end product, but the production process itself. The thrust of D E C O N S U M P T I O N is the recycling of ideas, which seeks to activate on the part of the viewer a renewed sense of meaning for the mundane, often discarded object turned objet d’art.
Visitors to the SFAI, will be invited to view (and purchase) found objects-from the dump or destined for the dump-which Wolf and Lamarre have reclaimed / rescued. The buyer receives a certificate of authenticity stating the purpose of the D E C O N S U M P T I O N concept. EIDIA asks the visitor to reconsider an object’s value and the environmental cost of its production; given that we are becoming increasingly aware of modernism’s impact on the global ecology.
(A brief video work entitled: DUMP, of EIDIA’s numerous sojourns to the Santa Fe Solid Waste Management Agency will also be screen on November 29.)
D E C O N S U M P T I O N has been held during 60 random weekends out of the EIDIAhouse studio since 2000. Funds from a purchase go to support EIDIAhouse–a meeting place for ideas–wherein art, the actions of our lives, goes beyond indulgent consumerism.
D E C O N S U M P T I O N in the EIDIAhouse studio in Williamsburg, Brooklyn is an extension of an inveterate artwork that began in 1995 with the project “Private Dealer.”
“Private Dealer – EIDIA Is their current environment an installation, an antique shop, or what? Private Dealer–a one-year work in progress that confounds the categories, is a maverick materialization of an eccentric concept. The duo know as EIDIA, whose projects deal with forms of authorship other than art…?
– Kim Levin, the Village Voice April 18, 1995
Lamarre and Wolf are a “transdisciplinary” artist and filmmaker team working under the name EIDIA, an acronym with many possible meanings, from Ecological Involvement Demands Immediate / Individual Action to Everything I Do Is Art. Their previous works have taken many forms including site-specific installations utilizing photography, sculpture, video, and film. They have exhibited nationally and internationally and their work can be found in numerous collections.
Please visit: www.eidia.com
Their previous documentary “the nea tapes” (2001) http://www.neatapes.com/ about the 90s culture wars has been acquired by over 200 universities and colleges in the US and Canada.
For EIDIA books and video see: http://www.eidia.com/
CONTACT for information and appointment: 646-217-9370 eidiahouse@earthlink.net
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17. Nicolás Dumit Estévez, FF Alumn, in Puebla, Mexico, Nov. 25, 2006-Jan 28, 2007
“The Passerby Museum” reopens in Puebla, Mexico as part of Plataforma
November 25, 2006 – January, 28, 2007
Ciudad de Puebla, Mexico
For more information visit http://www.plataforma06.com/
“The Passerby Museum” is a project conceived and produced by María Alós and Nicolás Dumit Estévez
“The Passerby Museum” is an itinerant institution dedicated to presenting temporary exhibitions in different cities. The museum draws its collection from donations from those who visit, work or live where it is in operation at any given time. The Passerby Museum serves as a physical marker, recording the presence of its collaborators in the neighborhood.
Previous Locations:
2006, Havana, Cuba
2005, Madrid, Spain
2004, Mexico City
2003-2004, Bronx, NY
2002-2003, Lower Manhattan, NY
2002, Times Square, NY
©2002 alós/estévez
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18. Patricia Hoffbauer, FF Alumn, at The Club at La Mama, NY, Dec 1-11, 2006
La MaMa e.t.c. presents
The Architecture of Seeing: REMIX
Created and performed by Patricia Hoffbauer and George Emilio Sanchez
December 1 thru 11, 2006
Friday and Saturday at 10PM
Sunday at 5:30 PM
The Club at La MaMa, e.t.c.
74 East 4th street (Bowery & 2nd Ave.)
Reservations: 212 475 7710
Online tickets: www.lamama.org
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Goings On is compiled weekly by Harley Spiller
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Tel: 718-398-7255
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