Goings On: posted week of April 18, 2018
CONTENTS:
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1. Martha Wilson, FF Alumn, at Brooklyn Central Library, April 26
2. Norm Magnusson, FF Alumn, spring events
3. Ruth Liberman, Larry Miller, Vitaly Komar, FF Alumns, at Cooper Union, Manhattan, April 24
4. Maya Ciarrocchi, FF Alumn, at Kinescope Gallery, Manhattan, opening April 20
5. Marcia Resnick, FF Alumn, now online at vice.com
6. Iris Rose, FF Alumn, at Pangea, Manhattan, April 24
7. Plato’s Cave, FF Alumns, in The Paris Review, now online
8. Nicolás Dumit Estévez Raful, FF Alumn, 2018 Bronx Council on the Arts grant recipient
9. Paul Zelevansky, FF Alumn, now online at https://vimeo.com/265034535
10. Nicolás Dumit Estévez Raful, FF Alumn, at The HEART Adult Day Care Center, The Bronx, April 23 and more
11. Jeff McMahon, FF Alumn, announces new publication
12. Jacob Burckhardt, Mimi Gross, FF Alumns, at MoMA, Manhattan, April 28
13. Verónica Peña, FF Alumn, at Panoply Performance Laboratory, Brooklyn, April 21.
14. Denise Green, FF Alumn, at Gallery 9, Sydney, Australia, opening April 18
15. Peter Baren, Irina Danilova, FF Alumns, at Kunsthal, Rotterdam, The Netherlands, April 22
16. Brian O’Doherty, FF Alumn, at Sirius Arts Centre, Cork, Ireland, April 20-21
17. Mark Bloch, FF Alumn, in White Hot Magazine, now online
18. The Harrisons, FF Alumns, in The New York Times, April 18
19. Jenny Holzer, FF Alumn, at Printed Matter, Manhattan, April 28, and more
20. AA Bronson, FF Alumn, at Esther Schipper, Berlin, Germany, opening April 27
21. Ann-Marie Lequesne, FF Alumn, at studio 1.1, London, UK, April 29
22. Pope.L, FF Alumn, at the High Line, opening April 19
23. Cassils, FF Alumn, Spring news
24. Arlene Rush, FF Member, at Williamsburg Art & Historical Center, Brooklyn, April 22
25. John Kelly, FF Alumn, at Real Art Ways, Hartford, CT, opening April 19 and more
26. Eleanor Antin, Dara Birnbaum, Dan Graham, Barbara Hammer, Joan Jonas, Antonio Muntadas, Pope.L, Carolee Schneemann, Michael Smith, William Wegman, Lawrence Weiner, FF Alumns, at Electronic Arts Intermix @ P.P.O.W., Manhattan, April 19
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1. Martha Wilson, FF Alumn, at Brooklyn Central Library, April 26
Jasper Johns: A Life’s Work
Thursday, April 26, 2018, 7:30 to 9:00
Brooklyn Central Library, Dweck Center
How does the work of a significant living artist enter the canon and the archive? And how must the field of art become more inclusive when it comes to representing artistic legacies?
Join us for an evening with acclaimed contemporary painter and collagist, William Villalongo, pioneering contemporary artist and founder of Franklin Furnace, Martha Wilson, and poet/ art critic/ curator John Yau as they engage in a lively discussion about these questions through their own work and the work of American artist Jasper Johns.
Known chiefly for his flag paintings, which reworked American iconography into a new modernist attitude, Johns’ singular oeuvre continues to be in active dialogue with contemporary culture. With the publication of a definitive five-volume catalogue raisonné of his work, the astonishing sweep of his art is revealed and we are asked to wrestle with its complexity.
In this two-part talk, we first delve into Jasper Johns’ work through this recently published catalogue raisonné with contributor Caitlin Sweeney, Director of Digital Publications at the Wildenstein Plattner Institute. Afterwards, our invited panelists discuss and raise challenging questions on living legacy, the archive and preservation.
A copy of the catalogue, on view for this event, will be acquired by the Brooklyn Public Library, giving continued access to this published survey of Johns’ work.
About the speakers:
Caitlin Sweeney is the Director of Digital Publications at the Wildenstein Plattner Institute. She previously served as a Senior Researcher for the Jasper Johns Catalogue Raisonné of Painting and Sculpture.
William Villalongo lives and works in Brooklyn, NY. His paintings and works on paper navigate the politics of historical erasure towards a reassessment of Western, American and African Art histories. Working out of the notion of Blackness as a verb, he reframes familiar images, events, and themes in our cultural landscape. Villalongo is the recipient of the Louis Comfort Tiffany Award and the Joan Mitchell Foundation Painters & Sculptor’s Grant. His work is included in the collections of the Studio Museum in Harlem, The Whitney Museum of American Art, the Princeton University Art Museum, El Museo del Barrio and the Denver Art Museum and has been reviewed in Art In America, The New Yorker and the New York Times. He is represented by Susan Inglett Gallery, New York.
Martha Wilson is a pioneering feminist artist and art space director, who over the past four decades created innovative photographic and video works that explore her female subjectivity. She has been described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.” In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artist books, temporary installation, performance art, as well as online works. She is represented by P.P.O.W Gallery in New York.
John Yau has published books of poetry, fiction, and criticism. His recent books include a selection of essays, The Wild Children of William Blake (2017) and a book of poetry, Bijoux in the Dark (2018). He is the author of monographs on Philip Taaffe (2018), Thomas Nozkowski (2017) and Catherine Murphy (2016). He has written two books on Jasper Johns, The United States of Jasper Johns (1997) and A Thing Among Things: The Art of Jasper Johns (2008), as well as contributed to various museum publications about this artist. He writes regularly for the online magazine Hyperallergic Weekend, teaches at Mason Gross School of the Arts (Rutgers University), runs a small press, Black Square Editions, and lives in New York.
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2. Norm Magnusson, FF Alumn, spring events
Mark your calendars for some fun events and some great shows!!
The Wassaic Project. Opening May 12, 3:00-late
I’m honored to have had my sculptures selected for inclusion in this year’s exhibition. I’ll be showing 4 ‘historical’ markers. Details and stuff here: http://wassaicproject.org/programming/events/community-day-summer-exhibition-opening/
The Gallery@Chatham Show – Political art
So happy to have 6 bits of my political art (including “President Donald Trump addresses a joint session of congress” – below) going into the inaugural exhibition of Pat D’Antonio’s new space, The Gallery @ Chatham. Not sure when the opening will be; details to follow. Early May?
Omega show – June 6 – October 29
Super stoked to have 8 of my “Decorating Nature” pieces (these, below) installed at the Omega Institute this summer. The opening is June 6 and more details will be available here, presumably, at some point: https://www.eomega.org
Habitat For Artists!! May 19 & 20!
I’ll be in Woodstock with watercolors and brushes and examples of my “Decorating Nature” series, encouraging passers-by to come paint on rocks and twigs and leaves and things, as I’ve been doing for years!! (I’ve got about 170 pieces in this series so far!!! You can see them all here: https://decoratingnature.blogspot.com For more information, click here: http://www.woodstockart.org/hfa-at-waam/
What are you working on these days? (on-going)
Well, it’s really really fun. (For me, anyway) It’s an exhibition (“(dys)communication”) about the inherent difficulties of precise communication in both the digital and real world. I just finished yet another piece in this series, “know thyself” (below). It’s a take on a color blind test and is an autocorrect “correction” of “scio te ipsum”, which Google translate says is Latin for “know thyself.” You can look at more pieces from this series and read a little about it here: https://dyscommunicationexhibition.blogspot.com
Emporium Sculpture show
Honored to have been chosen by curator extraordinaire Franc Palaia to be in the Emporium’s first ever sculpture show. The Emporium is on Route 9, just north of Hyde Park, NY. Details to follow; installing the piece this week.
Hosting WAAM Gala!! April 28. 5:30-10:00
Once again this year, I’ll be emceeing the WAAM BeauxArts Gala. This year it’s honoring Vivienne Hodges and Yale Epstein and featuring music by Perry Beekman and also The Latin Jazz Express and Maia Martinez. Get tickets or more info here: http://www.woodstockart.org/gala/
Rhinebeck Science Foundation Gala – May 5
Again this year, I’ve donated a piece to the RSF gala silent auction. It’s a framed signed and inscribed print of a “four seasons” from my “Decorating Nature” series. Come out and support a good cause. Details and tickets here: http://www.rhinebecksciencefoundation.org/events/gala-2018
Fresh Commission
Finally found time at the foundry to get this fresh ‘historical’ marker made. Should be done soon. One copy going to collectors from the Aldrich Museum, another going to collectors in the Bahamas.
Jill Sobule’s next album! (getting there….)
Also: having a blast designing the album booklet and stuff for singer/songwriter of renown, Jill Sobule. (Of “I kissed a girl” fame). Keep your eyes and ears peeled; it’s a great album.
Those are the highlights. If you really wanna hear about everything I’m working on, reconsider. Or buy me a drink and get me started.
xonorm
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3. Ruth Liberman, Larry Miller, Vitaly Komar, FF Alumns, at Cooper Union, Manhattan, April 24
RUTH LIBERMAN and LARRY MILLER (FF ALUMNS) along with other artists and FF Alumns in group exhibition “Baneful Medicine” and Lecture/Panel at COOPER UNION, NYC.
Contemporary artists address urgent and confounding issues of the history and ethics around biomedical research in the group exhibition, “Baneful Medicine” in the Cooper Union Library, 7 East 7th Street, NYC through May 11. Artists include Todd Ayoung, Aziz + Cucher, Christine Borland, Heather Dewey-Hagborg, Aurelia Moser, Allison Burtch, Adam Harvey, Susan Erony, Arie A. Galles, Aharon Gluska, Eduardo Kac, Verena Kaminiarz, Vitaly Komar and Anna Halberstadt, Ruth Liberman, Larry Miller, and Aurelia Moser.
Curated by Andrew Weinstein, the ongoing exhibition is to be punctuated by a Public Lecture and Panel Discussion, TUESDAY, APRIL 24, 2018, 6:00PM – 8:30PM IN THE GREAT HALL AT COOPER UNION, 7 E. 7TH STREET. Reception with Refreshments.
Now that researchers pursue genomics toward an unknown future, does bioethics have what it takes to address still different challenges? How will biotechnological developments affect society’s laws and norms? How much more conscientious are medical scientists today than they used to be? The free, public lecture and panel discussion affiliated with Baneful Medicine examines issues of the history and ethics around biomedical research and contemporary artists’ response to them.
Panel/Discussion Ap. 24:
Keynote: “Medicine After the Holocaust”
by Sheldon Rubenfeld ChE’66, MD, FACP, FACE
Clinical Professor of Medicine, Baylor College of Medicine
Executive Director, Center for Medicine After the Holocaust
Discussion including several of the exhibiting artists, will be moderated by Andrew Weinstein, curator of “Baneful Medicine” and adjunct associate professor, Faculty of Humanities and Social Sciences.
For further information please visit:
https://cooper.edu/events-and-exhibitions/events/baneful-medicine-lecture-discussion
https://cooper.edu/events-and-exhibitions/exhibitions/baneful-medicine
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4. Maya Ciarrocchi, FF Alumn, at Kinescope Gallery, Manhattan, opening April 20
Exhibition: Maya Ciarrocchi, Site: Sorel
Location: Kinescope Gallery, 616 E. 9th Street, NYC
Dates: April 20 – May 19, 2018
Reception: Friday, April 20, 6-8pm
Performance: Friday, May 11th, 6-8pm
Kinescope Gallery in collaboration with Fillmore Projects is pleased to announce the opening on Friday, April 20th, of Site: Sorel, the second solo exhibition by New York City based artist Maya Ciarrocchi.
The exhibition is comprised of drawings, video, prints, and 3D models.
Site: Sorel is a meditation on the real and imaginary spaces left behind by the dead. In this work, Ciarrocchi conjures an image of Barbara Sorel, an author and fixture of the 1990’s lesbian bar scene in New York City. Sorel, as she was called by her friends, sold drugs to support her writing and was tragically murdered in her East Village apartment in 1999.
As part of the exhibition there will be a performance event on Friday, May 11th from 6-8pm, comprised of readings of Sorel’s writing by those who knew her. These readings will lead to a broader discussion on the subject of art, success and the lesbian experience in New York City from the 1970’s to the present.
For press inquiries and appointments please contact info@fillmoreprojects.com
Viewable from sidewalk daily 12-9
Open Friday and Saturday from 1-6pm and by appointment
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5. Marcia Resnick, FF Alumn, now online at vice.com
A recent article in VICE by Miss Rosen about Marcia Resnick.
https://www.vice.com/en_us/article/zmg37y/candid-photos-of-new-yorks-radical-women-in-the-70s-and-80s
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6. Iris Rose, FF Alumn, at Pangea, Manhattan, April 24
Happy Hour Jewelry Sale
Tuesday, April 24th
5:30 to 7:00
at Pangea
Dear friends,
I inherited a lot of jewelry from my mother, much more than I need for myself, so I’m having a sale of much of her estate — nearly 200 pieces ranging from 20th century modern to heirloom antiques to costume jewelry — during Happy Hour at Pangea. What’s more fun than drinking and shopping! Come for the $6 drinks and $4 appetizers. Come to hangout with friends (including me!). Come to get yourself or a lucky someone some great accessories.
Hope to see you there!
Iris
at Pangea
178 Second Ave (bet 11th & 12th Streets)
For information call 212-995-0900
www.pangeanyc.com
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7. Plato’s Cave, FF Alumns, in The Paris Review, now online
https://www.theparisreview.org/blog/2018/04/06/the-end-is-here/
ASSHOLES
Plato’s Cave @ EIDIA House, 14 Dunham Place, Brooklyn 11249 https://www.eidia.com/
April 5 – April 28, 2018
Hours 1-6pm, Wednesday – Saturday (or by appointment)
EIDIA House announces its continuing exhibition initiative 2018, Plato’s Cave #28.
ASSHOLES
“When shit becomes valuable, the poor will be born without assholes.”
Henry Miller
“I’m like a ripe stool and the world’s like a gigantic anus, and we’re about to let go of each other.”
Martin Luther
“WHAT’S WRONG WITH ASSHOLES, BABY? YOU’VE GOT AN ASSHOLE, I’VE GOT AN ASSHOLE! YOU GO TO THE STORE AND BUY A PORTERHOUSE STEAK, THAT HAD AN ASSHOLE! ASSHOLES COVER THE EARTH! IN A WAY TREES HAVE ASSHOLES BUT YOU CAN’T FIND THEM, THEY JUST DROP THEIR LEAVES. YOUR ASSHOLE, MY ASSHOLE, THE WORLD IS FULL OF BILLIONS OF ASSHOLES. THE PRESIDENT HAS AN ASSHOLE, THE CARWASH BOY HAS AN ASSHOLE, THE JUDGE AND THE MURDERER HAVE ASSHOLES . . . EVEN THE PURPLE STICKINPIN HAS AN ASSHOLE!”
Charles Bukowski Post Office
Artists: Todd Ayoung, Pier Paolo Bandini, Ella Banks, Bruce Barber, Jay Batlle, Fredie Beckmans and Nina Peru, BOLDFACE, Brad Buckley, Deric Carner, Alberto Casais, Jim Costanzo-The Aaron Burr Society, Michelle B. Duchamp, Jeff Goldberg, Heike Hamann, Irene Hug, Helen Hyatt-Johnston, Thatcher Keats, Nina Kuo, Gabriel Kousbroek, Cecilie Beck, Sean Lowry, Valerian Maly, Alexander Melamid, Joseph Nechvatal, Lorin Roser, Sante Scardillo, Mark Shorter, Clark Stoeckley, Ripley Whiteside, Hans Winkler and Bob Witz…to date.
Due to the deep philosophical and psychological ‘aspects’ that are the subject of this exhibition we restrict the viewing of ASSHOLES to individuals who are older than 18 year of age. We apologize.
Alexander Melamid presented his oil on canvas diptych to EIDIA House just after it was completed in 2016-a homage in the 150th anniversary of the creation of “L’Origine du Monde”, 1866, the masterpiece by Gustave Courbet. As the diptych hung in the EIDIA House it consistently “struck a cord” garnering considerable ‘notice’ and comment from our many colleagues and friends who drop by. With assholes a-buzz, Melamid suggested a Plato’s Cave exhibition of many offerings on the topic. Considering the abundance of contemporary models to take inspiration from, why just two assholes? An esteemed roster of artists quickly emerged advancing their own personal renderings on the topic.
As with the assholes that predominated in Courbet’s time, and now in ours, the social media landscape of intentional divisiveness has opened the ‘fowl-mouth’ floodgates and a vogue for, if you will ‘assholeism’. And from where artists sit proverbially on our asses stunned and enraged-inspiration runs like diarrhea-unceremoniously depositing a theoretical groundwork for the examination of who and what ‘make the world go-round’. The contributions we have receive suggest that these curator’s fingers pressed the right mental “sphincter” muscle that reveals there are too many ASSHOLES.
“‘There ought to be an absolute dictatorship… a dictatorship of painters… a dictatorship of one painter… to suppress all those who have betrayed us…’said Picasso. We’re getting close to the realization of a dream of the great artist. Another of our era’s artistic god Andy Warhol said: ‘Good business is best art’ and something else about publicity as an artistic tool. Our present Commander-in Chief is a legitimate follower of the artistic geniuses of our time and a genius himself. A true ‘Warhole.'” Alexander Melamid Given the times we live in, with man and his history constantly repeating itself, the current situation calls for more critique on Assholes-not less.
For PLATO’S CAVE, EIDIA House Inc., Co-Directors Melissa P. Wolf and Paul Lamarre (aka EIDIA) curate invited fellow artists to create an installation with (in some cases) an accompanying limited edition. EIDIA House functions as an art gallery and meeting place, collaborating with artists to create “socially radical” art forms-framed within the discipline of aesthetic research.
Plato’s Cave at EIDIA House 14 Dunham Place Brooklyn, NY 11249 Contact Paul Lamarre or Melissa Wolf
646 945 3830
eidiahouse@earthlink.net
https://www.eidia.com/
Trains: J, M, & L
Hours 1-6pm, Wednesday – Saturday (or by appointment)
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8. Nicolás Dumit Estévez Raful, FF Alumn, 2018 Bronx Council on the Arts grant recipient
Bronx Council on the Arts
2018 Grant Recipients
Bronx Council on the Arts is thrilled to support the work of our 2018 Artist for Community, Arts Fund and Community Arts Grant recipients!
Each year BCA provides individual artists and organizations the opportunity to apply for funds to support grassroots and organizational community-centered arts and culture initiatives and projects. BCA Grants seek to foster the continuing development of local cultural resources, responsive to community needs.
These programs will take place between January and December of 2018. Most events are free or low cost and can be enjoyed by all generations! Please actively check the 2018 Funded Project Page and Bronx Arts Calendar for updates and details about how to participate in these projects!
For more information on the projects, contact the funded artist or organization. For information on BCA grants, contact Bryan E. Glover at bryan@bronxarts.org
2018 Arts Fund
28 Grantees
Funded by the New York City Department of Cultural Affairs (DCLA)
Recipient Project Title
Artsmith, Inc. Drumbeat
Barbara Purdy A Concert Series For Seniors
Bardekova Ensemble Bardekova Ensemble Concerts
Blanka Amezkua AAA3A (Alexander Avenue Apartment 3A)
Bruce Zeines The Scarecrow Project
John LoSasso Craft of War Writing
Davalois Fearon “For C.J.”
di.vi.sion arts and education, inc. di.vi.sion concerts: classical music series
Elissa Carmona Unity Park Summer Concert Series (hosted by Morrisania Band Project)
Full Circle Prod Inc FC Hip hop Film Festival: The Ladies
Hilda Rivera-Pantojas Following in the Footsteps of Bomba
I’RAISE Girls & Boys International Corporation I’RAISE Dance Academy
Ivan Velez COMIC CULTURE: PLANET BRONX
Literary Freedom Project One Book One Bronx
Mass Transit Street Theater Solid Ground Project
Michele Brody The Bronx CommuniTea
Millennium Dance Company Millennium Dance Company Annual Recital
Milteri Tucker Concepcion/Bombazo Dance Co Call & Response: Drum & Dances of the Bronx Diaspora
Nicolas Dumit Estevez Raful Performing the Bronx
Parkchester Chorus The Parkchester Chorus Spring and Winter Concerts 2018
Pedro Martinez Funky Mambo
Pedro Martinez Art in the Air
Sajata Epps The Natural Knitting Project
Seyi Adebanjo Afromystic performance
The Bronx Concert Singers, Inc. Bronx Concert Singers 37th Concert Season
The Bronx Intergenerational Theatre Ensemble Inc. (B.I.T.E.) Historical Women – 2018
The Lighthouse Opera Company, Inc “Rigoletto” by Guiseppe Verdi and “Susannah” by Carlisle Floyd
The Orchestra of The Bronx Free Professional Orchestra Concerts at Lehman and Bronx Community Colleges
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9. Paul Zelevansky, FF Alumn, now online at https://vimeo.com/265034535
The Mitt returns.
Sometimes you just need a haircut.
EVERYTHING HAPPENS TO ME:
PZ, April 2018
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10. Nicolás Dumit Estévez Raful, FF Alumn, at The HEART Adult Day Care Center, The Bronx, April 23 and more
One Person a Time
A life and art experience
Nicolás Dumit Estévez Raful with Nilsa De la Luz, Eugene Ballard “Sabor,” Santo Cabán, Héctor Enrique Vargas, Blanca Otero, Maritza Viera, Carmen Sosa, Clifford Drepaul, María Bodden, Lucas Iznaga, Antonio Rodríguez Sotomayor, and Sidney E. Boone.
As part of One Person at a Time, Nicolás communes with a group of seniors, elders and older adults living in district 18 in the Bronx in one-on-one life and art exchanges. They work together developing written biographic accounts of their lives. This experience is meant to open an introspective space giving participants, including Nicolás, the facilitator, the opportunity to reflect on their accomplishments, challenges, and milestones; including of course relocations, or those of family members, from their places of origin to the Bronx.
The actual performance of recording the narratives is done in real time, and in an analog format. Nicolás transcribes the biographies that emerge by way of paper and pencil. All biographies will be published in a publication with photographic documentation by Rafaelina Tineo/Dhyana, designed by Emilie Ahern, and to be launched in the summer of 2018. In addition to the biographies, this publication will include Q&As, poems, and reflections responding to the subject of the Bronx, immigration, relocation, belonging, and places of origin by authors and artists Suzi Tucker, Julie Davey, Quintín Rivera Toro, and Caridad De la Luz “La Bruja,” among others.
Upcoming workshop:
Californian author, professor and journalist Julie Davey will lead a workshop on Writing for Wellness at The HEART Adult Day Care Center in the Bronx.
April 23rd, 10 AM. For more information on how participate please contact Nicolás at
indioclaro@hotmail.com
Stay tuned for a BIG celebration at The HEART Adult Day Care Center in the Bronx.
One Person at a Time was conceived by Nicolás Dumit Estévez Raful, and was presented with Bronx River Art Center (BRAC). Generous support for One Person at a Time was provided by the New York City Department of Cultural Affairs in partnership with a Cultural Immigrant Initiative Grant from Councilmember Rubén Díaz Sr.
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11. Jeff McMahon, FF Alumn, announces new publication
JEFF MCMAHON
A collection of my scripts, SIX MONOLOGUES 1990-2007, has just been published by NoPassport Press, Obie-award winning playwright Caridad Svich’s imprint. http://www.nopassport.org/Press $12 and most easily available through Lulu. If you work at a university I’d appreciate it if you could ask the library to purchase a copy! http://www.lulu.com/shop/jeff-mcmahon/six-monologues-1990-2007/paperback/product-23601074.html
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12. Jacob Burckhardt, Mimi Gross, FF Alumns, at MoMA, Manhattan, April 28
Dear Folks,
On Saturday, April 28 at 1:30PM in the theater at the Museum of Modern Art there will be a tribute to the great Mr. Fashion.
I’ll be there. I hope to see you there too!
Best,
Jacob
For more information:
https://www.moma.org/calendar/events/4321
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13. Verónica Peña, FF Alumn, at Panoply Performance Laboratory, Brooklyn, April 21.
PERFORMANCY FORUM: CIVIC REFLEX
Panoply Performance Laboratory
104 Meserole St, Brooklyn
April 21, 2018
8:00 – 11:00 PM
PERFORMANCY FORUM: CIVIC REFLEX is a collective performance/social art project involving: 1) the formation of a self-reflexive collective of 20 artists/groups 2) a series of 5 public forum events and 3) an online blog substantiating and framing “civic” “civil” and “reflexive” performance practices and performative theoretics. PERFORMANCY FORUM: REFLEJO CÍVICO es un colectivo de arte social y performance que consiste en: 1) la creación de un colectivo de 20 artistas/grupos que se comporte de manera auto-reflexiva 2) una serie de 5 eventos/foros abiertos al público 3) un blog online dedicado a proveer contexto y enmarcar teóricamente prácticas de arte performático, civil, cívico y auto-reflexivo. http://reflejocivico.civicreflex.us/
The 20 artists/groups are: Rina Espiritu, Pei-Ling Ho, Tsedaye Makonnen, Diane Dwyer, David Ian Bellows/Griess, Benjamin Lundberg Torres Sánchez, Daniel Gonzalez, Nana Ama Bentsi-Enchill, Aditi Natasha Kini and Amin Husain, Leopold Krist, Megan Livingston, Feminist Art Group (F.A.G.), Amelia Marzec, Samantha CC, Sierra Ortega, Verónica Peña, Ada Pinkston, Lorene Bouboushian, Arantxa Araujo, Helen Yung.
This temporary collective will meet on each of the five Saturdays for forum discussion and interaction 6pm-7:30pm, followed by public performances/presentations/situations at 8pm on each date:
April 21, 8pm. Public performances/presentations by: Diane Dwyer, Benjamin Lundberg Torres Sánchez, Rina Espiritu https://www.facebook.com/events/1003293089837925/
May 26, 8pm. Public performances/presentations by: Pei-Ling Ho, Tsedaye Makonnen, Daniel Gonzalez, Nana Ama Bentsi-Enchill
September 29, 8pm. Public performances/presentations by: Aditi Natasha Kini and Amin Husain, Leopold Krist, Megan Livingston, Feminist Art Group (F.A.G.)
October 20, 8pm. Public performances/presentations by: Amelia Marzec, Samantha CC, Sierra Ortega, Verónica Peña
November 10, 8pm. Public performances/presentations by: Ada Pinkston, Lorene Bouboushian, Arantxa Araujo, FF Alumn, Helen Yung, David Ian Bellows/Griess
CIVIC REFLEX/REFLEJO CIVICO is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC).
—
Verónica Peña
Interdisciplinary Artist
www.veronicapena.com
veronicapemar@gmail.com
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14. Denise Green, FF Alumn, at Gallery 9, Sydney, Australia, opening April 18
DENISE GREEN
WAR THEN AND NOW
18 APRIL – 12 MAY 2018
OPENING WEDNESDAY 18 APRIL, 6-8PM
In War Then And Now Denise Green is showing for the first time a new body of work combining photography with painting. The photographs used by Green were taken by her father during the North African campaign in the Second World War. He served as a driver in the medical corps, picking up the wounded and dead. Upon his return to Australia he suffered from post-traumatic stress disorder, colouring the atmosphere of Green’s family life and childhood.
The exhibition deals with war, memory and trauma. It uses images of a devastated urban setting in North Africa, which resonate visually with present conflicts in the Middle East. In both her paintings and collages, Green breaks up photographs with vertical bands of either raw canvas or pieces of drawing. These incisions into the image suggest psychological fragmentation. They give an impression of repetitive movement from outer to inner-from the external events depicted in the photographs, to the internal abstractions of the mind.
Catalogue available
GALLERY 9
9 Darley St, Darlinghurst NSW 2010
Sydney +612 9380 9909
info@gallery9.com.au gallery9.com.au
Open Wed-Sat 11am-6pm
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15. Peter Baren, Irina Danilova, FF Alumns, at Kunsthal, Rotterdam, The Netherlands, April 22
Invitation.You are cordially invited to the presentation of the book TheParallelShow on Sunday 22 April at 15:00 in the auditorium of the Kunsthal in Rotterdam.
TheParallelShow was a series of impromptu performances of occasional collaborations of performance art practitioners.
Between July 2015 and January 2017 TheParallelShow took place unexpectedly at and around public exhibitions in the Kunsthal, Rotterdam (NL), Naturalis Leiden (NL), M-museum Leuven (B), Tate Britain London (UK), Art-Rotterdam Art fair Rotterdam (NL), the Apollo Sanctuary Delphi (GR), Huis van Gijn Dordrecht (NL), IVAM Valencia (SP), Stasi Museum Berlin (D) en Met-Cloisters NewYork (US).TheParallelShow was never announced, no invitations were sent.
The book TheParallelShow consists of a preface by Frans van Lent, personal reports of the participating artists, two e-mail exchanges (Andrew McNiven / Lisa Skuret, Ieke Trinks / Frans van Lent) and a brief review by Henk Overdevest.
Added is an appendix of 12 pages with photos, made by participants during the various occasions.
Participants in TheParallelShows were: Peter Baren, Karina Beumer, Jeroen Bouweriks, Irina Danilova, Daniela Degen, iwbdjdyatmvezdmnekzawvb, Mr. & Mrs. Gray, Timo van Grinsven, Alexia Karavela, Erin Helsen, Emma Waltraud Howes, Jolanda Jansen, Ienke Kastelein, Frans van Lent, Steef van Lent, Andrew McNiven, Joana Mollà, Marnik Neven, Henk Overdevest, Nico Parlevliet, Jello Reumer, Ellen Rodenberg, Pepe Romero, Rafael Sanchez, Maarten Schepers, Ursula Scherrer, Joshua Schwebel, Lisa Skuret, Elia Torrecilla, ieke Trinks, Gijs Velsink, Ventiko.
During the presentation a performance will take place: Visual works by Verbal means a compilation of texts of participants recited by ieke Trinks, Ienke Kastelein, Peter Baren and Frans van Lent.
Project and book were initiated en compiled by Frans van Lent within the framework of Unnoticed Art. The book is published by Jap Sam Books.
TheParallelShow.com UnnoticedArt.com FransVanLent.nl
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16. Brian O’Doherty, FF Alumn, at Sirius Arts Centre, Cork, Ireland, April 20-21
Sirius Arts Centre
One Here Now
The Brian O’Doherty / Patrick Ireland Project
April 20, 2018-April 21, 2019
Sirius Arts Centre
Cobh, Co.
Cork
Ireland
www.siriusartscentre.ie
Twitter
In the light-filled centre gallery of Sirius Arts Centre in Cobh, County Cork, Ireland, behind two layers of liner paper and 20 years of white emulsion, lay, until very recently, a very well-kept secret. One, Here, Now is a nine-part series of spectacular, floor-to-ceiling wall paintings by the New York-based Irish artist Brian O’Doherty (formerly Patrick Ireland), that were made over 20 years ago and subsequently covered up; almost forgotten about, until now. Recently restored by Conservator Don Knox, Sirius Arts Centre, led by Director Miranda Driscoll, has launched an ambitious project that will once again display this work. The project will be marked by a year-long series of new partnerships, commissioned artworks, music compositions, performances and talks to celebrate, re-interrogate and most importantly, preserve these important works for future generations.
The original installation in Cobh, facilitated and curated by Peter Murray; founder of Sirius Arts Centre and former Director of the Crawford Art Gallery was, in 1996, a seminal moment for Irish art. The project came out of a residency that Patrick Ireland, as Brian O’Doherty was known then, undertook at Sirius Arts Centre in 1995-96. The murals-abstract paintings based on Ogham (an early Celtic written language)-demonstrate some of Ireland’s/O’Doherty’s key concerns throughout his 60-year career; namely language, identity and perception. The work was on show for almost two years before being covered up. This ambitious restoration project proposes to renew and celebrate this historic artwork in what is arguably one of Ireland’s most historically significant coastal towns.
The project marks over fifty years of O’Doherty’s interest in the ancient Ogham alphabet. O’Doherty’s use of the Ogham alphabet in this work had and still has, important political and cultural significance. In the accompanying catalogue essay for the work in 1995/6, Alexander Alberro states that the murals and the Ogham writings convey a complex historical narrative that is “one of sorrow and oppression, and once its layers of complex codes are understood, the series of paintings take on the status of a memorial to those who were forced to leave Ireland, as well as an act of resistance against the legacy of what has been described as the ‘age of empire.'”[1]
The project also coincides with Brian O’Doherty’s 90th birthday and the 30th anniversary of the opening of the Sirius Arts Centre. Commissioned projects and partnerships throughout the year will include works by visual artists Brendan Earley, Ailbhe Ní Bhriain, Dan Graham, Mary-Ruth Walsh, Karl Burke, Kevin Atherton and Sarah Hayden, compositions by Ann Cleare and Peter Broderick, and two new dance works by the internationally renowned Liz Roche Company in collaboration with composer Linda Buckley for Sirius Arts Centre and the Cork Opera House. Events will take place at the Crawford Art Gallery, CIT Crawford College of Art & Design and associated events will take place at the Glucksman University College Cork and the Everyman Theatre, Cork, Ireland.
Brian O’Doherty (known as Patrick Ireland from 1972-2008), is undoubtedly one of Ireland’s most important living artists. He became known internationally as one of the pioneering figures in the conceptual art movement in 1960’s New York through a multi-faceted practice as a visual artist, writer, critic and novelist. O’Doherty has produced many seminal works including the Portrait of Marcel Duchamp (1966-7) and Aspen 5+6 (1967), which included works by Samuel Beckett Roland Barthes, Susan Sontag and John Cage. O’Doherty is also well-known for his seminal text-Inside the White Cube. He was a director of the National Endowment of the Arts in the U.S. where he was responsible for two major public television series-American Masters and Great Performances. His name is synonymous with Marcel Duchamp, Marc Chagall, Joseph Albers and Edward Hopper among others.
In 1972 O’Doherty changed his artist name to Patrick Ireland in protest at the killings of civil rights marchers in Derry, Northern Ireland. After the Good Friday Agreement Patrick Ireland was buried in a ceremony celebrating peace at the Irish Museum of Modern Art, Dublin, in 2008. For 36 years Patrick Ireland exhibited throughout the United States and Europe a unique series of installations called Rope Drawings.
Major retrospectives of O’Doherty/Ireland’s work have been held at the National Museum of American Art (1986), The Elvehjem Museum of Art (1993), The Butler Institute of American Art (1994), and Dublin City Gallery, the Hugh Lane (2006), the Grey Art Gallery, New York (2007). O’Doherty/Ireland’s art is held in numerous private and public collections including the Metropolitan Museum of Art, New York; Centre George Pompidou, Paris; Irish Museum of Modern Art, Dublin; the Crawford Gallery, Cork; National Museum of American Art, Washington D.C.; National Gallery of Art, Washington D.C.; Seattle Art Museum, Seattle WA; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.
Sirius Arts Centre is a multi-disciplinary arts organisation in the small town of Cobh, East Cork, Ireland. It is housed in a beautiful Italiante building that was designed by Anthony Salvin in 1854 to house the Royal Cork Yacht Club, the oldest in the world. Salvin was best known for his restoration work on Windsor Castle and the Tower of London. For 30 years the building has housed the Sirius Arts Centre; an organisation that is dedicated to the facilitation and development of artistic expression on a local, national and international stage.
2018 Sirius Arts Centre key dates
April 20-official (re)launch, with opening remarks from Jennifer Higgie, editor of Frieze magazine. Info here.
April 21-talks at the Crawford Gallery and Sirius Arts Centre, followed by the premiere of One Here Now: A Sonic Theatre a performance of music composed by Ann Cleare, commissioned by Sirius Arts Centre and co-produced with Tonnta. Info here and here.
April 22-second performance of One Here Now: A Sonic Theatre.
Associated weekend events at the Glucksman University College Cork and the Everyman Theatre. Further key events throughout the year.
Further information
miranda@siriusartscentre.ie
T +353 21 4813790
[1] Alexander Alberro, “Ireland’s Humanism” in Patrick Ireland, One Here Now, the Ogham Cycle catalogue essay 1996.
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17. Mark Bloch, FF Alumn, in White Hot Magazine, now online
https://whitehotmagazine.com/articles/artists-new-york-1950s-present/3928
Mark Bloch writes about
A Colossal World: Japanese Artists and New York, 1950s – Present March 6 – April 14, 2018 WhiteBox
329 Broome Street (Between Bowery and Chrystie) Curated by Kyoko Sato
The interconnections between the myriad New York-based Japanese artists and the work they have created are everywhere, and together they create a complex and thought-provoking human story transcending countries, genres and generations. But in the end, it is a story of people connecting with people.
The resourceful curator Kyoko Sato has assembled these connections between video, sculpture, murals, installation, and two-dimensional media works by over fifty Japanese artists who emigrated to New York at key moments in their careers, each uniquely demonstrating the absorption of New York’s culture into their artworks as they enriched the NYC community and NYC artists in return. It is a remarkable show, not to be missed.
The look and feel of the exhibit is more Central Tokyo than Zen rock garden. Spanning the depth and breadth of WhiteBox’s two-leveled exhibition space, “A Colossal World” zig zags from mid-century avant-gardes to contemporary art and media. Sato explores the consistent pushing of art boundaries from Japan to New York and back-from the wake of World War to the eighties-when globalization and international art movements meant artists could truly be bi-cultural. Then, in the post-economic bubble of the 1990s, more waves of emigration meant more change. The loosening of social and economic constraints in Japan allowed the emergence of pioneering artists like Shiomi, Yoko Ono, and Ay-O through the burgeoning Fluxus movement while Arakawa and Ushio Shinohara entered American consciousness via Neo-Dada. Even the Gutai group, which influenced Allan Kaprow’s Happenings and Ray Johnson’s New York Correspondence School from afar, had an eventual transplant to New York, Minoru Yoshida, originally a painter working in 1960s Kyoto. Yoshida, the only member of the Gutai Art Association to live in New York-from 1970-78-performed at Charlotte Moorman’s 11th and 12th Annual Avant-Garde Festivals as well as Artists Space.
The California-born composer John Cage’s friendship with painters Morris Graves and Mark Tobey during his time at the Cornish School in Seattle enhanced his own appreciation of art and Asian philosophies. After arriving in New York in 1942 bursting with ideas, Cage was standing at a bus stop on Madison Avenue, having just left an exhibition of Tobey’s calligraphy-influenced, abstract paintings at the Marian Willard Gallery.
The composer looked down at the pavement and saw something reminiscent of Tobey-the sidewalk as art-without intention, motive or ego. Cage began studying Zen Buddhism with D.T. Suzuki at Columbia University by ’46 and ’47, where he eventually met Yoko Ono. That lead later to more collaboration with her and her first husband Toshi Ichiyanagi in Japan, shortly following Cage’s meeting Nam June Paik at Stockhausen’s studio in Darmstadt, Germany in 1958.
Thus, John Cage’s interest in Asia combined with the subsequent union of the Korean Paik, and Shigeko Kubota from Niigata Prefecture, a link to the Japanese art groups Group Ongaku, Hi Red Center, and Zero Jigen, can be seen here as pivotal influences on the eventual cross-pollination of Japanese artists in New York. Both Paik and Kubota arrived here in ’64 and married a year later.
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18. The Harrisons, FF Alumns, in The New York Times, April 18
Please visit the complete illustrated article linked here (text only follows below):
OBITUARIES
Helen Mayer Harrison, Leader in Eco-Art Movement, Dies at 90
By NEIL GENZLINGER
APRIL 13, 2018
Helen Mayer Harrison, half of the husband-and-wife team known as the Harrisons, pioneers in the eco-art movement whose works blended elements of art, biology, environmentalism and more, died on March 24 in Santa Cruz, Calif. She was 90.
Her family said the cause was Alzheimer’s disease.
Ms. Harrison and her husband, Newton Harrison, were both well into careers as educators when, in the late 1960s, they began shifting their focus to making art, vowing that anything they created would involve ecosystems and environmental awareness.
Their artworks were unconventional, to say the least, pushing the very boundaries of what constitutes art. They made topsoil and grew crops in it. They consulted on urban planning projects in Baltimore, Europe and elsewhere. Well before global warming was in the public consciousness, they considered its likely effects through maps and other means.
And then there was “Hog Pasture,” one of their earliest works, created for a 1971 exhibition at the Boston Museum of Fine Arts called “Earth, Air, Fire, Water: Elements of Art.” They made an actual pasture indoors, with hopes of having a real hog root around in it. The museum, they recalled years later, was fine with the pasture but not with the pig.
In 2012 they re-created the work at the Museum of Contemporary Art, Los Angeles, and this time a pig named Wilma was allowed. In front of curious spectators, Wilma took eagerly to the pasture, searching for whatever it is that pigs search for in dirt.
“The significance of the piece is what you see,” Ms. Harrison said in a videoof the exhibition. “All of the sudden people are looking at the environment in one way or another, and they’re looking differently. In other words, it’s bringing their attention in a way that is meaningful.”
Helen Mayer was born on July 1, 1927, in Queens. Her father, Henry, and her mother, Natalia Perla Wiseman, were both teachers.
She received a bachelor’s degree in English at Queens College in 1946 and a master’s degree in educational philosophy at New York University in 1949, then began teaching in the New York City school system. She met Mr. Harrison, an artist whose early focus was sculpture, in the early 1950s. They married in 1953.
After living for a time in Florence, Italy, they returned to New York, where, living on the Lower East Side, Ms. Harrison plunged into the causes and cultural movements of the early 1960s, especially the growing peace movement.
After Mr. Harrison completed work on his master’s degree in 1965, both he and Ms. Harrison were offered teaching positions at the University of New Mexico. Two years later they moved to the University of California, San Diego, where Ms. Harrison directed the extension division’s education programs.
But by the beginning of the 1970s she and her husband were devoting themselves to making art of an earth-conscious nature. One of their first efforts interpreted that commitment quite literally: For “Making Earth” (1969-70), Mr. Harrison made topsoil in the parking lot of their studio, and Ms. Harrison used it to grow plants.
They came to call these early works their Survival Pieces. “Hog Pasture” was one. Another was a portable orchard, inspired by what they saw going on in Orange County, Calif.
“It was made with trees, and we brought them indoors,” Ms. Harrison said in a 2013 video interview. “We made it because we thought: ‘All the orange trees in Orange County are disappearing. The orchards are being cut down.’ So we made an orchard for the museum that would be the last orange orchard in Orange County. And it was, in all probability.”
The work was first exhibited at California State University, Fullerton.
To the inevitable question, Why the Survival Pieces constituted art rather than farming, Mr. Harrison had a ready answer.
“What we did in a series of museums was make work that, as an ensemble, added up to the food chain,” he said in the same interview. “So we were thinking quite differently than farmers do.”
The Harrisons moved into urban ecology in the 1980s, working on conceptual designs for a promenade in Baltimore, the reclamation of a debris pit in Pasadena, Calif., and more.
Not all of their works were so large in scale, however. Their contribution to the 1989 group show “The Drowned World: Waterworks” at the P.S. 1 Museum in Queens (now MoMA PS1) was a distillation device that purified water from the East River, showing the gunk it had contained.
In the 1990s and beyond, their projects took on a regional aspect, examining ecosystems and environmental degradation. These works might include an installation, videos, maps, urban designs and other elements and involve input from planners, biologists and others not generally associated with the art world.
For instance, the multipart “Greenhouse Britain” (2006-2009) considered the possible effects on England of rising oceans resulting from global warming, suggesting high-rise living spaces, hanging gardens and a dam to protect Bristol.
Climate change was on the Harrisons’ radar well before it began making regular headlines, something Mr. Harrison credited to his wife.
“Helen Mayer Harrison brought to our collective work deep expertise in literature, educational philosophy and transdisciplinary research,” he said by email. “One startling example of this was in 1973 when she introduced global warming research, which then became the lifelong theme in our work.”
In addition to being an artist, Ms. Harrison was a professor at the University of California, San Diego, from 1980 to 1994. At her death she was professor emerita of digital arts and new media at the University of California, Santa Cruz.
“Ahead of her time, and yet somehow very much of her time, Helen aimed to strengthen the connection between mind and everyday life through her work,” Susan Solt, the dean of that university’s arts division, said by email. “Helen blended the worlds of art and science so skillfully that ecologists, landscape architects, engineers and politicians were convinced to rethink their own contributions to our ecosystems.”
In addition to her husband, Ms. Harrison is survived by three sons, Steven, Joshua and Gabriel; a daughter, Joy Harrison; nine grandchildren; and four great-grandchildren.
In a 2010 interview, the Harrisons talked about their long partnership.
“People want to know who does what,” Mr. Harrison said. “What happens is, I do the first draft, Helen does the second, I go back in for the third, and then Helen has the final one.”
To which Ms. Harrison added: “So he has the first word, and I mostly have the last word. It works out.”
A version of this article appears in print on April 18, 2018, on Page A20 of the New York edition with the headline: Helen Mayer Harrison, 90, A Pioneer of Eco-Art. Order
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19. Jenny Holzer, FF Alumn, at Printed Matter, Manhattan, April 28, and more
Please join us for a book signing event with Jenny Holzer, April 28, 5:00 – 7:00 PM, on occasion of ‘Belligerent’, newly published by Ivorypress as part of their LiberArs series. The publication contains six redacted U.S. government documents that unfold into posters – each page taken from investigations of abuse in military prisons, including handprints gathered during multiple inquiries. The documents are accompanied by an essay by Joshua Craze, who writes: “There is a double violence in the redacted documents that Holzer paints: the violence done to the detainees, meted out in secret, and the violence done to the truth, visible in the redactions of the documents. The truth does not simply disappear, but appears as an absence.”
Coinciding with the Signing event, Printed Matter also presents an exhibition of works by Holzer, on view through May 2nd. For more than forty years Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including 7 World Trade Center, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, and the Whitney Museum of American Art.
Following the events of 9/11 and during the Bush-era War on Terror, Holzer began incorporating declassified government documents, made public by the Freedom of Information Act, into her repertoire of text-based work. After faithfully reproducing the content and graphic likeness of revealing, then heavily censored US state and military papers, Holzer offers saturated fields of color and gestural markings, inviting viewers to consider the absence of information blocked by redaction. A suite of six aquatint etchings, Conclusion (2016), appropriates pages from two declassified FBI reports: “Threat Assessment of Pro-Khomeini Shiite Activities in the United States,” dated February 24, 1984, details terrorist threats from Iran and Iranian-linked institutions in the United States, and “The Terrorist Threat to the US Homeland: An FBI Assessment,” dated April 15, 2004, provides an overview of foreign and domestic terrorist threats ranging from Sunni extremist groups to white supremacists. Intelligence Community (2017 – 18) uses a 2004 internal FBI report on the virtues of the USA Patriot Act, rendering the vernacular of the original document in graphite and watercolor. The works investigate the look of censorship, and engage with the material and idea of erasure.
An array of T-shirts, postcards, and stickers arranged in the vitrines feature texts written by Holzer, taken from her Truisms (1977 – 79) and Survival (1983 – 85) series. Holzer has used ephemera to deliver content to the public since the 1970s, when she wheat-pasted posters of her Truisms and Inflammatory Essays (1979 – 82) around Lower Manhattan. Her medium, whether formulated as a T-shirt, a plaque, or an LED sign, is writing, and the public presentation is important to her practice.
please write to news@printedmatter.org for a full checklist.
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20. AA Bronson, FF Alumn, at Esther Schipper, Berlin, Germany, opening April 27
Esther Schipper
Catch me if you can! AA Bronson + General Idea, 1968-2018
Organized with Frédéric Bonnet
Opening: Friday 27 April, 2018, 6-9pm
Potsdamer Strasse 81E, 10785 Berlin www.estherschipper.com
Fifty years after AA Bronson, Felix Partz and Jorge Zontal first met in 1968, before starting to work the following year under the name General Idea, Catch me if you can! AA Bronson + General Idea, 1968-2018 is the first exhibition of selected works by both the group and its surviving member, AA Bronson, presented as a continuity. Partz and Zontal died in 1994.
These five decades of work are examined through the double theme of disappearance and appearance. A careful examination of the works reveals that this motif has spanned the entire career of General Idea and still inhabits the work of AA Bronson. Thus, for instance, Venetian blinds are widely featured in the work of General Idea, as in the two iconic 1975 V.B. Gowns and many associated photographs shown in the exhibition.
This double dynamic sometimes flirts with the ghostly, as in Bronson’s 2012-2013 photograph White (in collaboration with Ryan Brewer) and General Idea’s Paolini Project from 1977, where the status and reality of the bodies appear subtly uncertain.
There are many examples of this ambiguity which General Idea and AA Bronson have slipped into, not only to blur boundaries between reality and fiction but also to defy the conventions of the gaze and the very nature of what is perceptible, or rather acceptable to the eye. Between presence and absence, concealing and revealing, either directly or in a more discreet and enigmatic manner, this dichotomy often manifests itself with the body as a point of reference. Sometimes not visible, the body is then only suggested. This is the case with Bronson’s 2003 Bubble Machine #2, openly alluding to the AIDS virus, or with General Idea’s 1992 El Dorado Series which evokes extreme close-up of different skin tones. This series of abstract paintings appropriates the 18th-century caste paintings commissioned by Philip V of Spain to map and identify the ethnic groups of Latin and South America.
Conversely, sometimes the body is there, accessible in its physical reality, as in Bronson’s most recent photograph, Flasher (in collaboration with Matthias Hermann), specifically produced for the exhibition, or in General Idea’s numerous self-portraits taken in mirrors from the 1970s.
A discreet but omnipresent accessory in this artistic adventure, the mirror acts as an essential tool, both iconographic and conceptual. Ambiguous by nature, it has allowed the artists to constantly play with the status of things (real or representation?) and the veracity of what is represented, to stage a form of evanescence while opening up the scope of the visual and that of possibilities. The mirror almost becomes the guiding principle of this exhibition, for which predominantly rarely seen or not previously shown works have been selected, including for instance a large number of re-discovered photographs from the late 1960s and early 1970s.
In order to emphasize this community of interests and concerns across the large time spectrum of the exhibition, the uncompromising decision was made to opt for a strictly chronological presentation. This system, while affirming a great conceptual coherence, continuities, nods, and cross-references, bears witness to the important formal diversity and to the intense creativity of artists who have never ceased to renew their vocabulary, even in regards to considerations spanning across half a century of work.
(Text: Frédéric Bonnet)
Parallel to the exhibition, Esther Schipper presents Krishtalka Books, a pop-up bookstore organized with Sholem Krishtalka, featuring catalogues, rare books, editions, zines and ephemera by AA Bronson and General Idea. Concomitantly, KW in Berlin will present AA Bronson’s Garten der Lüste-a 5-day hybrid installation featuring performances and artworks-from April 26-29, 2018.
General Idea was formed in 1969 by AA Bronson, Felix Partz and Jorge Zontal. AA Bronson, born Michael Tims, Vancouver, British Columbia, Canada (born 1946). Felix Partz, born Ronald Gabe, Winnipeg, Manitoba, Canada, 1945-1994. Jorge Zontal, born Slobodan Saia-Levy, Parma, Italy, 1944-1994. The three artists worked and lived together until the deaths of Partz and Zontal in 1994.
General Idea founded Art Metropole, an artist archive and resource center in Toronto in 1974 and published FILE Megazine between 1972 and 1989. The General Idea Archive is held at The National Gallery of Canada, Ottawa.
Recent solo exhibitions include: Photographs (1969-1982), MAMCO, Geneva (2017); Tiempo Partido/Broken Time, MALBA, Buenos Aires (2017) and Museo Jumex, Mexico City (2016); Haute Culture: General Idea. Une rétrospective, 1969 -1994, Musée d’Art moderne de la Ville de Paris, Paris and Art Gallery of Ontario, Toronto (2011); General Idea Editions: 1967-1995, which toured to 18 venues between 2003 and 2007, including the Henry Art Gallery, Seattle; Centro Andaluz de Arte Contemporaneo, Seville; Kunstverein München, Munich; Kunst-Werke, Berlin; Kunsthalle Zürich; Andy Warhol Museum, Pittsburgh, and Blackwood Gallery, University of Toronto, Mississauga.
AA Bronson currently lives and works in Berlin. Since 1994, Bronson has worked and exhibited as a solo artist, often collaborating with younger generations of artists. Since 1999, he has worked as a healer, an identity that he has also incorporated into his artwork. From 2004 to 2010, he was the Director of Printed Matter, Inc. in New York, founding the annual NY Art Book Fair in 2005. In 2009 he founded the Institute for Art, Religion, and Social Justice at Union Theological Seminary in New York, which he now co-directs. In 2013 he was the founding Director of Printed Matter’s LA Art Book Fair. He has taught at the University of California in Los Angeles, the University of Toronto, and the Yale School of Art.
Selected solo exhibitions include: AA Bronson, Kunsthalle Wichita (2016); AA Bronson’s Garden of Earthly Delights, Salzburger Kunstverein, Salzburg (2015); AA Bronson’s Sacre du Printemps, Grazer Kunstverein, Graz (2015); AA Bronson: Life and Works, University of Toronto Art Centre, Toronto (2014); AA Bronson: Tent for Healing, Stedelijk Museum, Amsterdam (2013); The Temptation of AA Bronson, Witte de With Center for Contemporary Art, Rotterdam (2013); Invocation of the Queer Spirits (with Peter Hobbs), Creative Time, New York (2008).
Press:
David Ulrichs PR I david@davidulrichs.com I +49 (0)176 5033 0135 I www.david-ulrichs.com
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21. Ann-Marie Lequesne, FF Alumn, at studio 1.1, London, UK, April 29
Fanfare for Crossing the Road
studio1.1
57A Redchurch St, London E2 7DJ
April 5-29 (Thurs – Sun, 12-6)
Closing PV – Sun April 29 – 3-6pm
Fanfare for Crossing the Road began in the spring of 2011 at the crossing in front of the Albert Hall. Since then it has been performed in Helsinki, Lisbon, Cardiff, New York and Philadelphia. In each location I ask musicians – dressed in uniforms and positioned beside the traffic lights – to mimic the sounds (different in every country) that signal the time to cross for the blind. A Dublin Fanfare will be filmed in the autumn.
The work has been shown at Photographic Gallery Hippolyte, Helsinki, 2012; the 4th Wall Film Festival, Pedwaredd Wal, Cardiff, 2012; Plataforma Revólver, Lisbon, 2013; AC Institute, New York, 2014; Icebox Project Space, Philadelphia, 2015. The Dublin performance will subsequently be shown projected onto the street.
www.theannualgroupphotograph.com
www.amlequesne.com
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22. Pope.L, FF Alumn, at the High Line, opening April 19
Various Artists
Agora
April 19, 2018-March 2019
Various locations on the High Line
Agora is a group exhibition that looks at the role of art in defining, creating, and using public space. The exhibition takes its name from the ancient Greek word referring to the square-the public gathering area that was the core of commercial, artistic, political, and spiritual life in old city-states like Athens. For centuries, artists have used public locations-and the public in general-as the heart of for their work. By transforming public places into theaters and arenas for performances and collective actions, artists mobilize a kind of collective voice of the people. By manipulating our expectations of what does and does not belong in these ostensibly collectively owned spaces, artists challenge what public spaces are, how they’re made, and who they’re made for. The forms of artists’ works in public space vary widely in scale, volume, and form, from single speaker’s corners to sprawling protests; from grand parades and processions to secret, intimate performances; from bronze historical equestrian statues to initials etched in pavement; and from WPA murals to graffiti tags. However, across time they share common themes, challenging why and how public space, life, and activities are separated from private ones; how boundaries are drawn, built, and transgressed; and who is allowed to stand and speak, and where.
The exhibition looks at the power of art to change society, the role of art in public space, and whether art can be a form of protest. Artists working in public often take a political tone, mobilizing the public for social and political change, and for the possibility of realizing an alternate future. On the High Line-a public space and a natural platform-nine artists share their experiences inhabiting, speaking out of, and challenging the assumed boundaries of public space, where different voices can be heard, addressing important topics such as women’s rights, mass incarceration, the environment, and immigration.
Pope.L (b. 1955 Newark, New Jersey) is an artist working in performance, theater, installation, video, and painting. His works include physically demanding actions, as well as sculptures and paintings that explore language, gender, race, ideology, and community. For the High Line, Pope.L proposes a large neon sign that reads “RiGT TURN for REPARATIONS” in flickering red and green letters. The apparent typo and backwards letters are intended to get viewers to read life differently. The red and green in his apparatus suggest the jolting stop-and-go vicissitudes of progress, love, and money, either apparent or impossible.
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23. Cassils, FF Alumn, Spring news
CASSILS: SPRING NEWS LETTER 2018
Cassils “At Work” in the Studio. Photo: Cassils with Chris Wormald
CASSILS: ALINE’S ORCHARD (BETWEEN SCANDAL AND OBLIVION)
LOS ANGELES MUNICIPAL ART GALLERY EXHIBITION
MAY 3 – JUNE 4, 2018
LIVE PERFORMANCE AT OPENING RECEPTION: APRIL 29: 2-5 PM
Los Angeles, CA.- Cassils Studio, The City of Los Angeles Department of Cultural Affairs (DCA), the Los Angeles Municipal Art Gallery (LAMAG), and the Barnsdall Art Park Foundation (BAPF) are pleased to present CASSILS: ALINE’S ORCHARD (BETWEEN SCANDAL AND OBLIVION): as part of the 2018 City of Los Angeles (COLA) Individual Artist Fellowship Exhibition.
Cassils’ new work, Aline’s Orchard (Between Scandal and Oblivion), uses sound and sensory suggestion to re-create the Barnsdall olive groves in total darkness as a once and future site of political radicalism and queer cruising. This visceral new artwork responds to the oppressive “Fight Online Sex Trafficking Act” (FOSTA) bill, recently passed by Congress and which went into effect on April 11, 2018. The impact is already being seen around the Internet as websites have shut down areas of personal ads that relate to dating because potential sexual activity could trigger the FOSTA laws.
The bill is predicated on protecting women and children from trafficking but is written too broadly, as a strategy of clamping down on sexual freedom and expression. For marginalized communities, especially LGBTQI people, or those who have unorthodox proclivities, sites like Craigslist provided a forum for consenting adults to meet each other.
The work also responds to the site-specific history of Barnsdall’s orchards as a queer cruising ground that have been “cleaned up” by the removal of trees and the heightening of surveillance. Silver Lake was once a bastion of queerness; the Mattachine Society was formed on the stone steps leading up an epic local hill, and sexual and artistic unions crossing lines of race and class were staged amid the olive trees. Aline’s Orchard conjures up the city’s erstwhile queer haunts and, in doing so, enacts a kind of anticipatory illumination, a queer utopian moment. As José Esteban Muñoz writes in the opening pages of Cruising Utopia (2009), “We have never been queer, yet queerness exists for us as an ideality that can be distilled from the past and used to imagine the future.”
Awarded annually to Los Angeles-based artists by DCA, the C.O.L.A. Fellowships support the creation of new works by a selection of the City’s most exemplary mid-career artists. The C.O.L.A. exhibition honors the synergetic relationship between LA, its artists, its history, and its identity as an international arts capital. These Fellows were chosen through three rounds of review by nine interdisciplinary peer panelists who were curators, educators, nonprofit gallerists, museum directors, and/or past COLA Fellows.
On view at DCA’s Los Angeles Municipal Art Gallery located at:
4800 Hollywood Boulevard in Barnsdall Park
May 3 – June 24, 2018
CURRENT EXHIBITIONS
VCU Institute for Contemporary Art, Declaration, Richmond, VA
April 21- Sep 9
Houston Center for Photography, Margin and Center, Houston, TX
untill APRIL 29
Kunstpalais, Altered Substances,Erlangen, Germany
untill May 21
Leslie-Lohman Museum of Gay and Lesbian Art, Haptic Tactics,Haptic Tactics, New York, NY
Untill may 20th
UPCOMING PERFORMANCE
Cassils closes Wiener Festwochen festival in Viennia, Austria with a Performance of Becoming An Image
Friday June 15th, 10 pm
UPCOMING TALK
Cassils gives a lecture on their work and screens films as part of Wiener Festwochen at the MUMOK (Museum Moderner Kunst Stiftung Ludwig Wien)
June 13th, 2018- 7PM
UPCOMING CURATION:
I envision my body as a meeting point, a node, where external lines of force and social determination thicken into meat and circulate as movement back into the world. So much that constitutes me I did not choose, but, now constituted, I feel myself in a place of agency.SUSAN STRYKER
Vital signs are important indications of the status of the body’s life-sustaining functions.
Vital Signs is also a series of live performances and artist talks spread over the academic year at Stanford University. Focusing on elements of performativity, each quarter will pair artists from different generations. Assessing urgency, these artists will offer a broad approach for triaging the social body. With the use of different formal and conceptual strategies, measurements can be taken and assessments made, giving us clues to diseases and possible progress toward recovery. The series aims to highlight and showcase underrepresented performance forms such as experimental performance art, durational art, and body art.
Curated by Cassils
BIOGRAPHY
Cassils is from Montreal, Canada and based in Los Angeles. Cassils is represented by Ronald Feldman Fine Arts. Recent solo exhibitions include: Philadelphia Academy of Fine Arts; School of the Museum of Fine Arts Boston and MU Eindhoven, Netherlands. Cassils’ work has also been featured at the key art for the blockbuster exhibition at the Deutsches Historisches Museum and the Schwules Museum*, DE, The National Theatre as part of the SPILL Festival of Performance, U.K. and the ANTI Contemporary Performance Festival, FI. Cassils is the recipient of a USA Artist Fellowship (2018), a COLA Fellowship (2018), a Guggenhime Fellowship (2017) and a Creative Capital Award (2015). They have also received numerous grants from the Canada Council for the Arts (2002-2018), a Alpert Visiting Artist Fellowship from Syracuse University (2016), California Community Foundation Grant, and a MOTHA (Museum of Transgender Hirstory) award. Cassils has lectured at museums, universities and colleges across the globe such as Goldsmiths University, U.K; Stanford University and the New School Parsons. Cassils films have premiered at Sundance Film Festival, Utah, Out Fest, Los Angeles and the Institute for Contemporary Art, London.
CONTACT:
Contact: Derek Corns, Studio Manager of Cassils Studio:
cassils.studio@gmail.com
http://www.cassils.net
Feldman Gallery
feldmangallery.com/index.php/artist-home/cassils
CASSILS WWW.CASSILS.NET
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24. Arlene Rush, FF Member, at Williamsburg Art & Historical Center, Brooklyn, April 22
This SUNDAY I will be at the gallery so come by and visit if you weren’t able to make the opening. FABULOUS show curated by William Norton, 19 Great artists, lots of sculpture and the majority are WOMEN !!!!
FEEL FREE TO SPREAD THE WORD…………
Pop Goes The Weasel
An exhibition that asks the question “why not”? Curated by William Norton
Show Dates: April 14th – May 6, 2018
Gallery Hours: Friday, Saturday and Sunday 12-6 pm
Williamsburg Art & Historical Center
135 Broadway (corner of Bedford Avenue), Brooklyn, NY 11211- (718) 486-7372
Director: Yuko Nii
For press information, images and exhibition details please contact Norton:
Email: creativemyth@hotmail.com 917.407.6124
This exhibition is supported through a generous donation from the Williamsburg Art & Historical Center and is funded in large part through a generous contribution from Jonah Engler
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25. John Kelly, FF Alumn, at Real Art Ways, Hartford, CT, opening April 19 and more
‘SIDEWAYS INTO THE SHADOWS’ and ‘NEW YORK CITY 1981-1983’
SIDEWAYS INTO THE SHADOWS (http://johnkellyperformance.org/wp2/projects-2/zero-conversion-working-title/) , John Kelly’s solo exhibition of memorial portraits and journal transcriptions, is moving to REAL ART WAYS (https://www.realartways.org/event/john-kelly-sideways-into-the-shadows/2018-04-19/) in Hartford, CT.
JOHN KELLY: SIDEWAYS INTO THE SHADOWS (http://johnkellyperformance.org/wp2/projects-2/zero-conversion-working-title/)
April 19 – June 25, 2018
Opening reception: Thursday, April 19, 6-8 PM Real Art Ways (https://www.realartways.org/event/john-kelly-sideways-into-the-shadows/2018-04-19/)
56 Arbor St.
Hartford, CT 06106
If you missed it at Howl! Happening, here is another chance to see this exhibition.
– GALLERY INFO AND HOURS (https://www.realartways.org/visit/) –
(https://issuu.com/modernidentity/docs/john_kelly_howl_0219) – Out Today: T The New York Times Magazine article The Stars Who Got Their Start on the ’80s New York Stage (https://www.nytimes.com/2018/04/16/t-magazine/broadway-1980s-actors-sarah-jessica-parker-willem-dafoe.html) features John Kelly along with a host of acclaimed actors.
“These are the stars who got their start on the ’80s New York stage. By the 1980s, the conventional acting ideology had been absorbed, filed away, and all that mattered was being smart. These actors knew the Meisner-influenced naturalism of New York’s Neighborhood Playhouse and the elegant crispness of the British school, but they grew up in the 1970s when – after President Nixon and Vietnam – nobody believed in any kind of hegemony: American, theatrical or otherwise. So acting transformed in the 1980s into something post-Freudian and hypnotic, like Eric Fischl’s paintings of that moment. Because in that era, being any kind of artist in New York meant you were living through the plague and you were one of its diarists. All shows, from the furthest reaches of the East Village (John Kelly at the Pyramid Club, playing a ravaged Mona Lisa) to the glitzy musicals (“La Cage aux Folles,” starring Gene Barry) had the slight whiff of death. Death was this generation’s teacher. These
21 extraordinary theatre actors came together and reminisced about their first big breaks on Broadway in the early 1980s.” Written by Jon Robin Baitz.
T NYT Style Magazine VIDEO: The Golden Age of N.Y.C Theater (https://www.nytimes.com/video/t-magazine/100000005847524/broadway-actors-new-york-theater.html)
Copyright (c) 2018, John Kelly Performance, All rights reserved.
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26. Eleanor Antin, Dara Birnbaum, Dan Graham, Barbara Hammer, Joan Jonas, Antonio Muntadas, Pope.L, Carolee Schneemann, Michael Smith, William Wegman, Lawrence Weiner, FF Alumns, at Electronic Arts Intermix @ P.P.O.W., Manhattan, April 19
EAI’s first-ever Benefit Art Auction is just two days away! Please support EAI’s commitment to preserving and providing access to moving image art by purchasing a ticket to our silent auction and cocktail reception, or by bidding online at Artsy.
Artworks generously donated by:
Eleanor Antin, Cory Arcangel, Charles Atlas, Dara Birnbaum, Cheryl Donegan, Dan Graham, Barbara Hammer, Bibbe Hansen, Gary Hill, Gary Indiana, Joan Jonas, Kalup Linzy, Mieko Meguro, Antonio Muntadas, Takeshi Murata, Tony Oursler, Genesis BREYER P-ORRIDGE, Pope.L, Seth Price, Carolee Schneemann, Trevor Shimizu, Michael Smith, Stephen Vitiello, William Wegman, Lawrence Weiner, C. Spencer Yeh
Works screened by:
Charles Atlas & Merce Cunningham, Robert Beck, Shigeko Kubota, Jacolby Satterwhite
Thu, April 19, 2018
6:30 PM – 8:30 PM EDT
Electronic Arts Intermix (EAI) + P·P·O·W
535 West 22nd Street
5th and 6th floors
New York, NY 10011
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Goings On is compiled weekly by Harley Spiller