Contents for December 19, 2016
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1. Martha Wilson, Eileen Myles, Penny Arcade, Jennifer Bartlett, Yoshiko Chuma, John Giorno, Joseph Keckler, Yvonne Meier, Tracie Morris, Yvonne Rainer, RENO, Sarah Schulman, Pamela Sneed, Lynne Tillman, Edwin Torres, at The Poetry Project, Manhattan, Jan. 1, 2017
2. Isabel Samaras, FF Alumn, December news
3. Kimsooja, FF Alumn, at National Museum of Modern and Contemporary Art, Seoul, Korea, thru Feb. 5, 2017 and more
4. Penny Arcade, Olivia Beens Mary Campbell, Peter Cramer & Jack Waters, Yoshiko Chuma, Helaine Gawlica, Michele Handelman, Geoffrey Hendricks, Nina Kuo, Stefani Mar, Tom Otterness, Scott Pfaffman, Rafael Sánchez, Pamela Sneed, Sarah Schulman, Sur Rodney Sur, Conrad Ventur, Anton Van Dalen, Martha Wilson, FF Alumns, at Howl!, Manhattan, Dec. 21
5. Xandra Ibarra, FF Alumn, receives Art Matters grant 2016
6. Adam Pendleton, FF Alumn, at Anthology Film Archives, Manhattan, Jan. 9, 2017
7. Richard Nonas, FF Alumn, at P420, Bologna, Italy, thru Jan. 14, 2017
8. Jay Critchley, FF Alumn, in Cape Cod Times, Dec. 10
9. Greg Sholette, FF Alumn, at Station Independent Projects, Manhattan, opening Jan. 7. 2017
10. LuLu LoLo, FF Member, at Cornelia Street Café, Manhattan, Dec. 19
11. Julie Harrison, FF Alumn, winter news 2017
12. Jane Dickson, FF Alumn, in The New York Times, Dec. 15
13. Jared Goldstein, FF Intern Alumn, in The New York Times, Dec. 18
14. Carl Andre, FF Alumn, at Musée d’Art moderne de la Ville de Paris, France, thru February 12, 2017
15. Vito Acconci, Christo & Jeanne-Claude, Sean Leonardo, David Hammons, Barbara Kruger, FF Alumns, now online at artnet.com
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1. Martha Wilson, Eileen Myles, Penny Arcade, Jennifer Bartlett, Yoshiko Chuma, John Giorno, Joseph Keckler, Yvonne Meier, Tracie Morris, Yvonne Rainer, RENO, Sarah Schulman, Pamela Sneed, Lynne Tillman, Edwin Torres, at The Poetry Project, Manhattan, Jan. 1, 2017
The New Year’s Day Marathon is the Project’s largest fundraiser and provides support for what we do best – serve as a public venue for the substantial presentation of innovative writing!
This year’s Marathon, during the 50th Anniversary of the Project, will feature guest hosting by Eileen Myles, CAConrad, and Anselm Berrigan, in addition to Project staff, and series coordinators!
Featuring: Aelian/a Nicole Anderson, Betsy Andrews, Penny Arcade, Jaye Bartell, Jennifer Bartlett, Jim Behrle, Rijard Bergeron, Anselm Berrigan, Edmund Berrigan, Justin Vivian Bond, Emily Brandt, Marie Buck, Steve Cannon, Wo Chan, Chia-Lun Chang, Lonely Christopher, Yoshiko Chuma, Kimberly Clark, Cheryl Clarke, Andrei Codrescu, Todd Colby, John Coletti, Lydia Cortes, Brenda Coultas, Alex Cuff, Joey de Jesus, Francesca DeMusz, Ted Dodson, Steven Taylor & Douglas Dunn, Grace Dunham, Marcella Durand, Andrew Durbin, Steve Earle, Will Edmiston, Mel Elberg, Christine Elmo, Betsy Fagin, Farnoosh Fathi, Avram Fefer, Dia Felix, Tonya Foster, Ed Friedman, Hafizah Geter, John Giorno, John Godfrey, Ariel Goldberg, Che Gossett, Adjua Gargi Nzinga Greaves, Whit Griffin, Anna Gurton Wachter, Nick Hallett, Diana Hamilton, David Henderson, Laura Henriksen, Chanice Hughes-Greenberg, Tony Iantosca, Pierre Joris, erica kaufman, Joseph Keckler, Baz King, Martha King, Shiv Kotecha, Ben Krusling, M. Lamar, Krystal Languell, Julia Lee Barclay-Morton, Rachel Levitsky, Phoebe Lifton, Matt Longabucco, Brendan Lorber, Filip Marinovich, Shelley Marlow, Tracey McTague, Yvonne Meier, Jonas Mekas, Holly Melgard, Sharon Mesmer, Carley Moore, Thurston Moore, Saretta Morgan, Tracie Morris, Dave Morse, Eileen Myles, Edgar Oliver, Dan Owen, Trace Peterson, Simon Pettet, Nicole Peyrafitte, Tommy Pico, Ali Power, Nina Puro, Arlo Quint, Yvonne Rainer, Lee Ranaldo, Camille Rankine, Will Rawls, Ariel Resnikoff, Bob Rosenthal, Douglas Rothschild, Judah Rubin, Tom Savage, Sarah Schulman, Purvi Shah, Elliott Sharp, Eleni Silkelianos, Samita Sinha, Sasha Smith, Jayson Smith, Pamela Sneed, Patricia Spears Jones, Tammy Faye Starlight, Sara Jane Stoner, Anne Tardos, Nurit Tilles, Lynne Tillman, Edwin Torres, Tony Towle, Rachel Trachtenburg, Aldrin Valdez, David Vogen, Asiya Wadud, Nicole Wallace, Sarah Anne Wallen, Lewis Warsh, Simone White, Hanif Willis Abdurraqib, Martha Wilson, Chavisa Woods, Wendy Xu, John Yau, Don Yorty, Jenny Zhang, 75 Dollar Bill, Anne Waldman and Fast Speaking Music, Bruce Andrews and Sally Silvers, CAConrad, Church of Betty, Ed Askew Band, Erica Hunt and Marty Ehrlich, Ernie Brooks with Peter Zummo and Jeannine Otis, Foamola, Reno, The Double Yews, Unusual Squirrel, and more TBA.
For more information about the Marathon and how it is organized: https://www.poetryproject.org/programs/annual-new-years-day-marathon-reading/
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2. Isabel Samaras, FF Alumn, December news
This month Isabel Samaras will be featured in “Christmas Circus” at Antonio Colombo Arte Contemporanea in Milan, Italy (you can shop the show right here! http://colomboarte.bigcartel.com/products). Her work is also currently on view at AFA Gallery in Soho, NYC, as part of the exhibition “Napoleon Complexity” (http://afanyc.com/), as well as the annual small art collectible show “Post-It 12” at Giant Robot in LA. She is a busy bee.
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3. Kimsooja, FF Alumn, at National Museum of Modern and Contemporary Art, Seoul, Korea, thru Feb. 5, 2017 and more
MMCA Hyundai Motor Series 2016: Kimsooja
Archive of Mind
July 27, 2016 – February 5, 2017
National Museum of Modern and Contemporary Art, Korea
30 Samcheong-ro, Jongno-gu, Sogyeok-dong, Seoul 03062, Korea
MMCA Hyundai Motor Series 2016: Kimsooja – Archive of Mind is being held at the National Museum of Modern and Contemporary Art, Korea (Seoul). Selected by MMCA to be featured as the third artist for MMCA Hyundai Motor Series, Kimsooja brings together a conceptual, existential, aesthetic, and structural investigation of performance through immobility that inverts the notion of the artist as the predominant actor.
MMCA Hyundai Motor Series is long-term annual project inaugurated in 2014, sponsored by Hyundai Motors Company to support solo exhibitions of distinguished Korean artists. By providing a pivotal opportunity of commissioning new large-scale works to the artists with distinctive practices, the series instills fresh invigorating possibilities into the field of Korean contemporary art.
Kimsooja’s work deals with universal issues of restoration and regeneration, transcending beyond the regional boundaries to embracing the contemporary age through relationships between self and others. Kimsooja is praised for her steady practice which encompasses elements of Korean tradition and modernity, and particularity and universality.
This exhibition presents for the first time to the public a major performative installation Archive of Mind, a new sculpture installation Deductive Object, the new and fifth chapter of Kimsooja’s ongoing film series “Thread Routes,” and a series of recent works that mark an evolution in the artist’s practice. MMCA Hyundai Motor Series 2016: Kimsooja – Archive of Mind presents works which have never been shown before, including her large-scale installation work constructed on-site, which transforms with the audience participation throughout the exhibition period, and an outdoor installation work in the courtyard. We hope this exhibition offers the audience the opportunity to delve into the ideas of duality and balance which have fascinated the artist since her early works until today.
National Museum of Contemporary Art Korea
Kimsooja, To Breathe – Zone of Zero at CAC Magala
Kimsooja, Lotus: Zone of Zero, 2016, site-specific installation at CAC Málaga consisting of 708 lotus lanterns, Tibetan, Gregorian, and Islamic chants, photo by José Luis Gutiérrez, Courtesy of CAC Málaga and Kimsooja Studio
Kimsooja, To Breathe – Zone of Zero
October 7, 2016 – January 8, 2017
CAC Malaga
Calle Alemania, S/N, 29001 Málaga, Spain
The title of the exhibition To Breathe – Zone of Zero is an amalgam of the two works that comprise it. The installation Lotus: Zone of Zero (2016) has turned the exhibition space at the CAC Málaga into a place of contemplation and meditation. A total of 708 lotus lanterns cover the ceiling of the room, but instead of the circular mandala design used in previous presentations of this work, here they are arranged in a rectangular pattern as a minimalist tableau. Gregorian, Islamic and Tibetan chants flood the hall and wash over spectators, inviting them to turn their thoughts inwards. Although this project was conceived in 2003 in response to the Iraq War, today it is still a relevant proposal, providing a safe haven where people of different cultures and religions can come together. That zone is a place of respect, reflection, dialogue and harmony-a place of concord. This installation explores the notion of unity and totality, according to which mind and body are spiritually joined.
The artist uses the exhibition space of the CAC Málaga as a sanctuary, an isolated refuge in which to meditate or dream. She makes the building’s architectural structure one with her work. The artist invites us to experiment with our minds and activate our senses, imagination and sensory perceptions; her work appeals to body and mind in equal measure, composing a visual poem. Kimsooja achieves the maximum effect with a minimum of elements.
This is apparent in her video To Breathe – The Flags (2012), in which 246 national flags are slowly superimposed, one by one, in alphabetical order, without hierarchy or political bias, putting all nations on the same level: a visual experience in which differences and conflicts between nations can fuse and blend together as one. The piece was originally created for the 2012 London Olympics to reflect the unifying spirit of the games, although that first version only included the flags of participating countries. The flags added later represent nations which are not accepted or officially recognised by the authorities. Overlapping the flags is a gesture of understanding, of fraternity among equals, of respect for differences.
The works of Kimsooja, the most influential Korean conceptual artist active today, show a commitment to engage with the audience and inspire solidarity and respect for others by appealing to the sense of humanity we all possess
Kimsooja was born in Daegu, the third largest city in Korea, famous for its textile industry. As the daughter of an army officer, she lived in the demilitarised zone in South Korea, and her childhood was spent constantly moving with her family from city to city. The artist is keenly aware of the problematic issues of borders, otherness (the relationship between self and the other), gender inequality and nomadism. Today Kimsooja is still a nomad, constantly travelling to share her vision of the world.
During the exhibition, visitors will also be able to admire two bottaris from the collection of Carmen Riera in the show Passion II (Kimsooja, Installation of 2 Bottaris, 2005), now on display at the CAC Málaga. These bottaris are made of used fabrics, and for Kimsooja they contain the memories, desires, experiences and spirits of their former owners.
CAC Malaga
Kimsooja, Weaving the World at CC Strombeek
Kimsooja, Thread Routes – Chapter II, 2016, site-specific installation at CC Strombeek, Site II, Photo by Sophie Nuytten, Courtesy of CC Strombeek and Kimsooja Studio
Kimsooja, Weaving the World
November 18, 2016 – December 18, 2016
CC Strombeek
Gemeenteplein, 1853, Belgium
From November 18 to December 18, 2016, Museum Culture Strombeek / Ghent Kimsooja, Weaving the World , a solo exhibition of the Korean artist Kimsooja. This artist living in New York is considered as one of the leading Korean artists of her generation.
Her concept for CC Strombeek, conceived as an extension of the presentation and between 2010 and 2016 came about film series Thread Routes , is extremely fragile and feminine, and appeals to a mix of (handmade) textiles, architecture and elusive cosmos.
The exhibition Kimsooja, Weaving the World is an ‘experience’ in which textile is the reason for a human philosophical and colorful outlook on life.
In addition to the presentation in CC Strombeek shows Kimsooja at the Korean Cultural Center ‘s recent work Bottari – to the victims of violence Brussels . It is a variant of the brightly colored and richly decorated clothes bundles that she presented under that name in different contexts and constellations since 1992. Kimsooja made this ‘monument’ in memory of the victims of the attacks in Brussels on March 22 2016, using clothes from anonymous people in Brussels as well as the artist’s bedsheet.
CC Strombeek
Kimsooja at Enacting Stillness, The 8th Floor Gallery
Kimsooja, A Needle Woman – Kitakyushu, 1999, single channel video, silent, 6:33 loop, video still, Courtesy of Kimsooja Studio
Enacting Stillness
September 21, 2016 – January 13, 2017
The 8th Floor
17 West 17th Street, New York, NY, United States
Enacting Stillness is an exhibition that considers the political potential of slowing down and stopping as forms of resistance, protest, and refusal. An international group of artists in the exhibition engage in practices that challenge and upend our expectations for the continuity of performative compositions, lines of movement, and thought. Working with the disciplines of choreography, theater, moving image, sculpture and performance, the exhibition presents a multivalent reflection on political histories from the Americas to Europe and Asia, with projects that employ a range of gestures and time-based practices to question what unexpected ruptures like meditation, contemplation, rest, and the reversing of movement and time might mean to both the artist and the viewer. The exhibition will be on view September 21, 2016 to January 13, 2017 at The 8th Floor, the exhibition and programming space for The Shelley & Donald Rubin Foundation, located at 17 West 17th Street, New York City.
Enacting Stillness features artists John Ahearn, Rehan Ansari, Nicolás Dumit Estévez, Brendan Fernandes, Alicia Grullón, Yoko Inoue, Joan Jonas, Claudia Joskowicz, Kirsten Justesen, Kimsooja, Carlos Martiel, Bruce Nauman, Clifford Owens, Kameelah Janan Rasheed, Emily Roysdon, and Roman Štětina. Together, the artists in this exhibition reveal the parallel connections between art and political engagement, between stillness and activation. Each of the artists works with an economy of means to test the limits of performance – for the performer, the viewer, and the participant – provoking us to question how our own positions, whether still or in motion, connect to larger social and political concerns.
The 8th Floor
Kimsooja at Minus Ego, Renouncing – Disappearing – Sharing, Goethe Institute Barcelona
Kimsooja, An Album: Havana, 2007, still from single-channel video projection, 6:57, loop, silent, Courtesy of Galeria La Fabrica, Madrid, Kewenig Gallery, Berlin and Majorca, and Kimsooja Studio
Minus Ego, Renouncing – Disappearing – Sharing
October 7 – December 22, 2016
Goethe Institut Barcelona
Roger de Flor 224, Barcelona
In the era of the narcissist selfie it is both urgent and necessary to reflect on the nature of Ego, on how it influences and affects our existence. As stated by Alejandro Jodorowski: “The ego is a cage with no bird that believes it’s a bird with no cage”. Surface and appearance become the system and rules that drive our actions. Egotism permeates political and social life and egos grow as strong, unsustainable and destructive entities that benefit neither the individual nor the collective.
Ideologies, propaganda, seductive corporate messages, hyper-productivity and the astute architecture of capitalism, compose the elements of that cage which oppresses the essence and enhances the ego.
Kaja Silverman, a psychoanalytic theorist who has studied the links between the ego, the gaze, the look and image, considers Lacan and Freud’s well-known perspective on the ego: “Lacan proposes that the ego comes into existence the moment when the infant subject first apprehends the image of its body within a reflective surface, and is itself a mental refraction of that image. Thus, the ego is the representation of a corporal representation”. She also underlines: “In The Ego and the Id, Freud maintains that the ego is ‘first and foremost, a bodily ego; it is not merely a surface entity, but is itself the projection of a surface'”.
How can we free ourselves from the ego’s cage? How can we move from optical consciousness, the threshold of the visible, the material surface towards the imperceptible self, the essence, mind consciousness? What’s behind our mirror-image?
Minus Ego is an exhibition addressing universal and timeless questions of “ego”, focusing on the challenging aspects of its reduction as well as on a search for the contemplative essence.
What do we refer to when talking about “ego reduction”? Is it about renouncing? Is it about disappearing? Perhaps, sharing? Is it related to silence? Is it about creating different relationships with people, ideas and contexts?
The complexity and diversity of the ego is a central issue in the life of every human and has been analysed from the perspective of philosophy, psychology, ethics, mysticism, religion, politics and culture in different times and spaces. The exploration of ego goes hand in hand with the evolution of humankind and thinking: from the psychic apparatus [id, ego and superego] defined by Sigmund Freud; or the radical individual autonomy proclaimed by Max Stirner; to the multiple senses of annihilation, fading, fusion, dissolution or illusion that we could find in different spiritual beliefs, rituals and practices.
The transient passage of life, the concept of impermanence, the Buddhist Anicca, the Fanaa vision in Sufism, the Hindu concept of Samadhi, the Pali term Nekkhamma, the active nihilism of Nietzsche’s philosophy, Heidegger’s Mitsein or Vattimo’s ‘weak thought’, all deal – in one way or another – with the idea of renouncing and disappearing.
These main notions – renouncing, disappearing and sharing – compose the reflections on ‘Minus Ego’, dig into the idea of essence and raise different questions and thoughts concerning the structure, definition, position and composition of ego.
The ‘Minus Ego’ project explores both the convergences and divergences of ego, its dependency and independency, its eternity and impermanence. Reflecting on this from within artistic contexts – themselves often filled with egotism – will provide an opportunity to explore the spirit and nature of ‘I’, ‘Self’, ‘Ego’ from different perspectives and their relationships with the ‘We’, the ‘Other’ and different ‘systems and superstructures’.
The different works forming the exhibition reveal the many possible interpretations of the ‘Minus Ego’ concept. Envisioned as a research and exhibition project, ‘Minus Ego’ will be developed through several steps in different places and times, changing and transforming itself just as egos and identities do.
PARTICIPATING ARTISTS
Marko Schiefelbein (Berlin preview), and in Barcelona: Thilo Droste, Christoph Schwarz, Jordi Tolosa, Toni Serra, Abu Ali, Jakob & Manila Bartnik, Kimsooja, Susanne Bosch, Michael Wesely, and Antoni Tàpies.
Curated by: Herman Bashiron Mendolicchio
Herman Bashiron Mendolicchio holds an International PhD in “Art History, Theory and Criticism” from the University of Barcelona. He is a faculty member and core advisor at Transart Institute (NY-Berlin) and has worked as a Postdoctoral Visiting Researcher at United Nations University – Institute on Globalization, Culture and Mobility (UNU-GCM). He is invited Professor of the Cultural Management Programme of the University of Barcelona.
His current lines of research involve the subjects of intercultural processes, globalization, participation and mobility in contemporary art and cultural policies; the concepts of utopia, journey, mysticism and nomadism; the interactions between artistic, educational, media and cultural practices in the Mediterranean and the cultural cooperation between Asia and Europe.
He has participated in several international conferences and developed projects and research residencies in Europe, Asia, USA and the Middle East. As an art critic, editor and independent curator he collaborates with international organizations and institutions and writes extensively for several magazines and journals. He is Editorial contributor at Culture360 – Asia-Europe Foundation (ASEF), Managing Editor at ELSE – Transart Institute, and co-founder of the Platform for Contemporary Art and Thought, InterArtive.
Goethe Institut Barcelona
Kimsooja at Dancing with Myself: Self-portrait and Self-invention Works from the Pinault Collection, Museum Folkwang
Kimsooja, A Needle Woman, 1999 – 2001, 4 channel video projection, 6:33 loop, silent, Collection of François Pinault Foundation, Courtesy of Kewenig Gallery, Berlin, and Kimsooja Studio
Dancing with Myself: Self-portrait and Self-invention Works from the Pinault Collection
October 7, 2016 – January 15, 2017
Museum Folkwang
Museumsplatz 1, 45128 Essen, Germany
From October 7, 2016, to January 15, 2017, the large exhibition hall in the Museum Folkwang will be given over to an artistic examination of the self. The thread that links the pieces together is the multifaceted presence of the artists in their own work. It will be the first time that such a substantial number of the outstanding group of works acquired by Francois Pinault is to be put on display in Germany. Dancing with Myself is a playful, poetic, poltical, and wild dance through contemporary art moving from the 1960s up to our own time.
In Dancing with Myself the artists themselves play a major part in the show. They are both actors and raw material in their own work-their bodies, their biographies, their social and sexual identities, their humor, their melancholia. Moving beyond the classical self-portrait, the exhibition plays on the themes of artistic temperament and attitude.
At the same time Dancing with Myself is also a vibrant media crossover. Large-format paintings come face to face with huge video installations; bodies turned into photographs encounter sculptural fragments. The artists have inscribed themselves in diverse ways-in the photographic apparatus, the video or film camera, the screen, the space, the conceptual gesture. The body becomes a natural Dadaist tool with childlike qualities; the performative is made into the primary form of representation. In the late twentieth and early twenty-first centuries, images turn into productive (distorting) mirrors for bodies and identities.
Dancing with Myself is also a wild ride through the art history of the last fifty years. What still had truth and validity in the 1970s other than the experience of one’s own body? The postmodern irony and challenge of self-images and stereotypes of the time now come into contact with the attitudes of young artists who once again have a fixed social and political position, and use their own biographies and bodies to take a stand among the fault lines of a globalized and unequal world.
Dancing with Myself is a collaboration between the Museum Folkwang and the Pinault Collection, supported by the program Jeunes Commissaires of the Bureau des arts plastiques et de l’architecture of the Institut français.
Artists:
Adel Abdessemed, Alighiero Boetti, Claude Cahun, Maurizio Cattelan, John Coplans, Urs Fischer, LaToya Ruby Frazier, Lee Friedlander, Gilbert & George, Robert Gober, Nan Goldin, Félix González-Torres, Rodney Graham, David Hammons, Roni Horn, Kimsooja, Martin Kippenberger, Kurt Kranz, Urs Lüthi, Steve McQueen, Boris Mikhaïlov, Bruce Nauman, Paulo Nazareth, Helmut Newton, Roman Opalka, William Pope.L, Arnulf Rainer, Charles Ray, Lili Reynaud-Dewar, Ulrike Rosenbach, Allan Sekula, Cindy Sherman, Jo Spence, Hito Steyerl, Rudolf Stingel, Alina Szapocznikow
Museum Folkwang
Kimsooja at Uncertain States – Artistic Strategies in States of Emergency, Akademie der Künste
Kimsooja, Deductive Object, 2007, bottari installation, 19th Century French Baguette Cart, used Korean bedcovers and clothing, 100cm high x 97cm wide x 73cm deep, 106cm high x 100cm wide x 63cm deep, and a single bottari, Photo by Simon Vogel, Courtesy of Kimsooja Studio
Uncertain States – Artistic Strategies in States of Emergency
October 15, 2016 – January 15, 2017
Akademie der Künste
Hanseatenweg 10, 10557 Berlin, Germany
UNCERTAIN STATES is an exhibition which investigates the significance of memory and narrative within processes of social and cultural transformation. In an era of grave uncertainty fueled by the destabilizing state and social order in the eastern Mediterranean region as well as terrorism and new forms of nationalism and racism in Europe, artists take up the responsibility for the “History of the Other”, for communicating in an open and differentiated way where our own artistic position is located in relation to the other. This involves dealing with such concerns as collective traumatization, the loss of identity, empathy and the attempt to understand, and the experience of profound precariousness. Through their works, visual artists offer a platform not just for sharing and exchange, but also with the potential to transform experience. For this reason, the exhibition is structured around two equally essential elements – political, social and cultural studies research and debates as well as a series of remarkable documents and objects from the Akademie archives presenting artists’ memories during conditions of states of emergency in Germany between 1933 and 1945. Together, in the media of film, video, photography, sculpture and painting, these elements create an interplay of discursive, documentary and narrative contributions.
Curators Contemporary Art: Anke Hervol, Johannes Odenthal in cooperation with Katerina Gregos, Diana Wechsler; Archive: Werner Heegewaldt, Anneka Metzger
Akademie der Künste
Kimsooja at Urgent Conversations: Athens-Antwerp, National Museum of Contemporary Art – EMST, Athens
Kimsooja, Bottari, 2005, Site Specific Installation, Dimensions Variable, Courtesy of National Museum of Modern Art Athens (EMST), Greece and Kimsooja Studio
Urgent Conversations: Athens – Antwerp
October 31, 2016 – January 29, 2017
National Museum of Contemporary Art – EMST, Athens
Kallirrolis Avenue & Amvr. Frantzi Str., Athens 11743, Greece
Urgent Conversations: Athens – Antwerp is the first temporary exhibition in the long overdue public unfolding of the Greek National Museum of Contemporary Art, Athens (EMST). The project offers a reflective dialogue between the collections of EMST and M HKA, the Flemish Contemporary Art Museum, based in Antwerp. This exhibition commences the program EMST in the World.
The impulse of both Urgent Conversations: Athens – Antwerp and EMST in the World is the necessity of cultural dialogue on a global scale, also within multifaceted Europe. Societies nowadays tend to polarize in 49 % versus 51 % camps, negotiations start from antagonistic positions as a default position, introversion and individualism became entrenched states. There may be loftier aspirations than the capacity of conversation, but its recent fragility often reached critical levels and can be described as an urgent situation.
Urgent Conversations: Athens – Antwerp has been developed bottom up, each time starting from work of a Greek and a Belgian artist, that resonate, searching a notion that arises from this resonance, then adding a third artist from elsewhere in one of the two collections. In this way the exhibition was structured around 22 notions with each time work of three artists in a dialogue around it, the total consisting of more than 70 works from 66 artists.
This exhibition enacts the belief of both museums that works of art may constantly emanate new meanings, open questions and initiate a much desired dialogue, that basic ground for human culture. This project is therefore also a counter-proposal to cultural and curatorial sameness, opting instead for a multitude of convincing constellations of subjects, impossible to exhaust, leading up to discussions concerning both individual and collective realizations, and to actions.
Athens and Antwerp seem to represent two extremes of Europe today, but at the same time Greece and Flanders are both regions of Europe that added many crucial threads to its cultural fabric. Institutions like EMST and M HKA may further cultivate that. EMST in the World will develop in the same vein further dialectical relations between EMST and institutions elsewhere with corresponding aims and practices, geared to the research and curation of contemporary art and other contemporary cultural manifestations.
National Museum of Contemporary Art – EMST, Athens
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4. Penny Arcade, Olivia Beens Mary Campbell, Peter Cramer & Jack Waters, Yoshiko Chuma, Helaine Gawlica, Michele Handelman, Geoffrey Hendricks, Nina Kuo, Stefani Mar, Tom Otterness, Scott Pfaffman, Rafael Sánchez, Pamela Sneed, Sarah Schulman, Sur Rodney Sur, Conrad Ventur, Anton Van Dalen, Martha Wilson, FF Alumns, at Howl!, Manhattan, Dec. 21
Press contact – Peter Cramer 917 803 0501 / Jack Waters 917 774 7989
benefit2016@alliedproductions.org
Allied Productions / Le Petit Versailles Double Anniversary Benefit Celebration
Wednesday December 21st, 5-9pm.
@ Howl! Happening: An Arturo Vega Project
6 East First Street (between Bowery & 2nd Avenue)
New York, NY 10003
(917) 475-1294
contact@howlarts.org
ABOUT HOWL! HAPPENING
This is a ticketed event only. Contributions of $55 or more guarantee admission.
http://alliedproductions.org/allied-productions-35-year-celebration-come-join-us/
View our Online Pre-bidding Auction here http://www.biddingowl.com/Auction/home.cfm?auctionID=10030
DECEMBER 21, 2016
5-6pm Benefit Committee Member Only Preview
6-8pm. Artists and General Public Admission.
Silent Auction & Performances.
This year commemorates the 35th anniversary of Allied Productions,Inc. (Allied)
& 20th anniversary of Le Petit Versailles (LPV) garden.
To mark these banner years, our celebration honors stalwarts of New York City
that represent the incredible artists and resources that sustain and inspire us.
Sarah Schulman, author, playwright, professor and activist.
Harriet Taub, Executive Director of Materials for the Arts.
Benefit event includes a silent art auction of work by more than 75 artists and live performances by Penny Arcade, Pamela Sneed and John Michael Swartz with Mxster of Ceremony Ariel Speed Wagon graciously hosted by Howl Happenings on Wednesday December 21 <5-8pm.>
Allied is a tax exempt non profit arts umbrella founded in 1981 as an entirely artist-run multi-purpose entity that fosters collective community building by presenting, producing, and sponsoring all areas of the arts, including the activities of individuals, groups, and organizations. Allied created LPV in 1995 and transformed an abandoned lot into an extraordinary community garden and multipurpose space that serves as our primary venue for art and activism, supporting communities at risk, including LGBTQ communities and youth of color. There’s further information on Allied here – http://alliedproductions.org/
Benefit Committee
Barbara Braun
Susan C. Brown
Peter Cramer
Jose Carlos Del Pino
Gene Fedorko
Harry Kafka
Noelle King
Barbara Korein
Zoe Leonard
Anelle Miller
Lucia Maria Minervini
Hunter O’Hanian
Richard Peterson
Linda Richardson
Jackie Rudin
Lynne Sachs
Ethan Shoshan
Frank Susa
Jack Waters
Bonnie and Doug Weill
Friends of Materials for the Arts
Silent Auction Contributing Artists
( List in formation ) *Live Auction*
Leilah Babirye
Bizzy Barefoot
Michael Bailey-Gates
Olivia Beens
Helene Berson
Dietmar Busse
Mary Campbell
Walt Cessna
Peter Cramer
Yoshiko Chuma
Sylvia de Swaan
Mike Diana
Chev D’orange
Olafur Eliasson*
Coleen Fitzgibbon
Robert Flynt
Carl George
Ingo Giezendanner
Michelle Handelman
Geoffrey Hendricks
Kate Huh
Bill Jacobson
John Kelly
Noe Kidder
Daryl King
Elisabeth Kley
Nina Kuo
*Gordon Kurtti*
Stephen Lack
Scooter LaForge
International Chuck/Phoebe Legere
Matthew Leifheit
Jonathan Leiter
Zoe Leonard
Jackie Lima
Alyson Lipkin
Leslie Lowe
*Robert Mangold *
Stefani Mar
Shelley Marlow
Paul Miller aka DJ Spooky
Lucia Maria Minervini
Ursula Minervini
Rafael Melendez
Alice O’Malley
Tom Otterness
Sanou Oumar
Clayton Patterson
Hermes Payrhuber
Scott Pfaffman
Kembra Pfahler
Neil Polen
Carlo Quispe
Hunter Reynolds
Wade Rosenthal
Lorin Roser
Rafael Sánchez
Justin Sayre
Sarah Schulman
Ethan Shoshan
Patricia Silva
Mark Street
John Michael Swartz
Sarah Tell
Gail Thacker
George Towne
Conrad Ventur
Anton Van Dalen
Jack Waters
Kathleen White
Lili White
Tad Wiley
Martha Wilson
Alex Wolkowicz
Doug Wright
The YES MEN
Sally Young
Quito Ziegler
Kudos and Thanks.
Howl Happenings – Jane Friedman, Ted Riederer, Carter Edwards, Susan Martin
Allied Productions,Inc. Board of Directors, Ethan Shoshan, Carlo Quispe, Sur Rodney Sur, Kelvin Goncalves/ ELKEL, Helaine Gawlica, Visual AIDS, Dancing Foxes Press,
and all the contributing artists and performers.
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5. Xandra Ibarra, FF Alumn, receives Art Matters grant 2016
2016 grantees
artmattersfoundation.org
Art Matters is pleased to announce the recipients of its 2016 grants to individual artists. The foundation awarded 26 grants of 5,000 and 10,000 USD for ongoing work and projects that break ground aesthetically and socially.
In addition to grants to individuals, Art Matters made a special grant to Lower Manhattan Cultural Council for Michael Richards: Winged, an exhibition of work by Richards, a 1995 grantee, who died tragically in his LMCC studio in the World Trade Center on 9/11.
In announcing the grants, Art Matters Director Sacha Yanow said, “We are thrilled to support this extraordinary group of artists from across the US. Their practices are diverse, engaging issues of social justice and experimenting with form. We feel their voices are particularly important at this moment in the world, and through our funding we hope to help amplify them.”
2016 grantees:
Sandra Haydee Alonso (El Paso, TX)
Wearable sculptural works that question borders, identity, and relationships.
Katrina Andry (New Orleans, LA)
Ongoing printmaking work involving vignettes that challenge racial stereotyping.
Sadie Barnette (Oakland, CA)
Work based on the FBI files and COINTELPRO’s surveillance of the artist’s father and his activities with the Black Panthers.
Black Salt Collective (Oakland/Los Angeles, CA)
Ongoing performance and archiving work of this Black, Brown and Indigenous women artist collective.
Frank Chi (Washington, D.C.)
New short film that remixes imagery from the women’s suffrage movement.
Complex Movements (Detroit, MI)
Ongoing multi-media performance and installation work engaging community-led social justice movements in Detroit and beyond.
Michelle Dizon (Los Angeles, CA)
The Archive’s Fold, an artist’s book that explores the politics of archives.
Skylar Fein (New Orleans, LA)
Ongoing work with Parisite, a community-based New Orleans skate park, and the youth who built it.
FORCE: Upsetting Rape Culture (Baltimore, MD)
Nuestra Tierra, Mi Cuerpo, a Monument Quilt display at the US/Mexico border in collaboration with La Casa Mandarina and Latinx survivors of rape and abuse.
Vanessa German (Pittsburgh, PA)
Museum of Resilience, a neighborhood art place centered around the global interconnectedness and power of human beings.
Harriet’s Apothecary (Brooklyn NY)
Ongoing work of this healing justice collective led by Black cis women, queer and trans healers, health professionals, artists and ancestors.
Taro Hattori (Richmond, CA)
Rolling Counterpoint, a mobile teahouse providing a platform for discussions around inequities within local communities.
Xandra Ibarra (Oakland, CA)
New performance about corporeal inhabitation, racialized skin and concealment in the age of surveillance.
Jellyfish Colectivo y Los Dos (El Paso, TX)
Collaborative traveling street art initiative along the US/Mexico border.
Amos Paul Kennedy Jr. (Detroit, MI)
Ongoing poster printing for concerts at Historically Black Colleges and Universities in the USA.
Young Joon Kwak (Los Angeles, CA)
New body of work involving trans performance objects.
Troy Michie (Brooklyn, NY)
Travel to El Paso towards the development of multi-disciplinary works inspired by the Zoot suit.
Holly Nordlum (Anchorage, AK)
Tupik Mi, a film and community based project dedicated to the revitalization of traditional tattooing amongst Inuit women.
Ahamefule Oluo (Seattle, WA)
Development of SUSAN, a theatrical performance about the artist’s mother.
Laura Ortman (Brooklyn, NY)
Ongoing work involving the recording and collection of sounds, songs, stories and voices of Native Americans in New York City.
Otabenga Jones and Associates (Houston, TX)
Creation of an education and activity packet for the youth of Houston’s historic Third Ward neighborhood.
Sondra Perry (Perth Amboy, NJ)
Video work involving the NCAA’s use of the artist’s twin brother’s likeness.
Dario Robleto (Houston, TX)
A body of work centered around the history of the heartbeat.
Tina Takemoto (San Francisco, CA)
The third in a trilogy of experimental films about queer Japanese life during American wartime imprisonment.
Rodrigo Valenzuela (Los Angeles, CA/Seattle, WA)
Video work about unpaid labor, volunteering, and internship culture.
Judith Walgren (San Francisco, CA)
Photographic and video work towards an alternate curriculum challenging existing K-5th grade California Mission studies.
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6. Adam Pendleton, FF Alumn, at Anthology Film Archives, Manhattan, Jan. 9, 2017
PERFORMA INSTITUTE PRESENTS
ADAM PENDLETON
JUST BACK FROM LOS ANGELES: A PORTRAIT OF YVONNE RAINER
VIDEO COMMISSION PREMIERE
FOLLOWED BY A CONVERSATION WITH THE ARTISTS
Monday, January 9, 2017, 7 pm
Anthology Film Archives
32 Second Ave
New York City
Free admission with reservation
Just back from Los Angeles: A Portrait of Yvonne Rainer is the third in a series of portraits by artist Adam Pendleton. The video poetically captures the choreographer, filmmaker, and writer Yvonne Rainer in conversation with Pendleton at a diner in New York City’s Chelsea neighborhood. Rainer and Pendleton, through a scripted and unscripted exchange, reflect on life and work, politics and art, and the relationship between memory and movement.
Just back from Los Angeles: A Portrait of Yvonne Rainer is commissioned on the occasion of 100 Degrees Above Dada, the Performa 17 biennial’s history anchor. As with previous biennials in which we explored Futurism (2009), Russian Constructivism (2011), Surrealism (2013), and the Renaissance (2015), we approach Dada’s (1916-1925) art historical relevance and influence on artists through unexpected and unusual perspectives and juxtapositions in intermedia art.
Both Adam Pendleton and Yvonne Rainer received Performa Commissions in 2007.
ABOUT PERFORMA INSTITUTE
Launched during the Performa 11 biennial, the Performa Institute is a platform for the research and scholarly components of Performa and also an experimental laboratory for artists. The Institute creates a space for the exchange, presentation, and exploration of ideas and knowledge, with a focus on the study of art history and the critical role of performance – by visual artists, choreographers, filmmakers, composers, and playwrights – in shaping that history. Forging a new intellectual culture around contemporary performance, the Performa Institute provides lectures and other public programs year-round, including the Portrait of the Artist series, as well as publications, a repository of digital and print archives, and fellowships.
The Performa Institute is supported by the Lambent Foundation for Tides Foundation, Toby Devan Lewis, and David and Elaine Potter Foundation.
Curated by Adrienne Edwards.
For more information, visit www.performa-arts.org.
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7. Richard Nonas, FF Alumn, at P420, Bologna, Italy, thru Jan. 14, 2017
Richard Nonas
River-Run
until January 14, 2017
P420
Via Azzo Gardino 9
40122 Bologna
Italy
Hours: Tuesday-Saturday 10:30am-1:30pm,
3-7:30pm
After No-Water-In (2011), P420 is pleased to present RIVER-RUN, a solo show by the American artist Richard Nonas (New York, 1936) specifically created for the gallery’s new spaces.
The art of Richard Nonas is constructed with simple materials (wood, iron, stone) and elementary forms that can nevertheless be deceptive: the apparent simplicity serves as a tool that leads to deeper human interpretation and analysis; punctuating and filtering experience, because-as Jung asserted-nothing is more complex than simplicity.
RIVER-RUN interprets the force of places, bringing with it multiple possible visions to observe the world, where doubt and ambiguity take on body in crude, raw, heavy, industrial or natural materials, conserving simple and ordinary forms.
Nonas distinguishes the concept of space from that of place. If space is seen as a physical property of pure measurement, then place is space imbued with human meaning. They are sites of strong emotional impact, where sharing and the force of suggestion lie at the origin of everything. Place is that ancient algorithm.
RIVER-RUN is an unstoppable flow, the cyclical progress of life, being and cessation, an untamable dichotomizing force that runs through the encounter between art and life.
RIVER-RUN provides a privileged vantage point from which sculpture becomes a critical tool, where questioning oneself becomes a race, an unstoppable and necessary flow.
Nonas worked as an anthropologist for ten years, doing field-work on American Indians in Northern Ontario, Canada, and in Northern Mexico and Southern Arizona. He turned to sculpture in the mid-1960s at age 30. His anthropological work left a deep imprint that affected his sculptural practice and his engagement with the perception of space. Through a minimalist vocabulary, Nonas developed a body of sculpture that engaged with the issue of place.
Nonas has exhibited extensively throughout the world, making floor-based and wall-mounted works that range in scale and are situated both indoors and out as the permanent installations at the abandoned village Vière et les Moyennes Montagnes, Digne-les-Bains, France (2012) and at the Fondazione Ratti (2003-11).
His most recent solo shows are Richard Nonas: ridge (out, away, back) just opened at The Art Institute of Chicago (2016); The man in the empty space at MASS MoCA, Massachusetts (2016); Galerie Hubert Winter, Vienna (2015); Galerie Hans Mayer, Dusseldorf (2014); Fergus McCaffrey, New York (2014). Among the group exhibitions: Forty, MoMA PS1, NY (2016); Testing Testing: Painting and Sculpture since 1960 from the Permanent Collection, University of North Carolina, Chapel Hill (2015); The Dorothy and Herbert Vogel Collection: 50 Works for 50 States, Nora Eccles Harrison Museum of Art, East Logan (2015); SELF: Portraits of Artists in Their Absence, National Academy Museum, New York (2015); Richard Nonas / Donald Judd, Fergus McCaffrey, St. Barth, Gustavia, (2014); Cross-Cuts, Clocktower Gallery & Radio, New York (2014).
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8. Jay Critchley, FF Alumn, in Cape Cod Times, Dec. 10
Artwork sparks free speech debate
K.C.Meyers, Cape Cod Times, December 10, 2016
PROVINCETOWN – A Provincetown artist known for his provocative works has once again drawn ire, this time with a piece titled “Miami Beige – island of abandoned luxury.”
Jay Critchley’s artwork pokes fun at Florida Gov. Rick Scott for his stance on climate change, despite Florida’s extreme vulnerability to sea level rise. Florida has six of the 10 U.S. cities most susceptible to storm surge, according to a 2016 report from CoreLogic, a real estate data firm.
Critchley, whose art often takes the form of company names, marketing slogans, and products that make a political point, used Florida’s sate seal inside the O in the words “Mobil Warming,” the name of his mock corporation that is selling the remains of Miami Beach as an island resort destination.
Scott’s administration has objected to Critchley’s inclusion of the seal in the art piece. Use of the state seal requires a permit, according to Florida law.
“Governor Scott and his fellow Republicans deny climate change science,” Critchley wrote in a prepared statement. “Yet Florida is feeling the severe impact of sea level rise and storms threaten to wipe away popular tourist destinations along the coast.”
The brouhaha harks back to 1990 when Critchley applied for a trademark to use the image of the American flag on the unfurled condom logo for his “Old Glory Condom Corporation.” Under the slogan “worn with pride countrywide,”
Critchley’s condoms used the flag to illustrate that fighting AIDS and promoting public health was just as patriotic as using the flag to rally the nation for war, he said.
The U.S. Patent and Trademark Office refused to grant the trademark because it “was immoral and scandalous to associate the flag with sex,” Critchley said.
Critchley won his trademark on appeal with the help of Center for Constitutional Rights attorney David Cole, who is now the ACLU’s national legal director.
In 1990, President George H.W. Bush failed to respond quickly to AIDS, Critchley said, and this week,
President-elect Donald Trump interviewed ExxonMobil Chairman and CEO Rex Tillerson for secretary of state. “It’s not even absurd anymore – it’s bad,” Critchley said.
In his latest artwork, he depicts, “Miami Beige – island of abandoned luxury,” on what remains of Miami Beach, a small barrier beach that has been named among the most vulnerable to property loss due to sea level rise in the world.
In Critchley’s multimedia presentation, residences start at $22.5 million and the privileged can enjoy “indoor beaches” in “border-secure, sustainable island living with
all the comforts you deserve.” The names of the resort facilities add a layer of political satire. They include the Meltdown Mall, and the Carbon Kindness Golf Club.
The leaders of Florida should have the foresight to imagine something like the “island of abandoned luxury” themselves, Critchley said.
The Florida Department of State communications director Meredith Beatrice did not respond to requests for Scott’s position on the man-made contributions to climate change.
But Scott received national press attention last year when the Florida Center for Investigative Reporting broke a story quoting numerous former Florida Department of Environmental Protection employees who said they had been told by Scott’s administration to avoid certain words. Verboten phrases included “climate change” and “global warming.” Scott has denied allegations that his administration banned use of those terms.
Critchley created the “Miami Beige” presentation in the spring and sent it to officials in South Florida, he said.
In August, Critchley received a letter from the Florida Department of State stating that he could not use the Great Seal of the State of Florida without a permit.
“Therefore, please immediately cease and desist from unauthorized use and reproduction,” it stated.
Upon the recommendation of the National Coalition Against Censorship, Critchley got his own lawyer, Lawrence Walters, of the Walters Law Group of Florida. Walters said he took the case pro bono.
Walters wrote to Adam Tanenbaum, general counsel for the Florida Department of State, on Nov. 3 stating that Critchley’s use of the seal is freedom of speech protected under the First Amendment.
Walters cited several cases in the letter, including Texas v. Johnson, the 1989 U.S. Supreme Court finding that burning the flag was protected by the First Amendment.
“Laws which impose an unconstitutional permitting scheme, such as those at issue here, may be disregarded with impunity,” Walters wrote. He said he has not heard back from Tanenbaum.
– Follow K.C. Myers on Twitter: @kcmyerscct.
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9. Greg Sholette, FF Alumn, at Station Independent Projects, Manhattan, opening Jan. 7. 2017
Darker by Greg Sholette
Station Independent Projects, January 7-29
Opens Saturday 6PM, January 7th 2017
With a nod to Leonard Cohen’s final song, “You Want It Darker,” as well as to the
sorrowful state of democracy in the US and the world, Sholette’s third solo exhibition
at Station Independent Projects presents a series of ink, pencil and acrylic wash
drawings portraying scenes of recent activist art and direct political resistance.
Darker is based on photographs of activist art and other political protests. Some
of the reference material was shot by Sholette using his flip-phone as he participated
the art action. While working on the series over the past year the artists states that his approach to the drawings began to shift.
“I began to layer these images of resistance with darker, somber ink washes and marginalia that made reference to Goya’s private sketchbooks, as well as such things as graphic novels and the cult movie Donnie Darko. Perhaps it was the coming gloom generated by the November 8th elections that already began to intrude on my drawings?”
Nonetheless, the prime influence on Sholette’s Darker series is the epic three-volume novel The Aesthetics of Resistance by Peter Weiss, which pivots on organized working class resistance to Fascism in 1930s Germany. In the opening scene of Weiss’ book the author’s protagonist stands before the Pergamon Alter Frieze in Berlin and muses on its depiction of the ancient war between gods and Titans:
“All around us the bodies rose out of the stone, crowded into groups, intertwined
or shattered into fragments, hinting at their shapes with a torso, a propped-up arm,
a burst hip, a scabbed shard, always in warlike gestures, dodging, rebounding,
attacking shielding themselves, stretched high or crooked, some of them snuffed out,
but with freestanding, forward-pressing foot, a twisted back, the contour of a calf harnessed into a single common motion”
With the Pergamon Frieze serving as Sholette’s leitmotif, Darker portrays public interventions, direct action and performances by such individuals and groups as Decolonize This Place, The Reverend Billy, Aaron Burr Society, Occupy Museums,
Native American Water Protectors in North Dakota, and members of Global Ultra
Luxury Faction (GULF) who are portrayed engaged in occupations of the
Guggenheim Museums in New York and Venice to focus support on workers’
rights in Abu Dhabi where a new museum has been proposed despite intolerable
labor conditions and human rights abuses in that nation. But the figures depicted
in Sholette’s frieze are far more earthly and less perfect bodies and beings than
gods and titans.
Darker offers tribute to this dissident agency without dismissing the frequently
gloomy medium of historical circumstances in which we live, work, and make our
art.
Artist Biography:
In his wide-ranging art, activist, and writing practice, Greg Sholette (American, b. 1956; lives in New York) has developed a self-described “viable, democratic, counter-narrative that, bit-by-bit, gains descriptive power within the larger public discourse.” Sholette is a founding member of Political Art Documentation/Distribution, which issued publications on politically engaged art in the 1980s; of REPOhistory, which repossessed suppressed histories in New York in the 1990s; and more recently, of Gulf Labor, a group of artists advocating for migrant workers constructing museums in Abu Dhabi. His recent art installations include Imaginary Archive at the Institute of Contemporary Art, University of Pennsylvania and the White Box at Zeppelin University, Germany and three solo exhibitions of his work at Station Independent Projects, NYC in 2016, 2014 and 2013, and his collaborative performance piece Precarious Workers Pageant premiered in Venice on August 7, 2015. In dozens of essays, three edited volumes, and his own books that include Delirium & Resistance: Art Activism & the Crisis of Capitalism (forthcoming Pluto Press, 2017 with a preface by Lucy R. Lippard), and Dark Matter: Art and Politics in an Age of Enterprise Culture (Pluto Press, 2011), Sholette has documented four decades of activist art that, for its ephemerality, politics, and market resistance, might otherwise remain invisible.
Gallery Information:
Station Independent Projects
138 Eldridge Street, Suite 2F, NYC 10002
info@stationindependent.com
www.stationindependent.com
917.698.2012
Gallery Hours: Thursday to Sunday, Noon-6pm and by appointment
F to Delancey Street or JMZ to Essex Street
Between Delancey and Broome
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10. LuLu LoLo, FF Member, at Cornelia Street Café, Manhattan, Dec. 19
YOU KNOW WHO I AM: A TRIBUTE TO LEONARD COHEN
Conceived and Realized by Joel Allegretti
Starring Davidson Garrett, David Lawton, and LuLu LoLo
Monday, December 19
6 p.m.
Cornelia Street Café
29 Cornelia Street
New York, NY
$10 cover, includes one house drink
You Know Who I Am is a theater piece that remembers the late Leonard Cohen through his own radiant words, drawn from his poetry, songs, and novels.
Davidson Garrett trained for the theater at the American Academy of Dramatic Arts and is a member of SAG-AFTRA and Actors’ Equity Association. He is the author of three collections of poetry.
David Lawton is a New York poet and an editor at great weather for MEDIA. He treads the boards for Wombat Theatre Co. and jams as a member of Hydrogen Junkbox.
LuLu LoLo is a New York-based playwright, actor, performance artist, historian, and activist. She was a 2013 Blade of Grass Fellow in social engagement and a Lower Manhattan Cultural Council writer-in-residence in 2008.
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11. Julie Harrison, FF Alumn, winter news 2017
Happy winter!
Burrr, it’s cold in New York, in more ways than one. I’m happy to know that some of you remain in hot debate and invigorated towards social justice and action!
News:
a) Residency in Oaxaca
b) New Website @ julie-harrison.com
c) Spells Magazine inclusion
d) A Book About Colab (and Related Activities) Update
e) M/E/A/N/I/N/G final issue inclusion
Residency in Oaxaca
The first three months of 2017 I’ll be living in Oaxaca, Mexico, where I’ll be drawing, writing my blog and practicing my Spanish. Should be fun! There have been numerous worker strikes and blockades in Oaxaca City, but I’ll also certainly follow the disruptions in El Norte, so keep up the good fight! I’ll send out information about my blog upon first post, probably late January.
I’ve got a new website (in progress, I’m still adding stuff), check it out at julie-harrison.com, where you can view new work, videos from the ’70s and ’80s, early photographs, and other work.
Spells Magazine Inclusion
Irene Lee (who I’ve known since she was 5) and Debo Mouloudj have published their first issue of Spells Magazine and I’m thrilled that my work has been included.
“Spells: Dreams is a feminine compilation of art and writing that reflects on the magical and complex world of dreams.” – IL + DM. Look for Spells, Issue 1: Dreams.
Launch party, Saturday, December 17, at The Emerson bar in Clinton Hill. “There will be Tarot readings, temporary tattoos/body art, a reading, musical performance, an art show, a raffle, and magical goddess vibes to splendor in!”
A Book About Colab (and Related Activities) Update
For those who missed it, there was a bit of press (and related activity) after A Book About Colab (and Related Activities) was released, and the book is still available for sale at Printed Matter here. (If you are just catching up, see the wiki link about this collective that I was involved with back in the day).
The New York Times recently listed A Book About Colab (and Related Activities) as one of the top books of the year for art lovers. See: “Books and Museum Treats for Art Lovers” by Roberta Smith, Randy Kennedy, and Ted Loos. The New York Times, 24 Nov. 2016.
“A group of more than 40 artists who – in the Wild West that was New York City in the late 1970s and early ’80s – did things that now seem unbelievable.” – Randy Kennedy.
See also:
“Reproduction – and Non-Reproduction – of Multitudes: UP WITH PEOPLE” by Joseph Nechvatal, D/railed: Contemporary / Art / Magazine. 22 Aug. 2016.
“Thirty Years On, Colab Members Assess Their Successes and Failures” by Tiernan Morgan, Hyperallergic, 11 May 2016.
“Gang of New York: Printed Matter Revisits the Colab Group in a New Book.” by Andrew Russeth, ARTnews, 15 Apr. 2016.
“New: First book on artists group COLAB” featured in Gallery98.
Colab Talks at Printed Matter.
M/E/A/N/I/N/G: Final Issue Inclusion
My work will be in the final issue of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues, as the editors, Mira Schor and Susan Bee, celebrate their last 30 years of publishing this magazine by asking “some long-time contributors and some new friends to create images and write about where they place meaning today. As ever, we have encouraged artists and writers to feel free to speak to the concerns that have the most meaning to them right now.
Check it out on “A Year of Positive Thinking.” They are posting new responses from a variety of contributors every day, and I’m not sure when mine will be posted, but keep checking; begin with the first posting on December 5 and work your way forward.
Here’s an excerpt:
“On December 10, 1948, the United Nations signed the UNIVERSAL DECLARATION OF HUMAN RIGHTS in Paris [which] spell[s] out what it means for the entire ‘human family’ to be entitled to dignity, equality and inalienable rights. It has been translated into over 500 languages. However, the United States has a history of violating human rights, and perhaps we can frame our work towards change as such (it doesn’t just begin with Trump, although he and his ilk will most certainly exacerbate it).
• We are not all born free and equal in dignity and rights.
• We are not without distinctions of race, color, sex, language, religion, etc.
• Some of us are held in slavery or servitude.
• Some are subjected to torture or cruel, inhuman or degrading treatment.
• We do not all have equal protection of the law.
• Some are subjected to arbitrary arrest, detention or exile.
• Education is not directed to the full development of the human person.
• Education does not promote understanding, tolerance and friendship among all nations, racial or religious groups.
• Everyone does not have the right to freely participate in cultural life, arts and scientific advancement.
• … and more.
“If we continue to believe that human rights abuses are THEIR problem (that OTHER country), not ours, then we have not fully understood what human rights are.”
On that happy note, happy holidays!
Until 2017!
Xx
Julie Harrison
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12. Jane Dickson, FF Alumn, in The New York Times, Dec. 15
Please visit this link:
thank you.
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13. Jared Goldstein, FF Intern Alumn, in The New York Times, Dec. 18
Please visit this link:
Thank you.
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14. Carl Andre, FF Alumn, at Musée d’Art moderne de la Ville de Paris, France, thru February 12, 2017
Carl Andre
Sculpture as Place, 1958-2010
October 18, 2016-February 12, 2017
Musée d’Art moderne de la Ville de Paris
11 Avenue du Président Wilson
75116 Paris
France
Hours: Tuesday-Sunday 10am-6pm,
Thursday 10am-10pm
The Musée d’Art Moderne is presenting a tribute to the major 20th-century American artist Carl Andre (b. 1935 in Quincy, Massachusetts). The exhibition Sculpture as Place, 1958-2010 covers the full spectrum and inner consistency of the Andre oeuvre, with 40 monumental sculptures, numerous poems and photographs, works on paper and various objects that defy pigeonholing. His iconic works appear alongside pieces never shown together before, such as his Dada Forgeries. A leading Minimalist figure together with Donald Judd and Robert Morris, Andre now stands out as one of the 20th century’s greatest sculptors.
This retrospective reveals how Andre, working with standard, unmodified industrial elements, redefined sculpture as a means for experiencing space, form and matter. He also produced poems that made use of words for their visual as well as their semantic and sound value. The overt simplicity of his work challenges the traditional notions of technique, composition and installation, at the same time as it makes the viewer an active participant.
After arriving in New York in 1957, Andre wrote poetry and made his first, small sculptures. Drawn to the properties of matter-form, weight, texture-in 1965 he began assembling industrial components like wood, metal, bricks and bales of hay in interaction with his exhibition venues. Since then he has continued to respond to gallery, museum and urban spaces: he works with materials he finds on-site, assembles items he can handle on his own, and produces works that combine real presence with a spatial integration so effective that they seem to have been there forever.
In the Andre oeuvre the artwork changes status: it is no longer a symbolic or figurative element, but a real object that is as much a part of the world as a tree or a wall. In the course of the 1960s his notion of sculpture evolved, first as form, then as structure and finally as place: “I have desires,” he told Marta Gnyp in an interview in 2015. “I don’t have ideas. For me it is a physical desire to find the material and a place to work.”
The first Carl Andre exhibition in France for 20 years-the last was at the Musée Cantini in Marseille in 1997-Sculpture as Place reflects the Musée d’Art Moderne’s policy of taking a fresh look at the great founders of modernity.
Designed by the Dia Art Foundation in close collaboration with the artist, this retrospective has already been seen in New York (2014), Madrid (2015) and Berlin (2016), and will subsequently travel to Los Angeles (2017).
The international exhibition Carl Andre: Sculpture as Place, 1958-2010 has been made possible by the support of the Henry Luce Foundation and the Terra Foundation for American Art, as well as the Fundación Almine y Bernard Ruiz-Picasso para el Arte, The Brown Foundation, Inc. in Houston, the National Endowment for the Arts, and Sotheby’s.
This event is part of Tandem Paris-New York 2016, organised by the City of Paris and the French Institute in partnership with the French Embassy in the United States and the American Embassy in France, with the backing of the City of New York.
Teaser video
Exhibition curators: Sébastien Gokalp, Yasmil Raymond, Philippe Vergne
Also in the museum
Benjamin Katz until December 31, 2016
Marc Riboud until January 15, 2017
Bernard Buffet, Retrospective until February 26, 2017
EVA & ADELE, YOU ARE MY BIGGEST INSPIRATION until February 26, 2017
Press Officer: Maud Ohana
maud.ohana@paris.fr
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15. Vito Acconci, Christo & Jeanne-Claude, Sean Leonardo, David Hammons, Barbara Kruger, FF Alumns, now online at artnet.com
Please visit this link to read the illustrated article on Artnet’s most memorable artworks of 2016:
Thank you.
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Goings On is compiled weekly by Harley Spiller
