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Contents for February 8, 2011
1. Barbara Hammer, FF Alumn, at Koch Oberhuber Wolff, Berlin, Germany, and more, Feb. 11-16
2. Robbin Ami Silverberg, FF Alumn, at Codex Fair, Berkeley, CA, Feb. 6-9
3. Peter Cramer, FF Alumn, now online
4. Kristin Jones, Andrew Ginzel, FF Alumns, at University of Colorado, Boulder
5. Josh Harris, FF Alumn, in wired.com
6. Peter Dykhuis, FF Alumn, at Redhead Gallery, Toronto, Canada, thru Feb. 26
7. Alison Knowles, FF Alumn, in The New York Times, February 2
8. LuLu LoLo, FF Member, at Grey Art Gallery, Manhattan, thru March 26, and more
9. Nicolas Dumit Estevez, Shaun El C. Leonardo, FF Alumns, at Union Theological Seminary, Manhattan, March 3
10. Susan Leopold, FF Alumn, at ICA, Maine College of Art, Portland, thru April 10

1. Barbara Hammer, FF Alumn, at Koch Oberhuber Wolff, Berlin, Germany, and more, Feb. 11-16

Forum Expanded: World Premiere of Maya Deren's Sink
European Premiere: Generations (made with Gina Carducci)
Friday, Febuary 11th, 3pm at Arsenal 1
Monday, Febuary 14th, 4pm at CinemaxX 5

Solo Exhibition
Opening Feb. 11 6-10 p.m.
PHONE 0049 (0)30 311 66 770 GALLERY@KOW-BERLIN.COM

Celebrating Artists Barbara Hammer and Santiago Sierra
Monday night, Feb. 14, 6 pm - 11.

Barbara Hammer and Stefanie Schulte Strathaus (Dialogue and Clips)
Talent Campus
Hau 2
Feb. 16 14:00-15:30
Hebbel am Ufer
Allesches Ufer 32, 10963 Berlin



2. Robbin Ami Silverberg, FF Alumn, at Codex Fair, Berkeley, CA, Feb. 6-9

Please come visit Dobbin Books
At the CODEX Fair, Berkeley CA:
And see a selection of artist books by Robbin Ami Silverberg & wood books by András Böröcz
February 6-9, 2011



3. Peter Cramer, FF Alumn, now online

Please check these two links to news stories featuring Peter Cramer, FF Alumn:


http://www.tbd.com/news/v/36627312/protesters-demand-clough resign.htm?q=art+positive

thank you.



4. Kristin Jones, Andrew Ginzel, FF Alumns, at University of Colorado, Boulder


Appositio, a new project by Kristin Jones and Andrew Ginzel, opened Friday, September 24, 2010 in Boulder, Colorado. Commissioned by the University of Colorado – Boulder with the oversight of the Colorado Council on the Arts, work was recently installed at CU-Boulder’s new Visual Arts Complex (VAC), home of the CU Art Museum and the Department of Art and Art History.

Embracing the duality of the Visual Arts Complex, Appositio creates a dynamic situation for observation and exploration within the VAC Corridor, as a threshold, gateway and commons for the academic community and public. The work’s title is a play upon the act of examination by question and answer, as well the condition of being in close contact, juxtaposition and parallelism – hence focus.

A cable draws a catenary arc between two tall gnomons along the corridor’s north-south axis. Suspended from the cable, several pairs of small rings cast their shadows onto the plaza surface below, accentuating the sun’s transitions through the seasons.

Atop the bridge that links Museum with School, pair of double-sided convex mirrors reflect the sky and Boulder landscape. At each moment in the day, the northern and southern skies appear very different. The mirrors reflect the sky behind the viewer, placing the brightness of the southern sky as an image upon the canvas of the northern sky. From the northern approach, the darker nature of the northern sky is set upon the canvas of the brighter southern sky, challenging us to witness and consider the two perspectives simultaneously.

Echoing the circular form and wide scope of vision articulated in the mirrors above, a set of large, double rings are suspended from the center of the bridge. In a formal translation (solid above and empty below) the rings embody a sense of potential.

Set into the plaza below the connecting bridge, a large mosaic eye links the two buildings, emphasizing the symbiotic relationship between School and Museum. Composed primarily of the native sandstone that distinguishes the CU-Boulder campus, the eye suggests the perpetual endeavor to comprehend all that surrounds us. On the winter solstice, sunlight shining through the disc aperture on top of the South Gnomon falls upon the center of the plaza eye.

Appositio explores perception and time through the juxtaposition of related elements. Framing reality as a series of relative points of observation, the work offers a unified set of instruments for analysis and comprehension of our surrounding world, encouraging the act of visual inquiry and magnifying a sense of place and present.

For more information about the work, please contact Diane Roehm at diane@jonesginzel.com.

289 Bleecker Street
New York, NY 10014




5. Josh Harris, FF Alumn, in wired.com

Please visit


to read an article about Josh Harris, FF Alumn. Thank you.



6. Peter Dykhuis, FF Alumn, at Redhead Gallery, Toronto, Canada, thru Feb. 26

Peter Dykhuis: Crosshairs and Checkerboards
February 5th to 26th, 2011
Opening reception: Saturday February 5th, 2pm to 5pm

Checkerboards with game pieces. Xs and Os and tic-tac-toes with crosshairs and scope visions. Organized in grids, the mixed media works in this exhibition were produced in the past five years and depict, for example, corporate logos, stock graphs, air force insignias, paper-based and digital map images – many with military pedigree and references.

Construction and Considerations:
addresses / air force insignias / artistico + fabriano / bedford / carbon paper / checkers / chess / corporate logos / crosshairs / dalhousie university / doers and dreamers / dominoes / douglas drive / encaustic wax / envelopes / ethical funds / game pieces / gator foam / google earth / grids / halifax / home / latitude / lists / longitude / maps / military sites / note pads / paul virilio / pencil / phillips screws / pva glue / road maps / satellite images / scopes / sequin pins / sintra / staples / stars / stevensons pigments / sticky notes / stock graphs / tic-tac-toe / tracing paper / velcro / university avenue / winsor and newton watercolours / work

For more information, please visit his website.


Red Head Gallery
401 Richmond Street West
Suite 115
Toronto, Ontario M5V 3A8



7. Alison Knowles, FF Alumn, in The New York Times, February 2
The New York Times February 2, 2011
Art at MoMA: Tuna on Wheat (Hold the Mayo)
Only the sharp-eyed might have noticed something amiss at the lunch table of 12 last week in the second-floor cafeteria at the Museum of Modern Art.
For one thing, the table itself was a different color from the others in the room, a diner-style teal, flecked like old Formica. Weirder, though, was that everyone around it was eating the same thing: a tuna sandwich and a cup of soup or something that on close inspection turned out to be buttermilk, a lunch accompaniment not often seen these days outside of an Andy Griffith rerun.

The people at the table were mostly strangers to one another: a grad student, a library director, a teacher, a high school senior, a landscape designer. But for about half an hour that afternoon they were also ex-post-facto Fluxus artists, having signed up to be part of a well-documented piece of digestible performance art called "Identical Lunch," which has been performed frequently around New York and the world since 1968.

That was the year that Alison Knowles, one of the founders of the Fluxus movement — which was really less a movement than a loose affiliation of artists in the ’60s who had a formidable influence on generations of artists that followed — started eating lunch regularly, and unvaryingly, at Riss diner on Eighth Avenue near 23rd Street in Chelsea.

Her friend and studio mate Philip Corner was the first to notice that she never changed her order: tuna on wheat with lettuce and butter, no mayo; and soup or a glass of buttermilk. She decided to keep on ordering the same thing, to invite people to do it along with her, to document all the little nuances and repetitions, and to call it art, though she didn’t really care if anybody agreed. "It was about having an excuse to get to talk to people, to notice everything that happened, to pay attention," said Ms. Knowles, now 77 with an elegant shock of short white hair.

If the goal of Fluxus was to knock down fences between making art and living life (George Maciunas, its guiding light, wrote that it should promote "nonart reality" for the benefit of "all peoples, not only critics, dilettantes and professionals"), then the lunch did a pretty good job. Ms. Knowles considered it a performance whether she was doing it with friends at Riss diner, at a museum or all by herself on a trip in some other country.

Mr. Corner came up with his own take, working his way through every item on the Riss menu, from apple pie to Virginia ham. (A double-pork-chop platter set him back $1.70 in the late ’60s.) "We were quite an item there for a while," Ms. Knowles said. Mr. Maciunas’s devious anarchic twist on the "Identical Lunch" was to put everything into a blender and make a tuna milkshake out of it.

At the Museum of Modern Art, which has focused heavily on performance art over the past few years, Ms. Knowles was asked to stage a series of the lunches, which she considers enactments of an "event score," a loose, improvisation-friendly script that became a hallmark of Fluxus. (The performances continue twice a week through Feb. 11, but all of the seats have already been reserved by people who signed up through the museum’s Web site.)

At a little after noon Ms. Knowles surveyed her lunch mates, lofted a spoonful of carrot soup and said, "Well, bon appetit." She pronounced her sandwich, made by the cafeteria’s executive chef, Lynn Bound, to be "state of the art," among the best she had had in four decades of tuna-sandwich connoisseurship. Joseph Strong, a senior at the Legacy High School on Roosevelt Island who wants to be a performance artist and who conducts his own daily performance by wearing a black top hat — "I never take it off," he said — seemed a little dubious about the buttermilk but overjoyed to be at the table with Ms. Knowles.

After a little conversation and laughter Ms. Knowles rose from the table, went behind the counter at the cafeteria, donned a paper hat and decided to pay tribute to Mr. Maciunas by creating his blender version of the meal: buttermilk and a sandwich, puréed at high speed. She poured a little bit for everyone in paper espresso cups, with an impish gleam behind her small round glasses.

Truth be told, it wasn’t bad. In a world where molecular gastronomy, with its edible emulsions and foams, has become part of "nonart reality," it actually tasted like something one might pay $30 for somewhere outside Barcelona, creamy with an incongruous whole-grain crunch.

Dave Kim, a writer and teacher at the Pratt Institute who was seated next to a reporter, did not seem to feel the same way. He looked a little green around the gills. "Want to know a secret?" he announced to the table. "I’m a vegetarian. This is the first meat I’ve eaten in about nine years." Smiling wanly, he added, "Hey, anything for art, right?"

The meal ended with no fanfare, just a few goodbyes and exchanges of cards, a lack of arty-ness in keeping with Fluxus and also with an epigraph from a 1973 book by Mr. Corner about the performances, which Ms. Knowles showed off during the lunch. It is a quotation attributed to Mr. Corner’s dubious aunt, who once observed about the lunches: "What’s there to write about? It’s just a lousy tuna-fish sandwich."



8. LuLu LoLo, FF Member, at Grey Art Gallery, Manhattan, thru March 26, and more

LuLu LoLo
Grey Art Gallery, NYU
SOLILOQUY FOR A SEAMSTRESS: THE TRIANGLE SHIRTWAIST FACTORY FIRE a one-person play written and performed by LuLu LoLo is documented in the exhibition "Art/Memory/Place:
Commemorating the Triangle Shirtwaist Factory Fire" at Grey Art Gallery, NYU

LuLu LoLo Marco Polo Quarterly
LuLu LoLo’s latest writing on the theme of Obituaries incorporates her love of the films of Francois Truffaut in "Reading Obituaries is Like Watching Film Trailers" in Marco Polo Quarterly http://www.marcopoloquarterly.com/readinglolo.html

Thanks LuLU



9. Nicolas Dumit Estevez, Shaun El C. Leonardo, FF Alumns, at Union Theological Seminary, Manhattan, March 3

Like Brothers and Sisters

Curated by Nicolas Dumit Estevez

March 3, 7:00 p.m.
Social Hall

Union Theological Seminary in the City of New York
3041 Broadway at 121st Street, New York, NY 10027
Tel: (212) 662-7100

This event is FREE

Like Brothers and Sisters brings artists of Haitian and of Dominican descent who are living in the United States to perform side by side at the Institute for Art, Religion, and Social Justice at Union Theological Seminary. This performance program seeks to allow the plurality of these artists' voices, bodies and stories to push their audiences to look at the Haitian-Dominican crucible, not only from afar and abroad, but from new and unexpected perspectives.

"Discovered" by the Spanish conquistadores in 1492, the Caribbean island of Quisqueya or Hispaniola was eventually divided into Spanish and French colonies. As such, the countries that developed out of this geographic severing came to experience histories that would bring them face-to-face in moments of war, genocide, national unification or separation, natural disasters, health crises, and migratory processes. Hence the physical boundary, la frontera, the frontier, that divides what are now the Haitian and the Dominican Republics is a threshold that, while attempting to define two nations, allows Dominican-ness and Haitian-ness to become malleable categories.

Today, the Haitian-Dominican border remains a long umbilical cord reminding the two siblings of a common origin, a porous divisor that is constantly permeated by love, violence, corruption, death and hope. The offspring of European colonization of the so-called New World and recurring United States military involvement and territorial occupation, Haiti and the Dominican Republic, despite their corporeal proximity, remain to this day two politically polarized entities sharing one single island. The time has never been better for a dialogue between the two neighbors, whether in French, Creole, Spanish, Spanglish or Dominicanish. The stage is ready.

About the artists
Josefina Baez
Baez is a performer, writer and theater director. She is the founder of Ay Ombe Theater (April 1986) and the conceiver of Performance Autology© (PA); a creative process based on the autobiography of the doer. She has participated in international theater festivals and workshops in Europe, Asia, Latin America and the Caribbean, and has toured nationally and internationally for ten years with her solo piece Dominicanish. Comrade, Bliss ain't playing is Baez' current performance. She teaches at her own international theater retreats and as a guest artist in universities.

Shaun El C. Leonardo
Shaun received his MFA from the San Francisco Art Institute and currently lives/works in Queens, New York City – the borough where he was born and raised. He has received residencies/grants from Skowhegan School of Painting and Sculpture, The New York Studio School, Lower Manhattan Cultural Council, Art Matters, New York Foundation for the Arts, McColl Center for Visual Art and, most recently, Franklin Furnace for the production of his first one-man play. El C.'s work has been presented nationally and internationally, and is represented by Praxis International Art, New York/Miami/Buenos Aires, with recent solo exhibitions in Lisbon, Portugal and New York City.

Gina Athena Ulysse
Ulysse was born in Pétion-Ville, Haiti and migrated to the United States in her early teens. An associate professor at Wesleyan University, she earned her Ph.D. in cultural anthropology at the University of Michigan in 1999. Ulysse is a poet/performer and multi-media artist; Haiti is the primary focus of her performance and artistic works. With her projects, she seeks to outline, confront and work through the continuities and discontinuities in the unprocessed horror of colonialism. In the aftermath of the 2010 earthquake, she has emerged as a social commentator and public scholar especially in alternative media. For more info: www.ginaathenaulysse.com

Haitian electronic music composer/percussionist/turntablist, Val-Inc evokes the musical esoteric realms of the creative subconscious and self-defined as "Afro-Electronica". She incorporates her African Haitian musical traditions into the present and beyond, combining acoustics with electronics and the archaic with the post-modern. She works with a diverse array of artists such as Steve Coleman, Anthony Braxton and Geri Allen. Her "Afro-Electronica" installations have been showcased in New York City at the Whitney Museum, the Museum of Modern Art, the Brooklyn Academy of Music, the Village Vanguard and internationally at SaalFelden Music Festival in Austria, Stanser Musiktage in Switzerland, Jazz à la Villette in France, and the Biennale di Venezia Museum in Italy.

Nicolas Dumit Estevez
An interdisciplinary artist working mainly in performance art and art-and-life experiences, Estevez has exhibited and performed extensively in the US as well as internationally at venues such as Madrid Abierto/ARCO, The IX Havana Biennial, PERFORMA 05 and 07, IDENSITAT, Prague Quadrennial, The Pontevedra Biennial, The Queens Museum of Art, MoMA, The MacDowell Colony, El Museo del Barrio, The Center for Book Arts, Longwood Arts Gallery/BCA, The Smithsonian National Museum of the American Indian, Franklin Furnace, and Lower Manhattan Cultural Council, among others. Residencies attended include P.S. 1/MoMA, Yaddo and the MacDowell Colony. He teaches at the Transart Institute in Berlin, Germany. Estevez is currently pursuing a Master in Theology and the Arts at Union Theological Seminary in New York. Born in Santiago de los Treinta Caballeros, Dominican Republic, he lives and works in the South Bronx.



10. Susan Leopold, FF Alumn, at ICA, Maine College of Art, Portland, thru April 10

Fracturing the Burning Glass: Between Mirror and Meaning: January 26 - April 10

The Institute of Contemporary Art at Maine College of Art (ICA at MECA) will present Fracturing the Burning Glass: Between Mirror and Meaning, an exhibition that examines perception through the manipulation of reflectivity, both metaphoric and corporeal.

Fracturing the Burning Glass highlights the work of Gwenaël Bélanger (Montreal), Susan Leopold (New York), Daniel Rozin (New York), and Alyson Shotz (New York). The exhibition includes sculptural installation, photography, video, and mechanical and digital interactive media. This exhibition is curated by Linda L. Lambertson.

522 Congress Street
Portland, ME
Hours: Wednesday through Sunday, 11:00 - 5:00, Thursday 11:00-7:00, and on First Friday 11:00-8:00




Goings On is compiled weekly by Harley Spiller

Franklin Furnace Archive, Inc.
80 Arts - The James E. Davis Arts Building
80 Hanson Place #301
Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
Fax: 718-398-7256

Martha Wilson, Founding Director
Mary Haberle, Digital Specialist
Michael Katchen, Senior Archivist
Jenny Korns, Webmaster
Harley Spiller, Deputy Director
Eben Shapiro, Program Coordinator
Judith L. Woodward, Financial Manager