An exhibition of keynote works by Vik Muniz and new works from Alexandra Mota de Aguiar, Mattias Ericsson, Wojtek Doroszuk, and Zhou Tao

Curated by Claudia Calirman

OPENING RECEPTION:

Wednesday, January 13, 2010 6–8 PM

DATES: January 14 – March 6, 2010

HOURS: Tuesday-Saturday 12–6 PM

Yes, But… explores works that dwell in the borderline between real and fictional, process-based and result-oriented, temporal and permanent, literal and metaphorical, orderly and undisciplined. Within the fabric of these works lies an array of artistic choices that emphasize contradictions and ambiguities, playing games upon the viewer at every turn.

Yes, But… features works by Vik Muniz (b. Brazil; works in New York) together with artists currently in residence at Location One: Alexandra Mota de Aguiar (b. Portugal), Wojtek Doroszuk (b. Poland), Mattias Ericsson (b. Sweden) and Zhou Tao (b. China).

Vik Muniz uses photography to create images from non-traditional materials. In series such as Pictures of Junk, he re-creates works by Great Masters, undermining the grandiose mythological aspect implied in the historical tableaux with his use of everyday discarded materials. His work usually involves strategies of appropriation–he sets out to create a copy of a copy, which, during the process of transformation, becomes a work by Vik Muniz. It is not only the artist’s materials that have a temporal quality to them; it is also the performative aspect of his works that call to mind issues of time and impermanence.

Working outside Rio de Janeiro in a space the size of a basketball court, the artist collaborates with residents from nearby favelas to remake a series of canonical images, directing his crew from a scaffold high above and then capturing the image through a large-format camera; the resulting works incorporate intriguing discrepancies of scale. In his process, what starts as a permanent object (usually a reproduction of a canonical work of art) becomes an impermanent installation made out of detritus, only to be turned again into a permanent work of art (a conventional gelatin-silver print). Repulsive or tasteful, visual or tactile—all these are choices are games played out in Muniz’s illusionist tableaux, leaving the viewer amused and complacent in being fooled and deceived.

Mattias Ericsson

In the installation September 2001 – March 2009, Mattias Ericsson’s hundreds of black-and-white photographs, which he carefully arranges into a formal grid, are all part of his ongoing work. Many of the images refer to the artist himself, his wife and child; others focus on the idyllic Swedish landscape in which Ericsson was born and still lives with his family. For this work, Ericsson chose images from his archive of thousands of photographs, then meticulously classified, sorted, and displayed them, trying to create order out of chaos.

In Mattias Ericsson’s video 1630 Photographs, the mundane also interferes in the supposedly grand narrative of the past seven years of the artist’s life. He recorded his voice for the video, creating a methodic narrative about the technical process of developing the film, making contact sheets and selecting photographs—a strikingly impersonal accompaniment to the intimate photos. There exists a tension between the work’s visuals and its narrative; the artist’s monotone voice is juxtaposed with his personal images, creating a disjunction between oral description and visual field. While the passage of time is registered in these intimate photographs (self-portraits, daily domestic interiors, family, friends, relatives, even time and aging…) his droning voice-over in a mantra-like rhythm renders these personal images from a distant place, as if subject and object were in reality two different beings, disconnected from each other.

Zhou Tao
Zhou Tao plays with notions of chance and everyday life subverting our understanding of the urban environment. In videos such as Obstacle, Power Here, Mutual Exercise, and East 6th Street to Location One he explores ordinary activities in public spaces.

In Obstacle, Zhou takes a stroll on a Sunday morning in the streets of his native Chinese city of Guangzhou, letting chance lead the way as he interacts with the many different elements that he encounters. Whether swimming in a public pool, scaling an electric pole, or simply just walking on the streets, there is always an element of civil disobedience involved in his actions. In Power Here, he turns on a fan, a loudspeaker, and a floor lamp using the city’s public electricity energy, exposing the lack of surveillance by official authorities. In Mutual Exercise, a collaboration with a friend, they walk the streets of Guangzhou, exploring new situations and creating connections out of randomness, as they encounter obstacles in their way. In East 6th Street to Location One, a collaborative work completed during the artist’s residency at Location One in New York, Zhou and a friend rely upon each other’s bodies to complete the trajectory from his home in the East Village to his studio in Soho.

Wojtek Doroszuk

In his humorous videos, Wojtek Doroszuk sarcastically comments on societal behavior. As an acute observer of social relations, his work deals with elements still considered taboo in society, such as transgender operations, the theatricality of death, and the exploitation of illegal workers. Weighty themes are rendered in a casual way, with Doroszuk acting like a passer-by, or a mere spectator blandly observing the situations around him, as if he could be left unaffected by the huge impact of these major transformative experiences. Special Features–which are the artist’s commentaries on some of his original projects–shows three different situations: Polish citizens collecting raspberries in a farm in Norway, a Turkish transgender man telling the story of changing his gender identity, and Polish employees working for a Turkish boss in Germany. In each of these narratives, there is an element of surprise–something that was expected to happen but somehow gets contradicted or denied. A great dream goes sour, a bad rumor gets buffered.

In Dissection Theatre, a woman lies in a morgue table being dressed and beautified for her burial. The careless and mundane attitute of the workers attending her corpse, contrasts with the sacredness of the situation. This mechanical act is indeed the funereal image of her last deadly appearance.

Alexandra Mota de Aguiar
Alexandra Mota de Aguiar works mainly with drawing remaining close to the expressive mechanisms explored among others by Phillip Guston and Francis Bacon. Using oil pastel, charcoal, graphite, and gouache, she approaches the creative process culminates in a wide range of hybrid organic forms. Part anthropomorphic and part just abstract marks in space, her figures carry strong gestural traces generating ambiguous narratives. These organic enigmatic forms occasionally even suggest erotic actions. Completely immersed in the process of image-making, Aguiar creates works that are in-between abstraction and figuration, alternately whimsical and poetic—and often humorous.

Yes, But… is a kaleidoscopic portrait of a group of international artists working in dramatically different practices but somehow all expressing the contradictions of contemporary daily life–its fragmented experiences, the desire to transgress the norm, the disappointment with stratified rules—and, ultimately, the bewilderment with the possibility of transformation.

After all, Yes, life is short, But…not necessarily small.

Melissa Chiu speaks with Richard Bell about his current exhibition at Location One, “I Am Not Sorry“.

Dr. Melissa Chiu is Museum Director and Vice President, Global Art Programs, Asia Society in New York where she has worked since 2001 to expand the scholarship of Asian art through major initiatives such as the launch of a contemporary art collection to complement the museum’s outstanding Rockefeller Collection of traditional Asian art. Previously, she was Founding Director of the Asia-Australia Arts Centre in Sydney, Australia (1996–2001).

As a leading authority on Asian contemporary art, she has organized nearly 30 exhibitions of artists from across Asia including China, Japan, Iran, Pacific Islands and Korea. Amongst them the first retrospective of Chinese artist Zhang Huan (Zhang Huan: Altered States, 2007) and an historical exhibition of art from China’s Cultural Revolution (Art and China’s Revolution, 2008), both were accompanied by comprehensive books on the subject. She has delivered papers at numerous symposia and has given lectures at Yale University, Harvard University, Columbia University and Jawaharlal Nehru University, New Delhi.

Chiu earned an M.A. in Arts Administration (1994) and a PhD (2005) in Art History in her native Australia, and has served as Editor for The Grove Dictionary of Art’s chapters on Asian and Asian American contemporary art published by Oxford University Press. She was awarded a Getty Research Fellowship in 2003 and is the author of books including Breakout: Chinese Art Outside China (2007), which focuses on the international Chinese artistic diaspora and Chinese Contemporary Art: 7 Things You Should Know (2008).

She is Vice President of the Association of Art Museum Directors, the lead professional organization for art museums in the United States and has served on grant and policy advisory committees for national, state and city governments including National Endowment for the Humanities, Institute of Museum and Library Services, New York State Council on the Arts and New York City Department of Cultural Affairs.

Click here to view the embedded video.

Marina Abramović:
Performing the Gallery/Performing the Museum

Tuesday, October 27, 2009,
doors at 6pm, talk begins promptly at 7pm
Public Discussion with MARINA ABRAMOVIĆ
Inauguration of ABRAMOVIC STUDIO AT LOCATION ONE
presented by Jovana Stokić

The discussion will focus on Abramović’s investigations of transformative quality of time in context of a gallery exhibition. The exclusive video material from Abramovic’s innovative group exhibition in Manchester Whitworth Art Gallery, held July 3 – 19 2009, will be shown. For this groundbreaking event, the Whitworth emptied every gallery space in order to create room for this unique work to develop and breathe. The show began with an hour-long performance initiation with Marina Abramović, leading up to a series of extraordinary encounters between artists and audience. Quite unlike anything staged before in a museum or a gallery, it provided a transformative gallery-going experience.

The evening inaugurates Abramović Studio at LOCATION ONE. Beginning October 2009 the studio, curated by Jovana Stokić, involves artists from Location One residency program in engaging with performance art. The ABRAMOVIĆ STUDIO within Location One is dedicated to exploring long-durational performance works through open-ended forms of workshops, panels and discussions. Marina Abramović, will be the subject of a major retrospective exhibition at MoMA in the spring of 2010 titled “Artist is Present” in which she will be performing continuously throughout the whole duration of the exhibition.

Marina Abramović
Since the beginning of Marina Abramovic’s career, during the early 1970s, where she attended the Academy of Fine Arts in Belgrade, Abramović has pioneered the use of performance as a visual art form. The body has been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion and danger in the quest for emotional and spiritual transformation. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci and Chris Burden, Abramović created some of the most historic early performance pieces and continues to make important durational works. In 2005, she held a series of performances called Seven Easy Pieces at the Guggenheim Museum in New York. She was honored for Seven Easy Pieces by the Guggenheim at their International Gala in 2006 and by the AICA USA with the “Best Exhibition of Time Based Art” award in 2007. Marina Abramović is represented by Sean Kelly Gallery.

Jovana Stokić
Belgrade-born, New York-based art historian and critic Jovana Stokić holds a Ph.D. from the Institute of Fine Arts at the New York University. Her dissertation, titled “The Body Beautiful: Feminine Self-Representations 1970 – 2007,” analyzes works of several women artists – Marina Abramovic, Martha Rosler, Joan Jonas — since the 1970s, particularly focusing on the notions of self-representation and beauty. Jovana has curated several thematic exhibitions and performance events in the US, Italy, Spain and Serbia. Her recent exhibition “Best Regards form the Blind Spot,” focused on videos by Marina Abramovic, and younger women artists from the region of Serbia and Montenegro. Jovana was a fellow at the New Museum of Contemporary Art, New York, a researcher at the Whitney Museum of American Art, New York, and the curator of the Kimmel Center Galleries, New York University. She has most recently written an essay for Marina Abramović’s MoMA exhibition catalogue.

Click here to view the embedded video.

Janez Jansa, Janez Jansa, Janez Jansa
NAME Readymade
Thursday May 7,  2009 at 7 pm
Free and open to the public

Can you imagine a few years ago 3 established American artists joining the Republican Party and then legally changing their names to George W. Bush? And since then bringing the name of the USA President to museums, exhibiting next to Robert Gober or Barbara Kruger, festivals, showing work next to Meg Stuart and Nature Theater of Oklahoma, galleries, presenting video alongside Bruce Nauman?

Location One is glad to invite you to NAME Readymade, the presentation of the “Name changing” gesture perpetrated by three Slovenian artists who, in 2007 officially changed their names to the Slovenia’s economic-liberal, conservative prime minister at the time, Janez Jansa.

“When the three artists changed their names to Janez Jansa, they in fact adopted a critical stand to the state. To the Slovene government, in which until recently all posts seemed occupied as it were by a single person – Janez Jansa. [...] Through the multiplication of Janez Jansa’s name, the function of the prime minister has assumed, within this specific artistic action, a similar position as the Campbell soup cans in Andy Warhol’s works.” (Zdenka Badovinac, Name Readymade, October 2008)

All Janez Jansas’ works, their private and public affairs, in a word their whole life has been conducted under this name ever since.

Janez Jansa at Location One will take you through a series of artistic, political, administrative and media actions performed by himself together with Janez Jansa and Janez Jansa with a particular focus on their latest personal exhibition entitled NAME Readymade.

Works exhibited in this show (valid ID cards, passports, credit and bank cards, driving licences, birth and marriage certificates, and so on) are generated by the reality itself.

“The use of personal documents as exhibition items is certainly a liminal case; it probes certain boundaries. It is liminal in that it is not clear whether or not such a use of personal documents respects the rights that you acquired when you were issued these documents. You cannot burn documents as this is a criminal offence, but what about the use of documents for artistic purposes? To be sure, this is not something that serious people would use to justify persecution in the name of the state; yet, this does mean that everybody knows that you are not carrying your documents, that is, that you are not using them in compliance with the conditions under which they were issued to you. Even a bank can cancel your cards if they find out that you are using them in an inappropriate way. You are walking a line that I would not call “dangerous”, but I do, however, consider it suspicious. This is precisely part of the risk that I mentioned before. Here, we can see various things that could develop from this. After all, you have to make a special effort to find out how security is going to work at the exhibition. It is an entirely different thing if you exhibit graphics numbered 1 to 100 that are insured through an insurance company. I doubt that an insurance company would issue an insurance policy for the everyday functional value of the exhibited documents in the same way as they would issue tourist insurance – such insurance would require the issuance of new documents. Furthermore, it is also interesting that these documents are art works, readymades. The original of Fountain has been lost, nicked, so Duchamp made new ones, signed them anew, he even made a miniature version for his little suitcase; you, however, cannot make new documents, they can only be made by an authorized organization called the state and its Ministry of Internal Affairs. Yet the Ministry itself cannot function illegally and, for example, reproduce these documents as art works. Now what? These are works of art only insofar as they are also authentic documents. Here we reach a contradiction – the very contradiction of the world of art. A readymade as a work of art is something inauthentic; it is the proof of inauthenticity: with a readymade, the “aura” disappears. In your case, however, the precondition for this readymade is its authenticity in everyday life – its credibility and authenticity. If somebody bought this work of art, they would be buying it as authenticity, together with its functional “readymade” value.”

(Lev Kreft,  Name as Readymade, An interview with Janez Jansa, Janez Jansa
and Janez Jansa, NAME Readymade, October 2008)

Janez Jansa, Janez Jansa and Janez Jansa cut right in the midst of their own realities and the reality of the space and time, in which they work. For this purpose they used procedures typical for art – transformation, translation, representation and mimicry. They turned around the classical relational scheme between art and life as it was developed in the 20th century. Art in previous century is redefined by way of reality entering into artistic contexts without mediation (so that Badiou can define the 20th century as the passion for the real), while Jansa, Jansa and Jansa want to achieve the opposite so that their methods cut deeply into their material lives and the lives of their immediate surrounding.

Project supported by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana.

http://www.aksioma.org/name

We’d like to extend an enormous thank you to everyone who helped celebrate Location One’s 10th Anniversary Benefit Gala on March 5. It was a lovely night and included a beautiful performance and preview of Laurie Anderson’s exhibition From the Air.

Special thanks to Location One’s Benefit Co-Chairs Sophie Crichton-Stuart, James Lindon, Alina Pedroso, Eric C. Shiner; and the Benefit Committee: Diane L. Ackerman, Henry Buhl, Judi Caron, Noni and Michael Connor, Bob Holman, Yung Hee Kim, Edward and Phyllis Kwalwasser, Caroline Lang, Matthew Marks, Elzbieta Matynia, DeCourcy E. McIntosh, Raj Moorjani, Richard Prince, Martha Rosler, Joyce Pomeroy Schwartz, Roger and Freddi Sherman, Clay Shirky, Laura Skoler, Gloria Steinem, Sue Stoffel, Rachel Vancelette and Gordon VeneKlasen.
Hope to see you all in 2019!

Claire Montgomery, Executive Director of Location One is pleased to announce its first-ever benefit gala held on the occasion of its 10th Anniversary. The gala will take place on Thursday, March 5, 2009 at 7pm at 26 Greene Street. On the night of the gala, internationally-renowned artist and 2008 Location One Senior Artist-in-Residence Laurie Anderson will stage a special performance.

Fostered by the experimental art scene of downtown New York in the early 1970s, Anderson created her earliest performances in SoHo, where Location One is based today. She has gone on to include a variety of media from music, video, digital art, and sculpture, in addition to continuing her acclaimed performance work. Following the gala, Location One will present an exhibition entitled From the Air: Two Installations and will be open to the public from March 10 through April 25, 2009.

Location One’s 10th Anniversary Benefit Gala will be limited to 125 guests, creating an intimate, private atmosphere in which to see the performance and share cocktails and dinner with artists and Location One patrons. The gala will take place as the art world convenes in New York for the Armory Show week.

Proceeds from the gala will fund Location One’s International Residency Program, which supports established and emerging artists in exploring new forms of artistic expression. The gala will also support Location One’s public programs, which include exhibitions of artwork created by artists in residence, as well as music, performances, and lectures.

Location One’s 10th Anniversary benefit gala committee is chaired by Sophie Crichton-Stuart, James Lindon, Alina Pedroso, and Eric C. Shiner. Location One extends special thanks to Champagne Nicolas Feuillatte, Havas, Barclays Capital, Goldman Sachs and Loews for their early commitment and generous support of the 10th Anniversary Benefit Gala.

Individual tickets to the event are $500 to $1,500 and tables are $5,000 to $15,000. Premium tickets include a limited edition sculpture by Nayland Blake. For ticket sales or further information, please contact Cody Montgomery at (212) 334-3347 or cody@location1.org.

Individual tickets to the event are $500 to $1,500 and tables are $5,000 to $15,000. For ticket sales or further information, please contact Cody Montgomery at (212) 334-3347 or cody@location1.org.

Note to the media:
Please note that advance registration is required for access to the event.

Media Contact:
For more information, images, interviews, or registration for the event, please contact
Cody Montgomery
Location One
T. (212) 334-3347
F. (212) 334-3289
E. cody@location1.org

Each night he will invite five artists, musicians, and authors to react to his work. The second Misbehavior, on January 9, will be no less spectacular, showcasing additional performer-reactors, as well as a re-staging of Blake’s notorious performance, “Gorge,” a one-hour performance in which the artist sits shirtless in front of a table full of food from which the audience is encouraged to feed him. The final Misbehavior, promises to be a grand finale, full of surprises. Be prepared to see interpretations of Blake’s work by artists such as Zeena Parkins, Carolee Schneemann, and Lynn Tillman.

 details on the February 7th perfomances coming soon…

The second night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake. At 6pm Blake will reenact his notorious performance, “Gorge,” a one-hour event in which the artist will sit shirtless in front of a table full of food from which the audience is encouraged to feed him.

photo by Nayland Blake, Gorge 2009

Performers: Rob Fitterman, Robert Gluck, Sarah Schulman, Carmelita Tropicana and Dominic Vine.
Curated by Nayland Blake

Please join us next Wednesday, December 17 for the first night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake.

During the course of the exhibition, Blake will also curate two more evenings of performances, January 9 and February 7. Each night he will invite five artists,
musicians, and authors to react to his work. The second Misbehavior, on January 9, will
be no less spectacular, showcasing additional performer-reactors, as well as a re-staging of
Blake’s notorious performance, “Gorge,” a one-hour performance in which the artist sits shirtless
in front of a table full of food from which the audience is encouraged to feed him. The final
Misbehavior, promises to be a grand finale, full of surprises. Be prepared to see interpretations of
Blake’s work by artists such as Zeena Parkins, Carolee Schneemann, and Lynn Tillman.


Nayland Blake - Misbehavior I - Carmelita Tropicana


Nayland Blake - Misbehavior I - Rob Fitterman



Nayland Blake – Misbehavior I – Dominic Vine. (Audio Only)
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Dominic Vine (still image)

Nayland Blake: Behavior, a 25-year survey of the renowned artist’s work, will feature some thirty pieces from every aspect of Blake’s career as a painter, sculptor, illustrator, performer, and installation artist. They include the iconic Magic (1991), Heavenly Bunny Suit (1994), a restraint piece, Jim (2000), as well as a generous selection of works never before exhibited in NYC. Nayland Blake: Behavior will be accompanied by a catalogue, as well as by a series of artist-curated performance nights, one of which will include a re-staging of Blake’s “Gorge” (1998).

artist bio
Nayland Blake; artist, writer, educator and curator, was born in 1960 in New York City, where he currently lives and works. Over the past twenty four years he has exhibited widely throughout the world. He has had one-person exhibitions at the San Francisco Museum of Modern Art; University Art Museum, Berkeley; Contemporary Arts Museum, Houston, and the Tang Teaching Museum at Skidmore College. His works are in the permanent collections of The Museum of Modern Art, The Whitney Museum, Los Angeles Museum of Contemporary Art, the Brooklyn Museum, The Studio Museum in Harlem, and many others. He is the author of numerous catalog essays as well as articles and interviews appearing in such publications as Artforum, Out, Interview, and Outlook. In 1995 he was the co-curator, with Larry Rinder, of In A Different Light, the first museum exhibition to examine the impact of Lesbian, Gay and Queer artists on contemporary art. He is currently the founding chair of the ICP/Bard Masters Program in Advanced Photographic Studies at the International Center for Photography in New York. Blake is represented by Fred in London, Gallery Paule Anglim in San Francisco, and Matthew Marks Gallery in New York.

curator’s bio
Maura Reilly is an independent curator and writer. From 2003–2008, she worked as the founding curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, during which time she organized several exhibitions, including the permanent re-installation of The Dinner Party by Judy Chicago, the critically acclaimed Global Feminisms, co-curated with Linda Nochlin, and Ghada Amer: Love Has No End (for which a major monograph by Reilly is forthcoming). Prior to joining Brooklyn Museum, she worked as a free-lance art critic, most regularly writing for Art in America and Art Journal, while also organizing a number of exhibitions as an independent curator, most notably Citizen Queer at the Shedhalle in Zürich, Switzerland, Neoqueer at the Center on Contemporary Art, Seattle. Most recently, Reilly co-curated La Mirada Iracunda (The Furious Gaze) at the Centro Cultural Montehermoso de Vitoria-Gasteiz, Spain. She has published and lectured widely on post-war art and has taught at the Institute of Fine Arts at New York University, Tufts University in Medford, MA, and at Pratt Institute in Brooklyn. Dr. Reilly received her M. A. and Ph. D. from the Institute of Fine Arts at New York University. Her next curatorial project is an exhibition showcasing the early paintings of Carolee Schneemann at PPOW Gallery, New York, in 2009.

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Wednesday, July 16, 2008
7:00 pm

Jean Shin in conversation with Nathalie Anglès, Director of Location One’s International Residency Program

A Conversation on The Topic of Jean Shin’s Exhibition “And we move”
Wednesday, July 16, 2008 7pm
Free admission, Open to the public
at Location One 26 Greene Street (between Canal and Grand)

Jean Shin’s current exhibition at Location One “And we move” is an installation that explores the nature of music and musical production by analyzing some of its fundamental structures: the score, the conductor, the magnetic tape on which is it is recorded. A site-specific work developed during her residency at Location One, “And we move” incorporates large-scale inkjet prints, magnetic tape, and a video projection of a close view of a conductor’s back as he leads an orchestra, the folds of his jacket undulating with each of his movements. We don’t see his arms or the musicians, but the quiet passages and dramatic swells of the music (Ma Vlast (My Country), by Czech composer Bedrich Smetana, and Ibert’s Flute Concerto) are expressed in the rippling shadows and folds of the fabric.

Artist Jean Shin will talk about her work with Director of Location One’s International Residency Program, Nathalie Anglès on Wednesday, July 16 at 7pm. The event is free and open to the public. Light refreshments will be served.

Jean Shin creates elaborate sculptures and site-specific installations that suggest imaginary communities through the use of accumulated cast-offs. Mary Ceruti writes, “Jean Shin uses discarded material (the excess, the forgotten, the no longer useful) in works that operate between abstraction and representation. Made from the remnants of contemporary urban life, Shin’s sculptures form a sort of visual history and a social mapping.”

A Brooklyn-based artist, Jean has exhibited widely in the U.S. and abroad. Recently awarded a GSA Art in Architecture commission, she is working on a permanent large-scale work in the lobby of the Fallon Federal Building in Baltimore, Maryland. Exhibitions include the Museum of Modern Art, New Museum of Contemporary Art, Asia Society, Brooklyn Museum, Sculpture Center, Fabric Workshop, Socrates Sculpture Park, PKM Gallery (Beijing), Ssamzie Space (Seoul), Frederieke Taylor Gallery, and Galerie Eric Dupont (Paris).
Website: http://www.jeanshin.com

Jean Shin’s residency at Location One is supported by the Rockefeller Brothers Fund.

A screening and reading and talk with artists Rob Kennedy and Peter Rose
Wed 25th June 2008 7pm

A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernalia

A screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

Hapless, Helpless and Hopeless is a video by Rob Kennedy and Peter Dowling produced entirely of sampled television advertisements that attempts to adapt and re-define the codes at work in these sales pitches, building a “grammar” that can be used to suggest other readings, other outcomes, other problems, than those nominally prescribed in the role of the advertisement, This is not in some vain attempt at trying to negate the power of these adverts, but in order to construct a constantly shifting series of relationships that mines the psychological, emotional and semiotic power of these highly produced images and sounds.

http://www.steadykammer.net/pages/CollaborationsKennedy.html

Grouped together under the title VOX 13 is a series of films by Peter Rose dealing with the complexities of language. By disturbing generally understood codes and conventions these films both critique the problems of communication whilst savouring the joy and humour of language as it is let loose on itself. ‘Secondary Currents’ and ‘The Gift’ are just two of the films from this fascinating series.

www.peterrosepicture.org

A variety of other texts and sounds will be read and played to further present the obscurity of language and our fragile relationship to the signs and conventions that we so readily rely on.

With thanks to Peter Rose, Location One, Filmmakers Coop, NYC.

Rob Kennedy’s residency at Location One is funded by Scottish Arts Council.

Rob Kennedy is an artist from Glasgow, UK, working mainly with video and installation. Coming from a background in sculpture, his video work is concerned more with the physical manipulation of material, language and time rather than acting as a framing device to view the world through a lens. A series of current projects are focused on collaborations with several composers/musicians using techniques of improvisation both live and in the studio, to play with certain generic conventions of television production.

His work has been screened and exhibited in numerous festivals and galleries including Tate Britain, Venice Biennale, Tramway, Transmediale, Impakt, Backup and the Edinburgh film festival.

Since 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose’s background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent work has involved a return to an examination of landscape, time, and vision and takes the form of installation. Rose has been widely exhibited, both nationally and internationally, and has been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival.

2×2: New Randy & Bob Holman w/ Vito RicciFriday – May 2nd, 20088:00 pm poetry, 9:00 pm showtickets $15

Reservations 212.334.33472×2 brings together two poet/musician duos in a night of New Poetry, Old School styleNew Randy is poet Holly Anderson (“density and loneliness of the City” (NYTimes)) and musician Lisa B. Burns (“my personal favorite”(Lenny Kaye)).Bob Holman, proprietor of the Bowery Poetry Club, is “Dean of the Scene” (Seventeen). Vito Ricci is “Downtown Musician Laureate #1” (World Magazine).New Randy: Q. What happens when a blue-eyed writer and a dark-haired singer conjure Sappho drinking vodkas in a neighborhood bar? A. They start writing about The Nature of Longing and the Longing for Nature. “If you’re young and taking love too seriously, if you’re old and giving up on it, if you’re a guy who can’t figure out women, if you’re a woman who’s not sure how strange you are, you could probably learn something from New Randy. Sure, it’s home-made… all the good stuff is.” –Jennifer Kelly, Splendid Magazine.Bob Holman w/ Vito Ricci perform from their new CD “The Awesome Whatever” (Bowery Records): Bob Holman, an originator of the Spoken Word and Slam Poetry scenes, shows how it’s done in nine tracks (plus an Easter Egg encore), produced and with music by his long-time collaborator in rhyme, master musician of Maspeth Vito Ricci. With the zipzap influence of the Hipperama of the Classics, Lord Buckley, and the on-kilter space shots of Captain Beefheart, Holman glides cross genres, boundaries and streams of consciousness like a your own personal tour guide on the road to Nirvana. “Nice work, Bob.” –Lou Reed

Click here to view the embedded video.

2×2: New Randy & Bob Holman w/ Vito RicciFriday – May 2nd, 20088:00 pm poetry, 9:00 pm showtickets $15

Reservations 212.334.33472×2 brings together two poet/musician duos in a night of New Poetry, Old School styleNew Randy is poet Holly Anderson (“density and loneliness of the City” (NYTimes)) and musician Lisa B. Burns (“my personal favorite”(Lenny Kaye)).Bob Holman, proprietor of the Bowery Poetry Club, is “Dean of the Scene” (Seventeen). Vito Ricci is “Downtown Musician Laureate #1” (World Magazine).New Randy: Q. What happens when a blue-eyed writer and a dark-haired singer conjure Sappho drinking vodkas in a neighborhood bar? A. They start writing about The Nature of Longing and the Longing for Nature. “If you’re young and taking love too seriously, if you’re old and giving up on it, if you’re a guy who can’t figure out women, if you’re a woman who’s not sure how strange you are, you could probably learn something from New Randy. Sure, it’s home-made… all the good stuff is.” –Jennifer Kelly, Splendid Magazine.Bob Holman w/ Vito Ricci perform from their new CD “The Awesome Whatever” (Bowery Records): Bob Holman, an originator of the Spoken Word and Slam Poetry scenes, shows how it’s done in nine tracks (plus an Easter Egg encore), produced and with music by his long-time collaborator in rhyme, master musician of Maspeth Vito Ricci. With the zipzap influence of the Hipperama of the Classics, Lord Buckley, and the on-kilter space shots of Captain Beefheart, Holman glides cross genres, boundaries and streams of consciousness like a your own personal tour guide on the road to Nirvana. “Nice work, Bob.” –Lou Reed

Click here to view the embedded video.

“From Cricket to Airplane”, an experimental performance by Hung Nguyen Manh followed by 2 other short pieces.3 solo pieces that transports the audience into hi-frequency (cricket) to lo-frequency (airplane) sound effects. Realized with an electric guitar, e-bow and effects Boss DS1 + PS5 + DD6.

Click here to view the embedded video.

Crater New York: A Lunar Drawing Contest

The last drawing session was Saturday, September 22, 2007. Thank you to all the participating artists.

The winners were:
Rowan Boehning 1st Prize 3 acres of land on the moon
Virginia Buchan 2nd Prize 2 acres of land on the moon
Jeffrey Lispsky 3rd Prize 1 acre of land on the moon

Here’s a slide show of many of the drawings:

Special Curator Tour for Members

June 25, 2007
6:30 – 8:00 PM

Join Nathalie Angles, Director of the Residency Program, the 2007 Artists-in-Residence, and fellow Location One members for a special tour of the Summer IRP exhibition. The artists will talk about their work and how it developed during their residency. Refreshments will be served.

International Residents’ Exhibition 2006-2007 – CURATOR/ARTIST TALK

Join Nathalie Anglès, Director of the Residency Program at Location One, invited guest Miguel Amado (Curator and critic, Curatorial Fellow at Rhizome.org) for a walk-through and discussion of the exhibition.

The exhibition features new work and installations developed by nine artists who have been in residence at Location One in 2006-2007. It represents a diverse range of artistic approaches and many are works in progress.

• Jeanette Doyle (Ireland) / St. Patrick’s Day NY 2006-07
• Cliff Evans (USA) / Bare Life: Booth Girls and Stormtroopers: Accumulation
• Krist Gruijthuijsen (The Netherlands) / Alan (a memoir)
• Juei-Hsien Hsu (Taiwan) / Between
• SoYoun Jeong (Korea) / Natural Strawberry Flavor
• Miguel Palma (Portugal) / Deep Breath
• Bundith Phunsombatlert (Thailand) / English Lesson (Something We Learn From One Another)
• Jani Ruscica (Finland) / Futurama
• Eric Van Hove (Belgium) / Ecumenopolis

June 2nd – July 28th, 2007
Opening Reception: Saturday, June 2nd, 2007 5-7 pm
Exhibition open through Saturday July 28th (Tue – Sat, 12 – 6 pm)

Location One presents the second IRP group show of the 2006-2007 season, featuring new work developed by our resident artists. The exhibition represents a diverse range of artistic approaches and many are works in progress.

Jeanette Doyle (Ireland) – St. Patrick’s Day NY 2006-07

This triptych work addresses Doyle’s ongoing interest in the St. Patrick’s Day parade and how an event of this nature can segue into militarism. Framed against the entrance to the Metropolitan Museum of Modern Art, the video displayed in the central television features the parade in 2007 as it draws to an end. On the adjacent TVs, the artist has painted the image of a policeman that she photographed as he stuck out his tongue at the 2006 parade. A DVD of a solid color plays behind each painted television, green on one side and blue on the other. This new work reinforces the notion of the rendering of the self into spectacle, the Disney-fication and remote construction of National identity.

Jeanette’s residency at Location One is supported by the Arts Council of Ireland and The Irish American Cultural Institute.

Cliff Evans (USA) – Bare life: Booth Girl*s and Stormtroopers: Accumulation

A multi-channel photomontage animation that is presented as an object similar to an altar piece or a product display. It is constructed from an LCD screen and personal media players. It functions as a machine to contain, decipher and display images gathered from online sources. It situates itself within a soft-fascism, producing a baroque spectacle that unfolds and repeats. It, perhaps, is a clockwork meant to tell the time in an age of tech-fetish and availability at a glance.

Cliff’s residency at Location One is supported by The Andy Warhol Foundation for the Visual Arts.

Krist Gruijthuijsen (The Netherlands) – Alan (a memoir)

In Gruijthuijsen’s body of work, the in-depth investigation of personas such as Alan Abel’s underscores the artist’s interest in the relation between construction of myth, its process, and the fluctuating role of the contemporary artist. In this film, slow environmental shots of Abel’s current surroundings support the voice of the 82-year-old protagonist as he reads a letter that he wrote at age 16 describing his life so far and his future goals. This narration is followed by the reading of his obituary, recalling Abel’s last fictional action, when he placed his obituary in the New York Times. Abel’s extraordinary career consisted of “invisible actions” –such as Omer’s School for Beggars (talk shows on how to beg effectively), or mounting a decency campaign for animal underwear– that question the power of media, but also owe their existence to media.

Krist’s residency at Location One is supported by Fonds BKVB.

Ruey-Hsiaan Hsu (Taiwan) – Between

Ruey-Hsiaan Hsu uses mechanical elements as a creative medium, building technically complex and conceptually sophisticated machines. Their motions, which stimulate memories and emotions, are activated by the audience; it is the audience which makes the works complete. In this new body of work, the artist incorporates sound as a means to extend the language of his work.

Ruey-Hsiaan’s residency at Location One is supported by the Yageo Tech Art Award of the ACC (Asian Cultural Council).

SoYoun Jeong (Korea) – Natural Strawberry Flavor

This multiple media installation addresses the cute factor phenomenon that is ubiquitous in Korean culture, but also in the rest of the world. The title is derived from feelings of cuteness that can be experienced in the presence of a Korean female of extreme youth, vulnerability and cuteness as she sings cues from the “I like you, I love you ” melody in the video. However, cuteness and its appealing attributes are simultaneously paired off with a sense of cheapness, manipulation and exploitation. For SoYoun the specter of cuteness haunts the world, to such an extent that “it tastes like the artificiality of natural strawberry flavor. Thus it is natural for me to catch the ghost.”

SoYoun’s residency at Location One is supported by The Daeyu Cultural Foundation.

Miguel Palma (Portugal) – Deep Breath

This installation consists of a scale model of a city constructed on top of a platform/work bench. A dark nylon fabric encloses the city, thus making it impossible for the city to be seen from the outside. Three fans installed at the base of the device blow air into the fabric. Attached to the fabric is a micro camera that rises when the fans are activated. The images shot by the camera offer an aerial view of the cityscape and are projected onto a nearby wall. Every 70 seconds the fans are deactivated, the fabric falls, as does the camera attached to it. The image of this rising and falling process recalls a lung membrane under the scrutiny of a scan or an x-ray. The title of the work reflects this analogy.

Miguel’s residency at Location One is supported by Instituto das Artes and Fundação Ilídio Pinho.

Bundith Phunsombatlert (Thailand) – English Lesson (Something We Learn From One Another)

This video project is inspired by stories from Bundith’s classmates during English classes taken in New York. Bundith recontextualizes elements deriving from diverse nationalities, religious, and cultural points of view in a new “textbook” format of English Language Lessons that have little to do with the more traditional English textbooks. Bundith describes this piece as a collaboration between himself, a few classmates and their English teacher, Ms. A. Smith. It combines stories in which proverbs, idioms, and certain aspects of American culture are employed, as well as personal memories, pregnant thoughts and our hopes for the future. Based on real life stories, this innovative textbook constitutes the basis for conversation and pronunciation.

Bundith’s residency at Location One is supported by the Asian Cultural Council.

Jani Ruscica (Finland) – Futurama

The video, Futurama, takes as its focus the New York State pavilion for the 1964 World’s Fair. The building, a nonfunctional relic from the past, still stands on its site in Queens as testimony of failed utopias. The Pavilion, designed by architect Philip Johnson, was meant to epitomize all the bright promise of the future, as well as fulfill locally a social function beyond the duration of the fair. Ruscica’s video juxtaposes the ambiguity of the structure in its current state to a soundtrack of original newsreel reports from the 1964 Fair. The circular structure of the pavilion is paralleled to the circular nature of fairground attractions, theateramas, dioramas, futuramas.

Jani’s residency at Location One is supported by FRAME (Finnish Fund for Art Exchange).

Eric Van Hove (Belgium) – Ecumenopolis

Van Hove’s non-linear digital installation consists of some 2000 randomly selected video sequences of 5 to 20 seconds played from a database and generating a hypnotic narrative bound to déjà-vu. The impulse to recompose a fictive city from footage collected by the artist in 45 cities worldwide harks back to the original idea of Ecumenopolis as a single city that is continuous worldwide. This piece also brings forth Van Hove’s interest in the writings of Yanagita Kunio, the father of Japanese native ethnology, and his analysis on how earlier and essential layers of national life –custom, practice, and belief– are able to filter through the modern overlays and provide a map for the present. While reflecting on modern digital possibilities, Ecumenopolis, a still life of a sort, relates to other films’ attempt to envision the soul of a city, such as Jean Vigo’s A propos de Nice, and Walther Ruttmann’s Berlin, symphony of a great city.

Eric’s residency at Location One is supported by Service culturel, Commissariat general aux relations internationales de la Communauté française de Belgique.
Location One is a not-for-profit organization devoted to the convergence between visual, performing and digital arts in a time of rapidly changing technology. The International Residency Program is a central part of its activities. It encourages collaboration by inviting artists from all over the world, and working in different media, to experiment with advanced technological tools and delivery systems, and to develop new work.

Collaboration in New Media Art:
Does collaboration constitute compromise, act as a catalyst, or infer complexity?

There has been much debate in recent times around collaboration in new media art practice. Amanda McDonald Crowley, Executive Director of EYEBEAM Art and Technology center in New York, will raise questions, deliberate on the issues and propose some answers:

• Does collaboration necessitate compromise?
• Does it mirror the practice of artists working in this field?
• Are new media practitioners even artists?
• What is the role of the curator in a collaborative cultural endeavor?

Amanda McDonald Crowley is the Executive Director of Eyebeam art and technology center in New York. In 2005 Amanda relocated from her native Australia where she had been based while working nationally, as well as in Europe and Asia, as an arts producer, facilitator, researcher and curator specializing in creating new media and contemporary art programs that encourage cross disciplinary practice, collaboration and exchange. Positions she has held include serving served as the Executive Producer of the 2004 International Symposium of Electronic Art (ISEA2004), developing the event from concept to major conferences, exhibitions, performances, concerts and site specific installations on a ferry in the Baltic Sea and locations in Estonia and Finland; Associate Director for Adelaide Festival 2002; and Director of the Australian Network for Art and Technology (ANAT), an organization with a national brief to foster links between the arts, sciences and new technology.
Eyebeam’s website >>

SLART(TM) : Art in Second Life a presentation by Richard Minsky

In Second Life there is a virtual art world where Artists, dealers, curators, collectors and critics are represented by “avatars,” animated characters which can look like anything from realistic humans or animals to cartoons or geometrical objects. At any given time 25-35,000 people are simultaneously occupying this Metaverse. There are over 500 art galleries, and the range of art varies from shopping mall kitsch to huge animated sculptural installations that defy the laws of terrestrial physics. In this world you ARE art.

Artist and entrepreneur Richard Minsky started a website and blog titled SLART (TM), a critical review and journal of art in Second Life. Now he is planning to issue SLART as a paper magazine, beginning with a summer 2007 issue. During his presentation at Location One, Minsky will be navigating in Second Life under his in-world identity to show us some of the variety of artists, art galleries, museums, artists’ studios and university galleries there. These locations can disappear as rapidly as they appear, when owners change their mind about what they are doing, or don’t pay the rent.

Richard Minsky is the Founder of The Center for Book Arts, which was the first not-for-profit organization in the USA dedicated to advancing the art of the book through exhibitions, classes and studios. A graduate in Economics at Brown University and The New School, Minsky has participated regularly in the Art & Cognition symposia as a member of the Guest Panel [see http://interdisciplines.org/artcog and http://interdisciplines.org/artcognition ]. Richard’s work is on the web at http://minsky.com. Last year he published American Decorated Publishers’ Bindings 1872-1929, a profusely illustrated catalog and analysis of his collection, which was recently acquired by the university of Alabama.

Click here to view the embedded video.

Please bring snacks to share!

Featuring the well-groomed and GMO-free:

	Stephanie Rothenberg: School of Perpetual Training & other projects The “School of Perpetual Training” is a multi-faceted project that uses game-based models to examine invisible labor in the global computer video game industry. Using play as a format for addressing critical issues around inequitable wealth distribution, low-income, manual labor and specialized, information-based labor, the project aims to question the role of play and the current production of play in contemporary culture. Other recent projects including “The Zero Hour” and “Collective Simulated Synaesthesia” will also be discussed. http://www.pan-o-matic.com/
	David Galbraith: lgOpre here is my description: lgOpre (pronounced luh – GOP – ruh) combines vintage algorithms for visual grid patterns with vinyl LP lock groove audio to create a generative system for real-time image and sound. lgOpre features an application to graphically compose the images, a scripting language for lgOpre animations, and a message-based system to link the animations to sound. A driving motivation behind the lgOpre software is the use of structured graphics, created from the translation of other complex systems, as a controller for digital sound software to yield surprising and musically useful results. http://www.soundsokay.com/djg.html
	Mike Montana: PT171 – the story of a small wooden boat http://PT171.org

The third talk in a three-part series led by art historian and critic Marcia Vetrocq
WHERE THE TRUTH LIES: On Veracity, Conscience and Subjectivity in Recent Art
WAYNE GONZALES
Wednesday 25 April 2007, 7 pm
Free and open to the public

Gonzales has been known for his politically charged paintings based on photographs and documents culled from the archives of American history and popular culture. The artist’s subject matter has included such diverse topics as the Hooters girls, Lee Harvey Oswald, The White House and self-portraiture. His work may be found in public and private collections internationally, most notably the Dallas Museum of Art , Dallas, TX and the Albright-Knox Art Gallery, Buffalo, NY. In New York he shows with Paula Cooper Gallery.

Click here to view the embedded video.

The second in a series hosted by critic and art historian Marcia Vetrocq and entitled WHERE THE TRUTH LIES: On Veracity, Conscience and Subjectivity in Recent Art
Martha Rosler will talk about the installation on view in our galleries as well as her past work and current undertakings, in relation to the theme of Truth in art. website

Click here to view the embedded video.

Heather Wagner in conversation with artist Yuichiro Nishizawa

his website is http://liminalspace.org

Yuichiro Nishizawa is a Japanese artist who has been creating work in the U.S. since 1993. His early animation has been shown internationally and in the U.S. Since 2000, he has been actively exhibiting in the U.S. He holds a BFA in Film/Animation/Video from the Rhode Island School of Design and a Post-Baccalaureate Certificate and an MFA in Art and Technology from the School of the Art Institute of Chicago. Born out of his interest in self-reflection, Nishizawa tries to create opportunities for viewers to turn their gaze inward as they navigate through the unfamiliar. Nishizawa lives and works in New York.
(artist statement)
Our experience of the world around us is increasingly mediated by technology, full of promise and limitations. As we embrace the newness, convenience, and speed of the modern world, what are we compromising? What are we forgetting? What are we failing to observe? What are we learning? What is the effect of technology on nature, on human nature?

In my work, I seek to present an opportunity for self-reflection, to stimulate thought, and to encourage observation. I view my work as planting a seed. Whether or not the seed blossoms depends entirely upon the viewer. For some, it may flower immediately; for others, it may lie dormant for some time before springing to life; for still others, it may never blossom.

My work is only fully realized through the interaction of the viewer—with the work, with others in the space—and through the thoughts the work may provoke, the memories it may recall. My hope is to provide an experience that brings the viewer to questions, furthers their own spirit of inquiry, engages their curiosity, makes them imagine.

Location One is pleased to announce the opening of the installation StarLine Tours by resident artist Jeanette Doyle, on April 12th from 6 to 8 pm. The installation consists of video, audio (approximately 1h40mins.) and digital prints on watercolor paper, and will be on view in the Project Gallery through Friday May 25th.

Jeanette Doyle’s practice is primarily concerned with picture making. She is particularly interested in painting and its relationship to lens-based technologies. Her work is driven by conceptual concerns but is deeply engaged with the processes and mechanics of making, especially the production of images. Her works express a desire to crystalise complexity for a moment in an image which, on closer inspection, allows the fiction of coherence to dissolve. Disjunction between the image and text is a hint of this. This disjunction between word and image is a feature of the ‘StarLine Tours’ exhibition at Location One.

The video element was shot on a commercial celebrity-home tour through Hollywood, Beverly Hills, Bel Air and Rodeo Drive. The visual footage represents what is visible through the left-hand window of the tour-bus, often simply bushes, pavements, other vehicles and pedestrians but occasionally also the homes referenced in the soundtrack.

The soundtrack is provided by the bus-driver’s commentary as he describes the palatial homes, the ‘stars’ who live in them and other matters relating to property values and the career trajectories of the inhabitants. However the image of what is described although tantalizingly close is, in the main, denied to the viewer.

The accompanying digital prints are screens grabs from the video, some have had water applied to render them as watercolors, others project the gloss of the cinematic image. These prints are exhibited in a space where the same soundtrack as the video work is audible, further raising questions about the nature of representation, the relationship between different media and the choices made by an artist in the selection of particular images.

The artist manipulates the various media she employs in order to generate very particular effects, questioning the notion of representation and creating a metaphor of what we think we are seeing versus what we actually see or what is given to be seen.

Jeanette Doyle earned critical acclaim with her first post-graduate exhibition, winning the Overall Prize at ev+a ‘95, curated by Maria de Corral. Since then, her practice has concerned itself, often playfully, with the interrogation of a number of different disciplines and stances. Her work has been exhibited widely both in Ireland and abroad; including Ecole Nationale Supérieure des Beaux-Arts, Paris; Museum of Modern Art, Croatia; Brisbane Institute of Modern Art; Australian Centre for Contemporary Art; the ICA and Studio Voltaire, London; Dublin City Gallery, the Hugh Lane and the Crawford Municipal Art Gallery, Cork. Doyle has also held solo exhibitions at the Nordic Institute for Contemporary Art, Helsinki; Limerick City Gallery of Art; City Arts Centre, Dublin; Fenderesky Gallery, Belfast and Temple Bar Gallery, Dublin. In 2003 and 2005 she showed at Eurojet Futures at the Royal Hibernian Academy, Dublin.

In 2006, Jeanette received a First Class MA in Visual Arts Practices at the Dún Laoghaire Institute of Art, Design and Technology (IADT). The work produced during this period was shown at an exhibition entitled ‘and then I place my face against the glass’ at Broadstone Gallery, Dublin; with a concurrent show ‘Portrayals’, at AXIS, Ballymun, a Breaking Ground 2 commission. In the past years she has been concentrating her practice on the painted image and its relationship to a variety of both lens based and digital technologies.

Upcoming shows include “SURGE”, 798 Art Festival, Beijing – which will then travel to Duolong Museum of Modern Art, Shanghai and Xiangning Art Museum in Shenzhen (Hong Kong), curated by The Artist’s Network, New York. Doyle will also exhibit at ‘EDGE’ Kochi Museum, Japan later this year.

Jeanette Doyle is the recipient of 2006/2007 Irish Fellowship at Location One.
This is supported by the Arts Council of Ireland and The Irish American Cultural Institute.

Further information about Jeanette Doyle’s practice is available at: www.jeanettedoyle.com

Location One is pleased to present Virtual Minefield, a new installation by Martha Rosler which features The Phrasalator, a two-way speech-to-speech device developed by the Defense Department to translate medical information to and from English and Arabic. This exhibition marks the first use of this technology in a non-military capacity.

Since the early 1970s, Martha Rosler has produced seminal work in the fields of video, performance, photography, critical writing, and theory. Her incisive, often humorous and transgressive, renderings of the social scene reflect her strong commitment to an art that engages with wider publics beyond the privileged spaces of the art world. Accessibility has always been a major concern of hers, as is the role of the viewer in constructing the meaning of the work. She presses viewers to rethink the boundaries between the public and the private as well as the social and the political.

Like an archeologist, Rosler peels back the layers of common sense. Public discourse, and daily experience to reveal the complex realities behind social myths. She brings a critical eye and deadpan wit to bear on aspects of ordinary life and the political world, with particular emphasis on the impact of patriarchal culture. From “Bringing the War Home,” the biting yet beautiful series of photomontages that were generated by her outrage over the Vietnam War to the ambitious and innovative curatorial project “If You Lived Here,” addressing homelessness, housing, and urbanism, Rosler has taken on some of the most pressing issues of our times.

Video from artist talk with Martha Rosler: “Where the Truth Lies”

April 19, 2007
Martha Rosler with Marcia Vetrocq
The second in a series hosted by critic and art historian Marcia Vetrocq and entitled WHERE THE TRUTH LIES: On Veracity, Conscience and Subjectivity in Recent Art.Martha Rosler will talk about the installation on view in our galleries as well as her past work and current undertakings, in relation to the theme of Truth in art.

for more information on Martha Rosler’s work, see her website here: >>.

This exhibition is supported in part by the Peter Norton Family Foundation and the New York State Council on the Arts.

Philippa Kaye Company, Special One-Night Only Dance Performance, Friday, April 6, 2007

Location One presents
Philippa Kaye Company
“Ritual for a Non-repeating Universe”
with music performed by The AirBand

Friday April 6th
8PM

tickets $20 (Location One members FREE)
A one-time expansive event mixing the analog – cray-pas and contemporary dance – with the digital – sensored sound and light.In Ritual for a Non-repeating Universe, an exploration of Chaos Theory and the phenomena of unpredictable systems, Philippa Kaye Company dancers pitch their sensitive bodies into the rigors of momentum, making quick and unalterable decisions as their limbs swing and fall, while a computer program designed by judsoN (Judson Wright) tracks their motion and translates it into digital animation. In occasional doomed efforts for control, the dancers attempt to orchestrate the proceedings or each other, but moments of equilibrium arrive magically when they surrender. Langdon C. Crawford uses his laptop compositions to respond to changes in the moment. The dance is highlighted by costumes by Heather Bowie.The AirBand will play a few original compositions and improvise with Philippa Kaye Company.
Dancers performing on April 6th will be Toby Billowitz, Tiffany Cunningham, Chris Daftsios, Azahara Ubera Beidma, Lauren Engleman, Kristin Hapke, Philippa Kaye, Storme Sundberg.THE AIRBAND
Langdon C. Crawford, William David Fastenow, Laura M. Sinnott
The group gets its name from the first instrument built for the band in 2006. The MIDI AirGuitar was designed to allow the musician to control a computer’s sound output with gestures from afar. The band has designed their handmade instruments to manipulate a wide sound spectrum. www.theairband.comPhilippa Kaye:
Philippa Kaye has been making dances for public performance since 1995, and has been dancing all along. She trained at the School of American Ballet and performed with American Ballet Theater as a child in New York City. Entranced by American Musical Theater and popular dance forms, she simultaneously developed a taste for the more personalized vocabularies of Modern Dance. After Graduating with a BA in Studio Art from U.C. Santa Cruz, she performed with numerous Contemporary choreographers in San Francisco and New York.In 2000, she was commissioned by Dancing in the Streets for Wave Hill to create “Manicure,” a site-specific outdoor work, and by Cooper-Hewitt National Design Museum Smithsonian Institution to set an evening of work in its public garden on Fifth Avenue. After studying the possibilities of interactive electronic media with performance and receiving an MFA in choreography from Sarah Lawrence College in 2002, she formed Philippa Kaye Company to continue making dances. Her work has also been presented by Dixon Place, Dancenow/NYC, Chashama, New Dance Alliance, The 92nd St. Y, Sarah Lawrence College, SWEAT in Hoboken, N.J., Concord Academy, Concord, MA, and the D.C. International Improvisation Festival, and seen at many New York City venues including Joyce Soho, Pace Downtown Theater, The Gene Frankel Theater, Fordham University, as well as The Painted Bride, Philadelphia, PA. She has been a Fieldwork facilitator and is an active teacher.

A strong début season marked by technical complexity and understated wit. In “Ritual for a Non-Repeating Universe,” the troupe dances as if guided by unseen forces. Crayons gripped in the dancer’s fists record their motions on the walls and floor, and when the lights go out, glow sticks tied to their shins and forearms leave florescent traces in the air. (Brian Seibert, The New Yorker)

The 32,112th dorkbot-nyc meeting took place on Wednesday, April 4th, 2007, at 7pm.

It featured the lithe and fearless:

	Gabe McNatt “Wind-Composition” is a software program created in MAX-MSP that allows the user to adjust the volume and pan of nine different sound-layers. The idea is for the user to create his/her own soundscape, or composition; a completely original work that exists once and only once, and then disappears without recreation. He/she uses his/her ears and own sense of fancy to compose a throw-away-composition. The nine sound-layers consist of synthetically created wind-noises, and pre-recorded sounds created by wind. Despite the user’s ability to control the overall volume and pan levels, each layer constantly and randomly modulates giving the sounds a more elusive, and thus more characteristic wind quality.
	Caitlin Berrigan: Viral Confections “Viral Confections” are edible chocolates shaped into the molecular structure of the hepatitis C virus. These designer chocolates illustrate the inventive protein structure of the hepatitis C virus. A model of the virus was printed as a rapid prototype from a 3D algorithmic illustration of the virus from the Protein Data Bank. The chocolates were then cast into this molecular form. These delicious truffles do not carry hepatitis C. Each one was lovingly handmade from 72% Belgian roasted cocoa. Desire to eat the enticing chocolates is mixed with a repulsion for the infectious virus. This unnerving dialectic has proved to be an exciting and approachable way to ignite discussion and create awareness about an extremely prevalent and underrepresented disease. Dorkbots will have the opportunity to consume the chocolates at the meeting. http://www.membrana.us
	Zach Smith: RepRap RepRap is an open source 3D printing technology that a Maker can truly appreciate. It uses a thermoplastic extruder to melt and lay down a fine stream of plastic. Feed it an object file, and it will hum to life. Line by line, layer by layer, your object slowly appears. Forget the cutting edge, the melted edge is here! http://reprap.org

*IMHO*
with
CHRISTOPH DRAEGER

Wednesday 14 March 2007
7 pm

Location One’s Heather Wagner in conversation with artist Christoph Draeger. They will discuss a new performance/installation piece for the exhibition “Une Question de Génération” at the Musée d’Art Contemporain in Lyon, France. The piece is a re-enactment of rock band The Who’s legendary Monterey Pop Festival performance of “My Generation”, replete with guitar smashing and stage destruction. Other works by Draeger will be discussed.

Disaster and violence are Draeger’s subjects. In the 1990s he visited the sites of plane crashes, explosions and tornados and constructed detailed models of the scenes, which he photographed or painted.
website: http://christophdraeger.com
or: http://www.moca-lyon.org/

The 42147th dorkbot-nyc meeting took place on Wednesday, March 7th, 2007, at 7pm.

It featured the limber and startling:

	Erik Sanner: Rothko shock, the singularity, and painting without paint “Rothko shock” refers to the paralyzing weight of human cultural history. Has everything been said and done? Looking forward to the singularity makes me say not a chance. Technology enables me to make paintings that move. http://eriksanner.com/
	Christine Gatti: 18 project From late July 2004 through mid-January 2006, I took two photographs – one of my face and the other of my surrounding environment – on the 18th minute of each hour of every day. The motivation behind the project was to find a vehicle to become more present in my daily life, to come out of my head for a moment or two every hour and take note of where I was in the physical world, to become aware of my feet on the ground. I saw the project as a meditation; a ritual; a commitment added to a less committed life; an experiment. This process, to become mindful for a few moments on the hour, has produced more than 20,000 images. http://www.christinegatti.com
	derivart: financial art What do artists make of Wall Street? The financial markets have a big influence over the people on the street, and artists are beginning to talk about it. We will present a museum exhibition in Madrid that brought together electronic artists, from Rome to San Francisco, that engaged, critiqued or re-imagined global capital markets. http://www.derivart.info

Some images from the meeting.
Roberto Tobar’s images.

Jason Van Anden‘s creative output is generated from an energetic mix of passionate art making and a compulsion to tinker. Among his most recent works are a pair of emotive robots named Neil and Iona, an online videogame called Farklempt! and a very cute virtual Brussels Griffon puppy named ascii chewy. His creations are exhibited internationally and has recieved recognition and support by the art, science, gaming and technology communities. Van Anden holds a BFA in Sculpture from Syracuse University and attended the Skowhegan School of Painting and Sculpture.

Click here to view the embedded video.

Location One presents the first of two exhibitions showcasing new work developed during their residencies by eight artists participating in the 2006-2007 International Residency Program. Featured works, some of which are exhibited as work-in-progress, represent a diverse range of artistic approaches:

Natalie Bewernitz & Marek Goldowski (Germany) – Unveiled Presence (secret sounds 2)
Natalie and Marek’s intermedial video and sound installations are a theoretical and practical attempt to map the possibilities and limits of depicting identity, individual personality and existence in its physical, spiritual and psychological dimensions. Mapping out these characteristics is achieved in the form of interactive and multi-channel installations that deal with the perception of space and sound, and are realized with computer-based self-generating sound creation in real time.

The conceptual premise for Natalie and Marek’s new work is Marcel Duchamp’s ready-made Bruit Secret (New York, 1916). The work contains an object in its center, and Duchamp never knew what it was. It only reveals its presene by shaking the work. With this in mind, Natalie and Marek have recorded secret sounds of the City, which constitute the backbone of this installation.

Bewernitz & Goldowski’s residency at Location One is supported by Schloss Balmoral, Stiftung Rheinland Pfalz für Kultur, and has received additional support from Staatskanzlei Nordrhein-Westfalen, and the Consulate General of Germany, New York

Teresa Henriques (Portugal) – Drawing in Space

Grasping the concept of “Perception” is the focus of Teresa’s body of work. Drawing, geometry, philosophy and optical phenomena are the parameters of her investigations. For this new work Teresa used the open-source animation software, Blender, which she acquired during her residency at Location One. The resulting 3D line drawing/object evolves out of the artist’s extensive research into drawing by women artists in the 20th and 21st centuries. As one walks around the work, two different view points reveal themselves to the spectatpr. This drawing in space becomes a sculpture in the space of the gallery, which in turn becomes an extension of the medium.

Henriques’ residency at Location One is supported by Gulbenkian Foundation and Luso American Foundation for Development.

Agnieszka Kalinowska (Poland) – Doormen

A film and photographic project realized by Agnieszka Kalinowska during her residency, the work features six doormen of different gender, age and faith who come together to narrate personal emotions and observations. Their conversation also touches on politics, ecology and women’s rights. Privy to the hidden worlds of elite Manhattanites, doormen are usually perceived as an invisible people from a different social class. By empowering them with speech, Kalinowska points to reevaluating one of New York’s more conventional practices. The slide presentation here at Location One constitutes a prologue to the film of the same title. Photographs of these “heroes” in their every day outfits alternate with portraits of their uniformed selves.

Kalinowska’s residency at Location One is supported by the Trust for Mutual Understanding and Ministry of Culture, Poland – Program Operacyjny “Promocja Polskiej Kultury Za Granica”, and the a-i-r Laboratory at the Centre for Contemporary Art, Ujazdowski Castle

Nina Katchadourian (U.S.A.) – Zoo (2001-ongoing; a work in progress)

For the past five years Katchadourian has been videotaping extensively in zoos around the world for this project, gathering footage of animals with the goal of rendering them somewhat unplaceable, thus working against the common goal of zoos to project animals as approachable, understandable, and ultimately “like us.” She is also trying to work with the sound in a way that builds an aggregated audio environment, where sound from one monitor will sometimes match, invade, or even dominate, the image of another. The piece shown at Location One is a work-in-progress that reflects the first phase of the project developed during her residency.

Katchadourian’s residency at Location One is supported by The Andy Warhol Foundation for the Visual Arts.

Rie Kawakami (Japan) – Untitled

Of her work Kawakami says that it lies “in revealing the expression of mystery in life and its cycles. I am interested in the unique and aesthetic phenomenon that can be drawn from the nature of materials, both in physical and theoretical terms. My artistic practice is based on the attempt to develop new forms of life in sculpture, installation and interactive work.”

Trained in the tradition of iron and steel welding, this is Rie’s first animation piece. Combining images of Japanese Sumi ink and the Fude brush, the work is modulated by expressions of rhythm and the passage of time. A sense of intense concentration permeates the work as one witnesses the tension between the brush and ink leading to the appearance of the Sumi drawing.

Kawakami’s residency at Location One is supported by the Agency for Cultural Affairs, Japan.

Alessandro Nassiri (Italy) – My private demonstration (a project for 10-20 people, their minds and some T-shirts)

“A demonstration is the display of the common opinion of a group of people. The opinion is demonstrated to be significant by gathering a crowd associated with that opinion. Demonstrations can be used to show a viewpoint (either positive or negative) regarding an issue…” (from wikipedia.org)

For the art video project My Private Demonstration, the artist asked some people to create a small and quick demonstration, to decide on the issue and to take part in it. A sentence was chosen to represent the issue, then transferred onto white T-shirts in red letters (one letter for each T-shirt). Participants came together on December 16th, and went out on the streets to demonstrate: their t-shirts read “coming soon.”

Nassiri’s residency at Location One is supported by Associazione Artegiovane, Fondi Anima, and Comune di Milano.

Kaori Tazoe (Japan)

This new work addresses Kaori’s long term interest in the investigation of the boundaries between reality and fiction and the pursuit of identifying what she calls a “special place,” where these boundaries meet. Surveillance cameras, works on paper and leathercrafted pieces are combined in an attempt to reach this place.

From 1995 to 2002, Kaori collaborated with artist/fashion designer Junko Ito in “Suit,” a series of conceptual art projects exploring the relationship between the individual and the collective mind, and the ways that the act of wearing a uniform affects both the individual and the group. In 2001, she co-founded Scratch Tile Art Space, one of the first alternative art spaces in Yokohama.

Tazoe’s residency at Location One is supported by the Asian Cultural Council.

Virginie Yassef (France) – Les Eparpillés / The Scattered

Virginie’s multi-faceted body of work reveals the poetry of everyday life and emphasizes the subtle gap between perception and reality. Strangeness and the supernatural surfaces when one least expects it. This sculpture continues in the same vein and belongs to a new series of objects referred to by the artist as Les Eparpilles. According to Virginie, these objects have regular shapes, are made of metallic scales, weigh several tons, and are loaded with supraconductive magnets. In appearance they are small metallic spheres, or dirty snowballs whose diameters measure one kilometer. The piece presented at Location One is made in aluminum foil, is attached to its base by a magnet, and produces cold air.

Yassef’s residency at Location One is supported by CulturesFrance and Ville de Paris.

The 28098th dorkbot-nyc meeting took place on Wednesday, February 7th, 2007, at 7pm.

It featured the fragrant and marvellous:

	free103point9: Transmission Arts Two of tonight’s presenters, 31 Down and Tianna Kennedy, are free103point9 “transmission artists”. Tom Roe and Galen Joseph-Hunter will give us a quick intro to free103point9: free103point9 is a non-profit arts organization focused on establishing and cultivating Transmission Arts. This genre includes experimental practices in radio art, video art, light sculpture, and installation and performance utilizing the electromagnetic spectrum. With locations in Upstate and Brooklyn, New York, free103point9 activities support and promote artists exploring transmission frequencies for creative expression. free103point9 programs include public performances and exhibitions, an experimental music series, an online radio station and distribution label, an education initiative, and an artist residency program and study center. http://www.free103point9.org
	31 Down: Pay-Phone Theater represented by Mirit Tal and Shannon Sindelar 31 Down is a theater company that uses radio and network technologies as the backbone for their storytelling in performances and installations. 31 Down has provided a TRIXBOX server (based on Asterisk) for free103point9: transmission arts. Transmission Artists with free103point9 now have access to an open source PBX for use in their artwork. Mirit Tal and Shannon Sindelar, of 31 Down, will introduce the use of this server in their upcoming theater projects, including the subway pay-phone mystery installation, Canal Street Station, opening this March. http://www.31down.org
	Brad Borevitz: The State of the Union Lamenting the triumph of iconicity over rhetoricity in political speech, Brad Borevitz created the State of the Union project to consider if evidence for this assertion exists in the language of the the yearly address which stands as a controlled sample over the course of U.S. history. The website provides searchable access to the corpus of all the State of the Union addresses from 1790 to 2007, and uses visualization software which allows a user to explore how specific words gain and lose prominence over time. State of the Union focuses on the relationship between individual addresses as compared to the entire collection of addresses, highlighting what is different about each document. From this information, users are invited to try and understand the connection between politics and language — between the state we are in, and the language which names it and calls it into being. http://www.onetwothree.net/
	Tianna Kennedy Tianna’s artistic endeavors are collaborative explorations of human/information interaction with an emphasis on the transmission of affect. Though her work often takes shape via sound recording, web-streaming, and radio technologies, her focus inevitably returns to the people involved in the process(es). For her presentation at dorkbot, Tianna will talk about the paradoxical role of nostalgia in the avant-garde of sound technology. Along the way she’ll touch on edison’s gramophone, Sir Oliver Lodge’s Etheric experiments, and her collaborator, Tarikh Korula’s own recent archaeoacoustic stylus, which is supposed to retrieve latent ambient historical sound trapped in objects at the moment of their production. http://www.free103point9.org/artist.php?artistID=10

Here’s a printable flyer for the meeting. Thanks, Joel.

Some images from the meeting! More images from Roberto.

Yuka Honda & Petra Haden Special Performance
Saturday, January 20, 2007
8PM, Tickets $20

The party event will take place from 7-10 PM, the concert begins at 8PM.
Tickets $20, Location One Members free (includes 1 complimentary drink).
(become a member and obviate the need for silly tickets and drink prices).

Location One is thrilled to present our January party event with an exclusive concert by musicians Yuka Honda (former Cibo Matto) and Petra Haden (The Decemberists, Foo Fighters) who will play some new songs from an upcoming duet album on which they have been collaborating, as well as improvisations with Haden’s distinctive vocal layering over a soundscape of Yuka Honda’s music. Featuring Bill Dobrow (drums); Timo Ellis (bass); Cameron Greider (guitar, vox); Petra Haden (vocal, violin); Yuka Honda (keys)

Please come celebrate with us from 7-10. Cash bar (Location One members receive one complimentary drink) and light refreshments, additional music by DJ Normal, “Sonic” ping pong tournaments.

Artists’ Bios
Yuka Honda (from http://en.wikipedia.org/wiki/Yuka_Honda)
Yuka Honda is a multi-instrumentalist and co-founder of the band Cibo Matto. Throughout her career, she has collaborated with a diverse array of musicians, including Petra Haden, Sean Lennon, Medeski Martin & Wood, Luscious Jackson, and Caetano Veloso.

She produced Sean Lennon (also formerly of Cibo Matto)’s 1998 album Into the Sun. More recently she has been collaborating with downtown New York musicians Dave Douglas, Susie Ibarra, Vincent Gallo, Trevor Dunn, and John Zorn on whose Tzadik label her two solo albums were released. In 2003, Honda also collaborated with Boredoms drummer Yoshimi P-We, under the name Yoshimi and Yuka.

In 2006 Yuka played keyboards on Sean Lennon’s album Friendly Fire. She is currently supporting Lennon while he is on tour.
Yuka Honda official website: http://www.damoon.net/yuka

Petra Haden (from http://en.wikipedia.org/wiki/Petra_Haden)
Petra Haden is a violinist and singer. She is or has been a member of several bands, including that dog., Tito & Tarantula, The Rentals and The Decemberists; has contributed to recordings by Beck, Mike Watt, Luscious Jackson, Foo Fighters, Green Day, Weezer, Victoria Williams and Yuka Honda. She is the daughter of the jazz bassist Charlie Haden.

In 1999 she released her first album, Imaginaryland, consisting mostly of a capella covers. In 2005 she released the home-recorded album Petra Haden Sings: The Who Sell Out (Bar/None), a complete a cappella rendition of The Who Sell Out. The project was suggested to Haden by longtime friend Mike Watt, who also gave her the eight-channel multi-track cassette recorder she used to make it. Funded in part by a Durfee grant and wanting to perform the work live, Haden created a new arrangement of The Who Sell Out for a ten woman a capella choir called Petra Haden & The Sellouts. The premier live performance of the full work occurred in July 2005 at the Ford Amphitheatre as a part of the “sound.” concert series.

She has also released a self-titled collaboration with jazz guitarist Bill Frisell, and a collaboration with accordionist Miss Murgatroid (otherwise known as photographer Alicia J. Rose) entitled Bella Neurox.
Petra Haden official website: http://www.petrahadenmusic.com

Yuka Honda & Petra Haden Special Performance
Saturday, January 20, 2007
8PM, Tickets $20

The party event will take place from 7-10 PM, the concert begins at 8PM.
Tickets $20, Location One Members free (includes 1 complimentary drink).
(become a member and obviate the need for silly tickets and drink prices).

Location One is thrilled to present our January party event with an exclusive concert by musicians Yuka Honda (former Cibo Matto) and Petra Haden (The Decemberists, Foo Fighters) who will play some new songs from an upcoming duet album on which they have been collaborating, as well as improvisations with Haden’s distinctive vocal layering over a soundscape of Yuka Honda’s music. Featuring Bill Dobrow (drums); Timo Ellis (bass); Cameron Greider (guitar, vox); Petra Haden (vocal, violin); Yuka Honda (keys)

Please come celebrate with us from 7-10. Cash bar (Location One members receive one complimentary drink) and light refreshments, additional music by DJ Normal, “Sonic” ping pong tournaments.

Artists’ Bios
Yuka Honda (from http://en.wikipedia.org/wiki/Yuka_Honda)
Yuka Honda is a multi-instrumentalist and co-founder of the band Cibo Matto. Throughout her career, she has collaborated with a diverse array of musicians, including Petra Haden, Sean Lennon, Medeski Martin & Wood, Luscious Jackson, and Caetano Veloso.

She produced Sean Lennon (also formerly of Cibo Matto)’s 1998 album Into the Sun. More recently she has been collaborating with downtown New York musicians Dave Douglas, Susie Ibarra, Vincent Gallo, Trevor Dunn, and John Zorn on whose Tzadik label her two solo albums were released. In 2003, Honda also collaborated with Boredoms drummer Yoshimi P-We, under the name Yoshimi and Yuka.

In 2006 Yuka played keyboards on Sean Lennon’s album Friendly Fire. She is currently supporting Lennon while he is on tour.
Yuka Honda official website: http://www.damoon.net/yuka

Petra Haden (from http://en.wikipedia.org/wiki/Petra_Haden)
Petra Haden is a violinist and singer. She is or has been a member of several bands, including that dog., Tito & Tarantula, The Rentals and The Decemberists; has contributed to recordings by Beck, Mike Watt, Luscious Jackson, Foo Fighters, Green Day, Weezer, Victoria Williams and Yuka Honda. She is the daughter of the jazz bassist Charlie Haden.

In 1999 she released her first album, Imaginaryland, consisting mostly of a capella covers. In 2005 she released the home-recorded album Petra Haden Sings: The Who Sell Out (Bar/None), a complete a cappella rendition of The Who Sell Out. The project was suggested to Haden by longtime friend Mike Watt, who also gave her the eight-channel multi-track cassette recorder she used to make it. Funded in part by a Durfee grant and wanting to perform the work live, Haden created a new arrangement of The Who Sell Out for a ten woman a capella choir called Petra Haden & The Sellouts. The premier live performance of the full work occurred in July 2005 at the Ford Amphitheatre as a part of the “sound.” concert series.

She has also released a self-titled collaboration with jazz guitarist Bill Frisell, and a collaboration with accordionist Miss Murgatroid (otherwise known as photographer Alicia J. Rose) entitled Bella Neurox.
Petra Haden official website: http://www.petrahadenmusic.com

	Tomas Henriques: META-EWI and META-EVI (customized wind controllers)The META-EWI and the META-EVI are respectively a modified EWI (Akai’s Electric Wind Instrument) and a modified MIDI EVI (Steiner’s Electric Valve Instrument), to which were added a whole new set of controllers based on sensor technologies. The goal of these two projects was to achieve specific innovative levels of performance techniques and musical expressiveness that go beyond what is currently possible to do with either a monophonic wind controller or a monophonic acoustic instrument and to take advantage of meaningful performance gestures and body motions that are naturally used by a performer of such an instrument. These modified instruments succeed at stretching the expressiveness and the range of musical gestures found on the original instrument allowing the musician to have a more complete and far reaching control of a great variety of meaningful musical parameters. http://www.electrotap.com/articles/MetaEWI.shtml
	Dan Trueman: PLOrkThe Princeton Laptop Orchestra (PLOrk) is a newly established ensemble of computer-based musical meta-instruments. Each instrument consists of a laptop, a multi-channel hemispherical speaker, and a variety of control devices (keyboards, graphics tablets, sensors, etc…). Dan Trueman, co-founder and director of PLOrk, will introduce the ensemble, describe its design and a number of the pieces written for it, and share video and audio recordings from recent performances.http://plork.cs.princeton.edu/
	MEAPsoft: MEAPsoft!!!MEAPsoft is open source software for automatically segmenting and rearranging music audio recordings. It is aimed at musicians and experimenters who want to play with new ways to analyze, sort, and resynthesize audio fragments. MEAPsoft was developed by a collaborative group of students and faculty from LabROSA and the Computer Music Center at Columbia University. Members of the group will talk about the concepts behind the software and play lots of groovy examples! http://labrosa.ee.columbia.edu/meapsoft

Some images from the meeting! More images from Joel.

Click here to view the embedded video.

*IMHO* with artist LENORE MALEN

Wednesday December 13th, 7pmThis will be an interview / performance.Lenore Malen is an artist and writer. In the l990s she was executive editor of Art Journal, published by the College Art Association. Her work has been shown nationally and internationally. Currently she teaches cultural studies in the MFA Painting and Sculpture Program at Parsons School of Design, a division of the New School University.New Society for Universal HarmonyLenore Malen uses pseudo-documentary photographs, “testimonials”, case histories, and arcane imagery to archive her own reinvention of the utopian society established in Paris in 1738 by Franz Anton Mesmer.http://thenewsociety.org

Click here to view the embedded video.

	Sam Freeman: 1000 Ways It Doesn’t Work1000 Ways It Doesn’t Work is a multimedia art project which attempts to come to terms with the General Electric Corporation. Through installations, performances, videos, programs, correspondence, and web pages the project seeks the human dimensions and implications of the multi-national behemoth that is GE. The presentation will include an overview of all the pieces involved, and a discussion of where the project can go from here. http://1000ways.org
	Marisa Olson: Oh.Yeah.I.Love.You.BabyMarisa’s work deals with popular music and the cultural history of technology. She’s just started production on her first sound art album, “Oh.Yeah.I.Love.You.Baby,” in which each word in the album title is also the title of a respective track whose lyrics consist solely of that word. To her, these words are the “greatest hits” of pop lyrics, and each utterance of them is culled from hours and days of pop music samples. Of course, Marisa’s work is also often about failure, humiliation, and a lack of talent. Accordingly, she’s not sure whether her project sucks or not. She could use a little feedback on this work in progress.http://www.marisaolson.com
	Rick Silva: RSS Jockeysilva will do a short presentation of his work in the last 8 years that has used the d.j. and d.j.ing as a metaphor. including a screening of silva’s 1999 short film ‘scratch’, brief overviews of recent projects rssjockey.com and satellitejockey.net and a sneak preview of his upcoming project ‘natural selection.’http://rssjockey.com

Some images from the meeting. More images from Joel.

Click here to view the embedded video.

IN THE SKY
by Leesa and Nicole Abahuni

Wednesday November 29th, 6-8pm
Reception and special performance

Location One is happy to announce that dancer Glen Rumsey will be joining the special performance by New York-based avant-garde musician Elliott Sharp, and percussionists Danny Tunick and Christine Bard, during the opening of In The Sky (performance at 7pm, free).

The multimedia installation, which marks the first solo show for twin artists Leesa and Nicole Abahuni, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

The exhibition will be on view through January 27^th 2007 (Tue-Sat, 12-6pm).

		American multi-instrumentalist, composer, and performer Elliott Sharp has personified the avant-garde experimental music scene in New York City for over thirty years. Sharp describes himself as a lifelong “science geek,” having modified and created musical instruments from his teen years. (website)Dancer, choreographer Glen Rumsey has worked with Merce Cunningham Dance Company, Mark Morris, Pam Tanowitz, and others. His dance suite ignored in my heaven… was performed at Location One last year to critical acclaim (website)

In The Sky was conceived by Leesa and Nicole Abahuni in their Location One studio while participating in Location One’s International Residency Program with support from the Andy Warhol Foundation for the Arts.

This exhibition has received funding from the Peter Norton Family Foundation and assistance from Harvestworks

Location One is pleased to present the debut solo exhibition in NYC by artists Leesa & Nicole Abahuni, on view in our main gallery at 26 Greene Street from November 21st through January 27th 2007 (Tue-Sat, 12-6pm).

An opening reception and performance will be held on Wednesday, November 29th from 6 to 8 pm.

The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

In the Sky populates the gallery with strands of metallic beaded-chain hung in patterns from the ceiling, creating a spatial architecture through which visitors navigate. This web will force the individual to slow down the body so that the senses can become more aware of changes in tactile, visual and aural experiences while at the same time generating waves of movement, reflections and shadows. The audio portion of the installation presents six separate channels of sound, progressively laid out from the front to the back of the gallery. On the back wall of the gallery a video screen will show the work of hands weaving and unweaving a tapestry, or the movement of an acrobat winding and unwinding his body on a rope. Overall, the installation explores the notion of repetition, the weaving and unweaving of time and memory, so that the senses can rise to a greater awareness of the space around them.

The Abahunis have always worked as a team. “As twins we are born collaborators” says Nicole, and Leesa continues: “Collaboration is at the root of our thinking and our work. We believe that the active forging of tactile, aural and visual perception between humans and in collaboration with technology asks questions that can yield ways of better understanding, seeing and hearing natural order.”

Opening night, November 29th 2006, will include a half-hour performance of a new composition, commissioned by Location One and created specifically for this installation by New York-based avant-garde musician Elliott Sharp, and performed with percussionists Danny Tunick and Christine Bard, and dancer Glen Rumsey. Using MAX/MSP software that generates and manipulates sound, the musicians will create an aural environment that responds to the movements of people within the space. The performance will be recorded and the resultant selection of sound files will be used as audio components throughout the duration of the installation.

Leesa and Nicole Abahuni participated in Location One’s 2005-2006 International Residency Program, with support from the Andy Warhol Foundation for the Arts. In the Sky has received funding from the Peter Norton Family Foundation and assistance from Harvestworks.

The Abahunis studied at Goldsmiths College, University of London, MFA; Polimoda, Florence, Italy; and the School of Visual Arts, NYC, BFA in Computer Art. They have exhibited nationally and internationally including the 6th International Arts Biennial of Sharjah, United Arab Emirates; ICA, London; Sonic Interactions Conference, London; Redux, London; Gallery Mouri, Tokyo; Orb//Remote, Copenhagen; Half Machine Festival, Copenhagen; Eyebeam Atelier, NYC; Siggraph, Los Angeles; DUMBO Arts Festival, Brooklyn; DUMBO Arts Center, Brooklyn; 67 Gallery, Brooklyn; Deep Listening Space, Kingston; The Kitchen, NYC. Their solo performances include The New York Hall of Science, Queens and NYC in 2000. They have received awards and grants from the Experimental Television Center, NY; International Postgraduate Scholarship, Goldsmiths College, London, UK; Alumni Scholarship Award, School of Visual Arts, NY; and Award of Distinction, School of Visual Arts, NY.

Elliott Sharp is an American multi-instrumentalist, composer, and performer who has personified the avant-garde experimental music scene in New York City for over thirty years. He has released over sixty-five recordings spanning the musical spectrum from blues, jazz, and orchestral music to noise, no wave rock, and techno music. Sharp describes himself as a lifelong “science geek,” having modified and created musical instruments from his teen years. He is an inveterate performer, both as a soloist (playing mainly guitar, saxophone and bass clarinet) and with a number of ensembles.

Glen Rumsey is originally from Greensboro, NC. He graduated from the North Carolina School of the Arts and moved to New York to join the Merce Cunningham Dance Company. Glen has danced and collaborated with many choreographers, including Mark Morris, Pam Tanowitz, Stanley Love, and Sarah Michelson. He has also developed a drag performance character, Shasta Cola, whose shows have received critical accolades both in the US and Europe. In 2005 he choreographed an original dance suite entitled “ignored in my heaven…” which he performed to critical acclaim at Location One with his dance troupe, the Glen Rumsey Dance Project. He has received a Creative Residency for 2006-2007 at Dance Theater Workshop. www.glenrumsey.com

Click here to view the embedded video.

Click here to view the embedded video.

ArtBots: the robot talent show
2006 NYC Regional Show!

For more information see: artbots.org/2006_NYC
Location One is proud to host the regional NYC show as part of the science+art festival 2006 this fall. The show will feature works old and new by eight New York artists who have appeared in previous ArtBots shows.

When:
Thursday-Sunday November 9-12, 2006, Noon-6pm
Opening reception Thursday November 9th, 6-8pm

Where:
Location One, main gallery
26 Greene Street (between Canal and Grand)
New York City!

How much:
$$$FREE$$$

Who:
you!

[Show as slideshow]

Participants:
Neil and Iona – Mixed Feelings, Jason Van Anden http://www.smileproject.com

Robozoic, Brett Doar http://www.kingvolcano.com, http://homepage.mac.com/kingvolcano

Retrospectrum, Yoav Bergner and LoVid (Tali Hinkis and Kyle Lapidus) http://www.ignivomous.org/projects/lovid

Ill-Tempered Clangier, Bob Huott & Eric Singer, fabrication by Kazuyo Inoue, Kell Condon, Rocio Barcia, Roberto Osorio, Goenaga, Jesse Fox, Aidan Collins, Gregory Boland, Leif Krinkle, Jonathan Zalben, Ajay Kapur http://www.lemurbots.org

It’s In the Air!, Mark Esper http://www.saatchi-gallery.co.uk, http://www.damstuhltrager.com

Wheeze, Ranjit Bhatnagar http://www.moonmilk.com
Wildflower Meadow Glacier, James Powderly http://robotclothes.com

IPO Madness, Jonah Brucker-Cohen http://www.coin-operated.com

Katchadourian’s work exists across a wide variety of media that includes sound, video, sculpture and photography. At Location One, the artist will be working on a new synchronized multi-channel video work called “Zoo” and a number of new sound-based works.

Nina lives and works in Brooklyn, NY. She is represented by the Sara Meltzer Gallery, New York and Catharine Clark Gallery, San Francisco. A 10-year survey or her work, entitled “All Forms of Attraction,” is currently on view at the Tang Museum, Saratoga Springs, New York until end of December 2006.

http://www.ninakatchadourian.com/

Antoinette LaFarge on “Demotic”,
Tuesday, November 7 @ 7pm

Artist-writer Antoinette LaFarge will talk about DEMOTIC, a performance work presented at the Baltimore Theater Project on Nov 2-5. Demotic was conceived by LaFarge, directed by Robert Allen and features sound artists Maria de los Angeles Esteves and Jeff Ridenour and actor Tracey A. Leigh.

DEMOTIC begins with the idea that the Internet is now so central to American life that it has become our new town hall, an ever-changing space of informed debate, passionate opinion, and misinformation. Like the Internet, Demotic is a rolling improvisation among the different kinds of performers using such technologies as text-to-speech synthesis, chatroom-type forums, and sound mashups. One of the central controlling devices of Demotic is a virtual world hosted on the West Coast whose avatars direct the progress of the piece at various points.

The 1729th dorkbot-nyc meeting took place on Wednesday, November 1st, 2006, at 7pm.It featured the fragrant and marvellous:

	Albert Hwang: The Wiremap The Wiremap is a design that uses an LCD projector and a custom surface to make real and interactive 3d images. The images rendered exist in the same spatial dimension as our bodies do, bridging the gap between digital 3d and analogue 3d. With this project, I hope to redefine how we encounter digital 3d. Instead of a collection of weightless polygons, digital 3d can engage with our bodies and our intuitive spatial instincts in a visceral and tangibly real way. http://phedhex.com/wiki/index.php?title=Wiremap
	Cameron Browning: Electrosketch Electrosketch is an interactive art installation that uses a number of technological hacks to allow users to scribble paths onto the walls of their environment in real-time. During the short period of time the images are recorded, other users have the opportunity to use digital controls connected to the installation to manipulate the paths in 3D.http://www.5cameron.com
	Natalie Bewernitz & Marek Goldowski: sound artEPG (Expanded Polyphonetic Generation) is an audio installation performance that uses an artificial mouth palate to control voice fragments. Using the voice of artist Meredith Monk, which is fragmented in over 3000 pieces (sylables and phonemes), two performers attempt to control the triggered samples with the mouth palate interface to build up an improvised (musical) communication between them. http://www.bewernitzgoldowski.com

Some pics from the meeting.

Click here to view the embedded video.

poster image by David Shrigley

The (2^(30402457) – 1)th dorkbot-nyc meeting took place on Wednesday, October 4th, 2006, at 7pm

It featured the fragrant and marvellous:

	Rob Seward: The CONSCIOUSNESS FIELD RESONATOR The CFR is a device based on ESP research performed at Princeton University. It is designed so the owner can have a personal experience of the psychic forces that Princeton claims to exist. The CFR responds changes in “consciousness fields.” Disturbances in these fields are detectable when many people have their mind on the same subject. Events such as Princess Diana’s Funeral and 9/11 have created measurable effects in Princeton’s equipment – similar events should produce a dramatic response in the CFR. This project is my attempt to create an object that engenders a highly emotional relationship with its owner. http://www.robseward.com/cfr
	Miru Kim: naked city spleen Naked City Spleen is a multi-media project in progress currently focused on a photography series. The title takes inspiration from the nickname of New York City (Naked City) and poetry of Baudelaire (Paris Spleen). The images portray various urban ruins, such as abandoned subway stations, tunnels, aquaducts, catacombs, factories, hospitals, and shipyards, and incorporate a human body form inhabiting these spaces. There is a performance aspect to the project that blurs the conventional notions of photographer and model, since the artist does both, setting up the camera on tripod and self-timer after searching and infiltrating these man-made structures forgotten or ignored by most. There will also be sound clips from the featured spaces recorded and arranged by Ken White, and they are part of ongoing collaboration efforts for installation work. http://www.mirukim.com
	Noah Vawter: Ambient Addition Ambient Addition is a Walkman with binaural microphones. A tiny Digital Signal Processing (DSP) chip analyzes the microphone’s sound and superimposes a layer of harmony and rhythm on top of the listener’s world. In the new context, some surprising behaviors take place. Listeners tend to play with objects around them, sing to themselves, and wander toward tempting sound sources. With Ambient Addition, I’m hoping to make people think twice about the sounds they initiate as well as loosen up some inhibitions. http://web.media.mit.edu/~nvawter

Some images from the meeting.

artist/curator talk @ LOCATION ONE

Thursday September 21st
7 pm

CLIFF EVANS & PIERANNA CAVALCHINI

Pieranna Cavalchini, Curator of Contemporary Art at the Isabella Stewart Gardner Museum in Boston, will entertain a conversation with artist Cliff Evans, whose epic video installation THE ROAD TO MOUNT WEATHER is on view at LOCATION ONE through Saturday November 4th, (Tue-Sat, 12-6pm)

The Road to Mount Weather is a three-channel moving image installation (15 minute loop). In the catalogue that accompanies the show the curator writes: *It is a panoramic triptych that maps the condition of the American adolescent psyche through myriad scavenged images and a carefully calibrated soundtrack. The artist has roamed the Internet examining anxieties, phobias and obsessions, searching out subjects that often preoccupy internet surfers: conspiracy theories and surveillance. [...] an open animation, susceptible to hugely varied critical perspectives and interpretations. It shakes us out of our complacency. In a mock epic journey through capitalist Hell, Evans creates a baffling cascade of imagery coded in complex syntax. [...] With each repeated viewing, the viewer becomes more intrigued, less complacent, finding new associations and symbols, and questioning the final meaning of the narrative.*

This event is FREE and is supported, in part, by public funds form the New York City Department of Cultural Affairs

Cliff Evans was born in Darkwood, Australia and moved to Texas when he was three. He graduated from the Museum School, Boston in 2002 and returned a year later to the Museum School for the competitive Fifth Year Program, winning the prestigious traveling scholarship from the Medici Society. Since then he has lived in New York and New Orleans. Currently he resides in Fort Green, Brooklyn. Evans’ work has been shown at the Museum of Fine Arts Boston, the Brickbottom Gallery, the Judi Rotenberg Gallery, and the Museum School in Boston, the Maryland Art Place in Baltimore, and the Creative Research Lab in Austin, Texas.

Click here to view the embedded video.

Opening Reception Thursday, September 14, 6-8pm

PRESS
ArtForum: Best of 2006 FILM
ArtForum, Feb.2008 – Cliff Evans – Isabella Stewart Garner Museum

INSTALLATION VIEWS

This three-channel moving image installation (15 minute loop) is a personal artifice assembled from ideas and images found across the socio-environment of the Internet. Its form is reminiscent of historic epics as represented in cinema and in grand panoramic paintings, while also mimicking the ubiquitous technology used for website banner advertisements.

The show is curated by Pieranna Cavalchini, Curator of Contemporary Art at the Isabella Stewart Gardner Museum. In the catalogue that accompanies the show she writes: “It is a panoramic triptych that maps the condition of the American adolescent psyche through myriad scavenged images and a carefully calibrated soundtrack. The artist has roamed the Internet examining anxieties, phobias and obsessions, searching out subjects that often preoccupy internet surfers: conspiracy theories and surveillance.”

The Road to Mount Weather is an open animation, susceptible to hugely varied critical perspectives and interpretations. It shakes us out of our complacency. In a mock epic journey through capitalist Hell, Evans creates a baffling cascade of imagery coded in complex syntax. The large swath of information is presented in a loop shown at a slow and melodious pace. With each repeated viewing, the viewer becomes more intrigued, less complacent, finding new associations and symbols, and questioning the final meaning of the narrative.

Evans is one of a number of artists who have mined the form and content of appropriation and photomontage in their work. Among his notable predecessors are Georges Braque and the Dadaists. Images are treated almost like found objects, obtained from the vast reference library that is today’s Internet. They are cut up and scrambled, scene after scene, with deliberate order and disquieting disorder ultimately finding a perfect fit in the puzzle.

Evans reflects on America’s complex geopolitical situation and its impact on mainstream news where fear is a constant. [His] ever-expansive investigation is matched by an eye for detail as well as an ability to find humorous prank subtexts.

An Artist/Curator Talk (see video) was held at Location one on Thursday September 21st, at 7 pm (free to the public).

Cliff Evans was born in Darkwood, Australia and moved to Texas when he was three. He graduated from the Museum School, Boston in 2002 and returned a year later to the Museum School for the competitive Fifth Year Program, winning the prestigious traveling scholarship from the Medici Society. Since then he has lived in New York and New Orleans. Currently he resides in Fort Green, Brooklyn.

Evans’s work has been shown at the Museum of Fine Arts Boston, the Brickbottom Gallery, the Judi Rotenberg Gallery, and the Museum School in Boston, the Maryland Art Place in Baltimore, and the Creative Research Lab in Austin, Texas.
www.cliffevans.net

	Bret Doar: Huffyphonic Gyrobanshee 1000Presenting the Huffyphonic Gyrobanshee 1000 a mechanized bicycle wheel/guitar hybrid instrument, plus other mechanical marvels.http://www.kingvolcano.comhttp://homepage.mac.com/kingvolcano
	Jon Lippincott: Vis Virtual UniverseVis is a virtual universe written from the ground up in C++. It has become the a means of creative expression for its author, who has used it for live performances at art spaces and nightclubs in NYC. It is a relatively young project (less than a year), and has a number of potential paths of evolution, the most likely being some kind of online space where users can create their own worlds and communicate with one another in unique ways.http://www.jonlippincott.com
	David Kareve: horrified robot artDavid Karave creates horrified robot art. “Home Automation” is a combination of cinema, theatre and violent robotics. A family of crash test dummies, in a walk-in living room, react to the terror color code alerts on their television, by violently & musically smashing into themselves. His work will be on display at the Edward Albee foundation, 91 Fairview Ave, Montauk, NY, September 24-30th.http://www.crashingart.com

Some images from the meeging here: 06.sept.2006

Click here to view the embedded video.

Screening of
“Theory of Everything”

An exhibition featuring videos by 10 Japanese artists

Curated by Location One resident artist Yuki Okumura.

The screening will be followed by a discussion between the artist and Nathalie Anglès, Residency Program director.

THEORY OF EVERYTHING
curated by Yuki Okumura

Hiroaki Morita
Daisuke Nagatsuka
Ken Sasaki
Daisuke Nagatsuka
Yuki Okumura
Mai Yamashita + Naoto Kobayashi
Koki Tanaka
Taro Izumi
Koki Tanaka
Kohei Kobayashi
Koki Tanaka
Naho Yokoya
Daisuke Nose

http://www.tank.tv/

Artist, writer and curator Yuki Okumura was born in Aomori, Japan in 1978 and currently working in NYC as an artist in residence at Location One. He graduated from Tama Art University and received an M.F.A at the Tokyo National University of Fine Arts and Music (2004). In 2000, he was awarded the Grand Prix, Philip Morris Asian Art Award. Since then, he has shown his work both domestically and internationally. Okumura also organizes exhibitions, and writes essays and reviews which present a critical perspective on his generation of artists. His new video pieces are featured in the current group show at Location One gallery.

The video screening program “Theory of Everything” features video pieces of 10 Japanese emerging artists including himself. The video pieces mostly are very simple and humorous without any narrative or message, featuring everyday things such as sneakers, balloon, baseball bat, TV monitor, and so on, and documenting physical phenomena those things generate or editing their movements with simple effects, to illuminate the fundamental laws of this physical world/universe. The artists were born from 1972 to 1980 and most of them are based in Tokyo, except Koki Tanaka, currently an artist in residence at Palais de Tokyo, Paris, Mai Yamashita+Naoto Kobayashi, in residence at Artist Atelier Uster, Uster and Okumura himself.

Wednesday, June 14
7 – 10 PM

DJ Unicorn, DJ Normal Robot, and DJ Inquisition will lead the festivities including
Special Guests:
Reverend Luke Murphy &
Leesa and Nicole Abahuni

irreverent costumes
special performances by our artists
dancing
free libations

Tickets $15 (include one drink)
FREE for Location One members!
RESERVATIONS: Becki 212.334.3347 or becki@location1.org

Sign up for your membership on or before June 14th and you will get this event as a bonus, in addition to the usual three members-only happenings throughout the year, and free admission, exclusive invitations, special events and other benefits.

Membership starts at $25 for artists and $50 for individuals.

http://www.location1.org/membership/

Only in the experimental and unrestricted environment of Location One will you see and hear such a convergence of fiercely creative audio, visual, and performance art and meet so many intriguing people.

ARTIST WALKTHROUGH

come meet Location One’s residents
hear them talk about their works
see the show after-hours
Leesa & Nicole Abahuni
Simo Alitalo
Andrew Duggan
Mayumi Nakazaki
Trine Nedreaas
Yuki Okumura
Lydia Venieri
Wang Ya-Hui

image: Mayumi Nakazaki “Shifting Script”, 2006

The exhibition will be open through July 29, 2006

Gallery Hours: Tue-Sat, 12 -6

“There’s a time when the operation of the machine becomes so odious, makes you so sick at heart, that you can’t take part, you can’t even passively take part, and you’ve got to put your hands on the gears and upon the wheels, upon the levers, upon all the apparatus, and you’ve got to rearrange them all! And you’ve got to indicate to the people who run it, to the people who own it, that unless you’re free, the machine will be remade to ensure your freedom!”

Chris Csikszentmihalyi is the Fukutake Associate Professor of Media Arts and Sciences and directs the Computing Culture Group at the MIT Media Lab, a group that creates uniq ue media technologies for cultural applications. For the past 12 years, he has lectured and shown new media work in both Europe and North America. Interested in cultural narratives, Csikszentmihalyi’s work typically creates a new technology to embody a particular social agenda. For instance the “Afghan Explorer,” a tele-operated robot reporter, the “Natural Language Processor” that commissioned by the KIASMA Museum in Helsinki, Finland and “DJ I, Robot.” His website is http://web.media.mit.edu/~csik/

Click here to view the embedded video.

Click here to view the embedded video.

	Dan Iglesia: Generative ProcessesThree audio/video projects that use generative processes to yield unexpected results unpolluted by the human hand. “Temporide” does a pixel-by-pixel delay on a video, showing many time lapses simultaneously. Spectral splicing, morphing, and reconstitution creates new audio based out of what you feed it. And “Ghost Jockey” generates a continuous stream of mashup audio and video. http://www.music.columbia.edu/~daniglesia
	LoVid: Kiss Blink Sync VesselThe interdisciplinary artist duo LoVid will present different permutations of their AV synthesizer Kiss Blink Sync Vessel. LoVid has been incorporating this handmade modular analog audio/video synth into sculptural instruments, installations, and media objects. LoVid will also give a short performance with their most recent wearable version of KBSV, Coat of Embrace, which allows them to break out family style while getting middle ages real old school. http://www.ignivomous.org/projects/lovid
	Jason Van Anden: Intelligent DesignerWhat do you get when you combine probablistic programming paradigms, computers with feelings and a room full of the gifted and talented? Artist/Technologist/Robot Maker Jason Van Anden will demonstrate IntelligentDesigner (beta) – software that enables pretty much anyone to control things in an uncontrollable way. ID was originally invented to enable improvisational behavior simulating human emotional mechanics between his life-size emotive robots Neil and Iona. In its current incarnation, ID can be used to easily create rich multilayered living music from samples, with many more esoteric applications coming down the pike. Jason hopes to get feedback of ID beta from the Dorkbot ranks and recruit some early adopters to start making things with it before its official release, next Fall. http://www.smileproject.com

Here are some images from the meeting.

Click here to view the embedded video.

Seamus Moran will give a talk about The Next 10,000 Years

The world is not coming to an end, so let’s think together about the future. Humans have developed enough understanding of the planet, and our own history on it over the last 10,000 years, that we can now think on longer time scales.

James Warhola’s 1994 painting: Callahan’s Touch

Seamus Moran combines his knowledge of art, astronomy, history and conservation to give an introduction to long term thinking for a general audience. He has worked for many years with the African Rainforest Conservancy to save a biodiversity hotspot in east Africa; helped develop the new technology telescope Calypso and is a professor of interdiscipliStatus: RO Content-Length: 2853 ng for a general audience. He has worked for many years with the African Rainforest Conservancy to save a biodiversity hotspot in east Africa; helped develop the new technology telescope Calypso and is a professor of interdisciplinary studies with the Free International University started by Joseph Beuys. He studied mathematics at Trinity College Dublin and New York Univeristy, and lives in Manhattan. He buys more books than he can read.

Maya Workshop
6-9pm
Instructor: Everett Kane
Fee: $350 (for the nine-hour course)

Maya is widely regarded as the most powerful 3D application in the world. It is a film and game industry standard for generating of digital characters, environments, and special effects. Fine artists use it to create experimental media in all formats.

The workshop will initiate beginners into a broad spectrum of commercial and fine art applications of Maya. Students will move step by step through increasingly complex exercises designed to foster comfort with the basic techniques that make 3D integration possible. The primary focus of the workshop will be the user interface and polygon modeling. Texturing, UV layout, lighting, and rendering will also be covered. No prior 3D experience is required. Students will develop a basic familiarity the interface, achieve the ability to model and texture characters and architecture, and gain exposure to a wide variety of production techniques. A backbone of design and art concepts will be woven through the practical tutoring to insure that students leave the workshop attuned to the wider possibilities of the 3D medium. The instructor will also provide a road map to the glut of online Maya resources and forums that 3D artists use to communicate with each other, develop their skills, and find free materials for projects.

Everett Kane is a fine artist, 3D character specialist, game designer, programmer, and producer/consultant for the film, design, and advertising industries in Los Angeles. He is the director of Location One’s education program. Everett’s clients include Nike, Weiden & Kennedy, Klasky-Csupo, Pixel Blocks, and DZI. For the last 8 years, he has been teaching 3D character modeling, animation, special effects, digital compositing, digital painting, fine arts, and experimental digital media at Art Center College of Design. He has also taught for The Academy of Entertainment Technology, the Gnomon School, the Pacific Institute of Art and Design and the USC Fine Art Department. Everett received a B.A. in Philosophy of Religion from Princeton University, a BFA and an MFA in Fine Arts from Art Center College of Design.

This workshop is for laptop users only. Students must have a 3-button mouse and a version of Maya already installed on the first day. A freeversion of Maya 6 Complete PLE (personal learning edition) can be downloaded here.

System requirements can be viewed here. Students who have already downloaded their PLE version and received their email software key may come in 1 hour early for installation assistance, if necessary.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Location One is pleased to present the first solo exhibition in the U.S. by Polish artist Lukasz Skapski. The exhibition opens on Tuesday April 11th and will run through Saturday May 20th. On Wednesday April 19th at 7pm the artist will participate in a gallery talk (see video) about the exhibition with Nathalie Anglès, Location One’s Director of the International Residency Program.

Skapski’s recent photographic and video work concerns cultural and political issues common to many national groups: the emotional ambivalence of women and nursing mothers, people’s views of the environment in which they live, the legacy of Communist practices in farming communities, as well as the practice and tradition of film itself. In all his work, the artist demonstrates an uncanny ability for capturing people’s circumstances on film and video. He listens; he seizes detail and human interaction; he brings out the absurd and the humorous in the situations that he records.

There are powerful emotions and surprising candor at work here, sometimes leavened by a humor that is at once accessible and distinctly Polish. Examining social customs and rituals reveals underlying attitudes inherent in the social fabric. Critical awareness is, as always, the linchpin of a free and healthy society.

Ten video works will be presented in this show, including some very short half- minute and one-minute videos with titles like The Wind, Brightness, Cold, which the artist describes as “funny and a bit taoistic tautological.”

A longer piece entitled Clash shows a series of interviews with women about the experience of pregnancy and maternity. In contrast with traditional social views, many of them reveal that they hate the experience.

Skapski is particularly interested in Polish society as it emerges from its difficult recent past. In the series Machines he uses both color photography and video to show home-made tractors put together by farmers who improvised as mechanics to fulfill the needs of their small private farms. These unusual and spectacular “monsters” illustrate the human capacity to pragmatically resist totalitarian oppression, and the accompanying video further underlines the pride and dignity of the human spirit.

Other videos include Cracow Guide in which the inhabitants of this famous medieval town comment about living in the standardized housing blocks that cover 90% of the city’s area. Explosions, is a baroque-minimalist film consisting of found footage from Hollywood films, while The Film is “a film about telling films, or rather, a film which is being told during the film.”

The show will also include several videos by the Azorro Group, an artist collaborative of which Skapski is a founding member, whose work centers on the paradoxes of the institutional circuit of art. They ask: what is contemporary art like? Where are artists and curators located? The questions are intentionally naïve and the sequences often amusing and absurd.

This exhibition is made possible, in part, by funds from the Trust for Mutual Understanding.

The nine million and eighty seventh dorkbot-nyc meeting took place on Wednesday, April 5th at 7pm.

It featured the lovely and talented:

	John Arroyo: Eingen Rhythm Software Using machine learning statistical analysis a rhythmic synthesizer was created. It is a rhythm composer of sorts that is trained instead of user programmed. The end result is an intelligent groove box where interpolations of the seed rhythms are possible to generate in real-time. Each of the seed rhythms is automatically extracted and projected into a space, the user can then move around in this space and morph one rhythm into the next. More intelligent instruments are on the drawing board…moving towards a new paradigm in music software synthesis. http://www.rhythmicresearch.com
	Jeff Han: Multi-Touch Interaction Research While touch sensing is commonplace for single points of contact, multi-touch systems enables a user to interact with a system with more than one finger at a time, allowing for the use of both hands along with chording gestures. These kinds of interactions hold tremendous potential for advances in efficiency, usability, and intuitiveness. Multi-touch systems are inherently also able to accommodate multiple users simultaneously, which is especially useful for collaborative scenarios such as interactive walls and tabletops. We’ve developed a new multi-touch sensing technique that’s unprecedented in precision and scalability, and I will be demonstrating some of our latest research on the new sorts of interaction techniques that are now possible. http://mrl.nyu.edu/~jhan/ftirtouch
	John Huntington: Synchronizing Live Performance with Musical Time Modern entertainment and show control systems run in many different ways, but are often used in a linear mode, where all the elements of a show are locked to a fixed time base (and the time base is often linked to some linear media). For example, a prerecorded video might be played in a live show, and lighting and sound cues might then be programmed to trigger at precise times, down to the video frame. This approach is cost-effective and relatively easy to program, but, of course, the actors, dancers, musicians and other performers have to synchronize themselves to this pre-determined, rigid clock structure, and this severely limits the performance. Even with those limitations, however the majority of media-synchronized live shows today sacrifice flexibility in order to gain precision and control, and execute all lighting, video and other cues from a rigid clock. Professor John Huntington and Dr. David B. Smith, colleagues at NYC College of Technology’s Entertainment Technology department, believe that that the technology should track the performers, not the other way around, and this is the focus of our research into the use of Musical Time as a synchronization source. Music runs on “musical” or “metric” time, where the musician or conductor has total control over the tempo, down to a beat level. Unlike linear time, Musical Time can slow down or speed up, allowing the music to respond to the actions of singers and other performers. http://www.zircondesigns.com

Some images from the meeting.

Click here to view the embedded video.

This month’s conversation with Douglas Ross. In his artwork, Ross embraces technology, both low and high with equal affection, in humorous and profoundly evocative ways. From harmonizing with washing machines, refrigerators and airconditioners, to creating an outdoor LED screen that reads realtime library book checkout selections, Ross’s work evinces a dry but poetic wit that is deceptively complex and questions what is is to be human in contemporary technicized world.

DOUGLAS ROSS was born in Brockton, Massachusetts in 1969 and currently lives in New York City. He earned his B.F.A. from Parson School of Design and New School University and his M.F.A. from The School of Visual Arts. Between 1998 and 2002 Ross was awarded fellowships from the Skowhegan School of Painting and Sculpture, Socrates Sculpture Park and the Asian Cultural Council. In 1999 Artist Janine Antoni chose Ross for Exit Art’s Choice ’99 exhibition. Since 1993 Ross has participated in numerous group exhibitions at venues including CareOf, Milan, Italy (Cinque pezzi da NY), SculptureCenter, L.I.C., NY(Interval), The Bronx Museum of the Arts, The Walker Art Center, Spelman College Museum of Fine Art and Museum Villa Stuck Munich (One Planet Under A Groove: Hip Hop and Contemporary Art), The Rotterdam Film Festival (LISTENvideo program), P.S.1 Contemporary Art Center (Listening to NewVoices) and was an invited contributor to the RadioArteMobile/Zerynthia Internet radio project for “Utopia Station”, 50th Venice Biennale. From 2002 to 2004 Ross’ work was included in the extensively traveled Walk Ways, an Independent Curators International exhibition that examined walking as a medium and process in art over the past quarter century. Ross has been awarded studio residencies by Lower Manhattan Cultural Council (World Views program), PS1 Contemporary Art Center/MoMA(International Studio Program) and ARCUS Project (Moriya City, Ibaraki, Japan), amongst others. His essay on the work of artist Inhwan Oh, “Fixed, Fugitive, Idiomatic” was published in Seoul, Korea in 2002 and from 2004 to 2005 he was the guest professor in TheDepartment of Musical Creativity and the Environment at Tokyo National University of Fine Art and Music.

Location One presents
video installations by Carlos Amorales & Javier Viver
For the month of March, Location One will devote its galleries to two exceptional videos by Mexican artist Carlos Amorales and Spanish artist Javier Viver.

Opening Reception: Wednesday March 8th, 2006, 6-8pm
Open through: April 1st, 2006 (Tue – Sat, 12 – 6 pm)

In the Main Gallery, “Manimal” by Carlos Amorales, a black and white video animation (2005, 6 minutes). Reminiscent of a tale from the Middle Ages, in this animation narrative a pack of wolves emigrates from the forest into the city, substituting, as they overtake the streets, its human population. The piece was made by combining 3D animation tools with flat two dimensional drawings of silhouettes, in a form that looks like a shadow theatre happening in a virtual environment. The music, an orchestral slow tempo heavy metal sound, keeps in tension the narrative suggested by the drawings; the story of the wolves becomes a dark epic. Manimal is about the transformation of animal emotions into human rationality, it is about how, when the moon disappears, the werewolf returns to people’s normality.

In the South Gallery an installation by Javier Viver “The Audience”, (2005, video and theater chairs, 4.5 minutes). The three video channels are projected on contiguous panels while the viewer sits on red theater chairs that are constantly lit. Viver draws an analogy with The Big Theater of the World (El Gran Teatro del Mundo) a masterpiece written by Calderón de la Barca during the Spanish Golden Age. In the video we can see the last minutes of an opera performance: each singer bows and receives the deserved applause from the audience, but the audience is missing. We can hear the clapping, but we can not see where it comes from. The minimalist monotony of the empty theater is broken by three mysterious eyes looking around. Could this be the eye that sees everything?

Javier Viver’s installation is supported in part by Consulate General of Spain in New York.
Carlos Amorales is represented by the Yvon Lambert Gallery in New York and Paris.
Theater seats kindly provided by Poltrona Frau USA.

Location One presents
video installations by Carlos Amorales & Javier Viver
For the month of March, Location One will devote its galleries to two exceptional videos by Mexican artist Carlos Amorales and Spanish artist Javier Viver.

Opening Reception: Wednesday March 8th, 2006, 6-8pm
Open through: April 1st, 2006 (Tue – Sat, 12 – 6 pm)

In the Main Gallery, “Manimal” by Carlos Amorales, a black and white video animation (2005, 6 minutes). Reminiscent of a tale from the Middle Ages, in this animation narrative a pack of wolves emigrates from the forest into the city, substituting, as they overtake the streets, its human population. The piece was made by combining 3D animation tools with flat two dimensional drawings of silhouettes, in a form that looks like a shadow theatre happening in a virtual environment. The music, an orchestral slow tempo heavy metal sound, keeps in tension the narrative suggested by the drawings; the story of the wolves becomes a dark epic. Manimal is about the transformation of animal emotions into human rationality, it is about how, when the moon disappears, the werewolf returns to people’s normality.

In the South Gallery an installation by Javier Viver “The Audience”, (2005, video and theater chairs, 4.5 minutes). The three video channels are projected on contiguous panels while the viewer sits on red theater chairs that are constantly lit. Viver draws an analogy with The Big Theater of the World (El Gran Teatro del Mundo) a masterpiece written by Calderón de la Barca during the Spanish Golden Age. In the video we can see the last minutes of an opera performance: each singer bows and receives the deserved applause from the audience, but the audience is missing. We can hear the clapping, but we can not see where it comes from. The minimalist monotony of the empty theater is broken by three mysterious eyes looking around. Could this be the eye that sees everything?

Javier Viver’s installation is supported in part by Consulate General of Spain in New York.
Carlos Amorales is represented by the Yvon Lambert Gallery in New York and Paris.
Theater seats kindly provided by Poltrona Frau USA.

	k.cain and b.crabtree: almost certifiedalmost certified (grade A noise for non-discerning consumers) is a mechanical sound installation and informative publication. a distributed network of precarious egg-tapping robots. each unit, individually amplified, features a select unconventional egg. calculated sequences emerge, conducted by beautifully rendered software on a resurrected mainframe (a sweet mac LC3). “we seek and impart knowledge, addressing alarming practices and trends in the egg industry. by promoting social consciousness we can live better through decentralization.” http://nnnnnnnn.org/ac
	Chris Korda: Whorld open-source live video softwareWhorld is a free, open-source Windows program that offers a unique approach to creating live digital art. Whorld generates real-time animation, but unlike most visualizers, it’s designed for performing, and includes MIDI support and other features more commonly found in clip-based VJ programs. Whorld animates sacred geometry, and distorts it according to parameters that can be adjusted manually, or automated via programmable oscillators. The result is a mesmerizing, psychedelic composition of continuously transforming shapes. I’ll explain and demonstrate Whorld’s parameters, effects and capabilities, from basic patch editing to advanced stuff like auto-crossfading between patches and patch hybridization. You’ll learn how to make art out of geometry and oscillators, without consuming anything except a bit of electricity. Can tools encourage shared vision and community instead of detachment and alienation? Could Whorld rekindle popular interest in aesthetics, and contribute to a much-needed reconciliation between art and science? We’ll see.http://whorld.org
	the botmatrix: HeddatronFor the past year and a half The Botmatrix collaborated with The Les Freres Corbusier theater company on their latest play Heddatron: An adaptation of Henrik Ibsen’s classic play Hedda Gabler complete with 5 robots. We will discuss our experiences collaborating, designing and building 5 robots for the three week theatrical run. Time permitting we will also discuss some of our other projects/events such as the annual Robot Parade! Expect lots of bot goodness. http://htron.botmatrix.com

Some images from the meeting:Handel Low’s imagesRoberto Tobar’s images

Click here to view the embedded video.

a monthly conversation with an artist who is using (or misusing) technology in an interesting way. This month: Nina Sobell.

Nina Sobell is a pioneer video artist whose improvisational time-based sound and image Web performances are embedded with her drawing, sculpture and video background. She is inspired by the collaborative process that evolves from crossing the lines of music, art and technology, and opening up these channels interactively to the public, initially through interactive video installations, and more recently on the Web. Sobell is primarily interested in non-narrative work that leaves open the possibility for multiple interpretations. Her collaborations and installations as a core member of ParkBench stem from her efforts to demystify technology by assisting in the implementation of ParkBench Public Access Web kiosks run by inner city youth. Sobell envisions ParkBench as a way to promote multicultural, transmedia dialogue and as a safe place to congregate in cyberspace. She is the recipient of numerous awards, including grants from the NEA and NYSCA for her pioneering video performance art. She received a BFA sculpture and printmaking from Tyler School of Art, Temple University, and an MFA in sculpture from Cornell University. Her sculptures, installations, and video art have been shown throughout the World.

The Borderland Foundation
A living experiment in cross-cultural relations
with foundation Chairman Krzysztof Czyzewski

7:00pm
Admission: FREE

About Czyzewski, Gail Kimberling of the New York Times has written that he “has based his life’s work on pushing the limits of borders, whether it involves going beyond the acceptable, bringing the past to the present, or bridging one country or culture with another.” His presentation will include footage from documentary work generated by the program.

Location One is pleased to host a presentation by Krzysztof Czyzewski, Chairman of Borderland, the avant-garde cultural foundation, established in 1990 in Sejny in north-east Poland, right at the borders between Poland, Lithuania, Belarus and Russia. Mr. Czyzewski will talk about the intercultural activities of the Foundation and its many programs: theater, music, poetry and writing, publishing, film as well as educational and cross-generational.

Location One feels a particular kinship to the goals and programs of the Borderland Foundation since our aim is to encourage the convergence of cultural expression from all different parts of the world and different disciplines. We do this through our International Residency Program, and through our dense calendar of exhibitions, concerts, dance, weekly talks on issues of social, political, artistic and technological relevance. And we operate in a place that probably holds the widest variety of cultural expressions within its city limits: a borderland of sorts.

Borderland’s website

The nine million and twenty ninth dorkbot-nyc meeting took place on Wednesday, February 1st at 7pm.

It featured the lovely and talented:

	Ge Wang: ChucK + On-the-fly Programming + the Audicle ChucK, On-the-fly programming, and the Audicle are different parts of a new programming system and paradigm for real-time audio synthesis and multimedia. ChucK is the programming language; On-the-fly programming is the technique and aesthetic of writing/editing code during runtime; The Audicle is the context-sensitive graphical programming environment. Together, they form a theoretical and a practical framework for writing and experimenting with complex audio/multimedia programs that (1) have powerful control over time and concurrency and (2) can be created on-the-fly. We present the ChucK/Audicle framework and its potential applications for programmers, composers, and new media artists. http://chuck.cs.princeton.edu
	Anton Perich: painting machine In the Seventies I was a video artist, photographer and a painter. I dreamed of a machine that would paint. No more hand made paintings, but machine made, with sharp electric lines, on and off, like Morse code, short and long. So in 1977/78 I built such a machine, using surplus materials from Canal Street stores. I wired some photocells to the airbrushes on the motorized scanning unit that swept an area of about 10×12 feet, hung a piece of canvas, and made my first digital painting. In his Diaries Warhol said he was terribly jealous. This machine was an early precursor of ink jet printer/scanner. This was the time long before computer and digital art. I had my first show of electric paintings at Tony Shafrazy Gallery in 1979. I am still painting with this machine every day. It keeps breaking and I keep fixing it all the time. http://www.antonperich.com
	Carrie Dashow: recent works I work to address and expand the ways people communicate. I like collaborating with diverse groups of people to create enjoyable collective experiences transcending what we may expect of our interactions. Using pedestrian devices, these actions push personal and social boundaries. Through the use of technology unseen and subliminal connections momentarily surface. We are the medium technology dreams it can be. I will show some work from what I call the Negotiable Camera Ensemble, synchronized multi-camera people games, Red Light Relay; a public houselight event performed by downtown residents of Troy, NY, and my attempts at a self-editing video installation called the Informants, video pods who exist after the people have descended and are no longer necessary to a revived earth. http://www.dashow.net

Image gallery from the meeting

An irreverent look at obesity in America and one of its sources – fast food corporations.

Click here to view the embedded video.

with Everett Kane

	Mikey Sklar: ChippedMikey Sklar will be explaining the process he used to install a $2 RFID tag in his left hand. His talk will cover why he choose to do this, the necessary materials, different tag options, and what he and other people have been doing with these tags. http://www.electric-clothing.com/chipped.html
	Alyce Santoro: Sonic Fabricalyce santoro will discuss the evolution of “sonic fabric”, an audible textile woven from recycled, recorded audiocassette tape, from its humble beginnings as a work of conceptual art to its potential as a manufactured product with commercial viability. alyce will show pieces made from the material, along with some short videos of sonic fabric works in action. she’ll also demonstrate the fabric’s sonic properties using a device made from a modified walkman. http://www.alycesantoro.com
	Luke DuBois: BillboardI’ve been working for the past year or so on a technique called ‘time-lapse phonography’, which uses a time compression algorithm on sound to allow a large-scale piece of music to be compressed to just a few seconds duration. ‘Billboard’, my latest piece, uses the technique to compress the entire history of the Billboard Hot 100 chart into a thirty-seven minute piece of music. This allows us to experience literally hundreds of songs in a few minutes, giving us a sort of gestalt aural experience of music history. http://lukedubois.com/billboard

Amal posted a bunch of images from the meeting here. Thanks, Amal! Science & The City podcasts from this meeting

Click here to view the embedded video.

Click here to view the embedded video.

The nine million and twenty second dorkbot-nyc meeting took place on Thursday, December 8th at 7pm.

It featured the lovely and talented:

	Newton Armstrong: Mr. Feely Newton Armstrong is a composer and improviser working with a variety of electronic instruments. He’ll be presenting Mr. Feely — a not-quite-finished solid state embedded Linux synthesizer. http://silvertone.princeton.edu/~newton
	Eyebeam OpenLab: An overview James Powderly and Limor Fried will give an overview of the new Eyebeam OpenLab. The Eyebeam OpenLab is a home for artists, engineers and hackers pioneering open source creativity. The first initiative of its kind, the lab is focused entirely on incubating experimental technologies and media that directly enrich the public domain. With funding from the MacArthur Foundation and others, Eyebeam has awarded fellowships to a talented, interdisciplinary group of OpenLab fellows who work in a new facility equipped with a laser cutter, 3D printer, workstations, web servers, and electronics workbenches. These fellows are already generating ideas and building new projects, extending the innovative work of Eyebeam R&D. The Eyebeam OpenLab is dedicated to public domain R&D. All our work is distributed under open licenses that allow other artists, hackers, and engineers to remix our work, contribute to our projects, and build on top of our efforts. Specifically, our code is released under GPL, our content is distributed under Creative Commons, and our hardware is released with DIY instructions. http://www.eyebeam.org/reblog/archives/2005/11/eyebeam_openlab_launches_overvie_1.html
	Zach Layton: Biofeedback over bluetooth Zach Layton is a new york based composer interested in biofeedback techniques and psychoacoustics. He is also the organizer of the monthly experimental music series “Darmstadt: classics of the avant garde”. His work has been performed at the Aspen Music festival, Cleveland Chamber Symphony and at the Seventh International Performance Art Festival in Berlin. Currently he’s working on a wireless EEG interface and is working with sinewaves creating binaural beating patterns. http://www.zachlaytonindustries.com

Some photos from Floor Van Herreweghe: one two three four five

dorkbot-nyc regular Joel Schlosberg posted a blog entry about the meeting here: dorkbot turns five!

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

	Jonah Brucker-Cohen: Deconstructing NetworksJonah will discuss his work in the theme of “Deconstructing Networks” in both physical and online instantiations. He will discuss his projects that attempt to challenge and subvert accepted notions of network interaction from software manipulation and rule-based systems to translating virtual processes and conventions into the physical world. Some projects he will discuss include BumpList, an email community for the determined, Alerting Infrastructure!, a website hit counter that destroys a building, PoliceState a fleet of radio controlled policecars who’s movements are dictated by keywords sniffed on a local network, and SimpleTEXT a performance that is controlled by participants through texting messages from their mobile phones.http://www.coin-operated.com
	Carol Salmanson: Environments of pulsating colorCarol Salmanson builds installations that combine optics with light to create environments of pulsating color. Two years ago she started working with light, taking the spatial and color concerns that had long dominated her paintings into a whole different realm. Her work has both an architectural and a theatrical component, a fascination with how to transform ones perception of space. Instead of being about energy and motion, her installations seek to expand stillness.http://www.carolsalmanson.com
	Chris Vecchio: CubeChris Vecchio is an electrical engineer who began creating electronic devices to help him better understand the relationship between man and technology. Chris will present an overview of his work over the past few years including the Meterbox series – an investigation into the narrative potential of electronic circuitry, Evidence of Toolmaking – a series of handheld sculptures integrating electronics and bone, and concluding with a demonstration of Cube – an interactive sound installation and study in the design of ambiguous but suggestive user interfaces.http://www.chrisvecchio.com

Image gallery from the meeting

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

The nine million and second dorkbot-nyc meeting took place on Wednesday, October 5th.

It featured the lovely and talented:

	Jeff Snyder: Acoustic sounds, electronic means Inspired by his interest in acoustic sound generated by electronic means, Jeff Snyder is currently designing several new installation-based instruments that explore this concept. Snyder will present two of his works-in-progress: Percussion, which involves sine waves driving the resonant frequencies of cymbals; and Organ, which is an attempt to harness and control microphone feedback within a flute-like resonant space. http://www.scattershot.org
	Maja Cerar: Input and Outlet: Interactivity between People and Machines Violinist Maja Cerar will discuss her perspective as a performer in collaborative projects and the impact electricity has on ideas of how to play the violin. http://www.majacerar.com
	Douglas Repetto: Slowscan Soundwave (III) Douglas’s Slowscan Soundwave (III), a large-scale sound-sensitive installation, is currently being installed at Location One. He will talk about the piece and give a tour of the installation-in-progress. http://music.columbia.edu/~douglas

Image gallery from the meeting

September 15-17 & September 22-24, 2005.

ignored in my heaven… is a new evening-length work inspired by Rumsey’s dream and travel journals. Comprised of a suite of dances, the work shifts from literal transpositions of dreams, populated by Fellini-esque creatures clothed in fantastical costumes to candid, kinetically charged renderings of his travelogue. The work includes video projection by Marisela LaGrave/Magnetic Laboratorium. Costumes are by Rumsey in collaboration with costume designer David Quinn.

ignored in my heaven… is performed by the extraordinary Theresa Adams, Arnie Apostol, Steven Ferrara, Jean Freebury, Alexander Gish, Makram Hamdan, Linda Martini, Katherine Nauman, Banu Ogan, Amy Santos, Cheryl Therrien, Ede Thurrell, David Watkins, Lisa Boudreau and its creator Glen Rumsey.

also performed on April 4-5th, 2008.

[Show as slideshow]

press articles:

Gay City News
Village Voice
Village Voice “Don’t Call it ‘Project Runway, the Art Exhibit” by Corina Zappia
Dance Review Times

ignored in my heaven… was reprised in 2008

Pd is a real-time graphical programming environment for audio and graphical processing. It was planned as a free, better and more stable Max/FTS, which has also been developed by Miller Puckette at IRCAM. With Hans-Christoph Steiner, who has created patches and projects.

a monthly presentation of internet and web art, this month: “Online performance” MOOoo!

Click here to view the embedded video.

Click here to view the embedded video.

for this Open House Wednesday, Planetwork illuminates the critical role that the conscious use of information technologies and the Internet can, and indeed must, play in creating a truly democratic, ecologically sane and socially just future.

Click here to view the embedded video.

	Evan Raskob: SurroundScapesSurroundScapes are an innovative approach to entertainment. Falling somewhere between video games and television, in terms of interactivity, they represent a new medium with its own set of rules for design, interaction, and content. Forms of entertainment like SurroundScapes could quite possibly become the largest form of entertainment media in the coming decade, outpacing movies, entertainment, and even television. Evan will talk about the possibilities of a new form of entertainment/interactivity, lay out some possible ground rules, and show some work that his team has done creating applications along these lines.info at whatif-labs com
	Jeremy Bailey: Total Symbiotic Art SystemJeremy will present documentation of the development of a TSAS (Total Symbiotic Art System), namely VideoPaint, a software program he’s written that allows you to paint anywhere anytime. He will show examples from VideoPaint 1.0 and screen a series of performative journals documenting the development of VideoPaint 2.0http://www.640480.com
	Brian House: Yellow ArrowBrian House and friends discuss Yellow Arrow and how combining stickers with text-messaging can turn into a global public art project, urban game, and tool for collaborative experimental travel.http://yellowarrow.net

Some images from the meeting are here.

Click here to view the embedded video.

Director of National Arts Journalism Program at Columbia University

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Click here to view the embedded video.

Click here to view the embedded video.

	Daniel Greenfield: Little Disasters”Little Disasters” is a series of miniature reenactments of accidents and acts of sabotage. The scenes, which draw inspiration from reality disaster programs and media accounts of current wars, are played out in either a pre-scripted sequence, or are influenced by audience participation, and videotaped. The Dorkbot presentation includes live demonstrations of several dioramas.http://www.inkdropinc.com/four/art/balloon.htm
	Mike Rosenthal: The Travelling Sound Museum and Other Works in ProgressA look and listen to three sound sculptures that are currently in development. I will show slides of the works, play some audio examples, show a video of one in action, and bring in an ancient sound jar containing rare snippets of sound from the year 1643! I will also give away my idea for a traveling sound museum absolutely free. Each of the works deals with the visual properties of sounds and the ways in which we interact with audio in a gallery setting.http://www.tempaural.net
	Tom Bogaert: Singing fish and other odditiesTom will present a number of recent projects, including a singing fish, phone-triggered electronics, and a futuristic machete…bogaertdeleeuw at optonline dot net

Some images from the meeting are here.(Thanks to Casey Opstead & Location1 for helping out when Douglas forgot his camera!)

Click here to view the embedded video.

presentations by Artists-in-Residence in conjunction with the exhibit that runs from March 18 through April 23.5/20050323-naydasanteri.mov

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illuminates the critical role that the conscious use of information technologies and the Internet can, and indeed must, play in creating a truly democratic, ecologically sane and socially just future.

Click here to view the embedded video.

A monthly presentation of current and not-so-current internet and web art. This month: “Telepresence”.

Click here to view the embedded video.

	Chris Jordan and Joshua Goldberg: T-MINUS 2005Chris Jordan and Joshua Goldberg will talk about T-MINUS 2005, the timelapse-based art show they curated in February. They’ll talk about the works and the artists’ methods and motivations, as well as lessons learned from curating the show for two years. They’ll also preview the DVD catalog of the show.http://www.t-minus.org
	Kelly Dobson: Blendie & Wearable Body OrgansLong before implants, splicing, and cyborgs, people and machines co-evolved as companion species. Critical work happens in the connection between people and machines during Machine Therapy sessions. The machines have expressive and engaging behaviors, and their strength of character and neurotic propensities are celebrated. Blendie, an interactive voiced blender, helps users find sensorial energies put to sleep by enculturation, while Wearable Body Organs is a series of very visible, spectacular, or even bizarre prostheses that facilitate otherwise repressed screaming, hugging, crying, or thrashing.http://web.media.mit.edu/~monster
	Karla Grundick and Mistress Koyo: Linux VirginKarla Grundick and Mistress Koyo will talk about their website, http://linuxvirgin.info, its making, and the Linux community’s reactions. In its brief public exposure the linux virgin project has rapidly become a site of contagious, or viral, information exchange. During the two week preview stage, before the official launch of the site on Valentines Day, our project was blogged, linked, posted, and commented on all over the world wide web. We would very much like to discuss ideas with you on how to use the overwhelming response to that website for future projects.http://linuxvirgin.info

Some images from the meeting are here.

Click here to view the embedded video.

Open Source and blogs have proved to be successful as the second degree of scrutiny in the ecosystem of news. Will Videobloggers be able to do more: depart from the existing mainstream infotainment matrix and create new formats and new discourse.

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Open Source and blogs have proved to be successful as the second degree of scrutiny in the ecosystem of news. Will Videobloggers be able to do more: depart from the existing mainstream infotainment matrix and create new formats and new discourse.

Click here to view the embedded video.

Benoît Maubrey performs “The Electronic Guy”

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illuminates the critical role that the conscious use of information technologies and the Internet can, and indeed must, play in creating a truly democratic, ecologically sane and socially just future.

Click here to view the embedded video.

a reception to celebrate the publication of a catalogue documenting the two installations by Chris Csikszentmihályi.

The new illustrated catalogue for “Skin” and “Control”, Parallel installations by Chris Csikszentmihályi

64 pages, 44 illustrations including 38 in color :: $28
signed limited edition of 100 copies accompanied by a CD-ROM $65
With texts by Chris Csikszentmihályi, Caroline Jones, and McKenzie Wark

Skin & Control catalogue
$28 or $65 special edition (signed by the artist, includes CD-ROM)

“My goal as an artist is to understand and intervene into the production of material power and technologies. My day job as MIT professor involves doing that at a very literal level. “Skin” and “Control” do this at a more symbolic level, in the form of installations that operate as immersive environments, walk-in tableaux with everyday drama being enacted moment by moment.”
–Chris Csikszentmihályi “Csikszentmihályi is conceptual and scalar ambitions locate him within a specific generation that has its own characteristic forms of artistic practice. For artists coming of age since the 1980s, (Damien Hirst, Matthew Ritchie, and Anselm Kiefer come to mind), science and technology are not truth as much as culture they form the mythic structures of our time .”
–Caroline Jones

What Csikszentmihályi offers is a way of visualizing a certain kind of power at work in the world. The power of control, of telemetry, of the ways and means of speed. It is a surprisingly abstract art.
–McKenzie Wark

IMHO :: In My Humble Opinion
part of Location One’s Open House Wednesday series of talks and panels

A monthly personal bookmark bar of recent or not-so-recent art works that use the internet as canvas, conduit, muse, or soapbox in compelling, humorous or poetic ways. Presented by Heather Wagner, Location One’s director of online exhibitions.

Luke Murphy
Node thinking, pornopainter animations and manic Power Point presentations http://www.lukelab.com

+
Ursula Endlicher
Famous For One Spam, wigweb portraits, singing with household appliances

http://ursenal.net

+
Antoinette Lafarge & the Plaintext Players
Remotely extemporized text scripts performed by live actors, MOO theatre.
http://yin.arts.uci.edu/~players/

Click here to view the embedded video.

The twelve thousandth dorkbot-nyc meeting took place on Wednesday, February 2nd, 2005, 7pm.

It Featured the lovely and talented:

Jason Freeman: Glimmer
In Glimmer (2004), which was recently premiered by the American Composers Orchestra, the concert-hall audience members become musical collaborators who do not just listen to the performance but actively shape it. Each audience member is given a battery-operated light stick which he or she turns on and off over the course of the piece. Computer software analyzes live video of the audience and sends instructions to each musician via multi-colored lights mounted on each players stand. Jason Freeman is a composer who uses technology to rethink the relationships between composers, performers, and listeners.
http://www.jasonfreeman.net

Aaron Yassin: In the digital age photographs have become malleable bits of information that can be manipulated and adjusted with the click of a mouse. In the series Infinity Diagrams Yassin uses digital compositing to create a new hybrid form of image making. By repeating photographs of architectural subjects dozens, or even hundreds of times, mesmerizing patterned images are made. By using new imaging Yassin adds meaning to familiar subjects as he explores the relationship between information and image. Part of his presentation will include showing some of the final inkjet prints.
http://www.aaronyassin.com

Neg-Fi: Uncontrollable Feedback Devices and Tape-Based Noise
Neg-Fi is Evelyne and Ryan, a tape-based noise rock band that prides itself on its typically homemade packaging (childrens book cutouts, balsa wood, and foamcore are favorite materials). They are also the makers of “Wireless UFDs” (uncontrollable feedback devices), whose biggest selling point is the fact that they are wireLESS. They use the UFDs as part of their music, in addition to occasionally making them available for sale.

Some images from the meeting are here.

At 6:30pm, a blessing by the Lama Pema Wangdak, followed at 7:00pm with a talk by the creators of Nano Mandala, an exhibition at Location One through Jan 16, 2005.

Click here to view the embedded video.

Friday, January 21 st , 2005

8:30 pm
Tickets: $12

Fifteen years after making a brief splash as an ill-fated downtown supergroup in the avant jazz and experimental music scene, Odd Job (Shelley Hirsch, Ned Rothenberg, David Weinstein and Samm Bennett along with new member bassplayer Stomu Takeishi) will give a one night reunion concert at Location One on Friday, January 21st , 2005.

In 1990 the group surprised and thrilled audiences by mixing skilled free noise improvisations with revisionist post-pop arrangements of rock and jazz standards. Their imaginative revisiting of songs by The Beatles, Jimi Hendrix, Bill Withers and other well-known pop icons subjected familiar melodies and structures to brutally altered arrangements and irreverent reconstruction.

Their inside-out recording of Hendrix’s Foxy Lady (female vocalist Hirsch, guitarless band) has earned them near legend status (Live at the Knitting Factory, Vol 2).

After one year the group disbanded amidst a host of invitations and exaltations, citing schedule conflicts and personal differences.

	Shelley Hirsch is an unorthodox, extraordinary fusion of vocalist, composer and performance artist whose work encompasses story telling pieces, staged performances, compositions, improvisations, collaborations, installations and radioplays, which have been presented on 5 continents. Hirsch has performed hundreds of concerts of improvised music with Anthony Coleman,Christian Marclay, Toshio Kajiwara, Aki Onda, Ikue Mori, Butch Morris, Billy Martin, DJ Olive, Dennis Delzotto, Fred Frith, Min Xiao Fen, David Watson and many many others. Her vocals can be heard on 30 cds including her most recent releases “The Far In Far Out Worlds of Shelley Hirsch” (Tzadik) and “Duets” with guitarist Uchihashi Kasuhisa ( Innocence) and “O Little Town of East New York” (Tzadik) and “Haiku Lingo” both with longtime collaborator, keyboardist/composer David Weinstein.
Photo by Caroline Forbes	Composer/performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 25 years in North and South America, Europe and Asia. He leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla. Recent recordings include Intervals, a double-CD of solo work, and Are You Be, by R.U.B. (Rothenberg/Kazuhisa Uchihashi/Samm Bennett) on Rothenberg’s Animul label. Chamber music releases include Ghost Stories, on Tzadik and Power Lines on New World, along with Port of Entry, Sync’s release on Intuition. Other collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Marc Ribot, Yuji Takahashi and Evan Parker. For more visit www.nedrothenberg.com
photo by Mark Lentz	David Weinstein is keyboardist, composer and multimedia artist whose musical works juxtapose sound effects, traditional and non traditional instruments, synthetic sound, ancient and exotic tunings and noise. His group Impossible Music uses sound effects, found sound and cheap electronics to construct virtual soundtracks. As a keyboardist Weinstein has recorded and performed in collaboration with musician/artists including Shelley Hirsch, Angie Eng, Elliott Sharp, Doris Vila, Ned Rothenberg, John Zorn, Zeena Parkins, Rhys Chatham, Butch Morris, Christian Marclay and many others. Weinstein’s discography includes “Perfume” (Avant/Hips Road) and “A Classic Guide¡¨ (No Man’s Land).
	Samm Bennett is a composer and percussionist who over the past 25 years has blazed his own paths in the exploration of rhythm and polyrhythm. He’s long maintained an interest in electronic instruments as well as acoustic percussion, and his music has always been defined by an enthusiastic embrace of new sonic possibilities. The years he spent in NY saw him working as an improvisor or bandmember with Elliott Sharp, Shelley Hirsch, Ned Rothenberg, Hahn Rowe, Tom Cora and many others, as well as a bandleader and singer/songwriter with his own groups Chunk and History of the Last Five Minutes. Since 1995 he has resided in Tokyo, where he’s performed and recorded with musicians such as Haino Keiji, Yoshigaki Yasuhiro, Haco, Uchihashi Kazuhisa, Carl Stone, Akiyama Tetuzi, Tanaka Yumiko and others. He is a member of the the song/electronica project Skist, along with vocalist and sound creator Haruna Ito. Solo performance has become Bennett’s main focus over the last couple of years, and in 2004 he released “Secrets of Teaching Yourself Music” (Improvised Music From Japan IMJ-516), a live recording from solo concerts at various Tokyo venues. The album features his work on WaveDrum plus various other instruments and gadgets. The Wire’s Edwin Pouncey called the record an “amusing and entertaining DIY musical primer… Bennett’s lively manipulation of sound never fails to uncover some new means of communication between the objects he has assembled.”
photo from downtownmusic.net	Electric bassist Stomu Takeishi has recorded and toured with Myra Melford’s Crush Trio, Henry Threadgill’s Make A Move band, Eric Friedlander’s Topaz and with Dave Tronzo’s Tronzo Trio. He has recorded with Paul Motian and Mick Goodrick and has performed with Don Cherry, Bob Moses, Dave Liebman, Wynton Marsalis, Randy Brecker, Rasheed Ali, and Leni Stern.

illuminates the critical role that the conscious use of information technologies and the Internet can, and indeed must, play in creating a truly democratic, ecologically sane and socially just future.

The thirty thousandth dorkbot-nyc meeting took place on Wednesday, January 5th, 2005, 7pm.

It featured the lovely and talented:

Paul Davies: A New Type of Unfortunate Occurrence
Paul Davies work explores issues of technology in society through interactive sculpture and installations which are often driven by surplus technology that he finds in various local and mail order surplus shops. His art is explicitly about contemporary cultural issues involving the role of media and technology in our society. Paul will present a recent collaboratively built environment called ‘A New Type of Unfortunate Occurrence’.
http://www.xraylab.org

Michelle Rosenberg: Sound Dispensers
Michelle Rosenberg makes devices to listen through. In an on-going project called “Dynamic Headphones”, she make headphones that mediate a listener’s relationship to recorded and live sounds. She modifies portable headphones as well as makes ear trumpets. Michelle will talk about her “Dynamic Headphones” and the antique hearing aids that inspired them.
http://www.michellerosenberg.com

Jason Van Anden: Farklempt! 1.0 – World Premier
Farklempt! is an online multiplayer video game that challenges its players to manage their emotional-health through the skillful management of feelings against other players others trying to do the same. Farklempt! continues Jasons ongoing series of artworks that strive to represent human emotional behavior through art and technology. Farklempt! was commissioned by Rhizome.org with the support of the Jerome Foundation, The Greenwall Foundation, and The Warhol Foundation. The fun doesn’t stop at Dorkbot! After the meeting, you can go home and play Farklempt! to your heart’s delight.
http://www.smileproject.com

Some images from the meeting are here.

Click here to view the embedded video.

The eighteen millionth dorkbot-nyc meeting took place on Wednesday, December 1st, 2004, 7pm.

It featured the lovely and talented:

Andrew Senior: analogue to digital: via digital analogues and digital digital images
Andrew Senior draws on a range of influences and media to create works that investigate identity, landscape, and perception. In this talk he will focus on his progression from physical to computer-based works, particularly synthetic video animations. The subtitle will be explained as we go along.
http://andrewsenior.com

Fred Adler (AKA Qatar): Ask Qatar
Adler will present Ask Qatar, a divination system based on the i-ching. This unique interpretation of the i-ching utilizes a 3-d shockwave interface and quicktime. Fred will talk about the process of making this cutting edge application and the challenges of making it work online vs. as a stand alone video game.
http://www.askqatar.com

Douglas Repetto: How To Build a Horse Table
Douglas will talk about the process of building his walking table for Ralph Lemon’s Come Home Charlie Patton at BAM this fall.
http://music.columbia.edu/~douglas

Some images from the meeting are here.

Click here to view the embedded video.

Ken Jordan, a pioneer in web-based multimedia, will talk about the political and social situation after November 2nd.

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The seventeen millionth dorkbot-nyc meeting was held on Wednesday, November 3rd, 7pm.

It Featured the lovely and talented:

Tom Moody: THE FUTURE OF THE AUTONOMOUS ART OBJECT IN A WIRED WORLD, OR, HOW BLOGGING CHANGED MY ART LIFE.
Moody’s low-tech art made with MSPaintbrush, photocopiers, and consumer printers has appeared in solo shows at Derek Eller Gallery and UP&CO in New York, as well as group shows such as “Ink Jet” at the Aldrich Contemporary Art Museum, “Byte Size” at homeroom gallery in Munich, and the “Infinite Fill Show” at Foxy Production. After writing for many years for Artforum, Sculpture, Art Papers, and other publications, he began weblogging in February 2001 and served as an Eyebeam reBlogger from Sept. 3 – 22, 2004.
http://www.digitalmediatree.com/tommoody

Matt Hall and John Watkinson: Cell Phone Drum Machine
A software drum machine is linked to a mobile phone via infrared. The phone relays SMS messages it receives to the drum machine’s software. Users can send simple commands in SMS messages from their own phones. The result is a drum machine that is programmed interactively by the “audience” with their cellphones.
http://tronics.org/drum

Claire Corey: Digital Paintings
Claire will present her digital paintings including an animation which shows the progression of one of her works from 2002. This hybrid medium questions both what is expected from works made with a computer as well as what constitutes painting. http://www.clairecorey.com

Click here to view the embedded video.

Spend election night at Location One with NY video bloggers, artists and network interventionists. P2P networks and exchange, blogs and collective filtering of network TV will create our own “citizens’ coverage” of the election drama.

“Call it Democracy” is a non-partisan look at the history and future of elections in the United States. Nearly four years in the making, the film seeks to demystify the electoral process, forty years of presidential elections and emerging voting technology.

http://www.callitdemocracy.com/

“Call it Democracy” is a non-partisan look at the history and future of elections in the United States. Nearly four years in the making, the film seeks to demystify the electoral process, forty years of presidential elections and emerging voting technology.

http://www.callitdemocracy.com/

Co-Founder & Vice Chairman, Electronic Frontier Foundation Berkman Fellow, Harvard Law School

The artist speaks on his current installations at Location One, “Skin” and “Control”, raising questions about power, control, what lies beneath the surface of our lives today. Csikszenmihalyi is an artist working at MIT. He directs the Media Lab’s Computing Culture group.

Click here to view the embedded video.

“Demotic” by Antoinette LaFarge and Robert Allen
a performance work about American Memory, a single character whose many voices are woven together into a complex texture of language, sound, and music to create a kind of covert national anthem.

“Demotic …of or pertaining to the current ordinary everyday form of a language; of or pertaining to the common people.”

All performances at 10pm EST (7pm PST)
Thursday, July 29
Friday, July 30
Saturday, July 31

How do we best portray the multiplicity underlying the American experience? In “Demotic,” artists Antoinette LaFarge and Robert Allen harness the Internet and the stage to create a performance work exploring American Memory. Made possible through the Beall Center’s high speed connectivity, the performance features a single live actor who draws on an ensemble of sound artists, dispersed performers, avatars, and the everyday experience of online citizens. From this tour-de-force improvisation emerges both a complex texture of language, sound, and music and a contemporary national anthem.

Live performances will take place at the Beall Center for Art and Technology, Irvine, CA.

Admission is free but seating is limited. Reservations are suggested (949) 824-4339
Directions: http://beallcenter.uci.edu/directions/directions.htm

All performances of “Demotic” will be webcast live via RealAudio at this address http://media.nacs.uci.edu:8080/ramgen/encoder/demotic.rm

Co creators: Antoinette LaFarge + Robert Allen
Stage Director: Robert Allen
Online Director: Antoinette LaFarge
Sound Artists: Maria de los Angeles Esteves and Jeff Ridenour
Theater Actor: Tracey Leigh
Online Performers: Marlena Corcoran, Ursula Endlicher, Richard Foerstl, Lise Patt, Richard Smoley, Heather Wagner

Under Strange Skies
A Documentary by Daniel Blaufuks
Narrated by Bruno Ganz, 57 min, digital, color, 2002.
prod.: LX Filmes, Lisboa

December 3rd, 2003 at 8pm
Free Admission

(New York, NY – November 14, 2003) – On December 3rd, 2003 Location One will present a free public screening of Daniel Blaufuk’s documentary Under Strange Skies, the story of his German Jewish family’s flight from Nazi Germany to Lisbon.

During the Second World War, Lisbon, like Casablanca, was a corridor for refugees going from Hitler’s occupied territories to America. This film tells two parallel stories about exile and accommodation. Through a narrated memoir and photographs, the tale of a German Jewish family that decided to stay in Portugal is recounted. The larger, more sociological account of artists who used Lisbon’s escape route is skillfully told as well, using beautifully shot historic footage and written memoirs by some of the era’s leading intellectuals, including Heinrich Mann (The Blue Angel) and Alfred Döblin (Berlin Alexanderplatz). This film evokes a desperate, intensely romantic period of exile, despair, and, ultimately, freedom.
-Marc Glassman, Hot Docs, Toronto

“The filmmaker’s narration interweaves with the recollections of his grandfather and of such famed Lisbon refugees as Heinrich Mann and Alfred Döblin, highlighting a montage of old photos, home movies, and archival footage of delicate beauty.” -Peter Keough, The Boston Phoenix

“haunting, elegiac” -The Jewish Advocate

Under Strange Skies has been shown at Hot Docs Canadian International Documentary Festival, The Boston Jewish Film Festival, Rencontres Internationales du Documentaire de Montreal, DocLisboa and the Goethe Institute, New York.

Daniel Blaufuks
In 1989, Daniel Blaufuks won the national Kodak Award. In 1996, he was among the final eight chosen for the European Photography Award. Daniel Blaufuks has been working on the relation between photography and literature, through works like My Tangier with the writer Paul Bowles. More recently, Collected Short Stories displays several photographic diptychs in a kind of “snapshot prose,” a speech based on visual fragments that give indication of private stories on their way to become public. He has been showing widely in Europe and works mainly in photography and video, presenting his work through books, installations and set designs. Recent solo exhibitions include: Calouste Gulbenkian Foundation, Lisbon, Portugal; Palazzo delle Papesse, Siena, Italy; LisboaPhoto, Centro Cultural de Belém, Lisbon, Portugal. Blaufuks’ residency at Location One is supported by the Calouste Gulbenkian Foundation and the Luso-American Development Foundation.

For more information see http://www.danielblaufuks.com

Myth and the Contemporary, Dec. 11, 7:30 pm
Panelists: Meredith Monk,, John Jesurun,, Mary Lucier, Eiko Otake, Theodora Skiptares,
Moderator: Bonnie Marranca

Meredith Monk is a composer, choreographer, singer, creator of new opera, musical theatre works, films, and installations. A pioneer in what is now called “extended vocal technique” and “interdisciplinary performance,” she has created more than 100 works. She is a recipient of a MacArthur “Genius” Fellowship. Monk has made more than a dozen recordings, and her music has been heard in numerous films.

Mary Lucier has been a sculptor, photographer, and performance artist before turning to video in the early seventies. Her video pieces are widely exhibited in museums and galleries in the U. S. and abroad. Among her many works are Ohio at Giverny, Last Rites (Positano), Noah’s Raven, and House by the Water. Mary Lucier is represented in the current Whitney Museum exhibition entitled Into the Light.

Eiko Otake is one half of the dance partnership known as Eiko and Koma who choreograph and perform only their own works. Since leaving their native Japan almost three decades ago, they have presented their works at theatres, universities, museums, galleries and festivals across North America, Europe, and Asia. Recently, they premiered a new piece, Be With, in collaboration with dancer/choreographer Anna Halprin and Joan Jeanrenaud, a former member of Kronos Quartet, at the Kennedy Center in Washington. In January it will be seen at the Joyce Theatre.

John Jesurun is a playwright, director, and media artist. Among his many plays are Deep Sleep and fifty-two pisodes of his serial play Chang In a Void Moon. His White Water is currently running in Mexico City. The End of Cinematics, an opera in collaboration with composer Mikel Rouse, premieres in fall 2002 at the Orange County Performing Arts Center. His new media work, Virtual Actor, made in collaboration with scientists from Bell Labs, will be presented in December as part of the Brooklyn Academy of Music’s Arts in Multimedia program.