Location One » performance

Blackbird

heather — Wed, 17 Apr 2013 00:00:23 +0000

Location One presents a Schmucks Theatre production

Blackbird

by Lucia Cox
directed by Nathan Shreeve

Produced in arrangement with House of Orphans

US Premiere
Performances begin April 16

“You know, I was born an egg, a little hard brown egg. But I cracked into a river and my insides came out and I was just about drowned and would have fallen to pieces by now were it not for him, plucking me out, saving me, I guess.”

Alone in a room of scattered pomegranates and stained walls, the ‘Blackbird’ shares the secrets of her past and the disturbing reason she’s in love with the man upstairs.

‘I suspect we will be seeing more of Cox after this impressive debut.’ British Theatre Guide

Produced for Schmucks Theatre by Justine de Penning
Set Design: Nick Benacerraf, Costume Design: Alice Tavener, Light and Sound
Design: Colin Chauche

www.schmuckstheatre.co.uk

Icons & Relics

heather — Sun, 07 Apr 2013 21:32:03 +0000

Location One and Quinndustry present
Icons And Relics
Monday, February 4, 2013
Two shows: 8pm and 8:30pm

Location One and Quinndustry present Icons And Relics, a prelude to Fashion Week in the form of a theatrical fashion adventure spotlighting the 2013 Fall/Winter collection of renowned designer David Quinn. Here fashion, theater, and dance are intertwined by Quinn’s nimble wit to form a multidisciplinary work of PerformanceFashionArt.

[Show as slideshow]

Mysterious women in smoking jackets gaze at you languidly while dancers create tableaux vivants in an opulent Edwardian parlor. Inspired by knights’ armor, byzantine icons, and the gender ambiguities of the La Garçonne style of the 1920s, this dreamscape is carried along by choreography influenced by processionals and pagan festival dances. Quinn will bring together models and some of downtown New York’s most talented dancers and brightest stars of burlesque and performance art to bring this vision to life.

Icons and Relics is directed by David Quinn, with choreography by Luke Miller and Ede Thurrell, dramaturgy by Kate Valentine, sound design by Shaun Hettinger (Memoryymusic.com), and lighting design by Keith Truax.

Two shows: Monday, February 4 at 8pm and 8:30pm. Admission is free. Seating is limited.
Location One – 26 Greene Street (between Grand and Canal Streets).
More information at: location1.org.

About David Quinn: David Quinn is equally adept at designing for dance, theater, circus, TV, film, and the red carpet. His work in costuming and fashion has received critical acclaim in numerous publications across the country. In New York, he has been featured in the New York Times Style section several times (twice photographed by the legendary Bill Cunningham), The Village Voice, WWD, Dance View Times, Dance Magazine, Ballet Review, Bust, Next, New York Magazine, Soap Opera in Depth, and Time Out New York, among others.

Quinn has also designed for numerous dance companies in New York and across the country. He designed the costumes for the Martha Graham Company’s new work Chasing, which premiered at Lincoln Center in 2011, and has also designed for the Merce Cunningham Dance Company, Mark Morris Dance Group, Doug Varone and Dancers, Glen Rumsey, Stanley Love Performance Group, as well as burlesque performers Kate Valentine, Dirty Martini, Julie Atlas Muz, and the World Famous Bob, among many other artists.

Quinn designed the circus Desir in conjunction with the jeweler Boucheron on its 150th anniversary. His designs have appeared on television shows such as The Young and the Restless and the Daytime Emmys. Quinn is featured as himself in the documentaries Dirty Martini and the New Burlesque and Haute Child in the City. He designed the costumes for the feature-length film, Celluloid #1, and designed performance costumes featured in the movie Tournée, the directorial debut from Mathieu Amalric.

Quinn’s made-to-order gowns have been on red carpets at the Tony Awards, the Cesar Awards, the Emmy Awards, and the Cannes Film Festival, as well as countless opening nights and premieres. From his studio, Quinn has built costumes for many of Broadway’s biggest designers for many of its biggest shows. His work has been in Grey Gardens, Spring Awakening, 16 Wounded, Beauty and the Beast, Young Frankenstein, Billy Elliot, The Wedding Singer, Frost/Nixon, and Cirque du Soleil, among many others.

Quinn also conceives, costumes, and directs performance art happenings combining fashion, dance, and music. ArtForum called Quinn’s Scenes From a Ladies Room “a stunning spectacle.” Along with his many varied projects, Quinn is currently working on translating his made-to-order gowns and clothing into more accessible ready-to-wear. Quinn is also very honored to be the resident costume designer for the LaGuardia Arts High School’s drama department.

Media contact: Janet Stapleton – 212-633-0016 / jstapleton@att.net
Digital images are available on request.

Phosphene Performances

heather — Sun, 09 Sep 2012 21:13:41 +0000

Phosphene Variations
by Jason Akira Somma
September 12-November 17, 2012
Opening Reception Wednesday Sept 12, 6-9pm
Performances, 7pm
Opening night and weekly performances through November 15
Performance curator: Luke Miller

“Phosphene Variations” will premiere at Location One September 12th, featuring a holographic participation by Jiří Kylián, live and holographic performances by Frances Wessells, and Leslie Kraus, and an introductory context statement by Kate Valk of the Wooster Group. The exhibition will also include weekly performances by dance legends, as well as up-and-coming artists, throughout the duration of the exhibition. Somma will “perform” with the artists using his revolutionary video techniques, exploring the undiscovered edge between visual and performance art, as it uses performance as the well-spring for independent visual content.

Wednesday, Sept 12th
Frances Wessel
Leslie Krauss
Christopher Lancaster

Frances Wessells has worked with dance legends including Erik Hawkins, Hanya Holm and Martha Graham. She has performed all over the globe. Frances started the Dance program at Virginia Commonwealth University in 1981 and, through teaching there for 25 years, has profoundly influenced the lives of several generations of dancers. She is grateful that late in life people are still interested in watching her dance and in learning the art and theory of dance from her. Her passion has never waned, nor has her will to push the boundaries of dance, teach life through dance and to move in beautiful ways.

Frances will be creating an improvised solo specifically designed to interact with Jason Somma’s video feedback and Chris Lancaster’s sound score for electric cello.

Leslie Kraus graduated from Virginia Commonwealth University with a BFA in Dance and Choreography in 2003, and subsequently danced with Curt Haworth and Robbinschilds as well as in her own work in New York. Leslie joined Kate Weare Company in 2006. In 2009, she was recognized for outstanding dancing in Dance Magazine’s annual list of “Top 25 Dancers to Watch.” Leslie routinely acts as Weare’s assistant director, most recently for a commissioned work on dance students at the NYU Tisch School. She is a featured soloist in an opera Weare is working on with composer Barbara White to premiere at Princeton University in March 2012. In 2009, critic Deborah Jowitt of The Village Voice wrote: “(Leslie) Kraus is amazing – demon and angel.”

Christopher Lancaster is an electro-acoustic cellist composer living in Brooklyn, New York. He trained as a classical cellist, but endeavors to expand the ideas of what a cello can be, and what sounds it can create. His solo compositions are performed live using a wide array of effects, samplers and speaker sculptures to create encompassing, cinematic and otherworldly sounds.

Click here to view the embedded video.

Wednesday, Sept 19th
Kira Rae Blazek
Burr Johnson

Kira Rae Blazek grew up in Houston Texas, and was classically trained at Houston Ballet Academy, she received her BFA in Modern Dance Performance from the University of Oklahoma. Blazek then moved to Chicago where she joined Hubbard Street 2 and toured extensively in the U.S. and Germany. In 2008, Blazek moved to New York and was immediately picked up by Douglas Dunn & Dancers. She has also danced for Bill Young, Nicole Wolcott, Christopher Williams, Jack Ferver, Ryan McNamara, Sally Silvers, and Pilobolus Creative Services. In 2009, she was invited to guest with Anoukvandijkdc (Netherlands). In June 2012, she became one of four Americans certified to teach Countertechnique, a contemporary dance technique developed by Anouk van Dijk. As a choreographer, Blazek has presented works at Galapagos Arts Space for the 60×60 Festival, Dixon Place, and Danspace St.Mark’s Church. She also delights in music videos and has appeared as a soloist in music videos for Mac Miller and Beach House. She is currently a performer for Shen Wei Dance Arts.

Kira will be creating an improvised solo specifically designed to interact with Jason Somma’s video feedback and Chris Lancaster’s sound score for electric cello.

Burr Johnson is from Virginia Beach, VA. He holds a B.F.A in Dance and Choreography from Virginia Commonwealth University. He dances in the works of a few choreographers including Helen Simoneau, Christopher Williams, Shen Wei, and John Jasperse. He has also worked with artists Yozmit, Ryan McNamara, and Benny Nemerofsky Ramsay. His dances havebeen presented at art6 Gallery, Judson Church, Dixon Place, OneArmRed, Elizabeth Dee Gallery, Josée Bienvenu Gallery, and Danspace Project.Burr also teaches dance from time to time and gardens.

Burr will be sharing phrase material and improvisational ideas to be used in his next piece. This will be solo research for a sextet that he will not perform. burrjohnson.wordpress.com

Click here to view the embedded video.

Wednesday, Sept 26th
Flexers

Click here to view the embedded video.

Wednesday, Oct 10th
Dirty Martini
Julie Atlas Muz
Monstah Black

Miss Dirty Martini
Miss Exotic World 2004, The International Burlesque Sensation, Miss Dirty Martini, is one of the most recognized names in new burlesque. Miss Martini has delighted audiences with her Fan Dance, Balloon Striptease, Dance of the Several Veils, Shadow Strip and other classic burlesque revivals. She has won the Sally Rand Award for her performance at the Exotic World Museum in CA.

Dirty will be performing some of her favorite acts.

Julie Atlas Muz, one of the most acclaimed and prolific conceptual performers and choreographers in New York, sucker punches the boundaries between performance art, dance and burlesque with dark, twisted, come-hither performances that have secured her place in the underworld of nightlife as well as the bastion of the art world. On any given night in New York City, you can see Julie Atlas Muz peeling off the outlandish costumes she dons, covered in fake blood in the basement of a gay bar or co-hosting America’s Favorite Burlesque Gameshow This or That! on public access–in essence, expressing her bawdy, irreverent and unexpected sense of humor. Muz has presented her work at P.S. 122, HERE, The Performing Garage and Art at St. Anne’s Warehouse, chashama, LaMama, The Kitchen, and Dixon Place. Late at night you can see Julie Atlas Muz perform regularly in New York at the all the right locations. Muz has been awarded Artist- in-Residency status from Chashama (2002), Joyce Soho (2001), Mondo Conne Artist-in-Residency at Dixon Place (2000) and Movement Research Artist-in-Residence (1998-99). 2004 Whitney Biennial Artist and a 2005 Valencia Bienal Artist.

Julie will be performing some of her favorite Burlesque acts.

Monstah Black, a new York based artist (singer, songwriter, musician and choreographer), known for his stage performances that blur the lines of genre and gender. Born and raised in historical Colonial Williamsburg, Virginia, Monstah was exposed at birth to not only the pulpit rocking sounds of the southern Baptist Church and the classical sounds of Roman Catholic Church but also Soul, R&B, Rock, Funk and Disco. His aesthetic reflects this upbringing revealing influences of Prince, David Bowie, and Sylvester. Monstah holds an M.F.A in New Media Art and Performance from Long Island University and is currently an artist in residence at Dance New Amsterdam.

Monstah Black will be improvising live with movement and singing a selection from his show Submerged In Blue of 2010.

Click here to view the embedded video.

Phosphene Variations

heather — Wed, 11 Jul 2012 19:01:37 +0000

Phosphene Variations
by Jason Akira Somma

September 12-November 17, 2012
Opening Reception Wednesday Sept 12, 6-9pm
Performances, 7pm
Opening night and weekly performances through November 15
Performance curator: Luke Miller

Location One is proud to present “Phosphene Variations”, a new video/performance/holographic exhibition by Jason Akira Somma.

The greatest dancers and performance artists of our time—Laurie Anderson, Mikhail Baryshnikov, Joan Jonas, Robert Wilson and others—perform their signature movements and are captured as floating holograms, which members of the audience can interact and perform with.

This new technology will redefine the ways in which we access, record and experience dance and performance. This is the first ever interactive performance holography exhibition, premiering September 12th at Location One.

“Phosphene Variations,” a performance happening-and-exhibition event created by Jason Akira Somma, introduces interactive archival performance holography to the worlds of dance and performance art. Somma’s approach has been described as “the future of dance and art” by Daniel Stern, Director of the Jerome Robbins Foundation; as “A true revolution…stupefying poetry, humanity and invention” by Le Figaro. Jiří Kylián, longtime Artistic Director of Nederlands Dans Theatre, has said, “dance has to be taken out of its isolation, and Jason has the range to do this.”

The first wave of artists who have agreed to be turned into holograms in this project includes: Laurie Anderson, MIkhail Baryshnikov, Carmen DeLavallade, Joan Jonas, Jiří Kylian, Luke Miller, Richard Move, Gus Solomons Jr., Frances Wessells, Bill Shannon and Robert Wilson.

Live performances will take place each week through November 15th (Please note that November 8 and 15 are Thursdays). Interaction with holographic performers, and video works will be on exhibit during Location One’s normal gallery hours and otherwise available by prior arrangement.

LIVE PERFORMANCE SCHEDULE

Wednesday, Sept 12th – Frances Wessells, Leslie Kraus
Wednesday, Sept 19th – Kira Rae Blazek, Burr Johnson
Wednesday, Sept 26th – Flexers
Wednesday, Oct 10th- Dirty Martini, Julie Atlas Muz, Monstah Black
Wednesday, Oct 17th – Brian Brooks – Postponed
Wednesday, Oct 24th – Jeanine Durning, Manelich Minniefree – Postponed
Thursday, Nov 8th – Susan Marshall & Company, Bill Shannon, Vanessa Walters – Postponed
Thursday, Nov 15th – Phosphene Redux & Closing Party (Various artists who performed earlier in the season return to present short excerpts) – Cancelled

artists’ bios >>

Jason Akira Somma is an internationally recognized visual artist and choreographer known for his unique hybridization and extensive training in both fields. His most recent mentor is Jiří Kylián. He was the first American to receive, the Rolex Arts Initiative Award for dance, supporting his work in performance visual art and technology in 2008. “Phosphene Variations” was developed with support from the Rolex Mentor and Protégé Arts Initiative, which pairs emerging artists with masters in the fields of dance, film, literature, music, theatre, and visual arts for a year of creative exchange.

The “Phosphene Variations” approach involves video recordings of dancers and performance artists on stage, which are then made into holographic installations. This constitutes the permanent visual record of the artist, which will be made available to the artistic community. But Somma’s technology then allows the holographic recording to be projected onto a fine screen of water mist. When live participants interact with the screen, the image responds to their intervention, creating the “dance with legends” possibility.

Jason Somma is the only artist today applying this technology to archiving dance. A prototype of “Phosphene Variations” was premiered at the National Theatre of Paris in 2011, to rave reviews. William Forsythe said, “Jason has done for video what Jackson Pollock did for the canvas. He is an electronic archeologist and spearheading the next movement in dance.” Dance Magazine said, “a small piece of dance history. At times dazzling and full of brilliant colors, the performance is woven by a dialogue between the real and virtual, and the human and technological.” Telerama (Paris) said “offers performers, if not the role of their lifetime, a role that fits them perfectly. Suddenly before your eyes, true lighthearted beauty.”

“Dance IS a visual art,” says Somma. “ The body has always been the native land of any artistic endeavor. However, due to the ephemeral and ineffable nature of performance and kinesthetics, we’ve lost the wisdom of our historic predecessors. I want to generate performance happenings that create autonomous pieces of art and with “Phosphene Variations” go a step further and allow spectators to interact with such legends beyond their life span for future generations to enjoy and garner knowledge.”

Jason Akira Somma, raised in Virginia, graduated summa cum laude from Virginia Commonwealth University. In ensuing years, he danced with Bill T Jones/Arnie Zane Company and Pearson/Widrig, and choreographed for Sadlers Wells in London, Chaillot National Theater in Paris, and Lyon Opera Ballet. His video work has been exhibited at New York’s New Museum and Guggenheim Museum and Glasgow Center of Contemporary Art.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs,and Location One’s International Committee for making this event possible.

Gallery Hours
Tuesday-Saturday 12-6pm
Opening Reception September 12, 6-9pm
Opening Night Performance 7pm, free and open to the public
All other Wednesday Performances $10

Requiem

heather — Mon, 14 May 2012 19:26:58 +0000

Requiem

Performance by Marta Jovanovic at Location One
Wednesday, May 16, at 7PM

Location One is proud to invite you to Requiem, a performance by Marta Jovanovic on Wednesday, May 16, 2012 at 7pm.

In Requiem, Marta Jovanovic claims the place for women in the male “pantheon.” In this funeral-like performance, Jovanovic will create a fake wake, symbolically positioning herself inside the Pazzi Chapel, in the Franciscan Church of Santa Croce, in Florence, where the tombs of great artists, writers, architects, and major thinkers from the humanist era, such as Michelangelo Buonarotti, Dante Alighieri, Nicolò Machiavelli, Filippo Brunelleschi, among others, are buried. The Church of Santa Croce is known also as the Temple of the Italian Glories.

With witty verve and a sense of humor, this performance proposes the equality of the sexes, which has been proscribed by the Church since the Renaissance era–the glorious time of Italy as the site for the birth of humanism, artists’ individuality, and private patronage. Jovanovic’s original performance was envisioned to be in situ at the Chapel Pazzi, but the project was rejected by the Church at its original location, which attests to the fact that even today the topic is still a taboo.

The photographs used in the wall projections for Requiem are by the Italian artist Marinella Paolini and the original project was conceived by the artist in conjunction with the curator Simone Verde.

Click here to view the embedded video.

Born in Belgrade, in 1978, Jovanovic lives and works between London, New York, and Rome. She received a Bachelor of Arts from Tulane University in 2001 after attending the Scuola Lorenzo de Medici, in Florence. Provocative works by Jovanovic have been exhibited in Europe and in the United States in collaboration with other eminent artists and curators and in institutions such as the Museo Pietro Canonica and Museo della Civiltà Romana in Rome. Her performance SHOOT ME! was executed at the Benefit for Marina Abramovic Studio at Location One in New York (2010), while her almost two meters tall transparent resin sculpture LjubavSrecaIstina (LoveFortuneTruth) was permanently installed in the garden of the Museum of Yugoslav History (2011). In 2012, Jovanovic received the Roma Capitale from the City of Rome, an award for high artistic achievement in representing Serbian culture in Italy. Jovanovic is represented by BOSI Artes Gallery, in Rome, and Bosi Contemporary, in New York.

P.S. The audience will be greeted by members of the church. Appropriate funeral attire is recommended.

For press inquiries, please contact Heather Wagner at press@location1.org

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs and Location One’s International Committee for making this event possible.

The Kiss

heather — Mon, 30 Apr 2012 19:59:52 +0000

The Kiss

Component 5/7 from the performative cycle ACTIVE VOICE
Exhibition by Maria José Arjona
May 23-June 22, 2012
Opening Reception and Performance: Wednesday, May 23, 6-8pm
Additional Performances: May 30th, June 6th and June 13th
6-8PM

Sound design by Shawn Greenlee
Videographer: Agata Domanska

The Kiss is an exhibition mapping a system uniting two bodies. It is a gesture, magnified by the use of sound, emerging from the action of kissing and intensified by the working presence of the performer’s body.

Throughout the space each element is woven by simple associations between body (present and absent), sound, and various materials which are all used to reveal the nature of this binding gesture: the kiss. The exhibition does not display one privileged moment of the kiss – rather, it dislocates it through its many representations, thereby underlining an aural intensity which evokes the possibility of an image of kissing within each spectator.

The exhibition could also be thought of as a microscope slide where some of the components of kissing are extracted and isolated in order to better understand them. It is not a rendering, it is not a choreographed sequence, it doesn’t function within linear time. But it proves the force contained in a simple gesture (kissing) simultaneously giving it a voice and an expanded corporeality.>/p>

The audio element is integral to the piece, much more essential than simply serving as a “soundtrack.” On the video “Strap”, the association between a plastic strap used to connect two cables, and the sound it produces when closed is linked with the sound of a kiss. Both sounds are connected by an image where the actual gesture of sending a kiss is recorded while simultaneously two hands close a plastic strap. These two parallel actions, shown digitally, are reflected into the space in the form an object created by the plastic straps.

“The Kiss” (long durational performance), a breathing system where the performer’s body becomes the intersection enabling the entire organism to work, reveals the intricate rhythm between lungs, fluids and muscles while kissing. The body is the kiss: the plane of action created by it. This intersecting plane finds its translation into sound via the repetitive action of inflating and deflating two huge latex balloons.

“Muted”, the second video in the installation, refers to childhood memories of wondering what kissing might feel like; the embracing aspect of it, is associated with the binding function of the straps, the sound carried by the cables interconnecting the speakers, the kisses sent and the edited sound produced by a couple kissing (from where the actual sound emerges)…all of them fluid extensions of the kiss into the space.

Sound as fluid, sound as connector, sound as image, sound as memory, sound, body, sound…time suspended in and by a gesture…also a sound…a minimal voice.

Special thanks to Heather and Tony Podesta, Andre Lepecki, Location One’s International Committee, Julian Navarro, Laura Lona and Anita Beckers.

For press inquiries, please contact Heather Wagner at press@location1.org

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs and Location One’s International Committee for making this event possible.

Death, Void, and Sometimes My Mother

heather — Mon, 23 Apr 2012 21:18:05 +0000

Death, Void, and Sometimes My Mother
Thursday, May 3, 2012
7pm

Free and open to the public

Death, Void, and Sometimes my Mother is a new live collaborative performance by artists Atsushi Kaga and Louise Ward. It will take place at 7pm on May 3rd, at Location One.

The show combines a number of media; the process of art-making itself is combined with concerns on the personal, the social and the cultural in relation to the everyday. The audience will be immersed in stories, music, and visual art. Questions about how we (individuals and communities) navigate and make sense of our surroundings will arise throughout the performance. The performance will be very mundane, gently humorous and mildly tragic.

Kaga creates an imaginative conversation between Michael Jackson, Giorgio Morandi and his mother, Kasuko, who are represented by three large skulls. Ward makes atmospheric sounds and colour fields with lights, video and sculpture that have links to the body and cut across time and cultural boundaries.

Click here to view the embedded video.

Video excerpt from rehearsal

Atsushi Kaga is a Japanese artist based in Dublin. His paintings and drawings deal with the search for identity and mundane questions which there are no obvious answers to. He is currently in a group show I Love Those Paintings [art, natural and social science] at Mother’s Tankstation in Dublin, until May 26th. He has shown internationally in venues such as Galeria Leme, São Paulo; Kantor Art, LA; and in the Project Room at the Irish Museum of Modern Art, Dublin. Kaga is represented by Mother’s Tankstation, Dublin.

Louise Ward is an Irish artist based in London. She uses a sculptural language to develop a lexicon of signs and memories, both personal and cultural that imply a shifting relationship to the symbolic and our immediate environment. She is currently in a group show at Galerie Sturm, Nuremberg. Her work has been screened at Chisenhale Gallery, London; Supermarket Art Fair, Stockholm; Temple Bar Gallery, Dublin; she performed as part of An Instructional: Mart European Tour at Shunt, London.

Vanishing Acts

heather — Sat, 14 Apr 2012 00:30:08 +0000

Friday, April 13, 2012
8pm Doors at 7:30pm
Tickets: $10
Curated by dancer/choreographer Luke Miller
Performances by Rebecca Lazier, Jack Ferver, Vanessa Walters, Kyle Abraham
Video by Jason Akira Somma

Location One presents an evening of dance performance and live video, curated by dancer/choreographer Luke Miller. He has recruited some of hottest dancers and choreographers from the downtown dance scene to create some very special performances for the evening.

The dancers will be performing in a video environment created by Jason Akira Somma, who has developed his own analog video technique in which the video signal itself becomes the performer. Using discarded, malfunctioning and obsolete electronics, Somma creates his own custom video mixers from scrap parts to create unique and unexpected effects. Drawing on his background in dance, he carefully moves his body in sympathy with the subject, which then directly affects the video being generated in real time through video feedback, creating a new interactive world.

“Nam June Paik meets performance art. He is an electronic archaeologist.”
-William Forsythe

“A magician of light.”
-Chrissie Iles

“The future of art and dance.”
-Le Figaro, Paris 2010

Approaching the evening as a collaboration of all those involved, Vanishing Acts exposes a friction between the recent physical history within a space and the specter of memory that the projections conjure.

Kyle Abraham

Kyle Abraham, professional dancer and choreographer, began his training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh, Pennsylvania. He continued his dance studies in New York, receiving a BFA from SUNY Purchase and an MFA from NYU Tisch School of the Arts. Over the past few years, Abraham has received tremendous accolades and awards for his dancing and choreography including a 2010 Bessie Award for Outstanding Performance in Dance for his work in The Radio Show along with a 2010 Princess Grace Award for Choreography, a BUILD grant and an individual artist fellowship from the New York Foundation for the Arts, a Jerome Foundation Travel and Study Grant, a Pennsylvania Council for the Arts Fellowship and 2009 was honored as one of Dance Magazine’s 25 To Watch.

Abraham was heralded by OUT Magazine as one of the “best and brightest creative talent to emerge in New York City in the age of Obama.” His choreography has been presented throughout the United States and abroad, most recently at Jacob’s Pillow Dance Festival, Danspace Project, Dance Theater Workshop, Bates Dance Festival, Harlem Stage, Fall for Dance Festival at New York’s City Center, Montreal, Germany, Dublin’s Project Arts Center, The Okinawa Prefectural Museum & Art Museum located in Okinawa Japan and The Andy Warhol Museum in his hometown of Pittsburgh, PA. Abraham’s most recent work, The Corner, commissioned by Ailey 2, is currently touring internationally with great reception. As a performer, Abraham has worked with acclaimed modern dance companies including David Dorfman Dance, Burnt Sugar Dance Conduction Continuum, Nathan Trice/Rituals, Mimi Garrard Dance Theater, Bill T. Jones/Arnie Zane Dance Company, Dance Alloy, The Kevin Wynn Collection and Attack Theatre. In addition to performing and developing new works for his company, Abraham.In.Motion, Abraham also teaches his unique approach to post-modern dance in various schools and studios throughout the United States. For more information please visit: http://abrahaminmotion.org

Jack Ferver

Jack Ferver’s solo Two Alike, a collaboration with the visual artist Marc Swanson, was presented at Diverse Works in conjunction with The Contemporary Arts Museum of Houston in 2011 and will premiere in New York at the Kitchen this coming May 17th-19th. In 2011 Ferver also premiered his duet with Michelle Mola, Me, Michelle, at the Museum of Arts and Design as part of Performa 11. It returned as part of American Realness at Abrons Art Center. Ferver has been creating full-length works since 2007. He has been presented at PS 122 (NYC), The New Museum (NYC), The Museum of Arts and Design (NYC), Danspace Project (NYC), Abrons Art Center (NYC), Dixon Place (NYC), and Théâtre de Vanves in France. Shorter and solo works have been presented at MoMA PS1, Dance New Amsterdam, LaMaMa E.T.C., The Culture Project, and NP Gallery. His work has been written about in The New York Times, The Financial Times, The New Yorker, Artforum, Modern Painters, and Dance Magazine. His writing has been published in the magazine Novembre. He has curated for Danspace Project, Center for Performance Research, and Dance New Amsterdam. He teaches privately as well as at New York University and has set choreography at The Juilliard School.

Rebecca Lazier

Rebecca Lazier is the artistic director/choreographer of Terrain, a project-based NYC dance company and Senior Lecturer at Princeton University. Lazier and Terrain have performed in many New York venues including Danspace Project, The Kitchen, the Guggenheim Museum, 92nd Street Y, Joyce SoHo, and Movement Research at the Judson Church. In addition, Terrain has toured to a variety of locales from Martha’s Vineyard to Los Angeles, Jacob’s Pillow to New Orleans, from Nova Scotia, Canada to Perm, Russia. Lazier is currently preparing Terrain for a five city tour to Turkey and a three-week residency in Canada. Recently, Lazier has received grants for her choreographic research from the Canada Council on the Arts, NY Department of Cultural Affairs and the American Music Center. She has been artist-in-residence at Movement Research, The Joyce Theater Foundation, The Yard, and the Djerassi Resident Artist Program. Prior to teaching at Princeton, Lazier was on faculty at distinctly different institutions ranging from the Hartford Ballet to UCLA, from the State Conservatory of Turkey to Wesleyan University, and from American Repertory Ballet to White Mountain Summer Dance Festival. For more information please visit: www.terraindance.org

Luke Miller

Luke Miller, originally from Pittsburgh, Pennsylvania, began his dance training at the age of sixteen at Christine’s School of Dance and the Civic Light Opera Academy. Prior to his involvement with the performing arts, he studied visual art, music and swam competitively at his high school. Luke won the title of Mr. Dance of Pennsylvania 1997 for Dance Masters of America Chapter Ten. On scholarship, he then went on to receive his formal education at NYU’s Tisch School of the Arts.

He joined Susan Marshall & Company in 2003 and has since collaborated in the making of Sleeping Beauty and Other Stories, Cloudless, Sawdust Palace and Frame Dances. From the Company’s repertory he has performed Kiss, Arms and Fields of View. Luke has taught the Company’s work to students at Wittenberg University, the University of Wisconsin Steven’s Point, NYU’s Tisch School of the Arts, the University of Monatana, and the University of Wisconsin Madison. He has staged repertory on professional companies including; Dance Alloy, Hedwig Dances, Hubbard Street and Pacific Northwest Ballet. In ‘09 he contributed in the development and teaching of SUMAC (Systems for Understanding Movement And Composition), an annual one week workshop held at Barnard College that focuses on collaborative skill building within the art-form. Luke recently assisted Susan in choreographing Asphalt Orchestra for it’s run at Lincoln Center Out Of Doors festival in August of ’09 and acted as assistant choreographer in the making of For You, a solo created for Mikhail Baryshnikov in May of ’10.

In the play Madama Fortuna, written/directed by Antonio Rodriguez and presented by Dixon Place at Chasama, Luke portrayed the role of BunnyTeddy and choreographed the production. He co-directed and choreographed the play The Pet Goat with writer Brian Boyles at WAX and performed as Ron Reagan Jr. in Taylor Mac’s The Lily’s Revenge.

In film, he worked with David Neuman in the making of the WB production I Am Legend.

Luke received a 2009 Bessie Award for his collaboration and performance in Dark Horse/ Black Forest; a work choreographed by Yanira Castro.

He performed in the ADF ’07 reconstruction of Martha Clarke’s Garden of Earthly Delights and acted as assistant to the choreographer in its ’08 off-broadway restaging.

Luke has also performed in the work of Eun Me Ahn, Keely Garfield, Molissa Fenley, Stanley Love, David Dorfman, Fiona Marcotty, Julie Atlas Muz, Stephen Petronio, Christopher Williams, Amber Sloan, Paige Martin, Renee Archibald and currently in the companies of Yanira Castro and Neil Greenberg.

His own work has been shown at many venues throughout New York City including The Joyce SoHo, WAX, Galapagos, The Flea Theater, M Shanghai, 100 Grand, and The Roxy.

Jason Akira Somma

Jason is a practicing video/performance artist and photographer based in the NYC. Merging his two backgrounds as a visual artists and choreographer he has been experimenting on ways of transcending dance from the ephemeral state on stage to the walls of galleries. He specializes in integrating technology as an extension of the body for the physically impaired and elderly.

His film work has been featured on the Sundance Channel, Independent Film Channel, PBS, NY Dance Film Festival, MTV Europe, American Dance Festival, Dance Theatre Workshop (NYC), Seoul (Korea) Film Festival, SPEX Magazine (Germany), Cinedans Festival (Amsterdam) and in the Performatica Festival (Mexico). His photography and film work have also been featured in The Deitch Project (SoHo), P.S. 1 (MoMA), Robert Altman Gallery, Chrysler Museum of Art (Norfolk, Va.), and the Anderson Gallery (Richmond, Va.) His photography work has also been featured in numerous periodicals and magazines in the U.S. and Europe to include the New York Times, Dance Magazine, Dance Europe Magazine, Village Voice, Time Out NY, and LA Times to name a few. Jason has been commissioned by the BBC Bigscreens Moves festival in the UK and was a guest artist at the Center of Contemporary Art (CCA) in Glasgow as well as a guest artist at Robert Wilson’s Watermill Center. Somma was the first American to receive the Rolex Arts Initiative Award for Dance and has been working under the mentorship of Jiri Kylian over the past 4 years. He collaborated with Jiri Kylian on a dance piece commemorating the Nederlands Dans Theatre’s 50th anniversary and has since collaborated on two other projects. He has set work on the Lyon Opera Ballet, and collaborated with Robert Wilson by directing 5 short films that were shown at the Guggenheim Museum. When not performing or creating Jason has given numerous lectures internationally at universities funded via the US Embassy on “Arts and Science/Performance and New Technology.”

In March of 2011 Jason premiered the very first free floating interactive holograph film installation called the “Phosphene Variations” at the Chaillot National Theater of Paris to rave reviews. He has had the unique opportunity to be a guest consultant for the University of Glasgow in the Neuroscience department for a research study focusing on how the perception of movement affects brain imaging and transcranial magnet stimulation.

Vanessa Walters

Vanessa is the lead choreographer for the performance group, Fischerspooner. She has also choreographed music videos for Zola Jesus, AVAN LAVA, the Blank Dogs, Department of Eagles, Cyndi Lauper, Kings of Leon, Creep, and Nintendo, as well as live events for Mercedes Benz, Juicy Couture, House of Diehl, Daisy Spurs, Chaos & Candy, Narcissister, JVA, and the musical Camp Wanatachi, as well as her own works, BATHORY and The Man Piece. In 2011, Vanessa co-choreographed both “100 Beginnings” and “Alley of the Dolls” with Nicole Wolcott. For 2012, look forVanessa’s new piece entitled, “Ripening”. www.vanessawalters.com

Hiraku Suzuki Live Drawing Performance

heather — Fri, 09 Dec 2011 01:00:53 +0000

with Live Music by Raz Mesinai
Thursday, December 8, 2011
8pm. FREE and open to the public

Artist Hiraku Suzuki will perform live drawings in collaboration with composer/DJ Raz Mesinai in a duel/duet where hands attack horizontal surfaces: one artist on paper, the other vinyl, as visual and sonic worlds collide and combine.

Click here to view the embedded video.

Hiraku Suzuki
Born in Miyagi, Japan, 1978.
Lives and works in Tokyo.

Hiraku Suzuki obtained an MFA from Tokyo National University of Fine Arts and Music. Focusing on ideas of memory and excavation, the work of Hiraku Suzuki centers around an expanded notion of drawing; encompassing works on paper and panels, installation, murals, frottages as well as live drawing performance. Much of his work hinges on the vast library of signs and glyphs he has developed by focusing on the shapes, forms, rhythms and materials of his immediate environment, which can be understood as the base units of the ever-changing hidden language of the city. His recent solo exhibitions include at WIMBLEDON space, London (2011), Galerie du JourAgnes b., Paris (2010) and Tokyo Wonder Site Shibuya, Tokyo (2008). Group exhibitionsinclude Roppongi Crossing, Mori Art Museum, Tokyo (2010); 100 stories of love, The21st Century Museum of Contemporary Art, Kanazawa (2009); Between site and space, ARTSPACE, Sydney (2009); Redbull House of Art, Hotel Central, Sao Paulo (2009) and Vision of Contemporary Art, The Ueno Royal Museum, Tokyo (2009). His early works are held in the collection of The 21st Century Museum of Contemporary Art, Kanazawa. Publications include GENGA, published by Kawade Shobo Shinsha/Agnes b., and Looking For Minerals, published by BEAMS. http://www.wordpublic.com/hiraku

Mr. Suzuki’s residency is made possible by The Asian Cultural
Council

Raz Mesinai
is a New-York based composer, producer, DJ and sound alchemist, making music at the intersection of Dub and modern composition. Long considered one of the premier innovators behind the New York school of experimental dub/dance music scene in the early nineties he continues to push the envelope, collaborating with such pioneers in diverse genres from Kode9, Shackleton and Meat Beat Manifesto to John Zorn and The Kronos Quartet.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs, The Asian Cultural Council and Location One’s International Committee for making this event possible.

The Well-Tempered Exposition

heather — Sat, 19 Nov 2011 00:00:36 +0000

Pablo Helguera
The Well-Tempered Exposition
Book I, part II
Friday, November 18, 7pm

Beatriz Helguera, piano
And Katherine Ademenko, Lisa Gross, Ryan Hill, Brian
Linden, Melanie Lockert, Laura Lona, Richard Saudek
and Corey Tasmania

As part of Performa 11, artist Pablo Helguera presents the second chapter of The Well-Tempered Exposition, a methodical investigation on the formal components of the performance art practice. The year-long project consists in the creation of 48 speech-based scores which will be performed as a result of a series of public experimental workshops in various cities. Upon its completion, the final aim of The Well-Tempered Exposition is to exist as a collection of scores addressing the rhetoric, contrapuntal and compositional structure of performance art as we understand it today.

The WTE is structured around the existing forms in Johann Sebastian Bach’s Well-Tempered Clavier (1722), a collection of keyboard exercises composed in all 24 major and minor keys, originally intended as a pedagogical textbook “for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study.” Today it is considered one of the foundational works of modern Western music. The WTE project seeks to retain Bach’s original pedagogical intent while also “translating” the complex compositional formulas of Bach’s work into correlational forms such as verbal counterpoint, contextual harmony, movement, and other elements.

Pablo Helguera is currently Senior Artist-in-Residence at Location One.

The project is supported in part by a fellowship of the Franklin Furnace Archive. Franklin Furnace wishes to acknowledge The SHS Foundation’s gift in honor of Ruth Hardinger for support of Pablo Helguera’s “The Well- Tempered Exposition: Book I” at Location One on Nov. 18th for Performa 11.

September 21, 2011 Prelude (project launch), Location One
November 18, 2011 Book I, part one, Location One (as part of Performa 2011-sponsored by Franklin Furnace)*
February, 2012 Book I, part two, Berlin
May, 2012 Book I, part three, Havana Biennial, Cuba
June, 2012 Book II part one, Mexico City
September, 2012 Book II part two and final at Location One

*Franklin Furnace wishes to acknowledge The SHS Foundation’s gift in honor of Ruth Hardinger for support of Pablo Helguera’s “The Well-Tempered Exposition: Book I” at Location One on Nov. 18th for Performa 11.

Pablo Helguera
Born in Mexico City, 1971. Lives and works in New York Pablo Helguera (based in New York, born in Mexico City, 1971) works in the fields of pedagogy, literature, musical composition, and theater. His projects have included performance lectures, scripted symposia, and panel discussions with or without the knowledge of the audience, as well as a variety of experimental formats of verbal presentation. Helguera’s works have been presented in many venues such as the Liverpool Biennial, Performa 05, Museo Reina Sofia in Madrid, ICA in Boston, MoMA, among others. His play The Juvenal Players, produced by Grand Arts in Kansas City, was presented at The Kitchen in 2010. His orchestral work Endingness was performed by the Detroit Symphony Orchestra under the direction of Leonard Slatkin. He is the author of more than 10 books including Theatrum Anatomicum (and other performance lectures), a collection of performative works. His social practice project The School of Panamerican Unrest (2006) consisted in the creation of a nomadic schoolhouse that traveled by land throughout the Americas from Alaska to Chile, presenting collaborative performance and civic events in over 26 cities. He has been recipient of the Guggenheim Fellowship, the Creative Capital Grant; and in 2011 was named the first winner of the International Award for Participatory Art of the Regione Emilia Romagna in Italy. As educator, Helguera has worked in museums for over two decades, currently working as Director of Adult and Academic Programs at The Museum of Modern Art. He is the Pedagogical Curator of the 8th Mercosul Biennial, opening in September 2011.

Beatriz Helguera, pianist
Born in Mexico City and based in Chicago, Helguera studied with Maria Teresa Rodriguez, one of Mexico’s foremost pianists , at the National Conservatory of Music, and graduated obtaining the Concert Pianist Diploma. She also holds a Master Degree in Piano Performance from the Meadows School of the Arts at SMU (Southern Methodist University). She received the Meadows Outstanding Artistic Achievement Award and the Epstein B’nai Brith Award. With her husband, cellist Andrew Snow, she is the founder of the Chicago Pan-American Ensemble (http://www.chicagopanamericanensemble.com), a group that engages some of Chicago’s finest musicians and performs the traditional repertoire of trios, quartets and quintets with a blend of classical Latin American and American music. She has played as a soloist with the Fine Arts Chamber Orchestra (Orquesta de Cámara de Bellas Artes), State of Mexico Orchestra (Orquesta Sinfónica del Estado de México) and others. Her chamber music concerts include live performances for WFMT Radio in Chicago. She is part of the piano faculty at DePaul University.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs, and Location One’s International Committee for making this event possible.

Well-Tempered Exposition Book I, part II

heather — Fri, 11 Nov 2011 00:44:47 +0000

Pablo Helguera
The Well-Tempered Exposition
Book I, part II
Friday, November 18, 7pm

Beatriz Helguera, piano
And Katherine Ademenko, Lisa Gross, Ryan Hill, Brian
Linden, Melanie Lockert, Laura Lona, Richard Saudek
and Corey Tasmania

Pablo Helguera is currently Senior Artist-in-Residence at Location One.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs, and Location One’s International Committee for making this event possible.

Afghan Hound

heather — Sat, 29 Oct 2011 20:57:46 +0000

Solo Exhibition and Live Performance by Lilibeth Cuenca Rasmussen
Curated by Jovana Stokic
October 29 – December 23, 2011
Opening Reception: October 29, 6-8pm
Live Performance at 7pm

A girl raised as a boy. A boy trained to act as a girl. A writer and activist in exile. Anauthoritative male. These are the four characters through whom Lilibeth Cuenca Rasmussen addresses the complexities of gender in cultures where men and women are segregated — and masculinity rules.

This is Afghan Hound, the performance Cuenca premiered to rave reviews at the 54th Venice Bienniale, and which now makes its New York premiere at Location One on October 29th,, along with an exhibition of photos and sculpture developed expressly for this exhibition.

Click here to view the embedded video.

Through photographs. sculpture, video, song, costume and performance, Cuenca explores the fragile structure of political hegemony and patriarchal domination. Her premise: When sexuality is repressed, new constructions of gender develop. The title refers both to the long-haired dog breed (the artist uses hair in extreme exaggeration throughout the work) and to Afghanistan (the male-dominated culture from which her characters are drawn).

The Afghan Hound performance includes four impersonations of voices from Afghanistan. The four stories that unfold are recounted through music and song. The choreography is contingent upon a costume made out of hair, metaphorically symbolizing different sexualities that are hidden in the particular context of contemporary Afghan culture.

The lyrics of the first song, for example, use quotes by the Afghan activist, writer and politician in exile, Malalai Joya; the second tells the tale of a Bacha Bazi (a young boy trained to act as a girl, who dances at men’s parties but is also a sex slave); the third character revolves around powerful male speech and masculine authority, and the last character, is a former Bacha Posh, a girl raised as a boy, when there are no sons in the family.

Cuenca purposely inhabits the role of an “impersonator.” The artist has stated: “My position as an artist and impersonator is to be a mouthpiece for repressed voices that I find urgent to unveil. The Western discourse on the Arabic World is often reduced to our positioning of them. I have tried to communicate stories seen from their tradition and culture, which in my opinion is important to try to understand, before we interfere or judge.”

Taking her own Danish-Filipino background as a point of departure, Cuenca universalizes cultural narratives in a critical and humorous approach to issues such as identity, religion, gender and social relations. Her productions involve choreographed songs and composed music with stylized costumes. The exhibition at Location One features performance documentation, as well as the new series of photographs developed along with the performance.

Lilibeth Cuenca Rasmussen, who last performed at Location One in 2009, was born in 1970 in Manila, Philippines, and now lives in Copenhagen, Denmark. A graduate from The Royal Danish Academy of Fine Arts Copenhagen, she primarily engages in video and performance art. Her productions involve scripted texts/songs; composed music as well as intricate visual elements that include set design and costumes. Lilibeth Cuenca has had solo exhibitions at the National Gallery of Denmark in Copenhagen, at the Gävle Konstcentrum in Gavle, Sweden in 2006 and at Heidelberger Kunstverein, Germany in 2010. She has participated in numerous exhibitions worldwide, including: Performa 09, New York City, The Thessaloniki Biennial of Contemporary Art, 2009 and The Tate Modern in London, 2009. In 2007 she was part of the exhibition Global Feminisms at the Brooklyn Museum in New York. She was included in the Bussan Biennial, South Korea, 2006, and the Rauma Balticum Biennial, Finland, 2006. A monograph of Lilibeth Cuenca Rasmussen’s works is published by Revolver Publishing, Berlin, including texts by André Lepecki, Bettina Knaup and Lars Bang Larsen. In 2011, she participated in the exhibition Speech Matters, The Danish Pavilion, at the 54th Venice Biennale.

Jovana Stokić is the curator of performance art at Location One where she supports the growth of performance art by promoting the works of emerging artists on an international scale, organizing and collaborating on events using a network of people converging at Location One. It shows a commitment to experimentation across all art forms and points to recent efforts to return performance art to its central position within the gallery system. Performances, public panels and discussions promote and seek critical discourses on contemporary performance art practice and related issues.

Special thanks to the Danish Arts Council and Location One’s International Committee for making this event possible.

The Well-Tempered Exposition

heather — Thu, 22 Sep 2011 00:00:04 +0000

PABLO HELGUERA TO REINTERPRET BACH’S MASTERPIECE INTO 24 WORKS AND WORKSHOPS OF PERFORMANCE ART

Renowned performance artist and scholar and Location One’s 2011-2012 Senior Artist-in-Residence, Pablo Helguera, will launch his most ambitious full-year project on September 21: The Well-Tempered Exposition, a series of 24 events in which he and changing groups of musicians, artists and performers wlll translate Johann Sebastian Bach’s legendary masterpiece into works of performance art.

The series, which begins September 21 at Location One, will visit multiple venues and involve scores of participants before its conclusion next summer, also at Location One.

The project will launch with a workshop of creative participants leading to a performance that includes performance of the focal “Clavier” pieces by concert pianist Beatriz Helguera before the performance. Exposition of the creative process behind the “translation” will be woven into the performance.

Bach’s Well-Tempered Clavier was written as a textbook for musicians to learn the form of the fugue in all major and minor keys of the piano”, says Helguera. “One can find correlations with the format of the fugue and speech because during Bach’s time there was a theoretical relationship between those two disciplines. Basing ourselves on that, we willl translate the Clavier into spoken events. As we do this, we hope to also develop a textbook of sorts for speech- based performance.

Each performance will be formed by original selections from the WTC along with their performative reinterpretation. Helguera’s past work has been characterized by strong views about the nature of creative expression and the interactions of art, culture and society, expressed vividly music, humor, visual image, debate and the full range of performative art forms.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs, and Location One’s International Committee for making this event possible.

Time Walk

heather — Mon, 20 Jun 2011 19:44:26 +0000

Performance by Zane Saunders
Wednesday, June 22, 2011
7 pm

Curated by Jovana Stokić

Location One is proud to present Time Walk, a new work by artist in residence at Location One, Zane Saunders.

The indigenous Australian artist performs in a set designed from his sculptures. Part ritual, part dance, part battle preparation.

Time Walk is a performance that examines the cross-cultural practice connecting the artist to his heritage. The artist paints his face and body while he engages with different objects of his own making in a ritualistic fashion. The artist’s actions occur in five distinctive environments within the performance space. One of these stages take the artist outside of the gallery. Zane challenges the conventional notion of story-telling: his story is told in a non-verbal manner but the story is undoubtedly there. It is the oldest story about man vs. nature, about survival and wisdom one gets while living in harmony with one’s surroundings. Ritualistic movements are accompanied by electronic music, which point to another cross-cultural reference. It situates the work in the context of contemporary performance art between ritual and technology. These are some of the issues that are not told, but expressed in a way one has to respond instinctively. Zane explains: “Performance is a vehicle for the spirit to connect to audience”. Modern devices/costume are utilized to convey the message, with an emphasis on the absurdity of contemporary ‘western’ norms.

Click here to view the embedded video.

Zane Saunders is an artist from Cairns, Nothern Queensland, Australia. He is both visual and performance artist. His residency is sponsored by the Australia Council for the Arts and Location One. Zane’s relatively recent performance work has provided him with a unique medium to take his prolific visual practice ‘off the wall’, and into space shared with the audience. Over the past three years, Zane has developed a distinctive approach to contemporary dance/performance, drawing from his indigenous cultural heritage, and from his many experiences of contemporary society.

Lucretia

heather — Wed, 15 Jun 2011 00:00:11 +0000

Performances
Tuesday, June 14, 7 & 8pm
Thursday, June 16, 8pm

Sophie Hunter’s installation Lucretia is based on fragments of Benjamin Britten’s opera “The Rape of Lucretia” – specifically, the image of a group of women spinning at a loom as their husbands are off waging war.

The piece extracts various elements of the opera; the singers and orchestra, the narrative, and the operatic process itself, and deconstructs and examines them devoid of their original context.

These are then rewoven to record an altogether new sonic experience – a densely knitted soundscape incorporating elements of live singing, recorded instruments and mechanical noise. Parallels are drawn between the act of weaving and the recording or ordering of information. Single threads from the visual and sound worlds combine and resign their original identity to become bound to and part of each other – assimilated into new forms and patterns.

[Show as slideshow]

Lucretia centers around a room made of fishing wire, illuminated by naked light bulbs. Outside the room, several monitors are placed at varying heights. They reference the whirring and clicking of the loom, the sewing machine, cogs and connectors, the telephone switchboard, the spectrum of beeps and tones that provide the soundtrack to modern technology and women’s connection and interaction with them. The women in the space operate in infinite detail; they become agents of change and controllers of information.

Myth is populated with weavers, from Penelope to Philomela. In these stories and traditions, weaving is more than a domestic pastime; it becomes a means of expression, a metaphor for survival, power and faithfulness. Weaving in essence is a recording of information, a means to encode it, a system of memory and a system of creativity. In this installation, Lucretia’s looms are transferred from the domestic sphere and changed into monitors; exacting machines capable of decoding information. Instead of pictures woven in tapestries or yarn, these women weave in a digital visual form.

Sophie Hunter has assembled an international team of collaborators from the worlds of opera, film and theatre to create the piece.

Andrew Staples – collaborator, musical director, additional sound design; Singers: Kirsten Allegri, Valerie Kraft Sonya Headlam, Syvlie Jensen;
Performers: Justine Salata, Claire Helene, Jacqueline Kerrod – Harp, Melissa Mizell – Lighting designer, Sarah Outhwaite – Assistant Director, video editing, Poppy de Villeneuve – Original video content,
John Fitzwilliam – additional video design, Asa Wember – Sound design, Raphael Zinman – Production

Sophie Hunter studied at Oxford University and Jacques Lecoq, Paris. She has devised, developed, directed and performed in theatre and performance pieces throughout Europe as well as in the Middle East and New York.In 2007, she was awarded the prestigious Oxford Samuel Beckett Award for new voices in experimental theatre. Most recently, Sophie has been exploring new directorial and performative approaches to opera. Sophie has just collaborated on a production of Mozart’s Cosi fan tutte (performances in France and London). Forthcoming projects include Benjamin Britten’s The Rape Of Lucretia (New York) and Mozart’s The Magic Flute (Africa, with Vignette Productions) She recently directed a reimagining of Ibsen’s Ghosts, performed in New York in November, and is researching a large-scale multi-media performance based on the poetry of Sappho, in collaboration with the writer Maureen Duffy. Sophie is currently working with New York based company, Phantom Limb and will be directing their latest work, 69 DEGREES SOUTH which will premier at BAM Harvey Theatre in November 2011 Sophie Hunter’s residency is supported by the Location One International Committee.

Color Me Clear

heather — Fri, 27 May 2011 15:06:50 +0000

Elana Katz is an American artist currently based in New York and Berlin. Formally a classical dancer, she now continues to work with the body, yet from a varied perspective, primarily in the medium of performance art. Her work most often confronts cultural conventions– critically examining the complexity that lies within contradictions, as well as deconstructing symbols, customs, and ideals.

Elana Katz earned a BFA in photography from the Parsons School of Design, New York, in 2008, and a Meisterschüler (Germany’s MFA equivalent), from the Universität der
Kunst Berlin, in 2010. Her recent grants have included DAAD Graduate Studies Grant and Franklin Furnace Grant for Performance Art, and she has exhibited

performed in Germany, the USA, Russia, Italy, and Japan. In the Spring of 2010 she was selected by Marina Abramovic as a reperformer of Abramovic’s work at the MoMA (Museum of Modern Art) in New York, where she gave more than 200 performances over a 3-month
period.

XtraCurricular The Perlin Papers

heather — Fri, 28 Jan 2011 00:00:32 +0000

Location One presents

XtraCurricular*, a collaboration between Location One and the Columbia University School of the Arts.

Thursday, 27 January 2011
The Perlin Papers
A series of eight short films by Jenny Perlin
Co-Curated by Jovana Stokic and Daisy Nam
7pm

The Perlin Papers is a series of eight short films that reveal stories of domestic espionage during the Cold War period in the United States.

The Perlin Papers is an archive of 250,000 pages located at Columbia University. The archive contains many of the FBI documents related to the case of Julius and Ethel Rosenberg, U.S. citizens who were tried and executed in 1953 for allegedly spying for the Soviet Union For two decades after the execution, the FBI tracked hundreds of people tangentially connected to the case.

The Perlin Papers films focus on the overlooked and seemingly unimportant documents in the archive as a way of unpacking history and connecting it to the present.

The Perlin Papers archive at Columbia University is named for a distant relative. Marshall “Mike” Perlin (1920 – 1998) was a civil-liberties lawyer whose lawsuit on behalf of the Rosenbergs’ children resulted in one of the first successful uses of the Freedom of Information Act in the United States.

The running time for this event is approximately 70 minutes and is free to the public.

http://www.nilrep.net/the-perlin-papers-2010/

http://www.location1.org/abramovic-studio/

The Performance Program at Location OneThe Abramović Studio is a space within Location One dedicated to the ongoing performance series of long-durational works focusing on open-ended forms of workshops, panels and discussions. All programs are curated by Jovana Stokić.

*XtraCurricular Series

In Spring 2011, five artists and thinkers are invited to curate five nights, using the Location One space for an evening of play and extracurricular events.
Co-curated by Jovana Stokic and Daisy Nam.

Columbia University School of the Arts and Marina Abramović Studio at Location One host a performance piece by multi-media visual artist Jenny Perlin. The performance is the first in the series XtraCurricular, which, through a partnership between Location One and School of the Arts, will present the work of five artists and thinkers curating five different nights of artistic expression. Perlin and actors will perform episodes from her eight-part film project made from The Perlin Papers, a collection of over 250,000 pages of declassified government documents from the Cold War. Segments of the films will also be screened. The Perlin Papers are archived in the Columbia University Libraries. Other artists in this series will be Jill Magid and Janine Antoni.

Jenny Perlin’s work has been exhibited nationally and internationally. She holds a B.A. in Literature and Society from Brown University, an M.F.A. in Filmmaking from the School of the Art Institute of Chicago, and completed postgraduate studies at the Whitney Museum Independent Study Program, New York. Perlin is represented by Annet Gelink Gallery, Amsterdam, and Galerie M+R Fricke, Berlin.

January 27 – Jenny Perlin
February 24 – Jill Magid
March 24 – TBA
April 14 – TBA
May 26 – TBA

Giving My Back to the Night…

heather — Tue, 18 Jan 2011 21:39:09 +0000

GIVING MY BACK
TO THE NIGHT
I HEARD YOU LYING TO A GIANT

~~First Giant~~
Solo Exhibition and Live Performance
Curated by Jovana Stokic
Through the myth of Ulysses blinding the cyclopes Polyphemus, Davide Balliano begins his representation of the five phases of sleep
by enacting the ancestral fight against the obscure void that blinds us every night.

Live Performance by
Davide Balliano   GIVING MY BACK TO THE NIGHT I HEARD YOU LYING TO A GIANT
First Giant
MARCH 3, 6- 9 pm  MARCH 4 6- 9 pm  MARCH 5 5- 8 pm

Location One is pleased to present Davide Balliano’s first solo show in New York and has commissioned a new installation from the artist for the occasion.

In the exhibition “Giving My Back to the Night I Heard You Lying to a Giant (~~First Giant~~)” Davide Balliano uses the myth of Ulysses blinding the Cyclops Polyphemus as a starting point for his representation of the five phases of sleep which he calls the “ancestral fight against the obscure void that blinds us every night”. Through dark and poetic combinations of performance, objects, drawings, and installation, Balliano explores his ongoing interest in the human mind and its fragile structures and contradictions.

Balliano’s exhibition and performance, conceived as a first act of a five-act cycle, symbolizes the first phase of sleep through the figure of a mythological Giant. In the Indo-European ancient tradition, the Giants symbolized the origin of life, the primal chaos that Gods had to fight with, in order to maintain the order of life. Specifically, in Greek mythology, a Giant pointed to a communion between reality and supernatural. In the Odyssey, Ulysses had to blind Polyphemus during his sleep, in order to set himself and his crew free from the cave where the Giant had imprisoned them. This metaphor of blinding, closing the eyes, as a beginning as a new start is the main punctum of this first act. The artist asks: “What is sleep if not a middle point between conscious and unconscious, between light and dark, between life and death?” The exhibition thus becomes an allegorical interpretation of the myth of blinding as an act to regain freedom. The gallery space of Location One, transformed in the cave of Polyphemus, is inhabited by strange protagonists: Ulysses and his crew embodied in abstract wooden objects and appropriated renaissance images. The ritual of blinding that leads to freedom is represented obliquely and frozen in time. The exhibition space relates to the map of vision itself and refers to the crucial mechanism of seeing: a play between two- and three-dimensional perception. These elements the artist deploys in both his installation and performance.

As a special addition to the exhibition, Balliano will perform live on three dates in March.

Born in Turin, Italy in 1983, Davide Balliano has presented his work internationally, including the Kitakyushu Biennial (Japan) and the Vienna Biennale (Austria), and is featured in the permanent collection of the Museum of Contemporary Photography of Cinisello Balsamo (Milan). Other exhibitions include Artist Space and PS1 Contemporary Art Center in New York, The Watermill Center in South Hamptons, Plymouth Art Center in Great Britain. His portfolio has been recently exhibited in the Archive of Via Farini for the event “No Souls For Sale” at the Tate Modern Gallery in London. He is one of the winners of the AOL 25 for 25 Award 2010. Balliano lives and works in New York.
Website: http://www.davideballiano.com

Click here to view the embedded video.

Jovana Stokić is the curator of performance art at Location One where, in Marina Abramovic Studio, she supports the growth of performance art by promoting the works of emerging artists on the international scale, organizing and collaborating on events using a network of people converging at Location One. It shows the commitment to experimentation across all art forms and points to recent efforts to return performance art to its central position within the gallery system. Performances, public panels and discussions promote and seek critical discourses on contemporary performance art practice and related issues.

Abramovic Studio Benefit Images and Video

heather — Tue, 14 Dec 2010 22:34:47 +0000

Thanks to everyone who came to support Location One and the Abramovic Studio for Performance Art. Here are some photos and video from November 1, 2010.

Click here to view the embedded video.



Benefit in Support of Abramović Studio Performance Program at Location One
heather — Tue, 26 Oct 2010 20:13:50 +0000


Vires: a New Performance by Maria José Arjona
heather — Fri, 15 Oct 2010 00:00:34 +0000
the Abramović Studio for Performance Art 
presents VIRES

new work by Maria José Arjona

October 14, 2010, 5-9 pm

Curated by Jovana Stokić 

 


VIRES: Latin word meaning force, power, strength (BODILY), might, violence, influence.
Political, social and economic forces have been molding society from the origin of Western civilization to the present day. History has forced more complex and subtle structures from which institutions, individuals or complete societies often dominate others as a form of control. Within domination and control a great amount of new articulations arise, as the body being controlled must translate the latest structure imposed upon it in order to understand and function within the new regime. VIRES is a cycle of six performances analyzing and addressing diverse systems of power but most of all, addressing CHOICE as the most relevant exercise of freedom. 



	
	
		
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Click here to view the embedded video.

Maria José Arjona is a performance artist focused on affirming the body through long durational exercises addressing process, time, memory and power. Her performances have been exhibited in Museums and galleries in South America, Europe, China and the Unites States and have been reviewed by Art Nexus, Arte Al Dia, The New York Times, The Guardian (UK), Whitewall Magazine, The Miami Herald, El Nuevo Herald and many others. She participated as a re-performer at Marina Abramovic’s retrospective at The Museum Of Modern Art in New York and started touring with her own work at The Madre Museum in Naples (Italy) as part of the program “Corpus, Arte In Azione”.  The itineration of this project includes locations in Bologna (Italy), Bergen and Oslo (Norway), New York (US), Vienna (Austria) and will end in 2010 in Colombia as part of the National Salon sponsored by the Ministry of Culture of Colombia. VIRES, Arjona’s recent performance cycle will be exhibited for the first time in New York at LOCATION ONE.


Abramovic Studio: Anna Berndtson
heather — Wed, 14 Jul 2010 18:47:17 +0000
Jovana Stokic talks with Anna Berndtson


 

 
Abramovic Studio, May 28, 2010



Abramovic Studio: Snezana Golubovic
heather — Thu, 03 Jun 2010 21:00:47 +0000
Abramovic Studio: Jovana Stokic talks to Snezana Golubovic
Abramovic Studio, June 3, 2010
 
Snežana Golubovic was born in the year The Rolling Stones rocked the world with ‘I Can’t Get No Satisfaction’.
She grew up with the Belgrade Alternative Scene, studied Drama, wrote about music and film and made her own radio and TV programs.
In 1992, she moved to Germany where she has worked independently as an actress/performer in professional productions directed by renowns such as Alexander Brill, Dirk Hauser, Angie Hiesl, Saskia Boddeke and Peter Greenaway. Since 2004, she has been a member of the Independent Performance Group (I.P.G), which has been founded and lead by Marina Abramovic.


Hannes Mahlte Mahler: Drawing Centrifuge
heather — Sat, 22 May 2010 19:00:31 +0000


ABRAMOVIC STUDIO presents:
A Special performance  by Hannes Mahlte MahlerMay 22 Saturday, 4 – 8 pm
curated by Jovana Stokic
Zeichenzentrifuge | Drawing Centrifuge
The ABRAMOVIC STUDIO at Location one presentsHannes Malte Mahler with the drawing performance: Drawing Centrifuge.The Mahler draws according to your wishes. You can keep the drawing.
Instructions:

a)  Write your wish on the drawing paper.  Add your name and address.

b)      Mahler draws.

c)      Receive your drawing and glue it on the wall (Attended by the cheerleaders).

d)      The result drawings fill the space.

e)      One day later you can collect your drawing.
Art is the only serious thing in the world.And the artist is the only person who is never serious.–Oscar Wilde
For the artist, the life drawing idea is around for about 10 years, starting from a part within a broader installation of a studio with him performing in it as an artist. Since then it has undergone several changes and now the centrifuge idea is the one that  he is interested in – meaning a more or less simple set-up in which the artist sits and the audience watches: one orders ‘something’ and I draw it – meaning people witness the actual process of creation. Source and inspiration is the artist’s personal practice as he usually draws wherever he is and therefore it was a somewhat logical step to draw on demand. As he also creates ‘real’ paintings / drawings / photography, this special set up just plays with the role of the ‘Mahler’ ( ‘painter’ in English)  — it does not counteract but reinforce and vitalize this figure.
Hannes Malte Mahler is simultaneously a draughtsman and a painter, a photographer and a performance artist. His diverse artistic activities unite the common resolve to examine ideas and attitudes as well as the status quo of the world and reality in terms of its validity and load-bearing capacity. His tools on this path are jokes, satire, irony, and the energy to develop new points of view and meanings with their help. The provocative features of his art are in the tradition of the épater le bourgeois where the artist assumes the role of the enfant terrible and, like the Dada artists of the early twentieth century as well as the Fluxus artists fifty years later, becomes a propagandist for the reassessment of much-loved values and non-values.  The quality of his performances in which he fulfills the public’s all and sundry painting wishes (“Dear Painter, Paint Me…”) has a deeper meaning because in the process he questions the absurd modern notion of the artist which says that only the artist who commissions himself can be a “pure and good” artist.
Although he commissioned himself to produce the exhibited drawings, they nevertheless owe nothing to a purposeless exercise in art. They were neither made in art’s ivory tower, nor do they want to be affectless. (M. Stoeber)
About the artist: Hannes Malte Mahler, born 1968 lives and works in Hannover, Germany. He is a graduate of the Braunschweig school of arts and a postgraduate of Marina Abramovic. Though performance is the key issue in Mahler’s work, all kinds of media can be found if they suit the intended purpose. (like installation, photography, painting and son on and so forth) For further information and an inspirational stroll through the mahler’s worlds you are cordially invited to visit http://www.theMahler.com




Abramovic Studio: Elana Katz
heather — Fri, 14 May 2010 21:00:12 +0000
Abramovic Studio: Jovana Stokic talks with Elana Katz



May 14, 2010


Abramovic Studio: Shoba
heather — Wed, 21 Apr 2010 21:00:47 +0000
Jovana Stokic talks with Shoba


April 21, 2010



Abramovic Studio: Paula Orell
heather — Fri, 16 Apr 2010 21:00:38 +0000
Jovana Stokic talks with Paula Orell, Curator from the Plymouth Arts Center





Abramovic Studio:
heather — Thu, 11 Mar 2010 21:00:32 +0000
Jovana Stokic talks with Viola Yesiltac and Eun-Hye Hwang.



March 11, 2010
 


Lilibeth Cuenca Rasmussen The Present Doesn’t Exist in My Mind And The Future’s Already Far Behind
heather — Fri, 05 Mar 2010 00:00:06 +0000
A Performance by Lilibeth Cuenca RasmussenThursday, March 4th, 2010 at 7 pm.This incarnation of the multi-media performance is curated by Jovana Stokić.



MONDAY, NOVEMBER 1, 2010



You are cordially invited to attend the inaugural benefit in support of The Marina Abramović Studio and Performance Program at Location One. We hope you can join us for an evening dedicated to the celebration of great performance art.




7pm Cocktail Reception and Exhibition Preview
7-10pm Performances and Silent Auction

See works in Silent Auction here >>
8pm Dinner for Benefactors*



CHAIR

Marina Abramović



CO-CHAIRS

Sophie Crichton-Stuart and James Lindon



PERFORMANCES, AUCTION AND PREVIEW

of Zina Saro-Wiwa’s exhibition Sharon Stone in Abuja. Performances by Maria José Arjona and Marta Jovanović Bosi. Silent auction with works by  Marina Abranović, Terence Koh, Joan Jonas, Guerilla Girls, Carolee Schneemann and more.  Private dinner with Marina at the home of Claire Montgomery and James MacGregor. See works in Silent Auction here >>





Sponsor Ticket $500

Cocktail reception with Marina and artists, Performances and Auction



*Benefactor Ticket $1000

Reception, Performances, Auction and Private Dinner with Marina and artists



*Benefactor Table(s) $10,000 for 10

(Limited Availability) Including for each guest Reception, Performances, Auction and Private Dinner with Marina and artists





For more information please contact

Location One


212.334.3347 or benefit@location1.org










Marina Abramović The Kitchen VI, 2009

Photo: Marco Anelli

Courtesy of the artist and Sean Kelly Gallery

BENEFIT COMMITTEE

Laurie Anderson

Rhonda Barnat

Carol Becker

Melva Bucksbaum and Raymond Learsy

Rafael Castoriano

Ella Cisneros

Jennifer P. Goodale

Roya Khadjavi Heidari

Chrissie Iles

Dr. Michael Jacobs

Joan Jonas

Sean and Mary Kelly

Barbara London

Elizabeth J. McCormack

Linda Nochlin

Alina Pedroso

Elsa and Marvin Ross-Greifinger

Carolee Schneemann

Laura Skoler

Marcia Vetrocq

Jane Wesman

Zoe Woel

(list in formation)


Many thanks to the generosity of our Corporate sponsor


Abernathy MacGregor Group (Havas)



























Location One is proud to present “The Present Doesn’t Exist in My Mind, and the Future is Already Far Behind,” a one-woman performance piece by Lilibeth Cuenca Rasmussen.  Conceived as a collaboration with composers Pete Drungle and Brian Bender, motion graphic artist Brian Close, and costume designer Lise Klitten.Performance artist Lilibeth Cuenca Rasmussen was inspired by the writings of feminist mavericks Valentine de Saint Point and Mina Loy that reflect on visions of female sexuality and the subjugation of women. Her productions involve scripted texts/songs; composed music as well as intricate visual elements that include set design and costumes.Lilibeth Cuenca represents here a specific persona: a strong woman with attitude, and who serves her point of view in a direct way, “a woman who is proud of being a woman.“ Hers is an inclusive feminist stance that is aware of post-feminist traps.  The artists evokes basic categories of the body (as nature),  and the architecture (as culture),  as male/female symbols.The artist’s body is trying to fit within and at the same time it is struggling with the laws and structure of geometry and architecture. Depending on the movements and choreography of the body, basic, geometric costume can transform into multiple formations as basic geometrical shapes: cylinder, circle, square, and rectangle. The inner layer is a “bodysuit”, only revealing the face, hands and feet. When the “geometric” is taken off, the motion graphics of architectural structures  –”Virtual Costumes” — take over by surrounding and enclosing the body in lines and grids. The female body is integrated with architecture by projecting motion graphics onto a solid white body form. Like a snail house or a turtle, the artist carries her space around — a mobile, dynamic and flexible architecture. By this performative imagining, the artist contests the fact that architecture is predominantly a masculine endeavor.Lilibeth Cuenca Rasmussen (b.1970 in Manila) lives in Copenhagen, Denmark. Works primarily with video and performances. With consummate style and an almost voracious curiosity, she navigates the interspaces between different kinds of realities and extremes. Between the perfect staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her own Danish-Filipino background as her point of departure, the artist displays a keenly honed sensitivity, almost like that of an anthropologist, to the narratives that exist in and between a place of birth and home country. She gathers, adapts, and universalisms these narratives in her both critical and humorous approach to central issues such as identity, gender, and social relations. Lilibeth Cuenca Rasmussen is a graduate from The Royal Danish Academy of Fine Arts (1996-2002). She has contributed to a wide range of exhibitions in Denmark and abroad. Her work has been presented internationally at institutions such as U-Turn Quadriennial, Copenhagen; Brooklyn Museum, New York; Malmö Kunst Museum, Sweden; and the Museum of Contemporary Art, Seoul, South Korea, PERFORMA 09, New York.
Click here to view the embedded video.




Lilibeth Cuenca Rasmussen The Present Doesn't Exist in My Mind And The Future's Already Far Behind
admin — Fri, 05 Mar 2010 00:00:06 +0000
A Performance by Lilibeth Cuenca RasmussenThursday, March 4th, 2010 at 7 pm.This incarnation of the multi-media performance is curated by Jovana Stokić.

















Location One is proud to present “The Present Doesn’t Exist in My Mind, and the Future is Already Far Behind,” a one-woman performance piece by Lilibeth Cuenca Rasmussen.  Conceived as a collaboration with composers Pete Drungle and Brian Bender, motion graphic artist Brian Close, and costume designer Lise Klitten.Performance artist Lilibeth Cuenca Rasmussen was inspired by the writings of feminist mavericks Valentine de Saint Point and Mina Loy that reflect on visions of female sexuality and the subjugation of women. Her productions involve scripted texts/songs; composed music as well as intricate visual elements that include set design and costumes.Lilibeth Cuenca represents here a specific persona: a strong woman with attitude, and who serves her point of view in a direct way, “a woman who is proud of being a woman.“ Hers is an inclusive feminist stance that is aware of post-feminist traps.  The artists evokes basic categories of the body (as nature),  and the architecture (as culture),  as male/female symbols.The artist’s body is trying to fit within and at the same time it is struggling with the laws and structure of geometry and architecture. Depending on the movements and choreography of the body, basic, geometric costume can transform into multiple formations as basic geometrical shapes: cylinder, circle, square, and rectangle. The inner layer is a “bodysuit”, only revealing the face, hands and feet. When the “geometric” is taken off, the motion graphics of architectural structures  –”Virtual Costumes” — take over by surrounding and enclosing the body in lines and grids. The female body is integrated with architecture by projecting motion graphics onto a solid white body form. Like a snail house or a turtle, the artist carries her space around — a mobile, dynamic and flexible architecture. By this performative imagining, the artist contests the fact that architecture is predominantly a masculine endeavor.Lilibeth Cuenca Rasmussen (b.1970 in Manila) lives in Copenhagen, Denmark. Works primarily with video and performances. With consummate style and an almost voracious curiosity, she navigates the interspaces between different kinds of realities and extremes. Between the perfect staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her own Danish-Filipino background as her point of departure, the artist displays a keenly honed sensitivity, almost like that of an anthropologist, to the narratives that exist in and between a place of birth and home country. She gathers, adapts, and universalisms these narratives in her both critical and humorous approach to central issues such as identity, gender, and social relations. Lilibeth Cuenca Rasmussen is a graduate from The Royal Danish Academy of Fine Arts (1996-2002). She has contributed to a wide range of exhibitions in Denmark and abroad. Her work has been presented internationally at institutions such as U-Turn Quadriennial, Copenhagen; Brooklyn Museum, New York; Malmö Kunst Museum, Sweden; and the Museum of Contemporary Art, Seoul, South Korea, PERFORMA 09, New York.
Click here to view the embedded video.




Abramovic Studio: Maria Jose Anjona
heather — Fri, 26 Feb 2010 21:00:12 +0000
Jovana Stokic talks with Maria Jose Anjona.
February 26, 2010
 



Ragnar Kjartansson Speaks with Jovana Stokic
heather — Thu, 25 Feb 2010 00:00:29 +0000

Performance artist Ragnar Kjartansson with Jovana Stokic

Wednesday, February 24, 2010, 7 pm
Curator of Location One’s Abramović Studio, Jovana Stokić will speak with artist Ragnar Kjartansson about his current and past work, focusing on his performative works. The artist grew up to become, among other things, a pop star in his native Iceland, with his band Trabant. He is also recognized as an artist from performances such as The Opera (his 2001 graduation piece from the Academy of Arts in Reykjavík, in which he created a Rococo theatre in a small room and performed for ten days straight), Death and the Children (2002) or The Great Unrest (2005), in which he dressed as a Viking and sang the blues for an entire week in an abandoned theatre in the countryside. Artist will talk about his experience of his   six-month long performance at the Pavilion of Iceland at 53rd  Venice Biennale, 2009.
The evening is a part of activities of 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 is the subject of a major retrospective exhibition at MoMA in March 2010 titled “Artist is Present” in which she will be performing continuously throughout the whole duration of the exhibition.

The talk is free and open to the public.
Ragnar Kjartansson (b. 1976, Reykjavík, Iceland) conjures up emotions in his work that he can pass on to his viewers, with a keen eye for the tragicomic spectacle of human experience where sorrow collides with happiness, horror with beauty, and drama with humor. In his versatile artistic career, he has focused on video, painting, and drawing, with performance at the heart of his practice. Both of Kjartansson’s parents are actors, and acting, repetition, and identity are ever-recurring themes in his work. He has taken on countless roles in his performances, combining his own personality with personas from cultural history. His work incorporates a mélange of show business icons and nostalgic imagery from bygone eras of theater, television, music, and art, allowing him to blur the border between life and art, reality and fiction, and to create bold statements that strike chords with his audiences. Kjartansson graduated from the Iceland Academy of the Arts in 2001, and is the youngest artist ever to represent Iceland at the International Art Exhibition – La Biennale di Venezia in 2009. He has built an impressive roster of international exhibitions, including several major solo shows in museums, galleries, and art festivals in the last few years. He is representative of the vibrant young art scene in Iceland and has formed an engaging individual style that has

drawn the attention of the international art world. Kjartansson is represented by i8 Gallery in Iceland and Luhring Augustine in the United States.
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 been writing art criticism for several years, and has curated several thematic exhibitions and performance events in the US, Italy, Spain and Serbia. 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.
Here is the video of this artist talk:





Abramovic Studio: Ragnar Kjartansson
heather — Wed, 24 Feb 2010 21:00:46 +0000




February 24, 2010
 
Curator of Location One’s Abramović Studio, Jovana Stokić will speak with artist Ragnar Kjartansson about his current and past work, focusing on his performative works. The artist grew up to become, among other things, a pop star in his native Iceland, with his band Trabant. He is also recognized as an artist from performances such as The Opera (his 2001 graduation piece from the Academy of Arts in Reykjavík, in which he created a Rococo theatre in a small room and performed for ten days straight), Death and the Children (2002) or The Great Unrest (2005), in which he dressed as a Viking and sang the blues for an entire week in an abandoned theatre in the countryside. Artist will talk about his experience of his six-month long performance at the Pavilion of Iceland at 53rd Venice Biennale, 2009.



Abramovic Studio: Lucy Skaer
heather — Fri, 19 Feb 2010 05:02:03 +0000


Jovana Stokic talks with Lucy Skaer
February 4, 2010

 Curator of Location One’s Abramović Studio, Jovana Stokić spoke with artist Lucy Skaer about her current and past work focusing on the collaborative artist group Henry VIII’s Wives, who have been working together since 1998, mainly in film and video. The talk was free and open to the public. Skaer was shortlisted for the prestigious Turner Prize in 2009 and was an International Fellow in Location One’s Residency Program.



Abramovic Studio: Abramovic Institute
heather — Fri, 12 Feb 2010 21:00:45 +0000
Jovana Stokic discusses the Abramovic Institute in San Fransisco. 
February 12, 2010


Jovana Stokic talks at length about the new Abramovic Institute in San Francisco including mentions of Location One residents that were invited to attend.



Abramovic Studio: Nico Vascellari
heather — Thu, 04 Feb 2010 21:00:36 +0000
Jovana Stokic talks with Nico Vascellari 




February 4, 2010

Nico Vascellari was born in 1976 in Vittorio Veneto, Italy.  Working with different media including performance, sculpture, video, sound and collage, Vascellari’s work is often inspired by his activism in the underground subcultures.  In the past few year he also collaborated with musicians such as Z’EV, Stephen O’Malley, John Wiese, Arto Lindsay, Burial Hex.  Reviewed in numerous publications and part of prestigious public and private collections his work has been shown in important spaces and exhibitions including: EACC, Castellò (2010); Museion, Bolzano (2010); Mart (2010); Hangar Bicocca, Milano (2010); Julia Stoschek Foundation, Dusseldorf (2009); Whitworth Art Gallery, Manchester (2009); Kunsthaus, Graz (2009); Manifesta7, Rovereto (2008); 15a Quadriennale di Roma, Roma (2008); 52a Biennale di Venezia, Venezia (2007); ViaFarini, Milan (2006); Galleria Civica di Trento, Trento (2005).




Nayland Blake – Misbehavior III
irp — Sun, 08 Feb 2009 01:00:11 +0000
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.
 details on the February 7th perfomances coming soon… 



Nayland Blake – Gorge and Misbehavior II
irp — Fri, 09 Jan 2009 12:39:56 +0000
Gorge and Misbehavior

Friday, January 9, 2009

6pm – Gorge / 8pm – Misbehavior

Free Admission

Performers: Eileen Myles, Brina Thurston, Chris Cochrane, Lauren Silberman,

Curated by Nayland Blake
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











Nayland Blake – Misbehavior I
heather — Thu, 18 Dec 2008 01:00:21 +0000
A Series of Performance Reactions to  Nayland Blake’s “BEHAVIOR”

Wednesday, December 17, 2008 8PM Free Admission


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 - Robert Gluck



Nayland Blake - Misbehavior I  - Sarah Schulman



Nayland Blake - Misbehavior I  - Rob Fitterman





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

[display_podcast]

Dominic Vine (still image)





Rob Kennedy: I Relish Your Balderdash
heather — Thu, 26 Jun 2008 00:00:41 +0000


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.



Rashaad Newsome: Compositions
heather — Thu, 19 Jun 2008 19:25:31 +0000
June 19–July 26, 2008

w/ performance June 24th 7pm
 Have pop culture and globalization co-opted the wonderfully expressive gestures of the black America female?  This is the question that Rashaad Newsome explores in video and photography in Shade Compositions, one of two new works in an exhibition opening on Thursday June 19th at Location One.

In the second work, Untitled (study for banji cunt), Newsome brings choreography for the first time into his expressive repertoire. For this piece the artist invited one of New York’s top vogue dancers, Shayne Oliver, to his studio and recorded his demonstration. From the footage he created a choreographed piece in post-production by connecting different dance sequences. Shayne Oliver was then asked to practice and reinterpret this dance, and to perform it before a camera.  The resulting video (8 minute loop) will be shown in Location One’s Project Space, along with ten photographs of specific dance moves from the initial recording session.
“The language of the body has a vocabulary all its own,” says Newsome, whose residency at Location One is sponsored by the Rockefeller Brothers Foundation. “Gestural language is often viewed as a cultural signifier, and I am interested in how it is formed, how it evolves as well as how it is appropriated across regional and class boundaries. I think of dance as a means of communication that can reflect a world bigger then the one I live in, one that can reflect many different people, cultures and times.”
In conjunction with the exhibition there will be a live performance of Shade Compositions,

Tuesday June 24th at 7 PM in Location One’s Performance Space (20 Greene Street).




Four black females will perform a choreographed action piece, derived from dismissive gestures often characterized as “ghetto.” The artist will utilize a hacked Nintendo Wii game controller to create a music and video composition in real-time, recording, looping, composing and editing both audio and video simultaneously to the action of the performers.
 Thanks to OAK  for generously lending clothing for the performance.
Born in New Orleans, Newsome received a B.A. in Art History from Tulane University before studying at Film Video Arts in New York. He has been awarded several residencies including one at Entreprise Culturelle in Paris. Most recently his work has been shown at  K.U.E.L., Berlin; Glassbox Gallery, Paris; Rush Arts Gallery, NYC; Fondation Cartier, Paris; The Contemporary Arts Center, New Orleans.
www.rashaadnewsome.com



2×2: New Randy & Bob Holman w/ Vito Ricci
irp — Fri, 02 May 2008 05:01:26 +0000


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.
- – - – - – - – - – - – - – - – - – - – - – -The Awesome Whatever!First CD in 9 Years from the “Dean of the Scene” (Seventeen Magazine)(when the scene is Poetry!)Holman’s last CD, “In With the Out Crowd” was produced by needle-drop wizard Hal Willner and released by the ahead-of-its-time, lamented Mouth Almighty/Mercury Records, a label Holman founded in the mid 90s with music vet Bill Adler and legendary poet Sekou Sundiata. THE AWESOME WHATEVER is the first release of Bowery Records, part of the amazing goings-on at the Bowery Poetry Club where Holman is proprietor.The  all-live, one-session, no overdub THE AWESOME WHATEVER is a milestone in Spoken Word.  Holman’s most recent book, A Couple of Ways of Doing Something (Aperture, 2006), a gorgeous, oversize collaboration with Chuck Close, adds a new graphic dimension to his poems so they stand up and dance with Close’s lush daguerreotypes. Likewise, in TAW, Holman expands the vocabulary of spoken word by actually improvising lyrics, adding gestural sounds as oral tradition placeholders, and making poetry journeys exploring genres from Reggae to Lounge to Flamenco.“Vito called me up one day and said he’d found a terrific studio, that’s how it all started,” says the Czar of the Spoken Word (Daily News). “Spin Studio on Astoria, how rootsy can you get? And Nic K as engineer — the guy was cracking up in my ear as I was improvising, the greatest solo audience a poet could ever have.”“A studio is a tool for creating poetry,” Holman continues. “Just as a comfy, inspiring writing space and a great pen and paper, or a keyboard that’s weighted and clacks appropriately are conducive to getting the words down on paper, so a studio where you can really hear yourself pushes the poem out in a relaxed, adventuresome way.”You can count Bob’s admirers on both hands, feet, and various other body parts: he and jazz violinist Billy Bang have an ongoing band, Bang Holman; he performs often with David “Pere Ubu” Thomas in his opera Mirror Man (recording available on Thirsty Ear); and in 2006 was in the original cast of Spalding Gray’s “Stories Left to Tell.” Lou Reed’s in Bob’s camp (“Bob is my kind of poet”), Ani Di Franco gives him “an A+!” and Russell Banks relates,  “”Holman’s funky urban chants call back good memories of Beat collaborations between poetry and music. He’s keeping that tradition alive and well.”The opening cut, “She Never Phoned Me Back,” has the craziest history. Bob was performing at the University of California, San Diego, in a series curated by the great jazz poet Quincy Troupe. “We always try to get Bob on the radio, “ says Troupe, “because he speaks poetry. This day the host challenged Bob to put his theories into practice by improvising a poem right on the air! Bob suggested that the engineer throw down some beats, and they had a caller call in the title: “She Never Phoned Me Back” The result was totally outta sight, and was completely off the dome!” “I had several poems spread out in front of me,” remembers Holman, “”How Kora Was Born” for my griot, the Gambian poet/musician Papa Susso and “Ornettes” for Ornette Coleman – I was spending time with Ornette then. So I mixed, matched, hitched and hatched and the beats were infections. It just happened.” Indeed.The remainder of the tracks were all recorded at Spin Studios on April 12, 2007.The next track is the CD’s Break Out Hit: “Love Lake.” Written for Bob’s wife, the artist Elizabeth Murray, who died in August, this poem answered Vito’s challenge: “Bob, if you can write anything, why not write a hit song?” “Love Lake,” the result, begins with one of poetry’s great couplets: “You never thought it could happen to you/ I never thought the same thing too.” In the live TAW version, Holman takes on the glottal crunch of a carny pitchman gradually evolving into a heart-rending plea for transcendent universal love. The tune is chock full of what Holman calls “oralities”: those little spoken catch phrases between verses, the “uh-huhs” and “so far away I couldn’t hear it myself” commentaries of which James Brown was the master, and for poets in the oral tradition, serve both as fillers while the next verse is being concocted, and as the true improvisational interchanges with the audience that make a poem an event. Too much theory? Give a listen, and see if you don’t gently float downriver to the unity of the species which is “Love Lake.”The next cut, “The Meaning of Meaning,” is a totally deconstructed poem/song. It begins with Bob requesting Vito to do the Other Poem, which of course turns out to be the song they are doing right now!  Confusing, you betcha, totally appropriately too: “What’s the meaning of meaning/What’s the purpose of purpose/ What’s the use – Can I use it/It feels so good to refuse it!” wails Holman. One critic called Bob and Vito’s version at the annual St Mark’s Poetry Project New Years Day Marathon, “Best of Show,” adding – “it was like hearing the individual beaten down by the implacable forces of history.”The next poem, “January,” is an ode to a “chilly-willy of a month,” a “month that seems like a year,” that keeps losing its place, falling in love, and forgetting it’s a poem. “Pasta Mon,” a hilarious paean to a Yuppie’s inability to break into reggae, “Pasta Mon starrin on hiz own tv show/Yesterday’s menu’s already obsolete-o/ Gonna show you how to roll a pasta-filled burrito.” Things get darker by the end:A nickel for a can & a nickel for a bottleA trickle down sound from the nickel that bought youAmerica the Beautiful in quarantineA cardboard mattress and a cardboard dreamBarbecue trashcans linin the HudsonDogs are howlin as you throw the spuds onPasta Mon’s recipes gettin kinda smellyRat ratatouille & vermin vermicelliThree poems with music follow – a praise poem “For Paul and Everybody Else”  written for Paul Gulielmetti, the activist tenant lawyer who died last year,  segues through a long musical ramble to “Night of the Living Dead,” addressed to two of Bob’s friends, Spalding Gray, the writer/monologist, and Pedro Pietri, the dada Nuyorican poet/playwright. Though they never knew each other, they meet in the poem, as they did in death – Gray’s body washing ashore after his wintertime suicide leap from the Staten Island Ferry just days after Pietri died on March 2 or 2, 2003 (he was on a plane at midnight between time zones when he passed, which is a point in the poem) from stomach cancer. Another praise poem for Pedro, “On the Street Named Pedro Pietri,” follows, a poem that was read in celebration on the day that  East Third between B & C was declared “Reverend Pedro Pietri Way.” In 1989, Holman helped reopen the Nuyorican Poets Café on this block, and the Poetry Slams he ran 1989-96, the first in the City, were landmarks in the renaissance of poetry.“sweat&sexandpolitics,” one of Bob and Vito’s original raps from their touring show “Panic*DJ! The Plain White Rapper,” is recapitulated in a stripped-down very 07 version. The final cut is a long spoken word piece, “Picasso in Barcelona,” an ekphrastic (work of art inspired by another work of art) suite of poems based on Picasso’s teenage work as when he lived in Catalonia:In 1900 the futureOpened up its armsI invented the carAnd RembrandtTake off your clothesI will make a book coverAnd put a photo of me on the backTo make sure it sellsEvery morning I wake upGive myself a big kissAnd paint a masterpieceThen I have a coffeeThus ends THE AWESOME WHATEVER. If you want to hear the encore (secret track), well, the CD is enclosed! On the CD, the listener is dared to “See if you can tell which of Bob’s filigrees are straight off the dome.” For Bob, working in collaboration with Vito and Nic, gave him the support to take it all the way out – to launch his improvisational poetic skills to create a new kind of poem, which is in fact, the original way poems were written, I mean spoken! It’s Awesome! Whatever.



2×2: New Randy & Bob Holman w/ Vito Ricci
admin — Fri, 02 May 2008 05:01:26 +0000


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.
- – - – - – - – - – - – - – - – - – - – - – -The Awesome Whatever!First CD in 9 Years from the “Dean of the Scene” (Seventeen Magazine)(when the scene is Poetry!)Holman’s last CD, “In With the Out Crowd” was produced by needle-drop wizard Hal Willner and released by the ahead-of-its-time, lamented Mouth Almighty/Mercury Records, a label Holman founded in the mid 90s with music vet Bill Adler and legendary poet Sekou Sundiata. THE AWESOME WHATEVER is the first release of Bowery Records, part of the amazing goings-on at the Bowery Poetry Club where Holman is proprietor.The  all-live, one-session, no overdub THE AWESOME WHATEVER is a milestone in Spoken Word.  Holman’s most recent book, A Couple of Ways of Doing Something (Aperture, 2006), a gorgeous, oversize collaboration with Chuck Close, adds a new graphic dimension to his poems so they stand up and dance with Close’s lush daguerreotypes. Likewise, in TAW, Holman expands the vocabulary of spoken word by actually improvising lyrics, adding gestural sounds as oral tradition placeholders, and making poetry journeys exploring genres from Reggae to Lounge to Flamenco.“Vito called me up one day and said he’d found a terrific studio, that’s how it all started,” says the Czar of the Spoken Word (Daily News). “Spin Studio on Astoria, how rootsy can you get? And Nic K as engineer — the guy was cracking up in my ear as I was improvising, the greatest solo audience a poet could ever have.”“A studio is a tool for creating poetry,” Holman continues. “Just as a comfy, inspiring writing space and a great pen and paper, or a keyboard that’s weighted and clacks appropriately are conducive to getting the words down on paper, so a studio where you can really hear yourself pushes the poem out in a relaxed, adventuresome way.”You can count Bob’s admirers on both hands, feet, and various other body parts: he and jazz violinist Billy Bang have an ongoing band, Bang Holman; he performs often with David “Pere Ubu” Thomas in his opera Mirror Man (recording available on Thirsty Ear); and in 2006 was in the original cast of Spalding Gray’s “Stories Left to Tell.” Lou Reed’s in Bob’s camp (“Bob is my kind of poet”), Ani Di Franco gives him “an A+!” and Russell Banks relates,  “”Holman’s funky urban chants call back good memories of Beat collaborations between poetry and music. He’s keeping that tradition alive and well.”The opening cut, “She Never Phoned Me Back,” has the craziest history. Bob was performing at the University of California, San Diego, in a series curated by the great jazz poet Quincy Troupe. “We always try to get Bob on the radio, “ says Troupe, “because he speaks poetry. This day the host challenged Bob to put his theories into practice by improvising a poem right on the air! Bob suggested that the engineer throw down some beats, and they had a caller call in the title: “She Never Phoned Me Back” The result was totally outta sight, and was completely off the dome!” “I had several poems spread out in front of me,” remembers Holman, “”How Kora Was Born” for my griot, the Gambian poet/musician Papa Susso and “Ornettes” for Ornette Coleman – I was spending time with Ornette then. So I mixed, matched, hitched and hatched and the beats were infections. It just happened.” Indeed.The remainder of the tracks were all recorded at Spin Studios on April 12, 2007.The next track is the CD’s Break Out Hit: “Love Lake.” Written for Bob’s wife, the artist Elizabeth Murray, who died in August, this poem answered Vito’s challenge: “Bob, if you can write anything, why not write a hit song?” “Love Lake,” the result, begins with one of poetry’s great couplets: “You never thought it could happen to you/ I never thought the same thing too.” In the live TAW version, Holman takes on the glottal crunch of a carny pitchman gradually evolving into a heart-rending plea for transcendent universal love. The tune is chock full of what Holman calls “oralities”: those little spoken catch phrases between verses, the “uh-huhs” and “so far away I couldn’t hear it myself” commentaries of which James Brown was the master, and for poets in the oral tradition, serve both as fillers while the next verse is being concocted, and as the true improvisational interchanges with the audience that make a poem an event. Too much theory? Give a listen, and see if you don’t gently float downriver to the unity of the species which is “Love Lake.”The next cut, “The Meaning of Meaning,” is a totally deconstructed poem/song. It begins with Bob requesting Vito to do the Other Poem, which of course turns out to be the song they are doing right now!  Confusing, you betcha, totally appropriately too: “What’s the meaning of meaning/What’s the purpose of purpose/ What’s the use – Can I use it/It feels so good to refuse it!” wails Holman. One critic called Bob and Vito’s version at the annual St Mark’s Poetry Project New Years Day Marathon, “Best of Show,” adding – “it was like hearing the individual beaten down by the implacable forces of history.”The next poem, “January,” is an ode to a “chilly-willy of a month,” a “month that seems like a year,” that keeps losing its place, falling in love, and forgetting it’s a poem. “Pasta Mon,” a hilarious paean to a Yuppie’s inability to break into reggae, “Pasta Mon starrin on hiz own tv show/Yesterday’s menu’s already obsolete-o/ Gonna show you how to roll a pasta-filled burrito.” Things get darker by the end:A nickel for a can & a nickel for a bottleA trickle down sound from the nickel that bought youAmerica the Beautiful in quarantineA cardboard mattress and a c

ardboard dreamBarbecue trashcans linin the HudsonDogs are howlin as you throw the spuds onPasta Mon’s recipes gettin kinda smellyRat ratatouille & vermin vermicelliThree poems with music follow – a praise poem “For Paul and Everybody Else”  written for Paul Gulielmetti, the activist tenant lawyer who died last year,  segues through a long musical ramble to “Night of the Living Dead,” addressed to two of Bob’s friends, Spalding Gray, the writer/monologist, and Pedro Pietri, the dada Nuyorican poet/playwright. Though they never knew each other, they meet in the poem, as they did in death – Gray’s body washing ashore after his wintertime suicide leap from the Staten Island Ferry just days after Pietri died on March 2 or 2, 2003 (he was on a plane at midnight between time zones when he passed, which is a point in the poem) from stomach cancer. Another praise poem for Pedro, “On the Street Named Pedro Pietri,” follows, a poem that was read in celebration on the day that  East Third between B & C was declared “Reverend Pedro Pietri Way.” In 1989, Holman helped reopen the Nuyorican Poets Café on this block, and the Poetry Slams he ran 1989-96, the first in the City, were landmarks in the renaissance of poetry.“sweat&sexandpolitics,” one of Bob and Vito’s original raps from their touring show “Panic*DJ! The Plain White Rapper,” is recapitulated in a stripped-down very 07 version. The final cut is a long spoken word piece, “Picasso in Barcelona,” an ekphrastic (work of art inspired by another work of art) suite of poems based on Picasso’s teenage work as when he lived in Catalonia:In 1900 the futureOpened up its armsI invented the carAnd RembrandtTake off your clothesI will make a book coverAnd put a photo of me on the backTo make sure it sellsEvery morning I wake upGive myself a big kissAnd paint a masterpieceThen I have a coffeeThus ends THE AWESOME WHATEVER. If you want to hear the encore (secret track), well, the CD is enclosed! On the CD, the listener is dared to “See if you can tell which of Bob’s filigrees are straight off the dome.” For Bob, working in collaboration with Vito and Nic, gave him the support to take it all the way out – to launch his improvisational poetic skills to create a new kind of poem, which is in fact, the original way poems were written, I mean spoken! It’s Awesome! Whatever.



ignored in my heaven… reprise
admin — Tue, 25 Mar 2008 19:21:27 +0000
April 4-5, 2008 8pm

Glen Rumsey Dance Project returns to Location One with this reprise of “ignored in my heaven…” a suite of surreal and magical dances inspired by dream and travel journals
Glen Rumsey Dance Project, ignored in my heaven…

Originally commissioned by Location One in 2005. (Please note that the current exhibition Social Edit by Tracey Moffatt will be CLOSED the following days, Thursday, Friday Saturday, April 3, 4 and 5.

Tickets $15, members free.
Originally performed September 15-17 & September 22-24, 2005.
press articles from the 2005 performances:

Gay City News

Village Voice

Dance Review Times



Hung Nguyen Manh – special sound performance
irp — Mon, 07 Jan 2008 19:19:18 +0000
 January 11th, 2008, 20 Greene street, 7pm
“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.




Ritual for a Non-Repeating Universe
admin — Fri, 06 Apr 2007 05:01:55 +0000
April 6, 2007
 

 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)



"In the Sky" opening night performance, with Elliott Sharp, Glen Rumsey and others
admin — Wed, 29 Nov 2006 05:01:44 +0000

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



Leesa & Nicole Abahuni – "In the Sky"
admin — Tue, 21 Nov 2006 19:22:52 +0000
November 21, 2006 – January 27, 2007


 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



Antoinette LaFarge on “Demotic”
admin — Tue, 07 Nov 2006 19:27:54 +0000

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.



Andrew Duggan – ECHO
irp — Thu, 18 May 2006 17:41:09 +0000
a one-night only dance and video event
Thursday, May 18, 2006 – 6:30-8:30pm – FREE
 Location One presents ECHO, a collaborative project created by visual/media artist Andrew Duggan and dancers Jonathan Kelliher and Joanne Barry of Siamsa Tíre, the National Folk Theatre of Ireland.  For one-night only traditional Irish dance will be transported from the South West coast of Ireland to Location One’s Gallery space in New York City.  Impromptu street performances and filming will take place in NYC at undisclosed locations leading up to the event.  The resulting project will be presented at Location One.The event will take place on Thursday, May 18, 2006 (6:30-8:30pm).  The video installation will be continuous throughout the presentation, with dance performances at 7pm and 8pm (approximately 10 minutes in length).  The event is free and open to the public.ECHO is a multidisciplinary project that examines the creative dialogue between dance and video.  The work explores folk movement vocabulary in an urban context.  With a focus on the complex nature of ‘looking’, it breaks down some of the perceived barriers between art forms.  In keeping with folk tradition, a crossroads becomes a symbolic space through which the dancers have a physical dialogue, questioning the origin of the echo. At its core, ECHO creates crossroads between traditional and contemporary forms, rhythmic structures, the physical dance space, and cultures.Andrew Duggan’s media and installation work investigates the space between tradition (fact/folk/lore, etc..) and contemporary space and time.  He plays with cultural representations and perceptions and has presented many projects in the public domain.  In Kerry, the Bán/Blane series (2004) were projected on to a building reputed to have been prepared for the escape and arrival of Marie Antoinette.  He frequently collaborates with dancers, musicians and cultural institutions.  In CentreStage, he worked with the National Folk Theatre of Ireland to create an installation on the traditional (Irish) crossroads and the nature of looking.  Born in Cork and raised in Dublin, Duggan lives and works in Dingle (West Coast of Ireland). He studied at the Crawford College of Art and design, Cork; the National College of Arts and Design, Dublin; and the University of Ulster, Belfast.Siamsa Tíre (pronounced shee-am-sah tir-a: enjoyment of the ground), the National Folk Theatre of Ireland was founded in 1974.  Its mission is to reflect Ireland’s great wealth of music, dance and folk tradition for the stage, through vibrant, colorful theatricality and to continue to create new folk theatre presentations, drawing on their traditions and rich cultural reservoir.  The company has performed their unique brand of folk theater at venues all over Ireland, and in the US, Canada, Brittan, Germany, France, Belgium, Holland, Italy, Spain, South America, and Australia.Andrew Duggan has been an artist-in-residence at Location One since September 2005.  His residency is supported, in part, by The Arts Council/An Chomhairle Ealaíon (Ireland).video documentation:[display_podcast]
Click here to view the embedded video.




LIGHT WAVES live in NEW YORK
irp — Wed, 15 Feb 2006 17:40:19 +0000
February 15, 2006 – 7:00 PM
Paololuca Barbieri and art collective,  ALTERAZIONI VIDEO.
 A concert-performance conceived as a one-night audio-video event. The project explores the relationship between light and sound, looking for the natural correspondence between these two elements, between visible and invisible, playing with their frequencies.
The group takes inspiration from the basic theory of physics that “light is an undulatory phenomenon”, and from the empirical discovery that these waves could be converted into sound by a solar panel.
For LIGHT WAVES,  the performers will be using different kinds of lights as their “instruments”

Small solar panels will function as Òphoto microphonesÓ, capturing light from different kinds of lamps: neon, wood, table lamps, etc., as well as invisible infrared rays from a TV remote-control are used like a globular guitar.
ÊThe end result is a fascinating combination of sounds, lights and video (a live video recording of the ÒconcertÓ will be screened during the performance) which will entirely envelop the audience by bringing the spectators inside a universe of unexpected sounds and frequencies.Ê The entire performance will last approximately 15 minutes and may be repeated during the course of the night.
Special guest: Cheney Thompson
ALTERAZIONI VIDEO is an art collective based in Milan, Italy, that develops video, installation and electronic music projects.Ê Its members are Paololuca Barbieri, Alberto Caffarelli, Andrea Masu, Matteo Erenbourg, Giacomo Porfiri.  Their installation RECLAIM the MEDIA! is included in the Location One International Residents’ Group Show.



ignored in my heaven…
admin — Thu, 15 Sep 2005 05:01:26 +0000
 Glen            Rumsey Dance Project
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.



	
	
		
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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 



Open Stitch
admin — Mon, 05 Sep 2005 21:33:45 +0000
September 7 – October 1, 2005


15 artists will spend seven days at Location One working intensely and in restricted conditions to produce wearable creations with only the tools and materials provided to them. A cross between art and fashion, the project temporarily removes the gallery from the appointed function of “showing” and moves it to the world of artistic production, raising questions about the circumstances, both physical and mental, of the creative process.
Open Stitch removes artists from the comfort of their own environments, imposes constraints, and compels them to work among others. The action will be documented via live-streamed video. Following the production stage, the gallery space will be left in its raw, post-production state, and an installation of the work produced will be on display. A video montage of the production process will be projected as part of the installation.



	
	
		
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Open Stitch was conceived and organized by Sebastien Sanz de Santamaria in collaboration with Jessie Cohan. Participating artists include Ayah Bdeir, Jessie Cohan, Barry Doss, Stefany Anne Golberg, George Hudacko, Selma Karaca, Ryan Kennedy, Miranti Kisdarjono, Katherine Moriwaki, David Quinn, Chris Sanders, Davina Semo, and Wikiwikicorp, a collective that includes Jean Barberis, Aya Kakeda and Sebastien Sanz de Santamaria.
September 7-13 Workshop

7 days, 56+ hours, 15 artists/designers working intensely and in restricted conditions to produce wearable creations with only the tools and materials provided to them. The project removes artists from the comfort of their own environments, imposes constraints, and compels them to work among others. The action will be documented via live-streamed video.

Open to the public every day from 12 to 6pm
Timelapse Video

Click here to view the embedded video.
September 14-30 Installation

The gallery space will be left in its raw, post-production state, and an installation of the work created will be on display. A video montage of the production process will also be projected.

Open Tuesday-Saturday, 12 to 6pm
Workweek Video
Click here to view the embedded video.
September 21 & 28 at 7pm Open House Wednesdays

Two talks about Cultural Constraints and Social Identities relating to clothing and fashion. Speakers to be announced.
Timelapse Video
Click here to view the embedded video.
Saturday October 1st Runway show – Performance – Party

Opening with a short performance by the Glen Rumsey Dance Project, the evening features a staged showing of the garments produced by the participating artists, plus music, DJ and cocktails.



Read press for the show: (PDFs)
Gay City News
Village Voice “Don’t    Call it ‘Project Runway, the Art Exhibit”

by Corina Zappia

The Electronic Guy
admin — Fri, 18 Feb 2005 05:01:44 +0000
February 18, 2005a performance by Benoît Maubrey which uses a new electroacoustic jacket, solar radio, guitar, sampler and more.Benoît            Maubrey performs “The Electronic Guy”Friday, February 18 2005, 8PMAdmission: $12, members freeRadio receivers, sound generators, samplers, amplifiers, loudspeakers- the clothes produce sounds by interacting with the environment and in response to the performers’ movements.Of his work Maubrey says: “The art we make is not high tech, it’s normal. The electronic tools we use are cheap and commonplace and can be found inside a lot of toys that litter a child’s playroom floor.Furthermore integrated circuits (ICs) can even add to a person’s charm. Loudspeakers have long been            integrated into modern homes, mass transportation, and public spaces. Wherever you find people, you’ll           find loudspeakers. It seems only logical to combine these elements: even your neighborhood policeman           beeps and crackles as he walks his beat.The Audio Gruppe’s equipment and computer chips are obtained from surplus electronic parts, they’re           essentially modern junk. When you superimpose them over peoples’ bodies it may look kind of strange at           first, but so did “Walkmans” (and for that matter telephones) when they came on the market. One of the           key aspects of our work is the interdisciplinary character — somewhere situated between the worlds of           avantgarde music, sound art, dance, theatre, performance, street theatre, fashion, and electronic art.”The performance will be followed by a video and slide presentation.Maubrey and his group performed “Audio Ballerinas” live at LocationOne in 2003 to critical acclaim.Maubrey is the director of Die Audio Gruppe(www.audioballerinas.com), a Berlin-based art groupthat builds electro-acoustic clothes and performsin them.www.audioballerinas.com
Click here to view the embedded video.



Demotic – Antoinette LaFarge and Robert Allen
admin — Thu, 29 Jul 2004 05:01:45 +0000
July 29-31, 2004
“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


Alexi Shulgin "386 DX WIMP"
admin — Sat, 14 Feb 2004 01:00:25 +0000

Alexei Shulgin In his New York debut

386 DX WIMP
One Performance Only:

February 13, 2004 8 PM

Admission: $15, members free

(No advanced ticket sales;

Doors open at 7:30 PM)
Alexei Shulgin created Cyberpunk six years ago. At last, he’s bringing his bizarrely affecting techno-pop musical art to New York, for a single performance on February 13th at Location One.
Shulgin’s Cyberpunk “band”, 386 DX, consists of an archaic computer that plays MIDI tunes with speech-synthesis “vocals” accompanied by Shulgin who “operates” the machine through a computer keyboard slung over his shoulder with a guitar strap. Their repertoire spans 30 years of pop music (from The Mamas and The Papas to Nirvana), and is by turns satirical, sentimental, innovative and just plain weird – - accompanied, as always, by Shulgin’s irreverent insight into net art, techno, and the contemporary entertainment scene.
Shulgin has played concert halls, clubs and every kind of venue throughout Europe and America, most notably through a chain-link fence from the American side of the US/Mexican border at Las Playas de Tijuana while his computerized counterpart was free to perform on the Mexican side of the border. The computer has performed as a solo act as well, singing pop songs to crowds on the streets of Graz, Austria and receiving tips for its musicianship.
WIMP (Windows Interface Manipulation Program or Windows, Icons, Menus and Pointing device – the prehistorical GUI of the 1970′s) is a program for creating full-screen visual animations synchronized with sound in real time. WIMP utilizes the graphical user interface (GUI) of the Windows operating system as its only visual source of inspiration. Standard interface elements from the desktop such as applications, windows, icons, images, pop-up menus and text are manipulated and transformed through the use of VJ effects. These animations are generated by simple 2- and 3-D effects and filters and their superimpositions. The versatile nature of WIMP allows it to be used as a VJ tool, a screensaver, a cool grafix generator or as a piece of conceptual art.
WIMP was created by Shulgin in collaboration with Victor Laskin and had its world premiere in October of 2003 at Dorkbot Rotterdam (http://dorkbot.org/dorkbotrotterdam/). It is downloadable as freeware at http://www.wimp.ru.
Click here to view the embedded video.
Alexei Shulgin is a Moscow-based artist, musician, curator, activist and professor. Shulgin has participated in numerous exhibitions and symposiums on photography, contemporary art and new media. He is the author and curator of several Internet projects including Form Art, which first introduced this new art form based on the aesthetics of a computer interface to the internet community in 1997. He also collaborated on the development of Runme.org, launched in January 2003 as an open database for people around the world to showcase their examples of software art. Since the creation of 386 DX in 1998, Shulgin has released two albums with the band including The Best of and Legend of Russian Rock.
 


Alexi Shulgin “386 DX WIMP”
heather — Sat, 14 Feb 2004 01:00:25 +0000

Alexei Shulgin In his New York debut

386 DX WIMP
One Performance Only:

February 13, 2004 8 PM

Admission: $15, members free

(No advanced ticket sales;

Doors open at 7:30 PM)
Alexei Shulgin created Cyberpunk six years ago. At last, he’s bringing his bizarrely affecting techno-pop musical art to New York, for a single performance on February 13th at Location One.
Shulgin’s Cyberpunk “band”, 386 DX, consists of an archaic computer that plays MIDI tunes with speech-synthesis “vocals” accompanied by Shulgin who “operates” the machine through a computer keyboard slung over his shoulder with a guitar strap. Their repertoire spans 30 years of pop music (from The Mamas and The Papas to Nirvana), and is by turns satirical, sentimental, innovative and just plain weird – - accompanied, as always, by Shulgin’s irreverent insight into net art, techno, and the contemporary entertainment scene.
Shulgin has played concert halls, clubs and every kind of venue throughout Europe and America, most notably through a chain-link fence from the American side of the US/Mexican border at Las Playas de Tijuana while his computerized counterpart was free to perform on the Mexican side of the border. The computer has performed as a solo act as well, singing pop songs to crowds on the streets of Graz, Austria and receiving tips for its musicianship.
WIMP (Windows Interface Manipulation Program or Windows, Icons, Menus and Pointing device – the prehistorical GUI of the 1970′s) is a program for creating full-screen visual animations synchronized with sound in real time. WIMP utilizes the graphical user interface (GUI) of the Windows operating system as its only visual source of inspiration. Standard interface elements from the desktop such as applications, windows, icons, images, pop-up menus and text are manipulated and transformed through the use of VJ effects. These animations are generated by simple 2- and 3-D effects and filters and their superimpositions. The versatile nature of WIMP allows it to be used as a VJ tool, a screensaver, a cool grafix generator or as a piece of conceptual art.
WIMP was created by Shulgin in collaboration with Victor Laskin and had its world premiere in October of 2003 at Dorkbot Rotterdam (http://dorkbot.org/dorkbotrotterdam/). It is downloadable as freeware at http://www.wimp.ru.
Click here to view the embedded video.
Alexei Shulgin is a Moscow-based artist, musician, curator, activist and professor. Shulgin has participated in numerous exhibitions and symposiums on photography, contemporary art and new media. He is the author and curator of several Internet projects including Form Art, which first introduced this new art form based on the aesthetics of a computer interface to the internet community in 1997. He also collaborated on the development of Runme.org, launched in January 2003 as an open database for people around the world to showcase their examples of software art. Since the creation of 386 DX in 1998, Shulgin has released two albums with the band including The Best of and Legend of Russian Rock.
 


Radical Low: "RL.1"
admin — Sat, 13 Dec 2003 22:58:14 +0000
Kurt Ralske and Chantal Yzermans

December 16, 2003 8 PM

Admission: $10, members free

“. . . the power of this solo lay in its            unarticulated yet strong emotions, conveyed through impressive physical            and emotional control.”

-Jennifer Dunning, in review of “R-1″ for New York Times              (April 3, 2001)
“RL.1″ is a work for solo dancer, video, and music. Dancer/choreographer            Chantal Yzermans creates expressive, abstracted forms and motions with            the restrained power and expanded time-sense of butoh. In “RL.1″,            she performs blindfolded. Video artist Kurt Ralske uses a camera to            capture images of the dancer in real-time. The images are processed            and layered in real-time, creating a dialogue of shapes and forms with            the dance. Dance and image drift in and out of abstraction, simultaneously            or in contrast. The video functions variously as a set design, as a            commentary on the dance, and as counterpoint to the dance. At times,            multiples of images of the dance act as a “real-time Greek chorus”            to the solo dancer, providing a record of what has occurred, expanding            on what is occurring, and hinting at what is to come. At other times,            the dancer’s motions have the quality of a ritual, with the video’s            abstractions serving to make the invisible aspects of the ritual visible.            “RL.1″ utilizes two very different techniques of communication            via the presentation of image (dance and video), while achieving a harmony            and simultaneity of expression. “RL.1″ premiered at Joyce            Theater Soho in May 2001.
RADICAL LOW is a dance and multimedia ensemble              formed in Spring 2001 by Kurt Ralske and Chantal Yzermans. Radical              Low has performed at Joyce Theater Soho, Merce Cunningham Studio,              at Recyclart Centre (Bruxelles, Belgium), the 92nd St. Y, Judson Hall,              and Galapagos Art Space.
RADICAL LOW is exploring the intersection              of dance and technology by using custom software created by the artists.              New avenues are opened for the relationship between dance and sound              and image. Some techniques the artists have used are: video capture,              real-time video processing, image analysis, sensors, and networked              audio-video control systems
Click here to view the embedded video.


Kurt            Ralske is a Manhattan-based video artist and composer. His work            is exclusively created with his own custom software, written in C, Java,            and Max/MSP, and involves the expressive improvisation of both sound            and image, simultaneously and in real-time. Kurt has performed at museums,            galleries, and theaters throughout Europe, Canada, and the US, including            the Los Angeles Museum of Contemporary Art and the Montreal Museum of            Contemporary Art. The New York Times has praised his “compelling,            ingenious alliance of sound and motion” and his “technological            wizardry”.
In February 2003, Kurt received received the Image              Award at Transmediale International Media Art Festival in Berlin,              for for his work on the DVD “Live in Bruxelles” by real-time              video improvisation ensemble 242.pilots.
Kurt works mainly as a performer: as a soloist,              with other video artists, with live dancers, or with live musicians.              He has created interactive video installations, software art, and              video-derived still images. He is the author of Auvi, a commercially              released software environment for creating custom real-time video              programs. (http://auv-i.de)
Chantal Yzermans [dancer/choreographer] was            born in Ostend, Belgium, currently residing in NY. Chantal worked in            Europe as a freelance choreographer in collaboration with Belgian composer            Starfish Pool. Together they toured throughout Europe and Canada with            “Ritual for the Dying.” Yzermans was invited to work for the            Belgian National Television, German National Television and Festival            van Vlaanderen for which she choreographed a contemporary opera “Turm            aus Zimst” by German composer Hans Rotman and Belgian film director            Jaak Servaes. As a choreographer in residence, she worked at the Keizer            Karel Hogeschool in Antwerp, Belgium, where she created “11 Windmills            and One Dandelion,” presented at venues throughout France, the            Netherlands, Germany and Spain. She received an award “The Vondelpreis            (reisestipendium)” from the arts granting organization Alfred Toepfer            Stifftung (Hamburg, Germany) for Choreography in 1998. In NYC, her work            has been performed at venues such as Judson Church, presented by Movement            Research; 92nd Street Y; the Merce Cunningham Studio; and Joyce Theatre            Soho.


Radical Low: "RL.1"
admin — Sat, 13 Dec 2003 22:58:14 +0000
Kurt Ralske and Chantal Yzermans

December 16, 2003 8 PM

Admission: $10, members free

“. . . the power of this solo lay in its            unarticulated yet strong emotions, conveyed through impressive physical            and emotional control.”

-Jennifer Dunning, in review of “R-1″ for New York Times              (April 3, 2001)
“RL.1″ is a work for solo dancer, video, and music. Dancer/choreographer            Chantal Yzermans creates expressive, abstracted forms and motions with            the restrained power and expanded time-sense of butoh. In “RL.1″,            she performs blindfolded. Video artist Kurt Ralske uses a camera to            capture images of the dancer in real-time. The images are processed            and layered in real-time, creating a dialogue of shapes and forms with            the dance. Dance and image drift in and out of abstraction, simultaneously            or in contrast. The video functions variously as a set design, as a            commentary on the dance, and as counterpoint to the dance. At times,            multiples of images of the dance act as a “real-time Greek chorus”            to the solo dancer, providing a record of what has occurred, expanding            on what is occurring, and hinting at what is to come. At other times,            the dancer’s motions have the quality of a ritual, with the video’s            abstractions serving to make the invisible aspects of the ritual visible.            “RL.1″ utilizes two very different techniques of communication            via the presentation of image (dance and video), while achieving a harmony            and simultaneity of expression. “RL.1″ premiered at Joyce            Theater Soho in May 2001.
RADICAL LOW is a dance and multimedia ensemble              formed in Spring 2001 by Kurt Ralske and Chantal Yzermans. Radical              Low has performed at Joyce Theater Soho, Merce Cunningham Studio,              at Recyclart Centre (Bruxelles, Belgium), the 92nd St. Y, Judson Hall,              and Galapagos Art Space.
RADICAL LOW is exploring the intersection              of dance and technology by using custom software created by the artists.              New avenues are opened for the relationship between dance and sound              and image. Some techniques the artists have used are: video capture,              real-time video processing, image analysis, sensors, and networked              audio-video control systems
Click here to view the embedded video.


Kurt            Ralske is a Manhattan-based video artist and composer. His work            is exclusively created with his own custom software, written in C, Java,            and Max/MSP, and involves the expressive improvisation of both sound            and image, simultaneously and in real-time. Kurt has performed at museums,            galleries, and theaters throughout Europe, Canada, and the US, including            the Los Angeles Museum of Contemporary Art and the Montreal Museum of            Contemporary Art. The New York Times has praised his “compelling,            ingenious alliance of sound and motion” and his “technological            wizardry”.
In February 2003, Kurt received received the Image              Award at Transmediale International Media Art Festival in Berlin,              for for his work on the DVD “Live in Bruxelles” by real-time              video improvisation ensemble 242.pilots.
Kurt works mainly as a performer: as a soloist,              with other video artists, with live dancers, or with live musicians.              He has created interactive video installations, software art, and              video-derived still images. He is the author of Auvi, a commercially              released software environment for creating custom real-time video              programs. (http://auv-i.de)
Chantal Yzermans [dancer/choreographer] was            born in Ostend, Belgium, currently residing in NY. Chantal worked in            Europe as a freelance choreographer in collaboration with Belgian composer            Starfish Pool. Together they toured throughout Europe and Canada with            “Ritual for the Dying.” Yzermans was invited to work for the            Belgian National Television, German National Television and Festival            van Vlaanderen for which she choreographed a contemporary opera “Turm            aus Zimst” by German composer Hans Rotman and Belgian film director            Jaak Servaes. As a choreographer in residence, she worked at the Keizer            Karel Hogeschool in Antwerp, Belgium, where she created “11 Windmills            and One Dandelion,” presented at venues throughout France, the            Netherlands, Germany and Spain. She received an award “The Vondelpreis            (reisestipendium)” from the arts granting organization Alfred Toepfer            Stifftung (Hamburg, Germany) for Choreography in 1998. In NYC, her work            has been performed at venues such as Judson Church, presented by Movement            Research; 92nd Street Y; the Merce Cunningham Studio; and Joyce Theatre            Soho.


Radical Low: “RL.1″
irp — Sat, 13 Dec 2003 22:58:14 +0000
 Kurt Ralske and Chantal Yzermans

December 16, 2003 8 PM

Admission: $10, members free

“. . . the power of this solo lay in its            unarticulated yet strong emotions, conveyed through impressive physical            and emotional control.”

-Jennifer Dunning, in review of “R-1″ for New York Times              (April 3, 2001)
“RL.1″ is a work for solo dancer, video, and music. Dancer/choreographer            Chantal Yzermans creates expressive, abstracted forms and motions with            the restrained power and expanded time-sense of butoh. In “RL.1″,            she performs blindfolded. Video artist Kurt Ralske uses a camera to            capture images of the dancer in real-time. The images are processed            and layered in real-time, creating a dialogue of shapes and forms with            the dance. Dance and image drift in and out of abstraction, simultaneously            or in contrast. The video functions variously as a set design, as a            commentary on the dance, and as counterpoint to the dance. At times,            multiples of images of the dance act as a “real-time Greek chorus”            to the solo dancer, providing a record of what has occurred, expanding            on what is occurring, and hinting at what is to come. At other times,            the dancer’s motions have the quality of a ritual, with the video’s            abstractions serving to make the invisible aspects of the ritual visible.            “RL.1″ utilizes two very different techniques of communication            via the presentation of image (dance and video), while achieving a harmony            and simultaneity of expression. “RL.1″ premiered at Joyce            Theater Soho in May 2001.
RADICAL LOW is a dance and multimedia ensemble              formed in Spring 2001 by Kurt Ralske and Chantal Yzermans. Radical              Low has performed at Joyce Theater Soho, Merce Cunningham Studio,              at Recyclart Centre (Bruxelles, Belgium), the 92nd St. Y, Judson Hall,              and Galapagos Art Space.
RADICAL LOW is exploring the intersection              of dance and technology by using custom software created by the artists.              New avenues are opened for the relationship between dance and sound              and image. Some techniques the artists have used are: video capture,              real-time video processing, image analysis, sensors, and networked              audio-video control systems
Click here to view the embedded video.


Kurt            Ralske is a Manhattan-based video artist and composer. His work            is exclusively created with his own custom software, written in C, Java,            and Max/MSP, and involves the expressive improvisation of both sound            and image, simultaneously and in real-time. Kurt has performed at museums,            galleries, and theaters throughout Europe, Canada, and the US, including            the Los Angeles Museum of Contemporary Art and the Montreal Museum of            Contemporary Art. The New York Times has praised his “compelling,            ingenious alliance of sound and motion” and his “technological            wizardry”.
In February 2003, Kurt received received the Image              Award at Transmediale International Media Art Festival in Berlin,              for for his work on the DVD “Live in Bruxelles” by real-time              video improvisation ensemble 242.pilots.
Kurt works mainly as a performer: as a soloist,              with other video artists, with live dancers, or with live musicians.              He has created interactive video installations, software art, and              video-derived still images. He is the author of Auvi, a commercially              released software environment for creating custom real-time video              programs. (http://auv-i.de)
Chantal Yzermans [dancer/choreographer] was            born in Ostend, Belgium, currently residing in NY. Chantal worked in            Europe as a freelance choreographer in collaboration with Belgian composer            Starfish Pool. Together they toured throughout Europe and Canada with            “Ritual for the Dying.” Yzermans was invited to work for the            Belgian National Television, German National Television and Festival            van Vlaanderen for which she choreographed a contemporary opera “Turm            aus Zimst” by German composer Hans Rotman and Belgian film director            Jaak Servaes. As a choreographer in residence, she worked at the Keizer            Karel Hogeschool in Antwerp, Belgium, where she created “11 Windmills            and One Dandelion,” presented at venues throughout France, the            Netherlands, Germany and Spain. She received an award “The Vondelpreis            (reisestipendium)” from the arts granting organization Alfred Toepfer            Stifftung (Hamburg, Germany) for Choreography in 1998. In NYC, her work            has been performed at venues such as Judson Church, presented by Movement            Research; 92nd Street Y; the Merce Cunningham Studio; and Joyce Theatre            Soho.


BENOIT MAUBREY and AUDIO BALLERINAS
irp — Fri, 24 Jan 2003 21:29:34 +0000




Friday, January 24 2003 8 PM

Tickets: $15, Members Free
Choreographed by Katja Rotzoll

Arranged by Irina Kornejewa

Technical Assistance by Thomas Berndt
Note: Space is limited and the performance will begin promptly at 8            PM at Location One’s gallery at 26 Greene Street. Audience members are            advised to arrive early to assure admission. Doors will open at 7:30            PM for ticket purchase or for member sign-in.
The Audio Ballerinas will perform two pieces; PEEPERS (8 minutes):            Audio Ballerinas with photo-resistor sensors and group choreography            with spotlights on tripods, and YAMAHA LADIES (15 minutes): Audio            Ballerinas with exposed Yamaha keyboards and mercury sensors. Their            movements trigger the various sounds and melodies of the dismembered            keyboard. These pieces have been choreographed by Katja Rotzoll and            arranged by Irina Kornejewa. There will also be a special solo performance,            AUDIO HAT, choreographed and performed by Irina Kornejewa. Kornejewa            has worked with a group of New York dancers to create these performances,            which have been facilitated with the technical assistance of Thomas            Berndt and Location One.




	
	
		
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Benoît Maubrey and his Berlin-based Audio Gruppe            build electro-acoustic clothing and suits. These are clothes equipped            with loudspeakers, amplifiers, and 257 K samplers that enable them to            react directly with their environment by recording live sounds, voices,            or instruments in their proximity, and amplifying them as a mobile and            multi-acoustic performance. They also wear radio receivers, contact            microphones, light sensors and electronic looping devices in order to            produce, mix, and multiply their own sounds and compose these as an            environmental concert. The performers use rechargeable batteries and/or            solar cells, which ensures them complete mobility both indoors and outdoors.
Thanks to the vision and generosity of the Rockefeller Family Foundation,            Location One has conducted over the past year a continuing investigation            into the possibilities of collaborative Internet-based interactivity,            combining real-time drama or physical movement with electronic audio            and visual production. This performance is the latest experiment in            this investigation.
Click here to view the embedded video.


Bitter Bierce
admin — Tue, 20 Aug 2002 05:01:06 +0000
August 20-24, 2002
An electronic presentation of a new work-in-progress

written and directed by Mac Wellman
With Stephen Mellor as Ambrose Bierce

Online artists: Isabelle Jenniches (in Amsterdam), Franois Bucher (Colombia), Heather Wagner (New Jersey)
Tuesday August 20st at 8pm

Wednesday August 21st at 8pm

Thursday August 22nd at 8pm*

Friday August 23rd 8pm*

Saturday August 24th 8pm*

* Performance by live actor
Free Admission
August 21st-24th (12-6pm), Location One will continuously show an electronic            presentation of Bitter Bierce that incorporates the prior night’s performance.
Two-time Obie Award-winning playwright Mac Wellman will present, in collaboration            with a team of Location One artists, a new work-in-progress entitled            “Bitter Bierce,” based on the life and works of satirist, critic, journalist,            novelist and short-story writer Ambrose Bierce.
In this unique collaboration between Mac Wellman and an international            group of Location One artists each performance will combine live and            electronic elements; a live actor will perform at three of the five            scheduled events; artists connected to a network both locally and remotely            will respond to the performer and the script using collaborative software            to manipulate in realtime video images and audio elements. These large-scale            images will then be projected onto the gallery walls and online at www.location1.org.
Location One is most grateful to the New York State Council on the            Arts and the City of New York Department of Cultural Affairs for their            generous support of this project.


Daemons and Psychopomps
admin — Thu, 13 Jun 2002 05:01:49 +0000
June 13, 2002
Video Manipulation by Isabelle Jenniches (in Amsterdam), Eric Redlinger and Heather Wagner

Masks and Puppets created by Shannon Harvey

Performers: John Capalbo, Jeff Grow, Jocelyn Ruggiero

Daemons & Psychopomps is a live Performance/Video/Music event inspired            by the myth of Persephone. In the Location One gallery space, Ned Rothenberg            and Ikue Mori will play live improvised music, while four large projections            on the walls of the gallery will show the work created by video artists            in NYC and Amsterdam, connected over the internet via collaborative            software. The video artists will manipulate the images of actors in            masks, performing in the project room of the gallery, and images captured            prior to the live event. Additionally, the musicians will affect certain            aspects of the images through the music they play. This entire event            will be streamed live on the Location One website.
Please join us in the gallery or online at www.location1.org for this unique and exciting event.
The Myth of Persephone

According to myth, Persephone, maiden goddess and daughter of earth            goddess Demeter, is captured by Hades and forced to live in the Underworld            with him as his consort and queen. Demeter, enraged and grief-stricken            over the abduction of her daughter, allows everything on earth to die.            To help gain Persephone’s release, she appeals to several of the male            gods; they comply and Hades is forced to release Persephone. However,            while living in the Underworld, Persephone has eaten seeds of the pomegranate            (food of the dead), and she is forced by cosmic law to return to the            Hades for a portion of each year, thus creating vegetative cycles and            seasons.
In this re-imagining of the myth, Persephone may or may not be a willing participant            in her own abduction. The night before she must return to Demeter, Hades            throws a festive farewell party in his queen’s honor and the partygoers            feast on pomegranate seeds which may or may not be hallucinogenic. A            hedonistic Bacchanalian fest ensues as revelers celebrate Persephone’s            last night. Hangovers abound as Demeter comes to claim her daughter.
The puppets and masked used for this performance were originally created for the Messenger Theatre Company production of PERSEPHONE written and directed by Emily Davis at RedLAB in Spring 2002, produced by Agathe David Weill. PERSEPHONE will be performed at the NYC Fringe Festival (August 9-25 http://www.fringenyc.org ). For more info email messengertheatreco@yahoo.com.


In Hot Pursuit Series: Philoctetes
admin — Thu, 07 Mar 2002 05:01:52 +0000
March 7-9 Philoctetes Or A Treatise on Three Ethics

IN HOT PURSUIT at Location One

New Theatre. Innovative Directors.

Curated by Jocelyn Ruggiero
Philoctetes

Or A Treatise on Three Ethics

by André Gide,

directed by Sonja Moser

March 7th, 8th, 9th 8:00 PM

Tickets: $10, Members free
During their voyage to Troy, the Greeks               abandoned one of their own men. His name was Philoctetes. He suffered               from a foot wound that bled, oozed, emitted a foul stench and caused               him to wail in pain – wails that filled his fellow Greeks with an               unbearable pity, a pity that they feared would dampen their courage               for the ensuing battle. Consequently, he was dropped on a deserted               island, with only a bow and arrows with which to survive. Ten years               of bloody war followed.
Now, hoping to discover the key to victory, the               Greeks consult the priest Calchus, who tells them they must return               to the island where they left Philoctetes and retrieve his bow and               arrows. This weapon will win the war for Greece. Ulysses, the slyest               of the Greeks, is dispatched for the mission, and with him he brings               Neoptolemus, the son of Achilles, whose youth and innocence he hopes               will act as a foil for his scheme.
On               Philoctetes’ frozen island of hostile solitude the three engage in               an entirely different battle: What is virtue? Ulysses, Neoptolemus               and Philoctetes set patriotism against humanism against individualism,               as each one strains to act in accordance with his own sense of truth.               In this rarely performed work, originally titled THE FOUL WOUND, Andre               Gide’s indictment of society and defense of the solitary artist figure               is both heartbreaking and breathtaking.
SONJA MOSER (Director)

Sonja Moser’s Off-Broadway credits include the New York premier of               Maria Irene Fornes’ ENTER THE NIGHT at the Signature Theatre. Off-off               Broadway she has directed at P.S. 122, HERE, The Duplex, Dixon Place               & Expanded Arts, and has made work regionally for the University of               Iowa, the Iowa Playwrights Festival and HBO Workspace. She is a graduate               of the Woodruff-Bogart directing program at Columbia University, where               she first discovered Gide’s Philoctetes.
SARAH BELLOWS (Neoptolemus)

last worked with Sonja on DADDY’S LITTLE GIRL (The Duplex, HBO/WB               Workspace). She recently completed a training program at The Actors               Center where she played Irina in THE THREE SISTERS and Boomer in a               clown show. Favorite roles include Claire in THE MAIDS and Rebecca               Runkle in DOPPLEGANG-BANG by David Adjmi.
JOCELYN RUGGIERO (Ulysses)

last worked with Sonja Moser playing Marlene in a production of THE               BITTER TEARS OF PETRA VON KANT. Other acting credits include SONNETS               FOR AN OLD CENTURY, directed by KJ Sanchez at Location One in January;               FEFU AND HER FRIENDS at Santa Fe Stages, directed by Maria Irene Fornés;               THE MAN WHO SHOT HIS WASHING MACHINE, directed by Tom O’Horgan at               TNC; SPRINGTIME at The Image Theatre and LOVE AND UNDERSTANDING at               Long Wharf Theatre, directed by Mike Bradwell. Jocelyn is currently               rehearsing PERSEPHONE, written and directed by Emily Davis, a play               that will use masks and puppets by Shannon Harvey. She is a graduate               of Sarah Lawrence College.
LISA               SHAHEEN (Philoctetes)

Recent               New York credits: Gardenias in Winter (Lambs Theatre), Furious (John               Houseman Theatre), Tuna and Jack (American Globe Theatre) Why We Have               a Body (John Houseman Theatre) Hey Hey Bernadette- staged reading               (John Houseman Theatre).
For               information on Andre Gide, see www.andregide.org


In Hot Persuit Series: Frequency Hopping
heather — Thu, 06 Dec 2001 21:55:12 +0000


IN HOT PURSUIT at Location One

New Theatre. Innovative Directors.

Curated by Jocelyn Ruggiero
December 6: Frequency Hopping

January 24 + 25 Sonnets for an Old Century

March 7-9 Philoctetes
FREQUENCY HOPPING

a work-in-progress written & directed by Elyse Singer

with Isabel Keating

Music/Radio Consultant: Joshua Fried

Costume Designer: Angela Kahler

Dramaturg: Erika Rundle
“Films have a certain place in a certain time period. Technology is forever.” –Hedy Lamarr
In 1940, Hedy Lamarr, the “most beautiful woman in the world” and composer George Antheil, the “bad boy of music” met at a Hollywood dinner party. Two years later, they received a patent for an invention now recognized as the model for wireless communication. Based on the true story of the film icon and the avant-garde composer’s extraordinary collaboration and friendship, Frequency Hopping is a darkly comic play about connecting with another person operating at the same frequency.
ELYSE SINGER (Writer/director)

Elyse Singer’s work includes Love in the Void (alt.fan.c-love), Private Property (Edinburgh Festival), Care-less: Eva Tanguay (Dixon Place) and Frequency Hopping, which was commissioned by the EST/Sloan Project and featured in the Drama League’s 2001 New Directors/New Works Program. She directed the Hourglass Group’s Off-Broadway production of the first NYC revival of Mae West’s play SEX and Deborah Swisher’s Hundreds of Sisters & One BIG Brother at the Clurman, following runs at HERE, HBO Workspace in LA, and Brava in San Francisco. In New York, she has worked extensively downtown, directing and producing the premieres of new plays by writers such as Ruth Margraff, Neena Beber, Naomi Iizuka, Catherine Zimdahl and Aaron Mack Schloff. A Yale graduate, Elyse is a Usual Suspect and Convener at New York Theatre Workshop, an alumna of Lincoln Center Theater Directors Lab and Artistic Director of the Hourglass Group. She will direct the premiere of Ruth Margraff’s newest play, Red Frogs, at P.S. 122 in February 2002.
ISABEL KEATING (Hedy Lamarr)

Isabel Keating most recently appeared in Donald Margulies’s Dinner with Friends at the Old Globe Theatre, directed by Leonard Foglia. She is the recipient of the 2000 Helen Hayes Award for Best Actress for her work in Tom Stoppard’s Indian Ink (dir. Joy Zinoman) at the Studio Theatre. [In the recent workshop of Judy's Scary Little Christmas at the ArcLight Theatre, also directed by Mr. Foglia, she played Judy Garland.] Off-Broadway: Atlantic Theatre Co.; New York Shakespeare Festivval (New Works Now); Watermark Theatre, etc. Regional: Hartford Stage; McCarter Theatre; O’Neill Theatre Center (National Playwrights Conference company member); Actors Theatre of Louisville (Humana Festival); Denver Center Theatre, etc. Films: Magnetism; Sunnyside.
JOSHUA FRIED (Sound/Radio Consultant)

Joshua Fried emerged from New York’s downtown experimental music and East Village performance scenes of the ’80s. The recipient of numerous fellowships and awards, Fried’s work has been presented at Lincoln Center, Bang On a Can, The Kitchen, etc. in NYC as well as in LA, Chicago, Berlin, Paris, Tokyo, Amsterdam, Warsaw, Prague, Copenhagen and elsewhere. His collaboration with choreographer Douglas Dunn, Spell for Opening the Mouth of N (featuring eight singer-actors wearing wireless radio headphones, and a dance company of ten), premiered in a sold-out run at The Kitchen, New York, and was one of the highlights of the 1997 Lincoln Center Out-of-Doors Festival. Fried’s recording “Jimmy Because” (with guest guitarist Fred Frith) was released by Atlantic Records; he has been re-mix producer for They Might Be Giants, Chaka Khan and Ofra Haza.
ANGELA KAHLER (Costume Designer)

Angela Kahler has worked with Elyse previously on Hourglass’s workshop of The Triple Happiness by Brooke Berman, and the American Living Room productions of The Table Dance by Mark Russell and Family Running for Mr. Whippy by Catherine Zimdahl. When not working downtown, Angie sells her soul to commercial venues such as Broadway, Opera and Film. Recent projects include: The Lion King, Annie Get Your Gun, 42nd Street and, currently, Mamma Mia.
ERIKA RUNDLE (Dramaturg)

Erika Rundle was most recently seen this summer as Ellida in Waxfactory’s Lady from the Sea at BAX. She also starred in So to Speak, which appeared at the New York Experimental Video Festival at Lincoln Center. Currently she is the dramaturg for Heiner Müller’s Quartet at Waxfactory, and a dramatic adaptation of Studs Terkel’s American Dreams: Lost and Found at The Acting Company. She co-directed multi-media productions of Lorca’s The Love of Don Perlimplin and Belisa in the Garden at the Yale Cabaret and Megan Terry’s Approaching Simone at Brown’s Production Workshop. She teaches in the theater, film, and comparative literature departments at Yale College and is the Associate Editor of Theater magazine.
HOURGLASS GROUP develops and produces provocative plays by writers who experiment with heightened dramatic language and innovative theatrical forms. Founded in 1998 by Elyse Singer, Carolyn Baeumler and Nina Hellman, the company is especially interested in presenting new work that put women’s words and imagination center-stage. In 1999, Hourglass produced the first NYC revival of Mae West’s 1926 play SEX off-Broadway at the Gershwin Hotel and the company’s production of Deborah Swisher’s Hundreds of Sisters & One BIG Brother moved Off-Broadway following a run at San Francisco’s Brava Theater. Committed to new play development, Hourglass hosts an annual summer retreat at Choate Rosemary Hall in Wallingford, Connecticut, where theatre artists work on new scripts as well as teach performance workshops to high school students in the Summer Arts Conservatory. Other programs include a reading series of adventurous new plays at the Gershwin Hotel. Hourglass will produce Ruth Margraff’s new play Red Frogs at PS122 in February 2002.



Frequency Hopping was originally commissioned and developed by the EST/Sloan Project. The play received funding and developmental support in 2001 from the Drama League Directors Project’s New Directors/New Works program.


American Heavy
heather — Fri, 10 Aug 2001 20:47:06 +0000
American Heavy

A new radio play by Gregory Whitehead

Streamed live on the BBC Radio 4 Friday, August 10, 2001 4 PM EST
Shock jock Jack French wakes up to find himself sinking into a murky bog, unable to move. The last thing he can remember is a one-night stand the night before. A dark comedy developed with an ensemble of actors from Massachusetts-based theatre company Shakespeare and Company. With Jonathan Epstein, Allyn Burrows, Elizabeth Ingram and Lucia Brawley. Directed by the author.

You’ll need Real Player to listen to the live webcast.

listen


Bloomsday reading of Ulysses
admin — Sat, 16 Jun 2001 05:01:02 +0000
reading of the text of James Joyce’s Ulysses by the infamous deep-voiced Macintosh voice : RALPH


Locution Interview: The Living Theatre
heather — Mon, 26 Feb 2001 19:03:06 +0000
Judith Malina and Hanon Reznikov of the internationally-renowned company, The Living Theatre, speak to Locution curator Bonnie Marranca, the editor of PAJ: A Journal of Performance and Art and Director of Special Performance Projects for Location One. The theatre is known for its many productions, which include: The Connection, Paradise Now, Mysteries and Smaller Pieces, Frankenstein, Seven Meditations on Sado-Masochism, and The Money Tower.
To mark the beginning of its fiftieth year of continuous production, the Living presented the English-language premiere of its latest work, Resistance. It is directed by Malina and written by Reznikov. Resistance: News from the Val Borbera is the first work that has been created at the theatre company’s European-based home, the Centro Living Europa in Rocchetta Ligure, Italy.
Resistance

from February 28 – March 11

at Chashama

111 W. 42nd St., New York City.
For more on this legendary theatre, see: www.livingtheatre.org
Click here to view the embedded video.


Locution Interview: Rachel Rosenthal
heather — Fri, 05 Jan 2001 18:57:59 +0000
RACHEL ROSENTHAL

Rachel Rosenthal, one of America’s pioneering performance artists, has been making work for five decades. She fled her home in Paris during World War II, eventually settling in New York and then California where she organized her own Instant Theatre, a precursor to Happenings. Rosenthal became a founder of Womanspace in Los Angeles in 1973, and shortly afterwards started performing. Among her many pieces, solo and collaborative, are: “Traps,” “My Brazil,” “KabbaLAmobile,” “L.O.W. in Gaia,” “Rachel’s Brain,” “Pangaean Dreams,” and “Zone.” Rosenthal, based in LA, has been teaching for many years and continues her workshops at Espace DBD (Doing by Doing); she will be at Rhinebeck’s Omega Institute in the summer. Rosenthal is the subject of the recent book, “Rachel Rosenthal,” edited by Moira Roth. In January 2001, she received the prestigious award (previous winners; Baryshnikov, Graham, Cunningham) given by the Association of Performing Arts Presenters. For more information on the artist, see: www.rachelrosenthal.org 

Click here to view the embedded video.



Verses Dinosaur Club
heather — Wed, 29 Nov 2000 18:10:28 +0000
November 29-December 3 2000

STANLEY LOVE PERFORMANCE GROUP


Founded in 1992 by Stanley Love, graduate of the Julliard school, the group

had its debut in a self-produced concert at The Cunningham Studio in 1993.

Since then they have performed at venues such as The Kitchen, Vineyard

Theatre, PS 122, Dixon Place, Gowanus Arts Exchange, Paula Cooper Gallery, Ohio Theatre and The Tunnel and Lime Light clubs, to mention a few. The Millenium Season is a continuation of last season’s collaboration with

Location One.

Stanley Love Performance Group is all about rhythm and emotion. Emotion

varies from happy to sad, funky to harsh and sometimes is both at the same time. Late 20th century’s pop music gives the rhythm. Movement comes from both social and modern dance idioms. The universal combines with the individual- different bodies doing the same thing. Diversity of culture and body types is a signature. One statement in different shapes. One look will tell you all, but wait ’til they start to move… “We dance to represent and display the importance of options, music is the inspiration”.



Three New Works
heather — Sat, 06 May 2000 18:49:12 +0000


May 6, 2000

Founded in 1992 by Stanley Love, graduate of the Julliard school, the group

had its debut in a self-produced concert at The Cunningham Studio in 1993.

Since then they have performed at venues such as The Kitchen, Vineyard

Theatre, PS 122, Dixon Place, Gowanus Arts Exchange, Paula Cooper Gallery, Ohio Theatre and The Tunnel and Lime Light clubs, to mention a few. The Millenium Season is a continuation of last season’s collaboration with

Location One.
Stanley Love Performance Group is all about rhythm and emotion. Emotion

varies from happy to sad, funky to harsh and sometimes is both at the same time. Late 20th century’s pop music gives the rhythm. Movement comes from both social and modern dance idioms. The universal combines with the individual

- different bodies doing the same thing. Diversity of culture and body types is a signature. One statement in different shapes. One look will tell you all, but wait

’til they start to move… “We dance to represent and display the importance of options, music is the inspiration”.


Locution Interview: Mac Wellman
heather — Mon, 06 Mar 2000 18:41:49 +0000
MAC WELLMAN

Mac Wellman is one of the best-known “downtown” dramatists. Among his many plays are Terminal Hip, Crowbar, 7 Blowjobs, Sincerity Forever, Cleveland, Murder of Crows, Hyacinth Macaw, which have been staged in several theatres and universities throughout the country. Cat’s Paw was produced by the Soho Rep in December and Jennie Richee at MCA in Chicago in February 2001.

Wellman’s plays are collected in The Bad Infinity and the forthcoming Cellophane. He also edited the drama anthologies Theatre of Wonders and From the Other Side of the Century: New American Drama, 1960-1995. He is a Guggenheim Fellow and multiple Obie Award winner and has received a Lila-Wallace Reader’s Digest Writer’s Award. Wellman is Professor of Playwriting at Brooklyn College. He is also a novelist and poet.

Click here to view the embedded video.


An Exploration: Yves Musard, Ned Rothenberg
heather — Sat, 12 Feb 2000 17:08:02 +0000
Saturday, Februrary 12, 2000
We are happy to announce the initiation of our performance program by offering a free concert of music and dance on Saturday, February 12th at 8pm. Ned Rothenberg and Yves Musard will collaborate on an exploration of the new exhibition space: Ned, with music and Yves, with dance. We will broadcast the performance over the Internet.
These two original performers have worked together previously at the Cartier Foundation in Paris, the Bolzano Festival in Italy and at Dia Center for the Arts in New York. They have developed a fascinating and complex interaction. The audience will experience a spell cast by Rothenberg’s quasi-polyphonic solo saxophone music in Location One’s beautifully reverberate acoustic space. Musard’s movement functions both to outline and interweave with the physical and sonic environment.
Ned Rothenberg composes and performs on saxophones, clarinets, and shakuhachi. He has been internationally acclaimed for his solo music, presented for the past 18 years in hundreds of concerts throughout North America and South America, Europe and Asia. He currently leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, table and the ensembles Double Band, and Power Lines Close collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Masahiko Sato, Samm Bennett, Elliott Sharp, and Katsuya Yokoyama.
Yves Mustard has been based in New York since 1979. In 1990 he began to create a series of “dance itineraries” in relation to specific views and details of architecture in public spaces. His most recent projects are “Spots and Loops” (1999), a guided visit through the Museum of Contemporary Art (MAMCO) in Geneva, Switzerland and “Between 19th and 14th” (1999), a promenade starting at the Kitchen in Chelsea, produced by the Downtown Arts Festival.


In 19: STANLEY LOVE PERFORMANCE GROUP
heather — Fri, 11 Feb 2000 16:57:47 +0000


February 11, 2000

Founded in 1992 by Stanley Love, graduate of the Julliard school, the group

had its debut in a self-produced concert at The Cunningham Studio in 1993.

Since then they have performed at venues such as The Kitchen, Vineyard

Theatre, PS 122, Dixon Place, Gowanus Arts Exchange, Paula Cooper Gallery, Ohio Theatre and The Tunnel and Lime Light clubs, to mention a few. The Millenium Season is a continuation of last season’s collaboration with

Location One.
Stanley Love Performance Group is all about rhythm and emotion. Emotion

varies from happy to sad, funky to harsh and sometimes is both at the same time. Late 20th century’s pop music gives the rhythm. Movement comes from both social and modern dance idioms. The universal combines with the individual

- different bodies doing the same thing. Diversity of culture and body types is a signature. One statement in different shapes. One look will tell you all, but wait

’til they start to move… “We dance to represent and display the importance of options, music is the inspiration”.

Click here to view the embedded video.

Click here to view the embedded video.


Glassolalia (the glass tongue)
becki — Wed, 29 Dec 1999 23:00:24 +0000
Glassolalia  (the glass tongue)

by Mike Tyler Performed by

CHRISTINE TANGARIE As “The Floater”

Assisted by Laura Bethune and Curtis Carman

Accompanied by CECILIA BRAUER On the Glass Harmonica

(glass tongue) by Mike Tyler


flotation tank for Glassolalia (drawing Mike Tyler 1999)

Visitors enter the space…a light glows inside a clear cylindrical tank in the middle of the  			  room…the tank is filled with liquid and a person is lying on their back, suspended in the solution; floating with a gauze over the eyes…
This is the second performance where Tyler explores disturbing voice dynamics and memory traces.

Other projects by Mike Tyler :: exhibition at Location One :: 13 March – 28 May 2003
Click here to view the embedded video.


sub.Spiro
admin — Wed, 29 Dec 1999 05:01:25 +0000
Performance by Victorine Muller
Click here to view the embedded video.


RECONNAISSANCE I
admin — Wed, 03 Jun 1998 22:13:03 +0000
Tokyo-New York Teleconference Wednesday, June 3, 1998



Location One, in collaboration with Roulette, presents RECONNAISSANCE I, a multimedia extravaganza that will give us a glimpse of the wild frontier where art and technology conspire these days. The Japanese Butoh Dancers, Tomoe Shizune + Hakutobo, will dance simultaneously in New York and in Tokyo to music improvised in New York by the brilliant Elliott Sharp. They will dance separately on two different continents in physical space but they will dance together in cyberspace.9:00 PMButoh Dancers: Tomoe Shizune + Hakutobo;Music by Elliott Sharp10:00 PMSolo Saxophone Performance by Ned Rothenberg;Digital Installation + Virtual Environment by Floating Point Unit  			(FPU);Projections by Janene Higgins + Jae Sil Byun;Screenings of the best video works by Christian Marclay, Neil Goldberg,  			The Poool;Robot Drama by Adrianne Wortzel.In a major Tokyo-New York teleconference projected onto large screens, Floating Point Unit (FPU), digital installation artists, will utilize a combination of video conferecne technlogies to accomplish a networked interwearving of the Butoh dance  			performances occurring simultaneously in New York and Tokyo. Through  			the use of 3D rendering software (VRML), they will create a computer-centric  			visual environment, a “virtual stage set” into which the dancers will be immersed (superimposed) in realtime. They will move through our own physical space at the sme time as they dance in virtual space!

Click here to view the embedded video.

		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)

Location One » performance

Blackbird

Blackbird

Icons & Relics

Location One and Quinndustry present Icons And Relics Monday, February 4, 2013 Two shows: 8pm and 8:30pm

Phosphene Performances

Phosphene Variations by Jason Akira Somma September 12-November 17, 2012 Opening Reception Wednesday Sept 12, 6-9pm Performances, 7pm Opening night and weekly performances through November 15 Performance curator: Luke Miller

Wednesday, Sept 12th Frances Wessel Leslie Krauss Christopher Lancaster

Wednesday, Sept 19th Kira Rae Blazek Burr Johnson

Wednesday, Sept 26th Flexers

Wednesday, Oct 10th Dirty Martini Julie Atlas Muz Monstah Black

Phosphene Variations

Phosphene Variations by Jason Akira Somma

September 12-November 17, 2012 Opening Reception Wednesday Sept 12, 6-9pm Performances, 7pm Opening night and weekly performances through November 15 Performance curator: Luke Miller

LIVE PERFORMANCE SCHEDULE

Requiem

Requiem

Performance by Marta Jovanovic at Location One Wednesday, May 16, at 7PM

The Kiss

The Kiss

Component 5/7 from the performative cycle ACTIVE VOICE Exhibition by Maria José Arjona May 23-June 22, 2012 Opening Reception and Performance: Wednesday, May 23, 6-8pm Additional Performances: May 30th, June 6th and June 13th 6-8PM

Sound design by Shawn Greenlee Videographer: Agata Domanska

Death, Void, and Sometimes My Mother

Death, Void, and Sometimes My Mother Thursday, May 3, 2012 7pm Free and open to the public

Vanishing Acts

Friday, April 13, 2012 8pm Doors at 7:30pm Tickets: $10 Curated by dancer/choreographer Luke Miller Performances by Rebecca Lazier, Jack Ferver, Vanessa Walters, Kyle Abraham Video by Jason Akira Somma

Kyle Abraham

Jack Ferver

Rebecca Lazier

Luke Miller

Jason Akira Somma

Vanessa Walters

Hiraku Suzuki Live Drawing Performance

with Live Music by Raz Mesinai Thursday, December 8, 2011 8pm. FREE and open to the public

The Well-Tempered Exposition

Pablo Helguera The Well-Tempered Exposition Book I, part II Friday, November 18, 7pm Beatriz Helguera, piano And Katherine Ademenko, Lisa Gross, Ryan Hill, Brian Linden, Melanie Lockert, Laura Lona, Richard Saudek and Corey Tasmania

Well-Tempered Exposition Book I, part II

Pablo Helguera The Well-Tempered Exposition Book I, part II Friday, November 18, 7pm Beatriz Helguera, piano And Katherine Ademenko, Lisa Gross, Ryan Hill, Brian Linden, Melanie Lockert, Laura Lona, Richard Saudek and Corey Tasmania

Afghan Hound

Solo Exhibition and Live Performance by Lilibeth Cuenca Rasmussen Curated by Jovana Stokic October 29 – December 23, 2011 Opening Reception: October 29, 6-8pm Live Performance at 7pm

The Well-Tempered Exposition

PABLO HELGUERA TO REINTERPRET BACH’S MASTERPIECE INTO 24 WORKS AND WORKSHOPS OF PERFORMANCE ART

Time Walk

Performance by Zane Saunders Wednesday, June 22, 2011 7 pm

Curated by Jovana Stokić

Lucretia

Performances Tuesday, June 14, 7 & 8pm Thursday, June 16, 8pm

Color Me Clear

XtraCurricular The Perlin Papers

Location One presents

XtraCurricular*, a collaboration between Location One and the Columbia University School of the Arts.

Giving My Back to the Night…

GIVING MY BACK TO THE NIGHT I HEARD YOU LYING TO A GIANT

Abramovic Studio Benefit Images and Video

Benefit in Support of Abramović Studio Performance Program at Location One

Vires: a New Performance by Maria José Arjona

the Abramović Studio for Performance Art

presents VIRES new work by Maria José Arjona October 14, 2010, 5-9 pm Curated by Jovana Stokić

Abramovic Studio: Anna Berndtson

Abramovic Studio: Snezana Golubovic

Hannes Mahlte Mahler: Drawing Centrifuge

A Special performance by Hannes Mahlte MahlerMay 22 Saturday, 4 – 8 pm

curated by Jovana Stokic

Zeichenzentrifuge | Drawing Centrifuge

Abramovic Studio: Elana Katz

Abramovic Studio: Shoba

Abramovic Studio: Paula Orell

Abramovic Studio:

Lilibeth Cuenca Rasmussen The Present Doesn’t Exist in My Mind And The Future’s Already Far Behind

Lilibeth Cuenca Rasmussen The Present Doesn't Exist in My Mind And The Future's Already Far Behind

Abramovic Studio: Maria Jose Anjona

Ragnar Kjartansson Speaks with Jovana Stokic

Performance artist Ragnar Kjartansson with Jovana Stokic Wednesday, February 24, 2010, 7 pm

Abramovic Studio: Ragnar Kjartansson

Abramovic Studio: Lucy Skaer

Jovana Stokic talks with Lucy Skaer

Abramovic Studio: Abramovic Institute

Jovana Stokic discusses the Abramovic Institute in San Fransisco.

Abramovic Studio: Nico Vascellari

Jovana Stokic talks with Nico Vascellari

Location One and Quinndustry present
Icons And Relics
Monday, February 4, 2013
Two shows: 8pm and 8:30pm

Phosphene Variations
by Jason Akira Somma
September 12-November 17, 2012
Opening Reception Wednesday Sept 12, 6-9pm
Performances, 7pm
Opening night and weekly performances through November 15
Performance curator: Luke Miller

Wednesday, Sept 12th
Frances Wessel
Leslie Krauss
Christopher Lancaster

Wednesday, Sept 19th
Kira Rae Blazek
Burr Johnson

Wednesday, Sept 26th
Flexers

Wednesday, Oct 10th
Dirty Martini
Julie Atlas Muz
Monstah Black

Phosphene Variations
by Jason Akira Somma

September 12-November 17, 2012
Opening Reception Wednesday Sept 12, 6-9pm
Performances, 7pm
Opening night and weekly performances through November 15
Performance curator: Luke Miller

Performance by Marta Jovanovic at Location One
Wednesday, May 16, at 7PM

Component 5/7 from the performative cycle ACTIVE VOICE
Exhibition by Maria José Arjona
May 23-June 22, 2012
Opening Reception and Performance: Wednesday, May 23, 6-8pm
Additional Performances: May 30th, June 6th and June 13th
6-8PM

Sound design by Shawn Greenlee
Videographer: Agata Domanska

Death, Void, and Sometimes My Mother
Thursday, May 3, 2012
7pm

Free and open to the public

Friday, April 13, 2012
8pm Doors at 7:30pm
Tickets: $10
Curated by dancer/choreographer Luke Miller
Performances by Rebecca Lazier, Jack Ferver, Vanessa Walters, Kyle Abraham
Video by Jason Akira Somma

with Live Music by Raz Mesinai
Thursday, December 8, 2011
8pm. FREE and open to the public

Pablo Helguera
The Well-Tempered Exposition
Book I, part II
Friday, November 18, 7pm

Beatriz Helguera, piano
And Katherine Ademenko, Lisa Gross, Ryan Hill, Brian
Linden, Melanie Lockert, Laura Lona, Richard Saudek
and Corey Tasmania

Pablo Helguera
The Well-Tempered Exposition
Book I, part II
Friday, November 18, 7pm

Beatriz Helguera, piano
And Katherine Ademenko, Lisa Gross, Ryan Hill, Brian
Linden, Melanie Lockert, Laura Lona, Richard Saudek
and Corey Tasmania

Solo Exhibition and Live Performance by Lilibeth Cuenca Rasmussen
Curated by Jovana Stokic
October 29 – December 23, 2011
Opening Reception: October 29, 6-8pm
Live Performance at 7pm

Performance by Zane Saunders
Wednesday, June 22, 2011
7 pm

Performances
Tuesday, June 14, 7 & 8pm
Thursday, June 16, 8pm

GIVING MY BACK
TO THE NIGHT
I HEARD YOU LYING TO A GIANT

presents VIRES
new work by Maria José Arjona
October 14, 2010, 5-9 pm
Curated by Jovana Stokić

Performance artist Ragnar Kjartansson with Jovana Stokic
Wednesday, February 24, 2010, 7 pm

A Series of Performance Reactions to Nayland Blake’s “BEHAVIOR”
Wednesday, December 17, 2008 8PM Free Admission

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

June 19–July 26, 2008
w/ performance June 24th 7pm

Alexei Shulgin In his New York debut
386 DX WIMP

Alexei Shulgin In his New York debut
386 DX WIMP