Location One presents the New York premiere of a young star on the contemporary British art scene

Shawcross, Location One’s first International Fellow, has produced an ambitious new work titled Slow Arc III, which demonstrates the artist’s continued interest in mathematics, cosmology and epistemology. The installation will remain on view from 20 May – 31 July 2009, and will re-open for two weeks in September with special public programming.

OPENING RECEPTION:
Wednesday, May 20, 2009, 6–8 PM
(open to the public)
DATES: May 21 – July 31, 2009
HOURS: Tuesday-Saturday 12–6 PM

Shawcross is known for his multi-media, kinetic sculptures and mysterious structures that are imbued with an appearance of scientific rationality yet beneath the surface are also haunted by the search for the unobtainable and inexpressible. In this new work the artist continues the series of investigations that started with Slow Arc Inside a Cube (2008), which was initially inspired by the late British chemist Dorothy Hodgkin, who said deciphering the structure of pig insulin ‘was like trying to work out the structure of a tree from seeing only its shadow’.” In this new work, however, instead of the path of light being traced by an articulated arm locked into a fixed cycle, the light can move anywhere, by means of a computer-controlled system, within the confines of the mesh cage and thus create and endless series of unpredictable spatial ‘throws’ into the room around it.

The drawings included in the exhibition continue the artist series titled Dumbbells. For this series produced during his time at Location One the artist has chosen to investigate one particular chord, the Major Sixth (5:3). Created by a gravity-driven machine that like Slow Arc operates within a narrow band of parameters, the drawings are visual extrapolations of this particular harmonic. The artist sees the ‘throws’ of light from Slow Arc III as very much linked to these drawings in which the illusion of three-dimensionality is created through line. Both mechanisms divorce the artist’s hand from the process of art-making and instead put in place a series of variables, sometimes predictable, sometimes arbitrary, from which the visual results manifest.

Other works in the show include Lattice Cube IV and Lattice Cube II, both dated 2008, which continue the artist’s interests in the geometry of the tetrahedron and notions of the Big Bang. Lastly the newest work in the show titled The Celestial Meters consists of a series of nine, stainless steel rods arranged around the space. Inspired by the history of the meter, which was conceived of in 1799 during the French Revolution as an attempt to get away from the Imperial system of the foot. In order to do this a new scale or control was needed. It was decided that the size of the earth would be the best thing to use for this absolute. As a consequence the meter is supposedly one ten millionth of the sector of the earth through Paris. Each of the nine rod’s lengths are based on this division of their own sector, so as a result Pluto is only 7 inches long whereas Jupiter is around 35 feet.

Another thread that formally links the works in Shawcross’s exhibition is a preoccupation with cosmology and radiant geometry, where everything emanates from a single point, expanding out from a central nucleus.

Born in 1977, Shawcross lives and works in London. He has had solo exhibitions at Jenaer Kunstverein, Germany (2008), The New Art Gallery, Walsall, and The Walker Art Gallery, Liverpool (2005), and the National Maritime Museum (2004). His work has also been exhibited internationally at institutions including Musée d’art Contemporain, Lyon (2008), Art Basel | 39 (2008), La Chapelle de L’Ecole National Supérieure des Beaux-Arts de Paris (2008), The Saatchi Gallery (2004) and Manifesta 5, San Sebastian, Spain (2004). He is represented by the Victoria Miro Gallery in London and will have a New York solo gallery exhibition with Pace Wildenstein in the Spring of 2010.

###

Media Contact

For further information on this exhibition or Location One, or for images or interviews, please contact Cody Montgomery at 212-334-3347 or via email at cody@location1.org

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

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

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

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

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

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

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

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

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

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

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

http://www.aksioma.org/name

Location One is pleased to present the first of its summer 2009 International Residency Program Exhibitions, featuring the work of two outstanding emerging artists, Nicolas Grospierre and Kaeko Mizukoshi.Polish artist Nicolas Grospierre will present a photographic installation consisting of several photographs that depict the interiors of New York City bank vaults, as well as a small sculptural component. Grospierre’s project, brewing conceptually since 2007, yet not realized until this 2009 residency, is particularly prescient in today’s economic crisis and daily bank bailouts.In her video, “Hymn” (2009), Japanese artist Kaeko Mizukoshi, documents a nighttime scene at a Los Angeles bus stop that depicts a seemingly endless dialogue between a man, who rants indecipherably, and an awaiting passenger who responds with unrelated religious exclamations.

Nicolas Grospierre’s residency is presented in association with the Polish Cultural Institute in New York within its Poland-U.S. Artists-In-Residence Exchange Program, organized by a-i-r laboratory at the Centre for Contemporary Art “Ujazdowski Castle” in Warsaw, Poland and Location One in New York, with generous support of the Trust for Mutual Understanding”

Location One 10th Anniversary Exhibition
Laurie Anderson
From the Air: Two Installations

March 10 - May 2, 2009
Opening Reception, Tuesday, March 10, 6-8pm

Location One is pleased to announce the exhibition From the Air: Two Installations, by Laurie Anderson which will be presented in celebration of its 10th Anniversary. Anderson, who was invited to be Location One’s Senior Artist-in-Residence in 2008, will present a new piece and the revival of an older work, both addressing the concept of disembodiment, which has been a common thread throughout her oeuvre. The exhibition will be on view from March 10 through May 2, 2009, with an opening reception on Tuesday, March 10 from 6 to 8 pm.

The title piece, From the Air, uses a series of 3D projections, a technique Anderson has employed since the 1970s, to create a story about the artist and her dog. The second installation, Aleph, projects sound electronically into the gallery space, focusing the sound to make it seemingly emanate from midair. Originally commissioned for the Contemporary Jewish Museum in San Francisco, the text for Aleph is inspired by the unspeakable nature of this Hebrew letter, and the installation examines the unconscious process of putting ideas into words.

Fostered by the experimental art scene of downtown New York in the early 1970s, Laurie Anderson created her earliest performances in Soho, where Location One is based. In addition to continuing her acclaimed performance work, she has gone on to broaden her artistic practice to include music, video, digital art, and sculpture.

Location One will organize its inaugural Benefit Gala in celebration of its 10th Anniversary on Thursday, March 5, 2009. Honoring Laurie Anderson and her contributions to the downtown New York art world and beyond, the gala will feature a preview of the exhibition and a special performance that the artist will reveal.

About Laurie Anderson:
Laurie Anderson is one of America’s most renowned—and daring—creative pioneers. She is best known for her multimedia presentations and innovative use of technology. As writer, director, visual artist and vocalist she has created groundbreaking works that span the worlds of art, theater, and experimental music.

Her recording career, launched by “O Superman” in 1981, includes the soundtrack to her feature film “Home of the Brave” and “Life on a String” (2001). Anderson’s live shows range from simple spoken word to elaborate multi-media stage performances such as “Songs and Stories for Moby Dick” (1999). Anderson has published seven books and her visual work has been presented in major museums around the world.

In 2002, Anderson was appointed the first artist-in-residence of NASA which culminated in her touring solo performance “The End of the Moon”. Recent projects include a series of audio-visual installations and a high definition film, Hidden Inside Mountains, created for World Expo 2005 in Aichi, Japan. In 2007 she received the prestigious Dorothy and Lillian Gish Prize for her outstanding contribution to the arts. She recently completed a two-year worldwide tour of her latest performance piece, “Homeland”, which will be released on Nonesuch Records this year.

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

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

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

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

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

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

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

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

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

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

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

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

 details on the February 7th perfomances coming soon…

Brina Thurston received a BFA in Film and Video Production from NYU, and an MFA in Photographic studies from Bard-ICP. In the past year she completed a residency at the Vermont Studio Center and has exhibited at Rivington Arms, Dean Projects and Gavin Brown @ Passerby. Her video works have also been presented in numerous venues such as the New York Underground Film Festival at Anthology Film Archives, a WWII Bunker in Kiel Germany, a bar in Austin Texas and on the internet.

video stills from “Colon Karaoke” 2008

website: http://www.brinathurston.com

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

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

QUIETLY

Curated by Stephan Stoyanov
Luxe Gallery
53 Stanton Street
New York, NY 10002
212 582-4425
January 7 – February 15, 2009
Opening Reception: January 7, 2009, 7-9 pm

Luxe Gallery is proud to present Quietly, a group exhibition with the following artists:
Phil Argent, Amanda Church, Claire Corey, Geka Heinke, Rita MacDonald, Paul Henry Ramirez, Stefan Saffer

Quietly is a group exhibition presenting seven contemporary international artists whose eclectic practices reflect the dynamic visual perspective of the computer age. From digital painting, hybrid painting, non-painting, and beyond, this exhibition is an experimental exercise in synthesizing the myriad possibilities and challenges that arise from the dissolution of boundaries within the traditional medium of abstract painting. Using vastly layered patterns, morphed imagery, billboard signage, graffiti, and contemporary design these artists offer the opportunity to visually and mentally travel within complex virtual worlds.

For more information, please contact Stephan Stoyanov (stephan@luxegallery.net) or Megan Skidmore (galleryluxe@gmail.com).

Attached Image: Phil Argent, Untitled (Vacant Angle), 2007, 28″ x 42″ Acrylic on Canvas
–

Stephan Stoyanov
Luxe Gallery
53 Stanton Street
New York
NY 10002

t. 212 582 4425
www.luxegallery.net

“A Peacemax Tree” is an interactive tree made of motors and laser-equipped toy guns. When nobody is around, this violent tree lets its guard down and dances to “White Christmas”. But, when you enter its territory, the tree becomes nervous, and all guns point at you!

A Couple of Irons | 2008 | Interactive Device

The marriage of “A Couple of Irons” unionizes a screen and a camera in two irons as a pair of toys that translates playful mediation. They destroy the meaning and subvert the function of a domestic appliance. As a couple of absurd visual devices, they encourage creative interaction. At the same time, they provoke a question. Is it a design object or an art piece?

featuring the lovely and talented:

felix s. huber (d) ego alter ego

matthew fuller (uk) (skype) Digger Barley

rachel rosalen + rafael marchetti (br/ra) Territories Complexity

sybille hauert + daniel reichmuth (ch) TRiCKSTR, TRiCKSTR,

marek goldowski + natalie bewernitz (d) UNVEILED PRESENCE secret sounds

andres bosshard (ch) watt’ flore sonoarium

felix hasler+nenad brcic (ch) Vague Ideas about Life

david forster (ch) L.E.S.S.

susana perrottet (ch/pe) Liminal Vida / Colonia Fuimos / De No Se Donde

raphael perret (ch) paint my bass

sound performances by:

stahl (ch) cellular automata intergemezzo sounds
bit-tuner + norbert möslang (ch) bit-tuner meets norbert möslang

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

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

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


Nayland Blake - Misbehavior I - Carmelita Tropicana


Nayland Blake - Misbehavior I - Rob Fitterman



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

Dominic Vine (still image)

Storytellers is a group exhibition curated by Dana Reifler, Cara Ober, and NY Artist Rudy Shepherd.

Opening Reception: Friday, December 12 from 7-9 p.m.

Exhibiting Artists: Nicole Barrick, Rachel Bone, Jeffrey Kent, Ridley Howard, Josh Weiss, and Saya Woolfalk.

The artists hail from Baltimore, Philadelphia, and New York and utilize a narrative approach to drawing.

Paperwork Gallery is located at 107 E. Preston Street, Baltimore, MD.
www.paperworkgallery.com

Curated by Irina Zucca Alessandrelli

Opening:
Friday the 12th of December from 6 to 9 pm
POINT B Special projects, 71 North 7th St, Brooklyn

The Influence of Fish Tales on the Breaking Waves derives its name from Jules Verne’s novel entitled “The Green Ray” (1882), in which  the author describes  the disenchantment of the world brought about by the advance of science. In order to stress the importance of the creative thought, Verne chooses the artist, as the captor of the heroine’s heart, rather than the cold and methodical geologist, who is also in love with her. In the end, the artist recommends unsolved research themes, such as “the influence of fish tails on the breaking waves” as a sarcastic answer to the explanation of the green ray as mere optical phenomenon. The author’s vision of art emphasizes the emotive component in deciphering life and natural events against scientific arguments.

The Influence of Fish Tales on the Breaking Waves as an exhibition represents a warning against apathy that exists in contemporary art. When a viewer lacks a reaction to an artwork, this is often because of the artist’s inability to fantasize before, during and after the making of the piece, and consequently the work does not speak. The incapability of imagining beyond the rational here and now can lead to mute, deaf, blind artworks and audience.

This group show seeks to stimulate the viewer towards a perception of the resonant aspects of art and its components of wonder. Through a game of associations, the exhibition attempts to underline the artwork’s capacity to reach out, quoting Stephen Greenblatt’s words, “beyond formal boundaries to a larger world, to evoke in the viewer the complex, dynamic cultural forces from which it has emerged”. A faith in wonder as “an arresting sense of uniqueness”, as well as in the object’s ability to communicate and arouse a sense of surprise in the viewer, is the driving engine of this exhibition.

Artists: Arlen Austin, Kuba Bakowski, Per Billgren, Nina Canell & Robin Watkins, Aoife Collins, Mark Dion,  Andrea Galvani, Jamie Isenstein, Ana Prvacki.
As a Master Course in Curatorial Studies final thesis project, this show is proudly sponsored by Columbia University.
This is a travelling project. The next venue will be the Kuntsi Museum of Modern Art in Vaasa, Finland. For the following exhibition spaces and dates, please check out:

www.theinfluenceoffishtailsonthebreakingwaves.com  

5 DAYS ONLY!

Hours: Saturday the 13th and Sunday the 14th from 1 to 6pm.
Monday the 15th and Tuesday the 16th from 5 to 8 pm, or by appointment.

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

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

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

For your info, let me update my recent activities!!

1. Workshop / Exhibition (current)

workshop “Fictional Anatomy”
conductor: Yuki Okumura
where: Fuchu Art Museum
when: Nov. 22 (over) / Dec. 13
participants: kids age 4-7

related exhibitions:
1st show: Nov. 23 - the morning of 29
2nd show: Dec. 14 - the morning of 20

This is my my first-ever workshop, and I take it as a project-based work. I have wanted to do this for a long time, so I am very happy to finally have this opportunity.

In this workshop, I ask kids to imagine and draw their inner body. As their ages are up to 7, they are not really familiar with a human anatomy chart or model, so that they can almost “freely” imagine what is inside their bodies. Although the result of the workshop on Nov. 22 shows that most of the kids actually feel the existence of their hearts, blood, bones and so on, as well as the process of food passing through their bodies (many drew their favorite food and poos!), the structures they painted have a diverse imaginative variation. The paintings, which are simply wonderful, are now on display on the window of the workshop room, until Saturday morning.

The workshop on Nov. 22 was like this.
http://plaza.rakuten.co.jp/okumokum/diary/200811230000/

This workshop is an event related to “Fuchu Biennale 2008″.
http://www.city.fuchu.tokyo.jp/art/

2. “Busan Biennale 2008″ at MeWorld, Busan (past)

My installation was like this.
http://plaza.rakuten.co.jp/okumokum/diary/200809140000/

3. “Eye of the City” at Museum of Contemporary Art, Taipei

My installation was like this…
http://plaza.rakuten.co.jp/okumokum/diary/200807010000/

That is it!
Wish you a merry Christmas and a happy new year!

Yuki Okumura

blog: http://plaza.rakuten.co.jp/okumokum/

Openig Sunday 1 february 2009 11 am
Museo Sant’Ildefonso
Mexico City, Mexico

click on image to view larger size:

Curated by Matthew Fisher

The Object Direct will be on view at Heskin Contemporary from November 20th through January 3, 2009.
A reception for the artists will be held on Thursday, November 20th  from 6-9 pm.

Pat Brennan, Stacy Fisher, J.J. Garfinkel, Dan Gluibizzi, Mike Hein, Jim Lee, Dustin London,  Saira McLaren,  John O’Connor,  Meridith Pingree,  Rudy Shepard,
Mark Stockton,  Cindy Stockton-Moore, Charlotta Westergren,  Mitchell Wright

“excursion dans la lune”
Segundo de Chomon

“la femme rouge”
Marie Sochor

“corpuluscum flotans”
Julien Crépieux

“die zweite sonne”
Marc Aschenbrenner

“wow”
Virginie Yassef

“clays lane”
Henna Rikka Halonen

“gottesdient”
Rekolonisation

entracte

“ tony conrad, dreaminimalist”
Marie Losier
durée : 1h 30 environ
Une proposition de Géraldine Longueville et Mathilde Villeneuve
La Vitrine 24 rue moret 75011 paris
métro couronnes ou ménilmontant
www.ensapc.fr/lavitrine

Ein Projekt veranstaltet von der Athlon Place Stiftung Frankfurt am Main
Ausstellungshalle der Johann Wolfgang Goethe-Universität Frankfurt am Main
13.11.2008 - 12.12.2008
kuratiert von Christian Kaufmann

NICOLAS GROSPIERRE - HYDROKLINIKA
Nov 13th 2008 - 2nd Feb 2009

http://eccobrasilia.com.br/

Nov. 17 - Dec. 11 2008

http://feeel.adac.org/

from left to right:
Aoife Collins, Absolute Annihilation, 2008
Marisol Malatesta, Greetings, 2008
Aoife Collins, The steps to breaking up, 2008

Mariana Viegas
Carsten Klein

Opening: Oct. 31, 7 p.m.

Nov. 1 - Nov. 29, 2008

Photography and video.

Galerie IAC-Berlin

Brunnenstrasse 29
10119 Berlin
www.iac-berlin.de
www.marianaviegas.com

http://www.galerievolkerdiehl.com/diehlprojects

Ausstellungen / Exhibitions:

NINA CANELL Walking on No-Top Hill
October 10, - January 2009, opening October 10, 7 - 9 p.m.

News in Wiens Verlag 2008
Interviews by Tomas Schmit / Wilma Lukatsch
“Dreizehn Montagsgespräche”
408 pages, 288 color images, 27×21,5, stitched, softcover
39,80 Euro

we distribute the new artists’ book
JOHN BOCK PALMS
different specialised books (codes, guidebooks).
Cover originally sprayed & a color poster glues inside the book.
Edition of 500 copies. Los Angeles / Berlin 2008
32 Euro

we are exhibiting at
Art Basel Miami Beach, 4-7 December 2008
section Supernova booth Q 18

photo:
Nina Canell & Robin Watkins
filmstill from Mt. Vesuvio / Italien 2006

A lyrical, textual composition, Voiceover is based on Collazo-Llorens’ research of the archives and oral histories section of PRdream.com, a web site on the history, culture and politics of Puerto Rico and its diaspora.  Fragments from these oral histories are combined with texts from public spaces, literature, the media, as well as the artist’s own writings. The projected words become transmitted signals, simultaneously truncated and expanded, pointing to multiple narrators while triggering viewers to connect to their own experience. The ephemeral quality of the projected light and the fleeting texts suggests the fragility and transient nature of memory and story telling.

ABOUT THE ARTIST:

Nayda Collazo-Llorens was born in San Juan, Puerto Rico, and is a visual artist based in New York City and Pittsburgh, Pennsylvania. She received an MFA from New York University in 2002 and a BFA from Massachusetts College of Art, Boston in 1990. She works in various media, including works on paper and canvas, video, and installations, exploring the way in which the mind processes information.
Recent individual exhibitions include Route/Journal at LMAKprojects (Williamsburg), Brooklyn, NY, 2007; Navigable Zones at Project 4, Washington DC, 2007; Mindscapes at Space Other, Boston, 2006; Roaming, CSV Cultural Center, NYC, 2006; and Configuraciones, Galería Raíces, San Juan, PR, 2005. Notable group shows include the IX International Cuenca Biennial in Ecuador, 2007; 12th International Media Art Biennale, Wroclaw, Poland, 2007; None of the Above: Contemporary Works by Puerto Rican Artists, Real Art Ways, Hartford, CT, 2004, and Museo de Arte de Puerto Rico, San Juan, PR, 2005; and Here & There: Six Artists from San Juan, at El Museo del Barrio, NY, 2001 and Blaffer Gallery, University of Houston, TX, 2002. She was an Artist in Residence at Location One, New York, NY, 2004-05, and a 2006 Grant recipient from the Urban Artist Initiative/New York City. Her work has been reviewed in The New York Times, Art Net, Art US, Art Nexus, Art News and NY Arts, among others. More information on the artist’s work can be found at www.naydacollazollorens.com.

Nayda Collazo-Llorens appears courtesy of LMAKprojects, New York.

Other upcoming shows:

Beyond a Memorable Fancy
Print, Perception and the Artist’s Intervention
Curated by Michelle Levy
October 30 - December 13 2008
Opening Reception, November 1, 6-9
Artists: Glen Baldridge, Robert Buck, Benjamin Cohen, Nayda Collazo-Llorens, Ian Cooper, Jenelle Covino, Alex Dodge, Rachel Foullon, David Gatten, Dylan Gauthier, Graffiti Research Lab, Lynne Harlow, Adam Helms, Wennie Huang, Matthew Day Jackson, Heidi Neilson, Evan Roth, Jennifer Schmidt, Peter Simensky, Mary Temple, and Stephan von Muehlen.
EFA Project Space, 323 W 39th Street, New York, NY
212-563-5855, projectspace@efa1.org
Gallery hours: 12-6, Wed- Sat

Ellipsis
A public intervention piece viewable after dusk
Oct 30 - Dec 5 2008
Ellipsis consists of a video projection onto Future Tenant’s storefront window in downtown PIttsburgh. A constant flow of text interweaves the narrative of a personal journey with specific references to air travel, weather conditions, technological data, and current news headlines. The work invites the viewers to reflect on the complexities of the mind, language and the fragmented manner in which we perceive and process information.
Future Tenant, 819 Penn Ave, Pittsburgh, PA

10th Havana Biennial
Integration and Resistance in the Global Age
27 March - 30 April 2009
Havana, Cuba
The 10th Havana Biennial will gather artists from Latin America, the Caribbean, Asia, Africa and the Middle East.

Other current shows:

En sus marcas…
Contemporary Puerto Rican Painting
Curated by Rebeca Noriega
Oct 2 - Dec 12 2008
Sala de las Artes, Universidad del Sagrado Corazón, San Juan, PR
Organizador: Instituto de Cultura Puertorriqueña
Artistas: Osvaldo Budet, Nayda Collazo Llorens, Fernando Colón, Karla Cott, Rabindranat Díaz, Radamés Figueroa, Ivelisse Jiménez, José Lerma, Michael Linares, Miguel Luciano, Héctor Madera, Sofía Maldonado, Melvin Martínez, Javier Martínez, Roberto Márquez, Nora Maité Nieves, Fernando Paes, Enoc Pérez, Fernando Pintado, Isabel Ramírez, Gamaliel Rodríguez, José Jorge Román, Chemi Rosado, Aarón Salabarrías, Miguel Trelles, Frances Gallardo, Nathan Budoff y Eric Schroeder.

La curadora define el proyecto con estas palabras, “Ésta exposición pone de manifiesto algunas características de la nueva pintura realizada por artistas emergentes en Puerto Rico durante las últimas dos décadas”. Continúa explicando y añade “…es una muestra que reconoce la vigencia y la renovación del medio pictórico desde lo técnico hasta lo conceptual”.

nayda collazo-llorens
http://www.naydacollazollorens.com

Recent exhibitions include: 2008, Laura Bartlett Gallery, London; Sorcha Dallas Gallery, Glasgow Print studio, Centre for Contemporary Arts , Glasgow; Spike Island , Bristol, 2007. In 2003, Sophie was included in the group show “Half the World Away”, Hallways contemporary Art Center, Buffalo, New York.

Sophie’s residency at Location One is supported by the  Scottish Arts Council.

She is also represented by Sorcha Dallas Gallery in Glasgow.

image: White screens the decline of the principal boy - 2007

The Museum of Arts and Design’s first exhibitions at 2 Columbus Circle, “Second Lives” (including Jean Shin’s “Sound Wave,” above), “Permanently Mad” and “Elegant Armor,” open Saturday. The shows, Roberta Smith writes, reflect an institution “wild with delight” at having a building of its own.

“Second Lives: Remixing the Ordinary”
2 Columbus Circle, NYC.
September 27, 2008 - February 15, 2009

Major Solo exhibition”
‘Jean Shin: Common Threads”

Participating Artists
Benjamin Orion Rush
David Dempewolf + Howard Huang [VJ]
David Tinapple
Eileen Maxson
Emcee C.M. [VJ]
Ip Yuk Yiu
Jennifer Levonian
Marc Andre Robinson
Michael Kontopoulos
Matthew Suib
Nadia Hironaka
Susana Gaudêncio
Steven Mygind Pedersen [VJ]

Monkey Town
September 26, Friday 8-10pm
58 N 3rd St
(btw. Kent & Wythe)
Williamsburg, Brooklyn 11211
$5 door; $10 minimum
Reservation is suggested: 718.384.1369

Academia: Qui es-tu
La Chapelle de L’Ecole National Supérieure des Beaux-Arts de Paris
10 September - 23 November 2008
http://www.ensba.fr/English/

Light Perpetual
Jenaer Kunstverein, Germany
24 September - 5 November 2008
http://www.jenaer-kunstverein.de/ausstellungen.html

Rendez-vous 08
Musee d’art Contemporain, Lyon
19 September 2008 - 4 January 2009
http://www.mac-lyon.com

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Baginski, Galeria / Projectos

RUA DA IMPRENSA NACIONAL, 41-CV ESQ. 1250-124 LISBOA  | PORTUGAL
(+351) 21 397 0719   contact@baginski.com.pt   www.baginski.com.pt

Opening Reception

Virginie Yassef:
Alloy

Thursday, September 11, from 6-8pm

Please join FIAF for the opening reception of Virginie Yassef’s Alloy,
as part of the Crossing the Line festival. The videos, photographs,
sculptures, and installations of Virginie Yassef reveal the poetry
of everyday life, emphasizing the subtle gap between perception
and reality.

Currently, Ms. Yassef is represented by the Georges-Philippe
& Nathalie Vallois Gallery in Paris.

Virginie Yassef: Alloy, September 16—October 4

RSVP gallery@fiaf.org 646 388 6667

More Info

FIAF Gallery 22 E 60th St

]]> http://www.location1.org/virginie-yassef-alloy/feed/ http://www.location1.org/katia-kameli-iconoclastes-les-territoires-de-lesprit/ http://www.location1.org/katia-kameli-iconoclastes-les-territoires-de-lesprit/#comments Thu, 18 Sep 2008 17:57:24 +0000 levi http://www.location1.org/katia-kameli-iconoclastes-les-territoires-de-lesprit/ Le galerie Anne de Villepoix est heureuse de vous convier au
vernissage de l’exposition de l’exposition :

Iconoclastes : Les territoires de l’esprit
Commissaire : Kader Attia

LE SAMEDI 13 SEPTEMBRE 2008
Exposition du 10 septembre au 18 octobre 2008

AVEC
Taysir Batniji, Mohamed Bourouissa, Katia Kameli, Amal Kenawy, Bouchra
Khalili, Djamel Kokene, Amina Menia, Malik Nejmi, Driss Ouadahi, Yazid
Oulab et Younès Rahmoun

———————————————————————————————————–
« Iconoclastes : Les territoires de l’esprit » est un projet qui poursuit une réflexion
sur la dualité d’esprit, inhérente aux artistes situés dans un périmètre culturel
dont la culture globale tend à estomper les frontières.

Aujourd’hui, ces artistes et leurs oeuvres sont au tournant d’une histoire qui les
précède, les façonne, et leur succèdera sans distinction de race, de religion, et
de sexe.
Cette exposition est la partie visible de l’expérience d’une culture contemporaine,
non pas sous l’angle de l’émergence, mais de la résistance de ses sujets.
À travers l’empreinte de ce qui constitue son «  Histoire », cette culture témoigne
du désir existentiel de l’individu, face à l’ordre global, dont il n’est ni l’obstacle ni
le subordonné, mais une éthique qui se cherche.
De cette « Histoire » en tant qu’archéologie du sens de la culture comme de la
science, dont Michel Foucault nous dit combien elle régit, sans le contrôler,l’ordre
des choses, j’évoquerai ici « l’apparition de l’Homme », qu’il décrit comme « une
mutation intérieure à la culture occidentale au 19ème siècle » et qui semble,
déjà, disparaître.
Cette analyse méthodique a marqué ma réflexion, au point d’éveiller en moi le
sentiment que cette mutation cherche à s’opérer aujourd’hui hors de l’Occident,
de façon totalement contraire à celle décrite par Michel Foucault dans « les Mots
et les Choses »
Cette exposition aurait pu se fonder sur l’Inde, la Chine, l’Afrique ou l’Amérique
du Sud, mais la nécessité historique et les affinités culturelles que je partage, à
travers l’histoire des identités artistiques réunies ici, ont laissé s’installer un choix.
Il y a d’autres critères, moins subjectifs, comme la culture politique, la nature
poétique, la pensée philosophique et religieuse des pays d’où viennent les
artistes que j’invite, qui animent le désir de cette proposition.

Quelle est cette histoire et quels en sont les enjeux actuels ?
Quels sont ces changements et comment se manifestent-ils ? (…)

Kader Attia - Paris, juillet 2008 (extrait)

Kunsthaus Graz

27.09.2008 – 11.01.2009

opening on the 26th of September 2008, 7pm

The exhibition goes further into existential questions in contemporary sculpture and reveals forms of the organic, of the bio- and anthropomorphic as well as a broadening of the notion of sculptural material.

Participating artists: Ruth Asawa, Louise Bourgeois, Berlinde de Bruyckere, Lee Bul, Wolfgang Flad, Gabríela Friðriksdóttir, Siobhán Hapaska, Julie Hayward, Georg Herold, Agnieszka Kalinowska, Liz Larner, Ernesto Neto, Carsten Nicolai, Pino Pascali, Jill Spector, eva helene stern***, Franz West, Xiao Yu, Xu Zhen.

www.kunsthausgraz.at

Venice, 13th September 2008

The International Jury of the 11th International Architecture Exhibition, presided over by Jeffrey Kipnis (USA), critic and lecturer at the University of Ohio, and comprised of: Paola Antonelli (Italy), curator of the Department of Architecture and Design at the Museum of Modern Art (MoMA) in New York; Max Hollein (Austria), director of the Städelsches Kunstinstitut and of the Schirn Kunsthalle in Frankfurt; Farshid Moussavi (Iran), founder of Foreign Office Architecture in London and lecturer at the Harvard University Graduate School of Design; Luigi Prestinenza Puglisi (Italy), critic, historian and lecturer, specialized in urban planning, and a teacher of History of Contemporary Architecture at the Università di Roma La Sapienza, has decided to confer the official awards  for the 11th Architecture Exhibition as follows:

Golden Lion for Best National Participation

to Poland (Pavilion at Giardini)

Hotel Polonia. The Afterlife of Buildings

Nicolas Grospierre, Kobas Laksa

Commissioner: Agnieszka  Morawińska. Curators: Grzegorz Piątek, Jarosław Trybuś

Assistant Commissioner: Zofia Machnicka

Go to to gallery webpage >>

A satirist from Berlin. . .
. . . a metaverse scholar from Tokyo. . .
. . . and an artist from New York. . .
. . . create joint work – without meeting in person

Can three complete strangers – from different continents, cultures and creative disciplines – collaborate from afar to create a forceful artistic statement about a political event?
Obamabot Vs. McCainbot in Metaverse

They can. They have. Location One presents “Mission Accomplished,” a virtual-residency collaboration of Hidenori Watanave, Susanne Berkenheger, and Andy Deck. Their work, prepared without ever meeting face-to-face, uses Google Earth, Second Life, wikis and blog technologies – not to mention old-fashioned hand-printed Agitprop posters – to address the forthcoming U.S. Presidential election.

“Mission Accomplished” will be on view at Location One’s project gallery, September 10 to November 15, 2008. The opening is 6 to 8 p.m. September 10. Virtual audiences will be able to view and participate in the work at http://location1.org/missionaccomplished.

“The tools of tele-collaboration have become incredible rich and powerful in the ten years of our existence,” said Location One executive director Claire Montgomery. “We were founded on the themes of collaboration, technological experimentation and social consciousness. When we found that three talents this interesting were willing to take on the elections together, how could we resist? You have to see what they did.”

Susanne Berkenheger (Berlin) is an author and journalist, who writes for “SPAM”, the satirical section of German magazine Der Spiegel. She has been involved in projects in Second Life and “Chat Theatre”.
http://spiegel.de/spam
http://www.berkenheger.de/index_english.html

Hidenori Watanave (Tokyo) is Associate Professor at Tokyo Metropolitan University, and is researching 3Di (Second Life) and 3DGIS (Google Earth). He is interested in collaborative work in the realms of Architecture and Environmental Design in tele-existence and the metaverse.
http://mapping.jp/archi/cat18/
http://mapping.jp/index_en.html

Andy Deck (NYC) is an artist specializing in Internet media. His work addresses the politics and aesthetics of collaboration, interactivity, software, and independent media. Deck combines code, text, sound, and image, demonstrating new patterns of participation and control that distinguish online presence and representation from previous artistic practices.
http://andydeck.com
http://artcontext.org

The three artists all speak English, and all are fluent in Internet media. They were given no restrictions other than not meeting in person, and no directions other than the topic of the forthcoming Presidential election. Heather Wagner, director of online exhibitions, coordinated the project for Location One.
Mission Accomplished?
“The works in this virtual residency demonstrate ways in which presence and participation can be abstract and conceptual. From different points of view, they represent how Internet media and tele-presence have expanded the scope of the 2008 U.S. presidential election to global proportions.” – Andy Deck

OPENING RECEPTION: Thursday, September 10, 2008 6–8PM
(open to the public)

EXHIBITION DATES: September 10–November 15, 2008
HOURS: Tuesday-Saturday 12–6PM

About Location One:
Location One (http://location1.org) is a not-for-profit art center devoted to fostering new forms of creative expression and cultural exchange, and expanding the capabilities of our artists. We invite artists from different countries, working in a variety of mediums, to experiment with diverse means of expression/technology and engage with audiences through exhibitions and public programs.

Jane Philbrick installation uses fire alarms to confront today’s fear and insecurity

Honeywell engineer: “Are you hoping to blind your viewers and leave them wriggling on the floor like fish?”
Jane Philbrick: “I like it really loud.”

This is PULL, Jane Philbrick’s large-scale installation at Location One, which comprises 502 fire alarms, strobes, smoke
detectors, siren horns, control panels — and one customized vintage fire pull station. PULL is about security and fear and power and technology. It is beautiful while disturbing.

PULL will be on view at Location One’s main gallery, September 10 to November 15, 2008. The opening is 6 to 8 p.m. September 10.

PULL confronts an America seemingly crippled by fear and uncertainty. Developed in collaboration with 18 engineers from Honeywell’s Fire Systems Group, PULL urges viewers to realize their hidden desire to sound the alarm, here in the form of an historic fire call box situated in the center of the gallery space. Once triggered, the work blossoms
into a flourish of lights, words and deafening sirens — a wake up call.

“Like a ventriloquist, Philbrick sends her message through non-human means, a digital narrative that provokes, just as it forces awareness,” says Claire Montgomery, Location One executive director. “She invites viewers to pull her conceptual trigger, and then, as the work plays out, compels them to experience first-hand the tense seductions of
power and the often brutal consequences of our anonymous, systemized response to it.”

“The military machine is as beautiful and seductive as it is menacing and intimidating, brilliantly offering in its mass, anonymous order the implicit promise of security as antidote to the very anxiety it instills,” says Philbrick. “The machine prompts fear, we respond defensively, and the consequences vastly exceed scale, local (personal) fear,
and global response.”

Jane Philbrick is an artist working with language. She is currently an International Fellow at Location One and an artist research affiliate at the Center for Advanced Visual Studies, MIT, where she is developing a solo exhibition for the Skissernas Museum for Public Art in Lund, Sweden, opening in 2009. Philbrick developed PULL while an artist
in residence at Honeywell’s Fire Systems Group. This exhibition was curated for Location One by Eric C. Shiner.  Special thanks to Wanas Foundation, Sweden.

ROB KENNEDY:
HAPLESS, HELPLESS AND HOPELESS
Txt: Monica Ponzini / Img: Courtesy Rob Kennedy / Eng: Ornella Pesenti

Binary Star, 2006 (mixed media 9m in diameter)
No Such Thing As One, 14 October - 18 November 2006
Victoria Miro Gallery, London UK

Conrad Shawcross, who hails from London, has attracted significant critical attention. He has become renowned for his large-scale kinetic sculptures that combine interests in art, science and philosophy. “These often complex works incorporate mechanized systems that appear functional yet have no useful application in the real world. They remain intriguing and compelling to the viewer, demonstrating intellectual rigour, technical dexterity and an intense sense of drama.”

During his fellowship at Location One, from September 2008 to June 2009, he will explore new conceptual approaches and new applications of technology to his artistic practice and will develop new work for exhibition. Conrad is represented by the Victoria Miro Gallery in London.

From: Conrad Shawcross, The Steady States, catalogue published by the New Art Gallery, Walsall and The Walker Art Gallery, National Museums Liverpool

http://www.victoria-miro.com/artists/31,biog/

Jane Philbrick is an artist working with language.  From September 2008 to June 2009 she will be an International Fellow at Location One as well as an artist research affiliate at the Center for Advanced Visual Studies, MIT, where she is developing a solo exhibition for the Skissernas Museum for Public Art in Lund, Sweden, opening in 2009. Her exhibition “PULL” opens Location One’s 2008 season and is on view from September 10 through November 8, 2008. She will be interviewed about her work by Denise Markonish (from Mass MoCA) on September 17, 2008.

http://cavs.mit.edu/artists.html?id=50,644

Ms. Ma is one of Hong Kong’s most active mixed media artists whose works have been included in the Hong Kong Art Biennial exhibition and collected by the Hong Kong Heritage Museum.  She is also an educator, teaching in the degree program at the Hong Kong Arts Center and in the Lee Shau Kee School of Creativity, a newly established high school for talented students pursuing careers in the arts.

Ms. Ma’s own academic training was originally in information science, and she received a Bachelor’s degree from the City University of Hong Kong in 1996.  After working for four years, she began to study painting at the Hong Kong Art School, which offers a joint degree with the Royal Melbourne Institute of Technology, and she earned a B.F.A. degree in 2001.  She was then awarded a scholarship by the Hong Kong Arts Development Council to study for one year at the University of Leeds in the U.K., where she obtained a Master’s degree in feminist theory and practice in visual art in 2002.  Returning to Hong Kong, she became the manager of 1A Space, an important venue for presenting exhibitions by contemporary artists from Hong Kong and China.

Prior to Location One, Ivy Ma participated  in residency program at Headlands Center for the Arts and will be in New York this fall 2008.

http://www.ivyma.net/

Ivy’s residency at Location One is supported by the YageoTech-Art Fellowship through the Asian Cultural Council.

Kaeko Mizukoshi is at the forefront of video art in Japan.  Born in Tokyo, she earned an Associate’s degree in English literature at Kawamura College in 1998 and a B.F.A. at Tama Art University in 2005.  She is currently studying art criticism in a non-degree program at the Städelschule in Frankfurt.

Ms. Mizukoshi has received wide national and international recognition for her video art, including a commission from D+D London in 2007, a Shiseido Art Egg award in 2006, a residency at the Hungarian Multicultural Center in Balatonfured in 2005, and a Shell Art Award from Hillside Forum in Tokyo in 2004.  In addition to multiple screenings at the Nomad Theaters in Yokohama and Tokyo and at MIACA at LUX in London, Ms. Mizukoshi has had solo exhibitions at the Yoshidate House in Yokohama and at Shiseido Galley and Toki Art Space, both in Tokyo.

In her latest video installation, “Delirium” (2007), Ms. Mizukoshi used three synchronized projections of scenes featuring a girl, a set of loose teeth, and a line of ants emerging from a ball of yarn in a stunningly framed and darkly-lit European house.  Art critic Yasushi Kurabayashi describes the work as conveying a “realm of ambiguity” that “soaks into the audience” and allows viewers to devise their own narratives.  The motifs of the video are based on Ms. Mizukoshi’s research on violence in contemporary society, and they are structured to reflect the lack of a single perspective on history.  Fumio Nanjo, director of the Mori Art Museum in Tokyo, notes that she “always has fresh intentions to challenge herself and to create her work of art in new environments, circumstances, and cultures.”

Kaeko’s residency at Location One is supported by the YageoTech-Art Fellowship through the Asian Cultural Council.

Andrea Galvani was born in Verona in 1973. He lives and works in Milan and has distinguished himself in the last few years as an artist who pushes the boundaries of the photographic medium. He is fascinated by science and it’s models of representation. As well as in the multiplicity of languages, signs, and in their relationship in history; in tables and graphics as synthesis of philosophical, political, and economic concepts. Andrea has a predilection for the photographic medium but avails often to other mediums, most of all video, drawing and wall painting. He’s considered one of the Italy’s most promising young artists.

He has participated in numerous important exhibitions in Italy and abroad, such as Babylon, BAC! Barcelona International Contemporary Art Festival, (CCCB), ES, 2007; Andrea Galvani 2003-2006, curated by Andrea Bruciati, GC.AC Galleria Comunale d’Arte Contemporanea di Monfalcone, Gorizia, IT; Decostruzione di una montagna e la morte di un’immagine curated by Marinella Paderni, Artopia, Milano, IT 2006. Since 2006, he’s been a professor of Photographic Language and History of Contemporary Photography at the Accademia Carrara di Belle Arti di Bergamo.

http://www.andreagalvani.com/

http://lnx.artericambi.org/ 

http://www.artsblog.it/post/1853/andrea-galvani-vincitore-di-location-one-20082009

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

Nicolas Grospierre was born in 1975 and raised in France, and has been living in Poland since 1999. He studied Political Science and Sociology in Paris and London before turning to photography. His work as a photographer has been focused on the one hand on documentary projects, and on the other hand on more conceptual works. His documentary projects have often been exploring the collective memories of, and the hopes linked to modernist architecture, now that the utopias linked to them have faded away. On the other hand, his conceptual photographic works tend to emphasize mind games, while at the same time displaying attractive, sensual images or even installation.

Recent exhibitions include : 2007 Mausoleum (with Olga Mokrzycka), Raster Gallery, Warsaw ; 2008 Hydroklinika, Artist’s House, Jerusalem. His works will be shown in the Polish Pavilion during the 2008 Architecture Biennale in Venice.

Nicolas’ residency at Location One is supported by the Trust for Mutual Understanding, Ministry of Culture, Poland, and the Polish Cultural Institute, New York.

Biennale Architecture  11th International Architecture Exhibition  Venice, 13th September 2008
Golden Lion for Best National Participation

to Poland (Pavilion at Giardini)

Hotel Polonia. The Afterlife of Buildings

Nicolas Grospierre, Kobas Laksa

Commissioner: Agnieszka  Morawińska. Curators: Grzegorz Piątek, Jarosław Trybuś

Assistant Commissioner: Zofia Machnicka

Born 1979, Vila Franca de Xira, Portugal. Since 1998 André have been working in several artistic fields such as painting, music, video, installation and performance. In 2002 he found his attention leaning towards ‘do it yourself’ electronics, and started experimenting with sensor interfaces, soldering, and programming. Recently he has been collecting and recycling found electronic hardware, and hacking it with the goal to create analog devices that act like robots. They in turn have specific functions like printing, drawing, create tv graphics, create sound, etc…

He aqcuired his University Degree in Visual Design by IADE, Lisbon in 2001. Since then he has presented, performed, published and executed a wide variety of works  such as: 2006, Barcelona, Lisbon, Oporto, Tokyo 2006. Soundtrack for the short film “Fall”, by Ivo Serra 2006. ‘Coding For Automation” - selected pages for the Musa Book,  2006. “Sound Studies” presented in the exhibition Abstract Visual Music for the New York Digital Salon, School of Media Arts MFA, New York 2006. “Resonant Objects” installation at FILE 2006, Electronic Language  International Festival, Sao Paulo, Brazil 2006. “Resonant Objects” installation at “Luzboa 2006”, Lisbon’s Light Bienal,  Lisbon, Portugal

http://www.undotw.org/

http://www.undotw.org/ctrl/installations/doubts/

http://www.undotw.org/ctrl/installations/resonant/

http://ww.undotw.org/ctrl/installations/tapeloop/

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

The 4 second, looped, camera phone footage of the
American flag was shot in a public location in NYC. The
current climate of political tension around state and
territory and what can and cannot be photographed
provides the context for this video work.

Artists: Yukinori Yanagi, Yuken Teruya, Motoyuki Shitamichi, Yoko Ono,
Nobuyuki Ohura, Yasumasa Morimura, Yutaka Matsuzawa, Eric van Hove,
Kota Ezawa, Allora & Calzadilla, Vanessa Albury.

Opening Reception: 6pm - 7pm, on August 6th(wed) 2008
Duration: 2008 August 6th(wed) - 2008 August 24th(sun)
Exhibition hours: 11:00 AM - 7:00 PM (Closed: Monday)
Admission: 500yen
Venue: Daikanyama Hillside Forum - Hillside Gallery
18-8 Sarugaku-cho, Shibuya-ku,
Hillside Terrace Building F Tokyo, Japan

“道 (dào, or Tao) in Chinese philosophy, is a fundamental concept signifying “the correct way,” or “Heaven’s way.” In the Confucian tradition, tao signifies a morally correct path of human conduct and is thus limited to behaviour. But in the rival school of Taoism (Dàojiāo 道教), the concept takes on a metaphysical sense transcending the human realm. The 道德经 (Tao Te Ching - Dàodéjīng), a Taoist classic of contested authorship and date (sometime between the 8th and 3rd century bc), opens with these words: “The tao that can be spoken about is not the Absolute Tao.” The Absolute Tao thus defies verbal definition, but language can make suggestions that may lead to an intuitive or mystical understanding of this fundamental reality.” Britannica Encyclopedia on the concept of tao (Chinese philosophy).

#000000 - (Installation view - 100 Xuanzhi calligraphy paper sheets, cotton, wood, polished steel, intravenous drip and ink - 4m x 3m x 3m).

Exhibition runs for six month: 2nd August, 2008 - 6th September, 2008
Opening：2nd August, 2008 Saturday 3:00 P.M.
Seminar： 2nd August, 2008 Saturday 1:00 P.M.
Venue：KU Art Center, Huantie Road, Chaoyang District, Beijing China/ “Chinese Character Base”
Events：opening ceremony, 2nd August, 2008, 1. seminar 13:00; 2, opening event 15:00; 3, performance (actions: 16:50, fashion show: 17:20, music 18:00)

Curated by Pan Xinglei, Koan Jeff Baysa, Li Shi.
Support: Wallonia-Brussels International (CGRI).

Eric Van Hove
Artist - Tentateur
www.transcri.be 

Kunstverein Tiergarten | Galerie Nord
Turmstraße 75   10551 Berlin

www.kunstverein-tiergarten.de

Öffnungszeiten: Dienstag - Samstag 14-19 Uhr

Recorded during the Jean Shin Artist Talk on Wednesday, July 16, 2008 7:00 pm

MANIFESTA 7

THE EUROPEAN BIENNIAL
OF CONTEMPORARY ART
TRENTINO – SOUTH TYROL, ITALY
19 JULY – 2 NOVEMBER 2008

All exhibition venues open from 10.00 am to 7.00 pm.
Official Opening: 19 July, 2008.

http://www.manifesta7.it

MANIFESTA 7 IS PLEASED TO ANNOUNCE THE PARTICIPATION OF 188 ARTISTS IN
4 EXHIBITIONS

Manifesta 7, the European Biennial of Contemporary Art, is hosted by the Trentino – South Tyrol Region from July 19 to November 2. It takes place in Italy for the first time, stretching across an entire regional territory, encompassing venues in four cities along a course of 150 kilometers joining the north and south of Europe along the Brenner axis: Fortezza (Bressanone), ex Alumix in Bolzano, the Palazzo delle Poste in Trento, and Manifattura Tabacchi and ex Peterlini in Rovereto.

“PRINCIPLE HOPE”
Curated by Adam Budak
Rovereto, Manifattura Tabacchi and ex Peterlini
Artists:

Alterazioni Video, Michelangelo Antonioni, Knut Åsdam, Bernadette Corporation, Margrét H. Blöndal, Michal Budny, BURGHARD, Nina Canell, Libia Castro & Ólafur Ólafsson, Claire Fontaine, Oskar Dawicki, Evelina Deicmane, Rä di Martino, Miklós Erhardt and Little Warsaw, Igor Eskinja, Tim Etchells, fabrics interseason, Famed, Didier Fiuza Faustino, João Maria Gusmão + Pedro Paiva, Heide Hinrichs, Heidrun Holzfeind, Runa Islam, Ricardo Jacinto, Ragnar Kjartansson, Barbora Klímová, Daniel Knorr, Adam Leech, Deborah Ligorio, Miks Mitrevics, Christian Philipp Müller, Ewa Partum, Gianni Pettena, Riccardo Previdi, Philippe Rahm, Pamela Rosenkranz, Janek Simon, Luca Trevisani, Tatiana Trouvé, Uqbar Foundation, Guido van der Werve, Nico Vascellari, Danh Vo, Johannes Vogl, Stephen Willats, ZimmerFrei.

featuring:

“AUDITORY EPODE” curated by Tobi Maier
Florian Hecker, Anna Ostoya, the next ENTERprise, Chris Watson, Zafos Xagoraris.

“manifeSTATION” curated by the Office for Cognitive Urbanism (Andreas Spiegl, Christian Teckert)
Azra Aksamija, Andreas Duscha, Sonia Leimer, Christian Mayer, Kamen Stoyanov, Adrien Tirtiaux, Anna Witt.

“MATTER OF FACT” curated by Krist Gruijthuijsen
Jeremiah Day, Renzo Martens, Olaf Nicolai, Adam Pendleton, Falke Pisano/ Will Holder, Ricardo Valentim.

“SOCIAL ART PRAXIS” curated by Cornelia Lauf (IUAV, Venice)
Airswap, Aspramente, Publink.

Wednesday, July 16, 2008
7:00 pm

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

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

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

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

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

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

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

Rudy Shepherd’s latest work explores the nature of evil through the mediums of painting and sculpture.  This exploration involves investigations into the lives of criminals and victims of crime.  He explores the complexity of these stories and the grey areas between innocence and guilt in a series of paintings and drawings of both the criminals and the victims, making no visual distinctions between the two.  By presenting the people first and the stories second a space is created for humanity to be reinstilled into the lives of people who have been reduced to mere headlines by the popular press.

Going along with these portraits is a series of sculptures called the Black Rock Negative Energy Absorbers.  They are a group of sculptures meant to remove negative energy from people allowing them to respond to life with the more positive aspects of their personality.  It is on one hand a response to living in New York City for the last seven years and witnessing the madness that take place on the subway system, and an approach to political art that hopes to push the dialogue started in the late 80’s/early 90’s forward into 2008 by looking at the problems of society in a more comprehensive way, incorporating the rhetoric of new age mythology, and ancient religions.

Based in Harlem, NY, Rudy Shepherd received a BS in Biology and Studio Art from Wake Forest University and an MFA in Sculpture from the School of Art Institute of Chicago.  He has been in group exhibitions at P.S.1 Contemporary Art Center, NY, The Studio Museum of Harlem, NY, Bronx Museum of Art, NY, Art in General, NY, Triple Candie, NY, Socrates Sculpture Park, NY,  Cheekwood Museum of Art, TN, Contemporary Museum, Baltimore, MD, Aldrich Museum of Contemporary Art, CT, Southeastern Center of Contemporary Art, NC, Museum of Science and Industry, Chicago, IL, Tart Gallery, San Francisco, CA, Analix Forever Gallery, Geneva, Switzerland and solo exhibitions at Mixed Greens Gallery, NY, Regina Miller Gallery, Carnegie Mellon University, Pittsburgh, PA.  He has been awarded Artist in Residence at PS1 National/International Studio Program, PS1 Contemporary Art Center, Long Island City, NY, Artist in Residence Visual + Harlem, Jacob Lawrence Institute for the Visual Arts, New York, NY and Emerging Artist Fellowship, Socrates Sculpture Park, Long Island City, NY.
He is currently represented by Mixed Greens Gallery, NY and has an upcoming two person exhibition at Paperwork Gallery, Baltimore, MD.

rudyshepherd.blogspot.com
mixedgreens.com
onedayover.blogspot.com

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

Heta Kuchka, (born -74) is a Finnish-American visual artist based in Helsinki, Finland.
Kuchka graduated from the Time and Space department in the Fine Arts Academy in Helsinki in 2001. Her media is large scale color photography, video and installation. Kuchka was the  Finnish Young Artist of the Year 2006. The purpose is to present young creative talent and to bring focus on contemporary Finnish art. Her solo show “Yours Truly” at the Helsinki City Art Museum and at the Tampere Art Museum was well received by the press and had 9 500 visitors. 2005-2008 Kuchka was a Committee of Acquisitions member at Kiasma, the Finnish Contemporary Art Museum where she had the possibility to influence the viewpoint of their future art collection. Kuchka’s work until now has dealt with identity and communication, often emphasizing feminine viewpoints. Her subject matter combines autobiography, reality documentation and fiction about media, society and every day life. The emotional reaction of the viewer is often enhanced through contradiction and irony. Coincidence is essential to her working processes. Her latest exhibition “In Memory Of…” discussed death and focused on lonely people’s position in a western welfare state which is praised for it’s social services.

Heta’s residency at Location One is supported by FRAME, Finnish Fund for Art Exchange.

Born in 1978, Chen, Ching-Yao lives and work in Taipei where he earned his M.F.A from the Taipei National University of the Arts in 2006. As an artist, his interest lies in detecting shifts in global contemporary culture by creating composite photographic and collage imagery  that refer to Japanese history but are also imbued with the contemporary “Dojinshi” culture prank playing spirit of the modern generation. In his “Blossoming in the Backyard” photographic series begun in 2003, Chen Ching-Yao takes elements from Japanese soap operas and ancient costume dramas in which he plays the role of an imaginary cross-dressing geek in his “Backyard Flower Garden. In the more recent series “One Minute Ukiyoe Painting”, the artist reproduces the distorted features of Kabuki actors traditionally painted by famous Japanese by wearing a stocking over his face.

Chen Ching Yao’s work has been exhibited in various commercial and institutional venues in Hong Kong, Taiwan, China and Korea.

Ching Yao’s residency at Location One is supported by the YageoTech-Art Fellowship through the Asian Cultural Council.

To view more of Chen’s work, see his Flickr PhotoStream

Nina Canell was born 1979 in Växjö, Sweden, and currently lives and works in Dublin, Ireland. Her work seeks ways to address sculpture as a restless form with fleeting properties. Relating spatial and structural concerns to that elusive fabric which constitutes the melancholic nature of being, the work facilitates a place in which matter and non-matter hold hands through carefully balanced sculptural happenings.

Recent exhibitions include Manifesta 7 – The European Biennial of Contemporary Art (Trentino), Nought to Sixty, Institute of Contemporary Art (London), The 7th Gwangju Biennale (Gwangju), Come Together, The Douglas Hyde Gallery (Dublin), What Remains at Spazio Lambretto (Milan), Beyond the Country at Lewis Glucksman Gallery (Cork) and Moon. Mist. Drum at Model Arts & Niland Gallery (Sligo). Upcoming projects include Neuer Galerie am Landesmuseum Johanneum (Graz) and solo exhibitions at Galerie Barbara Wien (Berlin) and Neuer Aachener Kunstverein (Aachen).

http://www.canellwatkins.org/

Nina’s residency at Location One is supported by The Arts Council / An Chomhairle Ealaíon and the Irish American Cultural Institute.

SPACE
invites you to
You Are Here
Guest Curator: Robert Raczka
June 27 - August 9, 2008
Opening Reception + Gallery Crawl:
July 11th  5:30 - 9pm
Art that addresses place, real or imagined, and will include various forms of representation from literal depiction to expressive interpretation to symbolic mark-making.
Artists: Nayda Collazo-Llorens, Michael Sherwin, Clayton Merrell, Melissa Kuntz, Carin Mincemoyer, Robert Raczka, Liana Dragoman, Bill Radawec, Carlos Rosas, Mary Jean Kenton, and Pranja Parasher
Saturday, July 19, 1-2pm
Artist Talks with Nayda Collazo-Llorens, Melissa Kuntz, Carin Mincemoyer, Pranja Parasher and Robert Raczka
SPACE: 812 Liberty Avenue, Downtown Pittsburgh, PA (412) 325-7723
GALLERY HOURS: Tuesday-Thursday 11am-6pm, Friday-Saturday 11am-8pm
A project of the Pittsburgh Cultural Trust

Kuratiert von Evelin Stermitz

Ausstellungseröffnung: Dienstag, 8. Juli 2008, 19.00 Uhr

Ausstellungsdauer: 9. Juli – 1. August 2008

Gallery AREA 53
Mag. Karin Sulimma
Mag. Mounty R. P. Zentara

Gumpendorfer Strasse 53
A-1060 Vienna / Austria

www.AreA53.name

Gallery Side 2 is pleased to present “TRANSACTION” a two persons exhibition by Yumiko Furukawa and Yasuko Watanabe opening from June 27, 2008.
On the basis of her activities and experiences in New York, Yumiko Furukawa, who has presented ambivalent sculptural works questioning the gap of the perception between oneself and others by quoting popular novels, this time visualizes her point of views poetically by capturing the sceneries intuitively in a form of sculpture. Yasuko Watanabe, a young and emerging female artist who made her solo debut exhibition in January this year, has produced works by utilizing various media such as photography, drawing and sculpture. Her works freely suggesting the world outside the frame, dancing lightly the boundaries between the usual and the unusual, give the viewers a refreshing aftertaste with vivid colors.
To represent those images that would never make an appearance, even if they actually exist around you, they interpret them with their free imagination and visualize them by elaborating their skilled creativity.
There will be a sparkling bio-chemistry between the works by these two female artists.

Yumiko Furukawa
Born in Fukushima in 1975. Tokyo National University of Fine Arts and Music, DFA. Currently lives and works in New York.

Yasuko Watanabe
Born in Chiba in 1981. Musashino Art University, MFA. Lives and works in Tokyo.

Yumiko Furukawa
The Safety Valve in Handling Complaints (2008), A Formula That Will Work Wonders for You (2008)

Yasuko Watanabe untitled (2008, set of 3)

GALLERY HOURS
Tue - Sat 11:00 - 19:00
CLOSED
Sun & Mon

For more information, please contact the gallery.

GALLERY SIDE2
2-6-5 Higashiazabu Minato-ku Tokyo 106-0044 Japan
phone 813 6229 3669
fax 813 6229 3668
www.galleryside2.net

Sábado, 5 de Julho | MIGUEL PALMA: DEEP BREATH

Exposição individual de Miguel Palma

5 de Julho até 02 de Agosto 2008

GALERIA 102-100

Rua de Santa Maria, 100

6000-178 Castelo Branco

PORTUGAL

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BAGINSKI, GALERIA / PROJECTOS

daniel barroca | eva bensasson | paulo brighenti | paulo climachauska | carlos correia | cecilia costa | fernanda fragateiro
andré gomes | eurico lino do vale | jarbas lopes l miguel palma | paulo pascoal | andré romão | gonçalo sena | joão paulo serafim

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Gratos pela sua atenção

Baginski, Galeria / Projectos

RUA DA IMPRENSA NACIONAL, 41-CV ESQ. 1250-124 LISBOA  | PORTUGAL
(+351) 21 397 0719   contact@baginski.com.pt   www.baginski.com.pt

Date: 2008/6/28-8/24

The “City on the Move Art Festival” held by the Taipei City Department of Cultural Affairs has already entered its sixth year. This year, the stage for the festival has been set at the Museum of Contemporary Art, Taipei. It’s divided into two themes – “Eye of the City” curated by Jo HSIAO , researcher at the Department of Cultural Affairs, and “Dark City,” jointly curated by Chao Lee KUO , Associate Professor of the National Taipei University Graduate School of Urban Planning, and Ke-fung LIU , Assistant Professor of the Architecture Department of Chaoyang University of Technology. “City on the Move art Festival” gathers together the talent of thirteen visual artists and architects to express their deepest thoughts and concerns not only about cities, but also about civilization, progress and existence.

For “Eye of the City,” seven local and overseas visual artists were invited, including Nicolas FLOC’H from France, Ryoichi KUROKAWA and Yuki OKUMURA from Japan, and Taiwanese artists Ya-hui WANG, Iuan-hau CHIANG, Chung-han YAO and Chih-chien CHEN. Using the medium of videos and sounds, these artists express the various prospects of the city and explore the concepts of time and sense of urban space, as well as the sights, sounds and even smell existed in the city dwellers’ experiences. They also convey snatches of the emotions or fantasies found in city corners, and the various anxiety hidden within city life. These seven artists use artistic methods to sample slices of urban life and reconstruct or reproduce them, giving viewers an even more penetrating insight into these issues.

The participants in “Dark City” include local experienced architects Albert HO, Jay W. CHIU, Kris YAO, Shi-chieh LU, Kyle Chia-kai YANG and Victor Y. C. SU. These six explore the relativity of lightness and darkness within the city, including urban night life and darker spaces, and the unique, mesmerizing nightscapes of Asian cities, through their individual viewpoints and methods of interpretation. For this exhibition, these architects transform themselves into spatial magicians, using changes in light, shadow and sound, and the reorganization of visiting routes, to create an epitome of their individual “Dark Cities” within the museum.

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.

Programmation Satellite. Cycle “Terrains de jeux” 4/4

du 01 juillet au 28 septembre 2008

Virginie Yassef crée des vidéos, des photographies et des sculptures qui semblent puiser leur source dans le monde de l’enfance. Sous le regard de l’artiste, les gestes du quotidien, des situations simples prennent une dimension nouvelle. Sollicitant régulièrement la participation du visiteur dans ses installations, Virgine Yassef interroge, pour son projet au Jeu de Paume, le rôle du corps dans l’espace d’exposition. En collaboration avec d’autres créateurs (artistes, compositeurs…), elle expérimente une collaboration scénographique.

Installé dans l’espace du foyer, un éléphant constitue le cœur du dispositif. Conçue spécifiquement pour l’exposition, cette œuvre explore les liens ambigus entre sculpture et architecture, art majeur et art populaire. Cette structure, qui semble issue d’un décor de théâtre, évoque la figure emblématique du cheval de Troie. Des sons, qui s’échappent des entrailles de l’animal, suggèrent la présence d’un possible atelier clandestin.
L’œuvre est mise en scène au sein d’une plus large installation constituée de chaises reproduisant la “Crate chair” que Gerrit Rietveld — designer, architecte et ébéniste néerlandais — dessina en 1934. Ce modèle représente un archétype de l’assise : il est conçu pour être réalisé de façon extrêmement simple avec des matériaux sommaires, des planches issues de palettes en bois. Le dialogue s’instaure ici encore entre la logique de production de masse et la création artistique.
Pensée à la fois comme un travail autonome mais aussi comme un lieu à habiter, cette installation devrait accueillir ponctuellement des performances.

Dans l’espace de la mezzanine, l’artiste réinterprète, l’œuvre intitulée Alloy. Dans ce film, un enfant manipule des éléments aimantés et les assemble de façon aléatoire, créant ainsi des édifices à l’équilibre précaire.
Faisant écho à cette vidéo, un des éléments de cet étrange jeu de construction fait éruption, à l’image d’un cerveau hypertrophié, dans l’espace de l’exposition. Dans un univers proche de celui de la science-fiction, Virginie Yassef crée une narration onirique qui s’ancre dans un réel lointain.

Exposition organisée avec le soutien de la Fondation nationale des arts graphiques
et en partenariat avec Art Press et Oui FM

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

June 19 – July 26 2008
OPENING RECEPTION: Thursday June 19th, 6 - 8pm (open to the public)

Location One presents And we move, an installation by New York based artist Jean Shin, which was developed during her residency at Location One. The opening will be held on Thursday June 19th from 6 to 8 pm and the exhibition will remain open to the public through Saturday July 26th, 2008.

Conceived as a site-specific installation, And we move continues Jean Shin’s investigation into the nature of music and its production. The installation utilizes the display of clothing, a video projection on fabric, unwound audio tape, embroidery, and compositional scores on prints, to explore how music is visualized and expressed through movement of the body, and how sound can be imprinted onto a surface. The result is the creation of a multimedia installation. The title And we move refers to the phrase iterated by the conductor as he begins to work with the musicians and evokes the dynamic relationship between them. It also refers to the way in which music moves its listeners.

In the video, the conductor’s back is isolated into a cropped view of his jacket as he leads the orchestra to play the lyrical score of Ma Vlast (My Country), a piece by Czech composer Bedrich Smetana, and Ibert’s Flute Concerto. The single viewpoint creates a mysterious, suggestive abstraction of something alive, pulsing, moving. As the conductor engages with each second of every orchestral part, the image of his moving jacket speaks to his essential relationship as an individual to the group of musicians and ultimately his role in both interpreting and realizing each collaborative performance.

The artist has chosen to include the structural columns of the gallery in her installation, which she equates to the structural system of a musical score, with measures and repetitive lines. Found magnetic audio tape is wrapped around and extended between the columns in a fluid and expressive manner, evoking the act of drawing, and creating a line of sound within the architectural space. The audio tape also refers to the materiality of music and its making; metaphorically it refers to the socio-economic interrelationships that lead to the production of music.

Further exploration of the themes is provided by a series of five large-scale inkjet prints on fabric. The prints are stills from the video which capture the conductor’s body in action and become moments of music frozen in time: music and movement distilled. On the bottom portion of each print, the score of Smetana’s composition is printed continuously in a long horizontal band extending through all five images while the audio levels of the video are translated into a line of embroidery that runs between the still and the score, visually suturing the distinct elements together. The artist’s intention is to create a pause in the movement of a conductor’s action and contrast it with the musical language of the compositional score as well as the sampling of the audio track that is a record of the actual performance.

The use of clothing as representation of the body is integral to Jean Shin’s practice. In this new project, the artist is also thinking about the expressiveness of fabric throughout history (such as the Baroque and Hellenistic periods) and how it became almost more important than the figure, because it revealed the imprint of the figure, something greater than a simple depiction of the body.

Jean Shin’s residency at Location One is supported by the Rockefeller Brothers Fund.
Thanks to Solo Impression Inc. for producing the digital prints for this exhibition, to Richard Lanier, Joseph W. Polisi, George Stelluto and the Julliard School of Music for their invaluable help.

TONY FITZPATRICK Boeuf Gras, 2008,
Mixed media and collage on paper.
7 1/2 x 10 1/2 in.
Courtesy the artist and Pierogi, Brooklyn

March 11, 2008

Prospect.1 New Orleans

Announces Artists for its Inaugural Biennial
and Highlights of Works to be Presented

November 1, 2008 - January 18, 2009

Additional Venues Announced

http://www.prospectneworleans.org

Dan Cameron, Director and Curator of Prospect.1 New Orleans, announced today the names of the 81 local, national, and international artists selected to participate in the inaugural edition of the biennial, on view November 1, 2008, through January 18, 2009. Hailing from 36 countries and five continents, many of these artists are creating new and original works that respond both to the locations in which they will be installed and to the city of New Orleans as a whole, for the largest biennial of international contemporary art ever organized in the United States.

Selected artists (in alphabetical order)
ALLORA & CALZADILLA, GHADA AMER, EL ANATSUI, JANINE ANTONI, ALEXANDRE ARRECHEA, LUIS CRUZ AZACETA, JOHN BARNES, JR., SANFORD BIGGERS, WILLIE BIRCH MONICA BONVICINI, MARK BRADFORD, CANDICE BREITZ, CAI GUO-QIANG, CAO FEI, FRANCIS CAPE, CHEN CHIEH-JEN, ADAM CVIJANOVIC, JOSE DAMASCENO, ANNE DELEPORTE, LEANDRO ERLICH, SKYLAR FEIN, ROY FERDINAND, JR., TONY FITZPATRICK, GAJIN FUJITA, RICO GATSON, KATHARINA GROSSE, TRENTON DOYLE HANCOCK, VICTOR HARRIS & FI YI YI, ARTURO HERRERA, JACQUELINE HUMPHRIES, ISAAC JULIEN, WILLIAM KENTRIDGE, LEE BUL, KALUP LINZY, SRDJAN LONCAR, RAFAEL LOZANO-HEMMER, DEBORAH LUSTER, JORGE MACCHI, SHAWNE MAJOR, NALINI MALANI, McCALLUM & TARRY, DAVE MCKENZIE, JOSEPHINE MECKSEPER, JULIE MEHRETU, AERNOUT MIK, BEATRIZ MILHAZES, TATSUO MIYAJIMA, YASUMASA MORIMURA, ZWELETHU MTHETHWA, WANGECHI MUTU, SHIRIN NESHAT, MARCEL ODENBACH, KAZ OSHIRO, MIGUEL PALMA, PEREJAUME, PIERRE ET GILLES, JOHN PILSON, SEBASTIÁN PREECE, NAVIN RAWANCHAIKUL, ROSÂNGELA RENNÓ, PEDRO REYES, ROBIN RHODE, STEPHEN G. RHODES, NADINE ROBINSON, CLARE E. ROJAS, KAY ROSEN, MALICK SIDIBÉ, AMY SILLMAN, NEDKO SOLAKOV, MONIKA SOSNOWSKA, JACKIE SUMELL and HERMAN WALLACE, SUPERFLEX, FIONA TAN, PASCALE MARTHINE TAYOU, FRED TOMASELLI, JANNIS VARELAS, XAVIER VEILHAN, PAUL VILLINSKI, , NARI WARD, XU BING, HAEGUE YANG

Highlights of the Biennial
A number of biennial highlights respond to the destruction wrought on the city of New Orleans and the Gulf Region in 2005 by Hurricane Katrina. Mark Bradford will create a wooden Ark utilizing the shell of a destroyed house and other discarded scraps of wood in the Lower Ninth Ward. Paul Villinski, a New York-based artist known for creating work from debris who has said he found “new, urgent purpose in the disaster of Hurricane Katrina,” will create his Emergency Response Studio, a “green”-powered mobile artist’s studio, out of a discarded, now-iconic FEMA trailer. South African photographer Zwelethu Mthethwa, who first visited New Orleans in the more immediate wake of the hurricane, returned to the Lower Ninth Ward in late 2007 to create his first photographs outside of Africa, which will debut at Prospect.1.

Highlights of the biennial also include works by artists who have selected unique locations in which to install work. Adam Cuijanovic will paint one of his murals inside an abandoned house in the Lower Ninth Ward, and Nari Ward will convert an abandoned church in the Lower Ninth Ward into an installation. Kay Rosen will transform city billboards and benches into enigmatic word-puzzles. Navin Rawanchaikul will present his New Orleans I Love Taxi Project, similar to one created in New York in 2001 with the Public Art Fund. In New Orleans, he will interview taxi drivers and weave their tales into a comic book story that he will produce and print, then distribute in city taxis during the biennial.

A number of New Orleans-born and based artists have also been selected to participate in the biennial, among them Shawne Major, who is creating three large-scale wall hangings; Willie Birch, who will present a new series of drawings; and Croatian-born, New Orleans-based sculptor Srdjan Loncar, who will erect a sculptural pile of money in front of the Old U.S. Mint and encourage the public to carry some of it away in briefcases provided at the site.

Participating Venues
Previously Announced: Contemporary Arts Center New Orleans, The Historic New Orleans Collection, L9 Center for the Arts, Louisiana Artworks, The Old U.S. Mint Louisiana State Museum, The National World War II Museum, New Orleans African American Museum, New Orleans Center for Creative Arts|Riverfront, New Orleans Museum of Art, Newcomb Art Gallery at Tulane University, and the Ogden Museum of Southern Art.

New Venues: Ashé Cultural Arts Center, The George & Leah McKenna Museum of African American Art, and Longue Vue House & Gardens.

Funding
This exhibition has been made possible with the support of Prospect.1 New Orleans Founding Benefactor Toby Devan Lewis; U.S. Biennial, Inc. Board of Directors; The Andy Warhol Foundation for the Visual Arts, Inc.; and the Prospect.1 Kingfishers Leadership Committee.

U.S. Biennial, Inc., the nonprofit organizer of Prospect.1, continues active outreach for funds to underwrite the exhibition. To make a donation, please visit http://www.prospectneworleans.org

About Prospect.1 New Orleans:
Dan Cameron conceived Prospect.1 New Orleans to reinvigorate the city, a historic regional artistic center, following the human, civic, and economic devastation of Hurricane Katrina. The primary goal of the biennial exhibition is to redevelop the city as a cultural destination where the visual arts are celebrated and can once again thrive. New Orleans was the first U.S. city to host a recurring international art exhibition, beginning in 1887 with the Exhibition of the Art Association of New Orleans. In this tradition, Prospect.1 will provide the public with work by 81 artists conceived and developed for the city. The largest international art biennial ever held in the United States, Prospect.1 will reach an estimated audience of 100,000 visitors, half of whom will likely be Louisiana state residents.

For more information on Prospect.1 New Orleans, please visit http://www.prospectneworleans.org or contact U.S. Biennial, Inc. at (212) 686-5305 or info@prospectneworleans.org .

Benji Okuda instructing a life drawing class, an adult night school group at the Heart Mountain Relocation Center, Heart Mountain, Wyoming. Image courtesy of the National Archives, Records of the War Relocation Authority, 1941-1947.

June 16, 2008

New Museum

Night School: Public Seminar 6

Space within space within space /
Things to do while you’re alive /
Keywords School
Hu Fang, Zhang Wei & Xu Tan
June 19th - 21st, 2008

235 Bowery
New York, NY 10002
212.219.1222

http://www.newmuseum.org

Night School is an artist’s project by Anton Vidokle in the form of a temporary school. A yearlong program of monthly seminars and workshops, Night School draws upon a group of local and international artists, writers, and theorists to conceptualize and conduct the program.

Thursday June 19th, 7:30PM
Space within space within space

Vitamin Creative Space functions as an alternative working model specifically geared to the contemporary Chinese context. In order to operate independently from institutionalized funding, it is active both as an “independent” art space and as a “commercial” gallery. Vitamin Creative Space is actively challenging preconceptions by merging these two models, which traditionally are opposed strategies for supporting and presenting contemporary art, and is developing new Chinese contributions through research into both: the artistic practice and institutional organization within the new global context.

The seminar will look at the recent practice of Vitamin to explore how it is not merely a physical space, but is an attempt to create a new model for development and distribution of artist’s new thinking on creativity.

Friday, June 20th, 7:30 PM
Things to do while you’re alive

Accompanied by a slide show of Hu Fang’s recent pictorial collection of adverts, signs, photos from the realm of public media, Hu Fang and Zhang Wei will spontaneously generate a narration of a “life journey” and spatial transformations, outlining global surroundings we are living in and how there can be a possibility of the space for the artistic view of life: a view which proposes an alternative way of transforming reality.

Saturday, June 21st, 3 PM
Keywords School

The “Searching for Keywords” project was initialled from a series of interviews of active people in the Chinese society or people in the active Chinese area. By analyzing the content of these conversations, artist Xu Tan identified certain “keywords,” terms which shed light on values and motivations of contemporary Chinese society. “Keywords” measure the pulse of the current social climate and present an insight into the collective social consciousness of China. “Keywords” looks at connections between the individual speakers, words and the mental tendencies of the society.

In this seminar, Zhang Wei and Hu Fang will invite Xu Tan to discuss his Keywords project and introduce the idea of opening a “Keywords School,” as well as his conceptual approach, method and the larger social landscape made visible by the Keywords – a landscape of “collective consciousness” which actually frames our daily process.

Zhang Wei is director and co-founder of Vitamin Creative Space http://www.vitamincreativespace.com established in 2002, an independent art initiative exploring an alternative working mode, specifically geared to the contemporary Chinese context. Lives and works in Guangzhou and Beijing.She graduated with a MA in Creative Curating at Goldsmiths University in London, and has organized numerous exhibitions internationally. She has contributed to numerous exhibition catalogues and international magazines including Parkett, and curated(co-curated) and organized the show inside and outside Vitamin Creative Space include “Sprout from White Nights”(Bonniers Konsthall, Stockholm, 2008), “Through Popular Expression” at the Singapore Biennial (2006),ect. Zhang Wei is particularly interested in the exploration of the unique contribution from Chinese context within the international contemporary scenes, through which people can be inspired to find the new entry into life.

Hu Fang is an author and co-founder of Vitamin Creative Space. Lives and works in Guangzhou and Beijing.As a novelist and writer, Hu has published a series of novels including Shopping Utopia, Sense Training: Theory and Practise, and A Spectator. His recent publication is a collection of fictional essays called New Arcades (Survival Club, Sensation Fair, and Shansui.) His writing has appeared in Chinese and international art/culture magazines since 1996. His curatorial practices are widely engaged in different situations within Chinese and international contexts, he is coordinating editor of documenta 12 magazines, link curator of Singapore Biennial 2006 and a “player” of Lyon Biennial 2007, as well as the member of the curatorial team of Yokohama Triennale 2008.

Xu Tan was born in Wuhan, Hubei Province in 1957 and currently lives in Shanghai and Guangzhou. In the early 1990s he joined the “Big Tail Elephant Group” in Guangzhou with Lin Yinlin, Chen Shaoxiong and Liang Juhui. The aim of this group is to develop critical strategies for negotiating the rapidly changing economic and cultural life in China. His work has been shown around the world including the P.S.1, Biennale di Venezia, Berlin Biennial, Asia Pacific Triennial of Contemporary Art in Brisbane, Australia, Guangzhou Triennial, Taipei Biennial, De Appel in Amsterdam. Recent solo shows were held at the DAAD Gallery in Berlin, at the Vitamin Creative Space in Guangzhou, at BizArt is Shanghai.

All events are free with Museum admission but tickets are required. Tickets can be reserved online or at the Museum one week before the seminar’s start; a limited number of tickets will be available one hour before each event’s start. Tickets are limited, distributed on a first-come-first-serve basis, and must be collected prior to the event’s start time. Unclaimed tickets will be released promptly at the event’s start time. Please check individual events below for tickets and more information.

For tickets see http://www.newmuseum.org/events

Night School is part of the Museum as Hub, which is made possible by the Third Millennium Foundation.

With additional generous support from the Metlife Foundation

Additional support is provided by the National Endowment for the Arts, the New York City Department of Cultural Affairs, and the New York State Council on the Arts.

Endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.

Generous support also provided by the Charlotte and Bill Ford Artist Talks Fund.

Gallery Satori is pleased to present our first inaugural exhibition, UNREAL CITY curated by Mariko Tanaka.

UNREAL CITY focuses on artists’ portrayals of the urban metropolis with works by international artists active in North America, Europe, and Asia. With U.N. forecasts that half of the world’s population will live in “mega cities,” and that most will be city dwellers by 2050, artists in this exhibition have been challenged to interpret both the present and future of urban life. By exploring cities as dynamic products of human imagination - even arising through a sort of collective imagination, the process of a city remaking itself can be seen as a large scale parallel to the process of art making.

The exhibition considers the role of human imagination in transforming cities both from the top down, and the ground up. Examining the role of the urban developer as parallel, with that of the artist, the exhibit seeks to explore the tumultuous and transformative spirit of contemporary cities. Borrowing its title from T.S. Eliot’s “The Waste Land,” the exhibition focuses on the basic unreality of contemporary cities, in the sense that they are under constant re-imagination, and often only loosely tethered to their cultural origins. This unreality inherently forces tensions between new and old. And, while never unattended by controversy, this tension is undeniably a creative force to be reckoned with.

Hands together: New York Artists Gather for China Earthquake Relief to Benefit UNICEF

(download flyer in pdf format)

June 14, 2008 @ 3pm
The Players Theatre
115 MacDougal Street (between W 3rd and Minetta Lane)
Tickets: $45 / Group of Four: $125 (Promotional code is: 4UNICEF)

Tickets can be obtained through Theatermania at www.theatermania.com or call (212) 352-3101

OR click on the following link:
http://www.theatermania.com/content/show.cfm/show/144637
OR go to www.theatermania.com and search under Matrix Music Collaborators

Proceeds to benefit U.S. Fund for UNICEF

This special presentation will feature an international line up of artists to include:

Min Xiao-Fen, pipa / Wu Na, Gu Qin / Huang Ruo, composer / Eric Siu, visual artist /
Pan Asian Repertory Theatre / Asian American Writers’ Workshop /

Members of Matrix Music Collaborators:
Yoon Kwon, violin (acoustic & electric) /
Yuri Namkung, violin (acoustic & fiddle) /
Wendy Law, cello / Justin Berrie, flute / Christa Robinson, oboe /
Rachel Calin, bass / Sheryl Lee, piano & artistic director

Puppeteers:

Deborah Hertzberg / Serra Hirsch / Daniel Irizarry / Mary Robinette Kowal /
Chris McLaughlin / Jessica Scott / Meghan Williams / Jodi Eichelberger

led by Jane Catherine Shaw and Terry O’ Reilly, co artistic-directors

Program:

Drunken Man by Jiu Kuang, based on a famous poet of the western Jin dynasty (265 -420)
Blue Pipa (inspired by Miles Davis) by Min Xiao-Fen
The North of Sunset by Thelonius Monk, arr. by Min Xiao-Fen
Mo (dedicated to the victims of the Sichuan earthquake) by Min Xiao Fen and Wu Na

Four Fragments for solo violin by Huang Ruo

Excerpts from The Joy Luck Club

a play by Susan Kim, adapted from the novel by Amy Tan
with direction & musical staging by Tisa Chang
Oblivion by Piazzolla

“Super Cop World” video installation featuring mighty Mario and Jackie Chan

designed by Eric Siu
Peter and the Wolf, Op. 67 by Sergei Prokofiev - a staging with Chinese
Puppets with Matrix Music Collaborators

Involvement/ Support and special thanks to the following:
Asia Society; Asian Cultural Council; Asian American Advertising Media; Franklin Furnace Foundation; UNICEF for U.S. Fund; Chinese Consulate, NY; Chinese Mission to the United Nations; The Players Theatre; Mabou Mines; PS 122; Jeremy Klaperman; Lawrence Uy; Chinatown Ice Cream Factory; Matrix Music Collaborators; Pan Asian Repertory Theatre and Asian American Writers’ Workshop and bluepipa.org

Piano Courtesy of C.Bechstein America
Generously hosted by The Players Theatre

Co-producers: Terry O’Reilly and Sheryl Lee
Marketing Director: Barbara Okishoff
Graphic Designer: Yuan Zhou

We are pleased to present new work by Daniel Andersson (Finland) and by Tseng Yu-chin (Taiwan), participants of the International Residency Program this year.

We are pleased to present new work by Luis Nobre (Portugal) and by Eric Siu (Hong Kong), who have participated in Location One’s International Residency Program this year.

Eric Siu
Optical Handlers – eeyee, 2008

Optical Handlers – eeyee is a new interactive media project that consists of an optical goggle device constructed by the artist, which splits the vision into four channels. On May 11th the artist walked with the goggles from Location One to Union Square via Broadway by foot and subway, doing various mundane activities such as stopping into shops and having coffee. He was accompanied by a friend who was responsible for his safety and introduced him to people who want to interact with him.

The exhibition consists of a video of the street performance, a video of Eric’s vision through the goggles (namely four POV’s), a full goggle set up for use by one visitor at a time, and four little screens that allow the rest of the public to view what that person is experiencing. On display are also the Alien “eeyee” suit that Eric was wearing, as well as the Master suit worn by the friend. Both suits are meant to allow the public to “see through” him.

The artist will be available to demonstrate the workings of eeyee from 4 to 6pm when the exhibition is open.

Eric received a diploma in digital media studies at IVE in 2001 followed by a B.A. at the School of Creative Media of the City University of Hong Kong in 2005. In 2005, he made his first trip abroad when he received an honorable mention at the Media Art Biennial in Poland for his eight-minute work Sliding Whites, becoming the first Hong Kong artist to win recognition at this prestigious event.

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

Online: www.ericsiuart.com

Luis Nobre
Hold It! 2008

Hold It! is an installation that creates a fantastical, sometimes hallucinatory vision of nature, the city and the artist’s studio. Visual play is generated by overlapping layers of drawings, ephemeral sculptures made of paper and cardboard, light wire objects, all constructed by Nobre in-situ. For the first time the artist also incorporates video into his work, with footage taken on the Williamsburg bridge, in Greenpoint, and in his native Portugal.

The coming together of all these elements whose scale, medium and density are so disparate, creates a vibration, a tension of line and meaning that feed the artist’s ongoing exploration of nature, survival and the “implications of the empty space” between the originally observed subject and its displayed rendition.
Luis Nobre graduated in 2001 from the Escola Superior de Arte e Design, Caldas da Rainha, Lisbon. Exhibitions include the 5th International Biennial of Sculpture and Drawing, Caldas da Rainha; Sub.864-873, Museu Malhoa, Caldas da Rainha; Between Heaven and Hell, Museum of Natural History, Lisbon; Year of the Dog, Ale and Porter Arts, Bradford, UK; Ohhh Naturel! Madame Lillies, London.

Online: www.luisnobre.net

Luis Nobre’s residency at Location One is supported by dgArtes, Ministerio da Cultura, Lisbon, Fundação Ilidio Pinho, & Instituto Camões

556 West 22nd Street, New York, NY 10011
tel 212.255.0719 e-mail contact@chelseaartmuseum.org
fax 212.255.2368
open Tuesday through Saturday Noon to 6pm
Thursday Noon to 8pm
closed Sunday and Monday
$8 adults, $4 students and seniors, free for members and visitors 16 and under

> Hoofers’ House
> Hosted by Jason Samuels Smith
> Featuring DJ Reborn
>
> Live Visuals by Rashaad Newsome
>
> Friday, May 23, 8pm
>
> FREE
>
> Co-Presented with The Studio Museum in Harlem
>
> Curated by Rashida Bumbray
>
>
>
>
> Hoofers’ House is an ongoing quarterly series where some of the
> best of New York City’s rhythm tap community come together to share
> and showcase their moves. Among the most unique and cutting edge tap
> jam sessions in the city, Hoofers’ House has been
> propelling a rejuvenation of the genre for the last several years
> with the addition of live and electronic music and projected
> visuals. Prominent past participants who have graced the floor
> include figures such as Fayard Nicholas, Jimmy Slyde, Tina Pratt,
> Jason Bernard and Ayodele Casel. So come enjoy the show or bring
> your shoes and join the jam!
>
> This program is made possible with generous support from Altria Group,
> Inc., The Harkness Foundation for Dance, The Jerome Robbins
> Foundation, the Mertz Gilmore Foundation, and with public funds from
> the New York City Department of Cultural Affairs and the New York
> State Council on the Arts, a state agency.
>
>
> Photographer: Ray Llanos
>
> For more information about all
> Kitchen events, visit
> www.thekitchen.org.
> The Kitchen is located
> at 512 West 19th Street between 10th and 11th
> Avenues.
> Subway: A, C, E to 14th Street; 1 to 18th Street;
> L to 8th Avenue

avec le concours de la Ville de Brest, de Brest métrpole océane, du Conseil Général
du Finistère, du Conseil Régional de Bretagne et du Ministère de la Culture et de la
Communication (DRAC Bretagne)

http://www.cac-passerelle.com/isabelle-ferreira.html

The international residence program at SoHo’s Location One convenes to perform and screen works on 4 screens. Artists showcased tonight include:

Rob Kennedy
Nina Sobell
Eric Siu
Rashaad Newsome
Aoife Collins
Kuba Bakowski
Daniel Andersson
Katia Kameli
Luis Nobre

http://www.monkeytownhq.com/5_11_08.html

2×2: New Randy & Bob Holman w/ Vito Ricci
Friday - May 2nd, 2008
8:00 pm poetry, 9:00 pm show
tickets $15

Reservations 212.334.3347

2×2 brings together two poet/musician duos in a night of New Poetry, Old School style

New 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

- - - - - - - - - - - - - - - - - - - - - - -

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 bottle
A trickle down sound from the nickel that bought you
America the Beautiful in quarantine
A cardboard mattress and a cardboard dream

Barbecue trashcans linin the Hudson
Dogs are howlin as you throw the spuds on
Pasta Mon’s recipes gettin kinda smelly
Rat ratatouille & vermin vermicelli

Three 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 future
Opened up its arms
I invented the car
And Rembrandt

Take off your clothes
I will make a book cover
And put a photo of me on the back
To make sure it sells

Every morning I wake up
Give myself a big kiss
And paint a masterpiece
Then I have a coffee

Thus 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.

April 24-June 14, 2008
Thursday April 24th, opening 6 -8 pm
open through Saturday June 14th

Aoife Collins (pron Ee-fa) will be showing a number of sculptural and two dimensional works for her exhibition at Location One, exploring synthetic experience and mimesis, transference and its relationship to text and historical figures and influence upon cultural legacy.

Aoife’s interdisciplinary practice is shaped by recurrent themes of permutation, multiplicity, cultural paraphernalia and mass identification. Works are made out of existing materials, substances and structures that are transferred into new forms of narration. In her attempt to open up the realm of possibility, the artist pays close attention to the ability of objects to role-play and the extent of their mutability.

In 2002. Aoife earned a B.A. from National College of Art & Design, Dublin followed in 2004 by an M.A., Chelsea College of Art and Design, London. In 2006 she completed a residency at the Skowhegan School of Painting and Sculpture. Recent exhibitions include: The Devil in miss Jones, Meals & SUVs, London (2006); Eva, Limerick City Gallery of Art, Limerick (2005) curated by Dan Cameron.

http://www.iaci-usa.org/locationone.html

Aoife’s residency at Location One is supported by The Arts Council / An Chomhairle Ealaíon and the Irish American Cultural Institute.

more >>

Artist-in-Studio As Spectacle: Internal Message Search: A Performative Installation

April 18-April 30, 2008
artist reception: Thursday, April 24, 6 - 8 pm

Nina Sobell will install her studio in Location One’s Project Gallery, which includes recent wax
sculptures, drawings, keyboard, guitar and mic.
Visitors to the gallery will be able to engage in a dialogue with the artist about this work, and may bring their own instruments to improvise with her live on the web.

Sobell pioneered the use of video, computers, and interactivity in art, as well as performance on the Web. Since 1969, when she first used video to document participants’ undirected interactions with her sculptures, she investigates the extent to which video enables her to manipulate the relation between time and space, and to create a vortex for human experience, in which the mediated event coincides with public experience, memory, and relationships. Groundbreaking projects include ParkBench and VirtuAlice, and the ongoing Interactive Encephalographic Brainwave Drawings.

Nina’s work has been shown throughout the US, Europe, and Japan. An award-winning printmaker and figurative sculptor, an avid improvisational guitarist and keyboardist, she can be seen sculpting Emily in the ParkBench Performance Archives and heard playing music there as well.

LIVESTREAM & ARTIST PAGE

related works:
http://www.cat.nyu.edu/parkbench
http://www.cat.nyu.edu/parkbench/portfolio/5/frame.html

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

http://ninasobell.com

SOLO SHOW: DANIEL ANDERSSON

Exhibition runs for six month: April 12th until October 19th 2008
Opening: April 12th, from 17.00 - 19.00
www.depaviljoens.nl

Artists: Richard Wentworth, Marjolijn Dijkman, Savage, Eric Van Hove, Melle Smets,
Maurits Hertzberger, Frank Koolen, Sara Kolster, Derek Holzer, Marc Boon,
Kristin Posehn, SoundTransit, Maarten Vanden Eynde and Julie Peeters.

“The spatial behaviours that underpin present day life are subject to a broad pattern of structural change, a silent revolution often referred to as the information society, portrayed as a new, knowledge-based and borderless world, commonly associated with a collapse of time and space. As a result, spatial planning at a variety of scales is dealing with a new economic geography, electronic-based transactions, increased mobility and accessibility, and fundamental changes in the valorisation of spatial resources and assets. This information society has implications for future patterns of spatial development, creating a need for different and sometimes radical imaginations of spatial futures. (…)”
Gordon Dabinett, Planning and spatial justice in an information society,
in Localism and the information society, Edited and compiled by Richard Berry & Dave McLaughlin, UK, 2007.

The exhibition follows a workshop hosted by the Jan Van Eyck Academy in Maastricht, and partly ponder upon the area F-7, the only plot of land in the heart of Almere that hasn’t been ruler drawn yet.
New works will be developed and added throughout the duration of the show.

Amongst the works I present:
- Ecumenopolis (Worldwide, 2004-2008)
An MJPG nonlinear digital film experimenting with cinema as an apparatus of memory, a video still life of a sort. Using over 1500 short videos filmed in 60 cities, the aim of the piece is to represent the idea that in the future urban areas and megalopolises would eventually fuse and there would be a single continuous world-wide city as a progression from the current urbanization and population growth trends. As Brans Stassen, the man behind the planning of Almere said himself; such a dynamic is already occurring on a regional level in Flevoland.
- Filipino emigration series (The Philippines, 2008)
60 ID pictures in a specially designed cabinet (250×26x90cm)
- Bush’s names in Chinese (China, 2004)
Shanghaiese manufactured copper sheets (120×200cm)

Invitation
Location One presents its first ever “Virtual Residency Project” in the form of a call to artists and other creative individuals with the express purpose of fostering collaboration and creativity across geographical expanses and areas of expertise around the topic of the 2008 US Presidential Election. The goal of this residency is to find 3 participants who are not necessarily physically proximate but who are willing to collaborate with other artists, engineers, scientists, writers, musicians, poets, and activists to develop a project using such non-F2F (face to face) interfaces such as webcams, email, chat, video, blogs, Second Life, MIDI, skype, walkie-talkie, snail mail, radio or POTS (plain old telephone service), tin cans on string, or any other means of collaboration to develop a project that will be presented at Location One in the fall of 2008, in advance of the US Presidential election.

Though we will consider international residents, the theme of this inaugural residency is the 2008 Presidential Election and the buildup around this pivotal political event. The theme can be interpreted as broadly or as literally as the participants would like, the project will be developed collaboratively by the 3 individuals chosen for this residency project.

Location One will provide an area on its website where the project can develop publically through blogging, video, audio or other means.

Acceptable forms of Submission:
Please send CV, url or any materials to virtualresidency@location1.org by midnight May 15, 2008. Please include a few lines describing why you are interested in a collaborative virtual residency.

What kind of work should it be?
The project will be developed wholly by the participants. Location One can provide curatorial and technical assistance, but the final work will be created “offsite” or online. Online performance, remote music jam, streaming video, blogs, flash animations, radio transmissions, podcasts, Second Life theatre, iChat panel discussions, remote-controlled MIDI robot kittens acting out the debates are all examples of acceptable forms that the project may take. We are leaving the parameters intentionally broad in the hopes that it will elicit deeply creative responses to this topic.

I am happy to announce three events that I am going to participate in April. Hope you can join me if you will be around New York.

Best,
Eric

www.ericsiuart.com

Dorkbot Presentation
I am going to give a presention on “Optical Handlers -Quadocular” work-in-progress and “Fack Hack” in Dorkbot. If you have time, come share some ideas.
2 April, 08, 7pm
Location One, 26 Greene Street, New York
http://dorkbot.org/dorkbotnyc/02.april.2008/index.shtml

Monkeytown
“Super Cop World” will be featuring in “Samson Young and Matrix Music Collaborators”.
14 April, 14, 8pm
Monkeytown, 58 N.3rd Street, Brooklyn, New York
$5 Door, $10 Food/Drinks Minimun
http://www.samsonyoung.com
http://www.monkeytownhq.com

Matrix Residency @ Abrons Arts Center
“Rainy Nights” will be featuring with Eine Kleine Nachtmusik (1st mvt) by W.A. Mozart as a multi-media music performance.
18 April, 7:30pm / 19 April 3pm / 20 April 3pm
Abrons Arts Center, 466 Grand Street. New York
Tickets: $10
www.theatermania.com / 212. 352.3101

Thomas Bauer / Nathan Coley / Marcelline Delbecq / Aurélien Froment /
Victor Man / David Noonan / Géraldine Pastor-Lloret / Gail Pickering /
Jimmy Robert / Virginie Yassef

Vernissage samedi 5 avril à 17h30

Parc Saint Léger – Centre d’art contemporain

————————————————————————-

NAVETTE GRATUITE DE PARIS / INSCRIPTION AU 03 86 90 96 60

14h15 Départ de Paris - RDV place de la République, devant le restaurant McDonald’s (arrêt pour les cars)
17h30 Arrivée à Pougues-les-Eaux, vernissage au Parc Saint Léger
19h Buffet
21h Départ de Pougues-les-Eaux (arrivée à Paris vers minuit)

Visuel : Gail Pickering

Exposition ouverte du 6 avril au 8 juin 2008, du mercredi au dimanche,
de 14h à 18h et sur rendez-vous - Ouvert les jours fériés - Entrée libre

bises
virginie

Jani Ruscica: ”Batbox / Beatbox”

Batbox / Beatbox by Jani Ruscica is a work consisting of two experimental short films. Batbox / Beatbox reveals the limitations of human sight both in nature and in a cultural context. This work parallels two very opposed environments: nature depicted through bats’ nightly echolocation and the urban metropolis navigated by hip-hop artists.

“The films focus on two different ways to use sound and movement as tools to navigate and identify one’s environment. In Batbox sound and movement is portrayed as a biological phenomenon, in Beatbox as a cultural one. The dialogue between the two short films is skilfully realised on a structural, aural and contextual level”, says curator Marita Muukkonen from FRAME Finnish Fund for Art Exchange.

Ruscica has realised Batbox in collaboration with bat bioacoustics researcher Jon Flanders from Bristol University in England. Shot in a bat research laboratory and at night-time in the woodlands in Dorset, Batbox is a poetic depiction of bats’ capacity to use sound as a tool to locate themselves geographically. The searchlight used in the dark woods reveals human’s inability to see.

The leading roles in Beatbox are played by New York beatboxers Kid Lucky and Shockwave as well as Spoken Word artist Vocab. The spotlight used to highlight the suburban streets, basketball courts and subway tracks reveals the urban space a stage. Beatboxing is often called the fifth element of hip-hop; it was created in the South Bronx in the late 1970’s. With the lack of instruments and decks hip-hoppers started to emulate the sound of turntables, beats and drums with their voice. In the process Ruscica gave free rein to the beatboxers. Artistic collaboration and dialogue became central, the idea of creating together.

The work reflects on cultural processes, and on different ways to comprehend one’s living environment as well as on the aim to see without prejudice.

Jani Ruscica (b. 1978, Savonlinna, Finland) has a Bachelor of Arts degree from the Chelsea College of Art and Design in London and is currently finishing his Master of Arts (Art and Design) degree at the Finnish Academy of Fine Arts. Ruscica has worked as artist-in-residence in New York, Amsterdam and the Faroe Islands, and his video works have been exhibited in various international exhibitions, for example in London, Copenhagen, Berlin, St Petersburg, Barcelona and New York

Batbox / Beatbox will be on show at the Digital & Video Art Fair, The Streets in one of the twenty shipping containers brought to the gallery district in West Chelsea, New York for this event, from March 25 to March 30, 2008 with a preview on Saturday March 22, 2008 from 4 pm to 8 pm.

Batbox / Beatbox is being organized in collaboration with FRAME Finnish Fund for Art Exchange and the Finnish Cultural Institute in New York.

Further information:
Jani Ruscica: ”Batbox / Beatbox”: http://www.galleriahuuto.net/2006/etusivu/text_ruscica/engl.html

Gallery Side 2
Booth 680

Pier 94
Twelfth Avenue at 55th Street
New York City

The Armory Show 2008 Opening Day takes place Wednesday, March 26th for invited guests.

Opening Hours:
Thursday, March 27 - Saturday, March 29 Noon to 8 pm
Sunday, March 30 Noon to 7 pm
Tickets prices:

General Admission US$30

《Submerging blue》　2003　digital photography

Name：Wu Dar-Kuen
Participating project： Taipei - Tokyo Exchange Residency Program
Period：January 4th, 2008 – March 31st, 2008
Genre：Visual Art
Country (activity based)： Taiwan
For further information of the project, click here.

*Note: The visual aspect of this interview was the result of an unexplained technical mishap, one which pleased everyone involved.

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

http://newspapertree.com/culture/2221-my-life-at-the-border-arts-residency

Snake Alley is part of Asian Contemporary Art Week which connects leading New York City galleries and museums in a citywide event comprising of public programs such as exhibitions, receptions, lectures and performances. The Week focuses on the broad spectrum of artworks produced by Asian contemporary artists working in their home countries and abroad. Please see details from http://www.acaw.net/ACAW2008/aboutacaw/

Snake Alley is a two-venue group exhibition of cutting-edge Taiwanese contemporary art at The Taipei Cultural Center and The Gabarron Foundation Carriage House Center for the Arts—Curated by Eric C. Shiner

Deep in the midst of Taiwan’s capital Taipei lies the Wanhua District, the city’s most historic area and home to Longshan Temple, the city’s oldest religious structure. The area was also home to Taipei’s red light district and a tourist attraction called Snake Alley where live animals including snakes and turtles were displayed in small cages—and often publicly killed for the extraction of their blood which could be consumed on site for good health and sexual prowess— until animal rights activists successfully brought the practice to a stop in the 1990s, or, more likely, pushed these activities behind closed doors, and thus ending this spectacle that was interweaved with tradition and hucksterism writ large. Today, it is a place filled with restaurants, night markets and shops, reflective of the bustling hub of the gleaming modern city that surrounds it. Yet, at the heart of Wanhua lie the secrets of Taipei’s past, a conceptual and shared history that artists from Taiwan have looked to again and again for subject matter that so often plays out in their work. In SNAKE ALLEY, the work of many of Taiwan’s most prominent contemporary artists shows how they are negotiating the epic changes that have occurred over the last two decades in Taiwan as the nation has exploded economically, and how they rectify those changes with an at times troubling past.

All of the artists in the exhibition examine the secrets, shadows and growing pains of contemporary Taiwanese culture. By no means pessimistic, their works smartly analyze the underground aspects of a specific site bound in the throes of unprecedented growth and informed by the binary of stability versus uncertainty that comes along with it. These artists look at the themes of identity, sexuality, politics and the environment (both built and natural) frequently, making critically-aware art that engages rather than condemns the ever-changing face of Taiwan.

Photojournalist and artist Chang Chien-Chi, for example, often turns his camera’s lens on the unspoken. His best known project comprised portraits of psychiatric patients whose families deeded them over to a temple complex known for taking in the unwanted. In SNAKE ALLEY, Chang again focuses on a topic of current debate in Taiwan: the growing number of older Taiwanese men who are traveling to Vietnam to use a service that matches them with a wife. Chang documents the process from start to finish in his “Double Happiness” series, showing the young women being interviewed, documented and eventually married (in a group ceremony) to their new mates from the other side of Asia. The portraits show resignation and excitement in not only the brides, but the nervous grooms as well, and document the simple fact that due to demographics, there simply aren’t enough women of marriageable age available for every potential husband back in Taiwan.

Twin brothers Chang Keng-Hua and Chang Geng-Hwa collaborate on projects revolving around technology and violence, and the fine line between the two. Here, the brothers display works from their “Shotgun Blue” series, sumptuous imagery of machine guns wrapped in black nylons and set against a rich blue ground. By encasing these lethal weapons in a product used in the construction of beauty—and the occasional bank heist—the Changs attempt to put a soft edge on the hard core realities of a world marred by war and violence, while at the same time critically addressing the media’s fixation on packaging war as a consumer product in and of itself. Young artist Chang Ling also looks at the meeting point of media and culture in his eerie paintings that combine traditional Chinese motifs, such as imagery of animals and nature, with such contemporary subject matter as war planes and mutated bodies. His fleshy and mysterious beasts populate a world riddled with violence, suggesting that Armageddon is upon us, or that it has already come to pass. Painter Wu Tien-Chang also depicts alternate bodies in his work, most often in the form of a strange clown-like character who appears again and again in the artist’s oeuvre. Whether riding a bicycle built for two or rowing in a boat, Wu’s strange and slightly menacing clowns, like Chang Ling’s animals, allow us to imagine a world populated by the completely bizarre.

Contemporary dance wunderkind Chou Shuyi not only pushes into uncharted territory in his choreography and dance performances, but also goes so far as to create installation art within which he stages dance happenings. Seemingly impromptu in nature, his jolting recitals are in actuality very much planned and rehearsed; their manic movements and seizure-like vibrations standing in for the real bodies which navigate the space of a radically-shifting Taiwanese landscape, both actual and psychological. Photographer and performance artist Hou I-Ting also looks at the topic of changing bodies in space by using herself as the primary subject of her work. Hou uses costuming and make-up to create alternate personalities, for example a sexy—yet faceless—figure in Day-Glo fishnets and a neon yellow wig in an early video work, while using a projector in other photo-based work to literally screen other possible selves onto her actual face and body. In so doing, Hou melds fantasy and reality, making us question the limits of both.

Painter Hua Chien-Chiang also creates fantasy environments, often using mythic animals and technologically-enhanced bodies as the main characters in his vivid canvases. In Hua’s world, birds sprouting earphones or USB cables as plumage are the norm, as are human beings with recharger attachment portals and futuristic jetpacks. Here, the past and the future become one, exactly mimicking the actual conditions of society in flux that so defines contemporary Taiwan. Sculptor and installation artist Huang Shih-Chieh also works within this vocabulary, but in radically different—and often large-scale—ways. A representative of Taiwan at the 2007 Venice Biennale, Huang is known for using junk technology as the primary material in his work. Highlighter fluid, cheap plastic shopping bags, remote control toy motors and other odd elements all come together in Huang’s flashing and whirring contraptions as if to bring a sense of optimism to the patchwork nature of life in the here-and-now. For SNAKE ALLEY, Huang installs his massive work Organic Concept in the carriage house of the Gabarron Foundation at 149 East 38th Street. Consisting of just a few box fans and meter-upon-meter of reconstituted plastic bags, the billowing snake form that results inhabits the entire space and is both menacing and tranquil in equal measure. Sculptor Wong Yuh-Shioh also uses the detritus of life—polystyrene foam, marbles, bricks—to piece together fantasy realms based in the realm of nature. Her Jellyfish Lamp sends out a bright light that seems to expose the cheap materials from which it is made, making us question the concept of truth and beauty, and indeed of life itself.

Carrying on with this theme, artist Ku Shih-Yung presents a video work, The Astonishment of What I Have Been Through Abolishes the Aureola of Experience, that features an animated skeleton cavorting on the screen. Part of a larger installation that was presented at the Taipei Museum of Contemporary Art, the work looks at the underpinnings of life and how something as simple as our own biological framework can be construed in a variety of ways, while at the same time charting the course of time on our physical containers. And it is those very containers that photographer Kuo Hui-Chan takes as her subject matter, often times using her own body as the canvas upon which she depicts alternate beings or fantasy environments. Literally painting aspects of architecture, nature and urban views over her skin and clothes, Kuo becomes a chameleon that perfectly blends into her surroundings, whether against a back alley wall in downtown Taipei, or standing in a rice paddy in the countryside. By becoming one with the diverse landscapes of Taiwan, Kuo charts her lived environment by fusing herself to its very make-up.

The youngest artist in the show, Lan Yuan-Hung, also manipulates the body, however does so not to blend in, but to stand out. His grotesque digital manipulations feature men across a variety of age groups and body types lying in their beds in contorted poses and sprouting additional appendages such as an extra leg here or a third arm there. Seemingly depicting the after effects of a toxic spill or nuclear disaster, Lan’s mutants both repulse and attract thanks to their focus on the flexibility of the human form, whether through digital or actual means. Video artist and photographer Lin Hsin-I also features mutants in her animated films and enhanced photography. Here, the artist plays the role of a futuristic nymph with cyber eyes and sockets embedded into her flesh, no doubt a site for the implantation of nourishment, energy or data. Lin’s work often features this cyborg character in lush tropical environments, an effect that makes her robot-like form appear even further distanced from nature. She questions the role of the human corpus as technology gradually overtakes it, positing that at some point in the not-too-distant future we may all begin to morph into hybrid bodies that straddle the binary of nature versus technology. Video pioneer Yuan Goang-Ming also explores this divide in his new series of videos and C-prints composed of endless thickets of lush green leaves, all without life-giving veins below their glistening surfaces. Through using technology to erase an important element of his natural subject, Yuan takes on the role of creator, editor and fabricator in one fell swoop, producing a faux nature that can never exist in real life.

For sculptor Shyu Ruey-Shiann, this same binary has always infused his work with a hard-edged grit and witty sense of humor. Known for his large-scale sculptural works made from old machine parts, working motors, fan belts and gears, Hsu seems to utilize the detritus of industry as the primary building blocks of his elaborate works. Referencing Taiwan’s own loss of industrial jobs due to rising production costs and the migration of factories to mainland China in the 1990s, Hsu’s work gives the past’s mechanical ghosts a new lease on life. Here, his new sculpture Between comprises two standard kitchen garbage cans in metal. When guests use the foot pedal to open the can, they are confronted with a most unexpected barrage: lion roars exploding from the speakers set within. As with his massive churning sculptures, Hsu here too seamlessly blends the natural with the man-made, forcing us to question where the line of distinction between the two truly lies.

Video artist Tseng Yu-Chin also confronts the “man-made” in his work, but not via industrial or technological means. Tseng is much more concerned with the production of identity as it develops in childhood and how the fears, dreams and secrets of our youth remain with us for a lifetime. Perhaps Taiwan’s most celebrated young artist, with a showing at Documenta in 2007 and the recent receipt of China’s most celebrated art prize, the ACCC Award, Tseng has created an entire aesthetic vocabulary based on diverted glances, childhood uncertainty and a sense of longing for something just outside the camera’s frame. Haunting in its loneliness, Tseng’s work takes us back to the universal time of feeling out of place and prompts us to think about the influence these memories have on us today. Novelist and photographer Seven U also takes us back in time, whether through a literary passage about the glories of youth, or through his stark black and white photography that documents the abandoned or hidden space of cities around the world. In his “Low” series, U snaps pictures in old factories and empty buildings throughout Taipei, showing that even in the face of unprecedented development and economic growth, unwanted and unkempt spaces still exist. Indeed, all of the artists in SNAKE ALLEY turn to the secrets and fantasies of a society in flux for inspiration, and in so doing, create works of art that capture the uncertainty, aspirations and realities of life in Taiwan today.

tpecc.org

Détourned Menu: Food in the Form of Activism
March 07 - April 25, 2008

555 Broadway, 10012, New York, Ny
Opening Reception & Performance by Cori Crowley & Bert Bergen
Friday, March 7, 6pm - 8pm.

Artist by Erik Carver & Howard Huang, The Center for Tactical Magic, Cori Crowley & Bert Bergen, DoEAT, Bessma Khalaf, Alessandro Nassiri, Chris Sollars & Jerome Waag, Eva Strohmeier, and Adam Zaretsky.

Curated by Brianna Toth

The term “détournement” comes from the political and artistic movement Situationist International, which became known for the reuse of existing elements within well-known media in order to create new work with a different message.Détourned Menu: Food in the Form of Activismbrings together a group of artists who investigate issues raised by the proliferation of biotechnology, perceived scarcity, and the weakening of standards that devalue terms such as “organic” and “all natural.” The performing, visual and collaborative artists included within this exhibition use food as a basis for their art and public education efforts. In so doing, they explore the ways in which food is intertwined with the interactions and decisions of our everyday lives. Providing food for thought, as well as something to fill one’s belly, the artists disrupt the visual and spatial codes of everyday life in order to render legible the relationship between food and the economic, social, ethical, and political realms.

If you have any questions about this exhibition, please contact:
suzuki@iseny.org

>>>>>>>>>>>>>>>>>>>>>>>>>
alessandro nassiri tabibzadeh

http://www.alessandronassiri.it
http://www.alessandronassiri.net

OPENING RECEPTION; Monday, March 10. 2008 at 6 pm

EXHIBITION OPEN FROM 11.03  till 20.04.2008, everyday  except for Mondays, 11 a.m. to 7 p.m., Friadys to 9 p.m.

Centre for Contemporary Art Ujazdowski Castle
Al. Ujazdowskie 6, 00-461 Warsaw
Tel. (48 22) 628 12 71/3
www.csw.art.pl

February 26 - April 19, 2008
curated by Eric C. Shiner

Opening Reception: Wednesday, March 12, 6-8 pm
Artist-Curator talk and book signing: Tuesday, March 25 at 7 pm free

Location One is pleased to present three important films by Australian video pioneer Tracey Moffatt, perhaps one of the most revolutionary women artists to have ever worked in that medium. Known for her enchantingly beautiful yet often times dark portrayals of the role of subaltern “others” in both her native Australia and from cultures around the world, Moffatt’s narrative films offer the viewer a penetrative gaze into the realities and implicit fantasies that subjugation based on race and gender churns out. In her dual role as cultural critic and maker of art, Moffatt combines hard-edged life experiences with the technologies of video and photography to seam together pastiche-like vignettes that open a window onto the lives of her characters, whether that be an Australian aborigine or an African-American woman. In so doing, Moffatt not only presents the voice of “the other,” but perhaps more importantly provides a way out of the oft-times inescapable confines of racism, sexism and homophobia found in all corners of the globe. By granting her characters and viewers their own voice, Moffatt becomes champion of the subjugated and mediator between the lived here-and-now and the utopian world that many of us fantasize about one day realizing.

In the suite of videos on view in Social Edit, Moffatt, in collaboration with film editor Gary Hillberg, uses a strategy much different from her more well-known narrative films. Here, she utilizes montage and fracturing to literally excavate and mine the history of Hollywood films to create short movies that address the horrors of racism, Armageddon and destruction of things beautiful. Each work, culled from snippets of both early and contemporary films, some readily familiar and others completely unknown, becomes a thought-provoking journey into the collective memory of humankind, marked by the institutionalized-on-film traces of ill will that have been both opaquely and directly presented to us over the course of our lifetimes. By exposing the moments of subjugation found in Hollywood movies over the decades, whether in the form of racist rhetoric, visual depictions of the end of the world, or the creation and destruction of works of art, Moffatt allows us to rethink and reposition the implicit meaning of these brief filmic moments that might seem innocent one-by-one, but which produce a most ominous threat when bundled together one after another in a nonstop sequence that shocks and awakens in equal measure.

In LIP from 1999, Moffatt pieces together clips focusing on the African-American maid and her white employer to address the ever-present reality of racism and the ghosts of slavery that haunt contemporary America to this day. Through presenting the Hollywood depictions of these otherwise strong women as victim, comedic buffer or sassy troublemaker, Moffatt presents us with a seeming blueprint for the ways in which racism are promulgated in mainstream society, here in the form of popular entertainments that are often more influential on our thought-patterns than any other medium. Likewise, in ARTIST from 2000, Moffatt creates a sequence of film sequences that show artists working intensely on their masterworks, followed by a momentous climax in which chaos rules and the artists or others seemingly explode and destroy works of art in a near-orgiastic crescendo of rage and destructive force. In making such a work, Moffatt attempts to imbue the destroyed masterpieces on the celluloid with a new life, here in the form of a stand-alone work of art that reveals and questions Hollywood’s proclivity for depicting the artist as madman, dilettante or social outcast. Finally, in her recent work DOOMED from 2007, Moffatt analyzes world destruction imagery found in blockbuster movies to form a film brimming over with explosions, natural disasters and terroristic attacks to make a comment on our contemporary world’s fixation on terrorism and natural disasters, and perhaps more importantly, their omnipresence in mainstream media, and thus the front of our minds. By grouping together one disaster—and indeed one social ill or act of destruction—after another, Moffatt forces us to question that which we see on a daily basis, indeed to reevaluate the imagery and messages we are fed through Hollywood, television and news media day in and day out. For Tracey Moffatt, the fractures of film are a most ripe field from which one’s voice, identity and import can be recaptured, and from whence one can find comfort knowing that, once exposed for the social ills that they are, the depictions of subjugation from which these films are made can be turned into the very tools that will defeat them in the end. (ECS)

glass painted white on backside and black on front side with roofing paper.

Luis Nobre graduated in 2001 from the Escola Superior de Arte e Design, Caldas da Rainha, Lisbon. Exhibitions include the 5th International Biennial of Sculpture and Drawing, Caldas da Rainha; Sub.864-873, Museu Malhoa, Caldas da Rainha; Between Heaven and Hell, Museum of Natural History, Lisbon; Year of the Dog, Ale and Porter Arts, Bradford, UK; Ohhh Naturel! Madame Lillies, London.

At Location One , Luis Nobre’s residency is supported by dgArtes,Ministerio da Cultura, Lisbon www.dgartes.pt, Fundação Ilidio Pinho, & Instituto Camões

Online: http://www.luisnobre.net/

http://www.spikeisland.org.uk/programme.html?section=view&event_id=70

Events & Exhibitions

Eric Siu & Luis Nobre
May 21, 2008

The filmaker Robert Adanto will be present at the screening. His documentary The Rising Tide [link] “investigates China’s meteoric march toward the future through the work of some of its most talented emerging artists, whose work reflects the country’s rising influence as an economic, political and cultural force in the global arena.” The film includes an interview with Xu Tan.

You are cordially invited to join Chinese artist Xu Tan and Nathalie Anglès, Director of Location One’s International Residency Program, for a special screening of the video Concert Hall of Zhen Daoxing  which premieres next week at the contemporary arts festival, ArtSheffield08, and for a viewing of Xu Tan’s installation Keywords  in our main gallery. more information

The screening will be followed by a discussion with the artist. This is also your last chance to see Xu Tan’s installation

In his video Concert Hall of Zheng Daoxing, Xu Tan presents the documentation of a concert performance of Mr Zheng Daoxing, of Yangjiang County, China, which he organized. Accompanying himself on a self-built electric guitar, Mr Zheng sings songs about his life, mixing his own tunes with revolutionary songs and traditional Chinese motifs. The story of his life is a convoluted tale about work: he has been a farmer, soldier, and truck driver. During the Chinese economic reforms of the 1980s, he established his own transportation company which went bankrupt during the 1997 economic crisis, whereupon he became a singer, touring the country at the age of 60. It has often been observed that under the ‘flexible’ and precarious working conditions imposed by current forms of turbo-capitalism, professional careers have become disjointed.

Since the life-long employment that used to provide the connecting thread in people’s biography is no longer the norm, the stories of their lives come to sound like an arbitrary collage of fragments.

The story of Mr Zheng’s life on the one hand seems to be precisely such a fragmented biography. On the other hand, however, it is through his very particular performance that he strings the fragments together again in his songs. Taking matters into his own hands, Mr Zheng creates a revolutionary form of new folklore, merging the tunes of the past with the improvised songs of the present into a hybrid form that, even and especially in its most bizarre moments, seems perfectly suited for telling the story of contemporary working biographies. In presenting Mr Zheng as an example, Xu Tan seems to suggest that it is from his songwriting that we could learn how to, now and in the future, tell the story of our lives.

February 10, 2008 - May 4, 2008

One Way or Another: Asian American Art Now, a traveling exhibition organized by the Asia Society, brings together seventeen artists from across the United States who challenge and extend the category of Asian American art. The title of the exhibition, drawn from the 1978 Blondie hit song, suggests a non-formulaic way of making or seeing art. The artists and their works characterize the freedom to choose, manipulate and reinvent different kinds of languages and issues, whether formal, conceptual, or political. Together, they defy a definitive conception of Asian American art.

The exhibition features painting, sculpture, video and installation art by contemporary Asian American artists who—with a strong sense of being American and an acute critical consciousness of world matters—grapple with issues of self in a way that sets them apart from their predecessors.

Curated by Melissa Chiu, Director and Curator of Contemporary Asian Art at the Asia Society Museum in New York, Karin Higa, Adjunct Senior Curator of Art at the Japanese American National Museum, Los Angeles, and Susette S. Min, Assistant Professor of Asian American Studies and Art History at the University of California, Davis.

Featured artists: Michael Arcega, Xavier Cha, Patty Chang, Binh Danh, Mari Eastman, Ala Ebtekar, Chitra Ganesh, Glenn Kaino, Geraldine Lau, Jiha Moon, Laurel Nakadate, Kaz Oshiro, Anna Sew Hoy, Jean Shin, Indigo Som, Mika Tajima, and Saira Wasim.

Contact Information
JAPANESE AMERICAN NATIONAL MUSEUM
369 East First Street
Los Angeles, California 90012
phone: 213.625.0414
fax: 213.625.1770
http://www.janm.org/

Where Are You From? Contemporary Art from Portugal
De Onde Vens? Arte Contemporânea de Portugal
February 1 - April 20, 2008

An exhibition of work by 21 Portuguese artists who draw on culture,
place, art, history, family, and theory in order to express where they are from
in photographs, video, sculpture, and works of new media.
Curated by Lesley Wright.

Panel Discussion
Friday, February 1, 2008
4:15 -5:45
Curator and critic Miguel Amado and exhibiting artists will discuss the nature of contemporary Portuguese art.
(Snow Date: Saturday, February 2, 4:15 pm)

Opening Reception
Friday, February 1, 2008
5:30 to 6:30 pm
(Snow Date: Saturday, February 2, 5:15 to 6:30 pm)

Community Day “Where are you from?”
Saturday, February 2, 1:00-3:00 pm
Bucksbaum Rotunda
Hands-on activities for people of all ages, tours of the exhibition. Make a book, write and illustrate your history, share your story.

Faulconer Gallery : Grinnell College
Bucksbaum Center for the Arts
Sixth Avenue and Park Street
Grinnell, Iowa 50112
641 / 269.4660

www.grinnell.edu/faulconergallery

“Proposal for Bagman & Straight Ladies” spoken word transformed into media. A work for two beamers & a cutter”. 2008

is addressed to New York.
Its footage is found on the street through accidental meetings and observations.
Text and title are illusive, both material and immaterial.
They exist in, on and through wall and exhibition space.
While giving ‘Bagman’ a shelter in an Art Gallery, a driving force will not be stopped to carve or scratch the wall.
Different possible self’s reveal vulnerability and aggression depending on the point of view.

In hundreds of very small, or very large drawings Hermelinde explores human hopes and fears, with relentless humour and ambiguity. Her writings, films and installations in public space (video/billboard)
analyse the connection between these anxieties in private and how they occur in the arena of everyday life (media/advertisement). She described her approach as of a “critical nearness”.

With special thanks to Vicky, Howard and a nameless person, who discovered me, hh, in NY, January, 2008.” Hermelinde Hergenhahn.

Rob Kennedy lives and works in Glasgow. His work shifts between sculpture, video and live video manipulation. Rob studied BA (hons) Fine Art at Brighton Polytechnic from 1987-1990.

Recent exhibitions include: Video Installation, Threshold Space, Perth, UK curated by Iliyana Nedkova December 2007. Live in Montreal’ installation & video, Studio Cormier, Montreal 2007. Sapphire Season’ Waygood Gallery, Newcastle, UK 2007. Something is wrong here…’ Solo show, Transmission Gallery, Glasgow, UK 2007

Rob Kennedy’s residency at Location One is supported by The Scottish Arts Council

more info here..

Events & Exhibitions

Rob Kennedy: I Relish Your Balderdash
June 25th 2008

ALSO:

DIGIMAG July/August 2008

ROB KENNEDY:
HAPLESS, HELPLESS AND HOPELESS
Txt: Monica Ponzini / Img: Courtesy Rob Kennedy / Eng: Ornella Pesenti

Location One is happy to present new work by Hermelinde Hergenhahn (Germany) and Mafalda Santos (Portugal). Hergenhahn’s installation will consist of a series of pencil drawings gathered from experiences of quotidian life, and a video projection and wall etching in the gallery. Santos plays with the architecture of the exhibition space to reflect on the particular conditions of being an artist temporarily displaced from her customary work space, while she also considers the evolution of her work in a hand-drawn map for a new website.

Mafalda Santos - from the series Site Specific 2008, digital print and graphite on paper		Hermelinde Hergenhahn - These things, that happened to you, will never happen to me!! 2006, pencil on paper, 10×15cm (4×6 in)

Hermelinde Hergenhahn
Proposal for Bagman & Straight Ladies
In hundreds of very small, or very large drawings Hermelinde explores human hopes and fears, with relentless humour and ambiguity. Her writings, films and installations in public space (video/billboard) analyze the connection between these anxieties in private and how they occur in the arena of everyday life (media/advertisement). She described her approach as one of a “critical nearness”.

For the installation at Location One, she has gathered words heard on the street, snippets from conversations and accidental meetings, transformed them into video projections, and transported them into the gallery where they are given temporary shelter. In the process vulnerability and aggression are revealed, depending on the point of view.

click here for artist statement…

Mafalda Santos
Artist in Residence, 2008
Site Specific, 2008
Organizational schemes, networks, interconnection and principles of scale and composition are crucial in Mafalda’s work. Expanded drawings on walls and floors cull their information from computer interface, books and archives to create a simplified imagery that reflects “a moment/place in a mental or social structure of relations.” The artist also considers that they offer a comment on the specific context for which the work is produced.The series of drawings presented in Site Specific, 2008, have been developed by Mafalda for her website (in collaboration with Sebastien Sanz de Santa Maria, Location One’s residency program coordinator). Each drawing corresponds to a page of the website, and the links between them are laid out, creating a full “site map”.

For the installation Artist in Residence, Mafalda toys with the architectural structure of the exhibition space, as a reflection upon one’s capacity to adapt to different circumstances and environments. The title makes reference to the particular condition of being an artist in the context of a residency, and by extension the distinction that lies between what is work and what is leisure.

About the Artists
Mafalda Santos received a Masters in Painting from the Faculdade Belas Artes do Porto, Portugal. She is also founder and co-director of the artist-run space PêSSEGOpráSEMANA in Porto since 2000. In 2007, Mafalda participated in the Young Artists Award EDP (Electricidade de Portugal). Recent exhibitions include: 2007 - Museum of Contemporary Art MACE, Elvas, Portugal; MUDAM, Luxemburg. She has exhibited at the Calouste Gulbenkian Foundation and is represented by Galeria Presenca, Porto and Lisbon.
Mafalda’s residency at Location One is supported by the Gulbenkian Foundation and Luso American Foundation for Development.

Currently based in Amsterdam, Hermelinde Hergenhahn studied at the Städelschule, Frankfurt and earned a postgraduate degree at the Jan van Eyck Academy, Maastricht. She has shown extensively in Europe. Recent exhibitions include: 2007, AnyoneAnywhereAnytime, Nidwaldner Museum, Stans, Switzerland and – Loyal Rooftops, 2007. Hermelinde’s residency at Location One is supported by Schloss Balmoral, Stiftung Rheinland Pfalz für Kultur.

I am a Shadow Man

January 16 Wed. - February 17 Sun., 2008
MISAKO & ROSEN is pleased to announce our first solo exhibition with artist Yuki Okumura : I Me Mine”. Yuki Okumura’s work begins with an examination the body; particularly, that of the artist. The resulting observations take various forms ultimately amounitng to a flexible fom of site-specific installation.

Misako and Rosen : Kita-otsuka, 3-27-6, Toshima-ku, Tokyo, 170-0004, Japan
Tel: 03-6276-145 Fax: 03-6276-1453

www.misakoandrosen.com

Jean Shin TEXTile (detail) 2006

We Interrupt Your Program

January 16 - March 16, 2008
Reception: Wednesday, January 23, 5:30-7:30 p.m.

We Interrupt Your Program is a group show of video and new media works by fourteen emerging and mid-career female artists. Through their work, the artists intervene in, reconfigure, augment, and/or re-contextualize dominant narratives of war, violence, power, science, technology, gender, and the natural environment from a feminist, or at least female, perspective.

Maria Antelman, Maja Bajevic, Maria Friberg, Nina Katchadourian, Marisa Olson, Julia Page,
Shannon Plumb, Jean Shin, Renetta Sitoy, Julianne Swartz, Stephanie Syjuco,
Claudia X. Valdes, Anne Walsh, and Gail Wight with RETORT

Organized by Marcia Tanner, guest curator

January 23, 7:30 pm Curator Marcia Tanner in conversation with Jean Shin and Claudia X. Valdes

Milles College Art Museum : 5000 MacArthur Blvd.
Oakland, CA 94613
510.430.2255
www.mills.edu

Despite the uniqueness of the Article 9 of the Japanese Constitution, its very existence is surprisingly not well-known in other countries. Through this exhibition, not only will the post-war Japanese art be introduced, but the Article 9 will also be introduced to the audience in New York. The exhibition will investigate the historic significance and importance of how Article 9 was developed and how because of this, there was no blood shed from direct confrontation for 60 years after the war.

Puffin Room (SOHO, New York)
435 Broome St
New York, NY 10013

Saturday, January 12, 2008 - Sunday, February 10, 2008

Opening Reception: Saturday, January 12th, 2008 6-8PM

Exhibiting Artists (Alphabetical Order):

Vanessa Albury
Allora ＆ Calzadilla
Kota Ezawa
Eric van Hove
Yutaka Matsuzawa
Yasumasa Morimura
Nobuyuki Ohura
Yoko Ono
Motoyuki Shitamichi
Yuken Teruya
Yukinori Yanagi

Special Event:

Saturday, Jan 19, 5PM- (Free)
Documentary Film Screening “White Light, Black Rain”
Steven Okazaki on the Atomic Bombing of Hiroshima and Nagasaki
+ Butoh Performance by Vangeline Theater Co.

Friday, Jan 25, 7PM-
Acoustic Live Music Performance
Miho Hatori + Special Guest

“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.

OPENING RECEPTION: Wednesday 9 January, 6-8 pm
on view 10 - 19 January 2008

Location One is happy to present new work by residents Moira Ricci and Hung Nguyen Manh.

Central to Moira Ricci’s work is the world of the family home as the natural arena in which relationships are played out. Putting aside her own emotions, Ricci turns her personal narrative into fertile ground for thinking about the world we live in.

Moira Ricci - 2008

“Ora sento la musica, Chiudo gli occhi, Sento il ritmo che mi avvolge, Fa presa nel mio cuore“ (”Well I hear the music, close my eyes, feel the rhythm, wrap around, take a hold of my heart)
is the title of Moira’s new video piece. She states: “This video is the first leg of a musical film. This initial work focuses around the topic of dance, a short story of my life, a piece of my past. It recalls the world I come from, that of dance and of my little town in Italy. The idea was born from my mother’s aspiration that I might become a professional dancer. I pursued that course until I was 18, but after high-school, I decided to take a different path, and this caused my mother to be disappointed. Much of my work is constructed from home videos, often taken by my mother during shows organized at my dance school. Here, my mother’s point of view is clearly perceptible. The video is edited following the rhythm and lyrics of “What a Feeling” - the most popular title of Flash Dance, the iconic dance film of the ‘80s. It The lyrics also appear in Italian as subtitles, because they bring out exactly the motivations of a young person pursuing a dream.”

Hung Nguyen Manh - 2007

“Paintings 2007“ by Hung Nguyen Manh
“I love humor, and I like to make a joke about everything. Su-realism is a useful language which helps me create fun. I also mix in hi-tech and lo-tech elements in my paintings. I was born and raised in an apartment block in Hanoi – Vietnam. My father was a fighting pilot, and my mother was an engineer for the Vietnam Rail Way Corporation. No one in my family was concerned about art. In my eyes, Vietnam is one of the strangest countries in the world. People work and behave according to certain habits originating from the agricultural way of life. We live, quarrel, build, eat…just like farmers do. In Vietnam, the culture of the village persists and has a hidden power that affects all the population. Even though we are rushing towards capitalism, this life style shall never disappear. This is what makes Vietnamese people always special, wherever they are.”

On January 11th at 7pm Hung Nguyen Mahn will make a special sound performance at 20 Greene Street.

About the Artists
Moria Ricci graduated from the Accademia di Belle Arti di Brera, Milan in 2004 after attending Photography School at C.F.P.R., Milan. Recent exhibitions include: 2007 - Galleria d’Arte Contemporanea, Monfalcone, Italy; Galleria Nazionale d’Arte Moderna, Rome; Palazzo Re Enzo, Bologna. At Location One, Moira’s ressdency is supported by Associazione Artegiovane, Fondi Anima and Comune di Milano.

Hung Nguyen Manh is an artist, a self-taught composer and an active participant in the alternative art scene in Hanoi. A graduate from the Hanoi University of Fine Arts in 2002, he has participated regularly in performance art festivals in Japan and Taiwan. In 2005, he was a grant recipient of the Ford Foundation which enabled him to exhibit in Los Angeles , and in 2006, a grant from the Dong Son Today Foundation funded his participation at ART OMI residency program Ghent, NY. At Location One, Hung benefits from a grant from the Asian Cultural Council.

OFF THE RECORD

Concept:Off the record is a punctual underground underway art show that takes place at various venues and subway stations in Tokyo. It hijacks the recently installed X-CUBE^© locker system. X-CUBE^© lockers allow multiple users to exchange packages by using a touch screen and their cell phone numbers as digital-keys. Proposed by Belgian artist Eric Van Hove, the tactically curated Off the record exhibit simply substitutes the package with an artwork or installation.
Existing entirely in transitional public spaces, the show nevertheless remains hidden and visible solely within a private network: a person who has gained access to the work can only invite someone else to view it whose cell phone number they already have.A chain reaction guest list:

The curator or the artist places the artwork, then invites the first person to the show by registering his cell phone number with the X-CUBE^©, and calling him to confirm. In the following hours, the invited viewer arrives at the station, uses his cell phone to unlock the gallery space (the locker), and pays ¥100 to view the work. He then invites the next person by registering a new cell phone number and calling to confirm, and so on…
Think of a “Chinese whisper,” a children’s game in which a sentence is passed on from one player to the next, often with its meaning altered in transit.
Want to see a work? You need to find someone who’s invited, and get him to invite you or go with him together to see it. There is no other way. This is a mean hi-tech mega-city: if you’re rich, pop-up when you want…but if you’re poor, be fast! It costs ¥100 every 3 hours.

The show ends:

For more informations

Location One is happy to present new work by two artists participating in the International Residency Program.

With “Draft“, Katia Kameli continues her investigation into key issues that drive her film, video and installation practice, namely the construction of intersecting identities in a globalized world, hybridization, the notion of intercultural spaces and awareness of psychogeographical effects.

“Draft” is a cartographic installation. It is the preface of a larger project whose end result is a palimpsestic film. In line with Debord’s theory of “Dérive” –the early situationist practice of urban drifting– this “intermediate” installation presents itself as a non-definable urban map that includes video, audio and text inserts, as well as photographs. Scenes where cartographers, writers, poets, musicians, cinematographers, scientists are scribbling notes and writing potential scripts overlap with other images also shot by the artist. Kameli then reinterprets these texts by operating a double dérive. Shifting feelings of excitement and anticipation run parallel with anxiety and caution, combined with the realization that there is nothing new to discover but the limitations of one’s own experience and understanding.

Kuba Bakowski’s quasi bio-mechanical body of work examines the duality between real and artificial as generated by digital media, with an approach that is in part utopian and ironic, often tinged with a perverse sense of humor. For this exhibition, the artist creates “video machines” which produce distinctive audio-visual energy and that he groups under the title Nothing More Happens Than Has To Happen.

“The Question is not so much where we are as when we are” features the artist as he attempts to surpass the physical limitations of his body by appearing on the Polish public channel for two months, every night after the day’s program has ended, exercising and meditating against the colorful background of the test pattern (TV Zero Zones).

In the Rockaway video loops, Kuba has extracted short video samples from BBC documentary movies about the nuclear arms race, and combines them with video footage of flying birds and planes filmed by the artist in Far Rockaway on a rainy and breezy day. Presented as small video-installations, these loops generate a strange and anxious atmosphere. “City pigeons 1,2,3,4,5” and the audio track result from video and audio manipulations.

The meeting was free and open to the public. People brought snacks to share.

Also: dorkbot t-shirts! $15 in person, $17 online. Cute colors, cut cuts. Profits go to support our host, Location One!

	Ted Johnson: Build Your Own Secret Laboratory I will talk about how to build your own secret laboratory in a small NYC-sized space and at a low cost, and thereby produce silly and useless gadgets such as those shown at my web page: http://users.rcn.com/ted.johnson
	Fiona Hallinan (aka Fink): Playskip I would like to tell a story about my first interactive experience between computers and people, which occurred when I was twelve years old. In some roundabout way I hope this will introduce to you an installation I made as part of my Msc in Multimedia Systems this year, called Playskip. I will also introduce some past work of mine if it seems right to. http://www.thefirst47.com/playskip.html
	Andrew Schneider: Click. Buzz. Drone (experimental devices for performance) My multidisciplinary work attempts to critically investigate human and technological interdependence. I see this interdependence as both emotional and physical. We are all infinitely removed from everything, everyone, and more so, from ourselves. Our inners do not connect to our outers with any sort of transparency. Language separates us from the experience of the real. All of us is filtered. We are performing rather than living our lives everyday. We as humans seem to have countered this predicament with technology. I am interested in highlighting this concept through the magnification and extension of the themes of inability and dependence. EXPERIMENTAL DEVICES for PERFORMANCE reifies this notion by placing technological media over the body, masking the layer that masks the layer that interprets our corporeal devices of communication (our senses). EDP is a suite of five wearable devices examining our state of communication. Small screens cover and confuse the “truths” of the mouth and the eyes. Sensor-embedded shoes map footfalls to soundtracks. A camera-coated hat only displays its cameras’ signals when the wearer’s head comes in contact with a television. A Polaroid picture is taken every time someone blinks. In order to control the media, a performer must also control his/her body in artificial ways. The performer controls the media controls the performer. http://andrewjs.com

Some images from the meeting: douglas’s pics | roberto tobar’s pics

XU TAN
Searching for Keywords
November 28, 2007–February 9, 2008
opening reception November 28 6–8pm

PRESS COVERAGE: Rhizome

“Searching for Keywords”, an interactive multimedia installation created by Chinese artist Xu Tan will be presented in Location One’s main gallery from November 28th 2007 though Februrary 2nd, 2008.

Xu Tan’s work deals with the hidden motivations and intentions of individuals through a high-tech analysis of their vocabulary. “Searching with Keywords” is the New York leg of an ongoing project which the artist launched in 2005. It began with a series of interviews of different groups of people who are active in Chinese society: a first set of interviews were carried in the Zhangjiang Hi-tech Park, a sort of Silicon Valley near Shanghai, a second set covers different cities and people from all walks of life, from writers, to real estate developers, to Buddhist monks, to businessmen; and a third was conducted among the artistic community in China. The video interviews were then carefully analyzed, and Xu Tan has identified 100 keywords based on meaning (social values), frequency (repetition), sensitivity (political), and popularity (trendyness). These Keywords reveal much about the values and motivations of contemporary Chinese society, they give a pulse of the current social climate, and present an insight into the collective social consciousness of China.

The project will be unfolding simultaneously in Beijing, China, in Sittard, Holland, and in New York, through a website created specifically for this happening. Gallery audiences in New York will be invited to interact with the keywords, which are presented by means of four video projections and four computer stations equipped with laptops, video cameras, and Internet connections. The goal is to have gallery visitors pronounce the keywords as illustrated in drawings and video clips, to ask questions of the artist thorough an on-line forum and message board, and to leave comments. Their reactions and input will be immediately transmitted through the website to the other venues where the installation is present.

While the artist is present in the gallery he will also conduct interviews of different people and the analysis of these interviews will in turn generate other keywords that will help reveal the opinions and attitudes of a western audience towards the current status of China and its role in the global environment.

Xu Tan was born in Wuhan, Hubei Province in 1957 and currently lives in Shanghai and Guangzhou. In the early 1990s he joined the “Big Tail Elephant Group” in Guangzhou with Lin Yinlin, Chen Shaoxiong and Liang Juhui. The aim of this group is to develop critical strategies for negotiating the rapidly changing economic and cultural life in China. He was among the first artists to participate in Location One’s International Residency Program in 2002, and his work has been shown around the world including P.S.1 in New York, Biennale di Venezia, Berlin Biennial, Asia Pacific Triennial of Contemporary Art in Brisbane, Australia, Guangzhou Triennial, Taipei Biennial, De Appel in Amsterdam. Recent solo shows were held at the DAAD Gallery in Berlin, at the Vitamin Creative Space in Guangzhou, at BizArt is Shanghai.

Opening saturday 17th november 2007 from 6 pm

TR4480C
An odyssey of the 21st century

http://www.alessandronassiri.net

Ce travail est associé à un monologue de Shakespear “All the world’s a Stage” sous forme d’un lettrage et d’un enregistrement sonore joué par le comédien Jeffery Kissoon et accompagné d’une création sonore de Sebastian Russell. Ce monologue présente les différentes étapes de la vie, de l’enfance à la vieillesse, comme sept actes d’une pièce de théâtre. hoshi no oujisama est l’acte I.

Yumiko Furukawa est née en 1975, elle vit et travaille à New-York. Elle est diplômée de l’Université des arts visuels et de musique de Tokyo. Elle a obtenu deux prix importants, le prestigieux « Kume Keiichiro award » et le « Takahashi Geiyukai award » en 2003. Elle a participé à de nombreuses expositons au Japon, en Australie et en France. En 2003, elle a exposé à la Triennale Echigo-Tsumari. La même année, elle a participé à l’exposition « Good Luck » à la fondation Tama à Tokyo. Elle vient de terminer une residence d’artiste à Location 1 à New-York. À Tokyo, elle est représentée par la galerie Side 2. www.yumikofurukawa.com

Vernissage le 24 novembre à 18h au TnBA
www.yumikofurukawa.com
Performance vocale de Aymeric Hainaux à 18h30
www.unpoisson.com
Installation sonore de Sebastian Russell et Jeffery Kissoon, “All the world’s a Stage”
www.sebrussell.co.nr

Conversations with Cliff Evans:

Saturday, November 10, 1:30pm
Pieranna Cavalchini, Curator of Contemporary Art, Gardner Museum.

Thursday, November 15, 7:00pm
Mary Ellen Strom, artist and teacher at the School of the Museum of Fine Arts, Boston.

Thursday, November 29, 6:30pm
Barbara London, Associate Curator, Department of Media at Museum of Modern Art, New York.

Thursday, December 20, 7:00pm
George Fifield, Director, Boston Cyberarts Festival.

more info..

INAUGURAÇÃO DIA 9 DE NOVEMBRO ÀS 22h
Avenida da Liberdade, 211, 2º andar (Lisboa)

De 10 de Novembro a 1 de Dezembro
De quarta a sexta das 17h às 20h e Sábado das 15h às 20h

Outros artistas: André Almeida e Sousa , Bruno Sequeira, Jo sé Pedro Cortes, Jo sé António Leitão,
Jo sé Leitão, Jo ão Grama, Jo ão Paulo Serafim, Manuel Duarte , Margarida Gouveia , Mariana Viegas ,
Martim Dias Ramos, Paulo Brighenti, Paulo Pascoal , Pedro Baptista

MARIANA VIEGAS On the road. Remembering Kerouac

OPENING 9TH NOVEMBER AT 22h
Avenida da Liberdade, 211, 2º andar (Lisbon)

From 10th November to 1st December
From Wednesday to Friday from 17h to 20h and Saturday from 15h to 20h

Other artists: André Almeida e Sousa , Bruno Sequeira, Jo sé Pedro Cortes, Jo sé António Leitão, Jo sé Leitão,
Jo ão Grama, Jo ão Paulo Serafim, Manuel Duarte , Margarida Gouveia , Mariana Viegas , Martim Dias Ramos,
Paulo Brighenti, Paulo Pascoal , Pedro Baptista

Título Title: RGB, 2007
Media: projecção video sobre light-jet print, 80 x 100cm video projection on light-jet print, 80 x 100cm

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VERA CORTÊS AGÊNCIA DE ARTE Pulse Miami 2007

Visite-nos na PULSE MIAMI 2007
Stand A-02
De 5 a 9 de Dezembro

Dia 5 das 10h às 16h
Dia 6, 7 e 8 das 10h às 18h
Dia 9 das 10h às 17h

Artistas apresentados:
Adriana Molder
Daniel Blaufuks

Visit us at PULSE MIAMI 2007
Stand A-02
From the 5th to the 9th December

5th from 10h to 16h
6th, 7th and 8th from 10h to 18h
9th from 10h to 17h

Presented artists:
Adriana Molder
Daniel Blaufuks

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vera cortês , art agency
artists | adriana molder | alexandre farto | catarina dias | daniel blaufuks | daniel gustav cramer | daniela krtsch |
gabriela albergaria | gonçalo barreiros | joão serra | mariana viegas | martinha maia | nuno ribeiro | ricardo jacinto |
rui calçada bastos | sophie whettnall | susanne themlitz

contacts
av. 24 de Julho, nº54, 1º esq
1200-868 lisbon, portugal
t: +351 213 950 177
f: +351 213 950 178
agency: +351 961 277 185
vera cortês : +351 963 389 648
matilde meireles : +351 961 277 184

AON ÁIT ANSEO/ANYWHERE HERE
work that can be made anywhere as long as it’s here

Dingle/An Daingean, October 29th- November 2nd, 2007

Three invited artists, Sarah Browne, Ben Geoghegan and Katie Holten whose practice reflect ‘interlocalism’ will gather for this inaugural event in Dingle/An Daingean to discuss, debate and test their practice.

Initiated by artist Andrew Duggan, The Courthouse Studios Project in collaboration with Visual Artists Ireland will facilitate the inaugural visual art gathering in Dingle/An Daingean, Kerry, Ireland.

Interviewee #2. “I think nowadays that all artists are international. We all communicate, because of technology – internationally. But maybe a new situation is called for; and maybe what is needed is to look at how an artist is inter-local, in that the local is what becomes important.”
- from The Interview 2006, http://www.location1.org/andrew-duggan/

AON ÁIT ANSEO/ANYWHERE HERE will look at how visual artists transfer methods and practices from place to place (anywhere) yet pay attention to the micro (here).

An added bonus is the involvement of local artists Caoimhghín Ó Fraithile and Darryl O’ Curnain. The mix of ‘international’, ‘local’ and ‘interlocal’ artists is sure to resonate and strike a chord with those interested in current artists practice and globalization.

The gathering will be informal, timetables flexible. Images, texts etc will appear on a internet site and a chaired discussion will be available as a podcast.

This is the first installment of AON ÁIT ANSEO/ANYWHERE HERE. It is anticipated that this gathering will become an annual event.

The Courthouse Studio Project is supported by the Kerry County Council.

For further information contact:

Andrew Duggan
The Courthouse Studios Project
Dingle/An Daingean
Kerry
http://www.andrewduggan.org

Visual Artists Ireland
37 North Great George’s St
Dublin 1
Ireland
T. +353(0)1 8722296
F. +353(0)1 8722364
W. www.visualartists.ie

Crater New York: A Lunar Drawing Contest

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

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

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

November 6 - November 13
Opening: Tuesday, November 6 from 7 to 9 pm
Closing: Tuesday, November 13 from 7 to 9 pm

The exhibition is organized by LMAKprojects, NY as part of the 2nd Annual Latin American Cultural Week in NYC and hosted by MC Gallery

MC Gallery
549 West 52nd Street, 8th floor
New York, NY 10019
www.gallerymc.org

Ariadna Capasso Across the Silence-Series 2006 charcoal on paper, detail
Nayda Collazo-LLorens Archive 79-02 mixed media on paper, detail
Patricia Villalobos Echeverria Hover video installation, detail

***

Mala de Plástico, Mini Mota e outros materiais. 80 x 45 x 100 cm.
Plastic Suitcase, Mini Motocycle and other combined materials. 31,5 x 17,7 x 39,3 inch.
2007

http://www.mpalma.net/

Arario Gallery
www.arariogallery.co.kr
#354-1
Shinbu-dong, Cheonan-si,
Chungcheongnam-do, Korea
Tel : 82 41 551 5100,5101
Fax : 82 41 551 5102
PRESS RELEASE

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IXTLAN STOP
Her work is a restructuring of a mysterious event that unfolds in a dreamlike manner, the way a mystery novel develops as the investigator patches together the pieces of evidence found.

1. The Story

“I think the best way to describe my work is that I am inspired by things that peak my ‘interest’. Therein lies the back story and the evidence behind these unsolved mysteries.” -Among the artist notes

The above statement is artist Yoon-Young Park’s self-professed central idea surrounding her work. And it is true that Park is drawn by events that stir her curiosity which in turn lead her to conduct her own set of research to get to the bottom of it. The Pickton murder, the Virginia Tech Shooting, the Logheed Highway incident, the Riverview Mental Hospital, Vancouver’s downtown east side, Martin Luther King Jr., the Mt. Baker, Exxon Valdez oil spill, etc. were all events and cases that peaked Park’s interest. Park’s work is researching the evidence found in these cases, so as to reach her own interpretation of what had happened. Not only does she explore a variety of media to find such evidence, she even goes as far as to visit those very locations where the mysterious events took place. Park went to the actual location of the Pickton farm where the serial murders took place, making a video of her visit there. Not only that, she recorded her visit to the Riverview Mental Hospital on her own camcorder as well as to Vancouver’s downtown east side where she interviewed the homeless. Such discoveries of evidence surrounding existing cases and their scenery get complicated and mixed up within the context of Yoon-Young Park’s own story in a dreamlike manner. Her stories are her work.

The following three cases were used as motifs for the pieces that are being shown in the current exhibition:

The Pickton Farm serial murder case, Canada: A shocking murder takes place in a pig farm owned by a man named William Pickton in Vancouver, Canada, a beautiful place which is often considered heaven on earth. A total of 69 women either were killed or went missing, with many of the missing women’s DNAs found in the farm’s pig feed, etc.. A series of surreal and unbelievable events had taken place at the Pickton farm.

Exxon Valdez Oil Spill: In 1989, an Exxon Valdez supertanker was crossing the ocean nearby Alaska when an error by the captain led the ship to run aground causing an oil spill of some 11 million gallons of gasoline. The spill caused the worst environmental disaster in the history of the United States and hundreds of thousands of ocean creatures were killed as a result. Today, almost 20 years later, the ocean has yet to fully recover from the disaster.

Martin Luther King Jr. murder case: On April 4th, 6pm in 1968, while standing on the balcony of his motel, Martin Luther King Jr. was shot. He was shot by 30-06 Remington rifle. James Earl Ray was arrested for this case and sentenced to ninety-nine years in prison.

Yoon-Young Park’s works draw from such incidents and she presents the various pieces of evidence she finds in her work, especially in a special space she calls Ixtlan, where Park rearranges the details of the events to tell a brand new story. The story that Park tells is a completely different kind than that which we read or hear through the media.

For this exhibition, Park has completed two full mystery novels. One is the story she wrote while preparing for “Pickton Lake” entitled The Blue Pillar that Appears for a Moment, then Disappears and the other is The Dark and Unlit Logheed Highway. Both novels are fantasy pieces which include her own experiences in the setting, i.e. place, characters, as well as various imagined elements. Her stories are dreamlike and mysterious in that she combines elements of events from the above incidents with other mysterious objects and characters. On one level, her novels are her installation pieces, only in a different form, the only difference being that the materials are words and that the words are the various pieces of the installation.

2. The Space

“IXTLAN is the space you can reach right before death, after you have given up all your desires and the things that you love.”

-Among the artist notes

Ixtlan, the title of this exhibition, is a place that is described in Carlos Casteneda’s book “Journey to Ixtlan”. The Ixtlan that Casteneda describes in his book is an imaginary space that is somehow connected to the real world, but can only be reached after having given up all of one’s worldly desires and loves etc.. Casteneda describes three types of plants that help one to reach Ixtlan, namely peyote (a kind of cactus), jimson weed (white datura stramonium), and psilocybe (a hallucinogenic mushroom). These plants are natural plant substances which cause a kind of hallucination.

In this exhibition, Yoon-Young Park has in a way re-imagined the place of Ixtlan into a place where violence, murder, disasters etc. are non-existent, in other words, a place where such unfortunate events can be prevented from happening.

The various incidents and cases that have interested Yoon-Young Park, such as the Virginia Tech shooting, the murder of Rev. Martin Luther King Jr., the Pickton serial murders etc., are here re-presented and restructured in ‘Downtwon Eastside’. The physical ‘triggers’ involved in these incidents were the gun that was used in the murder of Rev. Martin Luther King Jr., the Exxon Valdez supertanker itself and the Walther P22 used in Cho, Seung Hee’s Virginia Tech shooting. Park sketches these three objects on the surface of a screen then uses these parts to create an equipment made to prevent tragic acts and/or incidents from taking place. The above-mentioned three hallucinogenic plants, i.e. peyote, jimsonweed and psilocybe, are then drawn over the equipment, growing all around it. The three plants in nature cover and therefore prevent these equipment from enacting the kinds of tragic events that they do, and by doing so, Ixtlan is imagined as a place where life and death have come to a stop, i.e. a new place with the potential for a new life and healing. In conclusion, Ixtlan Stop is a place where all the tragedies created by man’s desires and selfishness, are healed by the cleansing power of nature.

3. The Story within the Space

Reading and understanding the stories within Yoon-Young Park’s space of Ixtlan is an indispensable aspect of experiencing Park’s work.

Investigators, on the site of a crime, look around for pieces of evidence which, when put together, help them to come up with a believable story of what may have taken place. And as such, Yoon-Young Park’s exhibition invites us to participate in experiencing the space of Ixtlan where she has re-structured the ‘crime scene’ so to speak.

So what are the stories within Yoon-Young Park’s space? Park approaches the question of life and death and the vague separation between them by comparing the real against the surreal, past against the present, reality against the world of dreams etc.. The artist presents such a blurred and mysterious border between life and death in her depiction of ‘Downtown Eastside’, a mysterious looking installation piece made of a white screen, a large-scale mirror and bright orange paint. The mirror placed below the screen and the large pipe placed over the screen seems to make reference to the act of inhaling the smoke from the use of drugs. The pipe is a symbol of the straw used to inhale cocaine and the sheep skin and screen are also the drug itself. The mirror and the newspaper is each the mirror and razor (tools used in the process of measuring the amount of cocaine in preparation for inhalation). Within such a setting, Park casts the victims of the Pickton case as women living in New York’s downtown eastside and connects the two events by depicting the women as inhaling the drugs. Here, Park juxtaposes death and the act of inhaling drugs while simultaneously exhibiting the correlation between the two, as well as revealing the dream-like state brought on by the drugs.

Since the beginning of her career, Yoon-Young Park has always explored death and the disappearance of people upon death, about all those that die and the naturalness of it, even when it was caused by some other force. However, her obsession is not in death itself. Rather, Park is interested in that which causes death and the event of unexplained deaths. The deaths involved in those incidents that Park explores in her work are not simple incidences which occur as a result of some physical force or even by the tools that are used. These incidents are mired in mystery. Park takes these mysterious incidences and tries to understand and undo the mystery, either through her imagination or with the help of common sense and logic. The stories that Park unravels seem very personal and lyrical but these stories in the end ask the deep question of life and the common angst of living on earth.

We always tend to remain somewhere in-between. Whether it is the beginning or the end, getting on or off, matriculating or graduating, meeting or saying good-bye, and/or living or dying, etc. we are always somewhere in-between something that begins and will eventually end. Yoon-Young Park’s works too are located somewhere between as she searches for a certain world, place. Ixtlan stop or the Journey to Akeldama is all located in an in-between space, somewhere between the real and surreal, reality and imagination, etc., and where Park hopes to go might be a place where she dreams of, a place where bad things can self-heal, or the kind of world that Rev. Martin Luther King Jr. dreamed of, a place where the strong protects the weak. However, in the end, the place she is searching for is where nature brings unity.

Yoon-Young Park’s exhibition is a very special place, an opportunity to meet Park’s works in the midst of her long journey as an artist. Reading her stories in her work in an imagined space that is created by Park is sure to be a special occasion in our own journeys as well. After our meeting, we will all be on our own ways, but let us stop for a moment at Ixtlan Stop and read her works.

SoYoun Jeong was born in Seoul, Korea.
Since 2004, Jeong has been working and living in New York.
She is an artist working with mixed media. She has been working on video art, installation art, prints, sculpture, photograph and painting.

(From Jonathan Goodman’s essay “SoYoun Jeong: Between Fact and Fiction” for “Art Almighty ? SoYoun Jeong”.)
SoYoun Jeong is a contemporary artist educated both in Korea and New York.
Jeong has titled her show “Art Almighty,” imbuing her exhibition with a cosmic, if not necessarily pious, outlook. The proposals made by her work bring up interesting ideas, in which her predilection for an interface between nature and culture establishes mergers that feel highly contemporary.

In Uncanny Garden, her projection of video images onto two connected walls collapses the length of an entire day into an experience lasting only three and a half minutes. The real flowers inject reality into a fleeting demonstration of extended time. Jeong will transplant the survived blooms into the backyard of a friend from Brooklyn.
The conflict between artifice and reality is expressed as a screen projecting the sun’s illumination and an actual garden; however, the final experience is that of survival and transformation: those flowers that continue to exist are planted again in an outdoor field. The experiment is successful in that the process of life continues, even if damage has been done.

Crazy Moon, Jeong’s experimental single-channel video installation with four flat monitors, shows a moon dancing in a line or arc that defines itself in relation to the center created by the monitors’ display.
The moon on its travels creates many kinds of shapes, the result of its flight across the screen. The monitors approximate the sky, although in a thoroughly non-natural manner. Again we find the ideas of being and seeming beautifully implied in Jeong’s imagination; she attempts on a regular basis to join the poetic to the electronic.

In a third piece, Vice Versa, Jeong dizzyingly shifts from digital print to painting and back again. In two small double images, she begins by taking a photo that she then digitizes by scanning into the computer. Then she paints by hand over the print taken from the photo, at which point she scans the painting, printing the newly scanned image. The pictures themselves, striking abstractions composed of massed colors, are beautiful in their own right, but the complexity of their origins lends them a conceptual acuity that is very much of our time.

Jeong articulates a language which is not reductive but which, instead, synthesizes a union between that which is artificial and that which is genuine.
She looks to the future, combining means of expression that are not dialectically opposed but instead mutually supportive.

Jeong had had six solo shows and over one hundred shows. The latest solo show is “CTRL TIME: SoYoun Jeong” (Amelie A. Wallace Gallery, SUNY at Old Westbury, New York. 2007). Her works have been shown at the Museum of Contemporary Art, Shanghai, China, Samsung Leeum Museum, National Museum of Contemporary Art, Seoul, Korea, and Mori Art Museum, Tokyo. Japan, and others…

A reception for the opening will be held between 6pm and 8pm on Thursday, November 1st. The exhibition remains through Nov. 24, 2007. Gallery hours are Tuesday through Saturday between 11am and 6pm.

Amos Eno Gallery
530W. 25th St. 6th Fl.
New York, NY 10001

“UNVEILED PRESENCE (secret sounds 2)” will be presented at LAB30 media art festival in Augsburg/Germany.
In the sound installation »Unveiled presence« the »yelling and crying« sounds of the New York subway are processed. This very sustained and squeaking sounds can be even heard above the ground by the ventilation shafts in many places and therefore form an unmistakable component of the city soundscape. From recordings at different crosspoints of the underground rail system these sounds are worked out and arranged in a composition. www.bewernitzgoldowski.com
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25.-27. October 2007
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more info:
www.lab30.de

ALSO:
“UNVEILED PRESENCE (secret sounds 1v)” is a virtual version of UNVEILED PRESENCE (secret sounds 1) and gives a preview about a future real life installation.
The work is part of an exhibition project “Second Art” initiated by “Stiftung Künstlerdorf Schöppingen”
and will be presented in First Life at Abtei Brauweiler on 13th October 2007 at 4pm

http://www.abtei-brauweiler.de/
close to Cologne/Germany

Have fun and all best

Natalie Bewernitz / Marek Goldowski

Lida Abdul in conversation with Pieranna Cavalchini

October 9, 2007
Lida Abdul will discuss her current exhibition “What We Saw Upon Awakening” as well as other works with the Curator of Contemporary Art at the Isabella Stewart Gardner Museum, Pieranna Cavalchini.

Lida Abdul - What We Saw Upon Awakening

October 4 – November 17, 2007
Opening Reception: Thursday October 4, 6-8 pm

** December 3rd, 2007 ** An Evening with Lida Abdul at MOMA (click for more information)

PRESS COVERAGE: ArtSlant interview / Time Out New York /

Location One presents the first New York exhibition by Afghan artist Lida Abdul. The exhibition, curated by Pieranna Cavalchini, Curator of Contemporary Art at the Isabella Stewart Gardner Museum, Boston, features a film installation entitled “What We Saw Upon Awakening” [2006, 6:50, 16mm film transferred to DVD] .

Lida Abdul’s work is rooted in the devastation of war and in a sublimation of healing. In her videos, Afghani ruins appear as images from a dreamscape–both real and surreal–steeped in forgotten histories and mystery. To acknowledge a ruin in a war torn country, even to pick up a single stone, is to breathe life back into a culture that has been put on hold. The men and women in her films acknowledge their fate, striving to re-awaken by acts of sheer resilience and by compulsive repetitive gestures. Abdul’s films evoke survival and a path to recovery.

In What We Saw Upon Awakening the artist has created a surreal vision of the de-construction of a ruin. Remarkable for its compositional beauty and restraint, this film is a meditation on the aftermath of war, exposing the tangled after shocks of destruction, acceptance and renewal. In six minutes of classically framed and beautifully conceived cinematic shots, we watch as a group of men pull in a united effort on long white ropes, straining under this Herculean task. Slowly we grow aware that the ropes are tied to the stone walls of an actual house destroyed by a recent bombing in Kabul, which the men are striving to pull down. At first their efforts seem puny and ineffectual against impossible odds; their actions become a metaphor of all survivors’ attempt to deal with the devastation of war. Later the film ends with a burial ritual, symbolizing closure and a moment of communal healing when the ruins are finally put to rest so that life can begin anew.

This exhibition has been made possible with the generous support of the Board of Directors of Location One.

An Artist/Curator Talk will be held at Location One on Tuesday October 9th, at 7 pm
free to the public, no reservations needed

Lida Abdul bio

Born in Kabul, Afghanistan in 1973, Lida Abdul resides there now. She lived in Germany and India as a refugee when she was forced to leave Afghanistan after the former-Soviet invasion. Her work fuses the tropes of Western formalism with the numerous aesthetic traditions –Islamic, Buddhist, Hindu, pagan and nomadic– that collectively influenced Afghan art and culture. She has produced work in many media including video, film, photography, installation and live performance.

Her most recent work has been featured at the Venice Biennale 2005, São Paulo Biennial 2006, Gwanju Biennial 2006, Moscow Biennial 2007, Sharjah Biennial 2007, Istanbul Modern, Kunsthalle Vienna, Museum of Modern Art Arnhem, Netherlands and Miami Central, ICA, ZKM, Capc Bordeaux, CAC Centre d’Art Contemporain de Bretigny, and Frac Lorraine Metz, France. She has also exhibited in festivals in Mexico, Spain, Germany, Uzbekistan, Kyrgyzstan and Afghanistan. For the past few years, Abdul has been working in different parts of Afghanistan on projects exploring the relationship between architecture, identity and memory. In the upcoming year she will take part in the Gotenborg Biennial 2007 and solo show at (MANN) National Archeological Museum of Naples. Also in 2007 Ms. Abdul has been awarded the Prince Claus Fund and residency at the Isabella Stewart Gardner Museum, Boston. website >>

The meeting was free and open to the public. Please brought snacks to share. And wore things they made!

It featured the convex and polytopic:

	John Huntington: The Gravesend Inn–An Interactive Haunted Hotel City Tech’s Gravesend Inn is a high-tech, audience-driven haunted attraction. 2007 marks the show’s eight annual edition. The show control system Medialon Manager gives control over the entire attraction to the audience, which (unknowingly) triggers the effects as they move through the maze. A variety of industrial sensors are currently used to sense the position and location of audience members, and an infrastructure has been created for more sophisticated sensing in the future. John, author of the just released third edition of the book Control Systems for Live Entertainment, will describe and demonstrate the show control systems he designed for this attraction. http://www.gravesendinn.org
	Spencer Russell: SensorBib Spencer will be presenting his most recent project, the SensorBib. SensorBib is a set of capacitive distance sensors embedded in a fabric covering for an upright bass. A chopped-up Arduino board sends the data to a laptop running PD which uses the player’s body position to process the bass sound in real time. The sensors themselves (called “MouseTrap”) are of Spencer’s own design, and all the schematics and PCB layout files are available on his website. http://www.columbia.edu/~sfr2105
	Eric Singer: robots on fire Eric Singer is a musician, artist, engineer and programmer and the Founder and Director of LEMUR: League of Electronic Musical Urban Robots, a group of artists and technologists who create robotic musical instruments and installations. Eric will talk about robots, fire and anything else that’s on his mind. http://lemurbots.org

Dérive

La Fondation d’entreprise Ricard, redessinée par les architectes Jakob et Marcfarlane, accueille l’exposition Dérive du 12 octobre au 17 novembre. L’artiste Mathieu Mercier*, choisi comme commissaire pour la 9ème édition du Prix Fondation d’entreprise Ricard, a conçu cette exposition à partir des oeuvres de 11 artistes de la jeune scène française : Wilfrid Almendra, Vincent Beaurin, Christophe Berdaguer et Marie Péjus, Julien Bouillon, Stéphane Calais, Sammy Engramer, Marc Etienne, Daniel Firman, Regine Kolle, Hugues Reip et Virginie Yassef.

Berdaguer & Péjus, “Dreamland/disparaître ici”, 2007, carton plume, brouilleur d’ondes, video, néons, moquette,matelas, dimension variable, courtesy artistes et galerie Martine Aboucaya, photo : Marc Domage

Le commissariat de cette exposition s’est construit à partir des œuvres. Des inclinations formelles et des attractions spontanées d’œuvres diverses, est né un paysage hétérogène, multiple, suffisamment cohérent pour former un sujet. Bien qu’il ne soit pas nécessairement un thème récurrent des artistes sollicités, la nature, et plus précisément sa représentation, est l’un des enjeux de cette réunion.

Si l’ homme en semble absent, il est pourtant partout présent ; chaque œuvre témoigne de la relation, des relations, qu’entretient l’homme à la nature. Une relation parfois proche de la nostalgie - et alors l’évocation des paradis perdus n’est pas loin ; à d’autres moments, totalement tournée vers l’avenir et la technologie, et qui accepte d’accélérer encore la mutation.

La diversité des points de vue pertubent toute volonté de vision unique, de discours écologique, d’anticipation catastrophiste ou optimiste. Mais cette condensation - d’une nature archaïque, qui pourrait avoir vu naître l’homme, à une nature synthétique - permet, entre le désir de tout stopper et celui d’accélérer, de penser, le temps d’une exposition, une nouvelle relation au monde.

Le Prix Fondation d’entreprise Ricard sera décerné à l’un des artistes de l’exposition le 19 octobre, lors du Bal Jaune.

* L’ARC présente une monographie de Mathieu Mercier, Sans Titres 1993 - 2007. Réunissant pour la première fois des œuvres emblématiques réalisées depuis 1993 ainsi que des pièces inédites, cette exposition porte un regard « rétrospectif » sur un travail qui, aussi bien en France qu’à l’étranger, n’a jamais été vu dans son ensemble.
ARC/Musée d’Art moderne de la Ville de Paris – www.mam.paris.fr

PRIX DE LA FONDATION D’ENTREPRISE RICARD

Le Prix de la Fondation d’entreprise Ricard sera remis à l’un des artistes de l’exposition Dérive lors du Bal Jaune qui se tiendra le 19 octobre. Il est décerné par un jury de collectionneurs, amis des grands musées d’art contemporain (Centre Pompidou, Palais de Tokyo, Jeu de Paume…). Ce prix consiste en l’achat de l’œuvre, d’une valeur de 15 000 €, au lauréat. Cette oeuvre est ensuite offerte au Centre Pompidou qui la présente dans ses collections permanentes.
Les précédents lauréats étaient : Didier marcel (1999), Natacha Lesueur (2000), Tatiana Trouvé (2001), Boris Achour (2002), Matthieu Laurette (2003), Mircea Cantor (2004), Loris Gréaud (2005), Vincent Lamouroux (2006).

“Tandis que se dispersent les troupeaux stellaires,
puis rentrent dans leur parcage inconnu (…)”
Jean-Joseph Rabearivelo, Mesures du temps, in Presque-songes, Antananarivo, 1960, page 47.

Mesures du temps (installation view - 30 parrots, bird droppings, black paint, manufactured steel, bamboo - 3,66m x 3,66m x 5,66m)

1.- Installation composed of a bird cage of 3,66 cubic meters, assembled by a poor craftsman family in the slum of Antananarivo, inside which thirty green parrots endemic to the island of Madagascar were placed. The accumulation of their droppings over a month (the duration of the exhibit) slowly drew a milky way of shit into a square of black paint on the ground. The title is inspired by “translation from the night” of Malagasy poet Jean-Joseph Rabearivelo.
This bilingual poem of Andrianjafy Rabekotroka (1961-1993), also, I think:

Mitabataba ny alina mitabataba moana
an’efi-pahanginan’ny aritra tsy mandry
sondriana mamisa ny lalana hodiavina
Mitabataba ny alina mitabataba foana
An-tsaham-pahanginan’ny saina tsy tafandry
Mamadibadi-bolana iavan’ilay Maraina
Mitabataba ny alina mitabataba tahotra
a-maso vahobahotra mamikitra amin’ny volana
miandra hafanana anatin’ny ririnina Gronde la nuit gronde dans le mutisme
dans la chambre silencieuse de la pensée inquiète
occupée à imaginer le chemin à parcourir
Gronde la nuit gronde sans fin
Dans le silence du champ de l’esprit éveillé
à ressasser les mots source du Matin
Gronde la nuit gronde de peur
Dans les yeux hésitants qui s’accrochent à la lune
Espérant la chaleur en plein hivers

Andrianjafy Rabekotroka, Sandrakalo, Éd. CCAC, Antananarivo, page 9.

Thank you to my assistants on this piece: Ralisonna, Randrianasolo, Randrianandrasana Élyzé, Razakandrainy Albert, Rakotondrasoa Émile, Rasolofoniaina Hajatiana, and their family.

2.- Abreaction (Performance): Sort of succinct graffiti, the intervention is a poetic and cathartic work of vulgarization consisting in the traversing of a foreign public space with a single sentence of automatic writing. Abreaction, the work invites an exteriorisation of emotional tension, possible effect according to Aristotle of tragedy on the audience (Poetics, VI and VIII).

Curated/initiated by Joël Andrianomearisoa.
Thank you to Bérénice Gulmann (Centre Culturel Français Albert Camus), Appui au Bilinguisme à Madagascar (ABM: Malagasy sy Frantsay Miara - Miasa) and Patrice Sour.

Artists:
Odile Decq, Sylvia Andrianaivo, Pascale Marthine Tayou, Vonjiniaina, Zo, Vincent Dubourg, Pierrot Men, Hugo Godart, Philippe Gaubert, Abe, Aloalo, Kettly Noël, Dieudonné, Nelisiwe Xaba, Alizé, Ndimby Rakotomalala, Ramily, Soavina Ramaroson, Patrice Sour, Iris, IngridMwangiRobertHutter, Jean Joseph Rabearivelo, :mentalklinik, Marina, Juliana Anjavola, Ma Design, Tokem, Eric Van Hove.

Info:
Date: September 19th to October 20th 2007
Opening time: everyday from 10am to 8pm (Sunday 10am to 1pm)
Venue: Zone Zital Ankorondrano, Antananarivo, Madagascar
Entry Price: 500Ar.