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

Click here to view the embedded video.

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

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

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

Ragnar Kjartansson (b. 1976, Reykjavík, Iceland) conjures up emotions in his work that he can pass on to his viewers, with a keen eye for the tragicomic spectacle of human experience where sorrow collides with happiness, horror with beauty, and drama with humor. In his versatile artistic career, he has focused on video, painting, and drawing, with performance at the heart of his practice. Both of Kjartansson’s parents are actors, and acting, repetition, and identity are ever-recurring themes in his work. He has taken on countless roles in his performances, combining his own personality with personas from cultural history. His work incorporates a mélange of show business icons and nostalgic imagery from bygone eras of theater, television, music, and art, allowing him to blur the border between life and art, reality and fiction, and to create bold statements that strike chords with his audiences. Kjartansson graduated from the Iceland Academy of the Arts in 2001, and is the youngest artist ever to represent Iceland at the International Art Exhibition – La Biennale di Venezia in 2009. He has built an impressive roster of international exhibitions, including several major solo shows in museums, galleries, and art festivals in the last few years. He is representative of the vibrant young art scene in Iceland and has formed an engaging individual style that has
drawn the attention of the international art world. Kjartansson is represented by i8 Gallery in Iceland and Luhring Augustine in the United States.

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

Here is the video of this artist talk:

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

February 4, 2010

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

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

A collective was formed in 1997 in Glasgow with the intention of experimenting around collaborative art projects. Its first exhibition was named “Henry VIII’s Wives” and its very title implied their ideology signifying, according to them “a surviving curiosity, a physical impossibility, or just a collection of people who should have known better.” Henry VIII’s Wives’ practice points to the obsolescence of traditionally interpreted ideologies by gently mocking collective spirit: their initial motto was: “We March Under the Banner of Visual Art.” They developed performative projects in which they involved local communities not limited to ordinary gallery-going audience. Tonight’s discussion will focus on issues of non-hierarchical collaboration, dissemination of artworks both within and outside of gallery system and age-old question regarding utopian aspect of art practice. For the first time in New York, several of Henry VIII or I’s Wives’ films will be shown.
for more info >> www.h8w.net and www.tatlinstowerandtheworld.net

Lucy Skaer was born in Cambridge and studied at the Glasgow School of Art. Much of her work consists of her interacting with, and changing, public spaces. In one piece, she took up a paving stone on Glasgow’s Buchanan Street and then had the Earl of Glasgow ceremoniously lay down a replacement, while in an Amsterdam-based piece, she left a diamond and a scorpion side-by-side on a pavement. She has also secretly hidden moth and butterfly pupae in criminal courts in the hope that they will hatch in mid-trial. Skaer has also exhibited drawings and is a member of the Henry VIII’s Wives collective of artists. In 2003, Skaer was shortlisted for the Beck’s Futures prize. She currently lives and works in Glasgow.

In 2008 Skaer was the subject of a mid-career retrospective at the Fruitmarket Gallery in Edinburgh, Scotland which included newly commissioned work. There was a comprehensive monograph published to accompany the show. Her most recent major solo exhibition is ‘A Boat Used As A Vessel’, Kunsthalle Basel, Basel, Switzerland (April 2009 – June 2009).

Lucy Skaer is represented by doggerfisher, Edinburgh (www.doggerfisher.com). In April 2009, she was shortlisted for the Turner Prize.

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

The Marina Abramović Studio is a space within Location One dedicated to the ongoing performance series of long-durational works focusing on open-ended forms of workshops, panels and discussions. It includes resident artists at the Location One as well as a larger community of artists and thinkers interested in the development of performance art as practiced by the pioneer of performance art Marina Abramovic for almost four decades. “The laboratory approach” of the Marina Abramović Studio has the goal of supporting the growth of performance art by promoting the works of emerging artists on an international scale, organizing and collaborating on events using a network of people converging at Location One. It shows the commitment to experimentation across all art forms and points to recent efforts to return performance art to its central position within the gallery system. Starting in the Fall of 2009, the ongoing performance workshops will occasionally be opened to the public in the form of live art exhibitions. In addition, public panels and discussions will promote and seek critical discourses on contemporary performance art practice and related issues. The first event open to the public at Location One presented Abramović’s dynamic vision for this specific institution. All programs are curated by Jovana Stokić.

October 27, 2009 Marina Abramović: Performing the Gallery/Performing the Museum The discussion focused on Abramović’s investigations of the transformative quality of time in context of a gallery exhibition. The talk included exclusive video material from Abramovic’s innovative group exhibition in Manchester Whitworth Art Gallery, held July 3 – 19 2009. For this groundbreaking event, the Whitworth emptied every gallery space in order to create room for this unique work to develop and breathe. The show began with an hour-long performance initiation with Marina Abramović, leading up to a series of extraordinary encounters between artists and audience. Quite unlike anything staged before in a museum or a gallery, it provided a transformative gallery-going experience. more >>

Click here to view the embedded video.

Friday, November 7, 2009
Nikhil Chopra

Nikhil Chopra’s work has been included in “Indian Highway” at the Serpentine Gallery (2008–09), “Making Worlds” at the 53rd Venice Biennale (2009), and “Marina Abramovic Presents,” the Manchester International Festival (2009). His most recent performane “Yog Raj Chitrakar: Memory Drawing IX” in the New Museum for Contemporary Art was part of Performa 09 Biennial in New York City. He lives and works in Mumbai, India.

Friday, December 11, 2009
Lotte Lindner & Till Steinbrenner

www.lindner-steinbrenner.com
Born 1971 and 1967, live and work in Hannover, Germany. 1996-2004 Braunschweig School of Arts, Dipl. and MA with Marina Abramovic and John Armleder.

Click here to view the embedded video.

Friday, December 18, 2009
Performance artist Lilibeth Cuenca

lilibethcuenca.com
Lilibeth Cuenca (b.1970 in Manila) lives in Copenhagen Denmark. Cuenca is a graduate from The Royal Danish Academy of Fine Arts Copenhagen, (1996-2002). Cuenca works primarily with video and performances. With consummate style and an almost voracious curiosity, she navigates the inter spaces between different kinds of realities and extremes. Between the perfect staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her own Danish-Filipino background as her point of departure, Cuenca displays a keenly honed sensitivity, almost like that of an anthropologist, to the narratives that exist in and between a place of birth and home country. She gathers, adapts, and universalises these narratives in her both critical and humorous approach to central issues such as identity, culture, religion, gender, and social relations.

Click here to view the embedded video.

More videos from the Abramovic Studio

February 4, 2010 – Lucy Skaer

February 5, 2010 – Nico Vascellari

February 12, 2010 – Jovana Stokic discusses the Abramovic Institute in San Francisco

February 24, 2010 – Ragnar Kjartansson

February 26, 2010 – Maria Jose Arjona

March 11, 2010 – Viola Yesiltac and Eun-Hye Hwang

April 16, 2010 – Paula Orell, Curator from the Plymouth Arts Center

April 21, 2010 – Shoba

May 14, 2010 – Elana Katz

May 28, 2010 – Anna Berndtson

June 3, 2010 – Snezana Golubovic

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

Curated by Claudia Calirman

OPENING RECEPTION:

Wednesday, January 13, 2010 6–8 PM

DATES: January 14 – March 6, 2010

HOURS: Tuesday-Saturday 12–6 PM

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

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

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

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

Mattias Ericsson

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

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

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

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

Wojtek Doroszuk

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

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

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

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

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

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

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

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

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

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

Click here to view the embedded video.

Marina Abramović:
Performing the Gallery/Performing the Museum

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

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

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

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

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

Click here to view the embedded video.

Richard Bell: I Am Not Sorry

Australia’s foremost – and most controversial – Aboriginal artist exhibits his work for the first time in New York

A Location One International Fellowship exhibition curated by Maura Reilly
OPENING RECEPTION:
Thursday, 8 October 2009, 6–8 PM
DATES: 9 October 2009 – 25 November 2009
HOURS: Tuesday-Saturday 12–6 PM

Richard Bell, Australia’s leading Aboriginal artist, and one of his country’s most controversial creative talents, will exhibit new and old work in his first-ever US exhibition, “Richard Bell: I Am Not Sorry,” which opens October 8th at Location One.

[Show as slideshow]

The exhibition, which is curated by Maura Reilly, is a centerpiece of the Location One International Fellowship awarded to Bell for the 2009 – 2010 season, which he will spend in New York, creating new work and exploring new creative directions under Location One’s auspices.

Brisbane-based Richard Bell is one of Australia’s most talked-about artists. Bell’s works address — and protest — the commodification of indigeneity in the western art market. They draw attention to frustrations and grievances brought about through the European colonization of Australia. His paintings play with the practice of appropriation, often mining the Pop Art styles of Roy Lichtenstein and Jasper Johns, the paint drips of Jackson Pollock, or the dot matrix style of Aboriginal painter Emily Kngwarreye while including texts that complicate the way we think about racism and race politics.

Aboriginal Art—it’s a white thing (2002), included in the exhibition, is one of the artist’s famous ‘Theorems’, in which he accuses the contemporary art world of manipulating and exploiting indigenous art. In his most recent ‘Theorem’, titled Pay the Rent (2009), Bell demands of the colonizers that they pay in back rent what they owe to the colonized Aborigines since ‘the invasion’ in 1788. Likewise, in a provocative recent video, Scratch an Aussie (2008), Bell plays reversal politics by charading as a black Sigmund Freud who psychoanalyzes racist white Australians. The exhibition will also feature a new video Broken English (2009) in which Bell plays chess with indigenous politics, asking white and black Australians why Aborigines appear to lack a vision for their own future.

This survey exhibition also comprises critical works from the early 1990s, including a photographic series in which the artist presents himself in a series of stereotypical roles imposed upon indigenous males: “drinker”,”failure”,”trouble maker”; while in another early text piece, as spokesperson for all indigenous peoples from “The Lucky Country”(aka Australia), Bell seeks to initiate an “emigrant enhancement program”with countries like China, Iraq, South African, Taiwan, and so forth, with a view to making treaties in order to gain parliamentary representation and sovereignty of lands.

The exhibition will be accompanied by a series of events, including a public lecture by the artist, as well as a two film programs curated by Richard Bell featuring Walkabout (1971), Rabbit Proof Fence (2002), and Chant of Jimmie Blacksmith (1978) —as well as the important local documentary Incident at Oglala (1992).

About Richard Bell
Richard Bell was born in 1953 in Charleville, Queensland, and is a member of the Kamilaroi, Kooma, Jiman and Gurang Gurang communities. Based in Brisbane, Richard has held numerous solo exhibitions since 1990. He is represented in major collections in Australia and New Zealand and is internationally recognized through numerous exhibitions, including the significant European touring exhibition Aratjara: Art of the First Australians, 1993; Culture Warriors, The National Indigenous Art Triennial, National Gallery of Australia, 2007; the 9th and 16th Sydney Biennales, 1992 and 2008; Australian Perspecta 1993, Art Gallery of New South Wales, The Unfamiliar Territory, Adelaide Biennial of Australian Art in 1991 and Half-Light: Portraits From Black Australia at the Art Gallery of NSW. His work was the subject of the survey exhibition Positivity, presented by the Institute of Modern Art, Brisbane, in 2006. He won the National Telstra Aboriginal and Torres Strait Islander Art Award in 2003. A past member of the Campfire group, Richard is a founding member of proppaNOW, the Brisbane-based Aboriginal artists collective that also includes Tony Albert, Vernon Ah Kee and Gordon Hookey. Richard Bell is represented by Milani Gallery, Brisbane, Australia.

Location One is extremely grateful to QIAMEA (Queensland Indigenous Arts Marketing & Export Agency), to the Australia Council for the Arts and extends special thanks to Josh Milani for invaluable help in making this fellowship and exhibition possible. 

Current Location One Related Press:
Art in America [link] – PDF

Location One Virtual Residency Project 2.0: “Levels of Undo”
New work by Virtual Artists-in-Residence Jessica Curry, Ursula Endlicher, Narinda Reeders, and Ben Woodeson
September 9–October 30, 2009
Opening reception: September 9, 6-8pm
Free and open to the public
26 Greene Street NYC 10013
(between Canal and Grand)
212-334-3347

Location One Virtual Residency Project 2.0: “Levels of Undo” Four artists from 4 different cities, who have never met—and were forbidden to do so during the three months of their “residency”—collaborate on a topic that they had no say in developing. Is this ethical? Are the parameters unnecessarily rigid? Were they able to produce anything worthwhile under such oddly stringent rules?

Come see the results of this virtual experiment at Location One, on Wednesday, September 9.

Confessedly the rules weren’t quite so harsh as they sound: there were no expectations or requirements to complete any finished artworks, in fact the entire project could conceivably have existed as a blog discussion (see it at http://vres.location1.org). But the four artists (two teams of two) Ben Woodeson (UK) & Ursula Endlicher (US) (Team X), and Narinda Reeders (AU) & Jessica Curry (UK) (Team 7), who were given the topic “Levels of Undo” and precious little else, spent the last three months marinating in that theme and communicating via blog, skype, snail mail, telephone, IM–so long as it did not include meeting face to face–to create some exciting new works, including a few that are not at all virtual.

Location One is pleased to present the fruits of their marination, which include Facebook impersonation performances, Spy pen surveillance video, Morse code sonatas, and analog “Tweets”. What are analog Tweets? Good question. Also making an appearance: a bottle of absinthe that may or may not burst into flames, and a live visitation from the “Old Internet” who tries to “friend” the “New Internet”. How does all this relate to the topic “Levels of Undo”? How indeed. The artists were encouraged to interpret the theme however literally or broadly they saw fit; their interpretations led them to challenge both the idea of “Undoing” as well as the nature of collaboration itself.

Two of the artists will be present at the opening to meet each other for the first time, the other two will teleport in via video chat. Ben Woodeson will also be previewing some of his Virtual Residency Project works at dorkbot-nyc on September 2, 7pm at Location One.

Location One is grateful to the artists for accepting the challenge with such good humor and and grace, and enjoyed watching them so brilliantly do, undo, redo–and ultimately undo our own expectations of this odd experiment.

Artist Bios:

Jessica Curry (Brighton, UK)  is a composer based in the UK who spends far too much time with her husband.
Making a child and making work together has formed the basis of their collaborative experiments for the past eight years.  A Wellcome Trust commission led on to several successful large-scale projects, including a series of experimental computer games.  The latest of these, Dear Esther, was selected for Prix Ars Electronica 2008 and is a finalist in Los Angeles based festival, Indiecade 2009. Their Second Life funeral, The Second Death of Caspar Helendale has recently been selected by The Royal Opera House, UK to be performed there in November 2009.  Jessica and her
husband still, however, argue over whose turn it is to do the ironing.

Location One offered Jessica the opportunity to commit collaborative infidelity with a mysterious Australian artist. The temptation proved too much for Jessica and the rest, as they say, is Levels Of Undo.

http://www.jessicacurry.co.uk

Ursula Endlicher (New York, USA)  is an Austrian artist living in New York. Her work bridges performance, installation, and the Internet. Using the Web since its days of inception she is interested in its inherent structures and languages – such as HTML – and translates them into visual formats, dance choreography, sound, and installations. Recent works such as the net art piece “html_butoh” as well as the live/web-driven performance series “Website Impersonations” are based on the “html-movement-library”, a database of user-submitted movement directions based on HTML code. Recent shows include venues such as Lightindustry in Brooklyn, New York, Theater am Neumarkt in Zürich, Switzerland, and Woodstreet Galleries in Pittsburgh, PA. She received commissions by Turbulence, and by the Whitney Museum of American Art for artport’s Gate Pages.

For “Levels of Undo” she developed new works that reflect on: the peculiar exchanges with her virtual residency
mate(s), the long and winding road of working online for one and a half decades, and the deep and mysterious experiences with Facebook.

http://www.ursenal.net

Narinda Reeders (Melbourne, Australia) is a media artist and a bona-fide nerd. She studied computer science in the dark ages, before hotmail had been invented and the HTML seemed revolutionary. She also obtained an honours degree in Photography from the Victorian College of the Arts. Her photographs and interactive installations have seen her exhibited nationally and internationally, most recently as part of Experimenta national touring exhibitions, and at the International Symposium for Electronic Art in Singapore, 2008.  Narinda is also one half of the performance duo Hit&Miss, with Tai Snaith, although she wishes there were a better word than “performance” to describe the acts of creative mischief they get up to. Dressed identically in red and white, Hit&Miss have been practicing the art of painful stillness and many other absurd acts for the past 6 years. They have popped up unexpectedly in public spaces, exhibitions, parties, flights, shopping festivals and car club rallies in Australia, Scotland and the US.

http://www.narindareeders.net

Ben Woodeson’s (London, UK) practice revolves around absurd and quietly confrontational sculptures. His works set out to challenge the viewer and the exhibiting institution in a playful kind of art chicken. Since December 2008 he has been working on a new series of “ deliberately dangerous” works entitled “The Health and safety Violations”, to date these have included 30,000 ball bearings for the audience to walk on, an electric fence which the audience had no choice but to climb over if they wished to enter the gallery and a motion activated vacuum pump which set about extracting the atmosphere from a sealed gallery every time a viewer was present. In June he was selected for a prize by the artist Mark Wallinger when he exhibited a corridor full of randomly activated trip wires at this year’s Creekside Open exhibition in London. The works sound overtly dangerous… but are they really? For the virtual residency he has
been collaborating with Ursula Endlicher, the two have never met but they will spend the last week before the exhibition opens finalizing works together in New York. He has shown throughout Europe, Canada, and America and he has an upcoming solo show at Electrohype in Malmo, Sweden.

Trained in Glasgow, Scotland he now lives in London, England with his wife the artist Andrea Jespersen and their dog Mia who is deeply unimpressed by his studio that unsurprisingly is full of dangerous shit and things that go “bang”…

http://www.woodeson.co.uk

Skaer was born in Cambridge and studied at the Glasgow School of Art. Much of her work consists of her interacting with, and changing, public spaces. In one piece, she took up a paving stone on Glasgow’s Buchanan Street and then had the Earl of Glasgow ceremoniously lay down a replacement, while in an Amsterdam-based piece, she left a diamond and a scorpion side-by-side on a pavement. She has also secretly hidden moth and butterfly pupae in criminal courts in the hope that they will hatch in mid-trial.

Skaer has also exhibited drawings and is a member of the Henry VIII’s Wives collective of artists.

In 2003, Skaer was shortlisted for the Beck’s Futures prize. She currently lives and works in Glasgow.

In 2008 Skaer was the subject of a mid-career retrospective at the Fruitmarket Gallery in Edinburgh, Scotland which included newly commissioned work. There was a comprehensive monograph published to accompany the show.

Her most recent major solo exhibition is ‘A Boat Used As A Vessel’, Kunsthalle Basel, Basel, Switzerland (April 2009 – June 2009).

Lucy Skaer is represented by doggerfisher, Edinburgh (www.doggerfisher.com)

In April 2009, she was shortlisted for the Turner Prize.

Previous Press and other information:

Artforum [PDF]

Frieze [PDF]

The Independent [PDF]

Publications [PDF]

Scotland and Venice 2009 [PDF]

Turner Prize Announcement [PDF]

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

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

Richard Bell was born in 1953 in Charleville, Queensland, Australia, and is a member of the Kamilaroi, Kooma, Jiman and Gurang Gurang communities. Based in Brisbane, Bell has held numerous solo exhibitions since 1990. He is represented in major collections in Australia and New Zealand and is internationally recognized through numerous exhibitions, including the significant European touring exhibition Aratjara: Art of the First Australians, 1993; Culture Warriors, National Indigenous Art Triennial, National Gallery of Australia, 2007; the 9th and 16th Sydney Biennales, 1992 and 2008; Australian Perspecta 1993, Art Gallery of New South Wales, and the Unfamiliar Territory, Adelaide Biennial of Australian Art in 1991. His work was the subject of the survey exhibition Positivity, presented by the Institute of Modern Art, Brisbane, in 2006. He won the National Telstra Aboriginal and Torres Strait Islander Art Award in 2003. A past member of the Campfire group, Bell is a founding member of proppaNOW, the Brisbane-based Aboriginal artists collective. He is represented by Milani Gallery, Brisbane, Australia.

Bell’s fellowship at Location One is supported by the Queensland Indigenous Arts Marketing and Export Agency (QIAMEA).

Location One Exhibition Press Release:

Richard Bell: I Am Not Sorry

Previous Press and other information:

Aboriginal Art ONLINE [PDF]

Gertrude Contemporary Art Spaces [PDF]

I am not Sorry: Richard Bell out of Context [PDF]

Throughout the year we organize readings, panels, lectures and workshops by artists, critics, technology experts and thinkers from different fields that are linked to our core philosophies. In addition, we sponsor dorkbot, a global group where artists, designers, and scientists hold a monthly meeting at Location One in which participants present new electronic media work for peer review.

Past “Open House Wednesdays”  >>
Other past talks >>

Please see our Archives to see a full listing of past events.

EXHIBITION PROGRAM

Each year five major exhibitions are presented in the main gallery by mid-career or well-established artists. With the assistance of Location One staff, they are attempting to expand their artistic vision by experimenting with new ideas or means of production and sometimes through novel collaborations with other artists. Throughout the year numerous smaller exhibitions from emerging artists are shown in our project gallery. selected list of past exhibitions >>

PERFORMANCE AND PUBLIC PROGRAMS:

Location One’s performance program features complex multi-disciplinary productions, often based on ideas that emerge during residencies and are commissioned for further development and presentation.

DISCOURSE

Throughout the year we organize readings, panels, lectures and workshops by artists, critics, technology experts and thinkers from different fields that are linked to our core philosophies. In addition, we sponsor dorkbot, a global group where artists, designers, and scientists hold a monthly meeting at Location One in which participants present new electronic media work for peer review.

RESIDENCY PROGRAM

Senior Artist-in-Residence
Each year one artist at the top of their career is invited by Location One to spend time in our studios and with the other artists-in-residence. Location One staff works with them to define a project that they might not consider within the normal confines of their practice.

International Fellowship
The International Committee has been formed to support an invitation-only artist fellowship program. The committee proposes outstanding mid-career or established artists who might benefit from a fellowship in New York and the chance to experiment and create work they might never make if working commercially or within the bounds of their daily lives. Artists invited into this program are selected and sponsored by Location One’s International Committee.

International Residency Program
This is our core program for artists, who spend from 5-10 months in residence at our studios. It is not open to students or recent graduates. Artists selected are accomplished artists with a history of exhibition.

The program seeks artists who wish to experiment with their practice, including those interested in new technologies, to create new work. The curators and staff who help select our artists remain involved to help develop exhibitions of their work.

Artists invited into this program are selected by a double panel system of curators and critics from their home countries who submit the short list of artists to our New York-based panel for final selection

Rudy Shepherd: Portraits
July 8–31, 2009
Opening Reception July 8, 6–8pm
Location One IRP Exhibition

In “Portraits,” American Artist-in-Residence Rudy Shepherd presents a series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high-art portraiture, e.g., criminals, anonymous Taliban members, black heroes, or houses.The painted portraits in Shepherd’s “Criminal/Victim” series from 2009 depict both perpetrators and victims of the same crime side-by-side, visually blurring the line between innocence and guilt. By presenting the people first and the stories second a space is created for humanity to be re-instilled into the lives of people who have been reduced to mere headlines by the popular press (e.g. Timothy McVeigh).

In his “Taliban” series, also on view, Shepherd presents beautifully executed color drawings of anonymous Taliban members who, as the artist states “have lived and died for their cause and been completely forgotten.” The portraits are based on a book from 2004 that reproduces images of Taliban soldiers taken in photographic studios in Afghanistan before these men departed on “missions” from which they did not return.

In “The Healers” series from 2009 Shepherd examines his black heroes in large-scale paintings in which he presents the extraordinary individuals against luscious gold backgrounds, hung above eye level, like sacred icons in front of which the spectator is meant to pause, as if in the presence of a diety. Yet, Shepherd’s ‘dieties’–Alice Coltrane (musician, wife of legendary John Coltrane), Sun Ra (American jazz musician), Frantz Fanon (revolutionary author from Martinique who was immensely influential in the field of post-colonial studies), and Octavia Butler (American science fiction author)—are a far cry from the (Caucasian) sitters generally encountered in such traditional portraiture: Christ, Virgin Mary, and various saints, for instance.

Lastly, “Portraits” also features several small-scale paintings, all dated 2006, that could be called “house-portraits” of significant writers, cultural thinkers or places of historical import: Frederick Douglass’ House, Aerial View Neverland Ranch, Freud’s Childhood Home, and the gate to the Auschwitz concentration camp with the haunting phrase emblazoned on it, Arbeit Macht Frei (Work will make you free).

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

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 Location One, New York, 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.

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 re-open from September 9th – 26th, 2009 with special public programming.

RE-OPENING RECEPTION:
Wednesday, September 9th, 2009, 6–8 PM
(open to the public)
DATES: September 9th – 26th, 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.

###

Current Location One Related Press:

The New York Times Magazine – The Moment [link] – PDF
Vanity Fair [link] – PDF
Art In America [link] – PDF
The Village Voice [link] – PDF
New York Art Beat [link] – PDF
The New York Times: Art in Review [link] – PDF

Media Contact

For further information on this exhibition or Location One, or for images or interviews, please contact Steve Cukierski at 212-334-3347 or via email at steve@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

Nicolas Grospierre, “Bank” (L), “Safe” (R) click for larger image

Kaeko Mizukoshi, Hymn

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”

The accompanying catalogue to Behavior, a 25-year survey of Nayland Blake’s career as a painter, sculptor, illustrator, performer, and installation artist. At Location One December 2, 2008-February 14, 2009. By curator Maura Reilly.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 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.

Signed, Limited Edition Sculpture by Nayland Blake

“Lop”, edition of 10 with 3 artist’s proofs. 2009
$1500
If you are interested in purchasing a limited edition sculpture, please contact Location One 212-334-3347

click on image to see larger version.

blog >>

Call for Submissions
Application Deadline: midnight, April 15, 2009
Dates of Residency: May 15-August 15, 2009
Theme: “Levels of Undo”

Invitation to Participate
Call for submissions for Location One’s “Virtual Residency Project 2.0″. Please send your URL or submit electronic materials to virtualresidency@location1.org.

Location One presents its second Virtual Residency Project in the form of a call to artists and other creative individuals with the purpose of fostering collaboration and creativity across geographical expanses and areas of expertise. The goal of this residency is to find 2 participants who are not physically proximate but who are willing to work with someone they’ve most likely never met before using some form of non-F2F (face to face) interface such as webcams, email, chat, video, blogs, telerobotic prostheses, Second Life, MIDI, skype, social networks, walkie-talkie, snail mail, mental telepathy, radio, networked video gaming, 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 2009, either on our web space or in our exhibition space. The theme of this project is “Levels of Undo”.

The two participants will also use a blog set up expressly for the Virtual Residency Project to discuss ideas, possible projects and to track the progress of the work. The conversation will be public and open for public comments and will be considered an intrinsic part of the Virtual Residency.

International applicants are encouraged to apply but knowledge of English (to communicate with Location One’s Virtual Residency liason) is necessary. The theme can be interpreted as broadly or as literally as the participants would like; the project will be developed collaboratively by the 2 individuals chosen for this residency project, in conversation with a curatorial advisor at Location One (to ensure the feasibility of the project and help with practical and techquestions, not to influence or reject project ideas).

VRP FAQ

What are acceptable forms of submission?
A website that includes CV and work samples is preferable, but you can also email electronic materials to virtualresidency@location1.org by the deadline, April 15, 2009. Please include a few lines describing why you are interested in a collaborative virtual residency such as this.

Who can apply?
Anyone who thinks the idea of working publicly with a total stranger about whose selection you have absolutely no say on a theme that is imposed on you is exciting rather than scary.

If I applied for the last VRP can I reapply?
Absolutely, we had many exciting and qualified applicants for the first residency but we chose the three we thought would make a good team.

Should I send a project proposal?
No, project proposals are not necessary, but a few lines describing why you are interested in this sort of collaboration would be helpful.

What kind of work should it be?
The project will be developed wholly by the participants. Location One will provide curatorial and technical assistance, but the final work will be created “offsite” or online.The final work may, however, have a physical manifestation–this will be developed with Location One’s curatorial advisor. 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 news 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.

Will there be an exhibition?
Depending on the nature of the work and the availability of the exhibition space at Location One, an exhibition is possible. The first Virtual Residency Project was on exhibit in our gallery space from September 10-November 15, 2008.

Is there a stipend for the selected artists?
Not yet, but we are working on it!

Why do you call it a “residency” if there is no “place of residence”?
(nasally falsetto): “Why do you call it a ‘residency’ if there is no ‘place of residence’”. Come on, aren’t we past that? Isn’t the “placeness” of cyberspace made real by the presence of a community? Free your mind.

What if I do not like my collaborator?
You should have thought of that before you agreed to all of this.

Virtual Residency Project
The first Virtual Residency Project featured three artists from three different countries: Andy Deck (New York, USA), Susanne Berkenheger (Berlin, Germany), and Hidenori Watanave (Tokyo, Japan). They communicated via blog and email and collaborated on an exhibition at Location One in the Fall of 2008. Titled “Mission Accomplished”, it featured works by each of the artists that can be seen on our website: http://location1.org/missionaccomplished. The first Virtual Residency Project was an experiment in virtual collaboration that was meant to work out the kinks so that the second would run more smoothly. We have not.

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.

Location One exhibition related press:

NY Times[link] – PDF
Artcat[link] – PDF
ArtForum[link] – PDF
Artico[link] – PDF
Artlog
New York Observer[link] – PDF
Performa[link] – PDF
Theater Mania[link] – PDF

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

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)
[display_podcast]
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.

[Show as slideshow]

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

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

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

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)

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

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.

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.

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.

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 

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

[display_podcast]

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

http://www.naydacollazollorens.com/installations1.html

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

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

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.

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

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.

Location One Virtual Residency Project

Mission Accomplished, September 10, 2008
The Virtual Residency Project’s first exhibition will open on September 10, with 3 collaborative works by Susanne Berkenheger, Andy Deck, and Hidenori Watanave. What started as an odd experiment in artist residencies results in our first Virtual Residency Project exhibition. more >>

Thank you to all the applicants, we had a wonderful range of submissions and have selected the three Virtual “Residents” for 2008. They will collaborate on a project to be shown at Location One in November 2008. Viewers will be able to watch the progress of this collaboration on a special blog: Virtual Residency Blog

2008 Virtual Residents

Susanne Berkenheger (Berlin)
Author and journalist, writer for “SPAM”, the satirical section of German magazine Der Spiegel. http://spiegel.de/spam. Susanne Berkenheger has been involved in projects in Second Life and “Chat Theatre”.
www.berkenheger.de/index_english.html
www.movement-for-account-corpses.de
www.thebubblebath.de
www.worldwatchers.de

Hidenori Watanave (Tokyo)
Hidenori Watanave is Associate professor at Tokyo Metropolitan University, and is researching 3Di (ex:Second Life) and 3DGIS (ex: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)
Andy Deck 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.net/

Call for Participation
Submissions Deadline: May 15, 2008
Dates of Residency: June 1-November 4, 2008

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.

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

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

Dear Friends,

Spring is here at last, Location One’s 10th Anniverary is coming up fast, and all those exciting names on the cover of this letter are part of an astonishing program of events that we invite you to come and be part of.

Australian video pioneer Tracey Moffatt is challenging us right now with her Social Edit, a suit of three films currently in our main gallery, in which she uses snippets of early and contemporary Hollywood movies to reflect on notions of nation, race and class…Coming in May is Aoife Collins‘ first solo show in the US: works of sculpture, sound, collage and video that reflect on ideas of Artaud, Baudelaire, and Rimbaud…And artist Nina Sobell will install her own studio in our project space, there to converse with visitors about her work and to improvise via the web with those who bring their own instruments.

Choreographer and dancer Glen Rumsey reprises his ignoredin my heaven…, possibly our most popular commissioned work ever, on April 4th and 5th, with many of the original dancers returning. In 2005 all performances were standing-room-only, so book early. Then on May 2nd come to see and hear the dean of the scene, poet Bob Holman, performing tracks from his new CD The Awesome Whatever with musician-collaborator Vito Ricci, and New Randy (that’s poet Holly Anderson and musician Lisa B. Burns) telling stories, singing songs with “melodies that soar and scorch and torch”.

Come Fall, we’ll be offering new work from Laurie Anderson, artist, musician, storyteller, generous creative spirit, and this year’s Location One senior artist in residence…and a solo show from Jean Shin, who during her residency this year, conceived a new metaphor using music to speak about the presence and absense of the body as well as a means of mapping out imaginary communities…We’re delighted to announce that next year’s senior artist in residence will be the legendary video, visual and performance artist Joan Jonas.

In September we also begin our by-invitation international fellowships for mid-career artists who want time and resources to reflect and eplore and create work they might never make if working commercially or within the bounds of their daily lives. Our first fellows will be two Britons: the sculptor Conrad Shawcross, whose insights into the harmonics of the universe fascinate us and “reveal the possibility that the certainties of science may be fiction and not fact”, and director-dramaturg-performance artist Sophie Hunter, who creates a theatre of moving images, absurd humor and vivid tableaux.

Check our web site for additional events as they’re scheduled. Meanwhile, we hope some of these wonderful talents will bring you back to Greene Street very soon.

With my very best wishes,

Claire Montgomery
Executive Director

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

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

Click here to view the embedded video.

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

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

Click here to view the embedded video.

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.

[Show as slideshow]

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

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 (250x26x90cm)
- Bush’s names in Chinese (China, 2004)
Shanghaiese manufactured copper sheets (120x200cm)

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.

《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.

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

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

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)

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/