Born in Tokyo, Japan, 1978. Lives and works in Dublin

Atsushi Kaga’s work depicts a fictional world inhabited by a cast of invented characters. Through his alternative reality, Kaga explores personal and cultural identity, as well as complex social issues faced in daily life. His mixed media work, which includes paintings, animations and wall drawings, attest to his keen sensibility and sense of intimacy. His work is whimsical and playful but with a dark and biting sense of humor underlying deceptively ‘kawaii’ imagery. website: http://www.atsushikaga.com/

Click here to view the embedded video.

Atsushi Kaga’s residency is made possible by The Arts Council / An Chomhairle Ealaíon

<< current residents

Dwelling in Perennial Dreams
Interactive installation by Bundith Phunsombatlert

April 14-May 27, 2011
Special Preview: Wednesday, March 30, 2011
6:30pm-8:30pm

Location One is pleased to present Dwelling in Perennial Dreams, an installation by Thai artist Bundith Phunsombatlert. The installation will be open for a special preview on March 30, from 6:30-8:30pm for Asian Contemporary Art Week.

Dwelling in Perennial Dreams is an interactive installation. This work invites the audience to imagine caring for orphaned babies in Thailand. Several cradles, each holding two TV monitors placed screen side up, play videos of the upper and lower part of a baby sleeping. Each baby sleeps for 15 minutes, then wakes up and cries. The audience participates by rocking the cradles to put the babies back to sleep. The audience can also wake the baby up if they make a loud noise; sensors pick up any noises from the audience and jolt and wake the babies. Furthermore, one crying baby can wake the other babies, showing how we are all interconnected in a community.

A political issue in Thailand inspires Dwelling in Perennial Dreams, but one that is equally applicable internationally in different ways and dimensions. The artwork represents the space where people from the upper class often control the way of lives of lower class people through the metaphor of taking great care of babies, by putting them to sleep. While sleeping is a necessary part for babies to grow up physically and mentally, the process of the work is to make the babies go to sleep as long as possible in order not to face the real world. This contradictory discourse is the subject of the artwork. By pacifying babies, people are simultaneously calming and oppressing them at the same time.

This new media artwork uses the old mechanism of a cradle to invite the audience to participate in the installation and also describe the story of how a group of babies is taken care of by a volunteer pregnant woman and the audience act as performers. The artwork transfers the story of two species of birds from a popular Thai lullaby into a form of interactive installation art using the process of taking care of Thai orphaned babies to another land. The sound of babies’ crying in this piece reflects the way of communication from micro to macro in the society. Whenever a small unit in a community is disturbed, this will consecutively connect to other units.

“My intention to display this artwork in another country is to fulfill the significant meaning of places in the artwork. The installation represents grounded and uprooted experiences of transformation of one land to another land. The audience can get the idea of places from the physical space of where they are; the transformative space between the sites they are; and where the orphaned babies are from—the imaginative space of another land. The real site itself is used as a medium to interpret another site as well as the imagination of the audience on the cultural and social context. The work questions the issue of identities beyond the boundary of geography—a transformation of the boundaries of collective identity.” -Bundith Phunsombatlert

*A pregnant woman will perform in the installation as well as viewers are invited to rock the cradles.

Video of this piece here:

“As
 an
 artist
 living
 in
 Thailand
 for
 the
 past
 decade
 and
 now
 residing
 in
 the
 US,
 I
 have
 reflected
 on
 ever‐changing 
social, 
economic,
 and political
 situations,
 particularly
 in 
the 
framework 
of 
globalization. 
 I 
seek
 to
 analyze
 and
 synthesize
 these
 issues
 within
 the
 context
 of
 history
 to
 form
 art
 that
 rethinks
 Thai
 identity
 in
 the
 world.
 Through
 interactive
 media
 installations,
 I
 design
 systems
 for
 sharing
 and
 communicating
 with
 the
 viewer
 that
 explore
 the
 transformation
 from
 fact‐based
 orientation
 to
 imagination.
 This
 parallels 
my 
own 
transformation 
as 
an 
artist 
working 
in 
the 
East 
and 
the 
West
 as
 well
 as
 my
 move
 from
 traditional
 to
 new
 media.
 Furthermore,
 it
 mimics
 a
 transmodal
 transformation
 that
 I
 argue 
is 
inherent
 in
 new
 media.
”

Mr. Phunsombatlert earned both his B.F.A. and M.F.A. degrees in graphic arts (printmaking) at Silpakorn University, Bangkok, Thailand, and his M.F.A in Digital+Media at Rhode Island School of Design. He has participated in international exhibition, such as the Third Asia-Pacific Triennial of Contemporary Art 1999, Queensland Art Gallery, Brisbane, Australia, ISEA 2004: the 12th International Symposium on Electronic Arts, Kiasma Museum of Contemporary Art, Helsinki, Finland, The Third Guangzhou Triennial 2008, Guangdong Museum of Art, China, and The 4th Auckland Triennial 2010, Auckland Art Gallery, New Zealand. Among his selected awards and fellowships are Pollock-Krasner Grant in 2001, Second Prize Unesco Digital Art Award 2004, and Asia Cultural Council Fellow 2007.

Phoebe Hui, pseudonym Jinger, was born and raised in Hong Kong, China. She is an interdisciplinary artist and researcher mainly working in the relationship between art, technology, and language. Most of her works defamiliarize, and experiment with, text, image, and sound, to discover new possibilities and to transgress ordinary boundaries. Her recent projects have increasingly relied on interdisciplinary ideas drawn from literary theory, art history, quantitative research, electronics, computer science, and interface design.

Hui received her Master of Arts in Fine Art at Central Saint Martins College of Art and Design and her Bachelor of Arts in Creative Media from City University of Hong Kong. She has participated in a number of solo and group exhibitions locally and internationally. She is also the recipient of a number of grants and awards, including Asian Cultural Council Altius Fellow, Bloomberg Emerging Artist Award, Hong Kong Art Development Council Art Scholarship, Hong Kong Design Association Design Student Scholarship, Kagoshima Art and Culture Exchange Delegate and Pamphlets & Packaging Design Competition Grand Prizes Champion.

In addition to being an independent artist, she is deeply interested in art education and conducted workshops in various community centers, schools, and independent organizations. She was invited to share her research-based art practice in ISEA 2009 and present a paper on digital media pedagogy at MIT Media Lab in 2008.
website: http://www.earthlinginger.com

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

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

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

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

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

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

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

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

Click here to view the embedded video.

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

Born in 1967 in Japan, Toyoshima obtained an MFA from Tokyo National University of Fine Arts and Music, and has participated in a number of solo and group exhibitions and international residencies. Since early in her artistic career, Toyoshima has concerend the with various forms of systems and regulated values in a contemporary society that one applies and unconsciously internalizes. By experimenting with various everyday objects, commodities and spaces, she conceptually investigates the social and cultural systems that are taken for granted, such as measurement, finance, color, or counting, in order to reveal how those systems influence the construction of a subject. In doing so, she further explores new realms of meaning and ideas by manipulating and intervening with the contexts and boundaries in various forms and approaches.

Ms. Toyoshima’s residency is made possible by the Asian Cultural Council.

Born 1978, Lives and works in Krakow.

Karolina Kowalska is a versatile artist based in Kraków, working with dark humor and irony in the media of installation, photography, animation, and video. Kowalska has collaborated with the experimental and performative art collective, the 36.6 Foundation, and with the feminist interactive art group, Grzenda (The Hen House), known particularly for their online game, Contraception (2005). From these collaborations, she brings a spirit of play, a consciousness of gender, and an element of performance into her individual work.

Studied in the graphics department of Krakow Academy of Fine Arts (MFA 2002), and in the animation department at Hogeschool Gent (Belgium).
2006 Artist in Residence of the Forum Stadtpark Graz (Austria).
In 2007 she acheived a Ministry of Culture creative grant.
In 2009 invited to the program Artist Pension Trust / Berlin.
In 2010 she achieved a Ministry of Culture creative grant “Mloda Polska”.
2010 – Artist in Residence in Location One, New York.
www.karolinakowalska.pl

Karolina Kowalska 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.

André Feliciano (Brazil)
Brazilian Cultural Office and Location One International Committee

André Feliciano considers himself an art gardener. His utopian view of the world can be better understood by his concept of “Floraissance Art,” which mixes the words “flora” and “renaissance” and calls for a postmodern return to arcadia. Feliciano uses words like sprouting, cultivating, and gardening in his artistic practice. His colorful, artificial garden made out of resin-based flowers and dirt is majestically beautiful and leads us to an inner state of calm and contentment. Why not extend these feelings to our present condition so that we can start building a better future?

Feliciano, born in 1984, in São Paulo (Brazil), has exhibited at Photoville (New York, 2012), Bonni Benrubi Gallery (New York, 2011), and the Museum of Modern Art of São Paulo (2010), among other venues. His work has been featured in the New York Times online, Time magazine’s photography blog, and the blog of the International Center of Photography. He is part of the upcoming exhibition Festival of Art and Gastronomy at the Museum of Modern Art of São Paulo (November 2012). More information can be found at his blog, blog.natureza.art.br.

Feliciano’s Residency is made possible by Location One’s International Committee and by the Brazilian Cultural Office.

Artists 2011-2012

Pablo Helguera (Mexico)
Location One International Committee

Born in Mexico City, 1971. Lives and works in New York

Pablo Helguera (based in New York, born in Mexico City, 1971) works in the fields of pedagogy, literature, musical composition, and theater. His projects have included performance lectures, scripted symposia, and panel discussions (with or without the knowledge of the audience) as well as a variety of experimental formats of verbal presentation.

Helguera’s works have been presented in many venues including the Liverpool Biennial, Performa 05, Museo Reina Sofia in Madrid, ICA in Boston, MoMA, and many others. His play, The Juvenal Players, produced by Grand Arts in Kansas City, was presented at The Kitchen in 2010. His orchestral work Endingness was performed by the Detroit Symphony Orchestra under the direction of Leonard Slatkin. He is the author of more than 10 books including Theatrum Anatomicum (and other performance lectures), a collection of performative works. His social practice project, The School of Panamerican Unrest (2006), consisted of the creation of a nomadic schoolhouse that traveled by land throughout the Americas from Alaska to Chile, presenting collaborative performance and civic events in over 26 cities. He is a recipient of the Guggenheim Fellowship, the Creative Capital Grant; and in 2011 was named the first winner of the International Award for Participatory Art of the Regione Emilia Romagna in Italy. As an educator, Helguera has worked in museums for over two decades and currently works as Director of Adult and Academic Programs at The Museum of Modern Art. He is the Pedagogical Curator of the 8th Mercosul Biennial, opening in September 2011.

Jacob Dahl Jürgensen (Denmark)
Danish Arts Agency

Born in Copenhagen, 1975. Lives and works in London.

Jacob Dahl Jürgensen’s sculptures pose as fictive relics; the possible artifacts of a future archaeology unearthing the ethnological debris of today. Influenced by early 20th century Modernism, Jurgensen often quotes from art history by intertwining recognizable forms and ideologies with fragments of popular culture to create ritualistic monuments divining a contemporary spirituality. His Folly, The Mystical’s Sphere, nods to the futuristic architecture of Tatlin and Fuller; the sparse copper structure standing as a theatrical oracle, emanating a primitive occultism from the power of low-watt light bulbs.
website: http://www.jacob-dahl-jurgensen.com/

Jacob Dahl Jürgensen’s residency is made possible by The Danish Arts Agency.

Maria José Arjona (Colombia)
Location One International Committee

Born in Bogotà, Colombia in 1973. She lives and works in New York
Ms. Arjona graduated from The Higher Academy Of Art Of Bogota (ASAB) in 2000 and her practice is exclusively focused on long duration performance.

She has been part of numerous exhibitions in different museums, galleries, and instituions in South America, The United States, Europe and China. Her work is a permanent part of many relevant collections around world.

Hiraku Suzuki (Japan)
Asian Cultural Council

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

Hiraku Suzuki obtained an MFA from Tokyo National University of Fine Arts and Music. Focusing on ideas of memory and excavation, his work centers on an expanded notion of drawing which encompasses works on paper and panels, installation, murals, frottages, and live performance drawing. Much of his work hinges on the vast library of signs and glyphs he has developed by focusing on the shapes, forms, rhythms, and materials of his immediate environment (which can be understood as the base units of the ever-changing hidden language of the city).

His recent solo exhibitions include WIMBLEDON space, London (2011); Galerie du JourAgnes b., Paris (2010); and Tokyo Wonder Site Shibuya, Tokyo (2008). Group exhibitions include Roppongi Crossing, Mori Art Museum, Tokyo (2010); 100 stories of love, The21st Century Museum of Contemporary Art, Kanazawa (2009); Between site and space, ARTSPACE, Sydney (2009); Redbull House of Art, Hotel Central, Sao Paulo (2009); and Vision of Contemporary Art, The Ueno Royal Museum, Tokyo (2009). His early works are held in the collection of The 21st Century Museum of Contemporary Art, Kanazawa, Japan.

Publications include GENGA, published by Kawade Shobo Shinsha/Agnes b., and Looking For Minerals, published by BEAMS.
http://www.wordpublic.com/hiraku

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

Michaela Müller
Location One International Committee

Born in St.Gallen, Switzerland. She lives and works in Switzerland and in Zagreb, Croatia.
Michaela is in love with paint and film, and through the process of animation she has found a perfect means of combination. She is currently researching and exploring the borders between narrative and abstract experimental film, based on rhythm and choreography via animation.
She likes to work on social topics of public concern. Her 8 minute animation, “Miramare” (2009), (paint on glass), is an impressive encounter between tourists and immigrants shown from a children’s perspective. It has been shown at more than 70 film festivals all over the world including Cannes, Annecy, London, Melbourne, Sarajevo, Rio de Janeiro and St. Petersburg. “Miramare” won more than 15 awards includion the Swiss Film Prize Quartz, the Centaur for Best Debut Film at Message to Man Film Festival, St. Petersburg, the Grand Prix at Animateka Film Festival, Ljubljana etc.
Michaela studied animated film and New Media at the Academy of Fine Arts in Zagreb, Croatia. Miramare is her diploma film. She likes to collaborate on theatre and dance projects, where she contributes animated scenographic elements.
Michaela Müller’s residency is made possible by Pierre Nussbaumer and the Location One International Committee.
website: www.triboje.com

Na Yingyu (China)
Lijiang Studio
Location One International Committee

Na Yingyu is a Chinese artist, born in 1973 in Yichun, Heilongjiang, China, he lives and works in Beijing. Na Yingyu has exhibited extensively in China, Brazil and Israel. Our Homeland! Gone Just Like That will be Na Yingyu’s first solo show in the United States.

Na Yingyu’s residency made possible by Location One’s International Committee and Lijiang Studio, Lashihai, China.

Andrea Yugoslavia Chirinos (Mexico)
Location One International Committee

Andrea Yugoslavia Chirinos Brown was born in Mexico, where she studied dance, theater and art history. There she began to dance professionally and also to experiment with choreography. In 1994 she moved first to Boston and then to New York to achieve a Bachelor in Fine Arts (Dance major) at the Boston Conservatory and in Mary Mount Manhattan College. Around that time she danced with the Stanley Love Performance Group and with Anime Dance Japan, at the same time showing her own work in venues around the city of New York.

In 2000 she moved back to Mexico City where she was assigned as the director of the students company of the university Instituto Politécnico Nacional where she did several choreography and toured in all the campuses of this important public Nacional University. She also began her own company called Mitrovica Dance. Since the moment of its creation, Chirino´s Dance Company has performed in museums, schools and theaters. Her pieces, like the Faith Line, Restaurant Tesuyo, Tangled, Familiar Environment, Second Life and Ritual de lo Habitual have made the company to be named the Best Artistic Project of the City, an annual price voted by the people. In 2009 she won the first prize in the prestigious Mexican Contemporary Dance Award with the piece Tangled, for its originality and its use of space. This price is issued by the INBA, the Institute National of Bellas Artes, a pivotal institution in Mexican culture.

In March of 2011, she presented and installation called Hotel Irina, with more than 15 dancers, sponsored by Universidad National Autónoma de Mexico (UNAM). The company also tour in museums with the last project called Corridor Shadows Exterior Evening. In May 2011 Andrea Yugoslavia Chirinos move back to New York City.

Tommy Støckel (Denmark)
Danish Arts Council

Born in 1972 in Copenhagen, Denmark. Lives and works in Berlin, Germany.

Tommy Støckel uses computer-generated calculations to create elaborate and intricate sculptural installations that resemble fractal-like architecture. Geometry, scale and perspective are essentials in the work of Tommy Støckel. His fascination of cool modernism and science fictions novels from both the 19th and 20th centuries is reflected in collages and installations that represent a constructed future seen in miniature worlds and deserted sci-fi landscapes. With a precise mathematic technique Støckel creates collages using figures cut out from catalogues and sculptures showing different layers and the inevitable decay of time. The use of materials as paper, cardboard and foam contrasts the sophisticated themes as deconstruction and chaos theory.

Monica Baptista (Portugal)
Gulbenkian Foundation

Born in S. Paio de Oleiros, Portugal, 1984. Lives and works in Portugal.

Monica Baptista is a painter-turned-documentary filmmaker who has created several films on topics ranging from Chechnyan soldiers on the TransSiberian Express, to tracts on herbal tea, to experimental investigations of architectural structures. Present in all of her work is a focus on the perception of space and time in relation to the particular community or subject matter of her films.

Monica Baptista’s residency is made possible by The Calouste Gulbenkian Foundation and the Luso American Foundation

Agnieszka Kurant (Poland)
Polish Cultural Institute
Trust for Mutual Understanding

Born in Łodz, 1978. Lives and works in Warsaw.

Agnieszka Kurant is an artist based in Warsaw. She represented Poland at the Polish Pavilion at Venice Biennale 2010 (collaboration with the architect Aleksandra Wasilkowska). She is interested in the ways in which trying to interpret the world logically results in a fictional version of reality. Her works explore how things created as fictions, rumors, paranormal phenomena as well as objects not existing materially, enter into economy and politics of contemporary world. She is interested in virtual capital, imaginary property, immaterial labour, hybrid authorship, changes of aura, value and status of objects in cognitive capitalism. Many of her works are related to the existence of the future in the present. Her works have been shown in art institutions including: Witte de With, Rotterdam (2011); Palais de Tokyo, Paris (2004); Tate Modern, London (2006); Yvon Lambert Gallery, New York (2005) and Museum of Modern Art, Zachęta National Gallery of Art, Centre for Contemporary Art Ujazdowski Castle, Warsaw. Kurant has participated in international contemporary art exhibitions including: Performa Biennial, New York (2009), Athens Biennale (2009), Moscow Biennale (2007) and Bucharest Biennale (2008). In 2008 she was commissioned to realize Frieze Projects at Frieze Art Fair, London. In 2009 she was shortlisted for the International Henkel Art Award (MUMOK, Vienna). Kurant was an artist in residence at Palais de Tokyo, Paris in 2004; ISCP, New York in 2005; Konstfak, Stockholm in 2007 and at the Paul Klee Center (Sommerakademie) in Bern, 2009. Sternberg Press published Kurant’s monograph “Unknown Unknown” in 2008 and the Venice Biennale catalogue “Emergency Exit” in 2010. Her solo show is currently on view at Montehermoso Cultural Center in Spain.

Agnieszka Kurant’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.

Ana Freitas Machado (Brazil)
Location One International Committee

Ana Freitas Machado is an artist who lives and works in Rio de Janiero, Brazil. Many of her works are the result of a conceptual and visual theme. Time, geometry, nature and morphology of the creative process are part of its research universe in different media such as drawing, photography, artist book, printmaking and sculpture.

Atsushi Kaga (Ireland)
The Arts Council / An Chomhairle Ealaíon

Born in Tokyo, Japan, 1978. Lives and works in Dublin, Ireland.

Atsushi Kaga’s work depicts a fictional world inhabited by a cast of invented characters. Through his alternative reality, Kaga explores personal and cultural identity, as well as complex social issues faced in daily life. His mixed media work, which includes paintings, animations and wall drawings, attest to his keen sensibility and sense of intimacy. His work is whimsical and playful but with a dark and biting sense of humor underlying deceptively ‘kawaii’ imagery. website: http://www.atsushikaga.com/

Click here to view the embedded video.

Atsushi Kaga’s residency is made possible by The Arts Council / An Chomhairle Ealaíon

<< current residents

David Molander (Sweden)
Hasselblad Foundation

Born in Stockholm, Sweden 1983.

In the project An Urban Anatomy visual artist David Molander is in pursuit of the essence of the urban centers. By the use of digital photography and animation, he collects a documentary material of hundreds of photos and film clips that he dissects and reconstruct into large still- or moving images that can be placed between document and fiction. He cut open interiors, sample streetlights, stitch together pavement and gather parts of the city that although closely linked, seldom meet. Molanders work put emphasis on new relationships between architecture, social environment, living memory and the humans within it. David Molander has been studying photography and film at Harvard University and has a BA in Rhetoric and a BA in Art history from Uppsala University. He graduated 2010 with a MFA from School of Photography in Gothenburg/Sweden. Website: http://www.davidmolander.com

David Molander’s residency is made possible by The Hasselblad Foundation

http://www.location1.org/levels-of-undo/ http://www.location1.org/levels-of-undo/#comments Wed, 09 Sep 2009 23:00:28 +0000 heather http://www.location1.org/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. ]]>

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

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http://www.location1.org/rudy-shepherd-portraits/ http://www.location1.org/rudy-shepherd-portraits/#comments Wed, 08 Jul 2009 23:00:59 +0000 heather http://www.location1.org/rudy-shepherd-portraits/ A series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high-art portraiture by 2008-2009 American artist-in-residence Rudy Shepherd.

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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.

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http://www.location1.org/janez-jansa-name-readymade/ http://www.location1.org/janez-jansa-name-readymade/#comments Fri, 08 May 2009 00:00:33 +0000 heather http://www.location1.org/janez-jansa-name-readymade/

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

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http://www.location1.org/from-the-air/ http://www.location1.org/from-the-air/#comments Tue, 10 Mar 2009 23:00:52 +0000 heather http://www.location1.org/from-the-air/ An exhibition by 2008 Senior Artist-in-Residence Laurie Anderson. Two installations, From the Air, and Aleph

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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

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MONDAY, NOVEMBER 1, 2010 You are cordially invited to attend the inaugural benefit in support of The Marina Abramović Studio and Performance Program at Location One. We hope you can join us for an evening dedicated to the celebration of great performance art. 7pm Cocktail Reception and Exhibition Preview 7-10pm Performances and Silent Auction See works in Silent Auction here >> 8pm Dinner for Benefactors* CHAIR Marina Abramović CO-CHAIRS Sophie Crichton-Stuart and James Lindon PERFORMANCES, AUCTION AND PREVIEW of Zina Saro-Wiwa’s exhibition Sharon Stone in Abuja. Performances by Maria José Arjona and Marta Jovanović Bosi. Silent auction with works by Marina Abranović, Terence Koh, Joan Jonas, Guerilla Girls, Carolee Schneemann and more. Private dinner with Marina at the home of Claire Montgomery and James MacGregor. See works in Silent Auction here >> Sponsor Ticket $500 Cocktail reception with Marina and artists, Performances and Auction *Benefactor Ticket $1000 Reception, Performances, Auction and Private Dinner with Marina and artists *Benefactor Table(s) $10,000 for 10 (Limited Availability) Including for each guest Reception, Performances, Auction and Private Dinner with Marina and artists For more information please contact Location One 212.334.3347 or benefit@location1.org

Marina Abramović The Kitchen VI, 2009 Photo: Marco Anelli Courtesy of the artist and Sean Kelly Gallery BENEFIT COMMITTEE Laurie Anderson Rhonda Barnat Carol Becker Melva Bucksbaum and Raymond Learsy Rafael Castoriano Ella Cisneros Jennifer P. Goodale Roya Khadjavi Heidari Chrissie Iles Dr. Michael Jacobs Joan Jonas Sean and Mary Kelly Barbara London Elizabeth J. McCormack Linda Nochlin Alina Pedroso Elsa and Marvin Ross-Greifinger Carolee Schneemann Laura Skoler Marcia Vetrocq Jane Wesman Zoe Woel (list in formation) Many thanks to the generosity of our Corporate sponsor Abernathy MacGregor Group (Havas)

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

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

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.

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

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.

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

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.

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.

《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.

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)

Jean Shin TEXTile (detail) 2006

We Interrupt Your Program

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

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

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

Organized by Marcia Tanner, guest curator

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

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

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

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

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

MARIANA VIEGAS On the road. Remembering Kerouac

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

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

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

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

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VERA CORTÊS AGÊNCIA DE ARTE Pulse Miami 2007

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

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

Artistas apresentados:
Adriana Molder
Daniel Blaufuks

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

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

Presented artists:
Adriana Molder
Daniel Blaufuks

—————————————————————————————————————————————

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

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

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

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

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

MARIANA VIEGAS On the road. Remembering Kerouac

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

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

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

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

—————————————————————————————————————————————

VERA CORTÊS AGÊNCIA DE ARTE Pulse Miami 2007

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

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

Artistas apresentados:
Adriana Molder
Daniel Blaufuks

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

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

Presented artists:
Adriana Molder
Daniel Blaufuks

—————————————————————————————————————————————

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

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

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

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

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

MARIANA VIEGAS On the road. Remembering Kerouac

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

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

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

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

—————————————————————————————————————————————

VERA CORTÊS AGÊNCIA DE ARTE Pulse Miami 2007

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

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

Artistas apresentados:
Adriana Molder
Daniel Blaufuks

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

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

Presented artists:
Adriana Molder
Daniel Blaufuks

—————————————————————————————————————————————

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

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

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

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

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

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

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

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

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

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

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

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

For further information contact:

Andrew Duggan
The Courthouse Studios Project
Dingle/An Daingean
Kerry

http://www.andrewduggan.org

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

We are very grateful to the following colleagues who passed through Location One this year to meet the residents. (listed in alphabetical order)

MARCO ANTONINI
CECILIA ALEMANI
IRINA ZACCO ALLESANDRELLI
MIGUEL AMADO
OMBRETTA AGRÒ ANDRUFF
JEAN BARBERIS
TAIRONE BASTIEN
KOAN JEFF BAYSA
JEANNE BRUN
ANGELIQUE CAMPENS
FRANCISCA CAPORALI
ANJA CHAVEZ
BILJANA CIRIC
ANNE COUILLAUD
BLAIRE DESSENT
KATHLEEN FORDE
MICAELA GIOVANNOTI
XANDRO GONTIJO
BÉATRICE GROSS
KATE HAW
FELICITY HOGAN
PADDY JOHNSON
IRENA KOVAROVA
DAN LEERS
MELISSA LEVIN
SARAH LEWIS
MARIE LOSIER
AMY MACKIE
MICAELA MARTEGANI
RAÚL MARTÍNEZ
EMMA MCRAE
PEDRO MENDES
JAY MURPHY
TRONG GIA NGUYEN
JANE PHILBRICK
ADINA POPESCU
JOAO RIBAS
JENNIFER SCANLAN
STEPHAN STOYANOV
RADHIKA SUBRAMANIAM
ELIZA TAN
BLANCA DE LA TORRE
JAN VAN WOENSEL
ANURADHA VIKRAM
VIRGIL DE VOLDERE
HYEWON YI
YUKA YOKOYAMA
RAÚL ZAMUDIO

2006-2007

AOMI AKOBE
MIGUEL AMADO
AREZOO AMOSENI
MICHEL ASSENMAKER
JEAN BARBERIS
KOAN JEFF BAYSA
LAUREN CORNELL
ANNE COUILLAUD
BLANCA DE LA TORRE
BASSAM EL BARONI
ROBERT ELMES
JACOB FABRICIUS
DAVID FAMILIAN
MARK GERRY
RACHEL GUGELBERGER
SARA HINES
JANICE HOUGH
ALEXANDRA AND MARC HUNGERBUEHLER
STEPHANIE JEANJEAN AND RAFFAEL BEDARIDA
CECILIA JURADO
HINAKO KASAGI
ROBERT KNAFO
ANTOINETTE LAFARGE
MARIE LOSIER
MATTHEW LYONS
JILIAN MACDONALD
ANTONIA MAJACA
TIM MOHN
YASUFUMI NAKAMORI
RITA PALMA
SARAH REISMAN
ANNE RORIMER
ERIC SCHINER
JOHN SHANKIE
ERZEN SHKOLOLLI
MANON SLOME
STEFAN STOYANOV
SIMONE SUBAL AND CECILIA ALEMANI
MARIKO TANAKA
MARCIA VETROCQ
RICHARD VINE
SHINYA WATANABE
SHIN YI YANG
YUKA YOKOYAMA
EMILY ZIMMERMAN AND CHEN TAMIR

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

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

1. The Story

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

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

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

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

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

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

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

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

2. The Space

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

-Among the artist notes

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

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

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

3. The Story within the Space

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

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

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

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

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

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

Lida Abdul – What We Saw Upon Awakening

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

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

PRESS COVERAGE: ArtSlant interview / Time Out New York /

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

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

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

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

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

Lida Abdul bio

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

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

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

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

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

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

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

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

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

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

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

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

Vite, une échelle !

Vite, une échelle! est la première des deux propositions d’exposition collective de trois amies aux affinités plastiques jamais éprouvées ensemble.

Tous les jours, 14h > 18h, entrée libre.
Vernissage mercredi 12 septembre à partir de 18h.
Rencontre avec Virginie Yassef, Aurélie Godard et Gaëlle Hippolyte samedi 15 septembre à 17h.

www.pointephemere.org

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.

Abramović Studio

In September 2009 Marina Abramović inaugurated the Abramović Studio at Location One. The studio, curated by Jovana Stokić, introduced artists from Location One to other artists working in the field of performance and performance art. To see some of the events, including interviews with guest artists, check out the Abramović Studio Page >>

Some recent performance events at Location One include:

Hiraku Suzuki: Live Drawing Performance

December 8, 2011
with live music by Raz Mesinai

 

November 18, 2011
with Beatriz Helguera, piano
And Katherine Ademenko, Lisa Gross, Ryan Hill, Brian
Linden, Melanie Lockert, Laura Lona, Richard Saudek
and Corey Tasmania.

Sophie Hunter: Lucretia

June 14-16, 2011
Installation/performance based on the Benjamin Britten opera

Past commissioned performance events have included:

Janez Jansa: Name Readymade

May 7, 2009
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.

Brina Thurston:  Open Call

May 1, 2009

Open Call is a project organized by Brina Thurston, currently in residency at Location One, NYC. All submissions will be due by April 20, 2009 and will be presented and juried by a select group of artists, curators and critics in front of a live audience at Location One May 1, 2009.

Nayland Blake:  Misbehavior III

February 7, 2009

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:  Gorge and Misbehavior II

January 9, 2009

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.

Nayland Blake:  Misbehavior I

December 17, 2008
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.

Rob Kennedy:  I Relish Your Balderdash.

June 25, 2008
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 paraphernaliaA 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.

Bob Holman w/ Vito Rici: 2×2: New Randy

May 2, 2008
2×2 brings together two poet/musician duos in a night of New Poetry, Old School style New Randy is poet Holly Anderson and musician Lisa B. Burns. Bob Holman, proprietor of the Bowery Poetry Club, collaborates with musician Vito Ricci.

Glen Rumsey Dance Project: ignored in my heaven… reprise

March 25, 2008
Glen Rumsey Dance Project returned to Location One with this reprise of “ignored in my heaven…” a suite of surreal and magical dances inspired by dream and travel journals.

Philippa Kaye Company with The AirBand: Ritual for a Non-Repeating Universe

April 6, 2007
A one-time expansive event mixing the analog — cray-pas and contemporary dance, with the digital — sensored sound and light.

Various Artists: Open Stitch

September 7 – October 1, 2005
15 artists spend seven days at Location One working intensely and in restricted conditions to produce wearable creations with only the tools and materials provided to them. A cross between art and fashion, the project temporarily removes the gallery from the appointed function of “showing” and moves it to the world of artistic production, raising questions about the circumstances, both physical and mental, of the creative process.

Glen Rumsey Dance Project: ignored…in my heaven

September 15-25, 2005
A dance suite that was developed in our studios over the course of 6 months by the choreographer and dancers and costume designers, and was performed to sold-out crowds.

Benoit Maubrey and Audio Ballerinas

January 24, 2003
Ballerinas wearing audio-acoustical tutus performing two pieces, PEEPERS (8 minutes), with photo-resistor sensors and group choreography with spotlights on tripods, and YAMAHA LADIES (15 minutes), with exposed Yamaha keyboards and mercury sensors.

Click here for a full list of our past performances

Music:

Location One is pleased that our long-term association and sometime-artistic collaboration with Roulette has solidified into a formal affiliation. Roulette’s new permanent home is in our 20 Greene Street space. The calendar of music events is dense with the most innovative composers and performers and can be viewed at Roulette.

PLUS, Current Location One members have the privilege of attending Roulette concerts FREE! Please make reservations with Roulette at 212-219-8242.

SELECTED PAST EXHIBITIONS:

Na Yingyu: Our Homeland! Gone Just Like That

7 March – 6 May 2012
Curated by Jay Brown
Shot in the highland villages of the Jade Dragon Naxi Autonomous
Prefecture of Lijiang, Yunnan, China in 2006 and 2007, this composite of video, sound,
and still images chronicles the encounters of the Manchurian video artist Na Yingyu among the Naxi
people in the sandy pines at the foothills of the Himalaya. This area of the world hosts a richness
of land, family, music, ritual and the natural beauty that someone in the video describes as
“home”. The massive new video installation, consisting of of 59 video “chapters” is arranged as
constellations in a starry night sky.

Project Gallery Events / Exhibitions>>

One And Many

11 January – 15 February 2012
Location One is proud to present One and Many, a group show featuring works by Monica Baptista, Jacob Dahl Jürgensen, Atsushi Kaga, Agnieszka Kurant, David Molander, and Hiraku Suzuki. These artists engage a variety of mediums, from digital film and photography to the traditional art of sewing, transforming one piece into many as they channel possible meta-narratives in their work.

Lilibeth Cuenca Rasmussen: Afghan Hound

29 October – 23 December 2011
Through photographs. sculpture, video, song, costume and performance, Cuenca explores the fragile structure of political hegemony and patriarchal domination. Her premise: When sexuality is repressed, new constructions of gender develop.The title refers both to the long-haired dog breed (the artist uses hair in extreme exaggeration throughout the work) and to Afghanistan (the male-dominated culture from which her characters are drawn).

Sounds Good

15 June – 29 July 2011
Curated by Claudia Calirman
Sounds Good, features visual responses to a collaborative sound piece by artists John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders. The pieces relate to movement, rhythm, vibration, energy, and the expanding visual field.

John O’Connell: Like a Shark in the Grass

14 April – 27 May 2011

The gallery space is transformed with floor-to-ceiling cardboard tubes, a large hand-painted mural, a series of drawings, and a huge papier-mâché structure, creating the sense of a forest that the viewer is invited to explore. This imaginary landscape—in which bizarre and unfamiliar narratives seem to unfold before the viewer’s eyes—is loosely inspired by an earlier drawing by O’Connell, Like a Shark in the Grass (2009), which depicts a ghostly white shark uncannily drifting inside a forest.

Davide Balliano: Giving My Back To The Night I Heard You Lying To A Giant
First Giant

10 February – 19 March 2011

In the exhibition “Giving My Back to the Night I Heard You Lying to a Giant (First Giant)” Davide Balliano uses the myth of Ulysses blinding the Cyclops Polyphemus as a starting point for his representation of the five phases of sleep which he calls the “ancestral fight against the obscure void that blinds us every night”.

Sharon Stone in Abuja
Co-Curated by Zina Saro-Wiwa and James Lindon

5 November 2010 – 22 January 2011

Location One is proud to present SHARON STONE IN ABUJA an exhibition conceived by Zina Saro-Wiwa, British-Nigerian film-maker and founder of AfricaLab, an organisation dedicated to re-imagining Africa. Includes work by Saro-Wiwa, Pieter Hugo, Wangechi Mutu, Mickalene Thomas, and Andrew Esiebo.

Rachel, Peter, Caitlin, John
A Project by Lucy Skaer

16 September – 16 October, 2010
Experimental new work from acclaimed Turner Prize finalist.
Location One is proud to present important new work in 16mm film and sculpture from Lucy Skaer, the young Scottish artist shortlisted for the 2009 Turner Prize and recently featured at the Venice Biennale and the Berlin Biennial
Artist Talk: Friday, Sept 24, 2010, 7pm
with Chrissie Iles, Anne and Joel Ehrenkranz Curator, Whitney Museum

Adel Abidin: I’m Sorry

20 May – 31 July 2010
The piece that gives the exhibition its title-a light box including a sound installation- comes from his experience as an Iraqi traveling in the U.S. In one of his trips, Abidin encountered people from diverse social backgrounds. Yet, surprisingly, every time he mentioned his nationality, the answer was invariably the same: I’m Sorry. Of course, this reply comes as a double entendre: Are people sorry for themselves, for feeling guilty for the infringements imposed by the U.S. on Iraq during the war, or are they sorry for the artist’s fate of being born in such place? The shift of position between audience and self is constantly present in his work.

Joan Jonas:

Drawing/Performance/Video

20 March – 8 May 2010
Drawing is an underlying practice and ongoing concern that Jonas has pursued
throughout her life. All of Jonas’s performance drawings retain a working relationship to her individual video and installation projects. For Jonas, drawings can be lasting and autonomous objects or they may be ephemeral and destroyed during a performance.

Yes, But…

14 Jan – 6 Mar 2010
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.

Richard Bell: I Am Not Sorry

8 Oct – 25 Nov 2009

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.

Virtual Residency 2.0: Levels of Undo

9 Sept – 30 Oct 2009
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?

Conrad Shawcross: Control

20 May – 1 Aug 2009

Extended! 9-26 Sept 2009

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’.

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

28 Apr – 9 May 2009
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 (Poland) and Kaeko Mizukoshi (Japan). Artist Grospierre will present a photographic installation exploring the intricacies of NYC bank vaults, well timed in light of the global financial crisis. Artist Mizukoshi presents a video installation ste at a Los Angeles bus stop and focused on the dialog between a man, who rants indecipherably, and an awaiting passenger who responds with unrelated religious exclamations.

Laurie Anderson: From the Air: Two Installations

5 March – 2 May 2009
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. Her Location One installation features a duet of video and sound.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.

Nayland Blake: Behavior

2 Dec 2008 – 14 Feb 2009
With a surprising dearth of bunnies, Nayland Blake’s: 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 gorgeinstallation 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 magiccatalogue, as well as by a series of artist-curated performance nights, one of which will include a re-staging of Blake’s “Gorge” (1998).

Catalog availiable.

Jane Philbrick: PULL

10 Sept – 8 Nov 2008PULL 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 blossomsinto a flourish of lights, words and deafening sirens–a wake up call. Philbrick utilizes 502 fire alarms, strobes, smoke detectors, siren horns, control panels–and one customized vintage fire pull station to sound the alarm and remind us to question our notions of security and it’s sources.

Virtual Residency Project: Mission Accomplished

10 Sept – 8 Nov 2008
Can three complete strangers – from different continents, cultures and creative disciplines – collaborate from afar to create a forceful artistic statement about a political event? They can, they have! 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. 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 chosen three:  Susanne Berkenheger (Berlin), Andy Deck(NYC), and Hidenori Watanave (Tokyo)

Jean Shin: And We Move

19 Jun – 26 Jul 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.

Aoife Collins: Wet Eye

24 Apr – 14 Jun 2008Aoife’s interdisciplinary practice is shaped by recurrent themes of permutation, multiplicity, cultural paraphernalia and mass identification. She utilizes collage, found object and the reinterpretation of prefabricated forms to communicate new ideas and the mutability of image over context.

Nina Sobell: Internal Message Search

18 – 26 Apr 2008Nina 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.

Tracey Moffatt: Social Edit

26 Feb – 19 Apr 2008
Curated by Eric C. Shiner
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.

Xu Tan: Searching for Keywords

28 Nov 2007 – 9 Feb 2008
Xu Tan’s work deals with the hidden motivations and intentions of individuals through a high-tech analysis of their vocabulary. “Searching with Keywords” is the New York leg of an ongoing project which the artist launched in 2005. The project will be unfolding simultaneously in Beijing, China, in Sittard, Holland, and in New York, through a website created specifically for this happening. Gallery audiences in New York will be invited to interact with the keywords, which are presented by means of four video projections and four computer stations equipped with laptops, video cameras, and Internet connections. The goal is to have gallery visitors pronounce the keywords as illustrated in drawings and video clips, to ask questions of the artist thorough an on-line forum and message board, and to leave comments. Their reactions and input will be immediately transmitted through the website to the other venues where the installation is present.

Lida Abdul: What We Saw Upon Awakening

4 Oct – 17 Nov 2007
Location One presents the first New York exhibition by Afghan artist Lida Abdul whose work is rooted in the devastation of war and in a sublimation of healing. In her videos, Afghani ruins appear as images from a dreamscape-both real and surreal-steeped in forgotten histories and mystery.

Nora Ligorano and Marshall Reese: Crater New York: A Lunar Drawing Contest

6 – 26 Sept 2007
On September 26th, Location One was proud to give away three deeds to land on the moon. All you had to do to enter the contest and vie for a chance to own extra-planetary property was show up, draw an image of a moon model that had been installed in the gallery, and then hope the judges liked it! Next stop, NASA – to purchase a de-comissioned space shuttle of course!

IRP Exhibition: Summer 2007

June 2 – July 28, 2007
Location One presents the second IRP group show of the 2006-2007 season, featuring new work developed by our resident artists. The exhibition represents a diverse range of artistic approaches and many are works in progress.Featuring:Jeanette Doyle (Ireland), Cliff Evans (USA), Krist Gruijthuijsen (The Netherlands), Ruey-Hsiaan Hsu (Taiwan, Miguel Palma (Portugal), Bundith Phunsombatlert (Thailand), Jani Ruscica (Finland), and Eric Van Hove (Belgium).

Martha Rosler: Virtual Minefield

13 Apr – 25 May 2007
Location One is pleased to present Virtual Minefield, an installation by Martha Rosler which features two elements: a burlesque of a minefield, as a reminder of current combat zones and as a metaphor of the world political situation, and a mockup of a “phrasealator”, a two-way speech-to-speech device developed by the Defense Department to provide a mechanical translation of set phrases in situations where personnel are unable to speak the local language.

Jeanette Doyle: StarLine Tours

13 Apr – 25 May 2007Location One is proud to present new work by the recipient of the 2006-07 Irish Fellowship award. Ms. Doyle’s practice is primarily concerned with picture making, specifically painting and its relationship to lens-based technologies. The artist manipulates the various media she employs in order to generate very particular effects, questioning the notion of representation and creating a metaphor of what we think we are seeing versus what we actually see or what is given to be seen.

IRP Exhibition: Winter 2007

13 Feb – 31 Mar 2007
Location One presents the first of two exhibitions showcasing new work developed by eight artists participating in the 2006-2007 International Residency Program. Featured works, some of which are exhibited as work-in-progress, represent a diverse range of artistic approaches.Featuring:Natalie Berwernitz & Marek Goldowski (Germany), Teresa Henriques (Portugal), Agnieszka Kalinowska (Poland), Nina Katchadourian (U.S.A.), Rie Kawakami (Japan), Alessandro Nassiri (Italy), Kaori Tazoe (Japan), and Virginie Yassef (France).

Lisa and Nicole Abahuni: In the Sky

21 Nov 2006 – 27 Jan 2007
In the Sky was a multimedia installation, commissioned by Location One, and developed into an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms by populating the gallery with strands of metallic beads, a six-channel audio component and a video installation depicting repetitious images that speak to the weaving and unweaving of time and memory.

Artbots: The Robot Talent Show

10-12 Nov 2006
Curated by Douglas Irving Repetto.ArtBots was an international art exhibition for robotic art and art-making robots. Featuring artists Jason Van Anden, Brett Doar, Yoav Bergner and LoVid, Bob Huott & Eric Singer, Mark Esper, Ranjit Bhatnagar, James Powderly and Jonah Brucker-Cohen.

Cliff Evans: The Road to Mount Weather

14 Sep – 4 Nov 2006
Curated by Pieranna Cavalchini, curator of contemporary art, Isabella Stewart Gardner Museum
A grand, three-channel moving image installation/projection (15 minute loop) by Cliff Evans. “Mount Weather” is a personal artifice assembled from ideas and images found across the socio-environment of the Internet. Its form is reminiscent of historic epics as represented in cinema and in grand panoramic paintings, while also mimicking the ubiquitous technology used for website banner advertisements.Catalog is available.Sponsored by Location One and the Peter Norton Family Foundation.

Lukasz Skapski: Video and Photographic Works

11 Apr – 20 May 2006
Debut solo show in New York of Polish artist whose work concerns cultural and political issues common to many national groups: the emotional ambivalence of women and nursing mothers, people’s views of the environment in which they live, the legacy of Communist practices in farming communities, as well as the practice and tradition of film itself. In all his work, the artist demonstrates an uncanny ability for capturing people’s circumstances on film and video. Installation sponsored by Location One and the Trust for Mutual Understanding.

Carlos Amorales and Javier Viver: Manimal and The Audience

8 Mar – 1 Apr 2006Mexican artist Carlos Amorales and former artist-in-residence Javier Viver and exhibit video works “Manimal” and “The Audience.” “Manimal” (2005, 6 mins.) is a black and white video animation about the transformation of animal emotions into human rationality. “The Audience” (2005, video and theater chairs, 4.5 minutes) is a three-channel video installation based on El Grand Teatro del Mundo. Sponsored by Location One. Javier Viver’s installation was supported in part by Consulate General of Spain in New York.

Collaborative Exhibition: Slowscan Soundwave (III) and The Telaesthetic Finger

11 Oct – 26 Nov 2005Curated by Heather Wagner”Slowscan Soundwave (III)” was an immense, interactive sound sculpture by artist and dorkbot instigator Douglas Repetto, consisting of enormous strips of sound-sensitive transparent mylar strewn from the ceiling, motors, and custom electronics. “The Telæsthetic Finger”, a selection of works by Kevin Centanni, Atsushi Nishijima and Heather Wagner, function as acoustic crab traps, devices that are cast out and reeled back in, filled with booty…or not. Sponsored by Location One.

Creative Atelier: Open Stitch

7 Sep – 1 Oct 2005
Co-Curated by Claire Montgomery and Sebastien Sanz de Santamaria15 artists spent seven days at Location One working intensely and in restricted conditions to produce wearable creations with only the tools and materials provided to them. A cross between art and fashion, the project temporarily removed the gallery from the appointed function of “showing” and moved it to the world of artistic production, raising questions about the circumstances, both physical and mental, of the creative process. Participating artists: Ayah Bdeir, Jessie Cohan, Barry Doss, Stefany Anne Golberg, George Hudacko, Selma Karaca, Ryan Kennedy, Miranti Kisdarjono, Katherine Moriwaki, David Quinn, Chris Sanders, Davina Semo, and Wikiwikicorp, a collective that includes Jean Barberis, Aya Kakeda and Sebastien Sanz de Santamaria.Commissioned by Location One.

Chris Csikszentmihalyi: Skin & Control

22 Sep 2004 – 26 Feb 2005
Rising out of the gallery floor and disappearing into the walls, two large-scale installations by MIT artist Chris Csikszentmihalyi explores two central technologies of our late industrial society: the airplane and the control panel, rehearsing our dependence on complex technologies and the vulnerability they engender. “Skin” was an aluminum cylinder, the fuselage of a Boeing 737 that emerges from the gallery floor, stopped in the act of flying. “Control” was composed of panels, roughly modeled on those used in Chernobyl, that wend their way through the gallery.Catalogue is available.Commissioned by Location One.

Victoria Vesna: Nano Mandala

15 Dec 2004 – 29 Jan 2005
An installation by media artist Victoria Vesna, with nanoscience pioneer James Gimzewski. It consisted of a video projected onto a disk of sand, 8 feet in diameter. Visitors could touch the sand as images were projected in evolving scale from the molecular structure of a single grain of sand to the recognizable image of the complete mandala, and then back again. This coming together of art, science and technology is a modern interpretation of an ancient tradition that consecrates the planet and its inhabitants to bring about purification and healing. The sand mandala seen in this installation was created by Tibetan Buddhist monks from the Gaden Lhopa Khangtsen Monastery in India. Sound artist Anne Niemetz developed the soundscape derived from sounds recorded during the creative process of making the sand mandala.

Group Exhibition: Creative Intelligence

20 – 27 May 2004
New work from the MIT Visual Arts Program featuring work by Carrie Bodle, Ross Cisneros, Clementine Cummer, Lukasz Lysakowski, and Hiroharu Mori.

Muntadas: On Translation: On View

30 Mar – 15 May 2004
On View, a new work from the On Translation Series, conceived and shot in Japan, post-produced in New York at Location One, is about viewing, looking… waiting… as contemporary rituals. “On Translation”, a series of work begun in Helsinki in 1995, groups a set of thirty works reflecting on the concept of translation and interpretation from a perspective that encompasses cultural, linguistic, political and economic issues produced and presented in different contexts and mediums.

Claude Closky: Television

12 Sep – 30 Dec 2003
Curated by Nathalie Anglès
The first US solo installation by French artist Claude Closky. Television focused on the production of signs and systems that articulate the world in a society driven by consumerism. Television was a caricatured reflection of the web and television networks that questioned their rapid and continuous growth, regardless of the information they broadcast. Sponsored by Location One. This exhibition was made possible through the generous additional support of Étant donnés, The French-American Fund for Contemporary Art; Cultural Services of the French Embassy (US); and DICREAM-CNC, Ministère de la Culture et de la Communication, France.

Gozo Yoshimasu: Poetic Spectrum: Images, Objects and Words of Gozo Yoshimasu

3-23 Sep 2003
The New York debut exhibition and special performance reading by renowned Japanese poet Gozo Yoshimasu, recent recipient of the Purple Ribbon Award from the Japanese Government for his significant cultural contributions. “Poetic Spectrum” presented Yoshimasu’s photographs and copperplate calligraphies for the first time to a New York audience, and brought the legendary poet to New York to perform after a ten-year absence. Sponsored by Location One with generous support from The Japan Foundation.

Saoirse Higgins & Simon Schiessl: Mechanism No. 1: War & The Doom_Machine

9 Jul – 2 Aug 2003
Two new interactive works by Saoirse Higgins and Simon Schiessl addressing our concerns and fears in the world as we embrace technology and its powers, both good and bad. “Mechanism No. 1″ is an interactive video projection examining the critical moments leading to war. “The Doom_Machine” takes a daily measure of how close we are to a possible end to the world via related sites on the Internet and a doom voting website.Sponsored by Location One.

Group Exhibition: Signal to Noise

10 Sep – 19 Oct 2002
Curated by Heather Wagner A group exhibition featuring works that explored the relationship of sound and light waves. Not merely illustrations of audio-visual synaesthesia, several of the pieces act literally as transducers, that is, devices that convert input energy of one form into output energy of another. Work exhibited by Atsushi Nishijima, Erwin Redl, Laurie Spiegel, and Heather Wagner.Sponsored by Location One.

Xu Tan: Qing Hua Porcelain (Blue & White)

29 May – 29 Jun 2002
Xu Tan’s debut solo exhibition in New York City. “Qing Hua Porcelain (Blue & White)” was a new video/sound installation in which Xu Tan explored the differences in American and Chinese cultural interpretations of what is “real” and what is “fake”. Although each culture distinguishes and classifies “real” from “fake”, neither clearly defines these terms.Commissioned by Location One.

François Bucher: White Balance (to think is to forget differences)

10 Jan-2 Mar 2002
“White Balance (to think is to forget differences)” by Columbian artist François Bucher, is a meditation after 9-11 and an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks.Underwritten by Location One.Additional funding was provided by The New York City Media Arts Grant of The Jerome Foundation.

Keith Sonnier: O2 = O3; Fractured Oxygen = Ozone

20 Sep – 28 Nov 2001
Exhibition by internationally celebrated artist Keith Sonnier comprised of six pieces that resulted from Sonnier’s investigations into the work of Nikola Tesla during the period 1990-1997.The Tesla series “captures” raw electricity in its most spectacular form by stringing copper wires and causing the current to flow and spark between them.Sponsored by Location One.

Inagural Exhibition: Life After the Squirrel

9 Sep-8 Oct 2000
Location One’s first exhibition featured many European and American artists including Janet Cardiff, Mason Cooley, Filipe Miguel, Aernout Mik, John Neff, Vincent Pruden, relax (Marie-Antoinette Chiarenza, Daniel Hauser, Daniel Croptier), Pipilotti Rist, Ugo Rondinone, Greg Simsic, Kirsten Stoltman, Tony Tasset and Pia Wergius. Sponsored by Location One with additional generous support by The Mondriaan Foundation.

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

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

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

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

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

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

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

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

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

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

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

Ruey-Hsiaan Hsu (Taiwan) – Between

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

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

SoYoun Jeong (Korea) – Natural Strawberry Flavor

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

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

Miguel Palma (Portugal) – Deep Breath

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

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

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

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

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

Jani Ruscica (Finland) – Futurama

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

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

Eric Van Hove (Belgium) – Ecumenopolis

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

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

SELECTED PAST EXHIBITIONS:

Main Gallery Exhibitions>>

Rudy Shepherd: Portraits

July 8-31, 2009
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).

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

28 Apr – 9 May 2009
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 (Poland) and Kaeko Mizukoshi (Japan). Artist Grospierre will present a photographic installation exploring the intricacies of NYC bank vaults, well timed in light of the global financial crisis. Artist Mizukoshi presents a video installation ste at a Los Angeles bus stop and focused on the dialog between a man, who rants indecipherably, and an awaiting passenger who responds with unrelated religious exclamations.

Rob Kennedy: I Relish Your Balderdash

June 25th, 2008
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 paraphernaliaA 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.

Rashaad Newsome: Compositions

June 19 – July 26 2008
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.

Daniel Andersson & Tseng Yu-chin: IRP Exhibition 2008

June 4-18, 2008
Location One is pleased to present new work by Daniel Andersson (Finland) and by Tseng Yu-chin (Taiwan), participants of the International Residency Program this year. The exhibited work was made at Location One as part of their residency and features multi-layered ink photographs and drawings.

Eric Siu & Luis Nobre

May 21, 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. 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.

Nina Sobell: Internal Message Search – A Performative Installation

April 18-April 30, 2008
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.

Hermelinde Hergenhahn & Mafalda Santos: In the Location One Project Space

January 30th -February 9th, 2008
Hergenhahn’s installation will consist of a series of pencil drawings gathered from experiences of quotidian life, and a video projection and wall etching in the gallery. Santos plays with the architecture of the exhibition space to reflect on the particular conditions of being an artist temporarily displaced from her customary work space, while she also considers the evolution of her work in a hand-drawn map for a new website.

Hung Nguyen Manh: Special Sound Performance

Jan 11th, 2008, 7pm
“From Cricket to Airplane”, an experimental performance by Hung Nguyen Manh followed by 2 other short pieces. 3 solo pieces that transports the audience into hi-frequency (cricket) to lo-frequency (airplane) sound effects. Realized with an electric guitar, e-bow and effects Boss DS1 + PS5 + DD6.

Hung Nguyen Manh & Moira Ricci: In Location One’s Project Space

9th -19th January 2008
Central to Moira Ricci’s work is the world of the family home as the natural arena in which relationships are played out. Putting aside her own emotions, Ricci turns her personal narrative into fertile ground for thinking about the world we live in.

Katia Kameli & Kuba Bakowski: In Location One’s Project Space

December 13-22, 2007
With “Draft“, Katia Kameli continues her investigation into key issues that drive her film, video and installation practice, namely the construction of intersecting identities in a globalized world, hybridization, the notion of intercultural spaces and awareness of psychogeographical effects.

Nine International Artists Exhibit

June 2nd – July 28th, 2007
Location One presents the second IRP group show of the 2006-2007 season, featuring new work developed by our resident artists. The exhibition represents a diverse range of artistic approaches and many are works in progress.

Jeanette Doyle: StarLine Tours

April 13-May 25, 2007
Jeanette Doyle’s practice is primarily concerned with picture making. She is particularly interested in painting and its relationship to lens-based technologies. Her work is driven by conceptual concerns but is deeply engaged with the processes and mechanics of making, especially the production of images. Her works express a desire to crystalise complexity for a moment in an image which, on closer inspection, allows the fiction of coherence to dissolve. Disjunction between the image and text is a hint of this. This disjunction between word and image is a feature of the ‘StarLine Tours’ exhibition at Location One.

IRP Exhibition, Winter 2007

February 13-March 31st, 2007
Featuring: Natalie Bewernitz & Marek Goldowski, Teresa Henriques, Agnieszka Kalinowska,
Nina Katchadourian, Rie Kawakami, Alessandro Nassiri, Kaori Tazoe, Virginie Yassef
Location One presents the first of two exhibitions showcasing new work developed during their residencies by eight artists participating in the 2006-2007 International Residency Program. Featured works, some of which are exhibited as work-in-progress, represent a diverse range of artistic approaches.

Leesa & Nicole Abahuni: In the Sky

November 21, 2006 – January 27, 2007
An opening reception and performance will be held on Wednesday, November 29th from 6 to 8 pm.
The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

International Residency Program 2005-2006 – Group Show II

June 1st – July 29th, 2006
Featuring: Leesa & Nicole Abahuni, Simo Alitalo, Andrew Duggan, Mayumi Nakazaki, Trine Nedreaas, Yuki Okumura, Lydia Venieri, Wang Ya-Hui.
On Thursday, June 1st, Location One opens its Summer exhibition, showcasing new work developed by resident artists from the USA, Finland, Ireland, The Netherlands, Norway, Japan, Greece, and Taiwan who are participating in the Location One 2005-2006 International Residency Program. The show will be open to the public through Saturday, July 29th, 2006.

Andrew Duggan: ECHO

Thursday, May 18, 2006 – 6:30-8:30pm
Location One presents ECHO, a collaborative project created by visual/media artist Andrew Duggan and dancers Jonathan Kelliher and Joanne Barry of Siamsa Tíre, the National Folk Theatre of Ireland. For one-night only traditional Irish dance will be transported from the South West coast of Ireland to Location One’s Gallery space in New York City. Impromptu street performances and filming will take place in NYC at undisclosed locations leading up to the event. The resulting project will be presented at Location One.

International Residency Program 2005-2006 – Group Show I

February 9th – March 4th, 2006
Featuring: Paololuca Barbieri, Isabelle Ferreira, Geka Heinke, Yoon-Young Park, Mariana Viegas.
On Thursday, February 9th, Location One presents the first of two Spring exhibitions showcasing new work developed by artists from Italy, France, Germany, Korea, and Portugal who are participating in the 2005-2006 International Residency Program. Featured works represent a diverse range of artistic approaches.

Paololuca Barbieri and art collective, ALTERAZIONI VIDEO: LIGHT WAVES live in NEW YORK

Wednesday February 15th – 7:00 PM
A concert-performance conceived as a one-night audio-video event. The project explores the relationship between light and sound, looking for the natural correspondence between these two elements, between visible and invisible, playing with their frequencies.

Martin Beauregard: Somnambulic

7 December 2005 – 4 February 2006
Location One is pleased to present Somnambulic, the first New York solo exhibition by Canadian artist Martin Beauregard. This new body of work highlights persistent themes for the artist revolving around the relation between dream, illusion, and reality. It also produces a “fantastical strangeness” that is characteristic of Beauregard’s work, as he explores modes of perception through play and creation.

Yumiko Furukawa, Kenny Hunter, Wu Ta-Kun, and Mariana Viegas: IRP Exhibition Spring 2005 III

June 4th – July 30th, 2005
Tent for Poet (2005) (multimedia installation with tent, furnishings, video & DVD) is a work dedicated by the artist to a poet living in New York. Citizen Firefighter (2001) (resin sculpture), was conceived primarily to celebrate the men and women of Strathclyde Brigade in Scotland. The driving force behind Wu Ta-Kun’s varied body of work is expanding “ideas of sensibility”. Landscape is an entity –or a body– which is transformed by our presence and which, in turn, transforms us.

Martin Beauregard & Marlena Kudlicka: IRP Exhibition Spring 2005 II

April 28th – May 28th, 2005
Location One is pleased to present the second of three Spring exhibitions showcasing the work of artists participating in its 2004-2005 International Residency Program. The two installations by Canadian artist Martin Beauregard, and Polish artist Marlena Kudlicka were developed during their residencies at Location One.

Nayda Collazo-Llorens and Santeri Tuori: IRP Exhibition Spring 2005

March 18 – April 23, 2005
Artists-in-Residence Nayda Collazo-Llorens (USA) and Santeri Tuori (Finland) will present video installations in Location One’s main gallery. With special thanks to NYSCA (New York State Council on the Arts) and FRAME (Finnish Fund for Art Exchange)

Cécile Paris: 3 videos and 3 songs

Dec 15 2004 – Jan 29, 2005
Each video presents a singular character performing a simple action: a figure on a skateboard filmed from the back in a car, a young girl playing guitar on a traffic circle in the suburbs of Paris, a swimmer, a New York doorman as he progresses through the city at night.

Mark Themann: PASSED for EXPORT: an installation.

July 8 – July 31, 2004
PASSED for EXPORT, a site-specific installation by Mark Themann, raises questions about the American Landscape, the Constitution and the Bill of Rights in times of political crisis. Two videos of monumental US landscapes are projected in unnervingly slow and steady takes on opposite walls. Any potential romanticism is forestalled by the cacophonous clashing of two audio tracks in which the narrators are each reading from the Amendments to the Bill of Rights and the Constitution, reciting with an extreme stutter.

IRP Exhibition 2004

May 28 – June 30, 2004
Featuring:Koki Tanaka, Hsiao Sheng Chien, Mark Themann, Federico Muelas, Miguel Soares, Alexandra do Carmo, Vincent Lamouroux.
On Thursday, May 27, Location One presents its third annual artist-in-residence group exhibition. Eight works ranging from video, to sculpture, to robotic structures, to interactive installations were developed by emerging international artists during their stay. Featured in the main gallery, the show will be open to the public through Wednesday, June 30th, 2004.

Kurt Ralske: Re-Mapping 4 Dimensions: Three New Works

January-February, 2004
These three works explore time, and our perception of time. For me, one of the most interesting qualities of video is that it is in reality only a collection of still images. At 30 video frames per second, any 10 seconds of fluid movement can alternately be considered as a static collection of 300 related still images. Working in the digital realm in a real-time manner, there are endless possibilies for instantly treating a new video recording as a library of stills, then deriving new material by analyzing or modifying this library: reordering entries, comparing similarity or difference between entries, deriving a single image from multiple entries, etc.

Vesna Pavlovic: Casual Friday

December 10-30, 2003
Casual Friday will consist of several layers, only one of which will be photographic. Audio interviews, drawings and writings will constitute the other layers.
Collaborator and architect Srdjan Weiss, will address these themes through drawings of the layout and contents of the “perfect” office. He will do so through drawings, and will integrate into his work research on the history of the subject building, as well as information related to the taste and design of the architects who originally worked on the building.

Miguel Soares: Red Alert

November-December, 2003
“Do androids dream of electric sheep?” – Philip K. Dick
Gustavo is a robot that has been discarded in a black garbage bag. Out of this bag extends Gustavo’s motorized arm, with a laser that is carving a drawing on the wall. Do robots dream of being artists?

Saoirse Higgins and Simon Schiessl: Mechanism no.1: War

July 9 – August 2, 2003
This is an interactive video projection examining the critical moments leading to war. The visitor winds* up the mechanical toy drummer boy with the brass key. The action of the drummer boy correlates to a projected video that shows bombs dropping from the sky. The sound of the bombs keeps exact beat with the drum. The tighter the mechanism is wound the faster the bombs will drop. The visitor controls frequency of the bombing. Where are these bombs being dropped? What are the consequences?

Daniel Blaufuks, Isabelle Jenniches, Dominik Lejman, Javier Viver, and Jiun-Ting Lin: IRP Exhibition 2003

May 22, 2003-June 28, 2003
May 22, Location One, a not-for-profit multimedia arts organization, opened its second artist-in-residence group exhibition with multimedia work developed during their stay. Included artists: Daniel Blaufuks (Portugal), Isabelle Jenniches (The Netherlands), Dominik Lejman (Poland), Jiun-Ting Lin (Taiwan), and Javier Viver (Spain). This exhibition will be on view in Location One’s gallery through June 28, 2003 and will be streamed live on our website (www.location1.org).

Atsushi Nishijima, Erwin Redl, Laurie Spiegel and Heather Wagner: Signal to Noise

September 10 – October 19, 2002
Location One is happy to present “Signal to Noise“, a group exhibition featuring works that explore the relationship of sound and light waves. Not merely illustrations of audio-visual synaesthesia, several of the pieces act literally as transducers, that is, devices that convert input energy of one form into output energy of another.

Xu Tan: Qing Hua Porcelain (Blue & White)

May 23rd – June 29th 2002
Xu Tan draws his inspiration from the teachings of philosopher Chuang-Tzu (circa 250 BC). Successor to Lao Tzu and a foremost proponent of Taoism, Chuang-Tzu presumed that no matter how alike two things are, a difference between them can always be found and, conversely, no matter how different two things are, one can find a similarity between them. Objective similarities and differences do not justify any particular way of distinguishing between things.

Francois Bucher: White Balance

January 10 – March 2, 2002
White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks.

Atsushi Nishijima: Subtractive Creation/Visible Sound

December 8th – 29, 2001
“Sound does not exist without space and space is always filled with sound. Space represents sound as something visible, sound represents space as something audible. Our daily life is made of inevitable factors such as time and space. As for myself, that is a place where contemporary music exists.” –Atsushi Nishijima

François Bucher, Marta Deskur, and Ksenija Turcic: Irp Exhibition 2001

June 9-July 28, 2001
Museum of Mankind is a video installation depicting the statues that stand high on the roof of the Museum of Mankind in London. In a multimedia installation and web site project, New Baby?, Marta Deskur questions the significance of family today and the conflicting issues this question addresses. Ksenija Turcic presents a new multimedia installation, Phase, where she pursues her investigation of emotional space.

Katya Sander and François Bucher: RECORDERS

March 22 – April 21, 2001
“Recorders is an installation where a rotating camera and video projector interact with the visitor in a game of shadows and projection, images and text, narration and space, focus and blur. A pre-recorded conversation acts as voice-over for the entire set-up which is encompassed by a large image that resembles something like bits of information, white noise or a glittery seascape.

SELECTED PAST EXHIBITIONS:

Main Gallery Exhibitions>>

Rudy Shepherd: Portraits

July 8-31, 2009
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).

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

28 Apr – 9 May 2009
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 (Poland) and Kaeko Mizukoshi (Japan). Artist Grospierre will present a photographic installation exploring the intricacies of NYC bank vaults, well timed in light of the global financial crisis. Artist Mizukoshi presents a video installation ste at a Los Angeles bus stop and focused on the dialog between a man, who rants indecipherably, and an awaiting passenger who responds with unrelated religious exclamations.

Rob Kennedy: I Relish Your Balderdash

June 25th, 2008
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 paraphernaliaA 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.

Rashaad Newsome: Compositions

June 19 – July 26 2008
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.

Daniel Andersson & Tseng Yu-chin: IRP Exhibition 2008

June 4-18, 2008
Location One is pleased to present new work by Daniel Andersson (Finland) and by Tseng Yu-chin (Taiwan), participants of the International Residency Program this year. The exhibited work was made at Location One as part of their residency and features multi-layered ink photographs and drawings.

Eric Siu & Luis Nobre

May 21, 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. 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.

Nina Sobell: Internal Message Search – A Performative Installation

April 18-April 30, 2008
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.

Hermelinde Hergenhahn & Mafalda Santos: In the Location One Project Space

January 30th -February 9th, 2008
Hergenhahn’s installation will consist of a series of pencil drawings gathered from experiences of quotidian life, and a video projection and wall etching in the gallery. Santos plays with the architecture of the exhibition space to reflect on the particular conditions of being an artist temporarily displaced from her customary work space, while she also considers the evolution of her work in a hand-drawn map for a new website.

Hung Nguyen Manh: Special Sound Performance

Jan 11th, 2008, 7pm
“From Cricket to Airplane”, an experimental performance by Hung Nguyen Manh followed by 2 other short pieces. 3 solo pieces that transports the audience into hi-frequency (cricket) to lo-frequency (airplane) sound effects. Realized with an electric guitar, e-bow and effects Boss DS1 + PS5 + DD6.

Hung Nguyen Manh & Moira Ricci: In Location One’s Project Space

9th -19th January 2008
Central to Moira Ricci’s work is the world of the family home as the natural arena in which relationships are played out. Putting aside her own emotions, Ricci turns her personal narrative into fertile ground for thinking about the world we live in.

Katia Kameli & Kuba Bakowski: In Location One’s Project Space

December 13-22, 2007
With “Draft“, Katia Kameli continues her investigation into key issues that drive her film, video and installation practice, namely the construction of intersecting identities in a globalized world, hybridization, the notion of intercultural spaces and awareness of psychogeographical effects.

Nine International Artists Exhibit

June 2nd – July 28th, 2007
Location One presents the second IRP group show of the 2006-2007 season, featuring new work developed by our resident artists. The exhibition represents a diverse range of artistic approaches and many are works in progress.

Jeanette Doyle: StarLine Tours

April 13-May 25, 2007
Jeanette Doyle’s practice is primarily concerned with picture making. She is particularly interested in painting and its relationship to lens-based technologies. Her work is driven by conceptual concerns but is deeply engaged with the processes and mechanics of making, especially the production of images. Her works express a desire to crystalise complexity for a moment in an image which, on closer inspection, allows the fiction of coherence to dissolve. Disjunction between the image and text is a hint of this. This disjunction between word and image is a feature of the ‘StarLine Tours’ exhibition at Location One.

IRP Exhibition, Winter 2007

February 13-March 31st, 2007
Featuring: Natalie Bewernitz & Marek Goldowski, Teresa Henriques, Agnieszka Kalinowska,
Nina Katchadourian, Rie Kawakami, Alessandro Nassiri, Kaori Tazoe, Virginie Yassef
Location One presents the first of two exhibitions showcasing new work developed during their residencies by eight artists participating in the 2006-2007 International Residency Program. Featured works, some of which are exhibited as work-in-progress, represent a diverse range of artistic approaches.

Leesa & Nicole Abahuni: In the Sky

November 21, 2006 – January 27, 2007
An opening reception and performance will be held on Wednesday, November 29th from 6 to 8 pm.
The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

International Residency Program 2005-2006 – Group Show II

June 1st – July 29th, 2006
Featuring: Leesa & Nicole Abahuni, Simo Alitalo, Andrew Duggan, Mayumi Nakazaki, Trine Nedreaas, Yuki Okumura, Lydia Venieri, Wang Ya-Hui.
On Thursday, June 1st, Location One opens its Summer exhibition, showcasing new work developed by resident artists from the USA, Finland, Ireland, The Netherlands, Norway, Japan, Greece, and Taiwan who are participating in the Location One 2005-2006 International Residency Program. The show will be open to the public through Saturday, July 29th, 2006.

Andrew Duggan: ECHO

Thursday, May 18, 2006 – 6:30-8:30pm
Location One presents ECHO, a collaborative project created by visual/media artist Andrew Duggan and dancers Jonathan Kelliher and Joanne Barry of Siamsa Tíre, the National Folk Theatre of Ireland. For one-night only traditional Irish dance will be transported from the South West coast of Ireland to Location One’s Gallery space in New York City. Impromptu street performances and filming will take place in NYC at undisclosed locations leading up to the event. The resulting project will be presented at Location One.

International Residency Program 2005-2006 – Group Show I

February 9th – March 4th, 2006
Featuring: Paololuca Barbieri, Isabelle Ferreira, Geka Heinke, Yoon-Young Park, Mariana Viegas.
On Thursday, February 9th, Location One presents the first of two Spring exhibitions showcasing new work developed by artists from Italy, France, Germany, Korea, and Portugal who are participating in the 2005-2006 International Residency Program. Featured works represent a diverse range of artistic approaches.

Paololuca Barbieri and art collective, ALTERAZIONI VIDEO: LIGHT WAVES live in NEW YORK

Wednesday February 15th – 7:00 PM
A concert-performance conceived as a one-night audio-video event. The project explores the relationship between light and sound, looking for the natural correspondence between these two elements, between visible and invisible, playing with their frequencies.

Martin Beauregard: Somnambulic

7 December 2005 – 4 February 2006
Location One is pleased to present Somnambulic, the first New York solo exhibition by Canadian artist Martin Beauregard. This new body of work highlights persistent themes for the artist revolving around the relation between dream, illusion, and reality. It also produces a “fantastical strangeness” that is characteristic of Beauregard’s work, as he explores modes of perception through play and creation.

Yumiko Furukawa, Kenny Hunter, Wu Ta-Kun, and Mariana Viegas: IRP Exhibition Spring 2005 III

June 4th – July 30th, 2005
Tent for Poet (2005) (multimedia installation with tent, furnishings, video & DVD) is a work dedicated by the artist to a poet living in New York. Citizen Firefighter (2001) (resin sculpture), was conceived primarily to celebrate the men and women of Strathclyde Brigade in Scotland. The driving force behind Wu Ta-Kun’s varied body of work is expanding “ideas of sensibility”. Landscape is an entity –or a body– which is transformed by our presence and which, in turn, transforms us.

Martin Beauregard & Marlena Kudlicka: IRP Exhibition Spring 2005 II

April 28th – May 28th, 2005
Location One is pleased to present the second of three Spring exhibitions showcasing the work of artists participating in its 2004-2005 International Residency Program. The two installations by Canadian artist Martin Beauregard, and Polish artist Marlena Kudlicka were developed during their residencies at Location One.

Nayda Collazo-Llorens and Santeri Tuori: IRP Exhibition Spring 2005

March 18 – April 23, 2005
Artists-in-Residence Nayda Collazo-Llorens (USA) and Santeri Tuori (Finland) will present video installations in Location One’s main gallery. With special thanks to NYSCA (New York State Council on the Arts) and FRAME (Finnish Fund for Art Exchange)

Cécile Paris: 3 videos and 3 songs

Dec 15 2004 – Jan 29, 2005
Each video presents a singular character performing a simple action: a figure on a skateboard filmed from the back in a car, a young girl playing guitar on a traffic circle in the suburbs of Paris, a swimmer, a New York doorman as he progresses through the city at night.

Mark Themann: PASSED for EXPORT: an installation.

July 8 – July 31, 2004
PASSED for EXPORT, a site-specific installation by Mark Themann, raises questions about the American Landscape, the Constitution and the Bill of Rights in times of political crisis. Two videos of monumental US landscapes are projected in unnervingly slow and steady takes on opposite walls. Any potential romanticism is forestalled by the cacophonous clashing of two audio tracks in which the narrators are each reading from the Amendments to the Bill of Rights and the Constitution, reciting with an extreme stutter.

IRP Exhibition 2004

May 28 – June 30, 2004
Featuring:Koki Tanaka, Hsiao Sheng Chien, Mark Themann, Federico Muelas, Miguel Soares, Alexandra do Carmo, Vincent Lamouroux.
On Thursday, May 27, Location One presents its third annual artist-in-residence group exhibition. Eight works ranging from video, to sculpture, to robotic structures, to interactive installations were developed by emerging international artists during their stay. Featured in the main gallery, the show will be open to the public through Wednesday, June 30th, 2004.

Kurt Ralske: Re-Mapping 4 Dimensions: Three New Works

January-February, 2004
These three works explore time, and our perception of time. For me, one of the most interesting qualities of video is that it is in reality only a collection of still images. At 30 video frames per second, any 10 seconds of fluid movement can alternately be considered as a static collection of 300 related still images. Working in the digital realm in a real-time manner, there are endless possibilies for instantly treating a new video recording as a library of stills, then deriving new material by analyzing or modifying this library: reordering entries, comparing similarity or difference between entries, deriving a single image from multiple entries, etc.

Vesna Pavlovic: Casual Friday

December 10-30, 2003
Casual Friday will consist of several layers, only one of which will be photographic. Audio interviews, drawings and writings will constitute the other layers.
Collaborator and architect Srdjan Weiss, will address these themes through drawings of the layout and contents of the “perfect” office. He will do so through drawings, and will integrate into his work research on the history of the subject building, as well as information related to the taste and design of the architects who originally worked on the building.

Miguel Soares: Red Alert

November-December, 2003
“Do androids dream of electric sheep?” – Philip K. Dick
Gustavo is a robot that has been discarded in a black garbage bag. Out of this bag extends Gustavo’s motorized arm, with a laser that is carving a drawing on the wall. Do robots dream of being artists?

Saoirse Higgins and Simon Schiessl: Mechanism no.1: War

July 9 – August 2, 2003
This is an interactive video projection examining the critical moments leading to war. The visitor winds* up the mechanical toy drummer boy with the brass key. The action of the drummer boy correlates to a projected video that shows bombs dropping from the sky. The sound of the bombs keeps exact beat with the drum. The tighter the mechanism is wound the faster the bombs will drop. The visitor controls frequency of the bombing. Where are these bombs being dropped? What are the consequences?

Daniel Blaufuks, Isabelle Jenniches, Dominik Lejman, Javier Viver, and Jiun-Ting Lin: IRP Exhibition 2003

May 22, 2003-June 28, 2003
May 22, Location One, a not-for-profit multimedia arts organization, opened its second artist-in-residence group exhibition with multimedia work developed during their stay. Included artists: Daniel Blaufuks (Portugal), Isabelle Jenniches (The Netherlands), Dominik Lejman (Poland), Jiun-Ting Lin (Taiwan), and Javier Viver (Spain). This exhibition will be on view in Location One’s gallery through June 28, 2003 and will be streamed live on our website (www.location1.org).

Atsushi Nishijima, Erwin Redl, Laurie Spiegel and Heather Wagner: Signal to Noise

September 10 – October 19, 2002
Location One is happy to present “Signal to Noise“, a group exhibition featuring works that explore the relationship of sound and light waves. Not merely illustrations of audio-visual synaesthesia, several of the pieces act literally as transducers, that is, devices that convert input energy of one form into output energy of another.

Xu Tan: Qing Hua Porcelain (Blue & White)

May 23rd – June 29th 2002
Xu Tan draws his inspiration from the teachings of philosopher Chuang-Tzu (circa 250 BC). Successor to Lao Tzu and a foremost proponent of Taoism, Chuang-Tzu presumed that no matter how alike two things are, a difference between them can always be found and, conversely, no matter how different two things are, one can find a similarity between them. Objective similarities and differences do not justify any particular way of distinguishing between things.

Francois Bucher: White Balance

January 10 – March 2, 2002
White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks.

Atsushi Nishijima: Subtractive Creation/Visible Sound

December 8th – 29, 2001
“Sound does not exist without space and space is always filled with sound. Space represents sound as something visible, sound represents space as something audible. Our daily life is made of inevitable factors such as time and space. As for myself, that is a place where contemporary music exists.” –Atsushi Nishijima

François Bucher, Marta Deskur, and Ksenija Turcic: Irp Exhibition 2001

June 9-July 28, 2001
Museum of Mankind is a video installation depicting the statues that stand high on the roof of the Museum of Mankind in London. In a multimedia installation and web site project, New Baby?, Marta Deskur questions the significance of family today and the conflicting issues this question addresses. Ksenija Turcic presents a new multimedia installation, Phase, where she pursues her investigation of emotional space.

Katya Sander and François Bucher: RECORDERS

March 22 – April 21, 2001
“Recorders is an installation where a rotating camera and video projector interact with the visitor in a game of shadows and projection, images and text, narration and space, focus and blur. A pre-recorded conversation acts as voice-over for the entire set-up which is encompassed by a large image that resembles something like bits of information, white noise or a glittery seascape.

ARTISTS

2010-2011

John Aslanidis (Australia)
Katy Dove (Scotland)
Phoebe Hui (Hong Kong)
Karolina Kowalska (Poland)
John O’Connell (Ireland)
Miler Lagos (Colombia)
Gonzalo Puch (Spain)
Lovisa Ringborg (Sweden)
Zina Saro-Wiwa (Nigeria/UK)
Zane Saunders (Australia)
Yasuko Toyoshima (Japan)
Joana Villaverde (Portugal)
Danh Vo (Denmark)
Sophie Hunter (UK)
Lyota Yagi (Japan)

2009-2010

Carolee Schneemann (Senior Artist-in-Residence)
Adel Abidin (Finland)
Alexandra Mota de Aguiar (Portugal)
Richard Bell (Fellow, Australia)
Wojtek Doroszuk (Poland)
Mattias Ericsson (Sweden)
Lyra Abueg Garcellano (Philippines)
Jesse Jones (Ireland)
Kwan Sheung Chi (Hong Kong)
Lucy Skaer (Fellow, Scotland)
Clare Stephenson (Scotland)
Zhou Tao (China)

2008-2009

Joan Jonas (Senior Artist-in-Residence, USA)
Nina Canell (Ireland)
Chen Ching-Yao (Taiwan)
Andrea Galvani (Italy)
André Gonçalves (Portugal)
Nicolas Grospierre (Poland)
Heta Kuchka (Finland)
Ivy Ma (Hong Kong)
Sophie Macpherson (Scotland)
Jane Philbrick (Fellow, USA)
Kaeko Mizukoshi (Japan)
Conrad Shawcross (Fellow, UK)
Rudy Shepherd (USA)
Brina Thurston (USA)

2007-2008

Laurie Anderson (Senior Artist-in-Residence)
Rob Kennedy (Scotland)
Yu-Chin Tseng (Taiwan)
Nina Sobell (U.S.A.)
Eric Siu (Hong Kong)
Jean Shin (U.S.A./Korea)
Mafalda Santos (Portugal)
Moira Ricci (Italy)
Rashaad Newsome (U.S.A.)
Hung Nguyen Manh (Vietnam)
Aoife Collins (Ireland)
Kuba Bakowski (Poland)
Daniel Andersson (Finland)
Hermelinde Hergenhahn (Germany)
Katia Kameli (France)
Luis Nobre (Portugal)

2006-2007

Martha Rosler (Senior Artist-in-Residence, USA)
Natalie Bewernitz / Marek Goldowski (Germany)
Jeanette Doyle (Ireland)
Cliff Evans (U.S.A.)
Krist Gruijthuijsen (Netherlands)
Teresa Henriques (Portugal)
Ruey-Hsiaan Hsu (Taiwan)
Agnieszka Kalinowska (Poland)
Nina Katchadourian (U.S.A.)
Rie Kawakami (Japan)
Alessandro Nassiri (Italy)
Miguel Palma (Portugal)
Bundith Phunsombatlert (Thailand)
Jani Ruscica (Finland)
So Youn Jeong (Korea)
Kaori Tazoe (Japan)
Eric Van Hove (Belgium)
Virginie Yassef (France)

2005-2006

Leesa and Nicole Abahuni (U.S.A)
Simo Alitalo (Finland)
Paololuca Barbieri (Italy)
Nayda Collazo-Llorens (United States)
Andrew Duggan (Ireland)
Isabelle Ferreira (France)
Geka Heinke (Germany)
Yuki Okumura (Japan)
Yoon-Young Park (Korea)
Mayumi Nakazaki (The Netherlands)
Trine Nedreaas (Norway)
Lydia Venieri (Greece)
Mariana Viegas (Portugal)
Wang Ya-Hui (Taiwan)

2004-2005

Martin Beauregard (Canada)
Yumiko Furukawa (Japan)
Kenny Hunter (Scotland)
Everett Kane (United States)
Marlena Kudlicka (Poland)
Cecile Paris (France)
Santeri Tuori (Finland)
Mariana Viegas (Portugal)
Wu Dar kuen (Taiwan)

2003-2004

Alexandra Do Carmo (Portugal)
Köken Ergun (Turkey)
Hsiao Sheng Chien (Taiwan)
Vincent Lamouroux (France)
Federico Muelas (Spain)
Vesna Pavlovic (Serbia)
Kurt Ralske (USA)
Miguel Soares (Portugal)
Koki Tanaka (Japan)
Mark Themann (Germany/Australia)

2002-2003

Daniel Blaufuks (Portugal)
Saoirse Higgins (Ireland)
Isabelle Jenniches (The Netherlands)
Dominik Lejman (Poland)
Jiun-ting Lin (Taiwan)
Javier Viver (Spain)

2001-2002

François Bucher (Colombia)
Marta Deskur (Poland)
Atsushi Nishijima (Japan)
Ksenija Turcic (Croatia)
Xu Tan (China)

Residency Artists News

(through Jan 2009) — former residents’ activities.

2012-2013 Artists in Residence:

André Feliciano (Brazil)
Nuno Henrique (Portugal)
Marta Jovanović (Serbia)
Everett Kane (US)
Marie Lund (Denmark)
Raz Mesinai (US)

The Location One International Residency Program’s unique structure allows emerging and mid-career artists to interact and converse with more established artists who are at the top of their career. This sort of discourse is at the heart of Location One’s philosophy of experimentation and collaboration. Artists are usually selected by our partner foundations and arts organizations who directly sponsor artists from their home countries. When logistically and financially possible, American artists are invited to participate and are proposed by Location One’s curatorial team.
Past residents >>

Location One Artist-in-Residence Program Application Guidelines

Unlike most other residency programs Location One does not customarily offer a direct application process. Most participants in our Artist-In-Residence Program are selected by international cultural organizations who have partnered with Location One and provide funding for an artist from their respective countries. In an effort to accommodate artists who are interested in our residency program, but who are not associated with our current sponsoring organizations, we offer an alternative method to apply to our residency program. While we can’t guarantee a personal response to each submission, we will make every effort to review all submitted materials thoroughly and respond to potential candidates as quickly as possible.

Who is eligible?

Candidates for residencies must be working artists with at least three years of practice and some exhibition history. Students are not eligible.

Artists of any nationality, including American, are invited to apply. We currently do not have a financial sponsor for U.S. residents but we are always trying to secure this critical funding.  We are grateful to The Andy Warhol Foundation for the Visual Arts and the Rockefeller Bros. Foundation for their past support of our program.

How do I apply?

There is no application form or deadline. Location One’s operating year runs from September 1st to June 30th. A full-year residency comprises that ten-month period. Shorter residencies are five months in duration and begin on either September 1st or February 1st. Please submit the following materials electronically to residency@location1.org. Please do not send any material by post.

• Letter of intent, describing reasons for wanting to participate in Location One’s Residency Program (Project proposals are not necessary)
• Current CV and exhibition history
• Artist Statement
• Two letters of recommendation from an art professional (curator, critic, university instructor, artist or other arts professional)
• Documentation of relevant work. Most standard formats for images, video and sound files are acceptable. You may also include links to website, online works, and youtube links.

Who will review the work?

Location One convenes a curatorial panel to make final selections of candidates for the program. Panels base their decision on a) artistic merit, b) potential for artistic growth, and c) appropriateness of artistic work for the residency program. Due to the high volume of inquiries we receive, we are not able to respond personally to each submission. If, upon review, we think an applicant would be a good match for our residency program, we will contact him or her and discuss possibilities for funding. No phone calls, please.

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

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

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

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

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

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

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

What is Location One?

Art. Music, Performance. Talk. Technology.
We are a not-for-profit art center devoted to convergence between visual, performing and digital arts in a time of rapidly changing technology. We serve as a catalyst. Our goals are new ideas, new work, new forms of expression, new capabilities in our artists and new awareness in all those we reach.

How much does it cost?


 Most of our events are FREE.

What are your programs?

Exhibition, Music, Performance, Discussion – all generated by a 3-tier international residency program composed each year of a Senior Artist, International Fellows and an emerging artist program.

Who qualifies as a “Senior Artist”?

An artist at the top of his or her game who is greatly admired. This position is an honor for Location One and it’s community and our staff works with our senior artist to help create some new work that they might not have created in the normal course of their busy careers. In 2006 – 2007 we had the honor of having Martha Rosler; in 2007 – 2008 we have been working with Laurie Anderson; in 2008 -2009 we will welcome Joan Jonas.

Who are the International Fellows?

This program is by-invitation only. Established artists are selected and sponsored by our International Committee. They are offered fellowships of up to 10 months and encouraged to create new work that they might not otherwise have undertaken without the assistance of our gifted staff. Most of our major exhibitions will be created by these artists.

What is the emerging artists’ Residency Program?

Ten to twenty artists per year from around the world come to spend five or ten months in our studios, experimenting and creating new work. more info >>

How do I apply to the International Residency Program?

There is no application because artists are proposed by curators, critics and our own staff. We do this because we do not have enough staff to review all of the artists’ portfolios we would receive if we had an open call.

Who qualifies for the emerging artists’ program and how are they chosen?

Candidates must be working artists with at least three years of practice and some exhibition history. Students are not eligible. Artists from abroad are selected through a double panel review process: A home-country sponsoring institution proposes a short list of candidates, from which Location One chooses one artist-in-residence. American artists are proposed by curators, critics, and by our own staff.

What is the Exhibition Program?


Our central contribution to the artistic community and the public-at-large. All work shown in our exhibitions will be created at Location One or in collaboration with our curators. Each season, we have five exhibitions, usually drawn from our group of International Fellows – often including work one by our senior artist-in-residence. Throughout the year work by emerging artists is presented in the Project Room or Performance Space. more info >>

How do I propose an exhibition?


All work in our exhibitions has been created at Location One, by our residents, or in conjunction with our curators. Unsolicited proposals are not accepted.

What is the Music/Performance program?


We believe in interdisciplinary work. At Location One, you will find the collaboration of musicians, visual artists and technologists. We call this convergence and often host innovative new performances. We also host Roulette in our performance space, so almost any night of the week, some of the most innovative musicians will be playing at 20 Greene.

What is the Discussion Series?

Symposia, panels, lectures or workshops by artists, performers, critics, technology experts and thinkers from different fields that explore questions of central importance to contemporary society and art, including politics, religion, ethics, the environment and the role and interaction of information and technology. more info >>

How can I help support Location One?

Become a member, donate through Paypal, or volunteer your time as an intern.

What benefits are there to being a member?

Invitations to members-only artists’ presentations; discounts and reserved seating to all performances and events (e.g. Roulette concerts); a subscription to our calendar of programs, exhibitions and events; and a listing on our website. At higher levels, membership includes special gifts, catalogs, DVDs, invitations to private receptions, dinners and events, and the opportunity to hold a private event in our gallery.

How can I become a member?

Go to our membership page or come to one of our events and sign up.

Can I rent the space for my party/event?


The space at 20 Greene is sometimes available for rental. Please e-mail info@20greene.com.

How is Location One funded?


Location One is funded by grants from the government and foundations, and donations from our Board of Trustees and individuals like you. List of our supporters >>

What is the history of Location One?

We were founded in 1997 by Claire Montgomery. In 2000, we moved into our permanent location at 26 Greene St, and launched our visual arts, music and dance programs the next year. In 2001, our International Residency Program followed and in 2002-03, we initiated our discussion and workshop program. Since then we have been growing all of our programs and upgrading our space to allow us to present the most current technologies.

Where are you located?


26 Greene Street, between Grand and Canal Streets, in Soho, New York City, The Big Apple, Gotham, the City that Never Sleeps, Baghdad on the Hudson, here’s a map >>

Press inquiries contact Steve Cukierski +1 212-334-3347 : press@location1.org
“Location One, a singularly engaging, idealistic and enchanting SoHo space any art lover must experience, no matter the exhibition”–Anne Swartz, NY ARTS, January/February 2006 on Douglas Repetto’s Slowscan Soundwave (III)

CURRENT EXHIBITION:

PREVIOUS EXHIBITION HIGHLIGHTS:
Davide Balliano:
Giving My Back To The Night I Heard You Lying To A Giant First Giant
Absolute Arts [link]
NY Art Beat [link]
Vogue Italy [link]
YIAOS [link]
New York Magazine [link]
Art Slant [link]

Anagnorisis Picks [link]

Sharon Stone in Abuja

Co-curated by Zina Sara-Wiwa and James Lindon of Pace Gallery

Weekly Trust [link]

Africa Media Online [link]

Art Calendar [link]

Zimbio [link]

Art Jet Set [link]

YIAOS [link]

Ladybrille Magazine [link]

Art Info [link]

Nigeria Films.com [link]

Africa Unchained – Blog [link]

Art In America – Q&A with Mickalene Thomas [link]
 

Lucy Skaer

Rachel, Peter, Caitlin, John

Art Criticism [link]

Mouse Magazine [link]

Art Info [link]

NY Mag [link]

Art Info – The Year in Exhibitions 2010 [link]

NY Art Beat [link]

Art Calendar [link]

Artist Pension Trust [link]

Murry Guy [link]

Americanium [link]

Adel Abidin

I’m Sorry

Art Log [link]

Art Critical [link]

Finland.org [link]

Absolute Arts [link]

NY Art Beat [link]

Art Slant [link]

One Art World [link]

Weeklyipad [link] – you have to scroll to the bottom for info

Frame [link]

Joan Jonas

Drawing/Performance/Video

Gallery Crawl [link]

Bombsite [link]

Absolute Arts [link]

Artlog [link]

One Art World [link]

NY Art Beat [link]

Richard Bell

I Am Not Sorry

Art in America [link] – PDF

White Hot Magazine [link]

Milani Gallery [link]

Indigenous Arts Queensland [link]

Her Art, My Stories – Blog [link]

Aukland Triennial [link]

Bad Hostess – Blog [link]

Aboriginal Art News [link]

Conrad Shawcross

Control

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

LMCC review of Location One, Summer/Fall 2002

Laurie Anderson

From the Air: Two Installations

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



Nayland Blake

Behavior
Artcat[link] – PDF
Artinfo[link] – PDF
ArtLog[link] – PDF
ArtNET[link] – PDF
Art Slant[link] – PDF
Hexed Journal[link] – PDF
James Wagner[link] – PDF
New York Observer[link] – PDF
New York Press[link] – PDF
New Yorker[link] – PDF
Thor NYC – (ed. multiple photos, No pdf)
updownacross[link] – PDF
Village Voice Bone’s Beat[link] – PDF
White Hot Magazine[link] – PDF



Xu Tan

Searching for Keywords

RhizomeAsia Art Archive



Lida Abdul

What We Saw Upon Awakening

Time Out New YorkArtSalant interviewJody Zellen’s Blog



Nora Ligorano & Marshall Reese

Crater New York: A Lunar Drawing Contest
Rhizome [link] – PDF
Art in New York [link] – PDF



Miguel Palma

Inverted World

Rhizome News [link] – PDF
Interview:Natalie Bewernitz and Marek Goldowski
Rhizome News [link] – PDF



Martha Rosler

Virtual Minefield

The New Yorker [link] – PDF



Jeanette Doyle

Starline Tours

ArtForum (PDF)
The Irish Times (PDF)



Artists in Residence Group Exhibition Winter 2007

Rhizome News



LMCC: The Low Down

World Wide Wonder



Dorkbot NYC

When Art and Science Collide, a Dorkbot Meeting Begins



Cliff Evans

The Road To Mount Weather

Best of 2006 FILM, Barbara London – ART FORUM
Cliff Evans – Isabella Stewart Garner Museum, Francine Koslow Miller – ART FORUM, February 2008



Slowscan Soundwave (III) & The Telæsthetic Finger

NYArts MagazineRhizome



Glen Rumsey

ignored in my heaven… and Open Stitch

A World of Dreams With a Burst of Spirit
NY Times Dance Review
Gay City News
Village VoiceVillage Voice “Don’t Call it ‘Project Runway’, the Art Exhibit” by Corina Zappia
Dance Review Times



Claude Closky

Television

Artforum – page 1 | page 2
The New York Times :: Art in Review
Libération | Libération Online
listings:
Time Out New York +
The Village Voice
New York Magazine
frenchculture.org
The L Magazine
Live Art Magazine



Gozo Yoshimasu

Poetic Spectrum-Images, Objects and Words of Gozo Yoshimasu

OCS News
listings:Asian ArtTime Out New York, The Village Voice, NY Press, JAHF



Saoirse Higgins

The Doom_machine

Mechanism no.1: war by Saoirse Higgins and Simon Schiessl
The Village Voice +
NY Press

Amy X Neuburg & Joshua Fried
Time Out New York

Conversation:

Marianne Weems & Norman Frisch

Time Out New York

Artists in Residence Group Exhibition 2003

The
New York Times

Mike Tyler

New Work

Flavorpill Interview

The Village Voice

Winter Music Series

Shelley Hirsch, Marina Rosendfeld, Toshio Kajiwara, Janene Higgins, Ikue Mori, Samm Bennett, Marc Ribot, and Ned Rothenberg

The New York Times +

Time Out New York

Audio Ballerinas

with Benoît Maubrey

Time Out New York +

The Village Voice

Enid Baxter Blader

Letter From the Girl, Mailed at the Gas Station

Artforum review

listings:

The New York Times,

The Village Voice +

Time Out New York

Signal to Noise

Atsushi Nishijima, Erwin Redl, Laurie Spiegel, Heather Wagner

Time Out New York

March Music Festival

The New York Times

Time Out New York

Francois Bucher

White Balance

Artforum review

New York Times review

Keith Sonnier

O2=O3 : Fractured Oxygen=Ozone

Artforum review

Art in America review

The New YorkerReview by Alastair Noble

listings:

The New York Times + The Village Voice

The Stanley Love Performance Group

Three New Works

Village Voice Review

Life After the Squirrel

Inagural Group Show

Flash Art review + listings

This is our credo:

1. First, the Internet is about content, not just a conduit for it. The nature of the technology changes content—not just access and distribution—with implications across the full range of artistic expression and subject matter.

2. Second, Location One is about convergence. We are bringing together creativity along the two standards that have governed the history of human expression: the axis of expressive discipline and the axis of available technology.

3. Third, Location One is a catalyst. We select talent, stimulate interaction, supply resources, and provide real and virtual forums. We enable things both cool and consequential to happen. New media transform artistic expression. Conventional barriers of time and distance are erased. With them depart a myriad of social, political and cultural distinctions. Access, distribution, participation become universal (and affordable).

4. Creative alternatives proliferate. These things are known. Less widely understood is the degree to which technology transforms content. Or, more accurately, continues a transformation that began midway through the 20th century. A work of art begins with its creators. But, more than ever before, it also encompasses its audience, interactivity and the potential for ongoing evolution.

5. Location One is creating a new environment for contemporary art, one that is rich in interdisciplinary context. The new media are interactive—but so have always been live events. Our unique opportunity lies in the linkage between live performance, exhibition and dialogue and electronic broadcast, feedback and interaction. Each of our activities will comprise some combination of live and electronic elements, according to the vision of their creators.

6. We assign a central place to new media and the internet in our presentation of contemporary art. Our focus, however, differs from others encouraging cultural application of new media. We believe—and this is our central belief—that there is extraordinary value to be gained from the collaboration of new media artists with artists from every other artistic and expressive discipline.

We applaud the countless efforts underway elsewhere to explore purely digital work, to enhance technical expertise and extend access and delivery; our contribution will lie in the implications of media convergence for artistic content. The work we commission asks contemporary artists—painters, sculptors, dancers, musicians, poets, storytellers—to collaborate with computer, video and new media artists. We have seen their minds stretch, their work grow, and their audiences come alive. What emerges from these collaborations is unique, unexpected, provocative…and sometimes brilliant.

7. The media re-invent the content. We will continue to put together imaginative combinations of proven and promising talents from both the physical and virtual sides of the house of creativity. We encourage them to explore, to learn, to discuss, to argue, and ultimately to create, present and perform. We support their activity both with fellowships and with commissions for specific bodies of work. We place neither demand nor restriction on subject, style or medium. We are catalysts. We provide access to the tools and resources of the new media; they are beyond the limited means of most artists.

8. We support visiting artists and artists-in-residence. We encourage them to develop their work to the needs and opportunities of the live-performance-and-exhibition/Internet-streaming synthesis. This is not, we have found, a simple process; friction and dislocation are part of the price of new creative experience. In 1999 we opened our space in SoHo. It enables regular exhibitions of physical, digital and video art, live performances, workshops and discussions, and a broad range of collaborative and experimental effort. The space is linked electronically to our affiliated locations in the US, Japan, and Europe.

9. We broadcast daily, through our website and related electronic technology. We present not only the events taking place at our home and affiliated spaces, but also a wide range of other programs and electronic projects.

10. We are very selective. We function less as an aggregator site than as a relatively narrow portal opening onto convergent artistic content of a very high quality. We have found that our approach appeals to a wide spectrum of non-trivial users of technology—some are artists, many are relatively young, most are interested in artistic, technological or cultural innovation. We view the discussion and debate that the Web makes possible as central to the development of an artistic vocabulary of convergence. Perhaps more important, we view the transmission of our artists’ works and the consequent perceptual, conceptual or interactive response of the audience as integral elements of the works themselves.

Location One is a not-for-profit, tax-exempt corporation incorporated in the State of New York, with funding from corporations, foundations and private individuals.

*IMHO*
with
CHRISTOPH DRAEGER

Wednesday 14 March 2007
7 pm

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

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

Location One is an independent, non-profit center for artistic experimentation and advanced thinking about the arts. We provide a home for serious discussion of the arts and social awareness, offering residential fellowships in the visual arts, performance, and writing.

We offer intensive curatorial expertise, technical guidance and creative resources, tailored to each fellow’s needs. We encourage participants to create new work and to exhibit or perform their work in our three exhibition spaces (in New York’s SoHo district). We invite them to share their thinking with the intellectual and artistic community in New York and – digitally – everywhere else.

Location One has forged an extensive network in political, academic and cultural communities in New York and abroad. Program participants have come from 33 countries so far in a network that extends throughout Asia, western and eastern Europe and Latin America. It is an ever-expanding network of people who care about artists and how they grow; who think that arts and creative expression matter deeply to the development of human culture. They understand the importance of creating new perceptions and critical thinking as technology and globalization transform our world.

Artists and thinkers take for granted the fluid boundaries of knowledge in the twenty-first century. They are the vanguard of human thought. They shape the models for the way we experience the contemporary world and images of its future. We at Location One have worked for 13 years to foster experimental art and critical dialogue between the people of the United States and the international community. The insight and vision of our fellows gives us hope for the future.

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

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

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

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

Teresa Henriques (Portugal) – Drawing in Space

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

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

Agnieszka Kalinowska (Poland) – Doormen

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

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

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

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

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

Rie Kawakami (Japan) – Untitled

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

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

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

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

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

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

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

Kaori Tazoe (Japan)

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

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

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

Virginie Yassef (France) – Les Eparpillés / The Scattered

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

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

Wu Ta-Kun obtained undergraduate and graduate degrees in Fine Arts from the National Taipei University of Arts, Taiwan in 2000 and 2003.

In 2001, his work was included in the Osaka Triennale and in 2002, he was invited to participate in the NIFCA Artists Residency Exchange Program in Finland.

Wu Ta-Kun is Location One’s third recipient of the YageoTech-Art Award of the ACC (Asian Cultural Council).

In 1993, Marlena received a BFA in painting at the College of Arts, Jaroslaw (Poland) followed by an MFA in painting and drawing at the Academy of Fine Art, Poznan, Poland (1998). Currently working on the research for the conference project ‘Post Image’ to be organized in cooperation with Akademie Schloss Solitude in Stuttgart (Germany) durning the residency program in 2005 and in 2003, was a resident at Art Omi International Arts Center Program (NY).

Recent solo exhibitions include: 2007, NN, Institute in Glasspavillon, Berlin/with Anne Gathmann. 2004, ‘POINT OF VIEW’, Akademie Schloss Solitude, Stuttgart, Germany and in 2002, ”oxygenation” (solo show), Municipal Gallery, Poznan.

Projects and Exhibitions at Location One:
The Image With No Shadow: Video Projection: Residents’ Exhibition Spring 2005

Online:
Video Interview with by Katherine Carl, assistant curator of contemporary exhibitions at the Drawing Center

Marlena’s residency at Location One is supported by the Trust for Mutual Understanding.

C Magazine press on The Image with No Shadow

Fluid Sunset review part 1 & Fluid Sunset review part 2

English translation:

Marlena Kudlicka Fluid 08(54)2005
the space for words
text Alexandra Robakowska

Two glittering green words spread out along the 15 m long gallery wall. Sunset Sunset – the words are screaming. The colors are pulsating, passing through and infiltrating each other. The galley interior is immersed in a bright yellow, foggy glow. The words look self-assured; they allure and attract. The viewer’s attention is focused only on them. The enormous inscription is displayed on the wall from a video projector suspended on the opposite wall.

Sunset. Stop-frame. The projection of meanings is starting.

Marlena Kudlicka was recently a participant at the Location One Residency Program in New York. The project ’The image that emits no shadow/Sunset/’ was prepared for Location One Gallery. She has taken inspiration from the post-image trend. For her project, she selected a photograph by Steven Shore from a series dating from the 70s. The photograph shows a lonely cinema house with the letters SUNSET painted on the building facade. The building is located in a Texan desert landscape, seemingly in the middle of nowhere. Marlena renewed the hand painted fonts and shifted the words into digital space. With great precision, almost a painting process, she worked pixel by pixel, faithfully reconstructing the font, replicating the word and giving it a new tint.

Sunset Sunset the artist extracted the framed word from its original drift. Unchaining it from narrow syntactic categories, she opened the word up to multiple meanings, meanings that are expanded by the individual viewer’s potential. And he or she in confrontation with Kudlicka’s works becomes co-author; actively playing with semantic/aesthetic imaginary juxtapositions.

Sunset – natural phenomena, glistening exposure on the day/night border, the colors dance continuously passing through one other, light and darkness this time stay on the same side. The image in a move, a portrait of fascinating transformation. The word is frozen; drifting in our mind.

An American dream, romance, space and cinematography.

The art-work is apparently full contradictions. Created by a Polish artist, it is soaked with an American touch and vibrating with dreams and meanings.

To visualize language and language becomes a visual landscape Marlena Kudlicka writes. She is a graduate of the Painting and Drawing Department at The Academy of Fine Art in Poznan, Poland. The artist uses language as a medium in her work. She creates highly aesthetic/semantic landscapes – open work- moving senses that are floating along intentions: of the author, of the text, of the viewer.

In Marlena’s work, words are shaped into images in a universe of juxtaposed meanings. Her painterly multimedia works appear almost as a kind of architecture. Strongly based on the context of the exhibition space, they create their own space and formulate new rules from the beginning. Because Kudlicka builds space for words

A year ago at Akademie Schloss Solitude the artist exhibited an installation titled ’POINT OF VIEW’. In that gallery space she built a 25m long curving wall; suspending 82 ’traffic circle’ street signs. The signs were arranged into a gigantic ’POINT OF VIEW’ inscription. The dark gallery space was lit only by two neon black lights. Viewers who entered the space were suddenly placed into the nonidentity of black space. After a while, the viewer’s senses adapted to these conditions and from the darkness white arrows on the blue surface of the signs started to glow: so that the viewer experienced a vibrating hypnotic suggestion.

In the turning point of our times, we often direct our attention to things in themselves and not on their meanings. Marlena Kudlicka reveals a scholastic dimension of reflection on words. Her work touches a formal mannerism while uncovering a basic code structure from existing contexts. It is paradoxical, like Umberto Eco’s conception of work as a discussion of its own poetic.

In Marlena Kudlicka text based works there is room for a broad spectrum of interpretations along with a simultaneous pointing to a code source; bright green flash light, the last beam of sunset, neon cinema light, Hollywood dream factory or pulsating blood vessel system highways. These readings are evident but not imposed. This is art that stimulates senses.

Born in Rome, Paololuca lives and works in Milan. He holds a B.A. in analog interface technology and its applications in the artistic field from the Accademia di Belle Arti di Bologna, and an MFA in 3D Animation from Thames Valley University, London. In 2003, he was selected to take part in the 11th Biennial of Young Artists from Europe and the Mediterranean, Athens. Other exhibitions include: Museo di Arte Moderna, Pescara (2003); Centro per L’Arte Contemporanea, Genova (2004) and Galleria d’Arte Moderna di Bologna (2004).

Projects and Exhibitions at Location One:
Light Waves, February 2006
Reclaim the Media, interactive installation :: Residents’ Exhibition February 2006

Online:
Video Interview with Joe Hill, founder of Vision Connect.
Alterzioni Video

Paololuca’s residency at Location One is supported by Associazione Artegiovane, The FondiAnima and Comune di Milano.

Bare life: Booth Girl*s and Stormtroopers: Accumulation, 2007
Nine International Artists Exhibit
June 2nd – July 28th, 2007

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

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

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

http://www.cliffevans.net/

artist/curator talk @ LOCATION ONE

Thursday September 21st
7 pm

CLIFF EVANS & PIERANNA CAVALCHINI

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

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

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

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

Click here to view the embedded video.

Opening Reception Thursday, September 14, 6-8pm

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

INSTALLATION VIEWS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

7:00pm
Admission: FREE

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

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

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

Borderland’s website

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

It featured the lovely and talented:

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

Image gallery from the meeting

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

It featured the lovely and talented:

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

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

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

15 artists will spend seven days at Location One working intensely and in restricted conditions to produce wearable creations with only the tools and materials provided to them. A cross between art and fashion, the project temporarily removes the gallery from the appointed function of “showing” and moves it to the world of artistic production, raising questions about the circumstances, both physical and mental, of the creative process.

Open Stitch removes artists from the comfort of their own environments, imposes constraints, and compels them to work among others. The action will be documented via live-streamed video. Following the production stage, the gallery space will be left in its raw, post-production state, and an installation of the work produced will be on display. A video montage of the production process will be projected as part of the installation.

[Show as slideshow]

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

September 7-13 Workshop
7 days, 56+ hours, 15 artists/designers working intensely and in restricted conditions to produce wearable creations with only the tools and materials provided to them. The project removes artists from the comfort of their own environments, imposes constraints, and compels them to work among others. The action will be documented via live-streamed video.
Open to the public every day from 12 to 6pm

Timelapse Video

Click here to view the embedded video.

September 14-30 Installation
The gallery space will be left in its raw, post-production state, and an installation of the work created will be on display. A video montage of the production process will also be projected.
Open Tuesday-Saturday, 12 to 6pm

Click here to view the embedded video.

September 21 & 28 at 7pm Open House Wednesdays
Two talks about Cultural Constraints and Social Identities relating to clothing and fashion. Speakers to be announced.

Click here to view the embedded video.

Saturday October 1st Runway show – Performance – Party
Opening with a short performance by the Glen Rumsey Dance Project, the evening features a staged showing of the garments produced by the participating artists, plus music, DJ and cocktails.

Read press for the show: (PDFs)

Gay City News

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

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

Creative Intelligence :: New Work from the MIT Visual Arts Program
May 20 – 27, 2004
Opening Reception May 20 6-8 PM
Location One has an ongoing informal working relationship with artists from the faculty and student body at MIT. Because of this rewarding association, we occasionally exhibit interesting work on a short-term basis in our galleries or online. On May 20, 2004 students from the MIT Visual Arts Program will open an exhibition entitled, “Creative Intelligence”. Featuring work by Lukas Lysakowski, Hiroharu Mori, Carrie Bodle, Ross Cisneros and Clementine Cummer

Artists bios:

Lukasz Lysakowski
a native of Poland, is an artist exploring the contemporary relationships between man – machine and nature – culture. Lysakowski is one of the members of the video improvisation trio 242.pilits (with Kurt Ralske and HC Gilje).

Hiroharu Mori
originally from Tokyo, focuses in on issues of cultural marginality. Repetition and absurdity are elements that Mori manipulates in order to engage in the territorial boundaries of isolation, perception, announcement, and interrogation. Mori utilizes prosthetic devices, audio augmentation and visual manipulation.

Carrie Bodle
a Columbus, Ohio native, Bodle investigates a site history of MIT’s Building N52 through a sound installation that responds to the notion of oscillatory patterns.

Ross Cisneros
continues to respond to rapidly developing technologies and the challenging ideologies of techno0trnascendentalism, transhumanism, and extropian belief systems within the present technocracy. Cisneros explores the consistent positioning of the technologist as healer, prophet, myth maker and transcendental magician through sculptural, cinematic, and perfomative hallucinations.

Clementine Cummer
is interested in how our moving bodies are evocative objects ­ evocative of the experience of being human in all of its strange beauty and pain. Cummer works with the interplay between the moving body, the moving camera, and the moving picture.

Creative Intelligence :: New Work from the MIT Visual Arts Program
May 20 – 27, 2004
Opening Reception May 20 6-8 PM
Location One has an ongoing informal working relationship with artists from the faculty and student body at MIT. Because of this rewarding association, we occasionally exhibit interesting work on a short-term basis in our galleries or online. On May 20, 2004 students from the MIT Visual Arts Program will open an exhibition entitled, “Creative Intelligence”. Featuring work by Lukas Lysakowski, Hiroharu Mori, Carrie Bodle, Ross Cisneros and Clementine Cummer

Artists bios:

Lukasz Lysakowski
a native of Poland, is an artist exploring the contemporary relationships between man – machine and nature – culture. Lysakowski is one of the members of the video improvisation trio 242.pilits (with Kurt Ralske and HC Gilje).

Hiroharu Mori
originally from Tokyo, focuses in on issues of cultural marginality. Repetition and absurdity are elements that Mori manipulates in order to engage in the territorial boundaries of isolation, perception, announcement, and interrogation. Mori utilizes prosthetic devices, audio augmentation and visual manipulation.

Carrie Bodle
a Columbus, Ohio native, Bodle investigates a site history of MIT’s Building N52 through a sound installation that responds to the notion of oscillatory patterns.

Ross Cisneros
continues to respond to rapidly developing technologies and the challenging ideologies of techno0trnascendentalism, transhumanism, and extropian belief systems within the present technocracy. Cisneros explores the consistent positioning of the technologist as healer, prophet, myth maker and transcendental magician through sculptural, cinematic, and perfomative hallucinations.

Clementine Cummer
is interested in how our moving bodies are evocative objects ­ evocative of the experience of being human in all of its strange beauty and pain. Cummer works with the interplay between the moving body, the moving camera, and the moving picture.

Location One is happy to host this month’s dorkbot-nyc meeting—a monthly gathering of artists (sound/image/movement/whatever), designers, engineers, students and other interested parties who are involved in the creation of electronic art (in the broadest sense of the term.)

Hosted by, and usually taking place at the Columbia University Computer Music Center (CMC), dorkbot-nyc meetings are coordinated by Douglas Irving Repetto.

featuring the lovely and talented:

Spot Draves: Electric Sheep
Electric Sheep is a distributed screen-saver that harnesses idle computers into a render farm with the purpose of animating and evolving artificial life-forms. Each clip of animation has a genetic code, and the collective voting of users determines its fitness. In the next version, a P2P network distributes the bandwidth for sharing the video and votes.
http://electricsheep.org

Rich LeGrand: Gameboy Hacks
The Gameboy Advance is famous for its ability to play games, but Nintendo has unwittingly put together a great embedded computer system that’s cheap and powerful. When using standard (and free) C compilers and a little extra hardware, you can program the Gameboy to do all sorts of cool stuff such as control motors, read sensors, talk, display graphics or simply run your code. In other words, screw Mario.
http://www.charmedlabs.com

Rob Seward: GTTM Analysis Software
The Generative Theory of Tonal Music (GTTM) was developed in the early 80s by composer Fred Lerdahl and linguist Ray Jackendoff. GTTM “relates the aural surface of a piece to the musical structure unconsciously inferred by the experienced listener” (Lerdahl and Jackendoff, 1983, book jacket). Working closely with Fred Lerdahl and with funding from the Keck Foundation, we have written software that performs a GTTM analysis on pieces written in the style of a Bach chorale. The software uses a unique user interface to display the “unconscious musical structures” that can be found in a piece. It also performs a complete Roman numeral analysis. In the process of automating the analysis, we revised elements of GTTM itself and developed a new key-finding algorithm. We have also created a unique compositional tool. If one wishes to make modifications to a chorale piece, they can immediately see the structural consequences of a revision. Eventually, we will create software that can work with music beyond the Bach chorale style.

Alexei Shulgin In his New York debut
386 DX WIMP

One Performance Only:
February 13, 2004 8 PM
Admission: $15, members free
(No advanced ticket sales;
Doors open at 7:30 PM)

Alexei Shulgin created Cyberpunk six years ago. At last, he’s bringing his bizarrely affecting techno-pop musical art to New York, for a single performance on February 13th at Location One.

Shulgin’s Cyberpunk “band”, 386 DX, consists of an archaic computer that plays MIDI tunes with speech-synthesis “vocals” accompanied by Shulgin who “operates” the machine through a computer keyboard slung over his shoulder with a guitar strap. Their repertoire spans 30 years of pop music (from The Mamas and The Papas to Nirvana), and is by turns satirical, sentimental, innovative and just plain weird – - accompanied, as always, by Shulgin’s irreverent insight into net art, techno, and the contemporary entertainment scene.

Shulgin has played concert halls, clubs and every kind of venue throughout Europe and America, most notably through a chain-link fence from the American side of the US/Mexican border at Las Playas de Tijuana while his computerized counterpart was free to perform on the Mexican side of the border. The computer has performed as a solo act as well, singing pop songs to crowds on the streets of Graz, Austria and receiving tips for its musicianship.

WIMP (Windows Interface Manipulation Program or Windows, Icons, Menus and Pointing device – the prehistorical GUI of the 1970′s) is a program for creating full-screen visual animations synchronized with sound in real time. WIMP utilizes the graphical user interface (GUI) of the Windows operating system as its only visual source of inspiration. Standard interface elements from the desktop such as applications, windows, icons, images, pop-up menus and text are manipulated and transformed through the use of VJ effects. These animations are generated by simple 2- and 3-D effects and filters and their superimpositions. The versatile nature of WIMP allows it to be used as a VJ tool, a screensaver, a cool grafix generator or as a piece of conceptual art.

WIMP was created by Shulgin in collaboration with Victor Laskin and had its world premiere in October of 2003 at Dorkbot Rotterdam (http://dorkbot.org/dorkbotrotterdam/). It is downloadable as freeware at http://www.wimp.ru.

Click here to view the embedded video.

Alexei Shulgin is a Moscow-based artist, musician, curator, activist and professor. Shulgin has participated in numerous exhibitions and symposiums on photography, contemporary art and new media. He is the author and curator of several Internet projects including Form Art, which first introduced this new art form based on the aesthetics of a computer interface to the internet community in 1997. He also collaborated on the development of Runme.org, launched in January 2003 as an open database for people around the world to showcase their examples of software art. Since the creation of 386 DX in 1998, Shulgin has released two albums with the band including The Best of and Legend of Russian Rock.

Alexei Shulgin In his New York debut
386 DX WIMP

One Performance Only:
February 13, 2004 8 PM
Admission: $15, members free
(No advanced ticket sales;
Doors open at 7:30 PM)

Alexei Shulgin created Cyberpunk six years ago. At last, he’s bringing his bizarrely affecting techno-pop musical art to New York, for a single performance on February 13th at Location One.

Shulgin’s Cyberpunk “band”, 386 DX, consists of an archaic computer that plays MIDI tunes with speech-synthesis “vocals” accompanied by Shulgin who “operates” the machine through a computer keyboard slung over his shoulder with a guitar strap. Their repertoire spans 30 years of pop music (from The Mamas and The Papas to Nirvana), and is by turns satirical, sentimental, innovative and just plain weird – - accompanied, as always, by Shulgin’s irreverent insight into net art, techno, and the contemporary entertainment scene.

Shulgin has played concert halls, clubs and every kind of venue throughout Europe and America, most notably through a chain-link fence from the American side of the US/Mexican border at Las Playas de Tijuana while his computerized counterpart was free to perform on the Mexican side of the border. The computer has performed as a solo act as well, singing pop songs to crowds on the streets of Graz, Austria and receiving tips for its musicianship.

WIMP (Windows Interface Manipulation Program or Windows, Icons, Menus and Pointing device – the prehistorical GUI of the 1970′s) is a program for creating full-screen visual animations synchronized with sound in real time. WIMP utilizes the graphical user interface (GUI) of the Windows operating system as its only visual source of inspiration. Standard interface elements from the desktop such as applications, windows, icons, images, pop-up menus and text are manipulated and transformed through the use of VJ effects. These animations are generated by simple 2- and 3-D effects and filters and their superimpositions. The versatile nature of WIMP allows it to be used as a VJ tool, a screensaver, a cool grafix generator or as a piece of conceptual art.

WIMP was created by Shulgin in collaboration with Victor Laskin and had its world premiere in October of 2003 at Dorkbot Rotterdam (http://dorkbot.org/dorkbotrotterdam/). It is downloadable as freeware at http://www.wimp.ru.

Click here to view the embedded video.

Alexei Shulgin is a Moscow-based artist, musician, curator, activist and professor. Shulgin has participated in numerous exhibitions and symposiums on photography, contemporary art and new media. He is the author and curator of several Internet projects including Form Art, which first introduced this new art form based on the aesthetics of a computer interface to the internet community in 1997. He also collaborated on the development of Runme.org, launched in January 2003 as an open database for people around the world to showcase their examples of software art. Since the creation of 386 DX in 1998, Shulgin has released two albums with the band including The Best of and Legend of Russian Rock.

Kurt Ralske
Work in ProgressJanuary-February, 2004

____Video as a tool for re-mapping 4 dimensional space

“These possibilities are very exciting to me, and my hope is that work that reveals time by transforming it causes the viewer to experience a different, expanded sense of time, and thus a different, expanded sense of their own life passing through time.”

These three works explore time, and our perception of time. For me, one of the most interesting qualities of video is that it is in reality only a collection of still images. At 30 video frames per second, any 10 seconds of fluid movement can alternately be considered as a static collection of 300 related still images. Working in the digital realm in a real-time manner, there are endless possibilies for instantly treating a new video recording as a library of stills, then deriving new material by analyzing or modifying this library: reordering entries, comparing similarity or difference between entries, deriving a single image from multiple entries, etc.

In painting and drawing, the artist makes decisions on what rules to follow to project the 3 dimensions of physical space onto the 2 dimensions of the canvas. Classical vanishing-point perspective, Byzantine reversed perspective, and Cubism are some familiar examples of various methods for collapsing 3 dimensions onto a 2 dimensional image. Every artist’s personal style of 3d-to-2d mapping become an identifiable element of his/her “hand”.

Similarly, the video or film artist makes decisions on how to work with events that occur in time (the 4th dimension) to re-map 4 dimensions onto alternate, transformed 2, 3, or 4 dimensional spaces. There are endless possibilities for converting time-based events into modified, transformed or collapsed representations.

We have learned techniques for “reading” transformed representations and unconsciously use them all the time. We know the map is smaller than the territory it represents; we know the Mona Lisa is “closer” to us than the horizon; we know that the 1 hour 40 minutes of a Hollywood film do not represent a slice of real-time (as we experience it), but instead, events that occurred at various times.

Digital video (especially when combined with custom software processing) offers new possibilities for re-mapping 4 dimensions that extend far beyond the familiar techniques of film and analog video, which we can already “read” without conscious effort. These possibilities are very exciting to me, and my hope is that work that reveals time by transforming it causes the viewer to experience a different, expanded sense of time, and thus a different, expanded sense of their own life passing through time.

____”Zebra Time” (aquarium, fish, video camera, custom software, computer, projector):

A small school of fish (Brachydanio rerio, commonly known as Zebras) swim in an aquarium. A video camera is pointed at the aquarium, and images of the fish are captured into the computer. The artist’s custom software processes the images, which are projected behind the aquarium. The processing of the images destroys their temporal integrity, that is, events that occur at different times are represented simultaneously. At times, the frame fills with the residue of previous actions; in this way, the fish, by their actions, are the creators of a “painting”.____”Cold Time / 3rd Time” (DVD) :

Two audio-visual pieces are played consecutively. In “Cold Time” (4 min), a small number of abstract b+w still images are animated in subtle, painterly ways. The images drift, melt, and move erratically. The soundtrack is a recording of shortwave radio noises from the 1950s, which are allegedly transmissions of encrypted information by cold-war-era spies. The mood is dark and foreboding. In “3rd Time” (15:30 min), one minute of 1950s footage of the NYC elevated subway line is drastically extended by a cyclic, iterative looping algorithm. A soundtrack created by the artist to match the one-minute version is similarly processed to be tightly synchronized with the looping of the image. “3rd Time” is a record of a real-time performance (that is, its 15:30 minute duration required exactly 15:30 minutes to create), and is presented unedited, as a document of the work process. The temporal integrity of each frame is fractured, that is, parts of each frame are actually a record of previous events. As a result, objects themselves become fractured and lose their distinct location in space and time. The incessant repetitive cycling of the images risks an overdetermined single-mindedness, but instead approaches a hypnotic and visceral thrill.

____”Mer Time” (DVD, 3 monitors, ink-jet print 150x50cm) :

A still image is created through the residue of a video performance. The still image is then re-converted back into video via a long, slow close-up pan across its surface. Thus a time-based process (the unseen video performance) is transformed into an inanimate object (still image), and the inanimate object is transformed back into a new time-based process (video on monitors). This sequence of mappings is 4d to 2d to 4d.

Location One is proud to present:

Poetic Spectrum – Images, Objects, and Words of Gozo Yoshimasu

September 3 – September 23, 2003
Opening Reception: September 3, 6 – 8pm

Listen to a sound clip of “Ishikari sheets” (music by Scott Fraser)
[display_podcast]

Poetry reading by Yoshimasu: September 23, 2003 at 7 PM
Live translation by American poet Geoffrey O’Brien
Improvisational music by guitarist Jean-François Pauvros
Poems translated by Hiroaki Sato
Admission: Free – Doors open at 6pm

Curated by Miwako Tezuka
Gallery hours: Tue – Sat 12-6 PM
Tuesday, September 23 12-7 PM

Location One is pleased to present the New York debut exhibition and special performance reading by renowned Japanese poet Gozo Yoshimasu, recent recipient of the Purple Ribbon Award from the Japanese Government for his significant cultural contributions. Poetic Spectrum will present Yoshimasu’s photographs and copperplate calligraphies for the first time to the New York audience, and will also bring the legendary poet to New York to perform after a ten-year absence.

A highly acclaimed avant-garde poet since the 1960s, Yoshimasu is a poet of migrant vision, creating his works while he travels to different locales and cultures, composing his poems through vision, touch, and sounds. He has more recently expanded his poetic works to include the media of photography and calligraphy. The exhibition Poetic SpectrumPoetic Spectrum captures the multi-faceted nature of the poet’s work through 30 photographs and 15 engraved calligraphies, each treated as a word, and interwoven to create textual complexity in space. explores Yoshimasu’s poetry as a web of interconnected images, objects, and words that reflect on a conflicting sense of nostalgia and estrangement.

In a rare event, Yoshimasu will come to New York City to read/perform selections from his most recent poems on September 23rd. Through his unique performance style, his voice, ultimately weaves together the visions and touches of the past, and revives the singularity of those encounters. The amalgamation of images, objects, words, and reading as performance, will present a possibility of transcending the limit of language, and reveal the trans-cultural fertility of poetry.

This performance will last just under an hour and will include a live translation by American poet Geoffrey OíBrien, as well as improvisational music by experimental guitarist, Jean- François Pauvros. The event will be streamed live on the Location One website beginning at 7PM EST.

Poetic Spectrum – Images, Objects, and Words of Gozo Yoshimasu is made possible through the generous support of The Japan Foundation, as well as through contributions from members of Location One. Poetic Spectrum is a participating event of “US-Japan 150,” a two-year nationwide festival commemorating the 150th anniversary of the inception of relations between the US and Japan in 1853. Thanks to Itoen Tea for its generous contribution of beverages.

BIOGRAPHIES

Gozo Yoshimasu was born in Tokyo in 1939 and published his first book of poems entitled Shuppatsu (Departure) in 1964. Juxtaposing imagery of reality and memories of various locations, his poems open new vistas that reach one’s collective consciousness. Yoshimasu is also known for his unusual, trance-like reading through which he has collaborated with artists such as Kazuo Ono and Nobuyoshi Araki. Considered to be an emblematic presence in postwar Japanese poetry, many of his poems have been translated into various languages. He has given readings at Centre Georges Pompidou (2000), Taipei International Poetry Festival (2001), and has exhibited his photographs and calligraphies at São Paulo Biennale (1990), Chambre de Commerce et Industrie, Strasbourg (2000), among others. In May 2003, he received the Purple Ribbon Award from the Japanese government for his significant cultural contributions.

Miwako Tezuka is an independent curator and a Ph.D. candidate at the Department of Art History and Archaeology, Columbia University. She specializes in postwar Japanese avant-garde art. She was a recipient of the Luce Foundation Museum Fellowship in Asian Art at the Asia Society, NY. Her recent work includes curatorial consultation for The Legacy Project’s 9/11 commemorative exhibition, In Memory: The Art of Afterward, at the Mishkin Gallery, NY (2002), and co-curation of Making It Home: Three Contemporary Asian Artists, at the ISE Gallery, New York (2002).

Jean-François Pauvros, guitar, was born in France. A well-known avant-garde guitarist composer and performer, he made his debut in the late 1970s, forming a trio called Catalogue with Gilbert Artman (ex. urban sax) and Jac Berrocal (trumpet, voice). He is considered one of the foremost European experimental guitarists.

Geoffrey O’Brien is a widely published poet, critic, editor, and cultural historian. He has been honored with a Whiting Award and fellowships from the Guggenheim Foundation and the New York Institute for the Humanities. A regular contributor to The New York Review of Books, he is the editor-in-chief of The Library of America. His most recent publication is A View of Buildings and Water. He lives in New York City.

Poems by Yoshimasu in English translation:

A Thousand Steps…and More: Selected Poems and Prose 1964-1984. Translated by Richard Arno, Brenda Barrows, and Takko Lento. Oakland: Katydid Books, Oakland University, 1987.

Osiris, the God of Stone. Translated by Hiroaki Sato. Laurinburg: St. Andrews Press, 1989.

“Kadena” (To appear in Simple Vows, #4. Ed. Kemp Gregory, San Antonio.)

All tickets at the door: $10, Members Free

Janene Higgins and Ikue Mori will perform a live duet of video and music.

JANENE HIGGINS’ videos and digital media have been presented internationally at numerous festivals and galleries throughout the world. She has developed a unique style for live video performance, utilizing video mixers and Powerbook as performance instruments. This brought collaborations with such artists as Alan Licht, Prema Murthy, Elliott Sharp, and Zeena Parkins. She has performed in many music festivals in Europe and North America, including Music Unlimited in Wels, Austria; the City of Women festival, Slovenia; Vasistas Festival of Multimedia, Montreal; Roulette Festival of Mixology, NYC, and at Documenta X.

IKUE MORI, one of New York’s most exciting improvisers and composers, has played with musicians such as Fred Frith, John Zorn, Zeena Parkins and Jim Staley. Ikue Mori has developed a personal and innovative technique of playing samplers triggered by adapted drum machines and incorporated laptop computer programming to broaden her scope of musical expression. Her most recent albums are Labyrinth, solo computer (Tzadik 2001), One Hundred Aspects of the Moon (Tzadik 2000), Painted Desert (Avant) with guitarists Marc Ribot and Robert Quine, Death Praxis (Nonsequitor) with vocalist Tenko, and Vibraslaps (Rec Rec) with singer Catherine Jauniaux. Other recent projects include the collaboration Mephista (Tzadik, 2002) with Sylvie Courvoisier and Susie Ibarra. She has also recorded as a member of the groups Fukuko, Tohban Djan, and The Worlds Of Love (with David Garland and Cinnie Cole). Mori was a member of the legendary late ’70s “No Wave” group DNA (with Arto Lindsay) who can be heard on albums on Avant and American Clave, and on the Brian Eno-produced No New York compilation on Antilles. Ikue has given workshops at the International Percussion Festival in Berlin, and performed at NY Symphony Space and Derek Baily’s Company Week in London. In 1999 she won the Distinctive Award for Prix Ars Electonics in the Digital Music category.

All tickets at the door: $10, Members Free

Janene Higgins and Ikue Mori will perform a live duet of video and music.

JANENE HIGGINS’ videos and digital media have been presented internationally at numerous festivals and galleries throughout the world. She has developed a unique style for live video performance, utilizing video mixers and Powerbook as performance instruments. This brought collaborations with such artists as Alan Licht, Prema Murthy, Elliott Sharp, and Zeena Parkins. She has performed in many music festivals in Europe and North America, including Music Unlimited in Wels, Austria; the City of Women festival, Slovenia; Vasistas Festival of Multimedia, Montreal; Roulette Festival of Mixology, NYC, and at Documenta X.

IKUE MORI, one of New York’s most exciting improvisers and composers, has played with musicians such as Fred Frith, John Zorn, Zeena Parkins and Jim Staley. Ikue Mori has developed a personal and innovative technique of playing samplers triggered by adapted drum machines and incorporated laptop computer programming to broaden her scope of musical expression. Her most recent albums are Labyrinth, solo computer (Tzadik 2001), One Hundred Aspects of the Moon (Tzadik 2000), Painted Desert (Avant) with guitarists Marc Ribot and Robert Quine, Death Praxis (Nonsequitor) with vocalist Tenko, and Vibraslaps (Rec Rec) with singer Catherine Jauniaux. Other recent projects include the collaboration Mephista (Tzadik, 2002) with Sylvie Courvoisier and Susie Ibarra. She has also recorded as a member of the groups Fukuko, Tohban Djan, and The Worlds Of Love (with David Garland and Cinnie Cole). Mori was a member of the legendary late ’70s “No Wave” group DNA (with Arto Lindsay) who can be heard on albums on Avant and American Clave, and on the Brian Eno-produced No New York compilation on Antilles. Ikue has given workshops at the International Percussion Festival in Berlin, and performed at NY Symphony Space and Derek Baily’s Company Week in London. In 1999 she won the Distinctive Award for Prix Ars Electonics in the Digital Music category.

Written and directed by Enid Baxter Blader
Opening Reception: November 7th 6-8 PM

LETTER FROM THE GIRL, MAILED AT THE GAS STATION is an experimental digital video/16 mm film hybrid. Using digital video to reference surveillance and voyeurism, and film to reference cinematic history, LETTER draws on Film Noir, American dreamscapes, American desert mythology, the B-movie, oppositional cinema, and Noir’s descendent, True Crime.

The first minutes of LETTER re-enact the first minutes of the Noir classic KISS ME DEADLY, reinventing its tension and gender inversions. Shot on Mount Washington, the site of Charlie Chaplin’s hotel and silent movie shoots, the piece references an historic cinematic landscape.

Filmed in dreamlike settings- a lonely desert, empty prairie land- a car moves through a winding highway in the Hollywood hills. The characters are trapped in a pre-urban space- on a stretch of back road that anticipates dark city streets, the Noir streets of Los Angeles Ð a space of fugitive menace where social bets are settled.

LETTER features a hard-edged original score by Preston Swifnoff and Aleph Research.

Enid Baxter Blader is an artist, filmmaker and musician. She received her BFA at the Cooper Union in New York City with a fellowship at Yale University and her MFA from Claremont Graduate University, Claremont, CA. Blader’s work spans social experience from hillbilly to cosmopolitan. In carefully woven visual and aural tapestries of suspense, romance, tragedy and comedy, her work features slices of life ranging from the mundane to the odd to the fantastic and has been presented at the Smithsonian, Orange County Museum of Art, California Center for the Arts, The Arnolfini, (Bristol, England), The Cornerhouse (Manchester, England), Sundance, the Director’s Guild of America, Women in the Director’s Chair, and the Aurora Picture Show.

LETTER FROM THE GIRL, MAILED AT THE GAS STATION was made possible with the generous support of Location One, Kodak, The Durfee Foundation, Craft Service Donations, Trader Joes of Eagle Rock, and Beaujolie Bolangerie.

Production with support from Stranger Baby Productions. (c) Enid Baxter Blader, 2002

Curated by Tanya Leighton

Opening Reception: April 4th, 6-8pm

Stills from “Under the Rain”, videotape, 1997

It is a great pleasure to present the first solo exhibition of work by the internationally celebrated filmmaker Alfred Guzzetti. Guzzetti has directed and collaborated on many documentary and experimental films and videotapes. His body of work includes personal, political documentaries and, most recently, digital video works that had their predecessors in his experimental films from the 1960s and 1970s.

The installation at Location One includes two experimental videotapes, “Under the Rain” (1997; 10 minutes) and “A Tropical Story” (1998; 9 minutes). These videos make use of documentary-like footage yet they are not configured like documentaries. Guzzetti’s deep subjectivity and consciousness is transparent in his exquisitely composed, carefully crafted, and concise images. Descriptions of landscapes, public and private spaces, advertising and television images rhythmically lull us into a gentle contemplation; then interrupt us by assaultive sounds, quick edits and scrolling texts. These pieces articulate a recurring theme in Guzzetti’s work: the complex anxiety of being in a foreign place and the projection of our consciousness onto changing landscapes. “The moon is the same, although the surroundings are not.” His work asserts the struggle to assimilate what we know, or think we know, and what we have repeatedly heard, yet have consistently forgotten.

Alfred Guzzetti is based in Cambridge, Massachusetts. He is Osgood Hooker Professor of Visual Arts at Harvard University. His films and tapes have been included in numerous national and international film festivals. He is the author of the book “Two or Three Things I Know about Her: Analysis of a Film by Godard” (Harvard University Press, 1981).

“The Tower of Industrial Life,” an experimental videotape from the same series, is currently on exhibition as part of the Whitney Biennial 2002.

Friday March 22nd: The Julius Hemphill Sextet (Marty Ehrlich, Music Director) $15
Saturday March 23rd: Dave Douglas and Trisha Brown- An Evening of Improvisation $20
Sunday March 24th: Atsushi Nishijima $10

Special Ticket Price: $35 for all three nights, or the individual rates listed above. Members: FREE Advanced tickets are available Tuesday- Saturday 12-6:00PM at Location One

March 22: The Julius Hemphill Sextet
Over the past thirty-five years Julius Hemphill has earned a reputation as one who broke down boundaries and defied labels. A prodigious composer, who wrote luscious and shimmering sonorities with the ever-present tang of the blues, Hemphill was as comfortable writing for full orchestra as he was for his Sextet or Big Band. The Last Supper at Uncle TomÕs Cabin: The Promised Land, composed for choreographer Bill T. Jones and featuring the Julius Hemphill Sextet, toured the United States and Europe with the Bill T. Jones/Arnie Zane Co. during the 1990-91 season to a chorus of raves. In 1991, Hemphill received a Bessie Award for each of his dance compositions, Long Tongues: A Saxophone Opera and The Last Supper At Uncle TomÕs Cabin: The Promised Land. An improviser of immense talent and saxophonist who could coax the best out of any musical unit, Hemphill performed in almost every major jazz festival and hall in North America and Europe, including Berlin, Montreal, Kool, Rome, Paris, Den Haag (North Sea), and Warsaw. Julius Hemphill died on 2 April 1995.

IN HOT PURSUIT at Location One
New Theatre. Innovative Directors.
Curated by Jocelyn Ruggiero

SONNETS FOR AN OLD CENTURY
A New Play by Jose Rivera
Directed by KJ Sanchez
January 24 and 25
8:00 PM Tickets $10 (Members free)

With Carolyn Baeumler, George Bass, Doug Bost, Alison Briner, Ron Cohen, Michael Escamilla, Dion Graham, Bridgett Ane Lawrence, Kriste Peoples, Bray Poor, Jocelyn Ruggiero and Dawn Saito;
Stage Manager Emily Mendelsohn
Live Sound by Atsushi Nishijima and Richard Huntley

SONNETS FOR AN OLD CENTURY examines what it means to be alive at this particular time and place and what traces each of us will leave behind. In a series of exquisitely written monologues, using dance and live music, SONNETS captures the subtle, often overlooked treasures of everyday life.

KJ SANCHEZ (Director)
recently starred as Thyona in Charles L. Mee’s BIG LOVE at the Brooklyn Academy of Music. KJ was also fight captain this production which began at the 2000 Humana Festival, then moved to Long Wharf Theater, Berkeley Rep, The Goodman and culminated in the Next Wave Festival at BAM. This past year KJ created, choreographed and directed TOO MUCH WATER, a dance theatre piece about Ophelia, for the graduate theatre training program at the University of Washington in Seattle. KJ was a member of Anne Bogart’s SITI Company for many years with whom she co-created plays such as GOING GOING GONE, SMALL LIVES BIG DREAMS and CULTURE OF DESIRE and performed extensively throughout the US and internationally.

JOSÉ RIVERA (Playwright)
Puerto Rican-born Jose Rivera’s plays have been seen nationally, internationally and translated into seven languages. Rivera’s plays havebeen performed at the Joseph Papp Public Theatre, Playwrights Horizons, South Coast Rep, the Goodman Theatre, the Mark Taper Forum, Actors Theatre of Louisville’s Humana Festival, Hartford Stage Company, and Manhattan Class Company — as well as theatres in Mexico, Puerto Rico, Peru, Scotland, Greece, Rumania, Sweden, Norway, England, and France. They include the Obie Award-winning plays MARISOL and REFERENCES TO SALVADOR DALI MAKE ME HOT, as well as CLOUD TECTONICS, EACH DAY DIES WITH SLEEP, THE PROMISE, THE HOUSE OF RAMON IGLESIA, GIANTS HAVE US IN THEIR BOOKS, THE STREET OF THE SUN, SONNETS FOR AN OLD CENTURY, and SUENO. His work has been generously supported by the Kennedy Center Fund for New American Plays, the National Arts Club, the NEA, the Rockefeller Foundation, the New York Foundation for the Arts, the Fulbright Commission, PEN West, the Whiting Foundation, and the Berilla Kerr Foundation. THE HOUSE OF RAMON IGLESIA appeared on the public television series American Playhouse. Rivera has studied with Nobel Prize Winner Gabriel Garcia Marquez at the Sundance Institute and has been a writer-in-residence at the Royal Court Theatre, London. Television credits include co-creating and producing the critically-acclaimed NBC series “Eerie, Indiana” as well as “The Eddie Matos Story” for HBO; episodes of “Goosebumps,” “The Great Brain,” and “Night Visions” for the Henson Company; “The Brothers Garcia” for Nickelodeon; and “A.K.A. Pablo” for ABC. Films include “The Jungle Book: Mowgli’s Story,” “Mr. Shadow,” and “Family Matters,” all for Disney, as well as the 3-D IMAX film “Riding the Comet” for Sony. Current theatre and film projects include SCHOOL OF THE AMERICAS and BRAINPEOPLE (both commissioned by South Coast Rep), ADORATION OF THE OLD WOMAN (commissioned by La Jolla Playhouse), and the films “A Bolero for the Disenchanted” (Showtime), “Somewhere in Time, II” (Universal Home Video), “The Motorcycle Diaries,” (Robert Redford’s Wildwood Co. directed by Walter Salles), “Lucky” (Interscope), and “Cesar Chavez” (Showtime).

ATSUSHI NISHIJIMA
received his Bachelor’s degree in Musical Technology from the Osaka University of Art in 1989 and his Master’s degree in Media Art in 2001 from the International Academy of Media Arts and Science in Gifu. Trained in experimental and contemporary music, Nishijima creates sculptures and installations that emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city as a gigantic synthesizer from which everyday sounds are selected and transformed into a unique “sound” due to “space”. Nishijima’s work has been exhibited and performed throughout Japan (solo exhibitions: Osaka Contemporary Art Center and Ashiya City Museum of Art & History, Hyogo 1992; Dohjidai Gallery of Art, Kyoto, 1998), as well as Singapore, Paris and New York (“Citycircus”, New Museum of Contemporary Art, 1994, an exhibition curated by Laura Trippi).

The New York City based percussionist RICHARD LIVINGSTON HUNTLEY plays a wide variety of music including jazz, Brazilian, klezmer, and avant garde. He has performed and recorded with jazz greats Mulgrew Miller and Cameron Brown. Huntley has performed with notable jazz musicians such as Billy Drewes, Don Braden and Shunzo Ohno; the Brazilian pianist Dom Salvador; klezmer music with Frank London from the Klezmatics, among others. Huntley co-leads a band with the Danish saxophonist Emil Hess. The Hess/Huntley group has released two CDs, most recently “Skovens Nat.” The Hess/Huntley group has toured extensively throughout Europe and performs regularly in New York City. Huntley is also an endorser/clinician for Bosphorus cymbals and Regal Tip sticks and brushes.

EMILY MENDELSOHN (Stage Manager)
recently graduated from SmithCollege where she studied theatre and a whole lot else.She has dabbled in stage managing atTNC, The Bloomsbury Theatre in London and New England Actor’s Theatre in New Haven.
CAST BIOGRAPHIES:

GEORGE BASS
is a graduate of the High School of Performing Arts in Buenos Aires, Argentina, where he worked as an actor, singer, dancer, director and choreographer. In New York City since 1975, he has been actively working in theatre both English and Spanish. Principal credits include JESUS CHRIST SUPERSTAR, HAIR, ANTHON Y AND CLEOPATRA, ARSENIC AND OLD LACE , DEATH AND THE MAIDEN, LATE NITE CATECHISM and a concert version of DESIREE, a comic opera by J.P. Sousa (CD Recording). He is well known by Spanish audiences for his performances in Zarzuelas (Spanish Operettas) such as THE PHARAOH’S COURT, THE MERRY GENERAL’S WIFE, THE BARBER OF SEVILLE and LA PARRANDA. Mr. Bass received several awards and his voice can be heard in numerous T.V. and radio jingles and commercials. Film credits: THE BREAK and THE CRYSTAL CAGE. T.V. appearances include LAW & ORDER, AMERICA’S MOST WANTED, THE SOPRANOS, STRANGERS WITH CANDY and THE BEAT.

CAROLYN BAEUMLER
spent most of last year appearing with KJ Sanchez in Charles L. Mee’s BIG LOVE, directed by Les Waters (2000 Humana Festival at Actors Theatre of Louisville, Long Wharf Theatre, Berkeley Repertory, The Goodman Theatre, and the 2001 Next Wave Festival at BAM). Other recent credits include: Marilyn Monroe in MISS GOLDEN DREAMS (ACT,Seattle); Mae West in SEX (The Hourglass Group); understudy for Blanche and Stella in A STREETCAR NAMED DESIRE (NYTW); A CLOCKWORK ORANGE (Steppenwolf); Courtney Love in LOVE IN THE VOID; THE EROTICA PROJECT and IN-BETWEENS. She is a co founder of The Hourglass Group and a Usual Suspect at New York Theatre Workshop and Doug’s wife.

DOUG BOST
is an original member of the sketch comedy group Euphobia. He has been heard in the award-winning radio dramas DEAD MAN’S HOLE and DECEMBER17, both broadcast on Bavarian State Radio and National Public Radio’s NPR Playhouse. Doug is well known to lovers of Japanese hentai video as THE MASTER from the series BRIDE OF DARKNESS. Doug is also a writer.

ALLISON BRINER
was most recently seen in The Great Lakes Theatre Festival’s pre-Broadway production of LONESTAR LOVE OR THE MERRY WIVES OF WINDSOR, TEXAS. Prior to that she played the role of Chic in The Cape Playhouse production of CRIMES OF THE HEART, starring Sandy Duncan. Off Broadway: RETURN TO THE FORBIDDEN PLANET, FORBIDDEN BROADWAY, JACQUES BREL…THE 25TH ANNIVERSARY, FORBIDDEN HOLLYWOOD, SONG OF SINGAPORE and PETE “N” KEELY. National Tours: LES MISERABLES, TITANTIC…A NEW MUSICAL. Ms. Briner will be featured in The Denver Center for the Performing Arts’ production of ALMOST HEAVEN, the musical based on the life and music of John Denver.

RONALD COHEN
has appeared such roles as Shakespeare’s Othello, Vershinin in THE THREE SISTERS, and Graham in Stuart Spencer’s 10011/MANHATTAN ZIP. This past fall he was in Chiori Miyagawa’s WOMAN KILLER at HERE! Films include Frank Whaley’s THE JIMMY SHOW, show last week at Sundance Film Festival. For many years he was an editor at Women’s Wear Daily where he also reviewed theater and cabaret. He currently covers New York theater for Musical Stages Magazine, published in Britain.

MICHAEL RAY ESCAMILLA
NYC: Mayi-Theatre at The Public, Lincoln Center Theatre, Classic Stage Company, Theatre for a New Audience, Cherry Lane Theatre, Soho Rep. and Camilla’s. Regional theatre: ATL (Humana Festival), Repertory Theatre of St. Louis and North Shore (Boston). TV: THE JOB.

BRIDGETT ANE LAWRENCE
is thrilled to be performing in this fabulous space with such talented people. Stage credits include: EINSTEIN’S DREAMS at the Kraine Theatre, the two-woman play SHE FINDS HER at the Manhattan Theatre Source, Nina in THE SEAGULL with StreetSigns Center for Literature & Performance, the American Globe Theatre’s ANTIGONE, Drew Pisarra’s YES IS FOR A VERY YOUNG MAN at the Brooklyn Arts Exchange and two seasons of A CHRISTMAS CAROL at the Goodman Theatre in Chicago; BA received her BFA in Acting from Ithaca College. She would like to thank KJ for this rare opportunity and her beautiful, daring direction. BA dedicates this performance to her husband, Chris, a constant inspiration.

KRISTE PEOPLES
is not new to the stage, though SONNETS marks her first acting experience in some time. She can usually be found singing jazz and blues at clubs in and around Manhattan with her trio. Website: http://www.kristepeoples.com

JOCELYN RUGGIERO
last worked with KJ Sanchez developing an original project about medicine this past summer. They met while acting in a production of FEFU AND HER FRIENDS at Santa Fe Stages, directed by Maria Irene Fornés. Other acting credits include THE MAN WHO SHOT HIS WASHING MACHINE, directed by Tom O’Horgan at TNC; THE BITTER TEARS OF PETRA VON KANT, directed by Sonja Moser; SPRINGTIME at The Image Theatre and LOVE AND UNDERSTANDING at Long Wharf Theatre, directed by Mike Bradwell. In March, she will perform at Location One in PHILOCTETES, directed by Sonja Moser. Jocelyn is currently rehearsing PERSEPHONE, written and directed by Emily Davis, a play that will use masks and puppets by Shannon Harvey. She is a graduate of Sarah Lawrence College.

DAWN AKEMI SAITO
actress/performance artist, writer and Butoh dancer/choreographer has collaborated with major innovative performance groups, as well a presenting her own works in New York, Los Angeles and Europe. Her works include: A FACE OF OUR OWN, in collaboration with composer Myra Melford presented at the Orpheum Theatre in Graz, Austria; Leaves, Water, Sun (Berkshire Theater); Red Eye (Whitney Museum at Philip Morris); HALO (Asian American Theater Workshop at Mark Taper and Highways); HA directed by Maria Mileaf (Dance Theater Workshop, New York Theater Workshop); PASTIME (LaMaMa, E.T.C.); DreamCatcher (Dance Theater Workshop and Aaron Davis Hall). Other Dance/Theatre background includes performing in: Arden/Ardennes at Theatre du Rond-Point in Paris; MY HOUSE WAS COLLAPSING TOWARD ONE SIDE, conceived and directed by Charles Mee, Jr. with music composed by Myra Melford (Dance Theater Workshop); Bill T. Jones’ LAST SUPPER AT UNCLE TOM’S CABIN at Brooklyn Academy of Music; Ping Chong’s DESHIMA and ELEPHANT MEMORIES; Music-Theater Group’s MOBY DICK IN VENICE directed by Roman Paska at the Public Theater’s Henson Festival; CHILDREN OF WAR directed by Larry Sacharow at the Taganka Theatre in Moscow; ‘MAID by Erik Ehn and directed by Maria Mileaf at Lincoln Center’s Summer Festival; HEDDA GABLER at The Old Globe Theater; PHOTOGRAPHS AT S21, directed by William Carden; SUDDENLY LAST SUMMER and THE POET at Hartford Stage Co., directed by JoAnne Akalaitis. Dawn is currently an Artist-In-Residence and teaches at Fordham University.

December 6: Frequency Hopping
January 24 + 25 Sonnets for an Old Century
March 7-9 Philoctetes

FREQUENCY HOPPING
a work-in-progress written & directed by Elyse Singer
with Isabel Keating
Music/Radio Consultant: Joshua Fried
Costume Designer: Angela Kahler
Dramaturg: Erika Rundle

“Films have a certain place in a certain time period. Technology is forever.” –Hedy Lamarr

In 1940, Hedy Lamarr, the “most beautiful woman in the world” and composer George Antheil, the “bad boy of music” met at a Hollywood dinner party. Two years later, they received a patent for an invention now recognized as the model for wireless communication. Based on the true story of the film icon and the avant-garde composer’s extraordinary collaboration and friendship, Frequency Hopping is a darkly comic play about connecting with another person operating at the same frequency.

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

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

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

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

ERIKA RUNDLE (Dramaturg)
Erika Rundle was most recently seen this summer as Ellida in Waxfactory’s Lady from the Sea at BAX. She also starred in So to Speak, which appeared at the New York Experimental Video Festival at Lincoln Center. Currently she is the dramaturg for Heiner Müller’s Quartet at Waxfactory, and a dramatic adaptation of Studs Terkel’s American Dreams: Lost and Found at The Acting Company. She co-directed multi-media productions of Lorca’s The Love of Don Perlimplin and Belisa in the Garden at the Yale Cabaret and Megan Terry’s Approaching Simone at Brown’s Production Workshop. She teaches in the theater, film, and comparative literature departments at Yale College and is the Associate Editor of Theater magazine.

HOURGLASS GROUP develops and produces provocative plays by writers who experiment with heightened dramatic language and innovative theatrical forms. Founded in 1998 by Elyse Singer, Carolyn Baeumler and Nina Hellman, the company is especially interested in presenting new work that put women’s words and imagination center-stage. In 1999, Hourglass produced the first NYC revival of Mae West’s 1926 play SEX off-Broadway at the Gershwin Hotel and the company’s production of Deborah Swisher’s Hundreds of Sisters & One BIG Brother moved Off-Broadway following a run at San Francisco’s Brava Theater. Committed to new play development, Hourglass hosts an annual summer retreat at Choate Rosemary Hall in Wallingford, Connecticut, where theatre artists work on new scripts as well as teach performance workshops to high school students in the Summer Arts Conservatory. Other programs include a reading series of adventurous new plays at the Gershwin Hotel. Hourglass will produce Ruth Margraff’s new play Red Frogs at PS122 in February 2002.

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

Collaboration of Bosnian Artist Danica Daki + Croatian Artist Sandra Sterle
Nov-Dec, 2001

Project Description: In the four-month residency and online project go_HOME, Bosnian artist Danica Daki and Croatian artist Sandra Sterle will explore physical, cultural, and psychological dislocation and strategies for rebuilding and renewal. In September 2001, the artists, two women of different ethnic backgrounds from the former Yugoslavia who maintain homes and careers in both West and East Europe, will relocate to New York City to live together for four months in an experimental home. Artist Marjetica Potr_ from Slovenia and artist Milica Tomic with theorist Branimir Stojanovic from Serbia, will participate in the project in September and December respectively. The artists will utilize the physical residence and their website – a virtual home on the internet — as a haven for creating video and photographic projects, and as a common meeting ground for engaging the interested public in dialogue around issues of migration, national identity, technology, and globalization. The project will provide time and space for highly personal reflection and artmaking as well as public discussion from fresh perspectives not often heard in the United States. The go_HOME website will feature photographic, video, and sound works; recipes; a bibliography; texts from the US and from Eastern Europe; a calendar of events; chatrooms; and a guestbook. Each month, the artists will invite artists, architects, scholars, representatives from immigrant service organizations, and neighbors for Sunday dinner discussions, which will be webcast live through the new media center Location One in New York.

The themes of the dinners will interweave an exploration of the impact of the internet on culture and community with the topics: Architectures of Migration; Women Who Travel Too Much: Relocating Culture, Reproducing Home; Transitory Cases: Language, Media, and Migration; Imagined Homes: Nationalism and Globalization. The October dinner discussion will be point-to-point web-streamed with the Sarajevo Center for Contemporary Arts’ media lab. In November, the dinner discussion will be point-to-point web-streamed with the new media center Mama (Mi2), in Zagreb, Croatia. These two sites will each organize a parallel, interactive dinner gathering for their evening of web-streamed dialogue with New York.

Artist Biographies:
Bosnian artist Danica Daki_ creates sculptural installations, site-specific video projections, and public architectural sound projects to investigate the corporal and global aspects of identity and language, as well as the tensions that arise between collective and individual experience. Her video installation Zid/Wall (1998) comprises 64 square images of mouths telling stories in different languages, edited into a collage recalling bricks in a wall or a patchwork of parallel individual stories. Zid/Wall highlights Daki_’s concern with the relationship between architecture, the body, and identity. In her video installation

Autoportrait (1999), two languages and stories emerge from a barely animated bust of the artist. In this image, the artist’s mouth is doubled, replacing her eyes and enabling her to tell fairytales simultaneously in Bosnian and German. As this disconcerting image obscures recognition of Daki_’s face by obliterating the artist’s eyes, it also portrays the composite of language, stories, and homes that make up her identity. Daki_’s work has been shown at the Moderna Museet, Stockholm, Sweden (1999); Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria (1999); and she has created site-specific public projects in Bratislava, Slovakia, and in Sarajevo, Bosnia and Herzegovina. She was an ArtsLink Fellow in 1999. Daki_ was born in Sarajevo and studied at the Academy of Art in Sarajevo, the Academy of Art in Belgrade, and the Academy of Art in Dusseldorf. She lives and works in Dusseldorf, Germany, and in Sarajevo, Bosnia and Herzegovinia.

Croatian artist Sandra Sterle creates fantastic and enigmatic personas in her practice of video, media installation, web projects, photography, and performance. Inhabiting various quasi-fictional identities, including a mad woman, a Croatian peasant, an eery Minnie Mouse, and a poet, in her CD-ROM The Characters (1998), she investigates shifts, gaps, and areas of overlap in identities and language. For Sterle, the identity of the medium itself can be multiple, as she explores how the lives of ephemeral, process-oriented works of art are affected, and in some cases eluded, by sophisticated modes of documentation. Sterle examines the tension and coexistence of traditional and contemporary ways of life, and situations in which technology and tradition inform each other as they represent human emotions and fears. Sterle collaborated with artist Dan Oki on the performance and interactive language media project, To Forget, To Remember, and to Know (1998) at Amsterdam College in The Netherlands, the school that nearly all new immigrants attend to learn Dutch. Her work has been shown at _kuc Gallery, Ljubljana, Slovenia (2000); Museum of Modern Art, Arnhem (1998); Videomedeja, Novi Sad, Yugoslavia (1997); and she has created site-specific public work in Nettlecombe, United Kingdom, and has designed several online projects. She was an ArtsLink Fellow in 1999. Sterle was born in Zadar, Croatia, and she studied at the Academy of Fine Arts in Zagreb, Croatia, and the Academy of Art in Dusseldorf. She teaches video art at the Art Academy in Split, Croatia, and lives there and in Amsterdam, The Netherlands.

Slovenian artist and architect Marjetica Potr_ has been concerned for the past half decade with the phenomenon of migration. An urban anthropologist, Potr_ investigates the shifting terrain of the contemporary city. Potr_ champions a growing trend of what she terms “individual initiatives” in urban construction that include such diverse manifestations as squatter cooperatives, shantytowns, and private gated communities. Her large-scale architectural projects grow out of her in-depth research of specific instances of migration. Potr_’s Core Units are small functional buildings designed for modification and use by settlers, and her House for Travelers (2000) can be erected as needed by migrants. She is the recipient of the Guggenheim Museum’s 2000 Hugo Boss Prize, and her work has been shown most recently at the Guggenheim Museum, New York (2001); Manifesta 3, Ljubljana, Slovenia (2000); and at the Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria (1999). She was an ArtsLink Fellow in 1995. Marjetica Potrc lives and works in Ljubljana and is currently Associate Professor at the Academy of Fine Arts, Ljubljana, and this year she is an artist in residence at the Kuensterlhaus Bethanien in Berlin. Serbian theorist Branimir Stojanovic and artist and actress Milica Tomic live and work together in Belgrade, Yugoslavia. Stojanovic holds a graduate degree in Philosophy from Belgrade University, and has published numerous articles on contemporary philosophy and psychoanalytic theory. In her work, Tomic highlights the disjunctures between personal experience and historically and media constructed images. Tomic’s public photographic installation Erlauf Remembers (2001) sited on roadside billboards around Erlauf, Austria, continues her interest in the role of personal responsibility in constructing memory, nationality, and recording political violence. Her earlier video installation I am Milica Tomic (1998) is a personal meditation on the historical and political significance of building identity through language. Tomi_ has had solo exhibitions at the Secession, Vienna, Austria (2000); Galerie im Taxispalais, Innsbruck, Austria (1999); and she has created an online project on Cygnet Virtual Gallery for the company Shiseido (1999). Her work has been exhibited in group exhibitions at the Venice Biennial (2001); Generali Foundation, Vienna (2001); Moderna Museet, Stockholm, Sweden (1999); the Sao Paulo Biennial (1998); and her work will be included in an upcoming exhibition at Kiasma in Helsinki, Finland, in 2002.

Go_HOME is co-directed by Fritzie Brown and curator Katherine Carl.

Locations and Dates:
Go_HOME will take place in New York City and online from September 15, 2001 to December 31, 2001. Four Sunday dinner discussions with special guests will be held during the course of the project. Each dinner will be webcast at www.project-go-home.com and www.location1.org starting at 2:00 pm US Eastern Time and 8:00 pm Central European Time on the following dates:

September 23 : Architectures of Migration
October 14 : Women Who Travel Too Much: Relocating Culture, Reproducing Home
November 11 : Transitory Cases: Language, Media, and Migration
December 16 : Imagined Homes: Nationalism and Globalization

Partners:
Go_HOME is an ArtsLink Special project funded by the Animating Democracy Initiative, a program of Americans for the Arts funded by the Ford Foundation; the Trust for Mutual Understanding; the Kettering Family Foundation; CEC International Partners; and Franklin Furnace’s “The Future of the Present” program.

Location One, New York, will conduct the web streaming activities through its network of international affiliates. The Sarajevo Center for Contemporary Arts will host the point-to-point online discussion in Sarajevo, Bosnia and Herzegovina, on October 14. The new media center Mama (Mi2), with the non-governmental organization What, How, and For Whom, will host the point-to-point online discussion in Zagreb, Croatia, on November 11.

IMAGES AVAILABLE UPON REQUEST
Press Contact: Fritzie Brown: 212.643.1985 x23
Katherine Carl: 718.398.0107

Shock jock Jack French wakes up to find himself sinking into a murky bog, unable to move. The last thing he can remember is a one-night stand the night before. A dark comedy developed with an ensemble of actors from Massachusetts-based theatre company Shakespeare and Company. With Jonathan Epstein, Allyn Burrows, Elizabeth Ingram and Lucia Brawley. Directed by the author.
You’ll need Real Player to listen to the live webcast.
listen

June 9-July 28, 2001

Audio interviews of each resident artist by Koan Jeff Baysa:

Ksenija Turcic with Koan Jeff Baysa

Marta Deskur with Koan Jeff Baysa

François Bucher with Koan Jeff Baysa

Museum of Mankind : François Bucher

Museum of Mankind is a video installation depicting the statues that stand high on the roof of the Museum of Mankind in London. François Bucher has shot these cornerstones of Western philosophy and politics with a powerful zoom against a twilight blue sky. The hand-held camera endures the stare of the statues, defying immortality. Images are projected in the upper corners of the gallery. Sound is spatially distributed so that the viewer is surrounded by the direct sound of steady London traffic. Less audible selected tunes reach the ear as well. This piece reveals the hidden elements in the architecture that spell out an alphabet of supremacy. Being Latin American on the one hand while having a French father heavily involved with the history of Western thought, Bucher’s work is a continual critical negotiation between two cultural codes. Parallel to this there is a reflection on cinematic language and its metaphorical potential. The shooting of inanimate statues stems from a reflection on Jean-Luc Godard’s film “Le Mépris”. This visual metaphor was previously quoted by Bucher in his video works “Two Essays on Contempt” (2001) and “Twin Murders” (1999).

New Baby : Marta Deskur

In a multimedia installation and web site project, New Baby?, Marta Deskur questions the significance of family today and the conflicting issues this question addresses. As a socio-economic and political investigation, family has always been central to her work. For “Family in New York”, Deskur initially placed an advertisement in the Voice to interview “people who live alone, couples with no children, couples of different race and religion, gay and lesbian couples and singles, pregnant women, women who have terminated their pregnancies, people who have chosen not to have children”. She selected 14 individuals, submitted them to a questionnaire of identical questions dealing with this subject and then photographed them in her studio. The web site that she has created sums up all of this research and invites the viewer to pursue these discussions. Projected on the wall of an enclosed space, viewers are invited to enter one by one a confessional-like-space and interact directly over the web site. On the outside walls, color photographs of the interviewees are displayed in light boxes as a tribute to their physical presence.

Phase : Ksenija Turcic

Ksenija Turcic presents a new multimedia installation, Phase, where she pursues her investigation of emotional space. In this work, she is interested in the communication space between men and women. Motions of communication between two people are likened in her words to “a whirlpool of misunderstandings that circle within an energetic field”. Men are prone to hide their emotions, whereas women tend to scrutinize and elaborate, sometimes to an extreme. Turcic has filmed the face of a man performing familiar daily gestures (e.g. eating, drinking, shaving); the image is in slow motion and inexpressive. The sound of his breathing becomes audible as the viewer approaches the image. On another screen, a 3rd view of a woman’s face is projected. For a second, both images freeze. This moment in time reflects the possibility of a shared space of communication. A soundtrack of inaudible whispering voices of women can be heard. When both images resume motion, this sound disappears.

Marc Ribot (pronounced REE-bow)
was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, the Haitian classical guitarist and composer Frantz Casseus. In 1978, Ribot crossed the river to New York City, where he served as sideman for such musicians as jazz organist Jack McDuff and legendary soul shouter Wilson Pickett. The following year, Ribot joined up with the Realtones and the Uptown Horns Band, which worked as a NYC pickup band for such Stax/Volt stars as Carla Thomas, Rufus Thomas, Solomon Burke and many others. Ribot began his five year stint as a member of the Lounge Lizards John Lurie’s innovative and influential Downtown jazz ensemble in 1984.

His six-string stylings, which blended elements of classicist Blues guitar with an ironic No Wave/Knitting Factory aestethic, caught the ear of a number of artists who were also interested in amalgamating and disrupting disparate musical traditions. Ribot went on to perform on some of these singer/songwriter’s finest moments, including Elvis Costello’s “SPIKE,” “MIGHTY LIKE A ROSE,” and “KOJAK VARIETY”; Marianne Faithful’s “BLAZING AWAY”; and, most notably, Tom Waits’ “RAIN DOGS,” “BIG TIME,” “FRANK’S WILD YEARS,” and the new “MULE VARIATIONS.”

All the while, the increasingly in-demand guitarist continued to explore the ever-changing terrain of New York’s New Music, working with such musicians as Arto Lindsay, Don Byron, Elliot Sharp, Anthony Coleman, T-Bone Burnett, the Jazz Passengers, Evan Lurie, Chocolate Genius, Jamaaladeen Tacuma, and John Zorn in any number of incarnations. Ribot also composed and recorded his own brand of Downtown soul music with his bands, Rootless Cosmopolitans and Shrek, as well under his own name. His 1996 “DON’T BLAME ME,” which found a solo Ribot reinventing a number of American standards, was hailed by The Village Voice’s Gary Giddins as “a record filled with savory and unlikely amusements.”

In recent years, Ribot’s always-eclectic workload has included sessions with Cibo Matto, the late Allen Ginsburg, Phish guitarist Trey Anastasio’s Surrender To The Air project, Atlantic recording artist Madeleine Peyroux (found on her 1996 “DREAMLAND”), and Patty Scialfa on her forthcoming solo album. Ribot also continues to do a great deal of work with Zorn, having played on his “FILMWORKS” collections, and as a member of his Bar Kokhba ensemble.

Click here to view the embedded video.

To mark the beginning of its fiftieth year of continuous production, the Living presented the English-language premiere of its latest work, Resistance. It is directed by Malina and written by Reznikov. Resistance: News from the Val Borbera is the first work that has been created at the theatre company’s European-based home, the Centro Living Europa in Rocchetta Ligure, Italy.

Resistance
from February 28 – March 11
at Chashama
111 W. 42nd St., New York City.

For more on this legendary theatre, see: www.livingtheatre.org

Click here to view the embedded video.

Ned Rothenberg composes and performs on saxophones, bass clarinet, flute and shakuhachi (an end blown Japanese bamboo flute). He has been internationally acclaimed for his solo music which he has presented for the past 16 years in hundreds of concerts throughout North and South America, Europe and Japan. He leads the ensembles Double Band and Power Lines and was a founding member of the cooperative group New Winds (with Robert Dick, flutes and Herb Robertson, Trumpet). His newest project is Sync, a trio with guitarist/bassist Jerome Harris and Tabla virtuoso Samir Chatterjee. His co-collaborators in other projects have included Paul Dresher, Yuji Takahashi, Sainkho Namchylak, Richard Teitelbaum, Elliott Sharp, Samm Bennett, John Zorn, Katsuya Yokoyama, Kazuhisa Uchihashi and Fred Frith. He’s lived and worked in New York City since 1978.

Rothenberg’s musical interests are numerous and his work varies widely in its sonic, emotive and stylistic profiles. A strong underlying element of his instrumental voice is the extension of the woodwind language to incorporate polyphony and accurate microtonal organization through the manipulation of multiphonics, circular breathing, and overtone control, not only using his horns in their standard melodic role but also as rhythmic and harmonic engines in both solo and ensemble contexts. As a composer he can move from “Jazz-funk in cubist perspective, dizzying, yet visceral”* (Double Band) to a solo music that is “intense, slightly melancholic, rhapsodic without being sentimental”+, while avoiding the use of mere effect- “crafting distinct, evocative compositions that boast shape as well as texture^”. (*-Jon Pareles and +Edward Rothstein, NY Times and ^Neil Tesser, Chicago Reader).

A few of Rothenberg’s more notable sojourns have been 6 trips to Japan including a 6-month residency there during which he performed his music and studied shakuhachi with two of the foremost masters of the instrument, Goro Yamaguchi and Katsuya Yokoyama. 3 trips to the former Soviet Union in’89, ‘92 and ‘94 working solo, in various groups and in duo with Sainkho Namchylak. December ‘91 saw his first trip to South America where he presented his solo music. This is in addition to numerous tours in North America and Western Europe each year playing festivals, theatres and clubs as a leader or collaborator.

Ned Rothenberg’s discography includes: a solo CD, The Crux (Leo), Double Band’s ‘Over Lays’ and ‘Real & Imagined Time’, Power Lines’ premier recording (New World ), ‘Amulet’, duo with Tuvan vocalist Sainkho Namchylak (Leo), ‘Monkey Puzzle’, a duo with Evan Parker (Leo), a studio collaboration co-composed with Paul Dresher, ‘Opposites Attract’ (New World), 2 records by Semantics (Rift & SST), New Winds’ releases ‘Potion’,’Digging it Harder From Afar’ (Victo), ‘The Cliff’ and ‘Traction’ (Sound Aspects), Cafe 9.15 with the Japanese band Altered States (DIW) as well as 3 solo LPs: Trespass, Portal, and Trials of the Argo on Lumina. His work can also be heard on the Nonesuch, A&M, ECM, Recommended, Sub Rosa, Enemy and Virgin labels. (For a complete discography see url below)

Born in 1956 in Boston, Rothenberg graduated from Oberlin College and studied music at Oberlin Conservatory, Berklee School of Music, privately with Les Scott (saxophone & clarinet), and George Coleman (jazz improvisation). However, his trademark solo technique is self-taught. His musical efforts have been furthered by grants and commissions from the New York Foundation for the Arts, New York State Council on the Arts, Cary Trust, Lila Wallace Foundation, Chamber Music America, Asian Cultural Council, Roulette, Jerome Foundation, Meet the Composer, and ASCAP.

For booking information or other info Email Ned Rothenberg: location1@location1.org
To order CD’s Email Bruce Gallanter at New York’s Downtown Music Gallery: dmg@panix.com
For full discography posted on the web: http://www.nwu.edu/jazz/artists/rothenberg.ned/discog.html#ned_discography

July 11, July 18, and July 25 – 8:00pm
Atom Egoyan was born in 1960 in Cairo of Armenian parents. He grew up in western Canada, went to the University of Toronto, and has lived in Toronto ever since. He is a classical guitarist, and has written several plays, operas, and films. Of his 23 films, the best known are: Felicia’s Journey (1999, starring Bob Hoskins) The Sweet Hereafter (1997, starring Ian Holme and Sarah Polley) Exotica (1994, starring Elias Koteas, Mia Kirshner, Don McKellar, and Sarah Polley) Calendar (1993, starring Atom Egoyan and Arsinee Khanjian) The Adjuster (1991, starring Elias Koteas, Arsinee Khanjian, Maury Chaykin, and Gabrielle Rose).

The primary concerns of Egoyan’s films are the family and national identity in postmodern culture. The films are known for their tragic narratives laced with wry humor, their fractured chronologies, their exploration of mediated experience through the incorporation of video footage in film, and their subversive use of standard techniques such as point-of-view editing. Egoyan’s films have been screened at prestigious festivals throughout the world, and have won numerous awards, including the International Critics’ Prize at Cannes.

“In terms of craft, originality, and intelligence, there are few young filmmakers in the world today to match Atom Egoyan” (Jonathan Rosenbaum, The Chicago Reader, August 19, 1994).

“Atom Egoyan, whose new film Calendar is the only serious competition Godard’s got at the moment…” (The Nation, March 21, 1994, writer unidentified).

“[Egoyan] is an original who has already created a dazzling body of work, at once cerebral, powerfully dramatic and accessible.” (Caryn James, The New York Times, Sept 24, 1994).

“Atom Egoyan is one of the most impressive and original young directors now working.” (American Museum of the Moving Image publication, Jan-Mar 1995, author unidentified).

“Excepting Godard and Cronenberg, no other film-maker has explored the connection between technology and voyeurism and between home movies and pornography so intensely or intelligently.” (Amy Taubin, Sight and Sound).

“His preoccupations and tropes have been so consistent that he’s practically created his own genre.” (Jonathan Romney, Sight and Sound, May 1995).

Pamela Grace, a film historian who has done extensive research on the work of Atom Egoyan will present the films.

THE ADJUSTER (1991)
Tuseday, July 11, 8:00pm
Starring: Elias Koteas, Arsinee Khanjian, Maury Chaykin and Gabrielle Rose.
In Egoyan’s award-winning offbeat film, an insurance adjuster invades the private lives of his clients as his film-censor wife secretly records the movies that she protects the public from seeing.

EXOTICA (1994)
Tuesday, July 18, 8:00pm
Starring: Elias Koteas, Mia Kirshner, Don McKellar and Sarah Polley.
In this intricately plotted film, a bereaved man obsessed with a lap dancer in a schoolgirl’s uniform investigates the illegal business of a gay pet store owner and makes some discoveries about his own life.

CALENDAR (1993)
Tuesday, July 25, 8:00
Starring: Atom Egoyan and Arsinee Khanjian.
In this rarely screened, very personal Egoyan film about the unusual love life of a photographer, the director himself plays the leading role as his real wife, Arsinee Khanjian, plays the protagonist’s wife.