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

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

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

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

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

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

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

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

Click here to view the embedded video.

Friday, November 7, 2009
Nikhil Chopra

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

Friday, December 11, 2009
Lotte Lindner & Till Steinbrenner

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

Click here to view the embedded video.

Friday, December 18, 2009
Performance artist Lilibeth Cuenca

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

Click here to view the embedded video.

More videos from the Abramovic Studio

February 4, 2010 – Lucy Skaer

February 5, 2010 – Nico Vascellari

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

February 24, 2010 – Ragnar Kjartansson

February 26, 2010 – Maria Jose Arjona

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

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

April 21, 2010 – Shoba

May 14, 2010 – Elana Katz

May 28, 2010 – Anna Berndtson

June 3, 2010 – Snezana Golubovic

Marina Abramović:
Performing the Gallery/Performing the Museum

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

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

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

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

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

Click here to view the embedded video.

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

blog >>

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

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

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

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

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

VRP FAQ

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

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

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

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

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

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

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

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

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

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

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

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

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

June 16, 2008

New Museum

Night School: Public Seminar 6

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

235 Bowery
New York, NY 10002
212.219.1222

http://www.newmuseum.org

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

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

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

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

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

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

Saturday, June 21st, 3 PM
Keywords School

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

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

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

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

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

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

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

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

With additional generous support from the Metlife Foundation

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

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

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

Location One Virtual Residency Project

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

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

2008 Virtual Residents

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

www.grinnell.edu/faulconergallery

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

Lida Abdul in conversation with Pieranna Cavalchini

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

Click here to view the embedded video.

*IMHO* with Nora Ligorano and Marshall Reese

7pm, free admission

*IMHO* (In My Humble Opinion) series is a monthly artist interview series with Heather Wagner, Location One’s director of online exhibitions. This month, the featured artists are Nora Ligorano and Marshall Reese, the instigators of Crater New York: a Lunar Drawing Contest. They will discuss this work as well as past and future works, including their line of subversive pseudo-patriotic consumer goods, Pure Products. They started “The Pure Products of America Go Crazy” series 14 years ago, with the introduction of the original Bible Belt. Since then, the Pure Products of America has grown into a series of works that play with the role of politics in an age of marketing and consumerism.

Join us at 7pm on Wednesday, September 19 to talk about consumerism, rampant real estate over-development and the possibilities of lunar habitation.

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

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

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

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

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.

Please bring snacks to share!

Featuring the well-groomed and GMO-free:

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

Location One welcomes support from friends of the arts at any level…
Membership at Location One offers plenty of opportunities to expand your mind and your circle of friends.

JOIN…

THE ADVISORY COUNCIL

Co-Chairs: Laura Skoler and Claudia Calirman
The advisory council is intended for people who welcome a high level of exposure to and interaction with artists and the artistic process.  Here’s how:

DINNER

Twice a year, after a major opening, we invite 100 artists, writers,  curators, art professionals and other interesting people to a private dinner at the home of Location One executive director Claire Montgomery. You’re invited.

SALON

Three times a year, Claire and Claudia invite major artists and  art-world figures to take part in lively conversation (and a glass of wine) with  board members. You’re invited.

OPEN

Visit all our artists-in-residence in our studios and see the projects they are working on during their stays in New York.

WORKS

From time to time, artists contribute pieces of their work to help support our work. They’re offered first to board members.

AND

Advisory Council members are invited to take part in all the activities of the Studio Council (below).

Membership in the Advisory Council is $2500 (tax-deductible). 

Join…

THE STUDIO COUNCIL

Chair: Steve Cukierski 

The Studio Council is designed for enthusiasts and professionals who’d 
like a broad range of opportunities for exposure to our artists and their work.

Here’s how: 

STUDIO

Let a major artist show you around his/her studio and talk to you
about current work and ideas, with a Location One curator as your guide. 

COLLECTION

  Let a major collector show you around his/her home and 

tell you the stories behind the collection, with a Location One curator as your 

guide.

GALLERY

There are 600 galleries in New York. Let a Location One curator
show you eight or nine exhibitions that are particularly worth your attention. 

LUNCH

Join us for lunch in our studios as our fellows, curators, artists in residence discuss their work and their ideas. 

PUBLICATION

Receive a copy of all of any new book or exhibition catalog or DVD we publish. 

PERSONAL

We’re always happy to help members arrange private meetings with our artists (schedules permitting). 

Note: Many of these activities require reservations, because they must be limited in size. 
When anything is over-subscribed, we’ll try to arrange an encore. 

Membership in the Studio Advisory Board is $1000 (tax-deductible).

PATRON

VIP RECEPTIONS

Twice a year you are invited to a members-only VIP reception with our artists-in-residence.

PUBLICATIONS

Receive a copy of any new book or exhibition catalogue or DVD we we publish.

AND

Patrons are invited to all the activities of the individual members.

Membership as a Patron is $500
(tax-deductible).

INDIVIDUAL MEMBERSHIP

PREVIEW

Get the first look at every Location One exhibition at these VIP-only receptions.

PORTFOLIO

Join us for a glass of wine as each of our artists show his/her portfolio and discuss the work with a curator or critic. 

Individual Memberships are $100 (tax deductible).

Current Members

We extend special thanks to the following supporters who have contributed between $500 and $5000 toward our programs:

Diane Ackerman
Ann Barlow
Andrew Brimmer
Henry Buhl
Judi Caron
Margaret Cogswell
Michael and Noni Connor
Sophie Crichton-Stuart
Christian Duvernois
Pamela Grace
Jeanette Ingberman
Edward and Phyllis Kwalwasser
Caroline Lang
Gallery Lelong
Brenda Levin
James Lindon
James T. MacGregor
Matthew Marks
Elzbieta Matynia
DeCourcy E. McIntosh
Raj Moorjani
David and Brigitte Olsen
Alina Pedroso
Joyce Pomeroy Schwartz
Richard Prince
Dennis Rolland
Elsa and Marvin Ross-Greifinger
Adam Sheffer
Roger and Freddi Sherman
Clay Shirky
Melissa Soros
Sue Stoffel
Rachel Vancelette
Gordon VeneKlasen
Jane Wesman

Location One is happy to host exciting talks by renowned experts from many disciplines who reflect upon artistic and cultural themes that permeate our contemporary cultural landscape. Past speakers have included Martha Rosler, Chris Csikszentmihalyi, and Marcia Vetrocq. For a full list of our past Open House Wednesday talks, click here >>

We’ll reopen Open House Wednesday season with dorkbot NYC, starting Wednesday, September 3, at 7pm.

Open House Wednesdays

September 19, 2007: IMHO with Ligorano/Reese
Artists Nora Ligorano and Marshall Reese will discuss their current exhibition: Crater New York, A Lunar Drawing Contest as well as past and future artworks. 7pm, free admission.

September 5, 2007: dorkbot NYC
“People doing strange things with electricity” Members of the Conflux 2007 curatorial team will introduce this year’s Conflux, highlighting several key projects and covering the schedule of events.
Presenting: Christian Croft & Kate Hartman: Energy Harvesting Dérive

Mouna Andraos: Sustainable practices in electronic art and design

Michael J. Dory: Concrete Crickets

Recent Open House Wednesday events have included:

June 20, 2007 International Residents’ Exhibition 2006-2007 – CURATOR/ARTIST TALK more…

May 30 2007 *IMHO* with Heather Wagner in conversation with artist Tianna Kennedy more…

May 23 2007 Amanda McDonald Crowley, Executive Director of EYEBEAM more…

May 16 2007
SLART(TM) Art in Second Life: a presentation by Richard Minsky. more…

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

It featured the lithe and fearless:

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

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 >>

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.

The nature of an interview is to pose a series of questions to clarify, elaborate and provide a verbal description of a certain issue. In this case ‘the certain issue’ is one which has risen out of Andrew Duggan’s encounters with some of the New York art world he has met.

Andrew interviewed a number of persons with whom he has conversations with during his 10 month residency.

These interviews were conducted via e mail. Transcripts were made into a script and were handed to and read by auditioning actors. The recording is presented alongside images of ‘interview props’. The artist and the interviewer have been removed from ‘The Artist Interview.

Special thanks to Claire Montgomery, Diego Fasciati, Drazen Pantic, Dan Cameron, Pieranna Cavalchini, Sebastien Delot, Heather Wagner, Nick Normal, Barry Dunne and Sebastien Sanz de Santamaria.
[display_podcast]

THE SCRIPT

Interviewer – Some artists, when they spend time in different places ‘relocate’ their practice. That is the ‘local’ changes, but not the practice. What do yo think happens when if artist ‘dislocates’ themselves in the new local thus working with the language of that local?

Interviewee #1 – I first mention the much-remarked-upon emergence of a kind of “international art” that seems to prevail these days – a kind of homogenous, global perspective, whereby everyone is trying very hard NOT to be local and end by making blurry references to the same ideas (be they the French theorists or American irony and contingency crowd). Artists develop a method and re-employ that method in whatever locale they arrive- not so interesting.

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 ‘interlocal’, in that the local is what becomes important.

Interviewer – So how do you think the the phrase “all politics are local”, applies to artists’ practice with this idea of all artists being international but not all being ‘interlocal’?

Interviewee #2 – More general question about politics and globalization is what is “local” now? Any single political issue (however local it is) bounces back to the global discussion, one way or another. And is the re-appropriated by different political groups, for different political purposes. And law of unexpected consequences works every time …

So, yes all artist are international, some are “interlocal” but all issues are global either way. And the less prominent political signifier in their work, the more it might be suitable for reinterpretation and (inverse) contexulization. One consequence of what is that we see now lots of very politically transparent work, using art as a political megaphon. I’m trying not to put value judgment here, but I kind of like art political agit-prop. Except that it is so often unclear what are the political premises and values brought to the table. If any.

Interviewee #1 – Most interesting to me is an artist who takes some part of his/her perspective on the world and, looking very carefully at the particular locale, examines the new locale with new eyes. So, perhaps relocation is simply geographic; dislocation takes you out of both time and space. It is a real letting go, and is truly unnerving, but a brave and important thing to do.

Interviewer – I’d like to move on and discuss the perception of the word �America� and ‘the United States of America’ within this context of the building of the wall along the southern border of the United Stated with plans for surveillance web cams.

The United States of America builds a defensive structure along it’s border, posts a military presence and employs new surveillance technology to maintain that border.

What do you think the legacy of such a structure and action will be on the psychology of America?

Interviewee #2 – The current hysteria over the US/Mexican border plays to the very worst aspects of our national xenophobia, while revealing how little of the discourse over ‘security’ has anything to do with making our borders secure. No terrorist has ever been shown to have entered our country through the US/Mexico border, which is quite amazine if you consider how many undocumented workers, contraband narcotics, etc do slip through every single day. It is also worth pointing out that virtually all of the border territory under discussion was sovereign Mexican territory little more than a hundred years ago. My strong belief is that the Bush administration’s fear-mongering is almost entirely motivated by the desire to generate enough dread and anxiety in the citizenry that we will submit to their increasingly dictatorial aims. Having said that, I also think there is good reason to hope that the congressional elections this fall will put the brakes on the some of their most extremist policies, and that by the end of 08 they will have so disgraced themselves on every other front that voters will be ready to throw the whole crowd out (and lock a few up for good measure).

So, to answer your question: I believe it is vital that our next president, Al Gore, begin dismantling the border wall immediately after taking office, recall the National Guard, and diarm the Minutemen. The security apparatus, which is probably inseparable from our national objectives in technology and information, would remain.

Interviewee #1 – It is incredible the Berlin Wall came down in 89 and here we are building new ones. When I use the “we” I am thinking transnationally. Our surveilling exploits have not improved our ability to see or to think critically…and then there is the very frightening issue of WHO surveils those doing the surveillance.

Interviewer – …and perception of ‘America’?”

Interviewee #2 – Unfortunately, our national self-image as ‘America’ and us as ‘Americans’ will most likely never be addressed along the way, and we will probably find soon enough that many of our neighbors no longer wish to have that word associated with their own identities anyway. So, despite my own personal discomfort about using the word ‘America’ to describe the USA, when its proper reference belongs to the two continents of North America and South America, getting people in this country to examine that imperialist habit more closely is probably a lost cause.

Interviewee #1 – Back to your question…..Will “to America” become synonymous with “to surveil”. I most sincerely hope not. The positive thing about an action (no matter how blind and stupid) is that sooner or later it brings a reaction. Nothing stays still no wall can stop the flow.

Interviewer – President Bush during a recent speech to the Press at the Rose garden after his surprise visit to Iraq said that the war in Iraq was not THE war on Terror but part of the THEATRE. How do you think this ‘theatre’ is perceived

Interviewee #2 – It seems that politics is a series of “coup de théâtre!” and he needs some as he is in a weaker political position. It is interesting to make this connection with terror though the civil war is not taking place on the american soil and cannot have the same impact as the french terreur. It feels that terror will grow as more and more american will die and public opinion might shake things. Despite growing tensions, scandals nothing has been done and it is amaizing to watch this puppet show going on.

On the other hand the use of the term can be understood as part of Hollywood vocabulary. As America has had actors in strategic position, the star wars was an interesting choice.The axis of evil is an other good title for a science fiction movie. Though the device of “Theatre” appears as a way to introduce a necessary distance with the real. Actors on stage are only performing though here people are dying, anger is growing and shall linger for decades.The cycle of violence is not nearly at an end. The future between western/ arab diplomatic relation has been damaged severely. And here we can also blame Europe for not finding a way to be an altrenative voice in that concert of discontent and to sink into mediocrity. I wander when the political consciousness awakening in Europe is going to take place.

Interviewer – AND how does it relate to the ‘theatre’ of the gallery?

Interviewee #2 – Interestingly enough the use of the word to refer to military operation with President Bush as the cast director. Actors have enterred politics and we have watched already the star wars and amaizing declaration in CA recently. Theatre is away to bring illusion to distort and recreate reality, it is also a way of mastering things since you can control them. It is a way to put things in a space and time frame that you control but in an art gallery you might play with the illusion of the White cube in order to create that spce of wonder and make people feel they enter a sacred space. In real life the theatre can not be that illusion, it is way too unresponsible to act as if there were no difference, politics is about playing with events and issues in such a way that you may bring emphasis or silence them. Here it would not be so much of a white cube theatre but maybe a new concept a red cube theatre.

Interviewer – So could the red cube be a shift from say the corporate clean white cube to one which art engages with politics in a gallery context?

Interviewee #2 – it would be very interesting, as politics can be bloody and the gallery is the prefect stage ou theatre…Red tape strategies.

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.

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

Some images from the meeting. More images from Joel.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Screening of
“Theory of Everything”

An exhibition featuring videos by 10 Japanese artists

Curated by Location One resident artist Yuki Okumura.

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

THEORY OF EVERYTHING
curated by Yuki Okumura

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

http://www.tank.tv/

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

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

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

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

Click here to view the embedded video.

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

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

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

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

Image gallery from the meeting

Click here to view the embedded video.

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

It featured the lovely and talented:

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

Image gallery from the meeting

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

Some images from the meeting are here.

Click here to view the embedded video.

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

Some images from the meeting are here.

Click here to view the embedded video.

Parallel installations by Chris Csikszentmihályi
“Skin” and “Control”
September 22 through February 26, 2004
[display_podcast]

see slide show of installation

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

Rising out of the gallery floor and disappearing into the walls, two large-scale installations by MIT-based artist Chris Csikszentmihályi (cheek-sent-mee-high) will occupy Location One’s space for the Fall Season 2004. The installations explore 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” is an aluminum cylinder, the fuselage of a Boeing 737 that emerges from the gallery floor, stopped in the act of flying. Viewers will feel the vibrations of the plane in flight and hear the muffled conversations of passengers. “Control” is composed of panels, roughly modeled on those used in Chernobyl, that wend their way through the gallery. The visitor will manipulate the puzzling array of buttons, dials, and indicators of this complex technological system, all the while wondering what kind of control he gains by his interaction.

Of his work Chris Csikszentmiháyi writes “my goal as an artist is to understand and intervene into the production of material power–technologies. My day job as MIT professor involves doing that at a very literal level. “Skin” and “Control” do this at a more symbolic level, in the form of installations that operate as immersive environments, walk-in tableaux with everyday drama being enacted moment by moment.”

As with all Location One events, the exhibition will be live-streamed on the Internet. During the exhibition Location One will present a series of conversations, lectures and discussions with the artist and international speakers from many fields to debate the ideas generated by the installations. The installations will be accompanied by an illustrated catalogue with texts by Caroline A. Jones, Professor of Art History at M.I.T. and author of Machine in the Studio: Constructing the Postwar American Artist, by McKenzie Wark, author of A Hacker Manifesto (Harvard University Press) and Professor of media & cultural studies at Lang College, New School University. It will be published by Charta Art Books, Milan and distributed by D.A.P.

Parallel installations by Chris Csikszentmihályi
“Skin” and “Control”
September 22 through February 26, 2004
[display_podcast]

see slide show of installation

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

Rising out of the gallery floor and disappearing into the walls, two large-scale installations by MIT-based artist Chris Csikszentmihályi (cheek-sent-mee-high) will occupy Location One’s space for the Fall Season 2004. The installations explore 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” is an aluminum cylinder, the fuselage of a Boeing 737 that emerges from the gallery floor, stopped in the act of flying. Viewers will feel the vibrations of the plane in flight and hear the muffled conversations of passengers. “Control” is composed of panels, roughly modeled on those used in Chernobyl, that wend their way through the gallery. The visitor will manipulate the puzzling array of buttons, dials, and indicators of this complex technological system, all the while wondering what kind of control he gains by his interaction.

Of his work Chris Csikszentmiháyi writes “my goal as an artist is to understand and intervene into the production of material power–technologies. My day job as MIT professor involves doing that at a very literal level. “Skin” and “Control” do this at a more symbolic level, in the form of installations that operate as immersive environments, walk-in tableaux with everyday drama being enacted moment by moment.”

As with all Location One events, the exhibition will be live-streamed on the Internet. During the exhibition Location One will present a series of conversations, lectures and discussions with the artist and international speakers from many fields to debate the ideas generated by the installations. The installations will be accompanied by an illustrated catalogue with texts by Caroline A. Jones, Professor of Art History at M.I.T. and author of Machine in the Studio: Constructing the Postwar American Artist, by McKenzie Wark, author of A Hacker Manifesto (Harvard University Press) and Professor of media & cultural studies at Lang College, New School University. It will be published by Charta Art Books, Milan and distributed by D.A.P.

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. This month’s presenters are Mikey Sklar, Andy Deck and Ben Woodeson.

Mikey Sklar – electric clothing
Mikey Sklar, an electric-clothing hobbiest, will discuss four wearable outfits he has developed over the last year. Materials used consist of computer fans, LEDs, El Wire, Flat El, PIC microcontrollers, homebrew PCBs, velcro and conductive thread.
http://www.electric-clothing.com

Andy Deck
Andy Deck will present several examples of his software art, focusing on online groupware image-making projects. He will discuss online collaboration and the peculiar division of creativity that occurs
when artists write software for ‘visiting artists’ to use.
http://www.artcontext.org

Ben Woodeson
Ben Woodeson is an artist based in Glasgow, Scotland. His practice consists of low tech experimentation into energy, magnetism, electricity, and heat. Current research directions include electromagnetic fields, concealed radio surveillance bugs and The X-Men.
http://www.woodeson.co.uk

websites :: \

Mechanism no. 1: War :: Saiorse Higgins, with Simon Schiessl (July 9-August 2, 2003)

Doom Machine doom monitor :: Saiorse Higgins (Feb 2003-November 2005)

http://artists.banff.org/saoirse/
[ you’ll never be the same after this, you were never the same after that] ::
online-offline performance looking at the pull and push of time through Beckett

contact address > 70 Pacific Street,# 313, Cambridge, MA 02139, USA
languages > English, Spanish, Gaelic EDUCATION
Bachelor of Product Design (Hons), NCAD Dublin (1987)
Masters Interactive Multimedia MA IMM, Royal College of Art, London (1995)

CURRENT POSITION
Research assistant – Media Lab, MIT,
Computing Culture group, advisor- Chris Csikszentmihalyi

RECENT POSITIONS
Lecturer Interactive Media, University of Dundee, Scotland.
September 2001-August 2002
Artist in residence, Arthouse Centre for Digital Art, Dublin, Ireland.
(residence award – Arts Council of Ireland) February 2001 – August 2001
Artist in Residence at the Banff Centre for the Arts, Canada.
(Discovery residency Oct-Dec 2000 – Travel Award, Arts Council of Ireland)

NEW MEDIA AWARDS/ EXHIBITIONS
‘Sentient Cogs’ group show, Guinness Storehouse 5h Gallery
August 3rd – September 15th 2002
http://www.5th.ie/html/archive.html
(University of Dundee Arts committee grant)

Online-offline Interactive performance, Atlantic cultural space, Moncton,
New Brunswick, Canada.
May 23rd- 26th 2002
(Arts Council of Ireland Travel Grant)

Online-offline performance – Dundee Contemporary Arts Centre, Dundee, Scotland.
May 10th – 12th 2002

Webgallery – International Day of Time Specific Art : Feb 20th 2002 showing August 02
http://kunst.no/20022002/index2.html
Online exhibition ‘r>emote’Marks of Omission exhibition, Arthouse,
Dublin – Sept-Oct 01

Joint exhibition with Inge Van Doorslaar- The other Gallery, Banff, Canada.
Nov 00
interactive 3D projection onto porcelain dishes

Group exhibition 3D animated projection onto fossil rock ‘Inside_out’The Other Gallery, Banff Centre for the Arts, Canada, Nov 00
(Arts Council of Ireland Travel grant)

Selected for interactive art gallery exhibition ‘Transmediale 2000′
Berlin, Feb 2000
http://www.transmediale.de/00/exhib_e/ex2.html

Selected for exhibition in SIGGRAPH art gallery ‘Touchware’- July 98
‘Streaming’ interactive installation
(Arts Council of Ireland Arts Flight grant)

Exhibition at Arthouse Multimedia Centre – Dublin June 98
‘image to sound’ 1.0
Participator in ‘Globalbody’ Opening event of ZKM digital Museum – Karlsruhe, Germany Oct 97
Shortlisted for ICC BIENNALE New Media Exhibition – Tokyo Sept 97

‘Streaming’ interactive installation
Exhibition for opening of ArtHouse Multimedia Centre – Dublin June 96

‘Stardogged Moon’ interactive installation Exhibited at SAGA Contemporary Art Exhibition – Paris, April 96

First digital interactive installation piece to be shown at SAGA.

Selected for exhibition at Milia ’96 Multimedia Exhibition -
‘Stardogged Moon’ interactive installation
New Talent Pavilion – Cannes, Feb 96
(Arts Council of Ireland grant)

Winner of Adobe Innovative Interface design award Circuit show -
Royal College of Art 1995 (Major project on MAIMM course)

PUBLICATIONS
Editor for New Media Notes online magazine for digital arts,
Art Bulletin printed magazine ( from April/May 2000 – June 2002)

Interview with Wired magazine ‘Sentient Cogs’ show Nov 2002

Report on Whitney Biennale exhibition New York, New Media Notes, April 2002

Interview Sara Diamond, director of digital arts, Banff Centre for the Arts

New Media Notes online magazine, Art Bulletin magazine, June/July 01

Interview with Melinda Rackham, new media artist and Leonardo prize winner

New Media Notes online magazine for digital arts,

Art Bulletin printed magazine, April/May 01

Banff residency New Media Notes online magazine for digital arts,

Art Bulletin printed magazine, November 00

Transmediale and new media today New Media Notes online magazine,
Art Bulletin magazine, April 00 :: http://www.artistsireland.com/nmn/

Interview with Diane Gromala, chair Siggraph 2000 – New Media Notes online magazine, Art Bulletin magazine :: http://www.artistsireland.com/nmn/articles/Diane00_1.html

Artists report Siggraph 98 – New Media Notes online art magazine :: www.artistsireland.com/nmn/pdf/oct0198.pdf

PROFESSIONAL ORGANISATIONS
Member of the organising committee Art Gallery, New Orleans, Siggraph, August 00 responsible for the interactive installation artists exhibits and discussions.

Faces international organization for women engaged in digital media :: http://faces.vis-med.ac.at
Collision Artists Collective, Boston, 2003 :: http://www.ai.mit.edu/~jrb/cc/

An Exhibition by Xu Tan
Exhibition Website
May 23rd – June 29th 2002)
Opening Reception May 23rd 6-8 PM)

Location One is pleased to announce artist-in-residence Xu Tan‘s forthcoming debut solo exhibition in New York City.

Qing Hua Porcelain (Blue & White) is a new video/sound installation in which Xu Tan explores 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.

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.

Qing Hua Porcelain (Blue & White) consists of 3 videos in which Xu Tan posits that situations play out differently depending upon location (in this case China and America); location relates to culture, therefore culture plays a role in how one understands the world, interprets “true” and “false,” “authentic” and “fake”. Through a dialogue with an American female friend, Xu Tan sheds light on diverse interpretations of love, asking the question: “What is true love?” Xu Tan further addresses differences between “real” and “fake” by recording specialists of Qing Hua Porcelain—the well known Ming Dynasty china—who discuss the notion of “authenticity” and the controversy around authenticating these imported ceramics. Can anyone be certain that a piece is genuine or counterfeit?

On the night of the opening several Blue and White porcelain experts in locales throughout the world will be connected to the Location One chat room (rage.location1.org) to interact with and field questions from gallery patrons and online spectators. This dialogue will also be projected live in the gallery space.

Qing Hua Porcelain (Blue & White) was partly inspired by a line from the Chinese short novel, Dream of the Red Chamber that says, “if you turn something fake into something real, then the real things start to lose value becoming fake”.

Xu Tan was born in Wuhan, Hubei Province in 1957. In the early 1990s he joined the “Big Tail Elephant Group” in Guangzhou with Lin Yinlin, Chen Shaoxiong and Liang Juhui. The aim of this group is to develop critical strategies for negotiating the rapidly changing economic and cultural life in China.

We are particularly grateful to the Asian Cultural Council for making Xu Tan’s residency at Location One possible.

An Exhibition by Xu Tan
Exhibition Website
May 23rd – June 29th 2002)
Opening Reception May 23rd 6-8 PM)

Location One is pleased to announce artist-in-residence Xu Tan‘s forthcoming debut solo exhibition in New York City.

Qing Hua Porcelain (Blue & White) is a new video/sound installation in which Xu Tan explores 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.

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.

Qing Hua Porcelain (Blue & White) consists of 3 videos in which Xu Tan posits that situations play out differently depending upon location (in this case China and America); location relates to culture, therefore culture plays a role in how one understands the world, interprets “true” and “false,” “authentic” and “fake”. Through a dialogue with an American female friend, Xu Tan sheds light on diverse interpretations of love, asking the question: “What is true love?” Xu Tan further addresses differences between “real” and “fake” by recording specialists of Qing Hua Porcelain—the well known Ming Dynasty china—who discuss the notion of “authenticity” and the controversy around authenticating these imported ceramics. Can anyone be certain that a piece is genuine or counterfeit?

On the night of the opening several Blue and White porcelain experts in locales throughout the world will be connected to the Location One chat room (rage.location1.org) to interact with and field questions from gallery patrons and online spectators. This dialogue will also be projected live in the gallery space.

Qing Hua Porcelain (Blue & White) was partly inspired by a line from the Chinese short novel, Dream of the Red Chamber that says, “if you turn something fake into something real, then the real things start to lose value becoming fake”.

Xu Tan was born in Wuhan, Hubei Province in 1957. In the early 1990s he joined the “Big Tail Elephant Group” in Guangzhou with Lin Yinlin, Chen Shaoxiong and Liang Juhui. The aim of this group is to develop critical strategies for negotiating the rapidly changing economic and cultural life in China.

We are particularly grateful to the Asian Cultural Council for making Xu Tan’s residency at Location One possible.

An Exhibition by Xu Tan
Exhibition Website
May 23rd – June 29th 2002)
Opening Reception May 23rd 6-8 PM)

Location One is pleased to announce artist-in-residence Xu Tan‘s forthcoming debut solo exhibition in New York City.

Qing Hua Porcelain (Blue & White) is a new video/sound installation in which Xu Tan explores 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.

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.

Qing Hua Porcelain (Blue & White) consists of 3 videos in which Xu Tan posits that situations play out differently depending upon location (in this case China and America); location relates to culture, therefore culture plays a role in how one understands the world, interprets “true” and “false,” “authentic” and “fake”. Through a dialogue with an American female friend, Xu Tan sheds light on diverse interpretations of love, asking the question: “What is true love?” Xu Tan further addresses differences between “real” and “fake” by recording specialists of Qing Hua Porcelain—the well known Ming Dynasty china—who discuss the notion of “authenticity” and the controversy around authenticating these imported ceramics. Can anyone be certain that a piece is genuine or counterfeit?

On the night of the opening several Blue and White porcelain experts in locales throughout the world will be connected to the Location One chat room (rage.location1.org) to interact with and field questions from gallery patrons and online spectators. This dialogue will also be projected live in the gallery space.

Qing Hua Porcelain (Blue & White) was partly inspired by a line from the Chinese short novel, Dream of the Red Chamber that says, “if you turn something fake into something real, then the real things start to lose value becoming fake”.

Xu Tan was born in Wuhan, Hubei Province in 1957. In the early 1990s he joined the “Big Tail Elephant Group” in Guangzhou with Lin Yinlin, Chen Shaoxiong and Liang Juhui. The aim of this group is to develop critical strategies for negotiating the rapidly changing economic and cultural life in China.

We are particularly grateful to the Asian Cultural Council for making Xu Tan’s residency at Location One possible.

The Internet as Author, Venue, and Performer
Conceived and created by Robert Allen and Antoinette LaFarge

8:00 PM
No Admission Charge

Direction by Robert Allen
Script by Antoinette LaFarge
Visual design by Antoinette LaFarge and Amy Kaczur in collaboration with Jon Winet and “Democracy-The Last Campaign”
Costumes by Nicole Evangelista
Character development & additional text by The Plaintext Players
Performances by Pathogen Arts: Kevin Keaveney and David Moo

Location One is pleased to present “Virtual Live”, a special streaming-video preview of The Roman Forum II: the will of the people and an accompanying online discussion of virtual performance.

Streaming Video Performance:

Two brief excerpts from the upcoming Roman Forum II will be streamed live on our website. The Roman Forum II is a neo-Vaudevillean performance work that focuses on the aftermath of the 2000 elections seen through the eyes of five Romans from the time of the emperor Nero. These excerpts feature live footage of an actor performing at Location One mixed in realtime with a preconstructed video environment using green-screen technology. These selections from Roman Forum II have a special relevance in the wake of the World Trade Center disaster as they feature meditations on the nature of our republic, the character of our president, and America’s “return to history”.

“Our goal is to give people some insight into the political machine that runs our lives,” say Robert and Antoinette. “We should not be tempted to marginalize the 2000 election fiasco in the face of the World Trade Center disaster. We are only now dealing with the long-term consequences of the decisions that put Bush into the White House instead of Gore, and as time distances us from the terrorist attacks, our ability to see things in a broader perspective only points more emphatically back to the issues raised in that election.”

All of the material in The Roman Forum II (both text and visuals) was developed from Internet resources, including virtual performances by the Plaintext Players (a pioneering Internet performance group directed by Antoinette), as well as chat rooms, bulletin boards, web pages, email and listservs, archives, webcams, etc.

Online forum:

Accompanying the streaming videos will be an online discussion on the nature of virtual performance led by the Plaintext Players using Location One’s Java chat client. The livestream/chat section of the site allows a seamless experience of “Virtual Live” by combining streaming video and live text in one window.

The five Roman characters of Roman Forum II — two of whom will be featured in the streaming video performances — were originally developed by The Plaintext Players in a series of online improvisations. In addition, a significant portion of the script for Roman Forum II is based on their online work.

The forum will begin with a brief improvisation by The Plaintext Players in their Roman characters, which will segue smoothly into an open discussion of avatars and online performance in which everyone logged in to the chat area will be welcome to participate.

Live Gallery Performance:
It will also be possible to attend “Virtual Live” in the flesh in our gallery space at 26 Greene Street where the video and forum will be projected live and a terminal will be provided for audience participation.

Note: The Roman Forum II was originally scheduled to premiere on the West Coast in November 2001 but was canceled by the producing venue in the aftermath of the September 11th terrorist attacks. Despite this, work on the project is continuing, with the premiere projected for fall 2002.

Biographies of the Artists

ROBERT ALLEN (director)
moved to the West Coast from New York, where his recent projects include How I Got That Story by Amlin Gray (August 2001, New York City), The Roman Forum (August 2000, Los Angeles), Dear Anton (Chekhov Now Festival, 1999), The Creditors (New York International Fringe Festival, 1999), “August in January,” a festival celebrating August Strindberg’s 150th birthday (Theater 22, 1999), Le MŽnage (LaMama E.T.C. 1998), Still Lies Quiet Truth (New York International Fringe Festival, 1998), and The Good Night (Theatre for the New City, 1998). In addition to Roman Forum II, upcoming productions include Twilight by Anna Deveare Smith (March 2002, Cal State Long Beach), The Measures Taken by Bertolt Brecht (April 2002, Los Angeles), and Ordnung und Unordnung (June 2002, Hellerau, Germany). Robert has an M.F.A. in Theater from Columbia University, where he studied directing with Anne Bogart. His work as a director is grounded in prior experience as a choreographer and performer in German Tanztheater, working with Reinhild Hoffmann (a contemporary of Pina Bausch) and other German directors. Robert also possesses an M.F.A. in modern dance from UCLA and a B.F.A. in visual art from the San Francisco Art Institute. He currently teaches at California State University, Long Beach, and Cypress College. His resume can be browsed online at http://members.loop.com/~hai.

ANTOINETTE LAFARGE (script/visual design/online direction)
is an artist and writer with a special interest in virtual realities and fictive worlds. She is the director of The Plaintext Players, an Internet performance group that uses net-based virtual worlds to stage their performances. She is also the founder-director of the Museum of Forgery, a virtual institute dedicated to the aesthetics of forgery. She is an associate of the Institute of Cultural Inquiry, Los Angeles, for whom she recently designed the book Benjamin’s Blind Spot (2001) and is the author of “Cylex,” a short fiction published in Wired 2.05, and a number of articles in Leonardo, Gnosis, and other magazines. In addition to Roman Forum II, upcoming projects include Reading Frankenstein, a multimedia theater work scheduled to premiere in 2003. She is an assistant professor of digital media at the University of California, Irvine, where she co-curated “SHIFT-CTRL: Computers, Games, and Art”, the inaugural exhibition of the Beall Center for Art and Technology (2000). She formerly taught at the School of Visual Arts, New York, where she received her M.F.A. in Computer Art. Her domain is www.forger.com.

NICOLE EVANGELISTA (costume designer)
currently freelances in the film and theater arena of New York City. Film and tv work includes: Saturday Night Live, Don’t Say a Word, Curse of the Jade Scorpion (dir. Woody Allen) and Third Watch. She has designed costumes for such productions as The Roman Forum (Side Street Live, LA, 2000), The Embraceable Me (Rachel Reiner Productions, NY, 2000), Richard IIFinding Louise (Oberon Theatre Ensemble, NY, 2000), Between Sets (Julliard Dance Division, NY, 2000), and Cherie (The Live Bait, Chicago, 1999), which earned her the Joseph Jefferson Award for Most Outstanding Costume Design of 1999. Nicole studied at the Julliard School and holds a B.F.A. in Costume Design from DePaul University. (The Eleventh Hour, NY, 2000),

AMY KACZUR (visual design/video editing)
is an interdisciplinary artist, currently working in video, film, and digital technologies. Recent works include White FlightDesire Dogs (2001), Effigy for a Good Life (2000), Hypnovator (2000), Snoots and Tales (1999), Nursing/Mother (1999). Recent exhibitions include Athens International Film and Video Festival (Ohio University, Athens); Film and Video Annual (Museum of Fine Arts, Boston); NO-TV & Movies #20 (RCTV, Rochester Community Television, the Media Center @ Visual Studies Workshop, Rochester, NY); Narration: Emblem and Sequence in Contemporary Art (Hilles Gallery, Creative Arts Workshop, New Haven); Centered on the Center (Huntington Beach Art Center, Huntington Beach, CA); Indomitable (The Beall Center for Art and Technology, University of California, Irvine). She received her B.F.A. from Tufts University (1983) and is currently an M.F.A. candidate at the University of California, Irvine (2002). (2001),

KEVIN KEAVENEY (Petronius Arbiter)
has been performing for several years in New York’s off-Broadway and downtown scene. the will of the people marks the sixth time he has worked with Robert Allen, previously having appeared in The Roman Forum (Petronius Arbiter, 2000), Strindberg’s Creditors (Gustav, 1999), The Secret History of the Lower East Side (1998), and Still Lies Quiet Truth (Baron Samedi, 1998). Kevin can also be seen as Orson Welles in the recent film Orson Welles Sells His Soul to the Devil. Kevin has a degree in theater from Yale University.

DAVID MOO (Marcus Tullius Cicero)
is a founding member of the Todd Theater Troupe and has performed a wide variety of roles, both large and small, in New York, around the country, and abroad. An aspiring director and playwright, he is currently collaborating with Robert Allen on several upcoming projects.

THE PLAINTEXT PLAYERS (character and script development)
are a collective of artists and writers who worked in a test-based virtual world to develop the characters and script of The Roman Forum. Founded in 1994, The Plaintext Players have presented their provocative shows at venues in the United States and Europe, including Literaturhaus München (Munich, 1999), Documenta X (Kassel, 1997), and the Venice Biennale (Italy, 1997). Plaintext Players taking part in The Roman Forum included Marlena Corcoran (Poppaea Sabina), Joe FerrariRichard Foerstl (Marcus Tullius Cicero), Lise Patt (Germania Servius), and Richard Smoley (Petronius Arbiter), together with Antoinette LaFarge as online director. (Quintus Roscius),

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

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.