One and Many
Curated by Claudia Calirman
January 11-February 15, 2012
Opening Reception-Tuesday, January 10, 6PM-8PM

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

Danish artist Jacob Dahl Jürgensen’s video Un Voyage recounts a failed attempt to shoot a 16mm film during a boat trip on the Baltic Sea in the winter of 2011. Departing from an anecdote about the doomed fate of the Jürgensen family’s watch-making company, which was founded in Denmark in the late eighteenth century, the artist’s video-essay unfolds as a meta-narrative of the story itself. Like the 16mm film, the video itself has been manipulated and also falls apart at key moments, threatening at any point to disintegrate entirely. This all coincides with the failure of the family’s business, which in turn ultimately refers to the fall of capitalism. A constant sense of breakdown unites the multiple layers, with form and content at once complementing and collapsing into each other.

Dublin-based, Japanese artist Atsushi Kaga presents Nerd Bag, a performance-based installation in which the artist and his mother will be sewing nerdy bags inside Location One’s gallery. For ten days—January 11 through 21—the artist and his mother will sew bags in front of the public. The project is inspired by his mortifying childhood experience of having to bring his mother’s hand-made bags to the school, while other kids had official plain bags (purchased in shops). Kaga often uses Japanese vernacular visual language to explore the complex search for personal and cultural identity and the social issues we face in daily life. The installation includes some sculptures of dying vegetables, which reminds him of his parents’ fate in the near future.

Polish artist Agnieszka Kurant is interested in changing status of objects and icons. Her film Empire (2011) is a remake of Andy Warhol’s 1964 movie of the same name, which comprises eight hours and five minutes of continuous, static footage of the Empire State Building. In Kurant’s version, a single stationary shot of the Palace of Culture and Science in Warsaw—an unwanted gift from Joseph Stalin to the people of Poland—replaces the Empire State Building. After the fall of communism, in 1989, this hated icon became both a tourist destination and a local symbol of cool. In 2000, four clocks were added to the top of the building, again changing its collective memory. For the filming of Kurant’s Empire, the clocks were set to run backwards for one hour. No information about this fact was announced until the end of the day, provoking all sorts of confusion among city dwellers.

Tokyo-based artist Hiraku Suzuki presents his ongoing project GENGA (001 – 1000), an investigation of the constantly expanding field of drawing. Suzuki’s practice includes installations, live drawing performances, films, frottages, and books. His method is analogous to the act of archeological excavation, in which mundane elements from everyday life—asphalt, earth, leaves, markers—are transformed into universal hieroglyphs that abstractly suggest a broader galaxy. Suzuki mixes ancient and new symbols to create a universal language, generating an ever-shifting puzzle of essential shapes, forms, and rhythms.

Swedish artist David Molander creates animated and painterly tableaus of urban centers from the pool of documentary materials that he collects in digital photography and film format. In his series Through Bridges, Molander constructs large-scale, kaleidoscopically multilayered views of the cityscape, capturing the urban landscape and transforming it in images that are both abstract and disorienting. He dissects and reassembles interiors, samples streetlights and stitches together pavement, fusing parts of the city that although closely linked, seldom meet. Residing in the space between document and fiction, Molander’s work reveals a patchwork of possibilities, emphasizing the complex relationship between architecture, living spaces, and social environment.

Visual artist and filmmaker Monica Baptista, from Portugal, presents the super8 film All Is for the Best in the Best of All Possible Worlds, a title taken from Voltaire’s satire Candide ou l’Optimisme. Shot in the 15 October 2011 in Times Square, when demonstrations were held promising a global revolution, drawing a line coming from the Arab Spring, the Spanish “Indignants”, the Greek Protests and finally the Occupy Movement. On this loop film, the revolution seems suspended in the repetition, evoking the collective euphoria and arrhythmia regarding the future. Her experimental films play out like fragmented collages, artists’ notebooks, from documental to fictional cinema, exploring the relationship between moving image and stills. This immersive work is a reflection on the phenomenology of perception and the relationship between representation and reality.

You are invited to a benefit to celebrate Location One on Friday, October 21!

With performances by some of the most exciting artists in New York—Plus Open Bar, Music, Dancing, Private VIP Performances!

About the Artists

Yanira Castro Yanira Castro is a Bessie-Award-Winning director/choreographer based in Brooklyn who collaborates with performers and designers on individual projects under the name: a canary torsi. Her site-adaptable multi-disciplinary performance works have been presented nationally and internationally in a variety of venues from public bathrooms and a confessional to the stage. www.acanarytorsi.org

Andrea Yugoslavia Chirinos Project: Hallways, Shadows, Outside, Inside, Evening. Choreography: andrea yugoslavia chirinos dancers, Edie Nightcrawler, Marisol Cal y mayor, andrea yugoslavia Chirinos This project comes from my desire to bring my body closer to the viewer, to give my body another meaning, one outside of the world of dance. It also comes from a desire to fragment the perception of my body in movement, which here I will accomplish through the medium of instant photographs, a documentation that will change and distort the moment. By means of my body and lighting I will create non-linear narratives that allow the viewer to experience their own perceptions, their own narratives.

Andy Jordan Andrew Jordan is a visual artist working in various media including sculpture, performance, fashion, costume design, and photography. He received his MFA with an emphasis in sculpture form the Cranbrook Academy of Art and his BFA in Fine Arts where he minored in Media Studies from the Columbus College of Art and Design. www.andytoad.com Andrew Jordan’s performances at the Party of One event at Location One are excerpts from a new collaborative piece that he is developing called Eidolon. The piece includes the artists – Cori Olinghouse, Christopher Williams, Mike Andrews, and Derek Piotr.

Luke Miller Luke Miller has danced professionally over the past decade and recently became a certified yoga teacher through OM Yoga. With Quinndustry, he has been curating performance and collaborating on sculpting events. www.lukemillerdance.com

Edie Nightcrawler Edie Nightcrawler enjoys overpowering people with dance by night and by day. pièce: Future Love music: Stereo Total performers: Andrea Yugoslavia Chirinos, Edie Nightcrawler costumes: David Quinn

David Quinn David Quinn has been designing since early childhood. His first teacher was his mother. He then studied costume design at the Interlochen Arts Academy. After which he attended the Fashion Institute of Technology. His career since school has taken him in many directions…from the NYC club scene of the late ’80s and early ’90s to red carpets around the world. Quinn has designed for dance, theatre, circus, TV, and film. He’s a favorite of both brides and today’s burlesque stars. David Quinn now enters the world of ready-to-wear with his Spring/Summer 2012 collection. This collection focuses on Quinn’s unique talent for dresses that women love. Dresses that flatter all body types and work for any event-day to night. Quinn’s deft hand at mixing color, pattern, texture and shape are brought together to achieve sophisticated and chic options for women of all ages.

Amber Sloane Amber Sloan is a Brooklyn based dancer, choreographer and teacher. Her upcoming show is October 28 and 29 at 7:30pm and October 30th at 5pm at the Gowanus Arts Center as produced by Spoke the Hub http://www.spokethehub.org/events/haerfest-showcase/.

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]]> http://www.location1.org/party-of-one-2/feed/ 0 http://www.location1.org/party-of-one-edit/ http://www.location1.org/party-of-one-edit/#comments Sat, 08 Oct 2011 20:19:36 +0000 heather http://www.location1.org/?p=1557

You are invited to a benefit to celebrate Location One on Friday, October 21!

With performances by some of the most exciting artists in New York—Plus Open Bar, Music, Dancing, Private VIP Performances!

Click here to view the embedded video.

ABOUT LOCATION ONE

Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One’s residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.

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June 14 – July 29, 2011

Featuring visual responses to a collaborative sound piece by artists John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders.

Curated by Claudia Calirman

OPENING RECEPTION:

Tuesday, June 14, 2011 6-8 PM

DATES: June 15 – July 29, 2011

HOURS: Tuesday – Saturday 12-6 PM

Location One is proud to present Sounds Good, featuring visual responses to a collaborative sound piece by artists John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders. The pieces relate to movement, rhythm, vibration, energy, and the expanding visual field. The show opens on June 14 and will be on view until July 29.

Australian artist John Aslanidis’s monumental painting Sonic Network no.10 comprises four canvases that translate the vibrations of sound into a visual display. At first, the composition of colorful squares seems optically chaotic. This apparent chaos, however, is the result of a meticulously orchestrated, laborious process that recalls the madness of order. From far away his canvases look as if they are randomly composed, but as the viewer approaches it becomes clear that they are actually highly organized abstract geometric grids, with chance elements interspersed to interrupt the rigidity of his web.

Katy Dove’s work responds to the rhythm and movement from the collaborative sound track developed through group improvised music sessions. The human and textural qualities of the sound is echoed through repetitive mark making, the slowly drying action of the ink, and the geometric shapes that come from the hand’s movement. The resulting works—both on fabric and through the moving image–suggest a psychological state inherent in these processes. Based in Glasgow, Scotland, Dove is known for her animations that juxtapose bodily motions with abstract shapes, mixing the organic and the geometric.

Hong Kong–based artist Phoebe Hui took inspiration from a harmonograph—a musical instrument made of two pendulums suspended through holes in a table—for her interactive audiovisual installation Granular Graph II: The Tank and the Pendulum. In this work, Hui invites the viewer to become a living pendulum, swinging on the instrument’s ropes and giving rise to a mix of vibrational patterns and sounds. Hui’s experimentations with music and kinetics also led her to create Vexation – for K, an electronic musical instrument that plays the composition “Vexation” by French composer Erik Satie. The audience can play the instrument by rotating a compass, thus creating a variety of tones through the contact of different shades of pencil marks on the soundboard.

British theatre director Sophie Hunter’s installation Lucretia is based on a fragment of Benjamin Britten’s opera The Rape of Lucretia—specifically, the image of a group of women spinning at a loom as their husbands are off waging war. Hunter extracts various elements of the opera, such as the orchestra, the narrative, and the opera house itself, and deconstructs and examines them devoid of their original context. She then reassembles these elements to record an altogether new score—a densely collaged soundtrack made of both music and noise—drawing a parallel between the act of weaving and the recording or encoding of information and memory.

Colombian artist Miler Lagos reflects on the relationship between the natural and the artificial worlds. His five-minute video Attraction shows a heart-shaped red balloon plunging into the water. The impact of the fall is dramatically amplified, creating the effect of an exaggerated explosion. To create his sculpture Cimiento, Lagos began with a stack of seven thousand sheets of paper, each printed with an image of a woodcut by the Japanese artist Ottawa Hiroshige, and painstakingly carved it into the shape of a log. In Tree Rings Dating, four hundred identical pages from The New York Times come together in a mesmerizing three-dimensional collage—a spherical form with a transversal cut simulating the rings of a tree. The sculpture alludes both to the recording of the passage of time and to daily events, since it is made out of newspapers.

John O’Connell, a multimedia artist from Dublin, Ireland, is represented in the exhibition by a series of drawings evoking an intimate and dreamy environment. Built from a myriad of interrelated elements borrowed from his make-believe universe, the drawings straddle the line between real and fictional, process-based and result-oriented. To create these fantastical compositions, O’Connell begins with hand-constructed miniature set models that reproduce the imaginary landscapes of the artist’s poetic, whimsical, and lyrical universe.

Spanish artist Gonzalo Puch’s wall curtain juxtaposes disparate elements in unexpected and often funny tableaux, suggesting intricate narratives out of random elements. Plants, flowers, and pieces of food inhabit his curtain with photographs, sketches, and drawings, creating an open environment populated by the artist’s imagination. It is a world where chaos is not a threat, but a generative force inviting viewers to think outside of their comfort zone. Though Puch is interested in a variety of issues, including science, music, biology, and environmental studies, his art draws primarily on nature for both themes and materials.

Zane Saunders’s series of ceramic-fired clay wall sculptures are inspired by organic forms. His designs utilize a variety of waving shapes that recur in natural landscapes. Saunders was born in Cairns, North Queensland, Australia, where he still works today. He explores issues related to spirituality and the environment, often juxtaposing elements from nature and contemporary life. Through his use of raw and organic materials, he conveys a sense of the beauty and wonder lurking in the world all around us.

ABOUT LOCATION ONE

Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One’s residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.

OPENING RECEPTION: Thursday, 4 November 2010, 6–8 PM
DATES: 5 Nov. 2010 – 22 Jan. 2011
HOURS: Tuesday – Saturday 12–6 PM

Location One is proud to present SHARON STONE IN ABUJA an exhibition conceived by Zina Saro-Wiwa, British-Nigerian film-maker and founder of AfricaLab, an organisation dedicated to re-imagining Africa.

SHARON STONE IN ABUJA explores and re-imagines the powerful phenomenon that is “Nollywood”, Nigeria’s booming video film industry and the world’s third largest movie industry after Bollywood and Hollywood.

The SHARON STONE IN ABUJA exhibition pays homage to Nollywood’s narrative and visual conventions and explores the emotional landscape of Nigeria and Africa, navigating the space between the emotive and emotional. The show’s opening coincides with Nigeria’s 50th Anniversary of Independence – an opportune moment to reflect on this much-maligned African country in a fresh way.

Artists Wangechi Mutu, Mickalene Thomas and Andrew Esiebo will contribute brand new works and a selection of Pieter Hugo’s seminal “Nollywood” series will be shown. Zina will also contribute two new Nollywood-inspired short films, a video sculpture featuring Nollywood actresses and an installation created in collaboration with Mickalene Thomas.

Click here to view the embedded video.

SHARON STONE IN ABUJA is an AfricaLab project. Founded by Zina Saro-Wiwa, AfricaLab is an organisation dedicated to examining, re-imagining and expanding perceptions about African life and cultural expression through film and art. AfricaLab commissions new works and re-contextualises existing works to mine the African experience and create new propositions about the African condition. AfricaLab’s first film project was the documentary THIS IS MY AFRICA which was shown on HBO. SHARON STONE IN ABUJA is AfricaLab’s first contemporary art project.

Location One is extremely grateful to The New York State Council on the Arts, The New York City Department of Cultural Affairs, James Lindon, Wendy Fisher and the International Council at Location One for making this exhibition possible. Special thanks to Robert Devereux and The African Arts Trust.

Zina Saro-Wiwa is a film-maker, writer and founder of AfricaLab. Born in Nigeria to Ken and Maria Saro-Wiwa and brought up in the UK, she has worked at the BBC for much of her career. She now works primarily as a film-maker. Her most recent documentary film THIS IS MY AFRICA aired on HBO in February 2010. www.africalab.org

Experimental new work from acclaimed Turner Prize finalist

Location One is proud to present important new work in 16mm film and sculpture
from Lucy Skaer, the young Scottish artist shortlisted for the 2009 Turner
Prize and recently featured at the Venice Biennale and the Berlin Biennial.

OPENING RECEPTION:

Wednesday, September 15, 2010, 6–8 PM

DATES: 16 September – 16 October 2010

HOURS: Tuesday – Saturday 12–6 PM

Artist Talk: Friday, Sept 24, 2010, 7pm

with Chrissie Iles, Anne and Joel Ehrenkranz Curator, Whitney Museum

Skaer’s practice explores the relationship between viewer and image, altering
normal processes of interpretation to create ruptures between what is seen
and what is understood. Her new work comprises 16mm films depicting important
cultural artifacts from different periods of time. Skaer physically alters the film prints to
create voids and effects that intervene on both the timeline and the picture. Accompanying
the films are sculptures that correspond both to the qualities of the original artifacts and
her interruptions in the film.

Gilda Williams, Editor for Contemporary Art at Phaidon Press, London and correspondent
for Artforum, says about Skaer: “everything is in a perpetual state of instability and in-
betweeness”. Lucy uses a remarkable intellect and extraordinary skills to create rules in
order to break their inner logic, challenging the viewer to question traditional ways of
perception.

This is Skaer’s first solo project in New York. The work was developed during Skaer’s
recently concluded year as an international fellow at Location One.

Click here to view the embedded video.

About the Artist: Lucy Skaer is a visual artist working in sculpture, painting, film, video and
installation. Her many international exhibitions include the 52nd Venice Biennale in 2007 and
the 5th Berlin Biennale in 2008. She is currently showing at Forum 65 at the Carnegie
Museum of Art in Pittsburgh, K21 in Dusseldorf and Elle at the Centre Georges Pompidou.
She works collaboratively with the artist group Henry VIII’s Wives and with Rosalind
Nashashibi as Nashashibi/Skaer. Born in Cambridge in 1975, she holds a BA Hons Fine
Arts from Glasgow School of Art

We are grateful to the International Committee of Location One and The New York
State Council on the Arts, and The New York City Department of Cultural Affairs for making this exhibition and the artist’s residency
possible. Thanks to media sponsor OneArtWorld.com. Lucy Skaer is represented by doggerfisher, Edinburgh and Murray Guy, New York.

]]> http://www.location1.org/new-work-by-lucy-skaer/feed/ 0 http://www.location1.org/im-sorry/ http://www.location1.org/im-sorry/#comments Thu, 20 May 2010 23:00:33 +0000 heather http://www.location1.org/im-sorry/ Adel Abidin: I’M SORRY

Curated by Claudia Calirman

OPENING RECEPTION: Thursday, 20 May 2010, 6–8 PM
DATES: 21 May – 31 July 2010
HOURS: Tuesday – Saturday 12–6 PM

Location One is proud to present Adel Abidin: I’m Sorry, the artist’s second solo exhibition in New York City. Born in Baghdad in 1973 and living in Helsinki since 2001, Abidin touches upon timely subjects such as fundamentalism, nationalism and religion. The artist engages in a variety of media, working primarily with video installations and short films. He assumes an ironic attitude in his deconstruction of prejudices and stereotypes. How can an Iraqi-born artist face the war with a sense of humor? That is exactly what his task entails.

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

Abidin’s witty criticism targets not only the U.S. invasion of Iraq but also Iraqi fundamentalists’ actions which serve as a pretext to justify the foreign hate against the country. In the video Jihad (2006), the artist explores a familiar scene shown in news coverage: a videotape of an Islamist terrorist with his covered face holding a Kalashnikov in his hands, reciting from the Koran a message of hate and death. Abidin appropriates the image subverting it. He places the fundamentalist against a painted background of a U.S. flag with its Stars and Stripes, reciting a verse from the Koran. Unexpectedly, he picks up an acoustic guitar and sings “This Land is Your Land.” The impact of the piece is immediate. What is the difference between beheading a Western man in front of the cameras and singing a nationalistic American anthem? Ultimately they can both function as U.S. propaganda pieces.

In the three-channel animation and video installation Memorial (2009) notions of fiction and reality are blurred. The piece is based on a real event witnessed by the artist when he was 17 years old, on the third day of the bombardments of Baghdad in 1991, when one of his favorite bridges was bombed. Next to the fallen bridge lay a dead cow. After almost 20 years, that scene still echoes in the artist’s mind as a reminder of the horrors of a city destroyed by the war.

Location One is extremely grateful to FRAME: Finnish Fund for Art Exchange, and The New York State Council on the Arts for making this exhibition and the artist’s residency possible.

About Adel Abidin: Abidin studied at the Academy of Fine Arts in Baghdad and at the Academy of Fine Arts in Helsinki receiving a MFA in new media in 2005. He represented Finland in the 2007 Venice Biennale Nordic Pavilion with the internationally acclaimed piece Abidin Travels: Welcome to Baghdad. In 2010 he had a major solo exhibition at Kiasma, Helsinki’s Museum of Contemporary Art. His work is represented in major museum collections in Finland and has been featured in numerous exhibitions including On the Margins (2009, Kemper Art Museum, St. Louis); and the 2008 Cairo Biennale. He has held many solo exhibitions throughout Europe, Scandinavia and the Middle East.

ARTIST TALK::

Curated by Claudia Calirman

OPENING RECEPTION: Thursday, 20 May 2010, 6–8 PM
DATES: 21 May – 31 July 2010
HOURS: Tuesday – Saturday 12–6 PM

Location One is proud to present Adel Abidin: I’m Sorry, the artist’s second solo exhibition in New York City. Born in Baghdad in 1973 and living in Helsinki since 2001, Abidin touches upon timely subjects such as fundamentalism, nationalism and religion. The artist engages in a variety of media, working primarily with video installations and short films. He assumes an ironic attitude in his deconstruction of prejudices and stereotypes. How can an Iraqi-born artist face the war with a sense of humor? That is exactly what his task entails.

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

Abidin’s witty criticism targets not only the U.S. invasion of Iraq but also Iraqi fundamentalists’ actions which serve as a pretext to justify the foreign hate against the country. In the video Jihad (2006), the artist explores a familiar scene shown in news coverage: a videotape of an Islamist terrorist with his covered face holding a Kalashnikov in his hands, reciting from the Koran a message of hate and death. Abidin appropriates the image subverting it. He places the fundamentalist against a painted background of a U.S. flag with its Stars and Stripes, reciting a verse from the Koran. Unexpectedly, he picks up an acoustic guitar and sings “This Land is Your Land.” The impact of the piece is immediate. What is the difference between beheading a Western man in front of the cameras and singing a nationalistic American anthem? Ultimately they can both function as U.S. propaganda pieces.

In the three-channel animation and video installation Memorial (2009) notions of fiction and reality are blurred. The piece is based on a real event witnessed by the artist when he was 17 years old, on the third day of the bombardments of Baghdad in 1991, when one of his favorite bridges was bombed. Next to the fallen bridge lay a dead cow. After almost 20 years, that scene still echoes in the artist’s mind as a reminder of the horrors of a city destroyed by the war.

Location One is extremely grateful to FRAME: Finnish Fund for Art Exchange, and The New York State Council on the Arts for making this exhibition and the artist’s residency possible.

About Adel Abidin: Abidin studied at the Academy of Fine Arts in Baghdad and at the Academy of Fine Arts in Helsinki receiving a MFA in new media in 2005. He represented Finland in the 2007 Venice Biennale Nordic Pavilion with the internationally acclaimed piece Abidin Travels: Welcome to Baghdad. In 2010 he had a major solo exhibition at Kiasma, Helsinki’s Museum of Contemporary Art. His work is represented in major museum collections in Finland and has been featured in numerous exhibitions including On the Margins (2009, Kemper Art Museum, St. Louis); and the 2008 Cairo Biennale. He has held many solo exhibitions throughout Europe, Scandinavia and the Middle East.

ARTIST TALK::

Joan Jonas
Drawing/Performance/Video
March 20-May 8, 2010

“I didn’t see a major difference between a poem, a sculpture,
a film, or a dance. A gesture has for me the same weight as a drawing:
draw, erase, draw, erase–memory erased.”
-Joan Jonas

Location One is proud to present Drawing/Performance/Video, a new exhibition by Joan Jonas that highlights the role of drawing in the artist’s performance and video work.

OPENING RECEPTION:
Friday, 19 March 2010 6-8 PM
DATES: 20 March–8 May 2010
HOURS: Tues–Sat 12-6 PM

March 24th at 7 pm
Linda Nochlin speaks with Joan Jonas, moderated by Jovana Stokic, curator of the Abramovic Studio at Location One
April 8th at 7 pm
Bonnie Marranca and Claire MacDonald speak with Joan Jonas

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

Jonas considers the act of drawing and the physical objects themselves (media on
substrate), in terms of their relation to the camera, the monitor, the space, as well as their status of being descriptive, diagrammatic or iconic.

Drawing/Performance/Video will look at Jonas’s drawings within the context of her performance and video work, including the groundbreaking work Double Lunar Dogs, originally performed in 1984, Lines in the Sand, The Shape the Scent the Feel of Things, Organic Honey’s Vertical Roll and others.

[Show as slideshow]

About the Artist: Joan Jonas is a pioneer of video performance art. Her experiments and productions in the late 1960s and early 1970s were essential to the formulation of the genre. Threads of Jonas’s influence can be found in many genres; from performance and video to conceptual art and theater.

Jonas has worked with composers such as Alvin Lucier and Jason Moran to develop video-performance works. Her work continues to explore the relationship of digital media to performance.

Jonas has had major retrospectives at the Stedelijk Museum, Amsterdam (1994), and Galerie der Stadt Stuttgart, Germany (2000), and was represented in Documenta V, VI, VII and XI in Kassel, Germany. In 2004, the Queens Museum of Art presented Joan Jonas: Five Works, the first major exhibition of the Joan Jonas’s work in a New York museum. The exhibition included a selection of the artist’s most significant installations, a video room, and a survey of Jonas’ drawings, photographs, and sketchbooks.

The first installation and performance of Jonas’s Reading Dante was at the 2008
Biennale of Sydney. Later that year Jonas performed the work at the Yokohama
Triennale, and also performed a reading at The Isabella Stewart Gardner Museum in Boston. Jonas was featured in the International Pavilion of the 2009 Venice Biennale where she installed Reading Dante II. Most recently, the artist presented Reading Dante II at the Performing Garage in New York as part of Performa ’09, and selected elements of this performance are featured in Reading Dante III at Yvon Lambert New York. Also at the Museum of Modern Art, through May 31, 2010, Performance 7: Mirage, which is a reimagining of the groundbreaking performance originally created in 1976. In 2009 Jonas was awarded the Guggenheim’s first annual Lifetime Achievement Award.

Joan Jonas is represented by Yvon Lambert Gallery, and was Senior Artist in Residence at Location One in 2008-09.

Artist Talks:
Joan Jonas with Linda Nochlin, Moderated by Jovana Stokic

Joan Jonas with Bonnie Marranca and Claire MacDonald

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

Curated by Claudia Calirman

OPENING RECEPTION:

Wednesday, January 13, 2010 6–8 PM

DATES: January 14 – March 6, 2010

HOURS: Tuesday-Saturday 12–6 PM

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

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

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

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

Mattias Ericsson

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

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

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

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

Wojtek Doroszuk

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

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

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

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

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

Richard Bell: I Am Not Sorry

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

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

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

[Show as slideshow]

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

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

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

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

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

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

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

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

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

Shawcross, Location One’s first International Fellow, has produced an ambitious new work titled Slow Arc III, which demonstrates the artist’s continued interest in mathematics, cosmology and epistemology. The installation will re-open from September 9th – 26th, 2009 with special public programming.

RE-OPENING RECEPTION:
Wednesday, September 9th, 2009, 6–8 PM
(open to the public)
DATES: September 9th – 26th, 2009
HOURS: Tuesday-Saturday 12–6 PM

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

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

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

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

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

###

Current Location One Related Press:

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

Media Contact

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

Curated by Irina Zucca Alessandrelli

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

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

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

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

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

www.theinfluenceoffishtailsonthebreakingwaves.com  

5 DAYS ONLY!

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

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

ABOUT THE ARTIST:

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

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

Other upcoming shows:

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

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

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

Other current shows:

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

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

nayda collazo-llorens

http://www.naydacollazollorens.com

Go to to gallery webpage >>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Yasuko Watanabe untitled (2008, set of 3)

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

For more information, please contact the gallery.

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

Gallery Side 2
Booth 680

Pier 94
Twelfth Avenue at 55th Street
New York City

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

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

General Admission US$30

OFF THE RECORD

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

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

The show ends:

For more informations

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

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

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

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

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

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

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

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

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

When and How you can visit Location One

Location One is located at:
26 Greene Street (between Canal and Grand), NY NY, 10013
Subway: A-C-E; N-R-Q-W; 6; J-M-Z to Canal Street
Location One is wheelchair accessible.

Gallery Hours: Tuesday-Saturday 12-6

for showtimes and admission to special events, please call the gallery at 212.334.3347

for more information contact us

	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.

ARTIST WALKTHROUGH

come meet Location One’s residents
hear them talk about their works
see the show after-hours
Leesa & Nicole Abahuni
Simo Alitalo
Andrew Duggan
Mayumi Nakazaki
Trine Nedreaas
Yuki Okumura
Lydia Venieri
Wang Ya-Hui

image: Mayumi Nakazaki “Shifting Script”, 2006

The exhibition will be open through July 29, 2006

Gallery Hours: Tue-Sat, 12 -6

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

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

[Show as slideshow]

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

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

Timelapse Video

Click here to view the embedded video.

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

Click here to view the embedded video.

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

Click here to view the embedded video.

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

Read press for the show: (PDFs)

Gay City News

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

http://www.location1.org/poetic-spectrum-images-objects-and-words-of-gozo-yoshimasu/ http://www.location1.org/poetic-spectrum-images-objects-and-words-of-gozo-yoshimasu/#comments Wed, 03 Sep 2003 22:48:43 +0000 irp http://www.location1.org/poetic-spectrum-images-objects-and-words-of-gozo-yoshimasu/

click on thumbnails to see larger image

Location One is proud to present:

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

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

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

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

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

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

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

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

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

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

BIOGRAPHIES

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

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

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

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

Poems by Yoshimasu in English translation:

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

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

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

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http://www.location1.org/life-after-the-squirrel/ http://www.location1.org/life-after-the-squirrel/#comments Sat, 09 Sep 2000 23:13:35 +0000 irp http://www.location1.org/429/ The grand opening show of Location One has been curated by Harm Lux, an international curator, originally from the Netherlands, who has been based in Zurich for the past ten years.

]]> LIFE, after the Squirrel
Curated by Harm Lux


September 9 through October 28
Opening: Saturday, September 9, 1-6 pm, Street Lunch at 2 pm
Gallery Hours: Tuesday-Saturday 12-6 pm

G R A N D O P E N I N G

LIFE, After the Squirrel, the grand opening show of Location One has been curated by Harm Lux, an international curator, originally from the Netherlands, who has been based in Zurich for the past ten years.

LIFE, After the Squirrel will feature several European and American artists and a number of young artists discovered by Mr. Lux when he traveled throughout the United States researching new work. In addition to Location One’s actual space, the show will also be exhibited in a virtual dimension (QTVR). Viewers of the virtual dimension can actively participate, intervene and send these interventions back to the gallery via innovative software, which is currently being developed.

View Exhibition Website Here

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