Call for participation
Collaborative performance workshop
For emerging performance artists, actors, singers and musicians

Pablo Helguera: The Well-Tempered Exposition
A project for Location One

Part One of a year-long experimental performance project by Mexican artist Pablo Helguera. Using Bach’s famous keyboard exercises The Well-Tempered Clavier as a starting point, Helguera will organize a series of performance workshops that explore the formal elements of the score.
Interested participants should submit a letter of interest and resume to well-tempered@location1.org
by September 1, 2011.

Workshop Schedule
Preliminary orientation: Friday, September 16th, 5:30-6:30pm
Workshops: Monday and Tuesday Sept 19-20, 5:30-9pm
Performance: September 21, 2011, 7pm

Location One and artist Pablo Helguera are in search of 10 emerging performing artists, actors, singers or musicians interested in participating in a 2-day intensive performance workshop culminating in a public showcase on September 21, 2011.

The Well-Tempered Exposition is a methodical investigation on the formal components of the performance art practice. The project will be developed as a series of scores that will be developed and performed in a series of public experimental workshops at Location One. Upon its completion, The Well-Tempered Exposition will exist as a collection of scores to better understand the rhetoric and compositional structure of performance art as we understand it today.

In this initial workshop participants will collaborate in the interpretation and construction of the first set of scores, to be presented on September 21st, 2011 at Location One.

We are looking for participants with one or more of the following:

• Verbal/public speaking skills
• Musical knowledge/skills
• Acting skills
• Movement skills
• Interest in the history of performance art
• Interest and/or experience in collaborative/ensemble work

Interested participants should submit a letter of interest and resume to well-tempered@location1.org
by September 1, 2011.

About this project at Location One, the artist has written: “To create a group of scores that also serve as a taxonomy of the formal elements of visual performance art would be contradictory, as the notion of performance is so fluid that it escapes any attempt to dissect its components. However, the project proposes that there is a recurrent conceptual vocabulary derived from a shared history, sets of references, and appropriated formats that allow performance art to constantly reinvent itself while at the same time remain identifiable as a meta-discipline of art. The goal of this project is to originate a textbook in the form of 48 scores that examine these different components.”

The project is structured around the existing forms in Johann Sebastian Bach’s The Well-Tempered Clavier (1722), a collection of keyboard exercises composed in all 24 major and minor keys “for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study.” Bach’s compositions will serve as a guide to construct each one of the 48 scores. Each score will be rehearsed and developed through public workshops and presented in performance evenings. Workshops will be presented free of charge.

About Pablo Helguera

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

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

Performances
Tuesday, June 14, 7 & 8pm
Thursday, June 16, 8pm

Sophie Hunter’s installation Lucretia is based on fragments 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.

The piece extracts various elements of the opera; the singers and orchestra, the narrative, and the operatic process itself, and deconstructs and examines them devoid of their original context.

These are then rewoven to record an altogether new sonic experience – a densely knitted soundscape incorporating elements of live singing, recorded instruments and mechanical noise. Parallels are drawn between the act of weaving and the recording or ordering of information. Single threads from the visual and sound worlds combine and resign their original identity to become bound to and part of each other – assimilated into new forms and patterns.

[Show as slideshow]

Lucretia centers around a room made of fishing wire, illuminated by naked light bulbs. Outside the room, several monitors are placed at varying heights. They reference the whirring and clicking of the loom, the sewing machine, cogs and connectors, the telephone switchboard, the spectrum of beeps and tones that provide the soundtrack to modern technology and women’s connection and interaction with them. The women in the space operate in infinite detail; they become agents of change and controllers of information.

Myth is populated with weavers, from Penelope to Philomela. In these stories and traditions, weaving is more than a domestic pastime; it becomes a means of expression, a metaphor for survival, power and faithfulness. Weaving in essence is a recording of information, a means to encode it, a system of memory and a system of creativity. In this installation, Lucretia’s looms are transferred from the domestic sphere and changed into monitors; exacting machines capable of decoding information. Instead of pictures woven in tapestries or yarn, these women weave in a digital visual form.

Sophie Hunter has assembled an international team of collaborators from the worlds of opera, film and theatre to create the piece.

Andrew Staples – collaborator, musical director, additional sound design; Singers: Kirsten Allegri, Valerie Kraft Sonya Headlam, Syvlie Jensen;
Performers: Justine Salata, Claire Helene, Jacqueline Kerrod – Harp, Melissa Mizell – Lighting designer, Sarah Outhwaite – Assistant Director, video editing, Poppy de Villeneuve – Original video content,
John Fitzwilliam – additional video design, Asa Wember – Sound design, Raphael Zinman – Production

Sophie Hunter studied at Oxford University and Jacques Lecoq, Paris. She has devised, developed, directed and performed in theatre and performance pieces throughout Europe as well as in the Middle East and New York.In 2007, she was awarded the prestigious Oxford Samuel Beckett Award for new voices in experimental theatre. Most recently, Sophie has been exploring new directorial and performative approaches to opera. Sophie has just collaborated on a production of Mozart’s Cosi fan tutte (performances in France and London). Forthcoming projects include Benjamin Britten’s The Rape Of Lucretia (New York) and Mozart’s The Magic Flute (Africa, with Vignette Productions) She recently directed a reimagining of Ibsen’s Ghosts, performed in New York in November, and is researching a large-scale multi-media performance based on the poetry of Sappho, in collaboration with the writer Maureen Duffy. Sophie is currently working with New York based company, Phantom Limb and will be directing their latest work, 69 DEGREES SOUTH which will premier at BAM Harvey Theatre in November 2011 Sophie Hunter’s residency is supported by the Location One International Committee.

Dwelling in Perennial Dreams
Interactive installation by Bundith Phunsombatlert

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

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

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

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

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

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

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

Video of this piece here:

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

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

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

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

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

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

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

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

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

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

Click here to view the embedded video.

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

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.

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

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.

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

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

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

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

Eric Van Hove
Artist – Tentateur
www.transcri.be 

Wednesday, July 16, 2008
7:00 pm

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Dear Friends,

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

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

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

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

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

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

With my very best wishes,

Claire Montgomery
Executive Director

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

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

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

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

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

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

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

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

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

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

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

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

tpecc.org

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 – What We Saw Upon Awakening

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

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

PRESS COVERAGE: ArtSlant interview / Time Out New York /

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

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

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

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

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

Lida Abdul bio

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

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

OPENING
29 September 2007, 6 pm
>From 29 September to 9 November 2007

Gallery opening times
3 pm -7 pm every day except Sundays and holidays

The Fabio Paris Art Gallery is proud to present Night Talk of the Forbidden City #2, the first Italian solo exhibition of the collective Alterazioni Video, after the presentation of the video entitled Painting at the 52nd Venice Biennale (in the Italian Pavilion), Think with the Senses – Feel with the Mind. Art in the Present Tense (curated by Robert Storr) .

Night Talk of the Forbidden City # 2 presents the latest developments in the original project of the same name, which was shown for the first time at the DDM Warehouse Gallery in Shanghai in April 2007.
During their time in China, Alterazioni Video explored the topic of language, and the possible outcomes of the agreements between multinational communications companies and the state censorship system.
The various “cells” of Alterazioni Video networked on a local basis using an anonymizer (a tool which guarantees anonymity while surfing), which enabled them to draw up a list of words and phrases prohibited on the main search engines and instant messenger programmes in use in China, with the aim of working out the semantic basis behind these filters.
Alterazioni Video then put these terms back “into circulation”, by printing the offending phrases on plastic bags, in English and Chinese, and handing them out free of charge on the streets of Shanghai, with the intention of restoring their full communicative potential. The exhibition includes a number of photos depicting this part of the project.
The encounter between Alterazioni Video and Alighiero Boetti’s work on linguistic codes and signs stimulated a more intellectually sophisticated project, “encrypting” its message on a literal and metaphoric level. Based on the idea that censorship has always driven linguistic evolution, Alterazioni Video utilized Boetti’s work as a medium, a coding system which the art world was already familiar with, and which could therefore be used to convey this new message.
The result is Timbri, ideograms etched onto printing stones which can be assembled in a grid, forming endlessly reproducing matrixes, and Tappeti, multi-colored combinations of symbols embroidered on canvas.
Boetti’s tapestries and drawings often require a key to decode them. Alterazioni Video noticed the similarities between Boetti’s modules (like the one which appears in Alternando da uno a cento e viceversa, 1977) and QRCODE tags (matrix codes used in the car industry that can be photographed and decoded via mobile phone), and set about creating a new series of tapestries which convey information about Chinese activists and political refugees. By photographing these tapestries and sending them by smartphone to a specific online decodifier, you can access this information and use it to contact the people in question if need be, and pledge support for their cause. And in this way, by means of a complex process of encoding and decoding, the censored information can be restored to the intangible flow of communications on the net, while art and language return to play a social, as well as aesthetic role.

Established in Milan in 2004, Alterazioni Video is a collective of five artists (Paololuca Barbieri Marchi, Andrea Masu, Alberto Caffarelli, Giacomo Porfiri and Matteo Erenbourg) based in Milan and New York. The collective acts as an international network, geographically dispersed and mobile, and focuses on issues of disinformation and the relations between truth and representation, legality and illegality, freedom and censorship, mingling art with political activism and utilizing all media: from painting to video, installations to internet. Since 2004 Alterazioni Video has taken part in international events like Disobedience (Kunst Behetanien Museum & Play Gallery, Berlin 2005) and Remote Control (MoCA, Shanghai 2007), with solo exhibitions in venues like Location One (New York, 2006) and the Chelsea Art Museum (New York, 2006).

fabioparisartgallery
via Alessandro Monti 13 – 25121 Brescia – tel. 030 3756139 – Skype: fabioparisbs
www.fabioparisartgallery.com

Whose crater is it anyway?CRATER NEW YORK: a Lunar Drawing Contest

September 6–26, 2007Opening Reception: Thursday, September 6th, 6-8Drawing Contest: September 6–22, Rounds begin at 12:30click here to see the artists who participated >>Awards Ceremony: Wednesday, September 26th, 6-9pmJudges: Jimmy Breslin, Roger Anderson, Karen Helmerson, Bob HolmanList of Finalists and WinnersPRESS: Rhizome [link] – pdf download / Art in New York [link] – pdf downloadWATCH THE CEREMONY

Click here to view the embedded video.

Here is a selection of some of the drawings completed so far…

To kick off the 2007-2008 season Location One presents Crater New York, a participatory project created by the artist duo of Nora Ligorano and Marshall Reese. The project takes on the form of a drawing contest that is free and open to the public, artists and not-artists alike. Contestants fill out an entry form and select either a digital or analog medium to create a rendering of the model installation of the Moon that will be placed at the center of the gallery. On one of two computer stations or two traditional artist easels, contestants will have 30 minutes to complete their drawing, which will then be hung on the walls of Location One’s main gallery for the duration of the project. The winner will be chosen by a panel of judges including artists, critics, real estate developers and celebrities. The Jury will be announced once the competition has begun. Three prizes will be awarded on September 26th with each winner receiving a deed for a plot of land on the Moon. Here is a note about it on our blog.At a time when many seek a virtual life in metaverses like Second Life, when property on the moon is available for sale and ownership, Ligorano/Reese have devised a contest to evaluate contemporary artist skills in hand drawing and computer aided design. Using the moon as a drawing model, this project recontextualizes the tradition and practice of the “en plein air” landscape.Proceedings of the drawing challenge and the work created will be shown simultaneously in Second Life, hosted by artist/critic Richard Minsky in his SLART gallery outpost on the island of Artropolis, and will also be live-streamed on Location One’s website.Joining mankind’s ancient fascination with the small celestial body that circles the Earth, Ligorano/Reese’s interactive performance-exhibition invokes questions about imagination, representation, and judgment. It explores the concepts of virtual space and virtual reality, as well as artistic practice, the place of artists in society and in the future of New York. Will artists have to move to the moon to afford working and living space? Will they help redefine outer-borough living? To this end Ligorano/Reese have asked several artists to participate in populating the 8 foot diameter maquette of the moon by creating models of the first lunar artist colonies, using recycled materials in novel ways.The contest is free and open to all visitors of Location One, with prior sign-up and registration. There will be two contest sessions on weekdays, and four sessions on Saturdays. Thirteen contest match-ups, reflecting the 13 annual lunar cycles, and a chance to own a piece of the pie in the sky.LIGORANO/REESENora Ligorano and Marshall Reese have collaborated as Ligorano/Reese since the early 80′s. Their work examines contemporary trends in society and the media through the manipulation of images and sound from print, television, the Internet, and radio. Their installations, limited edition multiples and artists books have been exhibited at Jim Kempner Fine Art, Kent Gallery, the Beall Center, the Cleveland Museum of Art, Museum fur Angewandte Kunst (MAK) in Frankfurt, Germany, MIT MediaLab, Museum of Arts & Design, the Neuberger Museum of Art, and Lincoln Center. They have received fellowships and funding from the Jerome Foundation, The Puffin Foundation, NYFA, NYSCA, the NEA, Art Matters and have been artists in residence at the MacDowell Colony and Djerassi Resident Artists Program.

We are grateful to Tekserve and Material for the Arts for their generous contributions to this exhibition:

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

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

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

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

Events & Exhibitions

Aoife Collins: Wet Eye
April 24-June 14, 2008

Daniel Andersson lives and works in Stockholm and London. He studied fine art and received his MFA from Konstfack University College of Arts, Crafts and Design in Stockholm. He has previously exhibited in Sweden, Finland and the U.K. and was the 2006 recipient of the Hasselblad Victor Fellowship. Recent exhibitions include a solo show at The Research Gallery, LCC, London (2007) and group shows at Hasselblad Center, Gothenburg (2007) and La Viande Gallery, London (2007).

www.danielandersson.info

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

Events & Exhibitions

Daniel Andersson & Tseng Yu-chin
June 4 , 2008

SELECTED PAST EXHIBITIONS:

Na Yingyu: Our Homeland! Gone Just Like That

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

Project Gallery Events / Exhibitions>>

One And Many

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

Lilibeth Cuenca Rasmussen: Afghan Hound

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

Sounds Good

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

John O’Connell: Like a Shark in the Grass

14 April – 27 May 2011

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

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

10 February – 19 March 2011

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

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

5 November 2010 – 22 January 2011

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

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

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

Adel Abidin: I’m Sorry

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

Joan Jonas:

Drawing/Performance/Video

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

Yes, But…

14 Jan – 6 Mar 2010
Yes, But…explores works that dwell in the borderline between real and fictional, process-based and result-oriented, temporal and permanent, literal and metaphorical, orderly and undisciplined. Within the fabric of these works lies an array of artistic choices that emphasize contradictions and ambiguities, playing games upon the viewer at every turn.

Richard Bell: I Am Not Sorry

8 Oct – 25 Nov 2009

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

Virtual Residency 2.0: Levels of Undo

9 Sept – 30 Oct 2009
Location One Virtual Residency Project 2.0: “Levels of Undo” Four artists from 4 different cities, who have never met–and were forbidden to do so during the three months of their “residency”–collaborate on a topic that they had no say in developing. Is this ethical? Are the parameters unnecessarily rigid? Were they able to produce anything worthwhile under such oddly stringent rules?

Conrad Shawcross: Control

20 May – 1 Aug 2009

Extended! 9-26 Sept 2009

Shawcross is known for his multi-media, kinetic sculptures and mysterious structures that are imbued with an appearance of scientific rationality yet beneath the surface are also haunted by the search for the unobtainable and inexpressible. In this new work the artist continues the series of investigations that started with Slow Arc Inside a Cube (2008), which was initially inspired by the late British chemist Dorothy Hodgkin, who said deciphering the structure of pig insulin ‘was like trying to work out the structure of a tree from seeing only its shadow’.

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

28 Apr – 9 May 2009
Location One is pleased to present the first of its summer 2009 International Residency Program Exhibitions featuring the work of two outstanding emerging artists, Nicolas Grospierre (Poland) and Kaeko Mizukoshi (Japan). Artist Grospierre will present a photographic installation exploring the intricacies of NYC bank vaults, well timed in light of the global financial crisis. Artist Mizukoshi presents a video installation ste at a Los Angeles bus stop and focused on the dialog between a man, who rants indecipherably, and an awaiting passenger who responds with unrelated religious exclamations.

Laurie Anderson: From the Air: Two Installations

5 March – 2 May 2009
Fostered by the experimental art scene of downtown New York in the early 1970s, Laurie Anderson created her earliest performances in Soho, where Location One is based. In addition to continuing her acclaimed performance work, she has gone on to broaden her artistic practice to include music, video, digital art, and sculpture. Her Location One installation features a duet of video and sound.Location One will organize its inaugural Benefit Gala in celebration of its 10th Anniversary on Thursday, March 5, 2009. Honoring Laurie Anderson and her contributions to the downtown New York art world and beyond, the gala will feature a preview of the exhibition and a special performance that the artist will reveal.

Nayland Blake: Behavior

2 Dec 2008 – 14 Feb 2009
With a surprising dearth of bunnies, Nayland Blake’s: Behavior, a 25-year survey of the renowned artist’s work, will feature some thirty pieces from every aspect of Blake’s career as a painter, sculptor, illustrator, performer, and gorgeinstallation artist. They include the iconic Magic (1991), Heavenly Bunny Suit (1994), a restraint piece, Jim (2000), as well as a generous selection of works never before exhibited in NYC. Nayland Blake: Behavior will be accompanied by a magiccatalogue, as well as by a series of artist-curated performance nights, one of which will include a re-staging of Blake’s “Gorge” (1998).

Catalog availiable.

Jane Philbrick: PULL

10 Sept – 8 Nov 2008PULL confronts an America seemingly crippled by fear and uncertainty. Developed in collaboration with 18 engineers from Honeywell’s Fire Systems Group, PULL urges viewers to realize their hidden desire to sound the alarm, here in the form of an historic fire call box situated in the center of the gallery space. Once triggered, the work blossomsinto a flourish of lights, words and deafening sirens–a wake up call. Philbrick utilizes 502 fire alarms, strobes, smoke detectors, siren horns, control panels–and one customized vintage fire pull station to sound the alarm and remind us to question our notions of security and it’s sources.

Virtual Residency Project: Mission Accomplished

10 Sept – 8 Nov 2008
Can three complete strangers – from different continents, cultures and creative disciplines – collaborate from afar to create a forceful artistic statement about a political event? They can, they have! Their work, prepared without ever meeting face-to-face, uses Google Earth, Second Life, wikis and blog technologies – not to mention old-fashioned hand-printed Agitprop posters – to address the forthcoming U.S. Presidential election. The three artists all speak English, and all are fluent in Internet media. They were given no restrictions other than not meeting in person, and no directions other than the topic of the forthcoming Presidential election. Heather Wagner, director of online exhibitions, coordinated the project for Location One.Mission Accomplished?The chosen three:  Susanne Berkenheger (Berlin), Andy Deck(NYC), and Hidenori Watanave (Tokyo)

Jean Shin: And We Move

19 Jun – 26 Jul 2008
Conceived as a site-specific installation, And we move continues Jean Shin’s investigation into the nature of music and its production. The installation utilizes the display of clothing, a video projection on fabric, unwound audio tape, embroidery, and compositional scores on prints, to explore how music is visualized and expressed through movement of the body, and how sound can be imprinted onto a surface.

Aoife Collins: Wet Eye

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

Nina Sobell: Internal Message Search

18 – 26 Apr 2008Nina Sobell pioneered the use of video, computers, and interactivity in art, as well as performance on the Web. Since 1969, when she first used video to document participants’ undirected interactions with her sculptures, she investigates the extent to which video enables her to manipulate the relation between time and space, and to create a vortex for human experience, in which the mediated event coincides with public experience, memory, and relationships.

Tracey Moffatt: Social Edit

26 Feb – 19 Apr 2008
Curated by Eric C. Shiner
Moffatt’s narrative films offer the viewer a penetrative gaze into the realities and implicit fantasies that subjugation based on race and gender churns out. In her dual role as cultural critic and maker of art, Moffatt combines hard-edged life experiences with the technologies of video and photography to seam together pastiche-like vignettes that open a window onto the lives of her characters, whether that be an Australian aborigine or an African-American woman.

Xu Tan: Searching for Keywords

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

Lida Abdul: What We Saw Upon Awakening

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

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

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

IRP Exhibition: Summer 2007

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

Martha Rosler: Virtual Minefield

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

Jeanette Doyle: StarLine Tours

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

IRP Exhibition: Winter 2007

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

Lisa and Nicole Abahuni: In the Sky

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

Artbots: The Robot Talent Show

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

Cliff Evans: The Road to Mount Weather

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

Lukasz Skapski: Video and Photographic Works

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

Carlos Amorales and Javier Viver: Manimal and The Audience

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

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

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

Creative Atelier: Open Stitch

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

Chris Csikszentmihalyi: Skin & Control

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

Victoria Vesna: Nano Mandala

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

Group Exhibition: Creative Intelligence

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

Muntadas: On Translation: On View

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

Claude Closky: Television

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

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

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

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

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

Group Exhibition: Signal to Noise

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

Xu Tan: Qing Hua Porcelain (Blue & White)

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

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

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

Keith Sonnier: O2 = O3; Fractured Oxygen = Ozone

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

Inagural Exhibition: Life After the Squirrel

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

SLART(TM) : Art in Second Life a presentation by Richard Minsky

In Second Life there is a virtual art world where Artists, dealers, curators, collectors and critics are represented by “avatars,” animated characters which can look like anything from realistic humans or animals to cartoons or geometrical objects. At any given time 25-35,000 people are simultaneously occupying this Metaverse. There are over 500 art galleries, and the range of art varies from shopping mall kitsch to huge animated sculptural installations that defy the laws of terrestrial physics. In this world you ARE art.

Artist and entrepreneur Richard Minsky started a website and blog titled SLART (TM), a critical review and journal of art in Second Life. Now he is planning to issue SLART as a paper magazine, beginning with a summer 2007 issue. During his presentation at Location One, Minsky will be navigating in Second Life under his in-world identity to show us some of the variety of artists, art galleries, museums, artists’ studios and university galleries there. These locations can disappear as rapidly as they appear, when owners change their mind about what they are doing, or don’t pay the rent.

Richard Minsky is the Founder of The Center for Book Arts, which was the first not-for-profit organization in the USA dedicated to advancing the art of the book through exhibitions, classes and studios. A graduate in Economics at Brown University and The New School, Minsky has participated regularly in the Art & Cognition symposia as a member of the Guest Panel [see http://interdisciplines.org/artcog and http://interdisciplines.org/artcognition ]. Richard’s work is on the web at http://minsky.com. Last year he published American Decorated Publishers’ Bindings 1872-1929, a profusely illustrated catalog and analysis of his collection, which was recently acquired by the university of Alabama.

Click here to view the embedded video.

Location One is pleased to announce the opening of the installation StarLine Tours by resident artist Jeanette Doyle, on April 12th from 6 to 8 pm. The installation consists of video, audio (approximately 1h40mins.) and digital prints on watercolor paper, and will be on view in the Project Gallery through Friday May 25th.

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

The video element was shot on a commercial celebrity-home tour through Hollywood, Beverly Hills, Bel Air and Rodeo Drive. The visual footage represents what is visible through the left-hand window of the tour-bus, often simply bushes, pavements, other vehicles and pedestrians but occasionally also the homes referenced in the soundtrack.

The soundtrack is provided by the bus-driver’s commentary as he describes the palatial homes, the ‘stars’ who live in them and other matters relating to property values and the career trajectories of the inhabitants. However the image of what is described although tantalizingly close is, in the main, denied to the viewer.

The accompanying digital prints are screens grabs from the video, some have had water applied to render them as watercolors, others project the gloss of the cinematic image. These prints are exhibited in a space where the same soundtrack as the video work is audible, further raising questions about the nature of representation, the relationship between different media and the choices made by an artist in the selection of particular images.

The artist manipulates the various media she employs in order to generate very particular effects, questioning the notion of representation and creating a metaphor of what we think we are seeing versus what we actually see or what is given to be seen.

Jeanette Doyle earned critical acclaim with her first post-graduate exhibition, winning the Overall Prize at ev+a ‘95, curated by Maria de Corral. Since then, her practice has concerned itself, often playfully, with the interrogation of a number of different disciplines and stances. Her work has been exhibited widely both in Ireland and abroad; including Ecole Nationale Supérieure des Beaux-Arts, Paris; Museum of Modern Art, Croatia; Brisbane Institute of Modern Art; Australian Centre for Contemporary Art; the ICA and Studio Voltaire, London; Dublin City Gallery, the Hugh Lane and the Crawford Municipal Art Gallery, Cork. Doyle has also held solo exhibitions at the Nordic Institute for Contemporary Art, Helsinki; Limerick City Gallery of Art; City Arts Centre, Dublin; Fenderesky Gallery, Belfast and Temple Bar Gallery, Dublin. In 2003 and 2005 she showed at Eurojet Futures at the Royal Hibernian Academy, Dublin.

In 2006, Jeanette received a First Class MA in Visual Arts Practices at the Dún Laoghaire Institute of Art, Design and Technology (IADT). The work produced during this period was shown at an exhibition entitled ‘and then I place my face against the glass’ at Broadstone Gallery, Dublin; with a concurrent show ‘Portrayals’, at AXIS, Ballymun, a Breaking Ground 2 commission. In the past years she has been concentrating her practice on the painted image and its relationship to a variety of both lens based and digital technologies.

Upcoming shows include “SURGE”, 798 Art Festival, Beijing – which will then travel to Duolong Museum of Modern Art, Shanghai and Xiangning Art Museum in Shenzhen (Hong Kong), curated by The Artist’s Network, New York. Doyle will also exhibit at ‘EDGE’ Kochi Museum, Japan later this year.

Jeanette Doyle is the recipient of 2006/2007 Irish Fellowship at Location One.
This is supported by the Arts Council of Ireland and The Irish American Cultural Institute.

Further information about Jeanette Doyle’s practice is available at: www.jeanettedoyle.com

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

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

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

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

Teresa Henriques (Portugal) – Drawing in Space

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

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

Agnieszka Kalinowska (Poland) – Doormen

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

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

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

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

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

Rie Kawakami (Japan) – Untitled

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

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

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

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

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

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

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

Kaori Tazoe (Japan)

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

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

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

Virginie Yassef (France) – Les Eparpillés / The Scattered

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

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

Based in Helsinki, Ruscica graduated in 2002 from the Chelsea College of Art and Design, London (BFA) before receiving his MFA in Helsinki at the Academy of Fine Arts. He has exhibited internationally, recently in 2006 at VAE10 festival, Lima (Peru); ‘Metaphysics of Youth’, Fuori Uso, Pescara ( Italy); ‘Suspended E-motions’, Vartai Gallery, Vilnius (Lithuania); ‘Young Contemporaries’, Kunsthalle Helsinki as well as screenings in various institutions and festivals around Europe.

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

still image from Futurama, 2007

Alessandro studied art history at the State University of Milan. Faculty of Letters before earning and M.F.A.in visual arts at Fondazione Ratti, Como. Recent exhibitions include: Biagiotti Progetto Arte, Florence; Marco Canepa Arte Contemporanea, Genoa; Fondazione Ratti, Milan; “AssabOne”, Tirana, Albania; 1/60 Insurgent space. Milan; Stecca degli artigiani, Milan; Palazzo della Ragione, Milan.

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

	Tomas Henriques: META-EWI and META-EVI (customized wind controllers)The META-EWI and the META-EVI are respectively a modified EWI (Akai’s Electric Wind Instrument) and a modified MIDI EVI (Steiner’s Electric Valve Instrument), to which were added a whole new set of controllers based on sensor technologies. The goal of these two projects was to achieve specific innovative levels of performance techniques and musical expressiveness that go beyond what is currently possible to do with either a monophonic wind controller or a monophonic acoustic instrument and to take advantage of meaningful performance gestures and body motions that are naturally used by a performer of such an instrument. These modified instruments succeed at stretching the expressiveness and the range of musical gestures found on the original instrument allowing the musician to have a more complete and far reaching control of a great variety of meaningful musical parameters. http://www.electrotap.com/articles/MetaEWI.shtml
	Dan Trueman: PLOrkThe Princeton Laptop Orchestra (PLOrk) is a newly established ensemble of computer-based musical meta-instruments. Each instrument consists of a laptop, a multi-channel hemispherical speaker, and a variety of control devices (keyboards, graphics tablets, sensors, etc…). Dan Trueman, co-founder and director of PLOrk, will introduce the ensemble, describe its design and a number of the pieces written for it, and share video and audio recordings from recent performances.http://plork.cs.princeton.edu/
	MEAPsoft: MEAPsoft!!!MEAPsoft is open source software for automatically segmenting and rearranging music audio recordings. It is aimed at musicians and experimenters who want to play with new ways to analyze, sort, and resynthesize audio fragments. MEAPsoft was developed by a collaborative group of students and faculty from LabROSA and the Computer Music Center at Columbia University. Members of the group will talk about the concepts behind the software and play lots of groovy examples! http://labrosa.ee.columbia.edu/meapsoft

Some images from the meeting! More images from Joel.

Click here to view the embedded video.

	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.

Location One is pleased to present the debut solo exhibition in NYC by artists Leesa & Nicole Abahuni, on view in our main gallery at 26 Greene Street from November 21st through January 27th 2007 (Tue-Sat, 12-6pm).

An opening reception and performance will be held on Wednesday, November 29th from 6 to 8 pm.

The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

In the Sky populates the gallery with strands of metallic beaded-chain hung in patterns from the ceiling, creating a spatial architecture through which visitors navigate. This web will force the individual to slow down the body so that the senses can become more aware of changes in tactile, visual and aural experiences while at the same time generating waves of movement, reflections and shadows. The audio portion of the installation presents six separate channels of sound, progressively laid out from the front to the back of the gallery. On the back wall of the gallery a video screen will show the work of hands weaving and unweaving a tapestry, or the movement of an acrobat winding and unwinding his body on a rope. Overall, the installation explores the notion of repetition, the weaving and unweaving of time and memory, so that the senses can rise to a greater awareness of the space around them.

The Abahunis have always worked as a team. “As twins we are born collaborators” says Nicole, and Leesa continues: “Collaboration is at the root of our thinking and our work. We believe that the active forging of tactile, aural and visual perception between humans and in collaboration with technology asks questions that can yield ways of better understanding, seeing and hearing natural order.”

Opening night, November 29th 2006, will include a half-hour performance of a new composition, commissioned by Location One and created specifically for this installation by New York-based avant-garde musician Elliott Sharp, and performed with percussionists Danny Tunick and Christine Bard, and dancer Glen Rumsey. Using MAX/MSP software that generates and manipulates sound, the musicians will create an aural environment that responds to the movements of people within the space. The performance will be recorded and the resultant selection of sound files will be used as audio components throughout the duration of the installation.

Leesa and Nicole Abahuni participated in Location One’s 2005-2006 International Residency Program, with support from the Andy Warhol Foundation for the Arts. In the Sky has received funding from the Peter Norton Family Foundation and assistance from Harvestworks.

The Abahunis studied at Goldsmiths College, University of London, MFA; Polimoda, Florence, Italy; and the School of Visual Arts, NYC, BFA in Computer Art. They have exhibited nationally and internationally including the 6th International Arts Biennial of Sharjah, United Arab Emirates; ICA, London; Sonic Interactions Conference, London; Redux, London; Gallery Mouri, Tokyo; Orb//Remote, Copenhagen; Half Machine Festival, Copenhagen; Eyebeam Atelier, NYC; Siggraph, Los Angeles; DUMBO Arts Festival, Brooklyn; DUMBO Arts Center, Brooklyn; 67 Gallery, Brooklyn; Deep Listening Space, Kingston; The Kitchen, NYC. Their solo performances include The New York Hall of Science, Queens and NYC in 2000. They have received awards and grants from the Experimental Television Center, NY; International Postgraduate Scholarship, Goldsmiths College, London, UK; Alumni Scholarship Award, School of Visual Arts, NY; and Award of Distinction, School of Visual Arts, NY.

Elliott Sharp is an American multi-instrumentalist, composer, and performer who has personified the avant-garde experimental music scene in New York City for over thirty years. He has released over sixty-five recordings spanning the musical spectrum from blues, jazz, and orchestral music to noise, no wave rock, and techno music. Sharp describes himself as a lifelong “science geek,” having modified and created musical instruments from his teen years. He is an inveterate performer, both as a soloist (playing mainly guitar, saxophone and bass clarinet) and with a number of ensembles.

Glen Rumsey is originally from Greensboro, NC. He graduated from the North Carolina School of the Arts and moved to New York to join the Merce Cunningham Dance Company. Glen has danced and collaborated with many choreographers, including Mark Morris, Pam Tanowitz, Stanley Love, and Sarah Michelson. He has also developed a drag performance character, Shasta Cola, whose shows have received critical accolades both in the US and Europe. In 2005 he choreographed an original dance suite entitled “ignored in my heaven…” which he performed to critical acclaim at Location One with his dance troupe, the Glen Rumsey Dance Project. He has received a Creative Residency for 2006-2007 at Dance Theater Workshop. www.glenrumsey.com

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

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

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

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

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

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

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

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

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

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

June 4th – July 30th, 2005

Click here to view the embedded video.

[display_podcast]

Yumiko Furukawa
Tent for Poet (2005) (multimedia installation with tent, furnishings, video & DVD) is a work dedicated by the artist to a poet living in New York. “This tent is for her, her words, her language, her poems, and her world. She lives in New York City, but I think that she needs a change of pace. The tent is easy to move. She can move it whenever she wants to go to a new place.” Conceptually, the tent functions as a metaphor for the artist’s experience in New York City in particular in her relation and practice of the English language and ensuing communicational issues that she handles with humor and lightness.

Kenny Hunter
Citizen Firefighter (2001) (resin sculpture), was conceived primarily to celebrate the men and women of Strathclyde Brigade in Scotland. It is also an attempt to reclaim the political and civic space associated with the historical form of the public statue. While maintaining the clear, formal language of the past, the content and narrative of the work differ in many ways from historical tradition. The form has been treated reductively.

Subtraction peels away pathos. The work itself is left partially open, thus creating a space which can be reinvested by the onlooker. This in turn prompts us to come to terms with our own responsibility, not only as onlooker, but also as a citizen.

Untitled (2005) (painting and drawing) was conceived and made in New York. The statues and signage of the city have given the artist access to a pool of inherited historical and social experience from which to work.

Wu Ta-Kun
Flourishing Blue Sky (2005) (single channel video, 15 min)
The driving force behind Wu Ta-Kun’s varied body of work is expanding “ideas of sensibility”. He does this by investigating different mediums with unwavering humor. For Flourishing Blue Sky, the artist has devised a rotating mechanism that allows him to capture his journey in Manhattan on video: earth, horizon, and sky are looped in a continuous narrative. The spinning effect mimics the sense of dizziness and displacement experienced by the artist in his encounter with the city. Ta-Kun says “I enjoy this kind of confusion and fall into it. Everything is so true; everything is untrue, but the world will not stop rotating.”

Two video installations, Illusion and The Pink Doll, will also be exhibited.

Mariana Viegas
Landscape Within (consists of a DVD, The man in the center, 2005 and 3 C-prints from the series Borrowed Landscape, 2004-2005).
Landscape is an entity –or a body– which is transformed by our presence and which, in turn, transforms us. With this association in mind, Mariana Viegas observes in her photographic and video work the daily rituals performed by people in the green spaces created within the urban habitat. Under the camera, the locations and situations that she films show up as sets, and ordinary people that move within them seem to be directed. Of this body of work the artist says “In these fake set-ups of reality I want to evoke the possibility of a narrative existing upon what surrounds us, by taking a closer and longer view.”

Yumiko Furukawa’s residency is supported by the Asian Cultural Council; Kenny Hunter’s by the James McBey Fellowship, administered by Aberdeen City Council; Wu Ta-Kun’s by the Yageo Tech-Art Award of the Asian Cultural Council; Mariana Viegas’ by the Calouste Gulbenkian Foundation and the Luso-American Development Foundation.

Location One is a not-for-profit organization devoted to the convergence between visual, performing and digital arts in a time of rapidly changing technology.

Location One’s International Residency Program is the central focus of its activities. It encourages collaboration by inviting artists from all over the world, and working in different media, to experiment with advanced technological tools and delivery systems, and to develop new work.

Curated by Heather Wagner
September 10 – October 19, 2002
Opening Reception: Tuesday, September 10th, 6-8pm

Location One is happy to present “Signal to Noise“, a group exhibition featuring works that explore the relationship of sound and light waves. Not merely illustrations of audio-visual synaesthesia, several of the pieces act literally as transducers, that is, devices that convert input energy of one form into output energy of another.The range of frequencies detectable by the human ear is about 20 Hz to 20,000 Hz, and the visible light spectrum is 400 terahertz (red light) to 740 terahertz (violet light). But there are also frequencies like radio waves, microwaves, infrared and ultraviolet light that, unless converted to a human-readable format, course through our environments invisibly and silently.

The notion of seeing the Invisible is both seductive and ordinary. From night vision goggles and microscopes to consumer software like iTunes that invites you to “visualize your music”; digital audio tools that render music as waveforms on a monitor, allowing an audio engineer to edit both visually and aurally, we are accustomed to a kind of mediated synaesthesia.

But in a sense, bringing to light the Invisible can be thought of as a metaphor for what all art (not to mention religion and philosophy) attempts to do. In “Signal to Noise” the artworks act as translators of sound waves to light waves (or vice versa) in elegant, sometimes quite low-tech and simple examples of this phenomenon.

Atsushi Nishijima, trained in experimental and contemporary music, creates sculptures and installations, which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. He was artist-in-residence from Japan at Location One in 2001.

Erwin Redl uses sound and light to create both stunning large-scale installations and smaller meditative pieces. Most recently, his LED grid piece “Matrix VI” adorned the façade of the Whitney Museum for the 2002 Biennial.

Laurie Spiegel is a pioneer in computer music and one of the first composers to experiment with concepts of visual music. Though she navigates the upper echelons of high technology she “sees the computer as a new kind of folk instrument”. As she says, “music is a way to deal with the extreme intensity of moment to moment conscious existence.”

Heather Wagner has created sound installations and internet performances that explore ethernity, the imaginary connection between cyberspace and dreams. She also plays drums and is grateful to the curator for thinking of her.

François Bucher
White Balance (to think is to forget differences)
2002 DVD, color, sound; 30 minutes.

White Balance reviewed:
The Village Voice, Feb 5
Columna De Arena (in Spanish) Jan 31
Art Forum Feb 2002

The West Project: accompanying web project

January 10 – March 2, 2002
Opening Reception: January 10th, 6-8 PM
Where there is amenability to paraphrase, where the sheets have never been rumpled, there poetry, so to speak, has never spent the night.
—Osip Mandelstam
White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks. The video presents a question that needs to be visited over and over, a question that is always and necessarily larger than ourselves. Yvonne Rainer asked this question in her film Privilege: “…is ‘permanent recovering racists’ the most we can ever be?” In this sense, offering a meta narrative that would pretend to describe the issues at stake, is a failure to understand the layers of unspeakability that are hidden in the question of whiteness. The piece opts for a poetic language, an address that seeks to arouse thought by concentrating on the openings of the audiovisual experience, in the short-lived moment of the in-between.

Click here to view the embedded video.

François Bucher was born in 1972 in Cali, Colombia and lives and works in New York City. He graduated from The School of the Art Institute of Chicago in 1999 with an MFA in film (MFA fellowship recipient). From 1999 – 2000 he attended The Whitney Museum Independent Study Program. He is co editor of Valdez Magazine, Bogotá, Colombia. Bucher has shown his work in Latin America, the United States and Europe. White Balance (to think is to forget differences) was funded in part by The New York City Media Arts Grant of The Jerome Foundation.

Location One (www.location1.org) is a new not-for profit art center, which fosters the convergence of all types of creative expression. We maintain a gallery space suitable for every form of performance and exhibition, and within this space, multimedia net-broadcasting facilities that allow us to webcast a 24-hour stream of both live and archived events. Our International Residency Program invites artists from other countries to experiment with emerging technologies. Location One is an exploration space for continual creative discovery.

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.

See RADIOLARIA description