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.

June 14 – July 29, 2011

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

Curated by Claudia Calirman

OPENING RECEPTION:

Tuesday, June 14, 2011 6-8 PM

DATES: June 15 – July 29, 2011

HOURS: Tuesday – Saturday 12-6 PM

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

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

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

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

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

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

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

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

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

ABOUT LOCATION ONE

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

Elana Katz earned a BFA in photography from the Parsons School of Design, New York, in 2008, and a Meisterschüler (Germany’s MFA equivalent), from the Universität der
Kunst Berlin, in 2010. Her recent grants have included DAAD Graduate Studies Grant and Franklin Furnace Grant for Performance Art, and she has exhibited

performed in Germany, the USA, Russia, Italy, and Japan. In the Spring of 2010 she was selected by Marina Abramovic as a reperformer of Abramovic’s work at the MoMA (Museum of Modern Art) in New York, where she gave more than 200 performances over a 3-month
period.

Location One presents newARTtheatre 2:

A conversation with playwright Paul David Young and artists Pablo Helguera, Ohad Meromi, and Xaviera Simmons
Wednesday, April 20, 2011
7pm, Free and open to the public

Pablo Helguera, Ohad Meromi, and Xaviera Simmons talk about their work and how, in different media and in performance, they draw upon and transform theatre for use in the visual arts context. They will discuss participatory theatre, the politics of theatre in the visual arts, theatre as process, community, virtuosity, the performance text, and the role of the body. The discussion, the second in a series moderated by Paul David Young, will be published in the special one hundredth issue of PAJ: A Journal of Performance and Art in February 2012.

Click here to view the embedded video.

Born in Israel, Ohad Meromi currently lives and works in New York City. Meromi graduated from Bezalel Academy (1992) and went on to receive his MFA from Columbia University School of the Arts (2003). He has exhibited internationally and nationally at venues including The Israel Museum, Tel Aviv; Herzliya Museum of Contemporary Art, Israel; 2nd Moscow Biennale of Contemporary Art; Lyon Biennial, France; Martin Gropius Bau, Berlin; Magasin 3, Stockholm; De Appel Museum, Amsterdam; Sculpture Center, New York; and PS1 Contemporary Art Center, New York. Meromi has received numerous scholarships and awards including a Percent for Art commission (2009), the Fund for Video and Experimental film (2004), I.C. Excellence Foundation (2003), Nathan Gottesdiener Foundation Israeli Art Prize (1998). He was recently granted the Foundation for Contemporary Arts 2008 Grants to Artists Award.

Xaviera Simmons was born in New York City and lives and works in Williamsburg, Brooklyn. She produces photographic, audio, performative, sculptural, installation and video works. Xaviera received a BFA in photography from Bard College in 2004 after spending 2 years of walking pilgrimage retracing the Trans Atlantic Slave Trade with Buddhist Monks. She completed the Whitney Museum of American Art’s Independent Study Program in Studio Art (2005) and a two-year actor-training conservatory with The Maggie Flanigan Studio (2006). Major exhibitions and performances include The Museum of Modern Art (2011); Greater New York at MoMA PS1, (2010); The Studio Museum In Harlem (2010); Contemporary Arts Museum, Houston (2007); The Sculpture Center, New York (2009); Zacheta National Art Gallery, Warsaw, Poland; and Art in General, New York. Simmons has works currently On View at The Bronx Museum, NY, the ICA (Boston) and The Galleries of Ogilvy and Mather. She is in upcoming exhibitions at Nicole Klagsbrun Gallery, NY (April 2011) and at The Nouveau Musee National de Monaco (April 2011).

Paul David Young won the Kennedy Center’s 2009 Paula Vogel Playwriting Award. His work has been developed or produced at the Alliance Theatre, Kennedy Center, Kraine Theater, La Mama E.T.C., Lion Theatre on Theatre Row, Living Theatre, LMAK Projects, Marlborough Gallery, MOMA PS1, New York Theatre Workshop, Primary Stages, Philadelphia University of the Arts, Red Room, and, in Icelandic, at the Kaffileikhusid in Reykjavik, Iceland. In 2008, he co-curated with Franklin Evans the exhibition Perverted by Theater at apexart. He is a regular contributor to PAJ: A Journal of Performance and Art (MIT Press). In October 2010, he moderated the first newARTtheatre panel at apexart.

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Location One presents
XtraCurricular: Maria Jose Arjona in conversation with Jovana Stokic

WHAT REMAINS
Thursday, March 24, 7 pm
free and open for public

Maria Jose Arjona explores possibilities of documenting live acts.

The artist states:
As we become documenting entities of everything happening around us, memory should be discussed not only in terms of technological capability but also in terms of human dependence and in-ability to retain information as a bodily function. My personal concern as a performance artist is how to document, archive and store, beyond images, an experience. Within the specifics of this project, “ an experience in the form of a story” constitutes the main material, which was collected via digital and virtual channels/ networks to later be re-stored in three external memories. What would happen if I could not access my computer? Do I have the ability to remember all the information gathered throughout a year of work? Is there another record? How can I transmit this information and now that is going to remain somewhere that doesn’t depend solely on technology, electricity or another mechanism?
The answer is simple: HUMAN MEMORY

Click here to view the embedded video.

Maria José Arjona is a performance artist focused on affirming the body through long durational exercises addressing process, time, memory and power. Her performances have been exhibited in Museums and galleries in South America, Europe, China and the Unites States and have been reviewed by Art Nexus, Arte Al Dia, The New York Times, The Guardian (UK), Whitewall Magazine, The Miami Herald, El Nuevo Herald and many others. She participated as a re-performer at Marina Abramovic’s retrospective at The Museum Of Modern Art in New York and started touring with her own work at The Madre Museum in Naples (Italy) as part of the program “Corpus, Arte In Azione”. The itineration of this project includes locations in Bologna (Italy), Bergen and Oslo (Norway), New York (US), Vienna (Austria) and will end in 2010 in Colombia as part of the National Salon sponsored by the Ministry of Culture of Colombia. VIRES, Arjona’s recent performance cycle will be exhibited for the first time in New York at LOCATION ONE. In 2010 Arjona performed VIRES, a long-durational performance, at Location One.

Location One presents XtraCurricular*, a collaboration between Location One and the Columbia University School of the Arts.

Thursday, 24 February 2011 

Jill Magid

Shot from the Capitol Steps (A work in progress)

Co-Curated by Jovana Stokic and Daisy Nam 

7pm FREE and open to the public

While on a research trip, Magid witnessed a mysterious shooting on the steps of the Texas State Capitol by Fausto Cardenas. Nothing is known of Cardenas’s motivations, but his gesture of shooting into the sky on the steps of the capitol, where he knew he would be immediately captured, reads symbolically as both tragic and poetic. Magid connects his action to Faust, an obvious but ultimately fruitful and complex avenue of exploration, as Goethe’s nineteenth-century drama traffics in similar themes of tragedy, psychology, and futility.

Goethe originally wrote Faust as a ‘closet drama’: a drama to be read alone or to a small group, rather than performed on stage. For the event at Location One, Magid experiments with the concept of “theatre of the mind” by inviting the audience for an intimate closet drama reading. 

Jill Magid’s event at Location One is part of a work-in-progress. The artist takes this program up on its idea of a safe place to try out something new and unfinished, and rough. This will not be a complete drama from beginning to end! Jill Magid seeks intimate relations with impersonal structures. She is intrigued by hidden information, being public as a condition for existence, and intimacy in relation to power and observation. Magid holds a M.F.A from Cornell University, and an M.S in Visual Studies from the Massachusetts Institute of Technology. She has shown nationally and internationally, with solo exhibitions at the Whitney Museum of American Art; Tate Modern, London; Stedelijk Museum Bureau Amsterdam; and Gagosian Gallery, NY. Upcoming exhibitions include the Singapore Biennial, and the Matrix Program at Berkeley Art Museum, CA. Magid is represented by Yvon Lambert, New York and Paris. She lives and works in Brooklyn, NY.

Jill Magid received her BFA from Cornell University in Ithaca, New York, in 1995 then her MS in Visual Studies from MIT. She was Artist in Residence at the Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands from 2001-2002 where she lived for five years, and with Eyebeam, New York, NY from 2006 – 2007. In addition to an upcoming solo show at the Tate Modern, London, she has had shown at the Yvon Lambert galleries in New York and Paris, Gagosian gallery, New York, and The Hague, Netherlands. Her performances and installations have been shown worldwide in numerous group shows and fairs.

Jill Magid’s work explores means of penetrating closed systems of power. Taking institutional structures, rules, laws, and language as her media, Magid has developed a conceptually rigorous, largely performance-based practice in which she seeks to engage institutions of power on a personal, intimate level. Developed for the Whitney Museum’s first-floor Anne & Joel Ehrenkranz Gallery, Magid’s A Reasonable Man in a Box takes its point of departure from the “Bybee Memo,” a controversial 2002 document signed by Jay Bybee, Assistant Attorney General of the United States Department of Justice’s Office of Legal Counsel, and declassified by President Obama in 2009. The document discusses acceptable methods of “enhanced interrogation” of a high-level Al Qaeda operative, including the use of a confinement box. As Whitney curatorial assistant Nicole Cosgrove writes in the introductory text, “A Reasonable Man in a Box explores the perversion of reason, and the malleability of language and law. Using video, collage, and text, Magid transforms an international and political issue into a physical and intensely personal experience.

The Performance Program at Location OneThe Abramović Studio is a space within Location One dedicated to the ongoing performance series of long-durational works focusing on open-ended forms of workshops, panels and discussions. All programs are curated by Jovana Stokić.

*XtraCurricular Series 
In Spring 2011, five artists and thinkers are invited to curate five nights, using the Location One space for an evening of play and extracurricular events.  
Co-curated by Jovana Stokic and Daisy Nam.

January 27 – Jenny Perlin 

February 24 – Jill Magid 

March 24 – TBA 

April 14 – TBA 
May 26 – TBA

Coming from a very strong visual arts background, Zane continues exploring and investigating new visual expression. While continuing his broad traditional visual arts output, in painting and printmaking, Zane has courageously explored diverse and challenging mediums of installation, sculpture, media and contemporary performance.

This relatively recent performance work has provided a unique medium to take his prolific visual practice ‘off the
wall’, and into the peoples space. Over the past three years, Zane has developed a very deep and unique approach to contemporary dance/performance, drawing from his indigenous cultural heritage, and from the many experiences of contemporary society.

Importantly, this new work is placed in many diverse settings and contexts, each work site specific, and both visually stunning and challenging, for audiences.

“Performance is a vehicle for the spirit to connect to audience”: modern devices/costume are utilized to convey the message; site specific work devised to site location; use of formal and informal spaces, emphasis on the absurdity of contemporary ‘western’ norms.

Zane also has an ongoing collaboration with sound and media artist File_Error, and this partnership allows Zane to explore video, media and performance in a more defined context. In 2007, the 2 artists collaborated and self produced the installation, performance and media event, “Being A Medium” over 3 nights at the JUTE Theatre in Cairns.

Zane’s visual arts work is in many collections, including the National Gallery of Australia, and the National Gallery of Victoria. Recent performance practice is numerous across festivals such as On Edge in Cairns, to exhibition openings and community events such as NAIDOC week in his hometown, Kuranda.

His most recent projects include “Parcel”, a discreet installation and performance at Mofo Gallery, and a short performance work as part of Submerge.

Zane will be performing at a number of events as part of the On Edge contemporary media + performance festival in Cairns in July 2009, including his new major performance work, “Blueprint”. (www.onedgeart.com)

Recent projects and performances includes:
May 2009 – Mofo Gallery “Parcel” – Installation Works & Performance
July 2008 – On Edge, LAPS Program, Cairns – Performance
Apr 2008 – Yarrabah Community: Performance
Apr 2008 – On The Edge: Group Exhibition – Paintings & Performance – Tanks Art Centre
Sept 2008 – TKRP ‘Fire Management’ project: Performance, Sydney, Melbourne, Cairns
March 2007 – Being A Medium: Performance and Installation, 3 Nights in collaboration with File_Error – JUTE Theatre, Coca
Aug 2006 – Envirofiesta ‘Mother Story’: – Performance
Jul 2006 – On Edge: – Live Art in Public Space – Performance – outside Cairns Regional Gallery
Jul 2006 – NAIDOC: – Performance – Kuranda
May 2006 – Danceweek 06: – Performance & Installation – Tanks Art Centre
Apr 2006 – Lone Guinea Fowl: Exhibition: Paintings, Installation, Sculpture & Performance KickArts, Coca

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.

The Location One International Committee

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), Janacek’s The Cunning Little Vixen (Italy), Mozart’s The Magic Flute (African tour), and Beethoven’s Fidelio (Palestine).

She recently produced a reimagining of Ibsen’s Ghosts, performed in New York in November, and researching a large-scale multi-media performance based on the poetry of Sappho, in collaboration with the writer Maureen Duffy.

Sophie Hunter’s residency is supported by the Location One International Committee.

Davide Balliano was born in Turin, Italy in 1983. In this city he began his studies and earned a Bachelor in Graphic Arts. In 2002 he moved to Milan where he earned a second degree in Photography at the c.f.p Riccardo Bauer, and worked as artist.

From June 2004 to June 2005, Balliano was a resident in Fabrica, artist’s residence of Benetton group. Through an unemotional and minimal use of different media ( performance, drawing, installation, video and photography ), his artistic research allows him to delve deeply into the most hidden aspects of the human mind, revealing their fragile structures and contradictions. Balliano’s works and performances were shown at The Artists Space and PS1 Contemporary Art Center in New York, The Watermill Center in South Hamptons, Plymouth Art Center in Great Britain, as well as in New Zeland, Japan and all across Europe.

His portfolio has been recently exhibited in the Archive of Via Farini in the context of the event “NO SOULS FOR SALE” at the Tate Modern Gallery in London. He’s one of the winners of the AOL 25 for 25 Award 2010. Balliano lives and works in New York.

http://www.davideballiano.com/

http://www.location1.org/vires-maria-jose-arjona/ http://www.location1.org/vires-maria-jose-arjona/#comments Fri, 15 Oct 2010 00:00:34 +0000 heather http://www.location1.org/vires-a-new-performance-by-maria-jose-arjona/

VIRES is a cycle of six performances analyzing and addressing diverse systems of power but most of all, addressing CHOICE as the most relevant exercise of freedom.

]]> the Abramović Studio for Performance Art

presents VIRES
new work by Maria José Arjona
October 14, 2010, 5-9 pm
Curated by Jovana Stokić

 

VIRES: Latin word meaning force, power, strength (BODILY), might, violence, influence.

Political, social and economic forces have been molding society from the origin of Western civilization to the present day. History has forced more complex and subtle structures from which institutions, individuals or complete societies often dominate others as a form of control. Within domination and control a great amount of new articulations arise, as the body being controlled must translate the latest structure imposed upon it in order to understand and function within the new regime. VIRES is a cycle of six performances analyzing and addressing diverse systems of power but most of all, addressing CHOICE as the most relevant exercise of freedom.

[Show as slideshow]

Click here to view the embedded video.

Maria José Arjona is a performance artist focused on affirming the body through long durational exercises addressing process, time, memory and power. Her performances have been exhibited in Museums and galleries in South America, Europe, China and the Unites States and have been reviewed by Art Nexus, Arte Al Dia, The New York Times, The Guardian (UK), Whitewall Magazine, The Miami Herald, El Nuevo Herald and many others. She participated as a re-performer at Marina Abramovic’s retrospective at The Museum Of Modern Art in New York and started touring with her own work at The Madre Museum in Naples (Italy) as part of the program “Corpus, Arte In Azione”.  The itineration of this project includes locations in Bologna (Italy), Bergen and Oslo (Norway), New York (US), Vienna (Austria) and will end in 2010 in Colombia as part of the National Salon sponsored by the Ministry of Culture of Colombia. VIRES, Arjona’s recent performance cycle will be exhibited for the first time in New York at LOCATION ONE.

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http://www.location1.org/hannes-mahler-drawing-centrifuge/ http://www.location1.org/hannes-mahler-drawing-centrifuge/#comments Sat, 22 May 2010 19:00:31 +0000 heather http://www.location1.org/hannes-mahler-drawing-centrifuge/
ABRAMOVIC STUDIO presents:

A Special performance  by Hannes Mahlte MahlerMay 22 Saturday, 4 – 8 pm

curated by Jovana Stokic

Zeichenzentrifuge | Drawing Centrifuge

The ABRAMOVIC STUDIO at Location one presentsHannes Malte Mahler with the drawing performance: Drawing Centrifuge.The Mahler draws according to your wishes. You can keep the drawing.

Instructions:
a)  Write your wish on the drawing paper.  Add your name and address.
b)      Mahler draws.
c)      Receive your drawing and glue it on the wall (Attended by the cheerleaders).
d)      The result drawings fill the space.
e)      One day later you can collect your drawing.

Art is the only serious thing in the world.And the artist is the only person who is never serious.–Oscar Wilde

For the artist, the life drawing idea is around for about 10 years, starting from a part within a broader installation of a studio with him performing in it as an artist. Since then it has undergone several changes and now the centrifuge idea is the one that  he is interested in – meaning a more or less simple set-up in which the artist sits and the audience watches: one orders ‘something’ and I draw it – meaning people witness the actual process of creation. Source and inspiration is the artist’s personal practice as he usually draws wherever he is and therefore it was a somewhat logical step to draw on demand. As he also creates ‘real’ paintings / drawings / photography, this special set up just plays with the role of the ‘Mahler’ ( ‘painter’ in English)  — it does not counteract but reinforce and vitalize this figure.

Hannes Malte Mahler is simultaneously a draughtsman and a painter, a photographer and a performance artist. His diverse artistic activities unite the common resolve to examine ideas and attitudes as well as the status quo of the world and reality in terms of its validity and load-bearing capacity. His tools on this path are jokes, satire, irony, and the energy to develop new points of view and meanings with their help. The provocative features of his art are in the tradition of the épater le bourgeois where the artist assumes the role of the enfant terrible and, like the Dada artists of the early twentieth century as well as the Fluxus artists fifty years later, becomes a propagandist for the reassessment of much-loved values and non-values.  The quality of his performances in which he fulfills the public’s all and sundry painting wishes (“Dear Painter, Paint Me…”) has a deeper meaning because in the process he questions the absurd modern notion of the artist which says that only the artist who commissions himself can be a “pure and good” artist.

Although he commissioned himself to produce the exhibited drawings, they nevertheless owe nothing to a purposeless exercise in art. They were neither made in art’s ivory tower, nor do they want to be affectless. (M. Stoeber)

About the artist: Hannes Malte Mahler, born 1968 lives and works in Hannover, Germany. He is a graduate of the Braunschweig school of arts and a postgraduate of Marina Abramovic. Though performance is the key issue in Mahler’s work, all kinds of media can be found if they suit the intended purpose. (like installation, photography, painting and son on and so forth) For further information and an inspirational stroll through the mahler’s worlds you are cordially invited to visit http://www.theMahler.com

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

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

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

Click here to view the embedded video.

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

Click here to view the embedded video.

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

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

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

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

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

Here is the video of this artist talk:

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

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

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

Click here to view the embedded video.

Friday, November 7, 2009
Nikhil Chopra

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

Friday, December 11, 2009
Lotte Lindner & Till Steinbrenner

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

Click here to view the embedded video.

Friday, December 18, 2009
Performance artist Lilibeth Cuenca

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

Click here to view the embedded video.

More videos from the Abramovic Studio

February 4, 2010 – Lucy Skaer

February 5, 2010 – Nico Vascellari

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

February 24, 2010 – Ragnar Kjartansson

February 26, 2010 – Maria Jose Arjona

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

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

April 21, 2010 – Shoba

May 14, 2010 – Elana Katz

May 28, 2010 – Anna Berndtson

June 3, 2010 – Snezana Golubovic

Marina Abramović:
Performing the Gallery/Performing the Museum

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

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

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

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

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

Click here to view the embedded video.

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

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

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

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

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

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

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

Artist Bios:

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

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

http://www.jessicacurry.co.uk

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

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

http://www.ursenal.net

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

http://www.narindareeders.net

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

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

http://www.woodeson.co.uk

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

Location One 10th Anniversary Exhibition
Laurie Anderson
From the Air: Two Installations

March 10 – May 2, 2009
Opening Reception, Tuesday, March 10, 6-8pm

Location One is pleased to announce the exhibition From the Air: Two Installations, by Laurie Anderson which will be presented in celebration of its 10th Anniversary. Anderson, who was invited to be Location One’s Senior Artist-in-Residence in 2008, will present a new piece and the revival of an older work, both addressing the concept of disembodiment, which has been a common thread throughout her oeuvre. The exhibition will be on view from March 10 through May 2, 2009, with an opening reception on Tuesday, March 10 from 6 to 8 pm.

The title piece, From the Air, uses a series of 3D projections, a technique Anderson has employed since the 1970s, to create a story about the artist and her dog. The second installation, Aleph, projects sound electronically into the gallery space, focusing the sound to make it seemingly emanate from midair. Originally commissioned for the Contemporary Jewish Museum in San Francisco, the text for Aleph is inspired by the unspeakable nature of this Hebrew letter, and the installation examines the unconscious process of putting ideas into words.

Fostered by the experimental art scene of downtown New York in the early 1970s, Laurie Anderson created her earliest performances in Soho, where Location One is based. In addition to continuing her acclaimed performance work, she has gone on to broaden her artistic practice to include music, video, digital art, and sculpture.

Location One will organize its inaugural Benefit Gala in celebration of its 10th Anniversary on Thursday, March 5, 2009. Honoring Laurie Anderson and her contributions to the downtown New York art world and beyond, the gala will feature a preview of the exhibition and a special performance that the artist will reveal.

About Laurie Anderson:
Laurie Anderson is one of America’s most renowned—and daring—creative pioneers. She is best known for her multimedia presentations and innovative use of technology. As writer, director, visual artist and vocalist she has created groundbreaking works that span the worlds of art, theater, and experimental music.

Her recording career, launched by “O Superman” in 1981, includes the soundtrack to her feature film “Home of the Brave” and “Life on a String” (2001). Anderson’s live shows range from simple spoken word to elaborate multi-media stage performances such as “Songs and Stories for Moby Dick” (1999). Anderson has published seven books and her visual work has been presented in major museums around the world.

In 2002, Anderson was appointed the first artist-in-residence of NASA which culminated in her touring solo performance “The End of the Moon”. Recent projects include a series of audio-visual installations and a high definition film, Hidden Inside Mountains, created for World Expo 2005 in Aichi, Japan. In 2007 she received the prestigious Dorothy and Lillian Gish Prize for her outstanding contribution to the arts. She recently completed a two-year worldwide tour of her latest performance piece, “Homeland”, which will be released on Nonesuch Records this year.

Location One exhibition related press:

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

We’d like to extend an enormous thank you to everyone who helped celebrate Location One’s 10th Anniversary Benefit Gala on March 5. It was a lovely night and included a beautiful performance and preview of Laurie Anderson’s exhibition From the Air.

Special thanks to Location One’s Benefit Co-Chairs Sophie Crichton-Stuart, James Lindon, Alina Pedroso, Eric C. Shiner; and the Benefit Committee: Diane L. Ackerman, Henry Buhl, Judi Caron, Noni and Michael Connor, Bob Holman, Yung Hee Kim, Edward and Phyllis Kwalwasser, Caroline Lang, Matthew Marks, Elzbieta Matynia, DeCourcy E. McIntosh, Raj Moorjani, Richard Prince, Martha Rosler, Joyce Pomeroy Schwartz, Roger and Freddi Sherman, Clay Shirky, Laura Skoler, Gloria Steinem, Sue Stoffel, Rachel Vancelette and Gordon VeneKlasen.
Hope to see you all in 2019!

Claire Montgomery, Executive Director of Location One is pleased to announce its first-ever benefit gala held on the occasion of its 10th Anniversary. The gala will take place on Thursday, March 5, 2009 at 7pm at 26 Greene Street. On the night of the gala, internationally-renowned artist and 2008 Location One Senior Artist-in-Residence Laurie Anderson will stage a special performance.

Fostered by the experimental art scene of downtown New York in the early 1970s, Anderson created her earliest performances in SoHo, where Location One is based today. She has gone on to include a variety of media from music, video, digital art, and sculpture, in addition to continuing her acclaimed performance work. Following the gala, Location One will present an exhibition entitled From the Air: Two Installations and will be open to the public from March 10 through April 25, 2009.

Location One’s 10th Anniversary Benefit Gala will be limited to 125 guests, creating an intimate, private atmosphere in which to see the performance and share cocktails and dinner with artists and Location One patrons. The gala will take place as the art world convenes in New York for the Armory Show week.

Proceeds from the gala will fund Location One’s International Residency Program, which supports established and emerging artists in exploring new forms of artistic expression. The gala will also support Location One’s public programs, which include exhibitions of artwork created by artists in residence, as well as music, performances, and lectures.

Location One’s 10th Anniversary benefit gala committee is chaired by Sophie Crichton-Stuart, James Lindon, Alina Pedroso, and Eric C. Shiner. Location One extends special thanks to Champagne Nicolas Feuillatte, Havas, Barclays Capital, Goldman Sachs and Loews for their early commitment and generous support of the 10th Anniversary Benefit Gala.

Individual tickets to the event are $500 to $1,500 and tables are $5,000 to $15,000. Premium tickets include a limited edition sculpture by Nayland Blake. For ticket sales or further information, please contact Cody Montgomery at (212) 334-3347 or cody@location1.org.

Individual tickets to the event are $500 to $1,500 and tables are $5,000 to $15,000. For ticket sales or further information, please contact Cody Montgomery at (212) 334-3347 or cody@location1.org.

Note to the media:
Please note that advance registration is required for access to the event.

Media Contact:
For more information, images, interviews, or registration for the event, please contact
Cody Montgomery
Location One
T. (212) 334-3347
F. (212) 334-3289
E. cody@location1.org

Each night he will invite five artists, musicians, and authors to react to his work. The second Misbehavior, on January 9, will be no less spectacular, showcasing additional performer-reactors, as well as a re-staging of Blake’s notorious performance, “Gorge,” a one-hour performance in which the artist sits shirtless in front of a table full of food from which the audience is encouraged to feed him. The final Misbehavior, promises to be a grand finale, full of surprises. Be prepared to see interpretations of Blake’s work by artists such as Zeena Parkins, Carolee Schneemann, and Lynn Tillman.

 details on the February 7th perfomances coming soon…

The second night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake. At 6pm Blake will reenact his notorious performance, “Gorge,” a one-hour event in which the artist will sit shirtless in front of a table full of food from which the audience is encouraged to feed him.

photo by Nayland Blake, Gorge 2009

featuring the lovely and talented:

felix s. huber (d) ego alter ego

matthew fuller (uk) (skype) Digger Barley

rachel rosalen + rafael marchetti (br/ra) Territories Complexity

sybille hauert + daniel reichmuth (ch) TRiCKSTR, TRiCKSTR,

marek goldowski + natalie bewernitz (d) UNVEILED PRESENCE secret sounds

andres bosshard (ch) watt’ flore sonoarium

felix hasler+nenad brcic (ch) Vague Ideas about Life

david forster (ch) L.E.S.S.

susana perrottet (ch/pe) Liminal Vida / Colonia Fuimos / De No Se Donde

raphael perret (ch) paint my bass

sound performances by:

stahl (ch) cellular automata intergemezzo sounds
bit-tuner + norbert möslang (ch) bit-tuner meets norbert möslang

featuring the lovely and talented:

felix s. huber (d) ego alter ego

matthew fuller (uk) (skype) Digger Barley

rachel rosalen + rafael marchetti (br/ra) Territories Complexity

sybille hauert + daniel reichmuth (ch) TRiCKSTR, TRiCKSTR,

marek goldowski + natalie bewernitz (d) UNVEILED PRESENCE secret sounds

andres bosshard (ch) watt’ flore sonoarium

felix hasler+nenad brcic (ch) Vague Ideas about Life

david forster (ch) L.E.S.S.

susana perrottet (ch/pe) Liminal Vida / Colonia Fuimos / De No Se Donde

raphael perret (ch) paint my bass

sound performances by:

stahl (ch) cellular automata intergemezzo sounds
bit-tuner + norbert möslang (ch) bit-tuner meets norbert möslang

Performers: Rob Fitterman, Robert Gluck, Sarah Schulman, Carmelita Tropicana and Dominic Vine.
Curated by Nayland Blake

Please join us next Wednesday, December 17 for the first night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake.

During the course of the exhibition, Blake will also curate two more evenings of performances, January 9 and February 7. Each night he will invite five artists,
musicians, and authors to react to his work. The second Misbehavior, on January 9, will
be no less spectacular, showcasing additional performer-reactors, as well as a re-staging of
Blake’s notorious performance, “Gorge,” a one-hour performance in which the artist sits shirtless
in front of a table full of food from which the audience is encouraged to feed him. The final
Misbehavior, promises to be a grand finale, full of surprises. Be prepared to see interpretations of
Blake’s work by artists such as Zeena Parkins, Carolee Schneemann, and Lynn Tillman.


Nayland Blake - Misbehavior I - Carmelita Tropicana


Nayland Blake - Misbehavior I - Rob Fitterman



Nayland Blake – Misbehavior I – Dominic Vine. (Audio Only)
[display_podcast]
Dominic Vine (still image)

A screening and reading and talk with artists Rob Kennedy and Peter Rose
Wed 25th June 2008 7pm

A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernalia

A screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

Hapless, Helpless and Hopeless is a video by Rob Kennedy and Peter Dowling produced entirely of sampled television advertisements that attempts to adapt and re-define the codes at work in these sales pitches, building a “grammar” that can be used to suggest other readings, other outcomes, other problems, than those nominally prescribed in the role of the advertisement, This is not in some vain attempt at trying to negate the power of these adverts, but in order to construct a constantly shifting series of relationships that mines the psychological, emotional and semiotic power of these highly produced images and sounds.

http://www.steadykammer.net/pages/CollaborationsKennedy.html

Grouped together under the title VOX 13 is a series of films by Peter Rose dealing with the complexities of language. By disturbing generally understood codes and conventions these films both critique the problems of communication whilst savouring the joy and humour of language as it is let loose on itself. ‘Secondary Currents’ and ‘The Gift’ are just two of the films from this fascinating series.

www.peterrosepicture.org

A variety of other texts and sounds will be read and played to further present the obscurity of language and our fragile relationship to the signs and conventions that we so readily rely on.

With thanks to Peter Rose, Location One, Filmmakers Coop, NYC.

Rob Kennedy’s residency at Location One is funded by Scottish Arts Council.

Rob Kennedy is an artist from Glasgow, UK, working mainly with video and installation. Coming from a background in sculpture, his video work is concerned more with the physical manipulation of material, language and time rather than acting as a framing device to view the world through a lens. A series of current projects are focused on collaborations with several composers/musicians using techniques of improvisation both live and in the studio, to play with certain generic conventions of television production.

His work has been screened and exhibited in numerous festivals and galleries including Tate Britain, Venice Biennale, Tramway, Transmediale, Impakt, Backup and the Edinburgh film festival.

Since 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose’s background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent work has involved a return to an examination of landscape, time, and vision and takes the form of installation. Rose has been widely exhibited, both nationally and internationally, and has been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival.

Programmation Satellite. Cycle “Terrains de jeux” 4/4

du 01 juillet au 28 septembre 2008

Virginie Yassef crée des vidéos, des photographies et des sculptures qui semblent puiser leur source dans le monde de l’enfance. Sous le regard de l’artiste, les gestes du quotidien, des situations simples prennent une dimension nouvelle. Sollicitant régulièrement la participation du visiteur dans ses installations, Virgine Yassef interroge, pour son projet au Jeu de Paume, le rôle du corps dans l’espace d’exposition. En collaboration avec d’autres créateurs (artistes, compositeurs…), elle expérimente une collaboration scénographique.

Installé dans l’espace du foyer, un éléphant constitue le cœur du dispositif. Conçue spécifiquement pour l’exposition, cette œuvre explore les liens ambigus entre sculpture et architecture, art majeur et art populaire. Cette structure, qui semble issue d’un décor de théâtre, évoque la figure emblématique du cheval de Troie. Des sons, qui s’échappent des entrailles de l’animal, suggèrent la présence d’un possible atelier clandestin.
L’œuvre est mise en scène au sein d’une plus large installation constituée de chaises reproduisant la “Crate chair” que Gerrit Rietveld — designer, architecte et ébéniste néerlandais — dessina en 1934. Ce modèle représente un archétype de l’assise : il est conçu pour être réalisé de façon extrêmement simple avec des matériaux sommaires, des planches issues de palettes en bois. Le dialogue s’instaure ici encore entre la logique de production de masse et la création artistique.
Pensée à la fois comme un travail autonome mais aussi comme un lieu à habiter, cette installation devrait accueillir ponctuellement des performances.

Dans l’espace de la mezzanine, l’artiste réinterprète, l’œuvre intitulée Alloy. Dans ce film, un enfant manipule des éléments aimantés et les assemble de façon aléatoire, créant ainsi des édifices à l’équilibre précaire.
Faisant écho à cette vidéo, un des éléments de cet étrange jeu de construction fait éruption, à l’image d’un cerveau hypertrophié, dans l’espace de l’exposition. Dans un univers proche de celui de la science-fiction, Virginie Yassef crée une narration onirique qui s’ancre dans un réel lointain.

Exposition organisée avec le soutien de la Fondation nationale des arts graphiques
et en partenariat avec Art Press et Oui FM

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

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

Glen Rumsey Dance Project, ignored in my heaven…
Originally commissioned by Location One in 2005. (Please note that the current exhibition Social Edit by Tracey Moffatt will be CLOSED the following days, Thursday, Friday Saturday, April 3, 4 and 5.
Tickets $15, members free.

Originally performed September 15-17 & September 22-24, 2005.

press articles from the 2005 performances:
Gay City News
Village Voice
Dance Review Times

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

Duron Jackson: “Five Men”
Rashaad Newsome: “Shade Compositions”

Friday, September 28, 2007.
Performances begin at 7pm:
Rashaad Newsome followed by
Duron Jackson (15 – 20 mins each)

Location: 111 Front St Gallery Buildings, 2nd fl., # 216.
Installation on view: Saturday, 29th, 12 – 8pm and Sunday, 30th, 12 – 8pm

For the 11th Art Under the Bridge Festival, presented by Dumbo Arts Center, curator Felicity Hogan brings together two emerging New York artists, Duron Jackson and Rashaad Newsome, who are connected through their exploration of issues concerning the role of black identity within popular culture and current society. Using performance, installation, video and digital technology in their artistic practice, both artists harness the language of gesture, choreographing and directing male and female performers, to produce original, dynamic and innovative artworks.

Rashaad Newsome’s “Shade Compositions” is an ongoing performance series that, depending on the nature of the space, uses a variable number of black females who perform choreographed dismissive actions that are often characterized as “ghetto” in order to create an orchestra of rhythmic compositions. Using an instrument created with Max MSP technology, a crescendo of aggravated music is built up by the artist editing the beats created live by the girls, thus making each a one-of-a-kind performance.

Duron Jackson presents “Five Men,” a performance that examines the ongoing obsession and distortion of the black (non-European) body throughout contemporary culture. This work is an effort to visually distill (extract) the complexity of what it is to be alien within a western social paradigm while narrating a way of being. Life- sized impressions are taken directly from the male figure, yielding trace or evidence of a unique mark or symbol, which in turn places the unadorned male body in discourse with the social body.

Duron Jackson is a Brooklyn based multi – disciplinary artist whose recent solo exhibition “Revere/Riviled,” curated by Isolde Brielmaier, was held at the Rotunda Gallery in Brooklyn, 2007. Recent group shows include “I Died For Beauty,” curated by Omar Lopez-Chahoud, Newman Popiashvili, New York, 2007 and “Scarecrow,” curated by David Hunt, Postmasters Gallery, New York, 2006.

Originally from New Orleans, Rashaad Newsome lives and works in New York. “Shade Compositions” will be performed in 2008 as part of his residency at Location One and he will also be performing at The Kitchen in spring 2008. Later this year a video of the project is being made as part of the BCAT/Rotunda Gallery’s multimedia residency. Solo exhibitions include “Shade Compositions” at Glass Gallery in Paris, France and K.U.E.L., in Berlin, Germany, 2006. Newsome is currently sponsored by Harvestworks, NY.

Duron Jackson: “Five Men”
Rashaad Newsome: “Shade Compositions”

Friday, September 28, 2007.
Performances begin at 7pm:
Rashaad Newsome followed by
Duron Jackson (15 – 20 mins each)

Location: 111 Front St Gallery Buildings, 2nd fl., # 216.
Installation on view: Saturday, 29th, 12 – 8pm and Sunday, 30th, 12 – 8pm

For the 11th Art Under the Bridge Festival, presented by Dumbo Arts Center, curator Felicity Hogan brings together two emerging New York artists, Duron Jackson and Rashaad Newsome, who are connected through their exploration of issues concerning the role of black identity within popular culture and current society. Using performance, installation, video and digital technology in their artistic practice, both artists harness the language of gesture, choreographing and directing male and female performers, to produce original, dynamic and innovative artworks.

Rashaad Newsome’s “Shade Compositions” is an ongoing performance series that, depending on the nature of the space, uses a variable number of black females who perform choreographed dismissive actions that are often characterized as “ghetto” in order to create an orchestra of rhythmic compositions. Using an instrument created with Max MSP technology, a crescendo of aggravated music is built up by the artist editing the beats created live by the girls, thus making each a one-of-a-kind performance.

Duron Jackson presents “Five Men,” a performance that examines the ongoing obsession and distortion of the black (non-European) body throughout contemporary culture. This work is an effort to visually distill (extract) the complexity of what it is to be alien within a western social paradigm while narrating a way of being. Life- sized impressions are taken directly from the male figure, yielding trace or evidence of a unique mark or symbol, which in turn places the unadorned male body in discourse with the social body.

Duron Jackson is a Brooklyn based multi – disciplinary artist whose recent solo exhibition “Revere/Riviled,” curated by Isolde Brielmaier, was held at the Rotunda Gallery in Brooklyn, 2007. Recent group shows include “I Died For Beauty,” curated by Omar Lopez-Chahoud, Newman Popiashvili, New York, 2007 and “Scarecrow,” curated by David Hunt, Postmasters Gallery, New York, 2006.

Originally from New Orleans, Rashaad Newsome lives and works in New York. “Shade Compositions” will be performed in 2008 as part of his residency at Location One and he will also be performing at The Kitchen in spring 2008. Later this year a video of the project is being made as part of the BCAT/Rotunda Gallery’s multimedia residency. Solo exhibitions include “Shade Compositions” at Glass Gallery in Paris, France and K.U.E.L., in Berlin, Germany, 2006. Newsome is currently sponsored by Harvestworks, NY.

Duron Jackson: “Five Men”
Rashaad Newsome: “Shade Compositions”

Friday, September 28, 2007.
Performances begin at 7pm:
Rashaad Newsome followed by
Duron Jackson (15 – 20 mins each)

Location: 111 Front St Gallery Buildings, 2nd fl., # 216.
Installation on view: Saturday, 29th, 12 – 8pm and Sunday, 30th, 12 – 8pm

For the 11th Art Under the Bridge Festival, presented by Dumbo Arts Center, curator Felicity Hogan brings together two emerging New York artists, Duron Jackson and Rashaad Newsome, who are connected through their exploration of issues concerning the role of black identity within popular culture and current society. Using performance, installation, video and digital technology in their artistic practice, both artists harness the language of gesture, choreographing and directing male and female performers, to produce original, dynamic and innovative artworks.

Rashaad Newsome’s “Shade Compositions” is an ongoing performance series that, depending on the nature of the space, uses a variable number of black females who perform choreographed dismissive actions that are often characterized as “ghetto” in order to create an orchestra of rhythmic compositions. Using an instrument created with Max MSP technology, a crescendo of aggravated music is built up by the artist editing the beats created live by the girls, thus making each a one-of-a-kind performance.

Duron Jackson presents “Five Men,” a performance that examines the ongoing obsession and distortion of the black (non-European) body throughout contemporary culture. This work is an effort to visually distill (extract) the complexity of what it is to be alien within a western social paradigm while narrating a way of being. Life- sized impressions are taken directly from the male figure, yielding trace or evidence of a unique mark or symbol, which in turn places the unadorned male body in discourse with the social body.

Duron Jackson is a Brooklyn based multi – disciplinary artist whose recent solo exhibition “Revere/Riviled,” curated by Isolde Brielmaier, was held at the Rotunda Gallery in Brooklyn, 2007. Recent group shows include “I Died For Beauty,” curated by Omar Lopez-Chahoud, Newman Popiashvili, New York, 2007 and “Scarecrow,” curated by David Hunt, Postmasters Gallery, New York, 2006.

Originally from New Orleans, Rashaad Newsome lives and works in New York. “Shade Compositions” will be performed in 2008 as part of his residency at Location One and he will also be performing at The Kitchen in spring 2008. Later this year a video of the project is being made as part of the BCAT/Rotunda Gallery’s multimedia residency. Solo exhibitions include “Shade Compositions” at Glass Gallery in Paris, France and K.U.E.L., in Berlin, Germany, 2006. Newsome is currently sponsored by Harvestworks, NY.

Rashaad’s videos, performances, sculptures, and photographs interrogate notions of cultural/ social signifiers as well as how they are formed. They also analyze the complexity of the desire for power and acceptance that is formative for those who are placed in a subaltern position. As Rashaad says “I feel that a large part of the process of identification, for one placed in this position, is folded into everyday life. I use things I see in everyday life in order to decipher this complex psychic structure”. Born in New Orleans, Rashaad received a B.A. in Art History at Tulane University before studying Film at Film Video Arts, New York. Recent awards include: 2007 – BCAT/Rotunda Gallery Joint Multimedia Residency, NYC; 2006 Franklin Furnace grant for Performance Art, NYC; 2005/2006 – l’Entreprise Culturelle Artist in Residence, Paris. Recent exhibitions include: K.U.E.L., Berlin; Glassbox Gallery, Paris; Rush Arts Gallery, NYC; Fondation Cartier, Paris; The Contemporary Arts Center, New Orleans.

www.rashaadnewsome.com

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

Events & Exhibitions

Rashaad Newsome: Compositions
June 19 – July 26 2008

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

Abramović Studio

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

Some recent performance events at Location One include:

Hiraku Suzuki: Live Drawing Performance

December 8, 2011
with live music by Raz Mesinai

 

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

Sophie Hunter: Lucretia

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

Past commissioned performance events have included:

Janez Jansa: Name Readymade

May 7, 2009
Janez Jansa at Location One will take you through a series of artistic, political, administrative and media actions performed by himself together with Janez Jansa and Janez Jansa with a particular focus on their latest personal exhibition entitled NAME Readymade.

Brina Thurston:  Open Call

May 1, 2009

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

Nayland Blake:  Misbehavior III

February 7, 2009

The final Misbehavior, promises to be a grand finale, full of surprises. Be prepared to see interpretations of Blake’s work by artists such as Zeena Parkins, Carolee Schneemann, and Lynn Tillman.

Nayland Blake:  Gorge and Misbehavior II

January 9, 2009

The second night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake. At 6pm Blake will reenact his notorious performance, “Gorge,” a one-hour event in which the artist will sit shirtless in front of a table full of food from which the audience is encouraged to feed him.

Nayland Blake:  Misbehavior I

December 17, 2008
During the course of the exhibition, Blake will also curate two more evenings of performances, January 9 and February 7. Each night he will invite five artists, musicians, and authors to react to his work.

Rob Kennedy:  I Relish Your Balderdash.

June 25, 2008
A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernaliaA screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

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

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

Glen Rumsey Dance Project: ignored in my heaven… reprise

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

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

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

Various Artists: Open Stitch

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

Glen Rumsey Dance Project: ignored…in my heaven

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

Benoit Maubrey and Audio Ballerinas

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

Click here for a full list of our past performances

Music:

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

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

SELECTED PAST EXHIBITIONS:

Na Yingyu: Our Homeland! Gone Just Like That

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

Project Gallery Events / Exhibitions>>

One And Many

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

Lilibeth Cuenca Rasmussen: Afghan Hound

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

Sounds Good

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

John O’Connell: Like a Shark in the Grass

14 April – 27 May 2011

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

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

10 February – 19 March 2011

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

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

5 November 2010 – 22 January 2011

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

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

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

Adel Abidin: I’m Sorry

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

Joan Jonas:

Drawing/Performance/Video

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

Yes, But…

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

Richard Bell: I Am Not Sorry

8 Oct – 25 Nov 2009

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

Virtual Residency 2.0: Levels of Undo

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

Conrad Shawcross: Control

20 May – 1 Aug 2009

Extended! 9-26 Sept 2009

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

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

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

Laurie Anderson: From the Air: Two Installations

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

Nayland Blake: Behavior

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

Catalog availiable.

Jane Philbrick: PULL

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

Virtual Residency Project: Mission Accomplished

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

Jean Shin: And We Move

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

Aoife Collins: Wet Eye

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

Nina Sobell: Internal Message Search

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

Tracey Moffatt: Social Edit

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

Xu Tan: Searching for Keywords

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

Lida Abdul: What We Saw Upon Awakening

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

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

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

IRP Exhibition: Summer 2007

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

Martha Rosler: Virtual Minefield

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

Jeanette Doyle: StarLine Tours

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

IRP Exhibition: Winter 2007

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

Lisa and Nicole Abahuni: In the Sky

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

Artbots: The Robot Talent Show

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

Cliff Evans: The Road to Mount Weather

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

Lukasz Skapski: Video and Photographic Works

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

Carlos Amorales and Javier Viver: Manimal and The Audience

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

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

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

Creative Atelier: Open Stitch

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

Chris Csikszentmihalyi: Skin & Control

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

Victoria Vesna: Nano Mandala

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

Group Exhibition: Creative Intelligence

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

Muntadas: On Translation: On View

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

Claude Closky: Television

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

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

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

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

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

Group Exhibition: Signal to Noise

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

Xu Tan: Qing Hua Porcelain (Blue & White)

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

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

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

Keith Sonnier: O2 = O3; Fractured Oxygen = Ozone

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

Inagural Exhibition: Life After the Squirrel

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

Collaboration in New Media Art:
Does collaboration constitute compromise, act as a catalyst, or infer complexity?

There has been much debate in recent times around collaboration in new media art practice. Amanda McDonald Crowley, Executive Director of EYEBEAM Art and Technology center in New York, will raise questions, deliberate on the issues and propose some answers:

• Does collaboration necessitate compromise?
• Does it mirror the practice of artists working in this field?
• Are new media practitioners even artists?
• What is the role of the curator in a collaborative cultural endeavor?

Amanda McDonald Crowley is the Executive Director of Eyebeam art and technology center in New York. In 2005 Amanda relocated from her native Australia where she had been based while working nationally, as well as in Europe and Asia, as an arts producer, facilitator, researcher and curator specializing in creating new media and contemporary art programs that encourage cross disciplinary practice, collaboration and exchange. Positions she has held include serving served as the Executive Producer of the 2004 International Symposium of Electronic Art (ISEA2004), developing the event from concept to major conferences, exhibitions, performances, concerts and site specific installations on a ferry in the Baltic Sea and locations in Estonia and Finland; Associate Director for Adelaide Festival 2002; and Director of the Australian Network for Art and Technology (ANAT), an organization with a national brief to foster links between the arts, sciences and new technology.
Eyebeam’s website >>

SELECTED PAST EXHIBITIONS:

Main Gallery Exhibitions>>

Rudy Shepherd: Portraits

July 8-31, 2009
In “Portraits,” American Artist-in-Residence Rudy Shepherd presents a series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high-art portraiture, e.g., criminals, anonymous Taliban members, black heroes, or houses.The painted portraits in Shepherd’s “Criminal/Victim” series from 2009 depict both perpetrators and victims of the same crime side-by-side, visually blurring the line between innocence and guilt. By presenting the people first and the stories second a space is created for humanity to be re-instilled into the lives of people who have been reduced to mere headlines by the popular press (e.g. Timothy McVeigh).

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

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

Rob Kennedy: I Relish Your Balderdash

June 25th, 2008
A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernaliaA screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

Rashaad Newsome: Compositions

June 19 – July 26 2008
Have pop culture and globalization co-opted the wonderfully expressive gestures of the black America female? This is the question that Rashaad Newsome explores in video and photography in Shade Compositions, one of two new works in an exhibition opening on Thursday June 19th at Location One.

Daniel Andersson & Tseng Yu-chin: IRP Exhibition 2008

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

Eric Siu & Luis Nobre

May 21, 2008
Optical Handlers – eeyee is a new interactive media project that consists of an optical goggle device constructed by the artist, which splits the vision into four channels. Hold It! is an installation that creates a fantastical, sometimes hallucinatory vision of nature, the city and the artist’s studio. Visual play is generated by overlapping layers of drawings, ephemeral sculptures made of paper and cardboard, light wire objects, all constructed by Nobre in-situ.

Nina Sobell: Internal Message Search – A Performative Installation

April 18-April 30, 2008
Nina Sobell will install her studio in Location One’s Project Gallery, which includes recent wax
sculptures, drawings, keyboard, guitar and mic.
Visitors to the gallery will be able to engage in a dialogue with the artist about this work, and may bring their own instruments to improvise with her live on the web.

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

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

Hung Nguyen Manh: Special Sound Performance

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

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

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

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

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

Nine International Artists Exhibit

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

Jeanette Doyle: StarLine Tours

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

IRP Exhibition, Winter 2007

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

Leesa & Nicole Abahuni: In the Sky

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

International Residency Program 2005-2006 – Group Show II

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

Andrew Duggan: ECHO

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

International Residency Program 2005-2006 – Group Show I

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

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

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

Martin Beauregard: Somnambulic

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

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

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

Martin Beauregard & Marlena Kudlicka: IRP Exhibition Spring 2005 II

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

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

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

Cécile Paris: 3 videos and 3 songs

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

Mark Themann: PASSED for EXPORT: an installation.

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

IRP Exhibition 2004

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

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

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

Vesna Pavlovic: Casual Friday

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

Miguel Soares: Red Alert

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

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

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

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

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

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

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

Xu Tan: Qing Hua Porcelain (Blue & White)

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

Francois Bucher: White Balance

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

Atsushi Nishijima: Subtractive Creation/Visible Sound

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

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

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

Katya Sander and François Bucher: RECORDERS

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

SELECTED PAST EXHIBITIONS:

Main Gallery Exhibitions>>

Rudy Shepherd: Portraits

July 8-31, 2009
In “Portraits,” American Artist-in-Residence Rudy Shepherd presents a series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high-art portraiture, e.g., criminals, anonymous Taliban members, black heroes, or houses.The painted portraits in Shepherd’s “Criminal/Victim” series from 2009 depict both perpetrators and victims of the same crime side-by-side, visually blurring the line between innocence and guilt. By presenting the people first and the stories second a space is created for humanity to be re-instilled into the lives of people who have been reduced to mere headlines by the popular press (e.g. Timothy McVeigh).

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

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

Rob Kennedy: I Relish Your Balderdash

June 25th, 2008
A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernaliaA screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

Rashaad Newsome: Compositions

June 19 – July 26 2008
Have pop culture and globalization co-opted the wonderfully expressive gestures of the black America female? This is the question that Rashaad Newsome explores in video and photography in Shade Compositions, one of two new works in an exhibition opening on Thursday June 19th at Location One.

Daniel Andersson & Tseng Yu-chin: IRP Exhibition 2008

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

Eric Siu & Luis Nobre

May 21, 2008
Optical Handlers – eeyee is a new interactive media project that consists of an optical goggle device constructed by the artist, which splits the vision into four channels. Hold It! is an installation that creates a fantastical, sometimes hallucinatory vision of nature, the city and the artist’s studio. Visual play is generated by overlapping layers of drawings, ephemeral sculptures made of paper and cardboard, light wire objects, all constructed by Nobre in-situ.

Nina Sobell: Internal Message Search – A Performative Installation

April 18-April 30, 2008
Nina Sobell will install her studio in Location One’s Project Gallery, which includes recent wax
sculptures, drawings, keyboard, guitar and mic.
Visitors to the gallery will be able to engage in a dialogue with the artist about this work, and may bring their own instruments to improvise with her live on the web.

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

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

Hung Nguyen Manh: Special Sound Performance

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

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

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

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

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

Nine International Artists Exhibit

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

Jeanette Doyle: StarLine Tours

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

IRP Exhibition, Winter 2007

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

Leesa & Nicole Abahuni: In the Sky

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

International Residency Program 2005-2006 – Group Show II

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

Andrew Duggan: ECHO

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

International Residency Program 2005-2006 – Group Show I

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

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

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

Martin Beauregard: Somnambulic

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

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

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

Martin Beauregard & Marlena Kudlicka: IRP Exhibition Spring 2005 II

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

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

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

Cécile Paris: 3 videos and 3 songs

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

Mark Themann: PASSED for EXPORT: an installation.

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

IRP Exhibition 2004

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

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

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

Vesna Pavlovic: Casual Friday

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

Miguel Soares: Red Alert

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

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

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

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

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

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

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

Xu Tan: Qing Hua Porcelain (Blue & White)

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

Francois Bucher: White Balance

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

Atsushi Nishijima: Subtractive Creation/Visible Sound

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

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

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

Katya Sander and François Bucher: RECORDERS

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

Senior Artist in Residence:

Carolee Schneemann

Transformed the definition of art, especially discourse on the body, sexuality, and gender. The history of her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body. Painting, photography, performance art and installation works shown at Los Angeles Museum of Contemporary Art; Whitney Museum of American Art; Museum of Modern Art, NYC; Centre Georges Pompidou, Paris; and most recently in a retrospective at the New Museum of Contemporary Art in New York entitled “Up To And Including Her Limits”. Film and video retrospectives Centre Georges Pompidou, Paris; Museum of Modern Art, NY; National Film Theatre, London; Whitney Museum, NY; San Francisco Cinematheque; Anthology Film Archives, NYC. She has taught at many institutions including New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; Pollock-Krasner Foundation Grant (1997, 1998); 1993 Guggenheim Fellowship; Gottlieb Foundation Grant; National Endowment for the Arts Fellowship. Honorary Doctor of Fine Arts, Maine College of Art, Portland, ME. Lifetime Achievement Award, College Art Association.

International Fellows:

Lucy Skaer
Skaer was born in Cambridge and studied at the Glasgow School of Art. Much of her work consists of her interacting with, and changing, public spaces. In one piece, she took up a paving stone on Glasgow’s Buchanan Street and then had the Earl of Glasgow ceremoniously lay down a replacement, while in an Amsterdam-based piece, she left a diamond and a scorpion side-by-side on a pavement. She has also secretly hidden moth and butterfly pupae in criminal courts in the hope that they will hatch in mid-trial.
Skaer has also exhibited drawings and is a member of the Henry VIII’s Wives collective of artists.
In 2003, Skaer was shortlisted for the Beck’s Futures prize. She currently lives and works in Glasgow.
In 2008 Skaer was the subject of a mid-career retrospective at the Fruitmarket Gallery in Edinburgh, Scotland which included newly commissioned work. There was a comprehensive monograph published to accompany the show.
Her most recent major solo exhibition is ‘A Boat Used As A Vessel’, Kunsthalle Basel, Basel, Switzerland (April 2009 – June 2009).
Lucy Skaer is represented by doggerfisher, Edinburgh (www.doggerfisher.com)
In April 2009, she was shortlisted for the Turner Prize.

Richard Bell

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

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

International Residents

Adel Abidin
Adel Abidin was born in 1973 in Baghdad, Iraq, where he studied painting at the Academy of Fine Arts before moving to Helsinki, Finland in 2001 to pursue a MFA in new media, a degree he received in 2005. He is represented in major museum collections in Finland and is internationally recognized through numerous exhibitions, including the 2007 Venice Biennale; On the Margins (2009, Kemper Art Museum, St Louis); and the 2008 Cairo Biennale. He has held solo exhibitions throughout Europe, Scandinavia and the Middle East, and, in 2010, Abidin’s work will be the subject of a major solo exhibition at Kiasma, Helsinki’s Museum of Contemporary Art. For more information on Abidin’s work visit his website at http://www.adelabidin.com/

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


Tomomi Adachi
Tomomi Adachi was born in Kanazawa, Japan in 1972 and graduated from Waseda University in Tokyo in 1994 with a degree in philosophy and aesthetics. He has created multiple sound installations inspired by Fluxus, played improvised music with voice, live electronics, self-made instruments (e.g. the “Tomomim”), and has composed works for his own group “Adachi Tomomi Royal Chorus,” which is a punk-style choir. He has also organized experiment music concerts and inter-disciplinary performances in Japan and Germany, working collaboratively with artists such as Chris Mann, Trevor Wishart, Nicolas Collins, Jaap Blonk, Carl Stone, Akira Sakata, Erhart Hirt, Butch Morris, and Jon Rose. Recently, he is focusing his activities on solo performance (with voice, sensors, computer, self-made instruments), sound poetry (especially to the unknown Japanese sound poetry tradition), video installation and workshop style big ensemble with non-professional voice and instruments. To learn more about Adachi’s work, please visit his website at http://www.adachitomomi.com/

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


Alexandra Mota de Aguiar
Alexandra Aguiar was born in Funchal, Madeira (Portugal) in 1977. In 1996 she moved to Oporto city to attend theatre classes at Balleteatro Professional School. Two years later she travelled to New York where she remained for approximately one year, experiencing her first encounter with art. Shortly thereafter, she went to Lisbon to study sculpture at the Center for the Arts and Visual Communication (AR.CO), completing her degree in 2004. Since then, she has held solo exhibitions at several venues in Portugal, and has participated in international group exhibitions, most notably Anteciparte (2005, Parque Eduardo VII, Lisbon) and Drawing Attention (2008, Invaliden Gallery, Berlin). She currently lives and works in Berlin.

Aguiar’s residency at Location One is sponsored by the Calouste Gulbenkian Foundation and FLAD, Luso American Foundation.



Wojtek Doroszuk
Doroszuk was born in 1980 in Glogów, Poland and currently resides in Kraków where he received his MFA from the Academy of Fine Arts in 2006. In addition to critically acclaimed solo exhibition Special Features at BWA Awangarda Gallery (2009, Wroclaw), and another at the Bunkier Sztuki (2007, Kraków), he has participated in innumerable group exhibitions throughout Europe since 2003, including, most recently, Double Movement: Migratory Aesthetics (2008, The Stenersen Museum, Oslo, Norway); Blankly, perfect summer (2008, vertexList, New York); Where the East Ends (2008, Nassauischer Kunstverein, Wiesbaden, Germany); Flowers of Our Lives (2008, CSW Znaki Czasu, Toruń, Poland); Ain’t No Sorry (2008, Museum of Modern Art, Warsaw, Poland); The Memory of this Moment from the Distance of Years (2007, Schindler’s Factory, Kraków); At the Center of Attention (2006, Centre for Contemporary Art Ujazdowski Castle, Warsaw).

Doroszuk’s residency at Location One is supported by the Trust for Mutual Understanding, Ministry of Culture, Poland, and the Polish Cultural Institute, New York.


Mattias Ericsson
Mattias Ericsson will join Location One as the first winner of the Hasselblad Foundation’s Victor Award, an honor that recognizes the best young Scandinavian artist working in photography. Ericsson was born in 1979 in Ängelholm, Sweden, and received his MFA in 2009 from the Academy of Fine Arts, Umea University. He has participated in numerous group exhibitions throughout Sweden, including most recently, What is identity? (2009, Ha Noi Art Academy, Ha Noi), Ny nordisk fotografi / From Now On (2009, Hasselblad Foundation, Göteborg), It’s about time (2009, Andersson Sandström, Stockholm), Baart, Bachelor utställning (2007, Konsthögskolan, Umeå), Tavlor på en utställning? (2006, Norrlandsoperan, Umeå), and Singalong your solosong (2005, Gallery Tapeten, Visby). Recent solo exhibitions include: 1532 Photographs (2009, Galleri 60, Umeå) and Kanske är allt grått ändå, Konstföreningen Aura (2009, Fotografi I Fokus, Lund). To learn more about Ericsson’s work, please visit his website at http://www.mattiasericsson.se

Ericsson’s residency at Location One is sponsored by the Hasselblad Foundation.


Lyra Abueg Garcellano
Lyra Abueg Garcellano was born in 1972 in Manila, Philippines, and graduated from the Ateneo de Manila University with a BA in Interdisciplinary Studies (1994) and from the University of the Philippines with a BFA (2000). She has held numerous solo exhibitions and was an artist in residence for the Cemeti Art Foundation in Jogjakarta, Indonesia, which was made possible through the UNESCO-ASCHBERG Bursaries for Artists in 2002. She has also participated in countless international group exhibitions, including Post-Tsunami Art, Emerging Artists from Southeast Asia (2009, Milan, Italy), Jakarta Biennale XIII (2009, Jakarta), Trauma Interrupted (2007, Cultural Center of the Philippines); Balancing Act (2006, Future Prospects, Quezon City); Flippin’ Out: From Manila to Williamsburgh (2005, Goliath Visual Space, NY); and the 2002 Gwangju Biennale. Garcellano is also an accomplished illustrator of children’s books and is the author of a comic strip in a national daily newspaper in the Philippines.

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


Jesse Jones
Jesse Jones was born in 1978 in Dublin, Ireland, and is a graduate of the National College of Art & Design (BA, 2002), and the Dun Laoghaire Institute of Art and Design (MA, 2005). She has held solo exhibitions throughout the U.K.; and has participated in numerous international group exhibitions, such as I Have Doubts, Centre for Visual Introspection, Bucharest, Romania (2009); Ubersong, Plan 9, Bristol, UK (March 2009); Historians of the Present 2, Ghost of Buildings, Blancpain Art Contemporain, Geneva (2009); Nought to Sixty, ICA, London (2008), with upcoming exhibitions including Red Thread (2009, TANAS, Berlin), and The 11th International Istanbul Biennial (2009).

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


Zhou Tao
Zhou Tao was born in 1976 in Changsha, China and now resides in Guangzhou, China. He graduated from Guangzhou Academy of Fine Arts with an MFA degree in 2006. In addition to numerous solo exhibitions held internationally, Zhou has participated in many group shows, including the 7th Shanghai Biennale (2008); Guangzhou Station: Special Exhibition of Contemporary Art of Guangdong (2007); China Power Station Part II at the Astrup Fearnley Museum of Modern Art, Oslo (2007); 24 HR Art, NT Centre for Contemporary Art, Sydney
(2007); Platform China, Beijing
(2006); Accumulation-Canton Express Next Stop, Tang Contemporary Art Center, Beijing (2006); Gambling, Para / Site Art Space, Hong Kong (2005); Archaeology of the Future: The 2nd Triennial of Chinese Art, Nanjing Museum, Nanjing (2004); and FEI, FEI, FEI, Shanghai Duolun Museum of Modern Art, Shanghai (2004).

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

What is Location One?

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

How much does it cost?


 Most of our events are FREE.

What are your programs?

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

Who qualifies as a “Senior Artist”?

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

Who are the International Fellows?

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

What is the emerging artists’ Residency Program?

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

How do I apply to the International Residency Program?

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

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

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

What is the Exhibition Program?


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

How do I propose an exhibition?


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

What is the Music/Performance program?


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

What is the Discussion Series?

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

How can I help support Location One?

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

What benefits are there to being a member?

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

How can I become a member?

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

Can I rent the space for my party/event?


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

How is Location One funded?


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

What is the history of Location One?

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

Where are you located?


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

This is our credo:

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

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

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

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

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

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

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

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

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

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

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

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

The 28098th dorkbot-nyc meeting took place on Wednesday, February 7th, 2007, at 7pm.

It featured the fragrant and marvellous:

	free103point9: Transmission Arts Two of tonight’s presenters, 31 Down and Tianna Kennedy, are free103point9 “transmission artists”. Tom Roe and Galen Joseph-Hunter will give us a quick intro to free103point9: free103point9 is a non-profit arts organization focused on establishing and cultivating Transmission Arts. This genre includes experimental practices in radio art, video art, light sculpture, and installation and performance utilizing the electromagnetic spectrum. With locations in Upstate and Brooklyn, New York, free103point9 activities support and promote artists exploring transmission frequencies for creative expression. free103point9 programs include public performances and exhibitions, an experimental music series, an online radio station and distribution label, an education initiative, and an artist residency program and study center. http://www.free103point9.org
	31 Down: Pay-Phone Theater represented by Mirit Tal and Shannon Sindelar 31 Down is a theater company that uses radio and network technologies as the backbone for their storytelling in performances and installations. 31 Down has provided a TRIXBOX server (based on Asterisk) for free103point9: transmission arts. Transmission Artists with free103point9 now have access to an open source PBX for use in their artwork. Mirit Tal and Shannon Sindelar, of 31 Down, will introduce the use of this server in their upcoming theater projects, including the subway pay-phone mystery installation, Canal Street Station, opening this March. http://www.31down.org
	Brad Borevitz: The State of the Union Lamenting the triumph of iconicity over rhetoricity in political speech, Brad Borevitz created the State of the Union project to consider if evidence for this assertion exists in the language of the the yearly address which stands as a controlled sample over the course of U.S. history. The website provides searchable access to the corpus of all the State of the Union addresses from 1790 to 2007, and uses visualization software which allows a user to explore how specific words gain and lose prominence over time. State of the Union focuses on the relationship between individual addresses as compared to the entire collection of addresses, highlighting what is different about each document. From this information, users are invited to try and understand the connection between politics and language — between the state we are in, and the language which names it and calls it into being. http://www.onetwothree.net/
	Tianna Kennedy Tianna’s artistic endeavors are collaborative explorations of human/information interaction with an emphasis on the transmission of affect. Though her work often takes shape via sound recording, web-streaming, and radio technologies, her focus inevitably returns to the people involved in the process(es). For her presentation at dorkbot, Tianna will talk about the paradoxical role of nostalgia in the avant-garde of sound technology. Along the way she’ll touch on edison’s gramophone, Sir Oliver Lodge’s Etheric experiments, and her collaborator, Tarikh Korula’s own recent archaeoacoustic stylus, which is supposed to retrieve latent ambient historical sound trapped in objects at the moment of their production. http://www.free103point9.org/artist.php?artistID=10

Here’s a printable flyer for the meeting. Thanks, Joel.

Some images from the meeting! More images from Roberto.

Yumiko attended the National University of Fine Arts and Music in Tokyo with a scholarship from the Japan Foundation and obtained her MFA in 2002. In 1997, she was awarded the prestigious “Kume Keiichiro” award followed by the “Takahashi Geiyukai” award in 2003.

Her work has been shown extensively and she has participated in various international art events: in 2003, at Echigo-Tsumari Art Triennial (Nigita); “Good Luck” exhibition at Tama City Cultural Foundation (Tokyo) in 2003, and in 2000, “The Future of Art” curated by Manabu Goto at the Kitakata Museum (Fukushima), Japan.

Projects and Exhibitions at Location One:
Tent for Poet Multimedia Installation :: Residents’ Exhibition Spring 2005

Online:
Video Interview with Yukie Kamiya, Associate Curator of New Museum of Contemporary Art.

Website

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

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 includes 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; Award of Distinction, School of Visual Arts, NY.

Projects and Exhibitions at Location One:
In the Sky, solo show installation : Fall 2006
Conductive Agents, interactive installation :: Residents’ Exhibition June 2006

Online:
Website :includes links to other projects

Video Interview with Radmila-Iva Jankovic, Croatia, Curator-in-Residence, ISCP (2006)

Leesa and Nicole Abahuni’s residency at Location One is supported by Warhol Foundation.

	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

	Bret Doar: Huffyphonic Gyrobanshee 1000Presenting the Huffyphonic Gyrobanshee 1000 a mechanized bicycle wheel/guitar hybrid instrument, plus other mechanical marvels.http://www.kingvolcano.comhttp://homepage.mac.com/kingvolcano
	Jon Lippincott: Vis Virtual UniverseVis is a virtual universe written from the ground up in C++. It has become the a means of creative expression for its author, who has used it for live performances at art spaces and nightclubs in NYC. It is a relatively young project (less than a year), and has a number of potential paths of evolution, the most likely being some kind of online space where users can create their own worlds and communicate with one another in unique ways.http://www.jonlippincott.com
	David Kareve: horrified robot artDavid Karave creates horrified robot art. “Home Automation” is a combination of cinema, theatre and violent robotics. A family of crash test dummies, in a walk-in living room, react to the terror color code alerts on their television, by violently & musically smashing into themselves. His work will be on display at the Edward Albee foundation, 91 Fairview Ave, Montauk, NY, September 24-30th.http://www.crashingart.com

Some images from the meeging here: 06.sept.2006

Click here to view the embedded video.

Wednesday, June 14
7 – 10 PM

DJ Unicorn, DJ Normal Robot, and DJ Inquisition will lead the festivities including
Special Guests:
Reverend Luke Murphy &
Leesa and Nicole Abahuni

irreverent costumes
special performances by our artists
dancing
free libations

Tickets $15 (include one drink)
FREE for Location One members!
RESERVATIONS: Becki 212.334.3347 or becki@location1.org

Sign up for your membership on or before June 14th and you will get this event as a bonus, in addition to the usual three members-only happenings throughout the year, and free admission, exclusive invitations, special events and other benefits.

Membership starts at $25 for artists and $50 for individuals.

http://www.location1.org/membership/

Only in the experimental and unrestricted environment of Location One will you see and hear such a convergence of fiercely creative audio, visual, and performance art and meet so many intriguing people.

Thursday, May 18, 2006 – 6:30-8:30pm – FREE

Location One presents ECHO, a collaborative project created by visual/media artist Andrew Duggan and dancers Jonathan Kelliher and Joanne Barry of Siamsa Tíre, the National Folk Theatre of Ireland. For one-night only traditional Irish dance will be transported from the South West coast of Ireland to Location One’s Gallery space in New York City. Impromptu street performances and filming will take place in NYC at undisclosed locations leading up to the event. The resulting project will be presented at Location One.The event will take place on Thursday, May 18, 2006 (6:30-8:30pm). The video installation will be continuous throughout the presentation, with dance performances at 7pm and 8pm (approximately 10 minutes in length). The event is free and open to the public.ECHO is a multidisciplinary project that examines the creative dialogue between dance and video. The work explores folk movement vocabulary in an urban context. With a focus on the complex nature of ‘looking’, it breaks down some of the perceived barriers between art forms. In keeping with folk tradition, a crossroads becomes a symbolic space through which the dancers have a physical dialogue, questioning the origin of the echo. At its core, ECHO creates crossroads between traditional and contemporary forms, rhythmic structures, the physical dance space, and cultures.Andrew Duggan’s media and installation work investigates the space between tradition (fact/folk/lore, etc..) and contemporary space and time. He plays with cultural representations and perceptions and has presented many projects in the public domain. In Kerry, the Bán/Blane series (2004) were projected on to a building reputed to have been prepared for the escape and arrival of Marie Antoinette. He frequently collaborates with dancers, musicians and cultural institutions. In CentreStage, he worked with the National Folk Theatre of Ireland to create an installation on the traditional (Irish) crossroads and the nature of looking. Born in Cork and raised in Dublin, Duggan lives and works in Dingle (West Coast of Ireland). He studied at the Crawford College of Art and design, Cork; the National College of Arts and Design, Dublin; and the University of Ulster, Belfast.Siamsa Tíre (pronounced shee-am-sah tir-a: enjoyment of the ground), the National Folk Theatre of Ireland was founded in 1974. Its mission is to reflect Ireland’s great wealth of music, dance and folk tradition for the stage, through vibrant, colorful theatricality and to continue to create new folk theatre presentations, drawing on their traditions and rich cultural reservoir. The company has performed their unique brand of folk theater at venues all over Ireland, and in the US, Canada, Brittan, Germany, France, Belgium, Holland, Italy, Spain, South America, and Australia.Andrew Duggan has been an artist-in-residence at Location One since September 2005. His residency is supported, in part, by The Arts Council/An Chomhairle Ealaíon (Ireland).video documentation:[display_podcast]

Click here to view the embedded video.

a monthly conversation with an artist who is using (or misusing) technology in an interesting way. This month: Nina Sobell.

Nina Sobell is a pioneer video artist whose improvisational time-based sound and image Web performances are embedded with her drawing, sculpture and video background. She is inspired by the collaborative process that evolves from crossing the lines of music, art and technology, and opening up these channels interactively to the public, initially through interactive video installations, and more recently on the Web. Sobell is primarily interested in non-narrative work that leaves open the possibility for multiple interpretations. Her collaborations and installations as a core member of ParkBench stem from her efforts to demystify technology by assisting in the implementation of ParkBench Public Access Web kiosks run by inner city youth. Sobell envisions ParkBench as a way to promote multicultural, transmedia dialogue and as a safe place to congregate in cyberspace. She is the recipient of numerous awards, including grants from the NEA and NYSCA for her pioneering video performance art. She received a BFA sculpture and printmaking from Tyler School of Art, Temple University, and an MFA in sculpture from Cornell University. Her sculptures, installations, and video art have been shown throughout the World.

Sound Installations at Location One
Slowscan Soundave (III) & The Telæsthetic Finger
October 11 – November 26, 2005
with works by Douglas Repetto, Atsushi Nishijima, Kevin Centanni, Heather Wagner
curated by Heather Wagner

Location One continues its Fall 2005 season with an exhibition in two parts featuring a large-scale interactive installation in the main gallery and a collection of smaller sound pieces in the project room.

Slowscan Soundwave (III) is 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 piece “breathes” in sympathy with the ambient sounds in the gallery, rippling and reflecting light when there is a sound and resting, invisible, when there is silence. Because of the transparency of the mylar strips, the effect is subtle and eerie, a gossamer membrane that functions as acoustic barometer, making visible sonic phenomena that are often heard, but rarely seen.

Telæsthesia is the perception of events or objects not actually present. In Location One’s Project Room, we present The Telæsthetic Finger, a selection of works that function as acoustic crab traps: devices that are cast out and reeled back in, filled with booty…or not. On display: the booty and the devices.

Works by Kevin Centanni (sneaking into frequencies usually accessible only by police radios and emergency pagers, this piece uses a computer script to convert the data to ASCII and the messages are presented in real time on a scrolling LED display like so many stock quotes); Atsushi Nishijima (recordings at the end of a kite sent out of sight and reeled back in), and Heather Wagner (“Attempted–Not Known” comes out of an old hobby of sending recording devices through the mail, gathering acoustic documentation of their journeys. In this version, the packages are sent to impossible addresses, for example “GOD”, or “Amelia Earhart” and are, hopefully, returned to sender. Inexplicably, the reasons for nondelivery – “Insufficient Address”, “Outside Delivery Limits” – vary from addressee to addressee.

Artist Biographies:

Douglas Irving Repetto
is an artist and teacher. His work, including installations, performances, recordings, and software has been presented internationally. He runs a number of arts/community-oriented groups in New York City and on the web, including dorkbot: people doing strange things with electricity, ArtBots: The Robot Talent Show, organism: making art with living systems, and the music-dsp mailing list and website. When not teaching or making art, Douglas spends much of his time cooking, coveting buildings, and socializing with members of the plant kingdom. He is Director of Research at the Columbia University Computer Music Center and lives in New York City with his wife, writer Amy Charlotte Benson; two cute/bad cats, Pokey and Sneezy; and many plants.

Kevin Centanni
is a veteran of physical computing and interactive multimedia. His technological wizardry and innovative approach to high-tech problems have led to his involvement in many projects, ranging from museum installations to corporate trade show exhibits.Kevin is currently President of Controlled Entropy, a Brooklyn based technology consulting firm that has been producing interactive technology for over 10 years. From 2000 to 2004, Kevin was also one of the owners of Remote Lounge, a unique interactive bar/nightclub in New York City. Previously Kevin Centanni was Director of Technology for Interfilm, an interactive motion picture company that went public in 1994.

Atsushi Nishijima
is a composer and visual artist. Originally from Kyoto and trained in experimental and contemprary music, Nishijima creates sculptures and installations which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city, which becomes a gigantic synthesizer. He participcated in Location One’s International Residency Program and had a solo show entitled “Subtractive Creation: Visible Sound”, 2001. His work has been show in Asia and the US, including Art Omi International Arts Center, New York, 2003, Sound in the Landscape; The New Museum of Contemporary Art, New York, 1994 with Rolywholyover A Circus as part of the Citycircus. Nishijima is also a performer and was featured in Roulette’s Festival of Mixology 2003, New York and the Tokyo Performing Arts Market – Alternative “Discovering New Talent – Music”.

Heather Wagner
is an artist and practicing ‘pataphysician with a black belt in Taiwan (inadvertently left in hotel room). She plays drums with the indie-rock band Morex Optimo and is director of online exhibitions at Location One. She is grateful to the curator for thinking of her.

Sound Installations at Location One
Slowscan Soundave (III) & The Telæsthetic Finger
October 11 – November 26, 2005
with works by Douglas Repetto, Atsushi Nishijima, Kevin Centanni, Heather Wagner
curated by Heather Wagner

Location One continues its Fall 2005 season with an exhibition in two parts featuring a large-scale interactive installation in the main gallery and a collection of smaller sound pieces in the project room.

Slowscan Soundwave (III) is 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 piece “breathes” in sympathy with the ambient sounds in the gallery, rippling and reflecting light when there is a sound and resting, invisible, when there is silence. Because of the transparency of the mylar strips, the effect is subtle and eerie, a gossamer membrane that functions as acoustic barometer, making visible sonic phenomena that are often heard, but rarely seen.

Telæsthesia is the perception of events or objects not actually present. In Location One’s Project Room, we present The Telæsthetic Finger, a selection of works that function as acoustic crab traps: devices that are cast out and reeled back in, filled with booty…or not. On display: the booty and the devices.

Works by Kevin Centanni (sneaking into frequencies usually accessible only by police radios and emergency pagers, this piece uses a computer script to convert the data to ASCII and the messages are presented in real time on a scrolling LED display like so many stock quotes); Atsushi Nishijima (recordings at the end of a kite sent out of sight and reeled back in), and Heather Wagner (“Attempted–Not Known” comes out of an old hobby of sending recording devices through the mail, gathering acoustic documentation of their journeys. In this version, the packages are sent to impossible addresses, for example “GOD”, or “Amelia Earhart” and are, hopefully, returned to sender. Inexplicably, the reasons for nondelivery – “Insufficient Address”, “Outside Delivery Limits” – vary from addressee to addressee.

Artist Biographies:

Douglas Irving Repetto
is an artist and teacher. His work, including installations, performances, recordings, and software has been presented internationally. He runs a number of arts/community-oriented groups in New York City and on the web, including dorkbot: people doing strange things with electricity, ArtBots: The Robot Talent Show, organism: making art with living systems, and the music-dsp mailing list and website. When not teaching or making art, Douglas spends much of his time cooking, coveting buildings, and socializing with members of the plant kingdom. He is Director of Research at the Columbia University Computer Music Center and lives in New York City with his wife, writer Amy Charlotte Benson; two cute/bad cats, Pokey and Sneezy; and many plants.

Kevin Centanni
is a veteran of physical computing and interactive multimedia. His technological wizardry and innovative approach to high-tech problems have led to his involvement in many projects, ranging from museum installations to corporate trade show exhibits.Kevin is currently President of Controlled Entropy, a Brooklyn based technology consulting firm that has been producing interactive technology for over 10 years. From 2000 to 2004, Kevin was also one of the owners of Remote Lounge, a unique interactive bar/nightclub in New York City. Previously Kevin Centanni was Director of Technology for Interfilm, an interactive motion picture company that went public in 1994.

Atsushi Nishijima
is a composer and visual artist. Originally from Kyoto and trained in experimental and contemprary music, Nishijima creates sculptures and installations which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city, which becomes a gigantic synthesizer. He participcated in Location One’s International Residency Program and had a solo show entitled “Subtractive Creation: Visible Sound”, 2001. His work has been show in Asia and the US, including Art Omi International Arts Center, New York, 2003, Sound in the Landscape; The New Museum of Contemporary Art, New York, 1994 with Rolywholyover A Circus as part of the Citycircus. Nishijima is also a performer and was featured in Roulette’s Festival of Mixology 2003, New York and the Tokyo Performing Arts Market – Alternative “Discovering New Talent – Music”.

Heather Wagner
is an artist and practicing ‘pataphysician with a black belt in Taiwan (inadvertently left in hotel room). She plays drums with the indie-rock band Morex Optimo and is director of online exhibitions at Location One. She is grateful to the curator for thinking of her.

Friday, January 21 st , 2005

8:30 pm
Tickets: $12

Fifteen years after making a brief splash as an ill-fated downtown supergroup in the avant jazz and experimental music scene, Odd Job (Shelley Hirsch, Ned Rothenberg, David Weinstein and Samm Bennett along with new member bassplayer Stomu Takeishi) will give a one night reunion concert at Location One on Friday, January 21st , 2005.

In 1990 the group surprised and thrilled audiences by mixing skilled free noise improvisations with revisionist post-pop arrangements of rock and jazz standards. Their imaginative revisiting of songs by The Beatles, Jimi Hendrix, Bill Withers and other well-known pop icons subjected familiar melodies and structures to brutally altered arrangements and irreverent reconstruction.

Their inside-out recording of Hendrix’s Foxy Lady (female vocalist Hirsch, guitarless band) has earned them near legend status (Live at the Knitting Factory, Vol 2).

After one year the group disbanded amidst a host of invitations and exaltations, citing schedule conflicts and personal differences.

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

“Demotic” by Antoinette LaFarge and Robert Allen
a performance work about American Memory, a single character whose many voices are woven together into a complex texture of language, sound, and music to create a kind of covert national anthem.

“Demotic …of or pertaining to the current ordinary everyday form of a language; of or pertaining to the common people.”

All performances at 10pm EST (7pm PST)
Thursday, July 29
Friday, July 30
Saturday, July 31

How do we best portray the multiplicity underlying the American experience? In “Demotic,” artists Antoinette LaFarge and Robert Allen harness the Internet and the stage to create a performance work exploring American Memory. Made possible through the Beall Center’s high speed connectivity, the performance features a single live actor who draws on an ensemble of sound artists, dispersed performers, avatars, and the everyday experience of online citizens. From this tour-de-force improvisation emerges both a complex texture of language, sound, and music and a contemporary national anthem.

Live performances will take place at the Beall Center for Art and Technology, Irvine, CA.

Admission is free but seating is limited. Reservations are suggested (949) 824-4339
Directions: http://beallcenter.uci.edu/directions/directions.htm

All performances of “Demotic” will be webcast live via RealAudio at this address http://media.nacs.uci.edu:8080/ramgen/encoder/demotic.rm

Co creators: Antoinette LaFarge + Robert Allen
Stage Director: Robert Allen
Online Director: Antoinette LaFarge
Sound Artists: Maria de los Angeles Esteves and Jeff Ridenour
Theater Actor: Tracey Leigh
Online Performers: Marlena Corcoran, Ursula Endlicher, Richard Foerstl, Lise Patt, Richard Smoley, Heather Wagner

“RE/ general focus of work

1.Collaborate with the contexts + possibilities at Location One. This open approach, refuses a pre-determinism + echoes my 20 years of nomadicism within: Site specific “Installations”, Performances and a Sculptural practice, enacted across Australia, Western and Eastern Europe, and the USA.

2.Given the artists and cross media and cross cultural contexts, accessible via Location One, how can a context specific practice, continue to objectify, as an intuitive process, a paradoxical occurrence and a conceptually pointed manifestation?

3.Can a materiality (including the “high –tech” + the collaborative) and the conceptual – can each be utilized, to (both) reflect on itself and question the other. Start with the video/DVD media “finish” with the question: Where does one gesture end and the other begin?”
Recent exhibitions include: Palazzo della Pappesse, Siena, Italy; ARCO, Madrid, Spain; Palais de Tokyo, Paris, France.

Mark Themann’s residency at Location One is sponsored by the New Media Arts Board-Australia Council and Arts Victoria.

Choreographed by Katja Rotzoll
Arranged by Irina Kornejewa
Technical Assistance by Thomas Berndt

Note: Space is limited and the performance will begin promptly at 8 PM at Location One’s gallery at 26 Greene Street. Audience members are advised to arrive early to assure admission. Doors will open at 7:30 PM for ticket purchase or for member sign-in.

The Audio Ballerinas will perform two pieces; PEEPERS (8 minutes): Audio Ballerinas with photo-resistor sensors and group choreography with spotlights on tripods, and YAMAHA LADIES (15 minutes): Audio Ballerinas with exposed Yamaha keyboards and mercury sensors. Their movements trigger the various sounds and melodies of the dismembered keyboard. These pieces have been choreographed by Katja Rotzoll and arranged by Irina Kornejewa. There will also be a special solo performance, AUDIO HAT, choreographed and performed by Irina Kornejewa. Kornejewa has worked with a group of New York dancers to create these performances, which have been facilitated with the technical assistance of Thomas Berndt and Location One.

[Show as slideshow]

Benoît Maubrey and his Berlin-based Audio Gruppe build electro-acoustic clothing and suits. These are clothes equipped with loudspeakers, amplifiers, and 257 K samplers that enable them to react directly with their environment by recording live sounds, voices, or instruments in their proximity, and amplifying them as a mobile and multi-acoustic performance. They also wear radio receivers, contact microphones, light sensors and electronic looping devices in order to produce, mix, and multiply their own sounds and compose these as an environmental concert. The performers use rechargeable batteries and/or solar cells, which ensures them complete mobility both indoors and outdoors.

Thanks to the vision and generosity of the Rockefeller Family Foundation, Location One has conducted over the past year a continuing investigation into the possibilities of collaborative Internet-based interactivity, combining real-time drama or physical movement with electronic audio and visual production. This performance is the latest experiment in this investigation.

Click here to view the embedded video.

Interview from Isabelle Jenniches with Carole Stakena, Deputy Director and Curator,
Creative Time, New York

October 2002 –June 2003
Isabelle Jenniches received her Master’s degree in Scenography from the Academy of Applied Art in Vienna, Austria, and a postgraduate degree in Digital Media, Communication and the Arts from Media-GN, the Netherlands. In her work, which often evolves out of close collaborations with other artists, actors, dancers and musicians, Isabelle exploits the social and emotional impact of new forms of mediated communication in theatrical situations, using, for example, telepresent characters.

In her onsite/online performances, she often draws upon such “low tech” sources as the ubiquitous public webcam, and her ongoing compulsive collections of found footage from the Internet. Isabelle Jenniches’ work has been shown in such venues as Theater de Balie, Amsterdam, Grand Theatre,
Groningen, Society for Old and New Media, De Waag, Amsterdam and the World Wide Web.

During Isabelle’s residency at Location One, she will explore the concept of solitary as well as shared realtime telecasting and streaming media.

Location One is grateful to The Netherlands Foundation for Visual Arts, Design and Architecture for supporting Isabelle’s residency.

website: http://www.9nerds.com/isabelle

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

8:00 PM
No Admission Charge

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

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

Streaming Video Performance:

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

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

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

Online forum:

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

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

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

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

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

Biographies of the Artists

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

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

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

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

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

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

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

Curated by Meredith Monk and Bonnie Marranca

Free and Open to the Public: Location One, 26 Greene St, New York, NY 10013 tel: 212.334.3347

Art as Spiritual Practice Panel
[display_podcast
click image to see video (requires QuickTime)

Art as Spiritual Practice, Nov. 5, 7:30 pm

Click here to view the embedded video.

Panelists:

Meredith Monk is a performer, composer, choreographer, and filmmaker. She has been creating multi-media and musical works for more than three decades, among them Atlas, Quarry, Education of the Girlchild, and Songs from the Hill. A major retrospective of her work was shown at the Lincoln Center Festival 2000. Meredith Monk and visual artist Ann Hamilton have collaborated on a new work, titled Mercy.

Linda Montano is best-known for her many duration performances. She is also a teacher and writer whose books include Performance Artists Talking and Art in Everyday Life. She has taught and given workshops at universities and spiritual centers throughout the U.S. Linda Montano is based in Kingston, N.Y., where she runs the Art/Life Institute.

Erik Ehn has been writing an ongoing cycle of plays loosely based on the lives of saints and biblical characters, many of which are published in a volume entitled, The Saint Plays. His work includes musicals, plays for children, and opera libretti. He is an artistic director of the Tenderloin Opera Company in San Francisco. Erik Ehn’s work has been produced in theatres and universites throughout the U.S.

Eleanor Heartney is an arts critic and contributing editor to Art in America and artpress. She is the author of Critical Condition: American Culture at the Crossroads and Postmodernism. Currently, she is working on a book about the Catholic imagination in contemporary art, entitled Postmodern Heretics.

Alison Knowles is one of the founding figures of the Fluxus group. She has recently performed and exhibited at the Drawing Center in Soho using beans and paper as acoustic materials. Her sound sculptures in paper have taken her to Germany, Italy and often to Japan. Among her several books are: Bread and Water, Event Scores, and Footnotes.

Bonnie Marranca, Moderator.
She is the author of Ecologies of Theatre and Theatrewitings, and editor of several anthologies, including Conversations on Art and Performance, Plays for the End of the Century, and The Theatre of Images. She is editor of PAJ: A Journal of Performance and Art and Curator of Special Performance Projects at Location One.

Location One announces its Spring Music Series, Wake the Dead. The Third of five exciting performances will be a collaboration between Earl Howard and Mari Kimura. Mari Kimura and Earl Howard are both recognized composer/ performers in the field of electroacoustic music, as well as virtuosos on the violin and saxophone. They will premier both solos and duets for violin and saxophone, as well as compositions by Earl Howard for digitally processed violin and synthesizer (Kurzweill 2500). Their performance will be presented in the gallery and streamed live at www.location1.org.

Upcoming Spring Music Series artists
May 26: Marcus Rojas, Peter Apfelbaum, & Satoshi Takeishi

Click here to view the embedded video.

Location One announces its Spring Music Series, Wake the Dead. The Third of five exciting performances will be a collaboration between Earl Howard and Mari Kimura. Mari Kimura and Earl Howard are both recognized composer/ performers in the field of electroacoustic music, as well as virtuosos on the violin and saxophone. They will premier both solos and duets for violin and saxophone, as well as compositions by Earl Howard for digitally processed violin and synthesizer (Kurzweill 2500). Their performance will be presented in the gallery and streamed live at www.location1.org.

Upcoming Spring Music Series artists
May 26: Marcus Rojas, Peter Apfelbaum, & Satoshi Takeishi

Click here to view the embedded video.

Location One announces a Spring Music Series, Wake the Dead. The second of five exciting performances will be a collaboration between Leroy Jenkins and Felicia Norton. Their performance will be presented in the gallery and streamed live on our website: www.location1.org Leroy Jenkins, violinist/composer, is a “master who cuts across all categories” (San Francisco Chronicle). He received a Bessie Award for his opera, The Mother of Three Sons, which was produced by the New York City Opera and Houston Grand Opera. Jenkins, “New York’s soulfulest violin improviser” (Village Voice), is a major figure in the development of contemporary music.

Felicia Norton, dance soloist, featured in Philip Traeger’s book Dancers, is “an extraordinary dancer” (New York Times) who has performed internationally to critical acclaim. She has been described as “compellingly sensual…a lovely dancer” by the noted London critic, John Percival (Dance & Dancers). She was also deemed “the discovery of the evening” at the Third International Festival of Dance in Brussels. Leroy Jenkins and Felicia Norton have combined their talents to create an innovative fusion of contemporary dance and Jazz violin called “magical” by the New York Times. Since their collaboration on live music/dance programs began in 1988, they have presented specially created solos and commissioned duets with choreography by Molissa Fenley, Mark Dendy, Tamar Rogoff, Alison Chase, Linda Tarnay, Lynn Taylor Corbett and others at a range of venues including the Whitney Museum of Art at Phillip Morris, the Lincoln Center Out-of-Doors Festival, Performance Space 122, the 14th St. Dance Center, the Metropolitan Artists Series at the Met Life Building and Merkin Concert Hall — all in New York City.

They have also been presented by the Pyramid Art Center in Rochester, N.Y., Dance Place in Washington, D.C., Connecticut College, Seven Lakes in Atlanta, GA., the Contemporary Arts Center in New Orleans, LA., Bennington College in VT., The Music Gallery in Toronto, Ontario, The New Arts Program at the Painted Bride Art Center in Philadelphia, PA., the Duke University Institute of the Arts in Durham, N.C., as part of the National Performance Network Touring and Residency Program, and at Jazz Arts ’98 at the Carter Barron Ampitheater, Washington, D.C.

The Jenkins/Norton collaboration has been supported by funds form the New York Council on the Arts, Meet the Composer, and has received repeated commissions from the 14th St. Dance Center and Lincoln Center, N.Y.C.

Click here to view the embedded video.

Location One announces a Spring Music Series, Wake the Dead. The second of five exciting performances will be a collaboration between Leroy Jenkins and Felicia Norton. Their performance will be presented in the gallery and streamed live on our website: www.location1.org Leroy Jenkins, violinist/composer, is a “master who cuts across all categories” (San Francisco Chronicle). He received a Bessie Award for his opera, The Mother of Three Sons, which was produced by the New York City Opera and Houston Grand Opera. Jenkins, “New York’s soulfulest violin improviser” (Village Voice), is a major figure in the development of contemporary music.

Felicia Norton, dance soloist, featured in Philip Traeger’s book Dancers, is “an extraordinary dancer” (New York Times) who has performed internationally to critical acclaim. She has been described as “compellingly sensual…a lovely dancer” by the noted London critic, John Percival (Dance & Dancers). She was also deemed “the discovery of the evening” at the Third International Festival of Dance in Brussels. Leroy Jenkins and Felicia Norton have combined their talents to create an innovative fusion of contemporary dance and Jazz violin called “magical” by the New York Times. Since their collaboration on live music/dance programs began in 1988, they have presented specially created solos and commissioned duets with choreography by Molissa Fenley, Mark Dendy, Tamar Rogoff, Alison Chase, Linda Tarnay, Lynn Taylor Corbett and others at a range of venues including the Whitney Museum of Art at Phillip Morris, the Lincoln Center Out-of-Doors Festival, Performance Space 122, the 14th St. Dance Center, the Metropolitan Artists Series at the Met Life Building and Merkin Concert Hall — all in New York City.

They have also been presented by the Pyramid Art Center in Rochester, N.Y., Dance Place in Washington, D.C., Connecticut College, Seven Lakes in Atlanta, GA., the Contemporary Arts Center in New Orleans, LA., Bennington College in VT., The Music Gallery in Toronto, Ontario, The New Arts Program at the Painted Bride Art Center in Philadelphia, PA., the Duke University Institute of the Arts in Durham, N.C., as part of the National Performance Network Touring and Residency Program, and at Jazz Arts ’98 at the Carter Barron Ampitheater, Washington, D.C.

The Jenkins/Norton collaboration has been supported by funds form the New York Council on the Arts, Meet the Composer, and has received repeated commissions from the 14th St. Dance Center and Lincoln Center, N.Y.C.

Click here to view the embedded video.

Location One is happy to present Ken Butler’s Voices of Anxious Objects. The performance will take place in the gallery and be streamed live on our website.

The artist/musician performs mesmerizing world trance textures and driving gypsy grooves on an amazing arsenal of amplified hybrid string instruments made from household objects and tools. Duchampian Dada meets Hybrid Hindu Hendrix. Function and form collide as audio-visual antics and explorations create a provoking cultural portrait of man/machine adaptation and transformation. A performance may also include interactive hybrid audio-visual keyboards powered by motorized strummers which control lights, slide animation, motion, and video projections.

Press Quotes:
“One of music’s most ingenious and eccentric personalities.” — John Zorn, Tzadik records, 10/97

“. . . a crazy instrument builder who can get virtuoso riffs from anything.” — Kyle Gann, The Village Voice, 12/29/92

“Ken Butler’s work is enormously interesting, particularly his idea of recycling and giving voice to found objects.” — Laurence Libin, curator of musical instruments at The Metropolitan Museum, The New York Times, 6/12/94

artist bio
Ken Butler is an artist and musician whose hybrid musical instruments, collage drawings, performances, and installations explore the interaction and transformation of common objects, altered images, sounds and silence.

His works have been featured in numerous exhibitions and performances throughout the USA, Canada, and Europe including The Stedelijk Museum in Amsterdam and Exit Art, Thread Waxing Space, The Kitchen, The Brooklyn Museum, Lincoln Center and The Metropolitan Museum of Art in New York City as well as in South America, Thailand, and Japan.

His works have been reviewed in The New York Times, Artforum, The Village Voice, and Smithsonian and have been featured on PBS, CNN, MTV, and NBC, including a live appearance on The Tonight Show.

Awards include fellowships from the Oregon Arts Commisssion, the New York Foundation for the Arts, and the National Endowment for the Arts.

Ken Butler studied viola as a child and maintained an interest in music while studying visual arts in France, at Colorado College, and Portland State University where he completed his MFA in painting in 1977. He has performed with John Zorn, Laurie Anderson, Butch Morris, The Soldier String Quartet, The Tonight Show Band, and The Master Gnawa musicians of Morocco. His CD, Voices of Anxious Objects is on Zorn’s Tzadik label. Works by Ken Butler are represented in public and private collections in Portland, Seattle, Vail, Los Angeles, Toronto, Montreal, and New York City including the permanent collection of The Metropolitan Museum of Art.

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Location One, 26 Greene St. (bet Canal & Grand), NYC. Reservations and Information: 212-334-3347. Performances @ 9:00 p.m. Admission: $8

Two Appearances:

Friday, Dec.15th with
SYNC

Saturday, Dec.16th with
Partners in Crime

Partners in Crime

Ned Rothenberg – Winds
Gerry Hemingway – drums
Mark Dresser – bass

Ned Rothenberg’s SYNC

Ned Rothenberg – alto saxophone, clarinet, bass clarinet, shakuhachi (Japanese bamboo flute)
Jerome Harris – steel string guitar, acoustic bass guitar
Samir Chatterjee – tabla, percussion

“Sync might be envisioned as a modified sax/bass/drum trio, where the bassist has been replaced by Jerome Harris on either acoustic guitar or acoustic bass guitar, and where the drummer’s role is taken by Samir Chatterjee on tabla and dumbek.

With Rothenberg moving among alto sax, clarinet, bass clarinet, and the Japanese shakuhachi and composing looping ribbons of melody with odd rhythmic contours, the trio has found a most palatable merger of jazz and Asian music.

The uncommon instrumentation is enhanced by a shared sense of purpose that gives Sync its winning character. Each player displays both the techniques and the sensitivity required to function as both soloist and accompanist, allowing Sync to maintain its three-way conversations after Rothenberg has finished soloing. This is not simply a matter of the leader’s ability to sustain extended melodic and rhythmic variations at lower volumes through circular breathing; it also results from the assurance that allows Harris to sustain a pronounced rhythmic underpinning in his guitar work and rare melodic fluency on bass.

Chatterjee, who can sing and then play back the most complex patterns in the manner of the great tabla masters, also senses how to highlight more compact, swing-oriented parts through shifts in accents and dynamics. The sound of Sync (is) always warm and glowing.” Bob Blumenthal, Boston Globe

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JEROME HARRIS

Jerome Harris has been widely acclaimed as one of the most versatile and penetrating jazz and new music stylists of his generation on both the guitar and the bass guitar. His formative musical experiences included singing and playing rural and urban blues, folk and gospel music, in addition to the full range of American popular music genres. His first major professional performing experience came as bassist with Sonny Rollins in 1978; more recently he has played guitar for Rollins, and has also recorded and/or performed live on six continents with Jack DeJohnette, Bobby Previte, Bill Frisell, Oliver Lake, Ray Anderson, Bob Stewart, George Russell, Julius Hemphill,Amina Claudine Myers, Ned Rothenberg, Bob Moses, and many others.

Harris’ extensive international touring has included several stints in Japan with Sonny Rollins, as well as U.S. State Department tours of India and the Middle East with Jay Hoggard and of five African nations with Oliver Lake and Jump Up.

After studying psychology and social relations at Harvard University (A.B. 1973), Harris attended New England Conservatory of Music as a scholarship student in jazz guitar, graduating with honors in 1977. Harris’ debut recording as a leader, Algorithms (Minor Music), garnered accolades from critics for his deeply personal guitar playing and original electric jazz compositions. In Passing (Muse) highlighted his melodic and driving bass guitar work.

Harris’ newest recording, titled Hidden In Plain View (New World), places his acoustic bass guitar at the heart of an all-star group, creatively interpreting pieces by the inspiring, challenging jazz master Eric Dolphy.

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SAMIR CHATTERJEE

Samir Chatterjee is one of the leading Tabla-drum players of India. Born into a musical family in Calcutta, he began his studies of North Indian classical music at age 5. His principal studies have been under the careful guidance of Pandit. Amalesh Chatterjee (since 1966) and Pandit. Shyamal Bose (since 1984). As such Samir represents the Farrukhabad Gharana (school) of Tabla-playing. Chatterjee has appeared as a soloist and an accompanist at concerts and music festivals in India and abroad.

In September, 1998 he first performed with Pandit Ravi Shankar at Carnegie Hall and has since become Shankar’s regular accompanist in the U.S. Since 1982 he has toured regularly, visiting the U.S.A., Canada, U.K., France, Germany, Switzerland, Netherlands, Austria, Denmark, Poland, Tunisia, Singapore, Hong Kong, Indonesia, Thailand, Philippines, Bangladesh, Laos etc.

He is attached to All India Radio as an “A” grade artist and has been featured in major events presented by radio and T.V.. Samir has accompanied many of India’s greatest musicians including Pdt. Bhimsen Joshi, Pdt. Jasraj, Pdt. Nikhil Banerjee, Pdt. V.G. Jog, Pdt. Hariprasad Chaurasia, Dr. L. Subhramaniam, Ustd. Salamat Ali Khan, Ustd. Nissar Hussain Khan, Pdt. Nibruttibua Sarnaik, Ustd. Gulam Mustafa Khan, Smt. Lakshmi Shankar, Pdt. G.S. Sachdev, Pdt. Raghunath Seth, Ustd. Bahadur Khan, Pdt. Manilal Nag, Ustd. Ashish Khan, Shujat Khan, Nishat Khan, Ajoy Chakraborty, Rasid Khan to name only a few.

In July, 1994 Samir moved with his family to New York City in order to develop relationships with western musicians and to teach and perform Indian Classical music. Presently he is engaged in collaborations with musicians like Pauline Oliveros, Ned Rothenberg, Glen Velez, Bobby Senabria, Jerome Harris, Ben Verdery, Steve Gorn, and others. He was featured, along with Jerry Garcia, in Sanjoy Mishraís CD “Blue Incantation”. He is musical advisor/performer for two major dance companies based in New York: The Battery Dance Co. in “Songs of Tagore” and the Kathak Ensemble in “KA-TAP”.

Samir has been teaching for the last 20 years and many of his students are already established performers. He is the founder and director of CHHANDAYAN, an organization working in Calcutta, New York, Washington D.C. and Wilmington-Delaware to promote and preserve Indian music and culture.

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GERRY HEMINGWAY

Gerry Hemingway has been composing and performing solo and ensemble music since 1974. Mr. Hemingway’s newest working band is a quartet with either Ray Anderson, Robin Eubanks-trombone or Herb Robertson-trumpet, Ellery Eskelin-tenor sax and either Mark Dresser, Drew Gress or Mike Formanek on bass. The band performed 40 concerts in the US in 1998 and it’s first recording, Johnny’s Corner Song was released on the Auricle Record label in March of 1998.

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MARK DRESSER

Mark Dresser has been composing and performing solo contrabass and ensemble music professionally since 1972 throughout North America, Europe and the Far East. His own projects include Mark Dresser’s “Force Green,” and the Mark Dresser Trio, performing his music for the French Surrealist film masterpiece of Luis Bunuel and Salvador Dali, “Un Chien Andalou” as well as the German expressionist silent film classic, “The Cabinet of Dr. Caligari”.

Additional original solo bass music was composed for the New York Shakespeare Festival Production of HENRY VI. Collaborative projects include “The Double Trio” comprised of the “Arcado String Trio” and the Trio du Clarinettes.

back to top

Location One, 26 Greene St. (bet Canal & Grand), NYC. Reservations and Information: 212-334-3347. Performances @ 9:00 p.m. Admission: $8

Two Appearances:

Friday, Dec.15th with
SYNC

Saturday, Dec.16th with
Partners in Crime

Partners in Crime

Ned Rothenberg – Winds
Gerry Hemingway – drums
Mark Dresser – bass

Ned Rothenberg’s SYNC

Ned Rothenberg – alto saxophone, clarinet, bass clarinet, shakuhachi (Japanese bamboo flute)
Jerome Harris – steel string guitar, acoustic bass guitar
Samir Chatterjee – tabla, percussion

“Sync might be envisioned as a modified sax/bass/drum trio, where the bassist has been replaced by Jerome Harris on either acoustic guitar or acoustic bass guitar, and where the drummer’s role is taken by Samir Chatterjee on tabla and dumbek.

With Rothenberg moving among alto sax, clarinet, bass clarinet, and the Japanese shakuhachi and composing looping ribbons of melody with odd rhythmic contours, the trio has found a most palatable merger of jazz and Asian music.

The uncommon instrumentation is enhanced by a shared sense of purpose that gives Sync its winning character. Each player displays both the techniques and the sensitivity required to function as both soloist and accompanist, allowing Sync to maintain its three-way conversations after Rothenberg has finished soloing. This is not simply a matter of the leader’s ability to sustain extended melodic and rhythmic variations at lower volumes through circular breathing; it also results from the assurance that allows Harris to sustain a pronounced rhythmic underpinning in his guitar work and rare melodic fluency on bass.

Chatterjee, who can sing and then play back the most complex patterns in the manner of the great tabla masters, also senses how to highlight more compact, swing-oriented parts through shifts in accents and dynamics. The sound of Sync (is) always warm and glowing.” Bob Blumenthal, Boston Globe

back to top

JEROME HARRIS

Jerome Harris has been widely acclaimed as one of the most versatile and penetrating jazz and new music stylists of his generation on both the guitar and the bass guitar. His formative musical experiences included singing and playing rural and urban blues, folk and gospel music, in addition to the full range of American popular music genres. His first major professional performing experience came as bassist with Sonny Rollins in 1978; more recently he has played guitar for Rollins, and has also recorded and/or performed live on six continents with Jack DeJohnette, Bobby Previte, Bill Frisell, Oliver Lake, Ray Anderson, Bob Stewart, George Russell, Julius Hemphill,Amina Claudine Myers, Ned Rothenberg, Bob Moses, and many others.

Harris’ extensive international touring has included several stints in Japan with Sonny Rollins, as well as U.S. State Department tours of India and the Middle East with Jay Hoggard and of five African nations with Oliver Lake and Jump Up.

After studying psychology and social relations at Harvard University (A.B. 1973), Harris attended New England Conservatory of Music as a scholarship student in jazz guitar, graduating with honors in 1977. Harris’ debut recording as a leader, Algorithms (Minor Music), garnered accolades from critics for his deeply personal guitar playing and original electric jazz compositions. In Passing (Muse) highlighted his melodic and driving bass guitar work.

Harris’ newest recording, titled Hidden In Plain View (New World), places his acoustic bass guitar at the heart of an all-star group, creatively interpreting pieces by the inspiring, challenging jazz master Eric Dolphy.

back to top

SAMIR CHATTERJEE

Samir Chatterjee is one of the leading Tabla-drum players of India. Born into a musical family in Calcutta, he began his studies of North Indian classical music at age 5. His principal studies have been under the careful guidance of Pandit. Amalesh Chatterjee (since 1966) and Pandit. Shyamal Bose (since 1984). As such Samir represents the Farrukhabad Gharana (school) of Tabla-playing. Chatterjee has appeared as a soloist and an accompanist at concerts and music festivals in India and abroad.

In September, 1998 he first performed with Pandit Ravi Shankar at Carnegie Hall and has since become Shankar’s regular accompanist in the U.S. Since 1982 he has toured regularly, visiting the U.S.A., Canada, U.K., France, Germany, Switzerland, Netherlands, Austria, Denmark, Poland, Tunisia, Singapore, Hong Kong, Indonesia, Thailand, Philippines, Bangladesh, Laos etc.

He is attached to All India Radio as an “A” grade artist and has been featured in major events presented by radio and T.V.. Samir has accompanied many of India’s greatest musicians including Pdt. Bhimsen Joshi, Pdt. Jasraj, Pdt. Nikhil Banerjee, Pdt. V.G. Jog, Pdt. Hariprasad Chaurasia, Dr. L. Subhramaniam, Ustd. Salamat Ali Khan, Ustd. Nissar Hussain Khan, Pdt. Nibruttibua Sarnaik, Ustd. Gulam Mustafa Khan, Smt. Lakshmi Shankar, Pdt. G.S. Sachdev, Pdt. Raghunath Seth, Ustd. Bahadur Khan, Pdt. Manilal Nag, Ustd. Ashish Khan, Shujat Khan, Nishat Khan, Ajoy Chakraborty, Rasid Khan to name only a few.

In July, 1994 Samir moved with his family to New York City in order to develop relationships with western musicians and to teach and perform Indian Classical music. Presently he is engaged in collaborations with musicians like Pauline Oliveros, Ned Rothenberg, Glen Velez, Bobby Senabria, Jerome Harris, Ben Verdery, Steve Gorn, and others. He was featured, along with Jerry Garcia, in Sanjoy Mishraís CD “Blue Incantation”. He is musical advisor/performer for two major dance companies based in New York: The Battery Dance Co. in “Songs of Tagore” and the Kathak Ensemble in “KA-TAP”.

Samir has been teaching for the last 20 years and many of his students are already established performers. He is the founder and director of CHHANDAYAN, an organization working in Calcutta, New York, Washington D.C. and Wilmington-Delaware to promote and preserve Indian music and culture.

back to top

GERRY HEMINGWAY

Gerry Hemingway has been composing and performing solo and ensemble music since 1974. Mr. Hemingway’s newest working band is a quartet with either Ray Anderson, Robin Eubanks-trombone or Herb Robertson-trumpet, Ellery Eskelin-tenor sax and either Mark Dresser, Drew Gress or Mike Formanek on bass. The band performed 40 concerts in the US in 1998 and it’s first recording, Johnny’s Corner Song was released on the Auricle Record label in March of 1998.

back to top

MARK DRESSER

Mark Dresser has been composing and performing solo contrabass and ensemble music professionally since 1972 throughout North America, Europe and the Far East. His own projects include Mark Dresser’s “Force Green,” and the Mark Dresser Trio, performing his music for the French Surrealist film masterpiece of Luis Bunuel and Salvador Dali, “Un Chien Andalou” as well as the German expressionist silent film classic, “The Cabinet of Dr. Caligari”.

Additional original solo bass music was composed for the New York Shakespeare Festival Production of HENRY VI. Collaborative projects include “The Double Trio” comprised of the “Arcado String Trio” and the Trio du Clarinettes.

back to top

Click here to view the embedded video.