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

June 16, 2008

New Museum

Night School: Public Seminar 6

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

235 Bowery
New York, NY 10002
212.219.1222

http://www.newmuseum.org

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

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

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

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

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

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

Saturday, June 21st, 3 PM
Keywords School

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

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

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

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

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

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

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

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

With additional generous support from the Metlife Foundation

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

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

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

XU TAN
Searching for Keywords
November 28, 2007–February 9, 2008
opening reception November 28 6–8pm

PRESS COVERAGE: Rhizome

“Searching for Keywords”, an interactive multimedia installation created by Chinese artist Xu Tan will be presented in Location One’s main gallery from November 28th 2007 though Februrary 2nd, 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. It began with a series of interviews of different groups of people who are active in Chinese society: a first set of interviews were carried in the Zhangjiang Hi-tech Park, a sort of Silicon Valley near Shanghai, a second set covers different cities and people from all walks of life, from writers, to real estate developers, to Buddhist monks, to businessmen; and a third was conducted among the artistic community in China. The video interviews were then carefully analyzed, and Xu Tan has identified 100 keywords based on meaning (social values), frequency (repetition), sensitivity (political), and popularity (trendyness). These Keywords reveal much about the values and motivations of contemporary Chinese society, they give a pulse of the current social climate, and present an insight into the collective social consciousness of China.

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.

While the artist is present in the gallery he will also conduct interviews of different people and the analysis of these interviews will in turn generate other keywords that will help reveal the opinions and attitudes of a western audience towards the current status of China and its role in the global environment.

Xu Tan was born in Wuhan, Hubei Province in 1957 and currently lives in Shanghai and Guangzhou. In the early 1990s he joined the “Big Tail Elephant Group” in Guangzhou with Lin Yinlin, Chen Shaoxiong and Liang Juhui. The aim of this group is to develop critical strategies for negotiating the rapidly changing economic and cultural life in China. He was among the first artists to participate in Location One’s International Residency Program in 2002, and his work has been shown around the world including P.S.1 in New York, Biennale di Venezia, Berlin Biennial, Asia Pacific Triennial of Contemporary Art in Brisbane, Australia, Guangzhou Triennial, Taipei Biennial, De Appel in Amsterdam. Recent solo shows were held at the DAAD Gallery in Berlin, at the Vitamin Creative Space in Guangzhou, at BizArt is Shanghai.

XU TAN
Searching for Keywords
November 28, 2007–February 9, 2008
opening reception November 28 6–8pm

PRESS COVERAGE: Rhizome

“Searching for Keywords”, an interactive multimedia installation created by Chinese artist Xu Tan will be presented in Location One’s main gallery from November 28th 2007 though Februrary 2nd, 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. It began with a series of interviews of different groups of people who are active in Chinese society: a first set of interviews were carried in the Zhangjiang Hi-tech Park, a sort of Silicon Valley near Shanghai, a second set covers different cities and people from all walks of life, from writers, to real estate developers, to Buddhist monks, to businessmen; and a third was conducted among the artistic community in China. The video interviews were then carefully analyzed, and Xu Tan has identified 100 keywords based on meaning (social values), frequency (repetition), sensitivity (political), and popularity (trendyness). These Keywords reveal much about the values and motivations of contemporary Chinese society, they give a pulse of the current social climate, and present an insight into the collective social consciousness of China.

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.

While the artist is present in the gallery he will also conduct interviews of different people and the analysis of these interviews will in turn generate other keywords that will help reveal the opinions and attitudes of a western audience towards the current status of China and its role in the global environment.

Xu Tan was born in Wuhan, Hubei Province in 1957 and currently lives in Shanghai and Guangzhou. In the early 1990s he joined the “Big Tail Elephant Group” in Guangzhou with Lin Yinlin, Chen Shaoxiong and Liang Juhui. The aim of this group is to develop critical strategies for negotiating the rapidly changing economic and cultural life in China. He was among the first artists to participate in Location One’s International Residency Program in 2002, and his work has been shown around the world including P.S.1 in New York, Biennale di Venezia, Berlin Biennial, Asia Pacific Triennial of Contemporary Art in Brisbane, Australia, Guangzhou Triennial, Taipei Biennial, De Appel in Amsterdam. Recent solo shows were held at the DAAD Gallery in Berlin, at the Vitamin Creative Space in Guangzhou, at BizArt is Shanghai.

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

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

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

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

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

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

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

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

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

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

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

Ruey-Hsiaan Hsu (Taiwan) – Between

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

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

SoYoun Jeong (Korea) – Natural Strawberry Flavor

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

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

Miguel Palma (Portugal) – Deep Breath

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

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

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

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

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

Jani Ruscica (Finland) – Futurama

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

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

Eric Van Hove (Belgium) – Ecumenopolis

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

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

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

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

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

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

Click here to view the embedded video.

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 >>

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.

Featured works represent a diverse range of artistic approaches:

	Conductive Agents by Leesa & Nicole Abahuni The opening performance of this installation will include copper, people, video, liquor, and chocolate. The artists will create “conductive agents” utilizing copper materials and digestible information, in an effort to make contagious the interrelationships of conveyance, surveillance, and reflexive experience. This performance will be followed by a series of ‘actions,’ scheduled at given times during the course of the exhibition.
	Encounters/Kohtaamisia by Simo Alitalo A sound installation whose aim is to provide a “Muybrigean” break-down of wave mechanics, this piece consists of several loudspeaker “chains” that are suspended from the ceiling and connected to each other with steel springs. Low sounds are routed to the sub-bass speakers which cause the loudspeaker chains to slowly rotate in mid-air. The sound material consists of water-earth encounters and waves hitting the shore. They were recorded by hydrophones and underwater microphones buried in sand or placed underwater.
	Act by Andrew Duggan Theatre curtains, split-screen video projection with no sound. An actor sits in his dressing room, before the curtain rises, before he delivers his performance. His mood is solitary, reflective, internal. He is applying makeup, and his makeup is camouflage since the actor is a soldier. The work is about the relationship between the actor and his performance, the soldier and his battle, the individual and his actions. It is about how we present ourselves, how we are perceived and seen, it is about the culture of representation and the legacy of our actions.
	Shifting Script by Mayumi Nakazaki An installation with video and drawings that investigates the multiple forms taken by visual experience in relation to reality and illusion. The video consists of five scenes dealing with the subject of memory and information. The first four scenes (loop) are intended to be experienced in the cinematic context of a black box. The fifth scene, screened on a separate monitor placed outside the box, is presented along with works on paper that evoke the neural processing of memory.
	Stalking Heads by Trine NedreaasThe installation consists of three video loops shown on separate monitors. Excruciating close-ups of televangelists; all words are omitted, leaving only the pauses between them. The breathing, gestures, and facial expressions of these spiritual predators become both sinister and humorous as they plead, sympathize and demonize to the camera and to each other.
	Supersonic by Yuki OkumuraA video that features the artist teleporting to different locations throughout New York City. The instant dematerialization of the artist’s presence at one spot and his sudden reconstitution at another site is triggered by sneezes, as he breathes air in and out. This experience raises questions about the significance of material versus immaterial, of existence versus nonexistence.
	The Last Conflict by Lydia Venieri A robotic baby representing God moves in dialog with performance artist Adrian Saich who incarnates Nature. Venieri creates stories where dreams reinforce reality, and reality reinforces dreams. This evocative installation/performance bridges mythology, history, fairytales and daily life with humor and self-reflection, touching on issues of the human condition in present times.
	Exchange by Wang Ya-Hui In this two-screened video projection, the narrative is generated through a succession of images depicting personal belongings and objects that are dislocated from their domestic place of origin. The drifting quality of these objects signifies the artistÕs interest in determining where the confines of personal reality begin and end.

Location One is a not-for-profit organization devoted to the convergence between visual, performing and digital arts in a time of rapidly changing technology. The International Residency Program is a central part of its activities. It encourages collaboration by inviting artists from all over the world, and working in different media, to experiment with advanced technological tools and delivery systems, and to develop new work.

The residencies of the artists included in this show are generously supported by:
The Andy Warhol Foundation for the Visual Arts (USA), FRAME (Finnish Fund for Art Exchange), The Arts Council / An Chomhairle Ealaíon (Ireland), The Netherlands Foundation for Visual Arts, Design and Architecture, Bergen City Council (Norway), Asian Cultural Council (USA), J.F. Kostopoulos Foundation (Greece), The Yageo Corporation, (Taiwan).

June 4th – July 30th, 2005

Click here to view the embedded video.

[display_podcast]

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

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

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

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

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

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

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

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

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

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

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. An opening reception will be held from 6 to 8 pm on Thursday April 28th and the exhibition will be open to the public through Saturday, May 28th, 2005.

“Soap Operation”, single-channel video projection (6 minutes), by Martin Beauregard.
How do film and television modify our perception of reality. Martin Beauregard examines this question throughout his work by merging elements of popular imagery produced by the media, cinema and television, with events from his personal life. The formal and linguistic propositions that he sets forth investigate this terrain between fiction and reality (or autobiographical documentary), and the viewer is left unsettled.

In “Soap Operation” the artist draws from such televised series as Loft Story, Bachelor and Nouvelle Star, but the protagonist here is played by the artist himself, filmed in real life during a hospital stay. A cameraman, who was given specific screening instructions, follows him during an operation to the nose while under anesthesia, and then into the recovery room where he is in the company of his girlfriend. Beauregard reconstitutes the footage into a cinematographic document, giving particular emphasis to images that appear to have emerged from a fictional movie plot. The vapid and naïve dialogues between the patient and his girlfriend draw on elements from their love life and enhance the soap opera effect.

“The Image That Emits No Shadow”, video projections and photographs, by Marlena Kudlicka. Kudlicka’s installations create a state of mind that stimulate perception in a very special way. In her own words, she is interested in moments that are “ephemeral and fail to stay in our memory as a definable image.” In “The Image That Emits No Shadow,” the artist’s has taken the word “Sunset” from the wall of a 1950′s movie house and transposed it to our times. The word itself is meant to evoke the viewer’s own recollections and associations to the concept and to images of a sunset. Her intent is to “visualize these post image moments so that they can be recognized and questioned in every day life.”

Location One is a not-for-profit organization devoted to the convergence between visual, performing and digital arts in a time of rapidly changing technology. Location One’s International Residency Program is the central focus of its activities. It encourages collaboration by inviting artists from all over the world, and working in different media, to experiment with advanced technological tools and delivery systems, and to develop new work. Martin Beauregard’s residency is supported by the “Pamela Del Hierro Fellowship” and the Conseil des Arts et des Lettres, Quïbec; Marlena Kudlicka’s, by the Trust for Mutual Understanding.

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

Some images from the meeting are here.

Click here to view the embedded video.

May 28 – June 30, 2004

Click here to view the embedded video.

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 and will be streamed live on www.location1.org

Vincent Lamouroux (France)
A site-specific wall drawing that consists of simple sets of words culled by the artist from Joseph Lanza’s writings “Gravity” as he investigates roller coaster structures as a social and cultural phenomenon in the US.

Alexandra do Carmo (Portugal)
In the installation “50 Richards” the artist explores issues of surveillance and voyeurism. The visitor is invited to sit at a microscope to view a continuous recording of the artist’s studio practice. Music inspired by the video and composed by Paul de Jong pours in from the ceiling.

Miguel Soares (Portugal)
H2O is a 3d animation about marine trash and the often absurd reactions of maritime flora and fauna to these “alien visitors”.

Federico Muelas (Spain)
What do Apples Sound Like? An interactive audio visual environment where the artist questions human perception by translating into sound the spatial values of the 365 vertices on an apple – symbol of wholeness and forbidden knowledge.

Hsiao Sheng Chien (Taiwan)
Watch is an installation with video robot and sensor that features an eye. The robot perceives the presence of the visitor and begins interacting with him, drawing him in, watching him and then pushing him away.

Koki Tanaka (Japan)
Things Happen Again presents a humorous reflection on the question of how we perceive the world by filming the simple and repetitive motion of rolls of tape that glide inside the frame.

Mark Themann (Germany/Australia)
Go Into This Space presents an evocative single screen DVD work, a silent film that consists of phasing texts, interrupted by flashing color fields, and utilizing structures of invocation and evocation.Location One is a not-for-profit organization devoted to the convergence between visual, performing and digital arts in a time of rapidly changing technology.
Location One’s Residency Program is a central part of its activities. It encourages collaboration by inviting artists from all over the world and different media to experiment with advanced technological tools and delivery systems, and to develop new work.

SPONSORS: INJUVE, Asian Cultural Council, Calouste Gulbenkian Foundation, Jerome Robbins Foundation, Ministry of Foreign Affairs Turkey, Moon and Stars Project, AFAA – Ville de Paris, Yageo Tech-Art Award of the ACC (Asian Cultural Council), Australian Council for the Arts, Arts Victoria, Luso-American Development Foundation, Instituto das Artes (Lisbon).

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

Artists bios:

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

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

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

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

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

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

Artists bios:

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

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

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

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

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

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

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

Qing Hua Porcelain (Blue & White) is a new video/sound installation in which Xu Tan explores the differences in American and Chinese cultural interpretations of what is “real” and what is “fake”. Although each culture distinguishes and classifies “real” from “fake”, neither clearly defines these terms.

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

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

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

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

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

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

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

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

Qing Hua Porcelain (Blue & White) is a new video/sound installation in which Xu Tan explores the differences in American and Chinese cultural interpretations of what is “real” and what is “fake”. Although each culture distinguishes and classifies “real” from “fake”, neither clearly defines these terms.

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

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

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

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

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

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

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

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

Qing Hua Porcelain (Blue & White) is a new video/sound installation in which Xu Tan explores the differences in American and Chinese cultural interpretations of what is “real” and what is “fake”. Although each culture distinguishes and classifies “real” from “fake”, neither clearly defines these terms.

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

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

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

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

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

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

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

Qing Hua Porcelain (Blue & White) (Location One: 23 May – 29 June, 2002) is a video/sound installation in which Xu Tan explores the differences in American and Chinese cultural interpretations of what is “real” and what is “fake”. Although each culture distinguishes and classifies “real” from “fake”, neither clearly defines these terms.

Artist Interview with Barbara London, Video and Media Curator at The Museum of Modern Art