***RESCHEDULED***

Thursday, November 8, 2012
Let Fury Have the Hour
by Antonino D’Ambrosio
7pm
FREE and open to the public
Post-screening Q & A with Antonino D’Ambrosio

Can art really change the world? Do artists and musicians the power, and perhaps even the responsibility to transform society with their creativity? Antonino D’Ambrosio answers these questions with a resounding “Yes” in his powerful new documentary “Let Fury Have the Hour”. Part social document, part call to arms, the film is a celebration of the human creative spirit and features interviews with artists and thinkers including Chuck D., Ian McKaye, Billy Bragg, Wayne Kramer and others, each of whom discusses the idea of Creative Response: the ability of human beings to respond creatively to the world and the obstacles it presents. Please join us on Thursday, November 8 for a post-election, post-hurricane screening of this important film. Antonino D’Ambrosio will be present for a post-screening Q & A. Special thanks to SnagFilms and to Punk Rope for making this event possible.

Let Fury Have the Hour (Official Trailer)

“An exuberant, mixed-media collage –indeed, a thoughtful and entertaining debut film.”
–The New York Times

“A thrillingly articulate wallop of ’80s-era rage’”
– TimeOut

“Rousing documentary…You’ll leave the theater wanting to create something LOUD. Essential.”
–Rachel Maddow

In his feature directorial debut, acclaimed author, visual artist, and filmmaker Antonino D’Ambrosio has fashioned a lively social history that chronicles how a generation of artists, thinkers, and activists used their creativity—and their creations—as a response to the reactionary politics that came to define our culture in the 1980s. An exuberant, mixed media collage that incorporates graphic art, music, animation, and spoken word, the film spans three decades of change—from the cynical heyday of Reagan and Thatcher through today—and brings together over 50 writers, playwrights, painters, poets, skateboarders, dancers, musicians, and rights advocates, all of whom attest to the fact that we can re-imagine the world we live in and take an active role in making that vision a reality.

Written and Directed by Antonino D’Ambrosio

Starring: Eve Ensler, John Sayles, Chuck D of Public Enemy, Shepherd Fairey, Lewis Black, Ian MacKaye, Billy Bragg, Wayne Kramer, Tom Morello, Internationally acclaimed choreographer Elizabeth Streb, International Best-Selling Author Hari Kunzru, Skateboard legend and musician Tommy Guerrero, Award-Winning Poet & Original member of Def Poetry Jam Suheir Hammad and many more.

Director: Antonino D’Ambrosio

Writer: Antonino D’Ambrosio

Producer(s): Antonino D’Ambrosio, James Reid
Editor: Karim Lopez

Executive Producer(s): Rob McKay, Brian Devine, Jonathan Gray, Mark Urman, Chaz Zelus

Co-Producer(s): Ben Correale, Karim Lopez

Associate Producer(s): Leo Glickman, Julian Gross, Ian Jarvis

Director of Photography: Karim Lopez, James Reid, Antonino D’Ambrosio

Composer: Wayne Kramer

Music Coordinator/ Music Supervisor: Antonino D’Ambrosio, Margaret Saadi Kramer

Original Art/Original Illustration: Shepard Fairey/Seth Tobocman

www.letfuryhavethehour.com

Location One is extremely grateful to The NY State Council on the Arts and The New York City Department of Cultural Affairs. Special thanks to Snag Films and Punk Rope for making this event possible.

New Work by André Feliciano, Everett Kane, Nuno Henrique
October 25-December 1, 2012
Opening Reception Wednesday October 24, 6-8pm
Curated by Claudia Calirman

Location One is proud to present a new group exhibition consisting of handmade artworks constructed to evoke emotional response. The pieces on view draw on a nostalgic past to propose a better future. The show features work by André Feliciano, Everett Kane, and Nuno Henrique. These artists explore how art can use feelings and emotions to reassert itself in a world saturated by technological processes.

The exhibition will be on view at Location One from October 25 to December 1. The opening reception will take place on Wednesday, October 24, from 6-8pm.

André Feliciano considers himself an art gardener. His utopian view of the world can be better understood by his concept of “Floraissance Art,” which mixes the words “flora” and “renaissance” and calls for a postmodern return to arcadia. Feliciano uses words like sprouting, cultivating, and gardening in his artistic practice. His colorful, artificial garden made out of resin-based flowers and dirt is majestically beautiful and leads us to an inner state of calm and contentment. Why not extend these feelings to our present condition so that we can start building a better future?

Feliciano, born in 1984, in São Paulo (Brazil), has exhibited at Photoville (New York, 2012), Bonni Benrubi Gallery (New York, 2011), and the Museum of Modern Art of São Paulo (2010), among other venues. His work has been featured in the New York Times online, Time magazine’s photography blog, and the blog of the International Center of Photography. He is part of the upcoming exhibition Festival of Art and Gastronomy at the Museum of Modern Art of São Paulo (November 2012). More information can be found at his blog, blog.natureza.art.br.

Everett Kane’s drawings, photographs and digital paintings are the work of a highly skilled draftsman interested in a range of expressionistic emotions. Kane’s constant and incessant artistic production (there are over 25,000 pages of drawings in his apartment) is posted daily on Facebook. According to Kane, “the work exists in the gaps between something technical and something emotive, something schematic and something finished.” He sees the creation of his images as performative acts. His largely biographical lonely figures and inner abstract landscapes reveal an artist whose work flows freely and fully at its own fast pace with all of its contradictions. When grouped together, his art looks like clusters of small exhibitions enclosed in themselves.

Kane, born in 1971, is based in New York City. He graduated from Princeton University and the Art Center College of Design. He teaches fine art, digital media, 3-D animation, and drawing at Pratt Institute, the School of Visual Arts, and the New School.

Nuno Henrique’s work is based on accounts of botanical species, the result of his contact with the indigenous forest on his native island, Madeira, in Portugal. The forest only survives in the most inaccessible parts of the island, today occupying a very small part of the territory. His work is an indexical trace of this absence, although it is less about the species therein and more about exploring the field of botany, which is infinitely connected to all aspects of life. He approaches the extinction of the land and its species, largely the result of neo-colonial practices, with emotion and nostalgia. His large paper cast drawing is based on a technique developed by archaeologists in the 19th century. On view at Location One is The tree from which canoes are made, a monument that refers to the North American tulip tree, used by Native Americans to build dugout canoes from the bark.

Born in 1982, Madeira Island (Portugal), Nuno Henrique studied sculpture at FBAUP (Faculty of Fine Arts), University of Porto, and attended the Individual Project study program at Ar.Co (Lisbon). He has participated in a number of exhibitions, including Linha de Partida (Madeira, 2009), Forty Paper Casts (Módulo Art Gallery, Lisbon, 2010), “The old Dragon Tree that existed in Ponta do Garajau fell down into the sea during heavy rains from southeast, occurred during the autumnal equinox of 1982″, Porta 33, Madeira, 2010, and As Saudades da Terra (Módulo Art Gallery, Lisbon, 2012). He has been awarded grants from Porta 33 (Funchal, 2009 and 2010), the National Cultural Centre (CNC, Lisbon, 2011), and Fundacion Botin (Santander, 2012) and is currently a resident at Location One with a grant from the Calouste Gulbenkian Foundation and the Luso-American Foundation.

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

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

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

English Lesson (Something We Learn From One Another)
Nine International Artists Exhibit
June 2nd – July 28th, 2007

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

Lovisa Ringborg started as a painter and the influence of painting, especially the Flemish and Baroque artists, is evident in her work. ‘In all of my pictures, I have worked in a painterly way, with texture and colours in the photographs. Coming from painting, that’s a natural way for me to work, it’s only the media that have changed…’

Ringborg works at ‘the borders between fantasy and reality’. She uses child models in fictional settings and narratives and digitally manipulates the images. The children in her photographs seem somehow detached, depersonalised. ‘That’s my intention, I’m not interested in working with portraits. I work with my models, change them until they become something else, become my own… I want them to evolve into symbols or signs rather than individuals.’

Education:
2003-2008 University of photography, Göteborg    
2002-2003 Göteborgs artschool                      
2001-2002 Gerlesborgs artschool, Bohuslän 

Selected solo exhibitions:
2009
If Your Secret Was an Animal, What Animal Would it Be, Harlem Studio Fellowship, New York City
Limbo, Kulturhuset, Stockholm
 2008
Rotwand Gallery, Zürich
Investigations, Passagen / Linköpings konsthall
 2007
Kungsbacka Konsthall, Göteborg
Uppsala teatergalleri, Uppsala
 2006
JR Konsthallen , Linköping
 2005
Wonderland, Westberg/Spåman , Göteborg
Uppsala teatergalleri, Uppsala
 2006
JR Konsthallen , Linköping

Lovisa Ringborg’s residency is made possible by the Hasselblad Foundation, Sweden

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

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

Curated by Claudia Calirman

OPENING RECEPTION:

Wednesday, January 13, 2010 6–8 PM

DATES: January 14 – March 6, 2010

HOURS: Tuesday-Saturday 12–6 PM

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

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

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

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

Mattias Ericsson

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

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

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

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

Wojtek Doroszuk

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

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

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

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

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

Janez Jansa, Janez Jansa, Janez Jansa
NAME Readymade
Thursday May 7,  2009 at 7 pm
Free and open to the public

Can you imagine a few years ago 3 established American artists joining the Republican Party and then legally changing their names to George W. Bush? And since then bringing the name of the USA President to museums, exhibiting next to Robert Gober or Barbara Kruger, festivals, showing work next to Meg Stuart and Nature Theater of Oklahoma, galleries, presenting video alongside Bruce Nauman?

Location One is glad to invite you to NAME Readymade, the presentation of the “Name changing” gesture perpetrated by three Slovenian artists who, in 2007 officially changed their names to the Slovenia’s economic-liberal, conservative prime minister at the time, Janez Jansa.

“When the three artists changed their names to Janez Jansa, they in fact adopted a critical stand to the state. To the Slovene government, in which until recently all posts seemed occupied as it were by a single person – Janez Jansa. [...] Through the multiplication of Janez Jansa’s name, the function of the prime minister has assumed, within this specific artistic action, a similar position as the Campbell soup cans in Andy Warhol’s works.” (Zdenka Badovinac, Name Readymade, October 2008)

All Janez Jansas’ works, their private and public affairs, in a word their whole life has been conducted under this name ever since.

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.

Works exhibited in this show (valid ID cards, passports, credit and bank cards, driving licences, birth and marriage certificates, and so on) are generated by the reality itself.

“The use of personal documents as exhibition items is certainly a liminal case; it probes certain boundaries. It is liminal in that it is not clear whether or not such a use of personal documents respects the rights that you acquired when you were issued these documents. You cannot burn documents as this is a criminal offence, but what about the use of documents for artistic purposes? To be sure, this is not something that serious people would use to justify persecution in the name of the state; yet, this does mean that everybody knows that you are not carrying your documents, that is, that you are not using them in compliance with the conditions under which they were issued to you. Even a bank can cancel your cards if they find out that you are using them in an inappropriate way. You are walking a line that I would not call “dangerous”, but I do, however, consider it suspicious. This is precisely part of the risk that I mentioned before. Here, we can see various things that could develop from this. After all, you have to make a special effort to find out how security is going to work at the exhibition. It is an entirely different thing if you exhibit graphics numbered 1 to 100 that are insured through an insurance company. I doubt that an insurance company would issue an insurance policy for the everyday functional value of the exhibited documents in the same way as they would issue tourist insurance – such insurance would require the issuance of new documents. Furthermore, it is also interesting that these documents are art works, readymades. The original of Fountain has been lost, nicked, so Duchamp made new ones, signed them anew, he even made a miniature version for his little suitcase; you, however, cannot make new documents, they can only be made by an authorized organization called the state and its Ministry of Internal Affairs. Yet the Ministry itself cannot function illegally and, for example, reproduce these documents as art works. Now what? These are works of art only insofar as they are also authentic documents. Here we reach a contradiction – the very contradiction of the world of art. A readymade as a work of art is something inauthentic; it is the proof of inauthenticity: with a readymade, the “aura” disappears. In your case, however, the precondition for this readymade is its authenticity in everyday life – its credibility and authenticity. If somebody bought this work of art, they would be buying it as authenticity, together with its functional “readymade” value.”

(Lev Kreft,  Name as Readymade, An interview with Janez Jansa, Janez Jansa
and Janez Jansa, NAME Readymade, October 2008)

Janez Jansa, Janez Jansa and Janez Jansa cut right in the midst of their own realities and the reality of the space and time, in which they work. For this purpose they used procedures typical for art – transformation, translation, representation and mimicry. They turned around the classical relational scheme between art and life as it was developed in the 20th century. Art in previous century is redefined by way of reality entering into artistic contexts without mediation (so that Badiou can define the 20th century as the passion for the real), while Jansa, Jansa and Jansa want to achieve the opposite so that their methods cut deeply into their material lives and the lives of their immediate surrounding.

Project supported by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana.

http://www.aksioma.org/name

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

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

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

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

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

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

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

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

We are pleased to present new work by Daniel Andersson (Finland) and by Tseng Yu-chin (Taiwan), participants of the International Residency Program this year.

2×2: New Randy & Bob Holman w/ Vito RicciFriday – May 2nd, 20088:00 pm poetry, 9:00 pm showtickets $15

Reservations 212.334.33472×2 brings together two poet/musician duos in a night of New Poetry, Old School styleNew Randy is poet Holly Anderson (“density and loneliness of the City” (NYTimes)) and musician Lisa B. Burns (“my personal favorite”(Lenny Kaye)).Bob Holman, proprietor of the Bowery Poetry Club, is “Dean of the Scene” (Seventeen). Vito Ricci is “Downtown Musician Laureate #1” (World Magazine).New Randy: Q. What happens when a blue-eyed writer and a dark-haired singer conjure Sappho drinking vodkas in a neighborhood bar? A. They start writing about The Nature of Longing and the Longing for Nature. “If you’re young and taking love too seriously, if you’re old and giving up on it, if you’re a guy who can’t figure out women, if you’re a woman who’s not sure how strange you are, you could probably learn something from New Randy. Sure, it’s home-made… all the good stuff is.” –Jennifer Kelly, Splendid Magazine.Bob Holman w/ Vito Ricci perform from their new CD “The Awesome Whatever” (Bowery Records): Bob Holman, an originator of the Spoken Word and Slam Poetry scenes, shows how it’s done in nine tracks (plus an Easter Egg encore), produced and with music by his long-time collaborator in rhyme, master musician of Maspeth Vito Ricci. With the zipzap influence of the Hipperama of the Classics, Lord Buckley, and the on-kilter space shots of Captain Beefheart, Holman glides cross genres, boundaries and streams of consciousness like a your own personal tour guide on the road to Nirvana. “Nice work, Bob.” –Lou Reed

Click here to view the embedded video.

2×2: New Randy & Bob Holman w/ Vito RicciFriday – May 2nd, 20088:00 pm poetry, 9:00 pm showtickets $15

Reservations 212.334.33472×2 brings together two poet/musician duos in a night of New Poetry, Old School styleNew Randy is poet Holly Anderson (“density and loneliness of the City” (NYTimes)) and musician Lisa B. Burns (“my personal favorite”(Lenny Kaye)).Bob Holman, proprietor of the Bowery Poetry Club, is “Dean of the Scene” (Seventeen). Vito Ricci is “Downtown Musician Laureate #1” (World Magazine).New Randy: Q. What happens when a blue-eyed writer and a dark-haired singer conjure Sappho drinking vodkas in a neighborhood bar? A. They start writing about The Nature of Longing and the Longing for Nature. “If you’re young and taking love too seriously, if you’re old and giving up on it, if you’re a guy who can’t figure out women, if you’re a woman who’s not sure how strange you are, you could probably learn something from New Randy. Sure, it’s home-made… all the good stuff is.” –Jennifer Kelly, Splendid Magazine.Bob Holman w/ Vito Ricci perform from their new CD “The Awesome Whatever” (Bowery Records): Bob Holman, an originator of the Spoken Word and Slam Poetry scenes, shows how it’s done in nine tracks (plus an Easter Egg encore), produced and with music by his long-time collaborator in rhyme, master musician of Maspeth Vito Ricci. With the zipzap influence of the Hipperama of the Classics, Lord Buckley, and the on-kilter space shots of Captain Beefheart, Holman glides cross genres, boundaries and streams of consciousness like a your own personal tour guide on the road to Nirvana. “Nice work, Bob.” –Lou Reed

Click here to view the embedded video.

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

Détourned Menu: Food in the Form of Activism
March 07 – April 25, 2008

555 Broadway, 10012, New York, Ny
Opening Reception & Performance by Cori Crowley & Bert Bergen
Friday, March 7, 6pm – 8pm.

Artist by Erik Carver & Howard Huang, The Center for Tactical Magic, Cori Crowley & Bert Bergen, DoEAT, Bessma Khalaf, Alessandro Nassiri, Chris Sollars & Jerome Waag, Eva Strohmeier, and Adam Zaretsky.

Curated by Brianna Toth

The term “détournement” comes from the political and artistic movement Situationist International, which became known for the reuse of existing elements within well-known media in order to create new work with a different message.Détourned Menu: Food in the Form of Activismbrings together a group of artists who investigate issues raised by the proliferation of biotechnology, perceived scarcity, and the weakening of standards that devalue terms such as “organic” and “all natural.” The performing, visual and collaborative artists included within this exhibition use food as a basis for their art and public education efforts. In so doing, they explore the ways in which food is intertwined with the interactions and decisions of our everyday lives. Providing food for thought, as well as something to fill one’s belly, the artists disrupt the visual and spatial codes of everyday life in order to render legible the relationship between food and the economic, social, ethical, and political realms.

If you have any questions about this exhibition, please contact:
suzuki@iseny.org

>>>>>>>>>>>>>>>>>>>>>>>>>
alessandro nassiri tabibzadeh

http://www.alessandronassiri.it

http://www.alessandronassiri.net

Rob Kennedy lives and works in Glasgow. His work shifts between sculpture, video and live video manipulation. Rob studied BA (hons) Fine Art at Brighton Polytechnic from 1987-1990.

Recent exhibitions include: Video Installation, Threshold Space, Perth, UK curated by Iliyana Nedkova December 2007. Live in Montreal’ installation & video, Studio Cormier, Montreal 2007. Sapphire Season’ Waygood Gallery, Newcastle, UK 2007. Something is wrong here…’ Solo show, Transmission Gallery, Glasgow, UK 2007

Rob Kennedy’s residency at Location One is supported by The Scottish Arts Council

more info here..

Events & Exhibitions

Rob Kennedy: I Relish Your Balderdash
June 25th 2008

ALSO:

DIGIMAG July/August 2008

ROB KENNEDY:
HAPLESS, HELPLESS AND HOPELESS
Txt: Monica Ponzini / Img: Courtesy Rob Kennedy / Eng: Ornella Pesenti

Arario Gallery
www.arariogallery.co.kr
#354-1
Shinbu-dong, Cheonan-si,
Chungcheongnam-do, Korea
Tel : 82 41 551 5100,5101
Fax : 82 41 551 5102
PRESS RELEASE

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IXTLAN STOP
Her work is a restructuring of a mysterious event that unfolds in a dreamlike manner, the way a mystery novel develops as the investigator patches together the pieces of evidence found.

1. The Story

“I think the best way to describe my work is that I am inspired by things that peak my ‘interest’. Therein lies the back story and the evidence behind these unsolved mysteries.” -Among the artist notes

The above statement is artist Yoon-Young Park’s self-professed central idea surrounding her work. And it is true that Park is drawn by events that stir her curiosity which in turn lead her to conduct her own set of research to get to the bottom of it. The Pickton murder, the Virginia Tech Shooting, the Logheed Highway incident, the Riverview Mental Hospital, Vancouver’s downtown east side, Martin Luther King Jr., the Mt. Baker, Exxon Valdez oil spill, etc. were all events and cases that peaked Park’s interest. Park’s work is researching the evidence found in these cases, so as to reach her own interpretation of what had happened. Not only does she explore a variety of media to find such evidence, she even goes as far as to visit those very locations where the mysterious events took place. Park went to the actual location of the Pickton farm where the serial murders took place, making a video of her visit there. Not only that, she recorded her visit to the Riverview Mental Hospital on her own camcorder as well as to Vancouver’s downtown east side where she interviewed the homeless. Such discoveries of evidence surrounding existing cases and their scenery get complicated and mixed up within the context of Yoon-Young Park’s own story in a dreamlike manner. Her stories are her work.

The following three cases were used as motifs for the pieces that are being shown in the current exhibition:

The Pickton Farm serial murder case, Canada: A shocking murder takes place in a pig farm owned by a man named William Pickton in Vancouver, Canada, a beautiful place which is often considered heaven on earth. A total of 69 women either were killed or went missing, with many of the missing women’s DNAs found in the farm’s pig feed, etc.. A series of surreal and unbelievable events had taken place at the Pickton farm.

Exxon Valdez Oil Spill: In 1989, an Exxon Valdez supertanker was crossing the ocean nearby Alaska when an error by the captain led the ship to run aground causing an oil spill of some 11 million gallons of gasoline. The spill caused the worst environmental disaster in the history of the United States and hundreds of thousands of ocean creatures were killed as a result. Today, almost 20 years later, the ocean has yet to fully recover from the disaster.

Martin Luther King Jr. murder case: On April 4th, 6pm in 1968, while standing on the balcony of his motel, Martin Luther King Jr. was shot. He was shot by 30-06 Remington rifle. James Earl Ray was arrested for this case and sentenced to ninety-nine years in prison.

Yoon-Young Park’s works draw from such incidents and she presents the various pieces of evidence she finds in her work, especially in a special space she calls Ixtlan, where Park rearranges the details of the events to tell a brand new story. The story that Park tells is a completely different kind than that which we read or hear through the media.

For this exhibition, Park has completed two full mystery novels. One is the story she wrote while preparing for “Pickton Lake” entitled The Blue Pillar that Appears for a Moment, then Disappears and the other is The Dark and Unlit Logheed Highway. Both novels are fantasy pieces which include her own experiences in the setting, i.e. place, characters, as well as various imagined elements. Her stories are dreamlike and mysterious in that she combines elements of events from the above incidents with other mysterious objects and characters. On one level, her novels are her installation pieces, only in a different form, the only difference being that the materials are words and that the words are the various pieces of the installation.

2. The Space

“IXTLAN is the space you can reach right before death, after you have given up all your desires and the things that you love.”

-Among the artist notes

Ixtlan, the title of this exhibition, is a place that is described in Carlos Casteneda’s book “Journey to Ixtlan”. The Ixtlan that Casteneda describes in his book is an imaginary space that is somehow connected to the real world, but can only be reached after having given up all of one’s worldly desires and loves etc.. Casteneda describes three types of plants that help one to reach Ixtlan, namely peyote (a kind of cactus), jimson weed (white datura stramonium), and psilocybe (a hallucinogenic mushroom). These plants are natural plant substances which cause a kind of hallucination.

In this exhibition, Yoon-Young Park has in a way re-imagined the place of Ixtlan into a place where violence, murder, disasters etc. are non-existent, in other words, a place where such unfortunate events can be prevented from happening.

The various incidents and cases that have interested Yoon-Young Park, such as the Virginia Tech shooting, the murder of Rev. Martin Luther King Jr., the Pickton serial murders etc., are here re-presented and restructured in ‘Downtwon Eastside’. The physical ‘triggers’ involved in these incidents were the gun that was used in the murder of Rev. Martin Luther King Jr., the Exxon Valdez supertanker itself and the Walther P22 used in Cho, Seung Hee’s Virginia Tech shooting. Park sketches these three objects on the surface of a screen then uses these parts to create an equipment made to prevent tragic acts and/or incidents from taking place. The above-mentioned three hallucinogenic plants, i.e. peyote, jimsonweed and psilocybe, are then drawn over the equipment, growing all around it. The three plants in nature cover and therefore prevent these equipment from enacting the kinds of tragic events that they do, and by doing so, Ixtlan is imagined as a place where life and death have come to a stop, i.e. a new place with the potential for a new life and healing. In conclusion, Ixtlan Stop is a place where all the tragedies created by man’s desires and selfishness, are healed by the cleansing power of nature.

3. The Story within the Space

Reading and understanding the stories within Yoon-Young Park’s space of Ixtlan is an indispensable aspect of experiencing Park’s work.

Investigators, on the site of a crime, look around for pieces of evidence which, when put together, help them to come up with a believable story of what may have taken place. And as such, Yoon-Young Park’s exhibition invites us to participate in experiencing the space of Ixtlan where she has re-structured the ‘crime scene’ so to speak.

So what are the stories within Yoon-Young Park’s space? Park approaches the question of life and death and the vague separation between them by comparing the real against the surreal, past against the present, reality against the world of dreams etc.. The artist presents such a blurred and mysterious border between life and death in her depiction of ‘Downtown Eastside’, a mysterious looking installation piece made of a white screen, a large-scale mirror and bright orange paint. The mirror placed below the screen and the large pipe placed over the screen seems to make reference to the act of inhaling the smoke from the use of drugs. The pipe is a symbol of the straw used to inhale cocaine and the sheep skin and screen are also the drug itself. The mirror and the newspaper is each the mirror and razor (tools used in the process of measuring the amount of cocaine in preparation for inhalation). Within such a setting, Park casts the victims of the Pickton case as women living in New York’s downtown eastside and connects the two events by depicting the women as inhaling the drugs. Here, Park juxtaposes death and the act of inhaling drugs while simultaneously exhibiting the correlation between the two, as well as revealing the dream-like state brought on by the drugs.

Since the beginning of her career, Yoon-Young Park has always explored death and the disappearance of people upon death, about all those that die and the naturalness of it, even when it was caused by some other force. However, her obsession is not in death itself. Rather, Park is interested in that which causes death and the event of unexplained deaths. The deaths involved in those incidents that Park explores in her work are not simple incidences which occur as a result of some physical force or even by the tools that are used. These incidents are mired in mystery. Park takes these mysterious incidences and tries to understand and undo the mystery, either through her imagination or with the help of common sense and logic. The stories that Park unravels seem very personal and lyrical but these stories in the end ask the deep question of life and the common angst of living on earth.

We always tend to remain somewhere in-between. Whether it is the beginning or the end, getting on or off, matriculating or graduating, meeting or saying good-bye, and/or living or dying, etc. we are always somewhere in-between something that begins and will eventually end. Yoon-Young Park’s works too are located somewhere between as she searches for a certain world, place. Ixtlan stop or the Journey to Akeldama is all located in an in-between space, somewhere between the real and surreal, reality and imagination, etc., and where Park hopes to go might be a place where she dreams of, a place where bad things can self-heal, or the kind of world that Rev. Martin Luther King Jr. dreamed of, a place where the strong protects the weak. However, in the end, the place she is searching for is where nature brings unity.

Yoon-Young Park’s exhibition is a very special place, an opportunity to meet Park’s works in the midst of her long journey as an artist. Reading her stories in her work in an imagined space that is created by Park is sure to be a special occasion in our own journeys as well. After our meeting, we will all be on our own ways, but let us stop for a moment at Ixtlan Stop and read her works.

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

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

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

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

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.

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.

Mr. Phunsombatlert earned both his B.F.A. and M.F.A. degrees in graphic arts (printmaking) at Silpakorn University, Bangkok. He is now a guest lecturer at the School of Fine and Applied Art of Bangkok University and a prolific artist who is considered as a rising star among the new generation of Thai artists.

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

English Lesson (Something We Learn From One Another)
Nine International Artists Exhibit
June 2nd – July 28th, 2007

Opening Reception: Thursday, 9 February 2006 6-8pm
Open through: March 4th, 2006 (Tue – Sat, 12 – 6 pm)

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:

Reclaim the Media! by Paololuca Barbieri and the Alterazioni Video collective, is a a three-piece installation that acts upon and reacts against the implications of unprecedented media control in our society.

Alterazioni Video develops software platforms and tools to question issues of conventional borderline of legal and illegal use of media technologies.“Baghdad Space Sharing” (2005), interactive video installation. “Blue Jack” (2005), bluetooth phones, software and media – experiment testing the limits of privacy protection at conventional consumer electronics devices.“If You Hear Something, Say Something” (2005), pirate radio transmitter, gold MP3 recordings. A project in collaboration with Nikolas Gambaroffand special guests Franco Berardi Bifo, Raddek Community, Sylver Lotringer, Avdey Ter Oganien, Los Osamas, Dj Pollution, Aldo Vignocchi, and others.

On the Road (dvd, 2’06″, 2005) and Parade (dvd, 1’49″, 2005) by Isabelle Ferreira

Ferreira describes On the Road as “a road-movie that has been short-circuited.” Through the depiction of an action that is quintessentially absurd, this short video aims to liberate landscape as a format from all narrative content and human representation. The second video Parade is a silent and visual dialogue between two mechanisms. More generally Isabelle’s work tends to create a time suspended atmosphere, where gesture and motion are slowed down and hidden rhythms revealed.

Stars (2006) by Geka Heinke

A monumental wall installation. Here a dynamic structure is achieved through the juxtaposition of a large monochromatic star motif painted directly on the wall against a backdrop of loose, free flowing technique on papersheets rearranged by the artist to engage the viewer into the depths of illusionistic space.

Logo Oriental Landscape Painting (2005-2006) by Yoon-Young Park

consisting of 6 vertical panels, painted in Chinese ink on rice paper. It is the artist’s reflection and comment on reading a western book on Oriental Painting which identifies Oriental landscape painting as Utopian, as opposed to the realistic approach of western landscape painting. Park observes the logos of several bottled waters that include mountains and rivers, and are depicted in a utopian and stylized manner. She elaborates these in the traditional technique of Oriental landscape panels with ink burshed on rice paper.

In her new work, Mariana Viegas

continues to investigate the impact of landscape as a transformative and transforming entity in urban contexts. The artist’s photographs suggest evidence of human activity in the design and articulation of parks and other green areas in the city. In the video, Mariana examines how objects in communal garden settings are placed in such a way that they become designations of each user’s area. Increased familiarity with these objects can also shift our perception and lead to the construction of possible narratives. All these investigations address the larger issue of the relationship between fiction and reality, nature and the construction of nature.

The residencies of the artists included in this show are generously supported by Associazione Artegiovane, Milan; The FondiAnima; Comune di Milano; L’Association Française d’Action Artistique – AFAA, and Ville de Paris; Schloss Balmoral, Stiftung Rheinland Pfalz für Kultur; The Korean Culture and Arts Foundation; Calouste Gulbenkian Foundation and the Luso-American Development Foundation.

The microprocessor alone could have the potential to change music forever – how we make it and how we hear it. But instead of innovating new musical processes, composers, scientists and engineers caught themselves in a rut of emulation, almost frightened by the possibilities of eventually limitless memory, bandwidth and algorithmic complexity. Instead of working with the physical and expressive constraints of the machines as we would with any other instrument we ended up building systems that detect “World” music or developing software that can recreate a plucked string in a steel cage.

“Computer music” should not be “fast composition–” a human composer’s belief propagated through their model 1.2 billion times a second, it should be the residuals of a machine’s listening and expressive capabilities. It should be something a human could never create, not even slowly. Over the past five years I’ve tried to teach computers about music on their own so they can grow musical intelligence and classify and compose for themselves. I’ll present recent work on this “music acquisition,” and software and hardware implementations for music retrieval and synthesis convolving around the seven tenets of music to computers.

http://web.media.mit.edu/~ bwhitman
http://eigenradio.media.mit.edu/

Bio:
Brian Whitman is a computer scientist and musician who works with the intersection of sound processing and machine learning to create musically intelligent systems for performance, retrieval and synthesis. He has been involved in the field of music retrieval since 1999, first creating the “Minnowmatch” startup at NEC Research Institute, which offered new signal processing and statistical learning approaches to music recommendation, and later consulting for audio firms and software synthesis companies. He received his Master of Science degree from Columbia University studying Natural Language Processing and is currently a PhD candidate at the MIT Media Lab in the Music, Mind and Machine group, where his research concerns “music acquisition–” how humans and computers learn about music from observation through unsupervised learning and language and signal processing. His synthesis and interactive music projects investigate the peculiar constraints and temperament that machine learning systems exhibit when asked to be creative.

The microprocessor alone could have the potential to change music forever – how we make it and how we hear it. But instead of innovating new musical processes, composers, scientists and engineers caught themselves in a rut of emulation, almost frightened by the possibilities of eventually limitless memory, bandwidth and algorithmic complexity. Instead of working with the physical and expressive constraints of the machines as we would with any other instrument we ended up building systems that detect “World” music or developing software that can recreate a plucked string in a steel cage.

“Computer music” should not be “fast composition–” a human composer’s belief propagated through their model 1.2 billion times a second, it should be the residuals of a machine’s listening and expressive capabilities. It should be something a human could never create, not even slowly. Over the past five years I’ve tried to teach computers about music on their own so they can grow musical intelligence and classify and compose for themselves. I’ll present recent work on this “music acquisition,” and software and hardware implementations for music retrieval and synthesis convolving around the seven tenets of music to computers.

http://web.media.mit.edu/~ bwhitman
http://eigenradio.media.mit.edu/

Bio:
Brian Whitman is a computer scientist and musician who works with the intersection of sound processing and machine learning to create musically intelligent systems for performance, retrieval and synthesis. He has been involved in the field of music retrieval since 1999, first creating the “Minnowmatch” startup at NEC Research Institute, which offered new signal processing and statistical learning approaches to music recommendation, and later consulting for audio firms and software synthesis companies. He received his Master of Science degree from Columbia University studying Natural Language Processing and is currently a PhD candidate at the MIT Media Lab in the Music, Mind and Machine group, where his research concerns “music acquisition–” how humans and computers learn about music from observation through unsupervised learning and language and signal processing. His synthesis and interactive music projects investigate the peculiar constraints and temperament that machine learning systems exhibit when asked to be creative.

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.

Transcript:

(this interview was conducted in Japanese on February 9 2002).

YUKO SAKURAMOTO: I’m with Atsushi Nishijima. Atsushi is a sound artist from Kyoto, Japan. His work and activities are diverse, including sound installation, he live performance, and research on soundscape. He just made an installation at Location One in New York.

So, first please tell us about your installation at Location One :

ATSUSHI NISHIJIMA: I used TV monitors, video tapes, and solar batteries to design the sound system for the installation. For the video screening, I used two different types of sequences: one features images of natural glimmering from the sun and the moon, the other consists of a man-made rhythm resulting from evolving neon signs and the cityscape that I shot at Times Square. Sound was produced by the changing lights, and on screen, color and movement were transformed into electric signals through the use of solar batteries.

YS: Your exhibition was titled, “Subtractive Creation.” Could you explain the meaning of ‘subtractive creation’ , and tell us how you came up with the idea?

AN: Usually, when I think of an idea, I tend to think of different kinds of things by analogy. For instance, in the case of sound and light, they are interesting to me because they are both wave forms. We perceive colors when the waves within the sunlight or streetlights are reflected on things, so that the waves that could be seen red or blue out of all the spectrum of light only reach our eyes. In other words, we simply receive something that is subtracted from some existent totality. In this sense, I am interested in the relationship of the totality, a thing as its part, and myself, and how they interact with each other. Using the earlier example, rather than mixing or adding ‘red’ and ‘blue’ to create something, my concern is how something can be subtracted, mediated by my work, and what the outcome will look like.

YS: So-called “Sound Art” has been gaining popularity recently. As new technology or the computer software has become more available, it seems that everyone can become musicians. What is your definition of Sound Art?

AN: As for the technology, I don’t make any distinction between high and low technology. A friend of mine told me that some people still use the terms ‘new media’ and ‘old media’ for categorization. For me, it seems to be a matter of methodology or choice. Some people use a digital camera, and others opt for a traditional camera with photographic film. Rather than claiming which is good or bad, new or old, it’s becoming more like a matter of one’s taste. The question is how to utilize them, how to use the media ! I heard an interesting story concerning the invention of Hovercrafts. A group of ship specialists started the project in an attempt to produce a high-speed vehicle on the water. They first tried to elaborate the design of the hull, improve the screws, the engine and so on, but failed in their attempts. At some point a specialist on aviation technology joined the team that was working on this project and proposed to create a “flying ship”, which is neither a ship nor an airplane. Ship specialists couldn’t even conceive of such an idea. They were only concerned with the idea of updating the qualities of the ship, and could not imagine a ship hovering in the air. I found the story really interesting. I titled my installation at Location One, “Subtractive Creation” in a rather symbolic sense, as opposed to the idea of creation by addition or mixing. I don’t think adding or mixing is enough. You need to reach a completely different idea in order to create something interesting and new. Unless you can create different ways of looking or thinking, or produce interesting concepts; if I use the example of the ship, you would end up upgrading its performance, efficiency or comfort level. In my case, although I compose and perform music, I want to present different ways of listening to music through my work, or compose and create in relation to the way in which music is listened to. Proposing new ways of listening and hearing, that is my focus. As for the definition of Sound Art, it’s a difficult question. Generally when the work utilizes sound as a medium, it’s often refered to as “Sound Art”. For me, whether sound is used or not, this is not the issue. What matters is whether the work is conceived from “sound”. As long as it is conceived or designed from the perspective of sound, it can be called “sound art”, regardless of whether it is painting, sculpture, or photography. Because what we refer to as “sound” has various aspects. A good example is a musical instrument. Like, when we think of a box whose volume is identical to the volume of a violin, since the shape is different the box doesn’t produce the same sound as the violin, even though the volume is the same. In other words, shape, material, and volume as components of the instrument, the architectural space or environment in which these components are found, all these elements can relate to sound either as a whole or individually. Either way, since it is related to sound, it has that distinct shape and space. To put it in reverse, whether it’s painting, sculpture, photography or architecture, I think “sound art” has interesting possibilities.

“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 Location One is happy to announce two upcoming events by artist-in-residence Atsushi Nishijima: a multi-media installation opening on December 7th and a sound performance on December 15th. We are most grateful to the Asian Cultural Council for sponsoring his residency. 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).

View a video interview of Atsushi Nishijima by Yuzo Sakuramoto

click on image to view perfomance:

Click here to view the embedded video.

Atsushi Nishijima was an artist-in-residence at Location One in 2001.
His residency was made possible by the the Asian Cultural Council.

Location One is pleased to announce Bruce Checefsky’s presentation of the groundbreaking work of experimenal filmmakers Franciszka and Stefan Themerson. Perhaps the most influential of Polish cutting-edge artists, the Themersons produced five short films between 1930 and 1937 in Warsaw that rank among the greatest of European avant-garde: Pharmacy, Europa, Moment Musical, Short Circuit and The Adventure of a Good Citizen. Whereas only the last three films survived the war, a remake of Pharmacy (1930, b/w, silent, 3 minutes) was produced in Budapest in 2001 under the direction of award winning animator and film writer Laszlo L. Revesz and Bruce Checefsky. Bruce Checefsky will present a short contextual history of the photogram as it relates to the Themersons and show slides of his work followed by a screening of Pharmacy (2001, b/w, silent, trt 4:40 minutes). Checefsky explains: “Our remake of Pharmacy is not a reconstruction of the original but an interpretation based on surviving documents, film stills, and notes. I wanted to remake Pharmacy because it was an extremely important film. It is a way of talking about a sort of stimulant to make the thinkable something as yet untaught. It points to that strange zone where art and action discover secret and unpredictable relations with one another. The problem is how to inhabit this condition and how to continue the underground aesthetics of resistance and extend it into the problematic borders of and in our view of justice” Bruce Checefsky is an artist/photographer based in Cleveland. He is director of the Reinberger Galleries, Cleveland Institute of Art and has organized and curated numerous exhibitions. His own works have been presented in solo exhibitions in numerous countries such as Czech Republic, Germany, Hungary, Japan, The Netherlands, Poland, Ukraine.

The event is organized jointly by Location One and the Polish Cultural Institute.

RECORDERS by Katya Sander and François Bucher
March 22 – April 21, 2001

360° Quicktime VR of RECORDERS

Audio from RECORDERS

Artists’ statement:
“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.

In this dialogue, two actors, a man and a woman, repeatedly fail to relate an event. The nuances of their relationship; the repeated obstacles in their communication; the interruptions that they undergo; their indecision over the sorting out of significant elements, and a general sense of paranoia, render the task impossible. At certain points they listen to a pre-recorded conversation and try to repeat it faithfully. They go on to switch roles and recite or correct each other’s words. The narration is never fully told, only further fragmented by their attempts. The sound of the sea recurs, a sort of erasure of what had been said, a kind of white noise that drowns and reshuffles their words.”

Recorders is a collaboration between Katya Sander and François Bucher.

Katya Sander is a Danish artist living and working in Copenhagen. François Bucher is a Colombian artist living and working in New York.

Click here to view the embedded video.

360° Quicktime VR of RECORDERS exhibit.
Click on the image and drag to view movie.

May 1 – May 30, 2000

Lisa Bateman, Janene Higgins, Luther Price, Carolee Schneemann, Miroslaw Rogala

Location One is happy to announce the initiation of our film/video program with “Vivisection”, a video installation featuring work by Lisa Bateman, Janene Higgins, Luther Price, Miroslaw Rogala, and Carolee Schneemann.This work will appear in the gallery and will be streamed on our website.

“…suppressive taboos, the body of the artist in dynamic relationship with the social body”. This phrase, taken straight out of the biography of Carolee Schneemann, the brilliant multidisciplinary artist, whose collaborative video, made with Miroslaw Rogala, makes its US premiere in this show, is the key to all of these acutely perceptive short videos.

We will also begin our evening programming this month, every Monday through Thursday from 8-10 PM. The same day each week will be curated by a guest curator. Monday nights will belong to Pamela Grace, Tuesday to Mark McElhatten, Wednesday to Seamus Coutts, Thursday (TBA) Admission is $2.50.

Lisa Bateman
is a visual artist living and working in New York. Her current works are installations using painted and colored surfaces, mirrors, optics, found objects and video. She is increasingly interested in the history of particular sites, locations and institutions. She has exhibited in over thirty group exhibitions and six one-person shows in both the US and Europe. Her next projects will incorporate images of “learning” and “training” from the Global Institute of Technology and federal government programs in Manhattan. She teaches studio art and lectures in contemporary art at Pratt Institute in New York.

Janene Higgins
is a graphic designer and video artist living in New York City. Her videos and digital media have been presented in numerous festivals and galleries throughout North America, Europe and Japan. She has just completed her fourth artist residency at The Experimental Television Center in Owego, New York. Her work includes live video mixing in a performance setting, most often in an ongoing duo with electric harpist Zeena Parkins. Their latest piece, Arch, will premiere at Roulette this May.

Luther Price
Luxuriously laminated unforgiving process. Crusty enjeweled with imperfection. Oxygen tank, oxygen tank. Skies of white that turn blue the same day. Praying while fucking on a lollipop, for something to do with tomorrow. Ice cream cake. An eyeball kiss. Chickpeas and macaroni or hamburger stew. Toenails and colostomy bags full of corn and turkey gravy drag you down when your stomach is full of staples. Larger than life we scream, then whisper before we die.

Carolee Schneemann
multidisciplinary artist. 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.