Dialogues in Asian Contemporary Art:

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

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

Click here to view the embedded video.

Friday, November 7, 2009
Nikhil Chopra

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

Friday, December 11, 2009
Lotte Lindner & Till Steinbrenner

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

Click here to view the embedded video.

Friday, December 18, 2009
Performance artist Lilibeth Cuenca

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

Click here to view the embedded video.

More videos from the Abramovic Studio

February 4, 2010 – Lucy Skaer

February 5, 2010 – Nico Vascellari

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

February 24, 2010 – Ragnar Kjartansson

February 26, 2010 – Maria Jose Arjona

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

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

April 21, 2010 – Shoba

May 14, 2010 – Elana Katz

May 28, 2010 – Anna Berndtson

June 3, 2010 – Snezana Golubovic

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

Curated by Claudia Calirman

OPENING RECEPTION:

Wednesday, January 13, 2010 6–8 PM

DATES: January 14 – March 6, 2010

HOURS: Tuesday-Saturday 12–6 PM

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

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

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

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

Mattias Ericsson

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

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

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

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

Wojtek Doroszuk

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

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

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

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

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

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

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

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

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

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

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

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

Artist Bios:

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

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

http://www.jessicacurry.co.uk

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

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

http://www.ursenal.net

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

http://www.narindareeders.net

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

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

http://www.woodeson.co.uk

Skaer was born in Cambridge and studied at the Glasgow School of Art. Much of her work consists of her interacting with, and changing, public spaces. In one piece, she took up a paving stone on Glasgow’s Buchanan Street and then had the Earl of Glasgow ceremoniously lay down a replacement, while in an Amsterdam-based piece, she left a diamond and a scorpion side-by-side on a pavement. She has also secretly hidden moth and butterfly pupae in criminal courts in the hope that they will hatch in mid-trial.

Skaer has also exhibited drawings and is a member of the Henry VIII’s Wives collective of artists.

In 2003, Skaer was shortlisted for the Beck’s Futures prize. She currently lives and works in Glasgow.

In 2008 Skaer was the subject of a mid-career retrospective at the Fruitmarket Gallery in Edinburgh, Scotland which included newly commissioned work. There was a comprehensive monograph published to accompany the show.

Her most recent major solo exhibition is ‘A Boat Used As A Vessel’, Kunsthalle Basel, Basel, Switzerland (April 2009 – June 2009).

Lucy Skaer is represented by doggerfisher, Edinburgh (www.doggerfisher.com)

In April 2009, she was shortlisted for the Turner Prize.

Previous Press and other information:

Artforum [PDF]

Frieze [PDF]

The Independent [PDF]

Publications [PDF]

Scotland and Venice 2009 [PDF]

Turner Prize Announcement [PDF]

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

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

Location One Exhibition Press Release:

Richard Bell: I Am Not Sorry

Previous Press and other information:

Aboriginal Art ONLINE [PDF]

Gertrude Contemporary Art Spaces [PDF]

I am not Sorry: Richard Bell out of Context [PDF]

Curated by Irina Zucca Alessandrelli

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

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

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

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

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

www.theinfluenceoffishtailsonthebreakingwaves.com  

5 DAYS ONLY!

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

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

ABOUT THE ARTIST:

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

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

Other upcoming shows:

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

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

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

Other current shows:

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

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

nayda collazo-llorens

http://www.naydacollazollorens.com

Date: 2008/6/28-8/24

The “City on the Move Art Festival” held by the Taipei City Department of Cultural Affairs has already entered its sixth year. This year, the stage for the festival has been set at the Museum of Contemporary Art, Taipei. It’s divided into two themes – “Eye of the City” curated by Jo HSIAO , researcher at the Department of Cultural Affairs, and “Dark City,” jointly curated by Chao Lee KUO , Associate Professor of the National Taipei University Graduate School of Urban Planning, and Ke-fung LIU , Assistant Professor of the Architecture Department of Chaoyang University of Technology. “City on the Move art Festival” gathers together the talent of thirteen visual artists and architects to express their deepest thoughts and concerns not only about cities, but also about civilization, progress and existence.

For “Eye of the City,” seven local and overseas visual artists were invited, including Nicolas FLOC’H from France, Ryoichi KUROKAWA and Yuki OKUMURA from Japan, and Taiwanese artists Ya-hui WANG, Iuan-hau CHIANG, Chung-han YAO and Chih-chien CHEN. Using the medium of videos and sounds, these artists express the various prospects of the city and explore the concepts of time and sense of urban space, as well as the sights, sounds and even smell existed in the city dwellers’ experiences. They also convey snatches of the emotions or fantasies found in city corners, and the various anxiety hidden within city life. These seven artists use artistic methods to sample slices of urban life and reconstruct or reproduce them, giving viewers an even more penetrating insight into these issues.

The participants in “Dark City” include local experienced architects Albert HO, Jay W. CHIU, Kris YAO, Shi-chieh LU, Kyle Chia-kai YANG and Victor Y. C. SU. These six explore the relativity of lightness and darkness within the city, including urban night life and darker spaces, and the unique, mesmerizing nightscapes of Asian cities, through their individual viewpoints and methods of interpretation. For this exhibition, these architects transform themselves into spatial magicians, using changes in light, shadow and sound, and the reorganization of visiting routes, to create an epitome of their individual “Dark Cities” within the museum.

Date: 2008/6/28-8/24

The “City on the Move Art Festival” held by the Taipei City Department of Cultural Affairs has already entered its sixth year. This year, the stage for the festival has been set at the Museum of Contemporary Art, Taipei. It’s divided into two themes – “Eye of the City” curated by Jo HSIAO , researcher at the Department of Cultural Affairs, and “Dark City,” jointly curated by Chao Lee KUO , Associate Professor of the National Taipei University Graduate School of Urban Planning, and Ke-fung LIU , Assistant Professor of the Architecture Department of Chaoyang University of Technology. “City on the Move art Festival” gathers together the talent of thirteen visual artists and architects to express their deepest thoughts and concerns not only about cities, but also about civilization, progress and existence.

For “Eye of the City,” seven local and overseas visual artists were invited, including Nicolas FLOC’H from France, Ryoichi KUROKAWA and Yuki OKUMURA from Japan, and Taiwanese artists Ya-hui WANG, Iuan-hau CHIANG, Chung-han YAO and Chih-chien CHEN. Using the medium of videos and sounds, these artists express the various prospects of the city and explore the concepts of time and sense of urban space, as well as the sights, sounds and even smell existed in the city dwellers’ experiences. They also convey snatches of the emotions or fantasies found in city corners, and the various anxiety hidden within city life. These seven artists use artistic methods to sample slices of urban life and reconstruct or reproduce them, giving viewers an even more penetrating insight into these issues.

The participants in “Dark City” include local experienced architects Albert HO, Jay W. CHIU, Kris YAO, Shi-chieh LU, Kyle Chia-kai YANG and Victor Y. C. SU. These six explore the relativity of lightness and darkness within the city, including urban night life and darker spaces, and the unique, mesmerizing nightscapes of Asian cities, through their individual viewpoints and methods of interpretation. For this exhibition, these architects transform themselves into spatial magicians, using changes in light, shadow and sound, and the reorganization of visiting routes, to create an epitome of their individual “Dark Cities” within the museum.

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

OFF THE RECORD

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

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

The show ends:

For more informations

Location One is happy to present new work by two artists participating in the International Residency Program.

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.

“Draft” is a cartographic installation. It is the preface of a larger project whose end result is a palimpsestic film. In line with Debord’s theory of “Dérive” –the early situationist practice of urban drifting– this “intermediate” installation presents itself as a non-definable urban map that includes video, audio and text inserts, as well as photographs. Scenes where cartographers, writers, poets, musicians, cinematographers, scientists are scribbling notes and writing potential scripts overlap with other images also shot by the artist. Kameli then reinterprets these texts by operating a double dérive. Shifting feelings of excitement and anticipation run parallel with anxiety and caution, combined with the realization that there is nothing new to discover but the limitations of one’s own experience and understanding.

Kuba Bakowski‘s quasi bio-mechanical body of work examines the duality between real and artificial as generated by digital media, with an approach that is in part utopian and ironic, often tinged with a perverse sense of humor. For this exhibition, the artist creates “video machines” which produce distinctive audio-visual energy and that he groups under the title Nothing More Happens Than Has To Happen.

“The Question is not so much where we are as when we are” features the artist as he attempts to surpass the physical limitations of his body by appearing on the Polish public channel for two months, every night after the day’s program has ended, exercising and meditating against the colorful background of the test pattern (TV Zero Zones).

In the Rockaway video loops, Kuba has extracted short video samples from BBC documentary movies about the nuclear arms race, and combines them with video footage of flying birds and planes filmed by the artist in Far Rockaway on a rainy and breezy day. Presented as small video-installations, these loops generate a strange and anxious atmosphere. “City pigeons 1,2,3,4,5” and the audio track result from video and audio manipulations.

Kuba graduated from the Multimedia Communication Faculty, Academy of Fine Arts, Poznan. Recent exhibitions include : 2007, Polish Painting of the 21st Century, Zacheta – National Gallery of Art, Warsaw; 2006, At the Very Centre of Attention. Part 3, Center for Contemporary Art Ujazdowski Castle, Warsaw; and a project in the Wuyishan Mountains, China.


Spaceships, Explorers, Samplers And Other Explorative Devices, 2006 / 2007
pills, antibiotic globules, pins, plexiglas, various materials

http://www.kubabakowski.net

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

Events & Exhibitions

Katia Kameli & Kuba Bakowski
in Location One’s Project Space
December 13-22, 2007

Katia is a Franco-Algerian artist and filmmaker whose practice is marked by the exploration of multiplicity and the in-between. In her video, photography and sculpture work, the artist investigates intercultural spaces, intersecting identities and their construction. As she herself says: “Fluxes of people are automatically creating hybridisations, indeed new spaces, thoughts and situations.”

Katia received her post graduate degree in 2003 from Ecole Supérieure des Beaux-Arts, Marseille after graduating from the Ecole Nationale des Beaux-Arts, Bourges in 2000. Her film Bledi in Progress has been featured in numerous festivals: 2007 – Cinema Lux, Caen; Kinokho, Paris; 2006 – Festival de Clermont Ferrand; Bienal Internacional de Arte de Sevilla, et.al.) Recent exhibitions include: 2007, Bienal de Jafre, Spain; 2006, Glassbox Paris; The Photographer’s Gallery, London; Rush Arts Gallery, New York.

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

Events & Exhibitions

Katia Kameli & Kuba Bakowski
in Location One’s Project Space
December 13-22, 2007

SELECTED PAST EXHIBITIONS:

Na Yingyu: Our Homeland! Gone Just Like That

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

Project Gallery Events / Exhibitions>>

One And Many

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

Lilibeth Cuenca Rasmussen: Afghan Hound

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

Sounds Good

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

John O’Connell: Like a Shark in the Grass

14 April – 27 May 2011

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

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

10 February – 19 March 2011

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

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

5 November 2010 – 22 January 2011

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

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

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

Adel Abidin: I’m Sorry

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

Joan Jonas:

Drawing/Performance/Video

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

Yes, But…

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

Richard Bell: I Am Not Sorry

8 Oct – 25 Nov 2009

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

Virtual Residency 2.0: Levels of Undo

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

Conrad Shawcross: Control

20 May – 1 Aug 2009

Extended! 9-26 Sept 2009

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

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

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

Laurie Anderson: From the Air: Two Installations

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

Nayland Blake: Behavior

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

Catalog availiable.

Jane Philbrick: PULL

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

Virtual Residency Project: Mission Accomplished

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

Jean Shin: And We Move

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

Aoife Collins: Wet Eye

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

Nina Sobell: Internal Message Search

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

Tracey Moffatt: Social Edit

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

Xu Tan: Searching for Keywords

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

Lida Abdul: What We Saw Upon Awakening

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

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

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

IRP Exhibition: Summer 2007

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

Martha Rosler: Virtual Minefield

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

Jeanette Doyle: StarLine Tours

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

IRP Exhibition: Winter 2007

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

Lisa and Nicole Abahuni: In the Sky

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

Artbots: The Robot Talent Show

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

Cliff Evans: The Road to Mount Weather

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

Lukasz Skapski: Video and Photographic Works

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

Carlos Amorales and Javier Viver: Manimal and The Audience

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

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

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

Creative Atelier: Open Stitch

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

Chris Csikszentmihalyi: Skin & Control

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

Victoria Vesna: Nano Mandala

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

Group Exhibition: Creative Intelligence

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

Muntadas: On Translation: On View

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

Claude Closky: Television

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

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

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

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

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

Group Exhibition: Signal to Noise

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

Xu Tan: Qing Hua Porcelain (Blue & White)

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

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

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

Keith Sonnier: O2 = O3; Fractured Oxygen = Ozone

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

Inagural Exhibition: Life After the Squirrel

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

SELECTED PAST EXHIBITIONS:

Main Gallery Exhibitions>>

Rudy Shepherd: Portraits

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

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

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

Rob Kennedy: I Relish Your Balderdash

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

Rashaad Newsome: Compositions

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

Daniel Andersson & Tseng Yu-chin: IRP Exhibition 2008

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

Eric Siu & Luis Nobre

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

Nina Sobell: Internal Message Search – A Performative Installation

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

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

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

Hung Nguyen Manh: Special Sound Performance

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

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

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

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

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

Nine International Artists Exhibit

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

Jeanette Doyle: StarLine Tours

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

IRP Exhibition, Winter 2007

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

Leesa & Nicole Abahuni: In the Sky

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

International Residency Program 2005-2006 – Group Show II

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

Andrew Duggan: ECHO

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

International Residency Program 2005-2006 – Group Show I

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

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

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

Martin Beauregard: Somnambulic

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

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

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

Martin Beauregard & Marlena Kudlicka: IRP Exhibition Spring 2005 II

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

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

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

Cécile Paris: 3 videos and 3 songs

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

Mark Themann: PASSED for EXPORT: an installation.

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

IRP Exhibition 2004

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

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

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

Vesna Pavlovic: Casual Friday

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

Miguel Soares: Red Alert

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

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

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

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

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

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

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

Xu Tan: Qing Hua Porcelain (Blue & White)

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

Francois Bucher: White Balance

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

Atsushi Nishijima: Subtractive Creation/Visible Sound

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

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

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

Katya Sander and François Bucher: RECORDERS

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

SELECTED PAST EXHIBITIONS:

Main Gallery Exhibitions>>

Rudy Shepherd: Portraits

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

Nicolas Grospierre & Kaeko Mizukoshi: Safe and Hymn.

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

Rob Kennedy: I Relish Your Balderdash

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

Rashaad Newsome: Compositions

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

Daniel Andersson & Tseng Yu-chin: IRP Exhibition 2008

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

Eric Siu & Luis Nobre

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

Nina Sobell: Internal Message Search – A Performative Installation

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

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

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

Hung Nguyen Manh: Special Sound Performance

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

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

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

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

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

Nine International Artists Exhibit

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

Jeanette Doyle: StarLine Tours

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

IRP Exhibition, Winter 2007

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

Leesa & Nicole Abahuni: In the Sky

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

International Residency Program 2005-2006 – Group Show II

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

Andrew Duggan: ECHO

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

International Residency Program 2005-2006 – Group Show I

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

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

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

Martin Beauregard: Somnambulic

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

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

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

Martin Beauregard & Marlena Kudlicka: IRP Exhibition Spring 2005 II

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

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

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

Cécile Paris: 3 videos and 3 songs

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

Mark Themann: PASSED for EXPORT: an installation.

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

IRP Exhibition 2004

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

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

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

Vesna Pavlovic: Casual Friday

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

Miguel Soares: Red Alert

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

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

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

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

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

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

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

Xu Tan: Qing Hua Porcelain (Blue & White)

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

Francois Bucher: White Balance

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

Atsushi Nishijima: Subtractive Creation/Visible Sound

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

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

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

Katya Sander and François Bucher: RECORDERS

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

Senior Artist in Residence:

Carolee Schneemann

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

International Fellows:

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

Richard Bell

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

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

International Residents

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

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


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

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


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

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



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

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


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

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


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

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


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

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


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

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

Location One is pleased to present Virtual Minefield, a new installation by Martha Rosler which features The Phrasalator, a two-way speech-to-speech device developed by the Defense Department to translate medical information to and from English and Arabic. This exhibition marks the first use of this technology in a non-military capacity.

Since the early 1970s, Martha Rosler has produced seminal work in the fields of video, performance, photography, critical writing, and theory. Her incisive, often humorous and transgressive, renderings of the social scene reflect her strong commitment to an art that engages with wider publics beyond the privileged spaces of the art world. Accessibility has always been a major concern of hers, as is the role of the viewer in constructing the meaning of the work. She presses viewers to rethink the boundaries between the public and the private as well as the social and the political.

Like an archeologist, Rosler peels back the layers of common sense. Public discourse, and daily experience to reveal the complex realities behind social myths. She brings a critical eye and deadpan wit to bear on aspects of ordinary life and the political world, with particular emphasis on the impact of patriarchal culture. From “Bringing the War Home,” the biting yet beautiful series of photomontages that were generated by her outrage over the Vietnam War to the ambitious and innovative curatorial project “If You Lived Here,” addressing homelessness, housing, and urbanism, Rosler has taken on some of the most pressing issues of our times.

Video from artist talk with Martha Rosler: “Where the Truth Lies”

April 19, 2007
Martha Rosler with Marcia Vetrocq
The second in a series hosted by critic and art historian Marcia Vetrocq and entitled WHERE THE TRUTH LIES: On Veracity, Conscience and Subjectivity in Recent Art.Martha Rosler will talk about the installation on view in our galleries as well as her past work and current undertakings, in relation to the theme of Truth in art.

for more information on Martha Rosler’s work, see her website here: >>.

This exhibition is supported in part by the Peter Norton Family Foundation and the New York State Council on the Arts.

This is our credo:

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

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

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

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

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

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

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

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

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

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

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

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

Location One is an independent, non-profit center for artistic experimentation and advanced thinking about the arts. We provide a home for serious discussion of the arts and social awareness, offering residential fellowships in the visual arts, performance, and writing.

We offer intensive curatorial expertise, technical guidance and creative resources, tailored to each fellow’s needs. We encourage participants to create new work and to exhibit or perform their work in our three exhibition spaces (in New York’s SoHo district). We invite them to share their thinking with the intellectual and artistic community in New York and – digitally – everywhere else.

Location One has forged an extensive network in political, academic and cultural communities in New York and abroad. Program participants have come from 33 countries so far in a network that extends throughout Asia, western and eastern Europe and Latin America. It is an ever-expanding network of people who care about artists and how they grow; who think that arts and creative expression matter deeply to the development of human culture. They understand the importance of creating new perceptions and critical thinking as technology and globalization transform our world.

Artists and thinkers take for granted the fluid boundaries of knowledge in the twenty-first century. They are the vanguard of human thought. They shape the models for the way we experience the contemporary world and images of its future. We at Location One have worked for 13 years to foster experimental art and critical dialogue between the people of the United States and the international community. The insight and vision of our fellows gives us hope for the future.

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

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

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

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

Teresa Henriques (Portugal) – Drawing in Space

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

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

Agnieszka Kalinowska (Poland) – Doormen

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

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

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

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

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

Rie Kawakami (Japan) – Untitled

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

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

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

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

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

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

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

Kaori Tazoe (Japan)

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

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

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

Virginie Yassef (France) – Les Eparpillés / The Scattered

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

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

Born in Ludwigshafen am Rhein, Geka lives and works in Berlin. She graduated from the Facultad de Bellas Artes, Universidad de Salamanca, Spain (1993), and received a “Meisterschüler” from Hochschule der Künste, Berlin (1998). In 2003, she was artist in residence at the Irish Museum of Modern Art, Dublin. She regularly exhibits in Berlin and Europe. Recently at Galerie Françoise Heitsch, Munich; Kunstraum Kreuzberg/ Künsterhaus Bethanien, Berlin; Neue Kunst Gallery, Mannheims and Irish Museum of Modern Art, Dublin.

Exhibitions at Location One:
Stars (2006), installation :: Residents’ Exhibition 2005-2006
Interview with Emilie Renard, Independent Curator

Geka’s residency at Location One is supported by Schloss Balmoral, Stiftung Rheinland Pfalz für Kultur.

Kaori Tazoe graduated from a two-year program at the Ohtsuka Textile Design Institute in 1993 and worked in an architectural firm for several years. She began designing costumes and stage sets for theater and performance art projects in Tokyo and in Yokohama, where she co-founded Scratch Tile Art Space in 2001, one of the first alternative spaces in the city. In 2005 she was selected as one of the few Yokohama artists included in the Yokohama Triennale.

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

Video Interview

Born in Seoul, Korea, So Youn earned a B.F.A. and M.F.A in Painting at Ewha Womans University, Seoul, followed by an MA in Communication Arts at NYIT, New York, and a Ph.D. in Art Technology of Chungang University, Seoul. Recent exhibitions include: “Fiction @ love-Ultra New Vision in Contemporary Art”, Museum of Contemporary Art, Shanghai; “Art Spectrum”, Samsung Leeum Museum, Seoul; “Alchemy in Daily Life”, Christ Church Art Gallery, New Zealand; “Happiness-Mori Art Museum Inaugural Exhibition”, Mori Art Museum, Tokyo.

SoYoun’s residency of Location One is supported by The Daeyu Cultural Foundation, Korea.

Natural Strawberry Flavor, 2007
Nine International Artists Exhibit
June 2nd – July 28th, 2007

The (2^(30402457) – 1)th dorkbot-nyc meeting took place on Wednesday, October 4th, 2006, at 7pm

It featured the fragrant and marvellous:

	Rob Seward: The CONSCIOUSNESS FIELD RESONATOR The CFR is a device based on ESP research performed at Princeton University. It is designed so the owner can have a personal experience of the psychic forces that Princeton claims to exist. The CFR responds changes in “consciousness fields.” Disturbances in these fields are detectable when many people have their mind on the same subject. Events such as Princess Diana’s Funeral and 9/11 have created measurable effects in Princeton’s equipment – similar events should produce a dramatic response in the CFR. This project is my attempt to create an object that engenders a highly emotional relationship with its owner. http://www.robseward.com/cfr
	Miru Kim: naked city spleen Naked City Spleen is a multi-media project in progress currently focused on a photography series. The title takes inspiration from the nickname of New York City (Naked City) and poetry of Baudelaire (Paris Spleen). The images portray various urban ruins, such as abandoned subway stations, tunnels, aquaducts, catacombs, factories, hospitals, and shipyards, and incorporate a human body form inhabiting these spaces. There is a performance aspect to the project that blurs the conventional notions of photographer and model, since the artist does both, setting up the camera on tripod and self-timer after searching and infiltrating these man-made structures forgotten or ignored by most. There will also be sound clips from the featured spaces recorded and arranged by Ken White, and they are part of ongoing collaboration efforts for installation work. http://www.mirukim.com
	Noah Vawter: Ambient Addition Ambient Addition is a Walkman with binaural microphones. A tiny Digital Signal Processing (DSP) chip analyzes the microphone’s sound and superimposes a layer of harmony and rhythm on top of the listener’s world. In the new context, some surprising behaviors take place. Listeners tend to play with objects around them, sing to themselves, and wander toward tempting sound sources. With Ambient Addition, I’m hoping to make people think twice about the sounds they initiate as well as loosen up some inhibitions. http://web.media.mit.edu/~nvawter

Some images from the meeting.

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

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

Click here to view the embedded video.

June 4th – July 30th, 2005

Click here to view the embedded video.

[display_podcast]

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

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

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

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

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

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

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

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

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

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

Benoît Maubrey performs “The Electronic Guy”

Click here to view the embedded video.

Kurt Ralske
Work in ProgressJanuary-February, 2004

____Video as a tool for re-mapping 4 dimensional space

“These possibilities are very exciting to me, and my hope is that work that reveals time by transforming it causes the viewer to experience a different, expanded sense of time, and thus a different, expanded sense of their own life passing through time.”

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.

In painting and drawing, the artist makes decisions on what rules to follow to project the 3 dimensions of physical space onto the 2 dimensions of the canvas. Classical vanishing-point perspective, Byzantine reversed perspective, and Cubism are some familiar examples of various methods for collapsing 3 dimensions onto a 2 dimensional image. Every artist’s personal style of 3d-to-2d mapping become an identifiable element of his/her “hand”.

Similarly, the video or film artist makes decisions on how to work with events that occur in time (the 4th dimension) to re-map 4 dimensions onto alternate, transformed 2, 3, or 4 dimensional spaces. There are endless possibilities for converting time-based events into modified, transformed or collapsed representations.

We have learned techniques for “reading” transformed representations and unconsciously use them all the time. We know the map is smaller than the territory it represents; we know the Mona Lisa is “closer” to us than the horizon; we know that the 1 hour 40 minutes of a Hollywood film do not represent a slice of real-time (as we experience it), but instead, events that occurred at various times.

Digital video (especially when combined with custom software processing) offers new possibilities for re-mapping 4 dimensions that extend far beyond the familiar techniques of film and analog video, which we can already “read” without conscious effort. These possibilities are very exciting to me, and my hope is that work that reveals time by transforming it causes the viewer to experience a different, expanded sense of time, and thus a different, expanded sense of their own life passing through time.

____”Zebra Time” (aquarium, fish, video camera, custom software, computer, projector):

A small school of fish (Brachydanio rerio, commonly known as Zebras) swim in an aquarium. A video camera is pointed at the aquarium, and images of the fish are captured into the computer. The artist’s custom software processes the images, which are projected behind the aquarium. The processing of the images destroys their temporal integrity, that is, events that occur at different times are represented simultaneously. At times, the frame fills with the residue of previous actions; in this way, the fish, by their actions, are the creators of a “painting”.____”Cold Time / 3rd Time” (DVD) :

Two audio-visual pieces are played consecutively. In “Cold Time” (4 min), a small number of abstract b+w still images are animated in subtle, painterly ways. The images drift, melt, and move erratically. The soundtrack is a recording of shortwave radio noises from the 1950s, which are allegedly transmissions of encrypted information by cold-war-era spies. The mood is dark and foreboding. In “3rd Time” (15:30 min), one minute of 1950s footage of the NYC elevated subway line is drastically extended by a cyclic, iterative looping algorithm. A soundtrack created by the artist to match the one-minute version is similarly processed to be tightly synchronized with the looping of the image. “3rd Time” is a record of a real-time performance (that is, its 15:30 minute duration required exactly 15:30 minutes to create), and is presented unedited, as a document of the work process. The temporal integrity of each frame is fractured, that is, parts of each frame are actually a record of previous events. As a result, objects themselves become fractured and lose their distinct location in space and time. The incessant repetitive cycling of the images risks an overdetermined single-mindedness, but instead approaches a hypnotic and visceral thrill.

____”Mer Time” (DVD, 3 monitors, ink-jet print 150x50cm) :

A still image is created through the residue of a video performance. The still image is then re-converted back into video via a long, slow close-up pan across its surface. Thus a time-based process (the unseen video performance) is transformed into an inanimate object (still image), and the inanimate object is transformed back into a new time-based process (video on monitors). This sequence of mappings is 4d to 2d to 4d.

(2003 Artist-in-Residence, Serbia)
December 10, 2003 – December 30, 2003
Opening December 10, 2003 6-8 PMA photographic investigation of the working life and environment for American office space.

Casual Friday is the first essay in a broader body of work by Vesna Pavlovic

a Pavlovic titled American Collection, a long-term project which will result as a series of photographic essays and texts on different aspects of American living today.

Downtowns become visually striking ghost towns on Friday nights, when their “part-time” inhabitants leave. Paradoxically, offices function as intimate spaces for their workers, but only for the limited period of time, during the working week. The photographic approach will be based on capturing the images of office space during the after-work hours, when the space is left to itself.

The project aims to explore two aspects of the American office:

1) The working life and environment of American office space, its content and the feel. Many Americans spend the majority of their daily lives in their working space. Do they feel they work too many hours?

2) Office art and design of the office. What is the “kind” of taste that interior of the offices was arranged with? Who is the “curator” of the content of the office space? How much and does it inspire or enhance the working performance?

The Chase Manhattan Plaza building has been chosen as one of the most striking architectural pieces in downtown Manhattan, for its vast lobby space as well as the challenging interior decoration.

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.

Writer Casey Smith, will explore these topics through writing. His writing will not be an interpretation of images and work presented in Casual Friday, but rather it will act as another layer in the essay. He will work with four Washington, DC-based artists who will also write on topics related to the idea of the office space in their own city.

Sound (voice overs) will be another important component of this visual research as several interviews will be conducted with people who work in the building. In these interviews, they will be asked to share experiences of time spent in the building, and also to reflect on the decoration surrounding them in their office environment.

An interactive web site updated with materials created will be used as a tool throughout the working process. The idea behind the virtual archives is to have a crossover of perspectives, coming both from a foreigner gazing at the society, as well as from people immersed in the system of American living.

Vesna Pavlovic bio

website :: http://www.vesnapavlovic.net/watching

October 22, 2002

Admission: Regular $5, Students $2, Members Free.

Location One is pleased to announce the second talk of our series Performance Contemporary: a conversation with Paul Kaiser conducted by Bonnie Marranca. PAUL KAISER is a digital artist whose work has been exhibited in performance spaces such as Lincoln Center and Barbicon and in museums and galleries, such as the Whitney, Pompidou Center and Eyebeam. His work began in experimental film and audiotape; he also studied the storytelling practices of the Tarahumara and Navajo Indians. Kaiser spent ten years in Washington D.C. teaching students with severe learning disabilities. He began developing computer programs that allowed these children to build multimedia depictions of their own minds. In 1994, Kaiser relocated to New York and founded Riverbed, a multimedia studio, in order to create cultural and art-oriented interactive projects. Kaiser created the virtual dances Hand-Drawn Spaces and BIPED, with Merce Cunningham and Shelley Eshkar, and Ghostcatching, with Bill T. Jones. Kaiser’s piece Trace (2001), a multimedia narrative installation with audio design by Bell Labs scientist Nicholas Tsingos, was seen at the Brooklyn Academy of Music as part of the Arts in Multimedia program. His most recent public art work, Pedestrian, a project produced by the Art Production Fund and Eyebeam, was installed at three Manhattan sites including Rockefeller Center, The Studio Museum in Harlem, and Eyebeam in Chelsea. He has received many awards, including ComputerWorld/Smithsonian Award in 1991, a Guggenheim Fellowship in 1996, and a Bessie award in 2000.

BONNIE MARRANCA is co-founder and editor of PAJ: A Journal of Performance and Art. A theatre critic residing in New York City, she has written two volumes of essays, Ecologies of Theatre, and Theatrewritings, which won the George Jean Nathan Award in Dramatic Criticism, and has edited several books, including Conversations on Art and Performance, Plays for the End of the Century, and Interculturalism and Performance. Bonnie Marranca is a Guggenheim Fellow and Fulbright scholar and is currently teaching at Princeton University. She is Director of Special Performance Projects at Location One.

Future PerformanceContemporary events:
The Wooster Group-A Dictionary of Ideas: Tuesday, November 19, 7 PM.
Dialogue with Richard Maxwell: Tuesday, December 17, 7 PM

Curated by Tanya Leighton

Opening Reception: April 4th, 6-8pm

Stills from “Under the Rain”, videotape, 1997

It is a great pleasure to present the first solo exhibition of work by the internationally celebrated filmmaker Alfred Guzzetti. Guzzetti has directed and collaborated on many documentary and experimental films and videotapes. His body of work includes personal, political documentaries and, most recently, digital video works that had their predecessors in his experimental films from the 1960s and 1970s.

The installation at Location One includes two experimental videotapes, “Under the Rain” (1997; 10 minutes) and “A Tropical Story” (1998; 9 minutes). These videos make use of documentary-like footage yet they are not configured like documentaries. Guzzetti’s deep subjectivity and consciousness is transparent in his exquisitely composed, carefully crafted, and concise images. Descriptions of landscapes, public and private spaces, advertising and television images rhythmically lull us into a gentle contemplation; then interrupt us by assaultive sounds, quick edits and scrolling texts. These pieces articulate a recurring theme in Guzzetti’s work: the complex anxiety of being in a foreign place and the projection of our consciousness onto changing landscapes. “The moon is the same, although the surroundings are not.” His work asserts the struggle to assimilate what we know, or think we know, and what we have repeatedly heard, yet have consistently forgotten.

Alfred Guzzetti is based in Cambridge, Massachusetts. He is Osgood Hooker Professor of Visual Arts at Harvard University. His films and tapes have been included in numerous national and international film festivals. He is the author of the book “Two or Three Things I Know about Her: Analysis of a Film by Godard” (Harvard University Press, 1981).

“The Tower of Industrial Life,” an experimental videotape from the same series, is currently on exhibition as part of the Whitney Biennial 2002.

We are happy to announce the initiation of our performance program by offering a free concert of music and dance on Saturday, February 12th at 8pm. Ned Rothenberg and Yves Musard will collaborate on an exploration of the new exhibition space: Ned, with music and Yves, with dance. We will broadcast the performance over the Internet.

These two original performers have worked together previously at the Cartier Foundation in Paris, the Bolzano Festival in Italy and at Dia Center for the Arts in New York. They have developed a fascinating and complex interaction. The audience will experience a spell cast by Rothenberg’s quasi-polyphonic solo saxophone music in Location One’s beautifully reverberate acoustic space. Musard’s movement functions both to outline and interweave with the physical and sonic environment.

Ned Rothenberg composes and performs on saxophones, clarinets, and shakuhachi. He has been internationally acclaimed for his solo music, presented for the past 18 years in hundreds of concerts throughout North America and South America, Europe and Asia. He currently leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, table and the ensembles Double Band, and Power Lines Close collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Masahiko Sato, Samm Bennett, Elliott Sharp, and Katsuya Yokoyama.

Yves Mustard has been based in New York since 1979. In 1990 he began to create a series of “dance itineraries” in relation to specific views and details of architecture in public spaces. His most recent projects are “Spots and Loops” (1999), a guided visit through the Museum of Contemporary Art (MAMCO) in Geneva, Switzerland and “Between 19th and 14th” (1999), a promenade starting at the Kitchen in Chelsea, produced by the Downtown Arts Festival.