Phosphene Variations
by Jason Akira Somma

September 12-November 17, 2012
Opening Reception Wednesday Sept 12, 6-9pm
Performances, 7pm
Opening night and weekly performances through November 15
Performance curator: Luke Miller

Location One is proud to present “Phosphene Variations”, a new video/performance/holographic exhibition by Jason Akira Somma.

The greatest dancers and performance artists of our time—Laurie Anderson, Mikhail Baryshnikov, Joan Jonas, Robert Wilson and others—perform their signature movements and are captured as floating holograms, which members of the audience can interact and perform with.

This new technology will redefine the ways in which we access, record and experience dance and performance. This is the first ever interactive performance holography exhibition, premiering September 12th at Location One.

“Phosphene Variations,” a performance happening-and-exhibition event created by Jason Akira Somma, introduces interactive archival performance holography to the worlds of dance and performance art. Somma’s approach has been described as “the future of dance and art” by Daniel Stern, Director of the Jerome Robbins Foundation; as “A true revolution…stupefying poetry, humanity and invention” by Le Figaro. Jiří Kylián, longtime Artistic Director of Nederlands Dans Theatre, has said, “dance has to be taken out of its isolation, and Jason has the range to do this.”

“Phosphene Variations” will premiere at Location One September 12th, featuring a holographic participation by Jiří Kylián, live and holographic performances by Frances Wessells, and Leslie Kraus, and an introductory context statement by Kate Valk of the Wooster Group. The exhibition will also include weekly performances by dance legends, as well as up-and-coming artists, throughout the duration of the exhibition. Somma will “perform” with the artists using his revolutionary video techniques, exploring the undiscovered edge between visual and performance art, as it uses performance as the well-spring for independent visual content.

The first wave of artists who have agreed to be turned into holograms in this project includes: Laurie Anderson, MIkhail Baryshnikov, Carmen DeLavallade, Joan Jonas, Jiří Kylian, Luke Miller, Richard Move, Gus Solomons Jr., Frances Wessells, Bill Shannon and Robert Wilson.

Live performances will take place each week through November 15th (Please note that November 8 and 15 are Thursdays). Interaction with holographic performers, and video works will be on exhibit during Location One’s normal gallery hours and otherwise available by prior arrangement.

LIVE PERFORMANCE SCHEDULE

Wednesday, Sept 12th – Frances Wessells, Leslie Kraus
Wednesday, Sept 19th – Kira Rae Blazek, Burr Johnson
Wednesday, Sept 26th – Flexers
Wednesday, Oct 10th- Dirty Martini, Julie Atlas Muz, Monstah Black
Wednesday, Oct 17th – Brian Brooks – Postponed
Wednesday, Oct 24th – Jeanine Durning, Manelich Minniefree – Postponed
Thursday, Nov 8th – Susan Marshall & Company, Bill Shannon, Vanessa Walters – Postponed
Thursday, Nov 15th – Phosphene Redux & Closing Party (Various artists who performed earlier in the season return to present short excerpts) – Cancelled

artists’ bios >>

Jason Akira Somma is an internationally recognized visual artist and choreographer known for his unique hybridization and extensive training in both fields. His most recent mentor is Jiří Kylián. He was the first American to receive, the Rolex Arts Initiative Award for dance, supporting his work in performance visual art and technology in 2008. “Phosphene Variations” was developed with support from the Rolex Mentor and Protégé Arts Initiative, which pairs emerging artists with masters in the fields of dance, film, literature, music, theatre, and visual arts for a year of creative exchange.

The “Phosphene Variations” approach involves video recordings of dancers and performance artists on stage, which are then made into holographic installations. This constitutes the permanent visual record of the artist, which will be made available to the artistic community. But Somma’s technology then allows the holographic recording to be projected onto a fine screen of water mist. When live participants interact with the screen, the image responds to their intervention, creating the “dance with legends” possibility.

Jason Somma is the only artist today applying this technology to archiving dance. A prototype of “Phosphene Variations” was premiered at the National Theatre of Paris in 2011, to rave reviews. William Forsythe said, “Jason has done for video what Jackson Pollock did for the canvas. He is an electronic archeologist and spearheading the next movement in dance.” Dance Magazine said, “a small piece of dance history. At times dazzling and full of brilliant colors, the performance is woven by a dialogue between the real and virtual, and the human and technological.” Telerama (Paris) said “offers performers, if not the role of their lifetime, a role that fits them perfectly. Suddenly before your eyes, true lighthearted beauty.”

“Dance IS a visual art,” says Somma. “ The body has always been the native land of any artistic endeavor. However, due to the ephemeral and ineffable nature of performance and kinesthetics, we’ve lost the wisdom of our historic predecessors. I want to generate performance happenings that create autonomous pieces of art and with “Phosphene Variations” go a step further and allow spectators to interact with such legends beyond their life span for future generations to enjoy and garner knowledge.”

Jason Akira Somma, raised in Virginia, graduated summa cum laude from Virginia Commonwealth University. In ensuing years, he danced with Bill T Jones/Arnie Zane Company and Pearson/Widrig, and choreographed for Sadlers Wells in London, Chaillot National Theater in Paris, and Lyon Opera Ballet. His video work has been exhibited at New York’s New Museum and Guggenheim Museum and Glasgow Center of Contemporary Art.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs,and Location One’s International Committee for making this event possible.

Gallery Hours
Tuesday-Saturday 12-6pm
Opening Reception September 12, 6-9pm
Opening Night Performance 7pm, free and open to the public
All other Wednesday Performances $10

Friday, April 13, 2012
8pm Doors at 7:30pm
Tickets: $10
Curated by dancer/choreographer Luke Miller
Performances by Rebecca Lazier, Jack Ferver, Vanessa Walters, Kyle Abraham
Video by Jason Akira Somma

Location One presents an evening of dance performance and live video, curated by dancer/choreographer Luke Miller. He has recruited some of hottest dancers and choreographers from the downtown dance scene to create some very special performances for the evening.

The dancers will be performing in a video environment created by Jason Akira Somma, who has developed his own analog video technique in which the video signal itself becomes the performer. Using discarded, malfunctioning and obsolete electronics, Somma creates his own custom video mixers from scrap parts to create unique and unexpected effects. Drawing on his background in dance, he carefully moves his body in sympathy with the subject, which then directly affects the video being generated in real time through video feedback, creating a new interactive world.

“Nam June Paik meets performance art. He is an electronic archaeologist.”
-William Forsythe

“A magician of light.”
-Chrissie Iles

“The future of art and dance.”
-Le Figaro, Paris 2010

Approaching the evening as a collaboration of all those involved, Vanishing Acts exposes a friction between the recent physical history within a space and the specter of memory that the projections conjure.

Kyle Abraham

Kyle Abraham, professional dancer and choreographer, began his training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh, Pennsylvania. He continued his dance studies in New York, receiving a BFA from SUNY Purchase and an MFA from NYU Tisch School of the Arts. Over the past few years, Abraham has received tremendous accolades and awards for his dancing and choreography including a 2010 Bessie Award for Outstanding Performance in Dance for his work in The Radio Show along with a 2010 Princess Grace Award for Choreography, a BUILD grant and an individual artist fellowship from the New York Foundation for the Arts, a Jerome Foundation Travel and Study Grant, a Pennsylvania Council for the Arts Fellowship and 2009 was honored as one of Dance Magazine’s 25 To Watch.

Abraham was heralded by OUT Magazine as one of the “best and brightest creative talent to emerge in New York City in the age of Obama.” His choreography has been presented throughout the United States and abroad, most recently at Jacob’s Pillow Dance Festival, Danspace Project, Dance Theater Workshop, Bates Dance Festival, Harlem Stage, Fall for Dance Festival at New York’s City Center, Montreal, Germany, Dublin’s Project Arts Center, The Okinawa Prefectural Museum & Art Museum located in Okinawa Japan and The Andy Warhol Museum in his hometown of Pittsburgh, PA. Abraham’s most recent work, The Corner, commissioned by Ailey 2, is currently touring internationally with great reception. As a performer, Abraham has worked with acclaimed modern dance companies including David Dorfman Dance, Burnt Sugar Dance Conduction Continuum, Nathan Trice/Rituals, Mimi Garrard Dance Theater, Bill T. Jones/Arnie Zane Dance Company, Dance Alloy, The Kevin Wynn Collection and Attack Theatre. In addition to performing and developing new works for his company, Abraham.In.Motion, Abraham also teaches his unique approach to post-modern dance in various schools and studios throughout the United States. For more information please visit: http://abrahaminmotion.org

Jack Ferver

Jack Ferver’s solo Two Alike, a collaboration with the visual artist Marc Swanson, was presented at Diverse Works in conjunction with The Contemporary Arts Museum of Houston in 2011 and will premiere in New York at the Kitchen this coming May 17th-19th. In 2011 Ferver also premiered his duet with Michelle Mola, Me, Michelle, at the Museum of Arts and Design as part of Performa 11. It returned as part of American Realness at Abrons Art Center. Ferver has been creating full-length works since 2007. He has been presented at PS 122 (NYC), The New Museum (NYC), The Museum of Arts and Design (NYC), Danspace Project (NYC), Abrons Art Center (NYC), Dixon Place (NYC), and Théâtre de Vanves in France. Shorter and solo works have been presented at MoMA PS1, Dance New Amsterdam, LaMaMa E.T.C., The Culture Project, and NP Gallery. His work has been written about in The New York Times, The Financial Times, The New Yorker, Artforum, Modern Painters, and Dance Magazine. His writing has been published in the magazine Novembre. He has curated for Danspace Project, Center for Performance Research, and Dance New Amsterdam. He teaches privately as well as at New York University and has set choreography at The Juilliard School.

Rebecca Lazier

Rebecca Lazier is the artistic director/choreographer of Terrain, a project-based NYC dance company and Senior Lecturer at Princeton University. Lazier and Terrain have performed in many New York venues including Danspace Project, The Kitchen, the Guggenheim Museum, 92nd Street Y, Joyce SoHo, and Movement Research at the Judson Church. In addition, Terrain has toured to a variety of locales from Martha’s Vineyard to Los Angeles, Jacob’s Pillow to New Orleans, from Nova Scotia, Canada to Perm, Russia. Lazier is currently preparing Terrain for a five city tour to Turkey and a three-week residency in Canada. Recently, Lazier has received grants for her choreographic research from the Canada Council on the Arts, NY Department of Cultural Affairs and the American Music Center. She has been artist-in-residence at Movement Research, The Joyce Theater Foundation, The Yard, and the Djerassi Resident Artist Program. Prior to teaching at Princeton, Lazier was on faculty at distinctly different institutions ranging from the Hartford Ballet to UCLA, from the State Conservatory of Turkey to Wesleyan University, and from American Repertory Ballet to White Mountain Summer Dance Festival. For more information please visit: www.terraindance.org

Luke Miller

Luke Miller, originally from Pittsburgh, Pennsylvania, began his dance training at the age of sixteen at Christine’s School of Dance and the Civic Light Opera Academy. Prior to his involvement with the performing arts, he studied visual art, music and swam competitively at his high school. Luke won the title of Mr. Dance of Pennsylvania 1997 for Dance Masters of America Chapter Ten. On scholarship, he then went on to receive his formal education at NYU’s Tisch School of the Arts.

He joined Susan Marshall & Company in 2003 and has since collaborated in the making of Sleeping Beauty and Other Stories, Cloudless, Sawdust Palace and Frame Dances. From the Company’s repertory he has performed Kiss, Arms and Fields of View. Luke has taught the Company’s work to students at Wittenberg University, the University of Wisconsin Steven’s Point, NYU’s Tisch School of the Arts, the University of Monatana, and the University of Wisconsin Madison. He has staged repertory on professional companies including; Dance Alloy, Hedwig Dances, Hubbard Street and Pacific Northwest Ballet. In ‘09 he contributed in the development and teaching of SUMAC (Systems for Understanding Movement And Composition), an annual one week workshop held at Barnard College that focuses on collaborative skill building within the art-form. Luke recently assisted Susan in choreographing Asphalt Orchestra for it’s run at Lincoln Center Out Of Doors festival in August of ’09 and acted as assistant choreographer in the making of For You, a solo created for Mikhail Baryshnikov in May of ’10.

In the play Madama Fortuna, written/directed by Antonio Rodriguez and presented by Dixon Place at Chasama, Luke portrayed the role of BunnyTeddy and choreographed the production. He co-directed and choreographed the play The Pet Goat with writer Brian Boyles at WAX and performed as Ron Reagan Jr. in Taylor Mac’s The Lily’s Revenge.

In film, he worked with David Neuman in the making of the WB production I Am Legend.

Luke received a 2009 Bessie Award for his collaboration and performance in Dark Horse/ Black Forest; a work choreographed by Yanira Castro.

He performed in the ADF ’07 reconstruction of Martha Clarke’s Garden of Earthly Delights and acted as assistant to the choreographer in its ’08 off-broadway restaging.

Luke has also performed in the work of Eun Me Ahn, Keely Garfield, Molissa Fenley, Stanley Love, David Dorfman, Fiona Marcotty, Julie Atlas Muz, Stephen Petronio, Christopher Williams, Amber Sloan, Paige Martin, Renee Archibald and currently in the companies of Yanira Castro and Neil Greenberg.

His own work has been shown at many venues throughout New York City including The Joyce SoHo, WAX, Galapagos, The Flea Theater, M Shanghai, 100 Grand, and The Roxy.

Jason Akira Somma

Jason is a practicing video/performance artist and photographer based in the NYC. Merging his two backgrounds as a visual artists and choreographer he has been experimenting on ways of transcending dance from the ephemeral state on stage to the walls of galleries. He specializes in integrating technology as an extension of the body for the physically impaired and elderly.

His film work has been featured on the Sundance Channel, Independent Film Channel, PBS, NY Dance Film Festival, MTV Europe, American Dance Festival, Dance Theatre Workshop (NYC), Seoul (Korea) Film Festival, SPEX Magazine (Germany), Cinedans Festival (Amsterdam) and in the Performatica Festival (Mexico). His photography and film work have also been featured in The Deitch Project (SoHo), P.S. 1 (MoMA), Robert Altman Gallery, Chrysler Museum of Art (Norfolk, Va.), and the Anderson Gallery (Richmond, Va.) His photography work has also been featured in numerous periodicals and magazines in the U.S. and Europe to include the New York Times, Dance Magazine, Dance Europe Magazine, Village Voice, Time Out NY, and LA Times to name a few. Jason has been commissioned by the BBC Bigscreens Moves festival in the UK and was a guest artist at the Center of Contemporary Art (CCA) in Glasgow as well as a guest artist at Robert Wilson’s Watermill Center. Somma was the first American to receive the Rolex Arts Initiative Award for Dance and has been working under the mentorship of Jiri Kylian over the past 4 years. He collaborated with Jiri Kylian on a dance piece commemorating the Nederlands Dans Theatre’s 50th anniversary and has since collaborated on two other projects. He has set work on the Lyon Opera Ballet, and collaborated with Robert Wilson by directing 5 short films that were shown at the Guggenheim Museum. When not performing or creating Jason has given numerous lectures internationally at universities funded via the US Embassy on “Arts and Science/Performance and New Technology.”

In March of 2011 Jason premiered the very first free floating interactive holograph film installation called the “Phosphene Variations” at the Chaillot National Theater of Paris to rave reviews. He has had the unique opportunity to be a guest consultant for the University of Glasgow in the Neuroscience department for a research study focusing on how the perception of movement affects brain imaging and transcranial magnet stimulation.

Vanessa Walters

Vanessa is the lead choreographer for the performance group, Fischerspooner. She has also choreographed music videos for Zola Jesus, AVAN LAVA, the Blank Dogs, Department of Eagles, Cyndi Lauper, Kings of Leon, Creep, and Nintendo, as well as live events for Mercedes Benz, Juicy Couture, House of Diehl, Daisy Spurs, Chaos & Candy, Narcissister, JVA, and the musical Camp Wanatachi, as well as her own works, BATHORY and The Man Piece. In 2011, Vanessa co-choreographed both “100 Beginnings” and “Alley of the Dolls” with Nicole Wolcott. For 2012, look forVanessa’s new piece entitled, “Ripening”. www.vanessawalters.com

PAJ
Two Talks in Celebration of
PAJ’s 100th Issue
Tuesday, January 24, 2012 7pm – BELIEF
Wednesday, January 25, 2012 7pm – BEING CONTEMPORARY

Location One is proud to host two evenings of talks to celebrate the 100th issue of PAJ: A Journal of Performance and Art, the influential arts publication founded in 1976. This special issue, titled “Performance New York,” features contributions by several generations of artists, curators, critics, and presenters working in the downtown arts community. For two evenings, January 24 and January 25, 2012, several of the contributors to PAJ 100 will present their response to two of the main themes of the issue, “Belief” and “Being Contemporary.” Bonnie Marranca, co-founder and editor of PAJ, will moderate the discussions.

January 24: Belief
In a world where so many values—social, artistic, political, religious, cultural, economic—have been questioned and contested in this era of great transformation on a global scale, what do you still believe in? Numerous books and essays have clustered around “the end of …” or “post- … perspectives after a century of turmoil in every sphere of life on every continent. Previously sacrosanct beliefs have been turned upside down. Against this background, artists and intellectuals have continued to rethink their relationship to legacies and to the public, to explore new processes and materials, and to find meaning in personal struggle. What are your strongest beliefs in relation to your work in the world? How do these beliefs inform your work?
with:

Gregory Whitehead, writer and radio producer
Alison Knowles, Fluxus artist and performer
George Quasha, poet and visual artist
Lenora Champagne, performer and writer

Click here to view the embedded video.

January 25: Being Contemporary
One of the essential concerns of visual art, performance, and critical thought is the idea of the “contemporary” or the “new.” We are part of an era that had cast forth great themes, and complex ways of organizing society and culture, while also being challenged by many received ideas. How does one take the measure of one’s work in the zeitgeist of the times? What makes a performance, a play, a piece of music, or an essay contemporary? What does the search for the contemporary or the innovative mean to the arts and to the public today? How is it recognized or understood? Consider your own work, or another artist’s work, in this context.
with:
Joan Jonas, visual artist and performer
Linda Weintraub, curator and writer
Martha Wilson, visual artist and curator
Kenneth Collins, theatre director
Claire Bishop, art historian and critic

Click here to view the embedded video.

Born in St.Gallen, lives and works in Switzerland and in Zagreb, Croatia.

Michaela is in love with paint and film, and in animation she found a perfect way to combine the two. She is currently doing animation research, exploring the borders between narrative and abstract experimental film, based on rhythm and choreography.

She likes to work on social topics of public concern. Her 8 minute animation “Miramare” (2009, paint on glass) is an impressive encounter between tourists and immigrants shown from a children’s perspective. It has been shown at more than 70 film festivals all over the world, among other in Cannes, Annecy, London, Melbourne, Sarajevo, Rio de Janeiro and St.Petersburg. “Miramare” won more than 15 awards, like the Swiss Film Prize Quartz, the Centaur for Best Debut Film at Message to Man Film Festival, St. Petersburg, the Grand Prix at Animateka Film Festival, Ljubljana etc.

Michaela studied animated film and New Media at the Academy of Fine Arts in Zagreb, Croatia. Miramare is her diploma film. She likes to collaborate on theatre and dance projects, where she contributes animated scenographic elements.

Michaela Müller’s residency is made possible by Pierre Nussbaumer and the Location One International Committee.

website: www.triboje.com

<< back to current residents

You are invited to a benefit to celebrate Location One on Friday, October 21!

With performances by some of the most exciting artists in New York—Plus Open Bar, Music, Dancing, Private VIP Performances!

About the Artists

Yanira Castro Yanira Castro is a Bessie-Award-Winning director/choreographer based in Brooklyn who collaborates with performers and designers on individual projects under the name: a canary torsi. Her site-adaptable multi-disciplinary performance works have been presented nationally and internationally in a variety of venues from public bathrooms and a confessional to the stage. www.acanarytorsi.org

Andrea Yugoslavia Chirinos Project: Hallways, Shadows, Outside, Inside, Evening. Choreography: andrea yugoslavia chirinos dancers, Edie Nightcrawler, Marisol Cal y mayor, andrea yugoslavia Chirinos This project comes from my desire to bring my body closer to the viewer, to give my body another meaning, one outside of the world of dance. It also comes from a desire to fragment the perception of my body in movement, which here I will accomplish through the medium of instant photographs, a documentation that will change and distort the moment. By means of my body and lighting I will create non-linear narratives that allow the viewer to experience their own perceptions, their own narratives.

Andy Jordan Andrew Jordan is a visual artist working in various media including sculpture, performance, fashion, costume design, and photography. He received his MFA with an emphasis in sculpture form the Cranbrook Academy of Art and his BFA in Fine Arts where he minored in Media Studies from the Columbus College of Art and Design. www.andytoad.com Andrew Jordan’s performances at the Party of One event at Location One are excerpts from a new collaborative piece that he is developing called Eidolon. The piece includes the artists – Cori Olinghouse, Christopher Williams, Mike Andrews, and Derek Piotr.

Luke Miller Luke Miller has danced professionally over the past decade and recently became a certified yoga teacher through OM Yoga. With Quinndustry, he has been curating performance and collaborating on sculpting events. www.lukemillerdance.com

Edie Nightcrawler Edie Nightcrawler enjoys overpowering people with dance by night and by day. pièce: Future Love music: Stereo Total performers: Andrea Yugoslavia Chirinos, Edie Nightcrawler costumes: David Quinn

David Quinn David Quinn has been designing since early childhood. His first teacher was his mother. He then studied costume design at the Interlochen Arts Academy. After which he attended the Fashion Institute of Technology. His career since school has taken him in many directions…from the NYC club scene of the late ’80s and early ’90s to red carpets around the world. Quinn has designed for dance, theatre, circus, TV, and film. He’s a favorite of both brides and today’s burlesque stars. David Quinn now enters the world of ready-to-wear with his Spring/Summer 2012 collection. This collection focuses on Quinn’s unique talent for dresses that women love. Dresses that flatter all body types and work for any event-day to night. Quinn’s deft hand at mixing color, pattern, texture and shape are brought together to achieve sophisticated and chic options for women of all ages.

Amber Sloane Amber Sloan is a Brooklyn based dancer, choreographer and teacher. Her upcoming show is October 28 and 29 at 7:30pm and October 30th at 5pm at the Gowanus Arts Center as produced by Spoke the Hub http://www.spokethehub.org/events/haerfest-showcase/.

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]]> http://www.location1.org/party-of-one-2/feed/ 0 http://www.location1.org/lucretia/ http://www.location1.org/lucretia/#comments Wed, 15 Jun 2011 00:00:11 +0000 heather http://www.location1.org/?p=1687 A performance/installation by artist/director Sophie Hunter. Based on fragments from the opera "The Rape of Lucretia" by Benjamin Britten, Hunter reimagines the myth as a multimedia performance with live opera, recorded video and music.

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

Sophie Hunter’s installation Lucretia is based on fragments of Benjamin Britten’s opera “The Rape of Lucretia” – specifically, the image of a group of women spinning at a loom as their husbands are off waging war.

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

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

[Show as slideshow]

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

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

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

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

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

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June 14 – July 29, 2011

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

Curated by Claudia Calirman

OPENING RECEPTION:

Tuesday, June 14, 2011 6-8 PM

DATES: June 15 – July 29, 2011

HOURS: Tuesday – Saturday 12-6 PM

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

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

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

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

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

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

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

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

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

ABOUT LOCATION ONE

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

Location One presents newARTtheatre 2:

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

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

Click here to view the embedded video.

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

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

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

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

Thursday, 24 February 2011 

Jill Magid

Shot from the Capitol Steps (A work in progress)

Co-Curated by Jovana Stokic and Daisy Nam 

7pm FREE and open to the public

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

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

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

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

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

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

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

January 27 – Jenny Perlin 

February 24 – Jill Magid 

March 24 – TBA 

April 14 – TBA 
May 26 – TBA

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

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

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

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

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

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

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

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

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

The Location One International Committee

Sophie Hunter studied at Oxford University and Jacques Lecoq, Paris.

She has devised, developed, directed and performed in theatre and performance pieces throughout Europe as well as in the Middle East and New York.In 2007, she was awarded the prestigious Oxford Samuel Beckett Award for new voices in experimental theatre.

Most recently, Sophie has been exploring new directorial and performative approaches to opera. Sophie has just collaborated on a production of Mozart’s Cosi fan tutte (performances in France and London). Forthcoming projects include Benjamin Britten’s The Rape Of Lucretia (New York), Janacek’s The Cunning Little Vixen (Italy), Mozart’s The Magic Flute (African tour), and Beethoven’s Fidelio (Palestine).

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

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

André Feliciano (Brazil)
Brazilian Cultural Office and Location One International Committee

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

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

Feliciano’s Residency is made possible by Location One’s International Committee and by the Brazilian Cultural Office.

Artists 2011-2012

Pablo Helguera (Mexico)
Location One International Committee

Born in Mexico City, 1971. Lives and works in New York

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

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

Jacob Dahl Jürgensen (Denmark)
Danish Arts Agency

Born in Copenhagen, 1975. Lives and works in London.

Jacob Dahl Jürgensen’s sculptures pose as fictive relics; the possible artifacts of a future archaeology unearthing the ethnological debris of today. Influenced by early 20th century Modernism, Jurgensen often quotes from art history by intertwining recognizable forms and ideologies with fragments of popular culture to create ritualistic monuments divining a contemporary spirituality. His Folly, The Mystical’s Sphere, nods to the futuristic architecture of Tatlin and Fuller; the sparse copper structure standing as a theatrical oracle, emanating a primitive occultism from the power of low-watt light bulbs.
website: http://www.jacob-dahl-jurgensen.com/

Jacob Dahl Jürgensen’s residency is made possible by The Danish Arts Agency.

Maria José Arjona (Colombia)
Location One International Committee

Born in Bogotà, Colombia in 1973. She lives and works in New York
Ms. Arjona graduated from The Higher Academy Of Art Of Bogota (ASAB) in 2000 and her practice is exclusively focused on long duration performance.

She has been part of numerous exhibitions in different museums, galleries, and instituions in South America, The United States, Europe and China. Her work is a permanent part of many relevant collections around world.

Hiraku Suzuki (Japan)
Asian Cultural Council

Born in Miyagi, Japan, 1978. Lives and works in Tokyo.

Hiraku Suzuki obtained an MFA from Tokyo National University of Fine Arts and Music. Focusing on ideas of memory and excavation, his work centers on an expanded notion of drawing which encompasses works on paper and panels, installation, murals, frottages, and live performance drawing. Much of his work hinges on the vast library of signs and glyphs he has developed by focusing on the shapes, forms, rhythms, and materials of his immediate environment (which can be understood as the base units of the ever-changing hidden language of the city).

His recent solo exhibitions include WIMBLEDON space, London (2011); Galerie du JourAgnes b., Paris (2010); and Tokyo Wonder Site Shibuya, Tokyo (2008). Group exhibitions include Roppongi Crossing, Mori Art Museum, Tokyo (2010); 100 stories of love, The21st Century Museum of Contemporary Art, Kanazawa (2009); Between site and space, ARTSPACE, Sydney (2009); Redbull House of Art, Hotel Central, Sao Paulo (2009); and Vision of Contemporary Art, The Ueno Royal Museum, Tokyo (2009). His early works are held in the collection of The 21st Century Museum of Contemporary Art, Kanazawa, Japan.

Publications include GENGA, published by Kawade Shobo Shinsha/Agnes b., and Looking For Minerals, published by BEAMS.
http://www.wordpublic.com/hiraku

Mr. Suzuki’s residency is made possible by The Asian Cultural Council

Michaela Müller
Location One International Committee

Born in St.Gallen, Switzerland. She lives and works in Switzerland and in Zagreb, Croatia.
Michaela is in love with paint and film, and through the process of animation she has found a perfect means of combination. She is currently researching and exploring the borders between narrative and abstract experimental film, based on rhythm and choreography via animation.
She likes to work on social topics of public concern. Her 8 minute animation, “Miramare” (2009), (paint on glass), is an impressive encounter between tourists and immigrants shown from a children’s perspective. It has been shown at more than 70 film festivals all over the world including Cannes, Annecy, London, Melbourne, Sarajevo, Rio de Janeiro and St. Petersburg. “Miramare” won more than 15 awards includion the Swiss Film Prize Quartz, the Centaur for Best Debut Film at Message to Man Film Festival, St. Petersburg, the Grand Prix at Animateka Film Festival, Ljubljana etc.
Michaela studied animated film and New Media at the Academy of Fine Arts in Zagreb, Croatia. Miramare is her diploma film. She likes to collaborate on theatre and dance projects, where she contributes animated scenographic elements.
Michaela Müller’s residency is made possible by Pierre Nussbaumer and the Location One International Committee.
website: www.triboje.com

Na Yingyu (China)
Lijiang Studio
Location One International Committee

Na Yingyu is a Chinese artist, born in 1973 in Yichun, Heilongjiang, China, he lives and works in Beijing. Na Yingyu has exhibited extensively in China, Brazil and Israel. Our Homeland! Gone Just Like That will be Na Yingyu’s first solo show in the United States.

Na Yingyu’s residency made possible by Location One’s International Committee and Lijiang Studio, Lashihai, China.

Andrea Yugoslavia Chirinos (Mexico)
Location One International Committee

Andrea Yugoslavia Chirinos Brown was born in Mexico, where she studied dance, theater and art history. There she began to dance professionally and also to experiment with choreography. In 1994 she moved first to Boston and then to New York to achieve a Bachelor in Fine Arts (Dance major) at the Boston Conservatory and in Mary Mount Manhattan College. Around that time she danced with the Stanley Love Performance Group and with Anime Dance Japan, at the same time showing her own work in venues around the city of New York.

In 2000 she moved back to Mexico City where she was assigned as the director of the students company of the university Instituto Politécnico Nacional where she did several choreography and toured in all the campuses of this important public Nacional University. She also began her own company called Mitrovica Dance. Since the moment of its creation, Chirino´s Dance Company has performed in museums, schools and theaters. Her pieces, like the Faith Line, Restaurant Tesuyo, Tangled, Familiar Environment, Second Life and Ritual de lo Habitual have made the company to be named the Best Artistic Project of the City, an annual price voted by the people. In 2009 she won the first prize in the prestigious Mexican Contemporary Dance Award with the piece Tangled, for its originality and its use of space. This price is issued by the INBA, the Institute National of Bellas Artes, a pivotal institution in Mexican culture.

In March of 2011, she presented and installation called Hotel Irina, with more than 15 dancers, sponsored by Universidad National Autónoma de Mexico (UNAM). The company also tour in museums with the last project called Corridor Shadows Exterior Evening. In May 2011 Andrea Yugoslavia Chirinos move back to New York City.

Tommy Støckel (Denmark)
Danish Arts Council

Born in 1972 in Copenhagen, Denmark. Lives and works in Berlin, Germany.

Tommy Støckel uses computer-generated calculations to create elaborate and intricate sculptural installations that resemble fractal-like architecture. Geometry, scale and perspective are essentials in the work of Tommy Støckel. His fascination of cool modernism and science fictions novels from both the 19th and 20th centuries is reflected in collages and installations that represent a constructed future seen in miniature worlds and deserted sci-fi landscapes. With a precise mathematic technique Støckel creates collages using figures cut out from catalogues and sculptures showing different layers and the inevitable decay of time. The use of materials as paper, cardboard and foam contrasts the sophisticated themes as deconstruction and chaos theory.

Monica Baptista (Portugal)
Gulbenkian Foundation

Born in S. Paio de Oleiros, Portugal, 1984. Lives and works in Portugal.

Monica Baptista is a painter-turned-documentary filmmaker who has created several films on topics ranging from Chechnyan soldiers on the TransSiberian Express, to tracts on herbal tea, to experimental investigations of architectural structures. Present in all of her work is a focus on the perception of space and time in relation to the particular community or subject matter of her films.

Monica Baptista’s residency is made possible by The Calouste Gulbenkian Foundation and the Luso American Foundation

Agnieszka Kurant (Poland)
Polish Cultural Institute
Trust for Mutual Understanding

Born in Łodz, 1978. Lives and works in Warsaw.

Agnieszka Kurant is an artist based in Warsaw. She represented Poland at the Polish Pavilion at Venice Biennale 2010 (collaboration with the architect Aleksandra Wasilkowska). She is interested in the ways in which trying to interpret the world logically results in a fictional version of reality. Her works explore how things created as fictions, rumors, paranormal phenomena as well as objects not existing materially, enter into economy and politics of contemporary world. She is interested in virtual capital, imaginary property, immaterial labour, hybrid authorship, changes of aura, value and status of objects in cognitive capitalism. Many of her works are related to the existence of the future in the present. Her works have been shown in art institutions including: Witte de With, Rotterdam (2011); Palais de Tokyo, Paris (2004); Tate Modern, London (2006); Yvon Lambert Gallery, New York (2005) and Museum of Modern Art, Zachęta National Gallery of Art, Centre for Contemporary Art Ujazdowski Castle, Warsaw. Kurant has participated in international contemporary art exhibitions including: Performa Biennial, New York (2009), Athens Biennale (2009), Moscow Biennale (2007) and Bucharest Biennale (2008). In 2008 she was commissioned to realize Frieze Projects at Frieze Art Fair, London. In 2009 she was shortlisted for the International Henkel Art Award (MUMOK, Vienna). Kurant was an artist in residence at Palais de Tokyo, Paris in 2004; ISCP, New York in 2005; Konstfak, Stockholm in 2007 and at the Paul Klee Center (Sommerakademie) in Bern, 2009. Sternberg Press published Kurant’s monograph “Unknown Unknown” in 2008 and the Venice Biennale catalogue “Emergency Exit” in 2010. Her solo show is currently on view at Montehermoso Cultural Center in Spain.

Agnieszka Kurant’s residency is presented in association with the Polish Cultural Institute in New York within its Poland-U.S. Artists-In-Residence Exchange Program, organized by a-i-r laboratory at the Centre for Contemporary Art Ujazdowski Castle in Warsaw, Poland and Location One in New York, with generous support of the Trust for Mutual Understanding.

Ana Freitas Machado (Brazil)
Location One International Committee

Ana Freitas Machado is an artist who lives and works in Rio de Janiero, Brazil. Many of her works are the result of a conceptual and visual theme. Time, geometry, nature and morphology of the creative process are part of its research universe in different media such as drawing, photography, artist book, printmaking and sculpture.

Atsushi Kaga (Ireland)
The Arts Council / An Chomhairle Ealaíon

Born in Tokyo, Japan, 1978. Lives and works in Dublin, Ireland.

Atsushi Kaga’s work depicts a fictional world inhabited by a cast of invented characters. Through his alternative reality, Kaga explores personal and cultural identity, as well as complex social issues faced in daily life. His mixed media work, which includes paintings, animations and wall drawings, attest to his keen sensibility and sense of intimacy. His work is whimsical and playful but with a dark and biting sense of humor underlying deceptively ‘kawaii’ imagery. website: http://www.atsushikaga.com/

Click here to view the embedded video.

Atsushi Kaga’s residency is made possible by The Arts Council / An Chomhairle Ealaíon

<< current residents

David Molander (Sweden)
Hasselblad Foundation

Born in Stockholm, Sweden 1983.

In the project An Urban Anatomy visual artist David Molander is in pursuit of the essence of the urban centers. By the use of digital photography and animation, he collects a documentary material of hundreds of photos and film clips that he dissects and reconstruct into large still- or moving images that can be placed between document and fiction. He cut open interiors, sample streetlights, stitch together pavement and gather parts of the city that although closely linked, seldom meet. Molanders work put emphasis on new relationships between architecture, social environment, living memory and the humans within it. David Molander has been studying photography and film at Harvard University and has a BA in Rhetoric and a BA in Art history from Uppsala University. He graduated 2010 with a MFA from School of Photography in Gothenburg/Sweden. Website: http://www.davidmolander.com

David Molander’s residency is made possible by The Hasselblad Foundation

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

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

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

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

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

Here is the video of this artist talk:

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

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.

blog >>

Call for Submissions
Application Deadline: midnight, April 15, 2009
Dates of Residency: May 15-August 15, 2009
Theme: “Levels of Undo”

Invitation to Participate
Call for submissions for Location One’s “Virtual Residency Project 2.0″. Please send your URL or submit electronic materials to virtualresidency@location1.org.

Location One presents its second Virtual Residency Project in the form of a call to artists and other creative individuals with the purpose of fostering collaboration and creativity across geographical expanses and areas of expertise. The goal of this residency is to find 2 participants who are not physically proximate but who are willing to work with someone they’ve most likely never met before using some form of non-F2F (face to face) interface such as webcams, email, chat, video, blogs, telerobotic prostheses, Second Life, MIDI, skype, social networks, walkie-talkie, snail mail, mental telepathy, radio, networked video gaming, POTS (plain old telephone service), tin cans on string, or any other means of collaboration to develop a project that will be presented at Location One in the Fall of 2009, either on our web space or in our exhibition space. The theme of this project is “Levels of Undo”.

The two participants will also use a blog set up expressly for the Virtual Residency Project to discuss ideas, possible projects and to track the progress of the work. The conversation will be public and open for public comments and will be considered an intrinsic part of the Virtual Residency.

International applicants are encouraged to apply but knowledge of English (to communicate with Location One’s Virtual Residency liason) is necessary. The theme can be interpreted as broadly or as literally as the participants would like; the project will be developed collaboratively by the 2 individuals chosen for this residency project, in conversation with a curatorial advisor at Location One (to ensure the feasibility of the project and help with practical and techquestions, not to influence or reject project ideas).

VRP FAQ

What are acceptable forms of submission?
A website that includes CV and work samples is preferable, but you can also email electronic materials to virtualresidency@location1.org by the deadline, April 15, 2009. Please include a few lines describing why you are interested in a collaborative virtual residency such as this.

Who can apply?
Anyone who thinks the idea of working publicly with a total stranger about whose selection you have absolutely no say on a theme that is imposed on you is exciting rather than scary.

If I applied for the last VRP can I reapply?
Absolutely, we had many exciting and qualified applicants for the first residency but we chose the three we thought would make a good team.

Should I send a project proposal?
No, project proposals are not necessary, but a few lines describing why you are interested in this sort of collaboration would be helpful.

What kind of work should it be?
The project will be developed wholly by the participants. Location One will provide curatorial and technical assistance, but the final work will be created “offsite” or online.The final work may, however, have a physical manifestation–this will be developed with Location One’s curatorial advisor. Online performance, remote music jam, streaming video, blogs, flash animations, radio transmissions, podcasts, Second Life theatre, iChat panel discussions, remote-controlled MIDI robot kittens acting out the news are all examples of acceptable forms that the project may take. We are leaving the parameters intentionally broad in the hopes that it will elicit deeply creative responses to this topic.

Will there be an exhibition?
Depending on the nature of the work and the availability of the exhibition space at Location One, an exhibition is possible. The first Virtual Residency Project was on exhibit in our gallery space from September 10-November 15, 2008.

Is there a stipend for the selected artists?
Not yet, but we are working on it!

Why do you call it a “residency” if there is no “place of residence”?
(nasally falsetto): “Why do you call it a ‘residency’ if there is no ‘place of residence’”. Come on, aren’t we past that? Isn’t the “placeness” of cyberspace made real by the presence of a community? Free your mind.

What if I do not like my collaborator?
You should have thought of that before you agreed to all of this.

Virtual Residency Project
The first Virtual Residency Project featured three artists from three different countries: Andy Deck (New York, USA), Susanne Berkenheger (Berlin, Germany), and Hidenori Watanave (Tokyo, Japan). They communicated via blog and email and collaborated on an exhibition at Location One in the Fall of 2008. Titled “Mission Accomplished”, it featured works by each of the artists that can be seen on our website: http://location1.org/missionaccomplished. The first Virtual Residency Project was an experiment in virtual collaboration that was meant to work out the kinks so that the second would run more smoothly. We have not.

Go to to gallery webpage >>

A satirist from Berlin. . .
. . . a metaverse scholar from Tokyo. . .
. . . and an artist from New York. . .
. . . create joint work – without meeting in person

Can three complete strangers – from different continents, cultures and creative disciplines – collaborate from afar to create a forceful artistic statement about a political event?
Obamabot Vs. McCainbot in Metaverse

They can. They have. Location One presents “Mission Accomplished,” a virtual-residency collaboration of Hidenori Watanave, Susanne Berkenheger, and Andy Deck. Their work, prepared without ever meeting face-to-face, uses Google Earth, Second Life, wikis and blog technologies – not to mention old-fashioned hand-printed Agitprop posters – to address the forthcoming U.S. Presidential election.

“Mission Accomplished” will be on view at Location One’s project gallery, September 10 to November 15, 2008. The opening is 6 to 8 p.m. September 10. Virtual audiences will be able to view and participate in the work at http://location1.org/missionaccomplished.

“The tools of tele-collaboration have become incredible rich and powerful in the ten years of our existence,” said Location One executive director Claire Montgomery. “We were founded on the themes of collaboration, technological experimentation and social consciousness. When we found that three talents this interesting were willing to take on the elections together, how could we resist? You have to see what they did.”

Susanne Berkenheger (Berlin) is an author and journalist, who writes for “SPAM”, the satirical section of German magazine Der Spiegel. She has been involved in projects in Second Life and “Chat Theatre”.
http://spiegel.de/spam
http://www.berkenheger.de/index_english.html

Hidenori Watanave (Tokyo) is Associate Professor at Tokyo Metropolitan University, and is researching 3Di (Second Life) and 3DGIS (Google Earth). He is interested in collaborative work in the realms of Architecture and Environmental Design in tele-existence and the metaverse.
http://mapping.jp/archi/cat18/
http://mapping.jp/index_en.html

Andy Deck (NYC) is an artist specializing in Internet media. His work addresses the politics and aesthetics of collaboration, interactivity, software, and independent media. Deck combines code, text, sound, and image, demonstrating new patterns of participation and control that distinguish online presence and representation from previous artistic practices.
http://andydeck.com
http://artcontext.org

The three artists all speak English, and all are fluent in Internet media. They were given no restrictions other than not meeting in person, and no directions other than the topic of the forthcoming Presidential election. Heather Wagner, director of online exhibitions, coordinated the project for Location One.
Mission Accomplished?
“The works in this virtual residency demonstrate ways in which presence and participation can be abstract and conceptual. From different points of view, they represent how Internet media and tele-presence have expanded the scope of the 2008 U.S. presidential election to global proportions.” – Andy Deck

OPENING RECEPTION: Thursday, September 10, 2008 6–8PM
(open to the public)

EXHIBITION DATES: September 10–November 15, 2008
HOURS: Tuesday-Saturday 12–6PM

About Location One:
Location One (http://location1.org) is a not-for-profit art center devoted to fostering new forms of creative expression and cultural exchange, and expanding the capabilities of our artists. We invite artists from different countries, working in a variety of mediums, to experiment with diverse means of expression/technology and engage with audiences through exhibitions and public programs.

Hands together: New York Artists Gather for China Earthquake Relief to Benefit UNICEF

(download flyer in pdf format)

June 14, 2008 @ 3pm
The Players Theatre
115 MacDougal Street (between W 3rd and Minetta Lane)
Tickets: $45 / Group of Four: $125 (Promotional code is: 4UNICEF)

Tickets can be obtained through Theatermania at www.theatermania.com or call (212) 352-3101

OR click on the following link:
http://www.theatermania.com/content/show.cfm/show/144637
OR go to www.theatermania.com and search under Matrix Music Collaborators

Proceeds to benefit U.S. Fund for UNICEF

This special presentation will feature an international line up of artists to include:

Min Xiao-Fen, pipa / Wu Na, Gu Qin / Huang Ruo, composer / Eric Siu, visual artist /
Pan Asian Repertory Theatre / Asian American Writers’ Workshop /

Members of Matrix Music Collaborators:
Yoon Kwon, violin (acoustic & electric) /
Yuri Namkung, violin (acoustic & fiddle) /
Wendy Law, cello / Justin Berrie, flute / Christa Robinson, oboe /
Rachel Calin, bass / Sheryl Lee, piano & artistic director

Puppeteers:

Deborah Hertzberg / Serra Hirsch / Daniel Irizarry / Mary Robinette Kowal /
Chris McLaughlin / Jessica Scott / Meghan Williams / Jodi Eichelberger

led by Jane Catherine Shaw and Terry O’ Reilly, co artistic-directors

Program:

Drunken Man by Jiu Kuang, based on a famous poet of the western Jin dynasty (265 -420)
Blue Pipa (inspired by Miles Davis) by Min Xiao-Fen
The North of Sunset by Thelonius Monk, arr. by Min Xiao-Fen
Mo (dedicated to the victims of the Sichuan earthquake) by Min Xiao Fen and Wu Na

Four Fragments for solo violin by Huang Ruo

Excerpts from The Joy Luck Club

a play by Susan Kim, adapted from the novel by Amy Tan
with direction & musical staging by Tisa Chang
Oblivion by Piazzolla

“Super Cop World” video installation featuring mighty Mario and Jackie Chan

designed by Eric Siu
Peter and the Wolf, Op. 67 by Sergei Prokofiev – a staging with Chinese
Puppets with Matrix Music Collaborators

Involvement/ Support and special thanks to the following:
Asia Society; Asian Cultural Council; Asian American Advertising Media; Franklin Furnace Foundation; UNICEF for U.S. Fund; Chinese Consulate, NY; Chinese Mission to the United Nations; The Players Theatre; Mabou Mines; PS 122; Jeremy Klaperman; Lawrence Uy; Chinatown Ice Cream Factory; Matrix Music Collaborators; Pan Asian Repertory Theatre and Asian American Writers’ Workshop and bluepipa.org

Piano Courtesy of C.Bechstein America
Generously hosted by The Players Theatre

Co-producers: Terry O’Reilly and Sheryl Lee
Marketing Director: Barbara Okishoff
Graphic Designer: Yuan Zhou

Hands together: New York Artists Gather for China Earthquake Relief to Benefit UNICEF

(download flyer in pdf format)

June 14, 2008 @ 3pm
The Players Theatre
115 MacDougal Street (between W 3rd and Minetta Lane)
Tickets: $45 / Group of Four: $125 (Promotional code is: 4UNICEF)

Tickets can be obtained through Theatermania at www.theatermania.com or call (212) 352-3101

OR click on the following link:
http://www.theatermania.com/content/show.cfm/show/144637
OR go to www.theatermania.com and search under Matrix Music Collaborators

Proceeds to benefit U.S. Fund for UNICEF

This special presentation will feature an international line up of artists to include:

Min Xiao-Fen, pipa / Wu Na, Gu Qin / Huang Ruo, composer / Eric Siu, visual artist /
Pan Asian Repertory Theatre / Asian American Writers’ Workshop /

Members of Matrix Music Collaborators:
Yoon Kwon, violin (acoustic & electric) /
Yuri Namkung, violin (acoustic & fiddle) /
Wendy Law, cello / Justin Berrie, flute / Christa Robinson, oboe /
Rachel Calin, bass / Sheryl Lee, piano & artistic director

Puppeteers:

Deborah Hertzberg / Serra Hirsch / Daniel Irizarry / Mary Robinette Kowal /
Chris McLaughlin / Jessica Scott / Meghan Williams / Jodi Eichelberger

led by Jane Catherine Shaw and Terry O’ Reilly, co artistic-directors

Program:

Drunken Man by Jiu Kuang, based on a famous poet of the western Jin dynasty (265 -420)
Blue Pipa (inspired by Miles Davis) by Min Xiao-Fen
The North of Sunset by Thelonius Monk, arr. by Min Xiao-Fen
Mo (dedicated to the victims of the Sichuan earthquake) by Min Xiao Fen and Wu Na

Four Fragments for solo violin by Huang Ruo

Excerpts from The Joy Luck Club

a play by Susan Kim, adapted from the novel by Amy Tan
with direction & musical staging by Tisa Chang
Oblivion by Piazzolla

“Super Cop World” video installation featuring mighty Mario and Jackie Chan

designed by Eric Siu
Peter and the Wolf, Op. 67 by Sergei Prokofiev – a staging with Chinese
Puppets with Matrix Music Collaborators

Involvement/ Support and special thanks to the following:
Asia Society; Asian Cultural Council; Asian American Advertising Media; Franklin Furnace Foundation; UNICEF for U.S. Fund; Chinese Consulate, NY; Chinese Mission to the United Nations; The Players Theatre; Mabou Mines; PS 122; Jeremy Klaperman; Lawrence Uy; Chinatown Ice Cream Factory; Matrix Music Collaborators; Pan Asian Repertory Theatre and Asian American Writers’ Workshop and bluepipa.org

Piano Courtesy of C.Bechstein America
Generously hosted by The Players Theatre

Co-producers: Terry O’Reilly and Sheryl Lee
Marketing Director: Barbara Okishoff
Graphic Designer: Yuan Zhou

Location One Virtual Residency Project

Mission Accomplished, September 10, 2008
The Virtual Residency Project’s first exhibition will open on September 10, with 3 collaborative works by Susanne Berkenheger, Andy Deck, and Hidenori Watanave. What started as an odd experiment in artist residencies results in our first Virtual Residency Project exhibition. more >>

Thank you to all the applicants, we had a wonderful range of submissions and have selected the three Virtual “Residents” for 2008. They will collaborate on a project to be shown at Location One in November 2008. Viewers will be able to watch the progress of this collaboration on a special blog: Virtual Residency Blog

2008 Virtual Residents

Susanne Berkenheger (Berlin)
Author and journalist, writer for “SPAM”, the satirical section of German magazine Der Spiegel. http://spiegel.de/spam. Susanne Berkenheger has been involved in projects in Second Life and “Chat Theatre”.
www.berkenheger.de/index_english.html
www.movement-for-account-corpses.de
www.thebubblebath.de
www.worldwatchers.de

Hidenori Watanave (Tokyo)
Hidenori Watanave is Associate professor at Tokyo Metropolitan University, and is researching 3Di (ex:Second Life) and 3DGIS (ex:Google Earth). He is interested in collaborative work in the realms of Architecture and Environmental design in tele-existence and the metaverse.
http://mapping.jp/archi/cat18/
http://mapping.jp/index_en.html

Andy Deck (NYC)
Andy Deck is an artist specializing in Internet media. His work addresses the politics and aesthetics of collaboration, interactivity, software, and independent media. Deck combines code, text, sound, and image, demonstrating new patterns of participation and control that distinguish online presence and representation from previous artistic practices.
http://andydeck.com
http://artcontext.net/

Call for Participation
Submissions Deadline: May 15, 2008
Dates of Residency: June 1-November 4, 2008

Invitation
Location One presents its first ever “Virtual Residency Project” in the form of a call to artists and other creative individuals with the express purpose of fostering collaboration and creativity across geographical expanses and areas of expertise around the topic of the 2008 US Presidential Election. The goal of this residency is to find 3 participants who are not necessarily physically proximate but who are willing to collaborate with other artists, engineers, scientists, writers, musicians, poets, and activists to develop a project using such non-F2F (face to face) interfaces such as webcams, email, chat, video, blogs, Second Life, MIDI, skype, walkie-talkie, snail mail, radio or POTS (plain old telephone service), tin cans on string, or any other means of collaboration to develop a project that will be presented at Location One in the fall of 2008, in advance of the US Presidential election.

Though we will consider international residents, the theme of this inaugural residency is the 2008 Presidential Election and the buildup around this pivotal political event. The theme can be interpreted as broadly or as literally as the participants would like, the project will be developed collaboratively by the 3 individuals chosen for this residency project.

Location One will provide an area on its website where the project can develop publically through blogging, video, audio or other means.

Acceptable forms of Submission:
Please send CV, url or any materials to virtualresidency@location1.org by midnight May 15, 2008. Please include a few lines describing why you are interested in a collaborative virtual residency.

What kind of work should it be?
The project will be developed wholly by the participants. Location One can provide curatorial and technical assistance, but the final work will be created “offsite” or online. Online performance, remote music jam, streaming video, blogs, flash animations, radio transmissions, podcasts, Second Life theatre, iChat panel discussions, remote-controlled MIDI robot kittens acting out the debates are all examples of acceptable forms that the project may take. We are leaving the parameters intentionally broad in the hopes that it will elicit deeply creative responses to this topic.

Dear Friends,

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

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

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

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

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

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

With my very best wishes,

Claire Montgomery
Executive Director

Invitation
Location One presents its first ever “Virtual Residency Project” in the form of a call to artists and other creative individuals with the express purpose of fostering collaboration and creativity across geographical expanses and areas of expertise around the topic of the 2008 US Presidential Election. The goal of this residency is to find 3 participants who are not necessarily physically proximate but who are willing to collaborate with other artists, engineers, scientists, writers, musicians, poets, and activists to develop a project using such non-F2F (face to face) interfaces such as webcams, email, chat, video, blogs, Second Life, MIDI, skype, walkie-talkie, snail mail, radio or POTS (plain old telephone service), tin cans on string, or any other means of collaboration to develop a project that will be presented at Location One in the fall of 2008, in advance of the US Presidential election.

Though we will consider international residents, the theme of this inaugural residency is the 2008 Presidential Election and the buildup around this pivotal political event. The theme can be interpreted as broadly or as literally as the participants would like, the project will be developed collaboratively by the 3 individuals chosen for this residency project.

Location One will provide an area on its website where the project can develop publically through blogging, video, audio or other means.

Acceptable forms of Submission:
Please send CV, url or any materials to virtualresidency@location1.org by midnight May 15, 2008. Please include a few lines describing why you are interested in a collaborative virtual residency.

What kind of work should it be?
The project will be developed wholly by the participants. Location One can provide curatorial and technical assistance, but the final work will be created “offsite” or online. Online performance, remote music jam, streaming video, blogs, flash animations, radio transmissions, podcasts, Second Life theatre, iChat panel discussions, remote-controlled MIDI robot kittens acting out the debates are all examples of acceptable forms that the project may take. We are leaving the parameters intentionally broad in the hopes that it will elicit deeply creative responses to this topic.

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.

The nature of an interview is to pose a series of questions to clarify, elaborate and provide a verbal description of a certain issue. In this case ‘the certain issue’ is one which has risen out of Andrew Duggan’s encounters with some of the New York art world he has met.

Andrew interviewed a number of persons with whom he has conversations with during his 10 month residency.

These interviews were conducted via e mail. Transcripts were made into a script and were handed to and read by auditioning actors. The recording is presented alongside images of ‘interview props’. The artist and the interviewer have been removed from ‘The Artist Interview.

Special thanks to Claire Montgomery, Diego Fasciati, Drazen Pantic, Dan Cameron, Pieranna Cavalchini, Sebastien Delot, Heather Wagner, Nick Normal, Barry Dunne and Sebastien Sanz de Santamaria.
[display_podcast]

THE SCRIPT

Interviewer – Some artists, when they spend time in different places ‘relocate’ their practice. That is the ‘local’ changes, but not the practice. What do yo think happens when if artist ‘dislocates’ themselves in the new local thus working with the language of that local?

Interviewee #1 – I first mention the much-remarked-upon emergence of a kind of “international art” that seems to prevail these days – a kind of homogenous, global perspective, whereby everyone is trying very hard NOT to be local and end by making blurry references to the same ideas (be they the French theorists or American irony and contingency crowd). Artists develop a method and re-employ that method in whatever locale they arrive- not so interesting.

Interviewee #2 – I think, nowadays that all artists are ‘international’. We all communicate, because of technology, internationally. But maybe a new situation is called for, and maybe what is needed is to look at how an artist is ‘interlocal’, in that the local is what becomes important.

Interviewer – So how do you think the the phrase “all politics are local”, applies to artists’ practice with this idea of all artists being international but not all being ‘interlocal’?

Interviewee #2 – More general question about politics and globalization is what is “local” now? Any single political issue (however local it is) bounces back to the global discussion, one way or another. And is the re-appropriated by different political groups, for different political purposes. And law of unexpected consequences works every time …

So, yes all artist are international, some are “interlocal” but all issues are global either way. And the less prominent political signifier in their work, the more it might be suitable for reinterpretation and (inverse) contexulization. One consequence of what is that we see now lots of very politically transparent work, using art as a political megaphon. I’m trying not to put value judgment here, but I kind of like art political agit-prop. Except that it is so often unclear what are the political premises and values brought to the table. If any.

Interviewee #1 – Most interesting to me is an artist who takes some part of his/her perspective on the world and, looking very carefully at the particular locale, examines the new locale with new eyes. So, perhaps relocation is simply geographic; dislocation takes you out of both time and space. It is a real letting go, and is truly unnerving, but a brave and important thing to do.

Interviewer – I’d like to move on and discuss the perception of the word �America� and ‘the United States of America’ within this context of the building of the wall along the southern border of the United Stated with plans for surveillance web cams.

The United States of America builds a defensive structure along it’s border, posts a military presence and employs new surveillance technology to maintain that border.

What do you think the legacy of such a structure and action will be on the psychology of America?

Interviewee #2 – The current hysteria over the US/Mexican border plays to the very worst aspects of our national xenophobia, while revealing how little of the discourse over ‘security’ has anything to do with making our borders secure. No terrorist has ever been shown to have entered our country through the US/Mexico border, which is quite amazine if you consider how many undocumented workers, contraband narcotics, etc do slip through every single day. It is also worth pointing out that virtually all of the border territory under discussion was sovereign Mexican territory little more than a hundred years ago. My strong belief is that the Bush administration’s fear-mongering is almost entirely motivated by the desire to generate enough dread and anxiety in the citizenry that we will submit to their increasingly dictatorial aims. Having said that, I also think there is good reason to hope that the congressional elections this fall will put the brakes on the some of their most extremist policies, and that by the end of 08 they will have so disgraced themselves on every other front that voters will be ready to throw the whole crowd out (and lock a few up for good measure).

So, to answer your question: I believe it is vital that our next president, Al Gore, begin dismantling the border wall immediately after taking office, recall the National Guard, and diarm the Minutemen. The security apparatus, which is probably inseparable from our national objectives in technology and information, would remain.

Interviewee #1 – It is incredible the Berlin Wall came down in 89 and here we are building new ones. When I use the “we” I am thinking transnationally. Our surveilling exploits have not improved our ability to see or to think critically…and then there is the very frightening issue of WHO surveils those doing the surveillance.

Interviewer – …and perception of ‘America’?”

Interviewee #2 – Unfortunately, our national self-image as ‘America’ and us as ‘Americans’ will most likely never be addressed along the way, and we will probably find soon enough that many of our neighbors no longer wish to have that word associated with their own identities anyway. So, despite my own personal discomfort about using the word ‘America’ to describe the USA, when its proper reference belongs to the two continents of North America and South America, getting people in this country to examine that imperialist habit more closely is probably a lost cause.

Interviewee #1 – Back to your question…..Will “to America” become synonymous with “to surveil”. I most sincerely hope not. The positive thing about an action (no matter how blind and stupid) is that sooner or later it brings a reaction. Nothing stays still no wall can stop the flow.

Interviewer – President Bush during a recent speech to the Press at the Rose garden after his surprise visit to Iraq said that the war in Iraq was not THE war on Terror but part of the THEATRE. How do you think this ‘theatre’ is perceived

Interviewee #2 – It seems that politics is a series of “coup de théâtre!” and he needs some as he is in a weaker political position. It is interesting to make this connection with terror though the civil war is not taking place on the american soil and cannot have the same impact as the french terreur. It feels that terror will grow as more and more american will die and public opinion might shake things. Despite growing tensions, scandals nothing has been done and it is amaizing to watch this puppet show going on.

On the other hand the use of the term can be understood as part of Hollywood vocabulary. As America has had actors in strategic position, the star wars was an interesting choice.The axis of evil is an other good title for a science fiction movie. Though the device of “Theatre” appears as a way to introduce a necessary distance with the real. Actors on stage are only performing though here people are dying, anger is growing and shall linger for decades.The cycle of violence is not nearly at an end. The future between western/ arab diplomatic relation has been damaged severely. And here we can also blame Europe for not finding a way to be an altrenative voice in that concert of discontent and to sink into mediocrity. I wander when the political consciousness awakening in Europe is going to take place.

Interviewer – AND how does it relate to the ‘theatre’ of the gallery?

Interviewee #2 – Interestingly enough the use of the word to refer to military operation with President Bush as the cast director. Actors have enterred politics and we have watched already the star wars and amaizing declaration in CA recently. Theatre is away to bring illusion to distort and recreate reality, it is also a way of mastering things since you can control them. It is a way to put things in a space and time frame that you control but in an art gallery you might play with the illusion of the White cube in order to create that spce of wonder and make people feel they enter a sacred space. In real life the theatre can not be that illusion, it is way too unresponsible to act as if there were no difference, politics is about playing with events and issues in such a way that you may bring emphasis or silence them. Here it would not be so much of a white cube theatre but maybe a new concept a red cube theatre.

Interviewer – So could the red cube be a shift from say the corporate clean white cube to one which art engages with politics in a gallery context?

Interviewee #2 – it would be very interesting, as politics can be bloody and the gallery is the prefect stage ou theatre…Red tape strategies.

Yuka Honda & Petra Haden Special Performance
Saturday, January 20, 2007
8PM, Tickets $20

The party event will take place from 7-10 PM, the concert begins at 8PM.
Tickets $20, Location One Members free (includes 1 complimentary drink).
(become a member and obviate the need for silly tickets and drink prices).

Location One is thrilled to present our January party event with an exclusive concert by musicians Yuka Honda (former Cibo Matto) and Petra Haden (The Decemberists, Foo Fighters) who will play some new songs from an upcoming duet album on which they have been collaborating, as well as improvisations with Haden’s distinctive vocal layering over a soundscape of Yuka Honda’s music. Featuring Bill Dobrow (drums); Timo Ellis (bass); Cameron Greider (guitar, vox); Petra Haden (vocal, violin); Yuka Honda (keys)

Please come celebrate with us from 7-10. Cash bar (Location One members receive one complimentary drink) and light refreshments, additional music by DJ Normal, “Sonic” ping pong tournaments.

Artists’ Bios
Yuka Honda (from http://en.wikipedia.org/wiki/Yuka_Honda)
Yuka Honda is a multi-instrumentalist and co-founder of the band Cibo Matto. Throughout her career, she has collaborated with a diverse array of musicians, including Petra Haden, Sean Lennon, Medeski Martin & Wood, Luscious Jackson, and Caetano Veloso.

She produced Sean Lennon (also formerly of Cibo Matto)’s 1998 album Into the Sun. More recently she has been collaborating with downtown New York musicians Dave Douglas, Susie Ibarra, Vincent Gallo, Trevor Dunn, and John Zorn on whose Tzadik label her two solo albums were released. In 2003, Honda also collaborated with Boredoms drummer Yoshimi P-We, under the name Yoshimi and Yuka.

In 2006 Yuka played keyboards on Sean Lennon’s album Friendly Fire. She is currently supporting Lennon while he is on tour.
Yuka Honda official website: http://www.damoon.net/yuka

Petra Haden (from http://en.wikipedia.org/wiki/Petra_Haden)
Petra Haden is a violinist and singer. She is or has been a member of several bands, including that dog., Tito & Tarantula, The Rentals and The Decemberists; has contributed to recordings by Beck, Mike Watt, Luscious Jackson, Foo Fighters, Green Day, Weezer, Victoria Williams and Yuka Honda. She is the daughter of the jazz bassist Charlie Haden.

In 1999 she released her first album, Imaginaryland, consisting mostly of a capella covers. In 2005 she released the home-recorded album Petra Haden Sings: The Who Sell Out (Bar/None), a complete a cappella rendition of The Who Sell Out. The project was suggested to Haden by longtime friend Mike Watt, who also gave her the eight-channel multi-track cassette recorder she used to make it. Funded in part by a Durfee grant and wanting to perform the work live, Haden created a new arrangement of The Who Sell Out for a ten woman a capella choir called Petra Haden & The Sellouts. The premier live performance of the full work occurred in July 2005 at the Ford Amphitheatre as a part of the “sound.” concert series.

She has also released a self-titled collaboration with jazz guitarist Bill Frisell, and a collaboration with accordionist Miss Murgatroid (otherwise known as photographer Alicia J. Rose) entitled Bella Neurox.
Petra Haden official website: http://www.petrahadenmusic.com

Yuka Honda & Petra Haden Special Performance
Saturday, January 20, 2007
8PM, Tickets $20

The party event will take place from 7-10 PM, the concert begins at 8PM.
Tickets $20, Location One Members free (includes 1 complimentary drink).
(become a member and obviate the need for silly tickets and drink prices).

Location One is thrilled to present our January party event with an exclusive concert by musicians Yuka Honda (former Cibo Matto) and Petra Haden (The Decemberists, Foo Fighters) who will play some new songs from an upcoming duet album on which they have been collaborating, as well as improvisations with Haden’s distinctive vocal layering over a soundscape of Yuka Honda’s music. Featuring Bill Dobrow (drums); Timo Ellis (bass); Cameron Greider (guitar, vox); Petra Haden (vocal, violin); Yuka Honda (keys)

Please come celebrate with us from 7-10. Cash bar (Location One members receive one complimentary drink) and light refreshments, additional music by DJ Normal, “Sonic” ping pong tournaments.

Artists’ Bios
Yuka Honda (from http://en.wikipedia.org/wiki/Yuka_Honda)
Yuka Honda is a multi-instrumentalist and co-founder of the band Cibo Matto. Throughout her career, she has collaborated with a diverse array of musicians, including Petra Haden, Sean Lennon, Medeski Martin & Wood, Luscious Jackson, and Caetano Veloso.

She produced Sean Lennon (also formerly of Cibo Matto)’s 1998 album Into the Sun. More recently she has been collaborating with downtown New York musicians Dave Douglas, Susie Ibarra, Vincent Gallo, Trevor Dunn, and John Zorn on whose Tzadik label her two solo albums were released. In 2003, Honda also collaborated with Boredoms drummer Yoshimi P-We, under the name Yoshimi and Yuka.

In 2006 Yuka played keyboards on Sean Lennon’s album Friendly Fire. She is currently supporting Lennon while he is on tour.
Yuka Honda official website: http://www.damoon.net/yuka

Petra Haden (from http://en.wikipedia.org/wiki/Petra_Haden)
Petra Haden is a violinist and singer. She is or has been a member of several bands, including that dog., Tito & Tarantula, The Rentals and The Decemberists; has contributed to recordings by Beck, Mike Watt, Luscious Jackson, Foo Fighters, Green Day, Weezer, Victoria Williams and Yuka Honda. She is the daughter of the jazz bassist Charlie Haden.

In 1999 she released her first album, Imaginaryland, consisting mostly of a capella covers. In 2005 she released the home-recorded album Petra Haden Sings: The Who Sell Out (Bar/None), a complete a cappella rendition of The Who Sell Out. The project was suggested to Haden by longtime friend Mike Watt, who also gave her the eight-channel multi-track cassette recorder she used to make it. Funded in part by a Durfee grant and wanting to perform the work live, Haden created a new arrangement of The Who Sell Out for a ten woman a capella choir called Petra Haden & The Sellouts. The premier live performance of the full work occurred in July 2005 at the Ford Amphitheatre as a part of the “sound.” concert series.

She has also released a self-titled collaboration with jazz guitarist Bill Frisell, and a collaboration with accordionist Miss Murgatroid (otherwise known as photographer Alicia J. Rose) entitled Bella Neurox.
Petra Haden official website: http://www.petrahadenmusic.com

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

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

Click here to view the embedded video.

Leesa & Nicole Abahuni, Simo Alitalo, Andrew Duggan, Mayumi Nakazaki,
Trine Nedreaas, Yuki Okumura, Lydia Venieri, Wang Ya-Hui

On Thursday, June 1st, Location One opens its Summer exhibition, showcasing new work developed by resident artists from the USA, Finland, Ireland, The Netherlands, Norway, Japan, Greece, and Taiwan who are participating in the Location One 2005-2006 International Residency Program. The show will be open to the public through Saturday, July 29th, 2006.

Featured works represent a diverse range of artistic approaches:

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

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

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

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

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

Click here to view the embedded video.

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

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

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

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

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

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

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

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

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

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

Benoît Maubrey performs “The Electronic Guy”

Click here to view the embedded video.

IMHO :: In My Humble Opinion
part of Location One’s Open House Wednesday series of talks and panels

A monthly personal bookmark bar of recent or not-so-recent art works that use the internet as canvas, conduit, muse, or soapbox in compelling, humorous or poetic ways. Presented by Heather Wagner, Location One’s director of online exhibitions.

Luke Murphy
Node thinking, pornopainter animations and manic Power Point presentations http://www.lukelab.com

+
Ursula Endlicher
Famous For One Spam, wigweb portraits, singing with household appliances

http://ursenal.net

+
Antoinette Lafarge & the Plaintext Players
Remotely extemporized text scripts performed by live actors, MOO theatre.
http://yin.arts.uci.edu/~players/

Click here to view the embedded video.

“. . . the power of this solo lay in its unarticulated yet strong emotions, conveyed through impressive physical and emotional control.”
-Jennifer Dunning, in review of “R-1″ for New York Times (April 3, 2001)

“RL.1″ is a work for solo dancer, video, and music. Dancer/choreographer Chantal Yzermans creates expressive, abstracted forms and motions with the restrained power and expanded time-sense of butoh. In “RL.1″, she performs blindfolded. Video artist Kurt Ralske uses a camera to capture images of the dancer in real-time. The images are processed and layered in real-time, creating a dialogue of shapes and forms with the dance. Dance and image drift in and out of abstraction, simultaneously or in contrast. The video functions variously as a set design, as a commentary on the dance, and as counterpoint to the dance. At times, multiples of images of the dance act as a “real-time Greek chorus” to the solo dancer, providing a record of what has occurred, expanding on what is occurring, and hinting at what is to come. At other times, the dancer’s motions have the quality of a ritual, with the video’s abstractions serving to make the invisible aspects of the ritual visible. “RL.1″ utilizes two very different techniques of communication via the presentation of image (dance and video), while achieving a harmony and simultaneity of expression. “RL.1″ premiered at Joyce Theater Soho in May 2001.

RADICAL LOW is a dance and multimedia ensemble formed in Spring 2001 by Kurt Ralske and Chantal Yzermans. Radical Low has performed at Joyce Theater Soho, Merce Cunningham Studio, at Recyclart Centre (Bruxelles, Belgium), the 92nd St. Y, Judson Hall, and Galapagos Art Space.

RADICAL LOW is exploring the intersection of dance and technology by using custom software created by the artists. New avenues are opened for the relationship between dance and sound and image. Some techniques the artists have used are: video capture, real-time video processing, image analysis, sensors, and networked audio-video control systems

Click here to view the embedded video.

In February 2003, Kurt received received the Image Award at Transmediale International Media Art Festival in Berlin, for for his work on the DVD “Live in Bruxelles” by real-time video improvisation ensemble 242.pilots.

Kurt works mainly as a performer: as a soloist, with other video artists, with live dancers, or with live musicians. He has created interactive video installations, software art, and video-derived still images. He is the author of Auvi, a commercially released software environment for creating custom real-time video programs. (http://auv-i.de)

Chantal Yzermans [dancer/choreographer] was born in Ostend, Belgium, currently residing in NY. Chantal worked in Europe as a freelance choreographer in collaboration with Belgian composer Starfish Pool. Together they toured throughout Europe and Canada with “Ritual for the Dying.” Yzermans was invited to work for the Belgian National Television, German National Television and Festival van Vlaanderen for which she choreographed a contemporary opera “Turm aus Zimst” by German composer Hans Rotman and Belgian film director Jaak Servaes. As a choreographer in residence, she worked at the Keizer Karel Hogeschool in Antwerp, Belgium, where she created “11 Windmills and One Dandelion,” presented at venues throughout France, the Netherlands, Germany and Spain. She received an award “The Vondelpreis (reisestipendium)” from the arts granting organization Alfred Toepfer Stifftung (Hamburg, Germany) for Choreography in 1998. In NYC, her work has been performed at venues such as Judson Church, presented by Movement Research; 92nd Street Y; the Merce Cunningham Studio; and Joyce Theatre Soho.

“. . . the power of this solo lay in its unarticulated yet strong emotions, conveyed through impressive physical and emotional control.”
-Jennifer Dunning, in review of “R-1″ for New York Times (April 3, 2001)

“RL.1″ is a work for solo dancer, video, and music. Dancer/choreographer Chantal Yzermans creates expressive, abstracted forms and motions with the restrained power and expanded time-sense of butoh. In “RL.1″, she performs blindfolded. Video artist Kurt Ralske uses a camera to capture images of the dancer in real-time. The images are processed and layered in real-time, creating a dialogue of shapes and forms with the dance. Dance and image drift in and out of abstraction, simultaneously or in contrast. The video functions variously as a set design, as a commentary on the dance, and as counterpoint to the dance. At times, multiples of images of the dance act as a “real-time Greek chorus” to the solo dancer, providing a record of what has occurred, expanding on what is occurring, and hinting at what is to come. At other times, the dancer’s motions have the quality of a ritual, with the video’s abstractions serving to make the invisible aspects of the ritual visible. “RL.1″ utilizes two very different techniques of communication via the presentation of image (dance and video), while achieving a harmony and simultaneity of expression. “RL.1″ premiered at Joyce Theater Soho in May 2001.

RADICAL LOW is a dance and multimedia ensemble formed in Spring 2001 by Kurt Ralske and Chantal Yzermans. Radical Low has performed at Joyce Theater Soho, Merce Cunningham Studio, at Recyclart Centre (Bruxelles, Belgium), the 92nd St. Y, Judson Hall, and Galapagos Art Space.

RADICAL LOW is exploring the intersection of dance and technology by using custom software created by the artists. New avenues are opened for the relationship between dance and sound and image. Some techniques the artists have used are: video capture, real-time video processing, image analysis, sensors, and networked audio-video control systems

Click here to view the embedded video.

In February 2003, Kurt received received the Image Award at Transmediale International Media Art Festival in Berlin, for for his work on the DVD “Live in Bruxelles” by real-time video improvisation ensemble 242.pilots.

Kurt works mainly as a performer: as a soloist, with other video artists, with live dancers, or with live musicians. He has created interactive video installations, software art, and video-derived still images. He is the author of Auvi, a commercially released software environment for creating custom real-time video programs. (http://auv-i.de)

Chantal Yzermans [dancer/choreographer] was born in Ostend, Belgium, currently residing in NY. Chantal worked in Europe as a freelance choreographer in collaboration with Belgian composer Starfish Pool. Together they toured throughout Europe and Canada with “Ritual for the Dying.” Yzermans was invited to work for the Belgian National Television, German National Television and Festival van Vlaanderen for which she choreographed a contemporary opera “Turm aus Zimst” by German composer Hans Rotman and Belgian film director Jaak Servaes. As a choreographer in residence, she worked at the Keizer Karel Hogeschool in Antwerp, Belgium, where she created “11 Windmills and One Dandelion,” presented at venues throughout France, the Netherlands, Germany and Spain. She received an award “The Vondelpreis (reisestipendium)” from the arts granting organization Alfred Toepfer Stifftung (Hamburg, Germany) for Choreography in 1998. In NYC, her work has been performed at venues such as Judson Church, presented by Movement Research; 92nd Street Y; the Merce Cunningham Studio; and Joyce Theatre Soho.

“. . . the power of this solo lay in its unarticulated yet strong emotions, conveyed through impressive physical and emotional control.”
-Jennifer Dunning, in review of “R-1″ for New York Times (April 3, 2001)

“RL.1″ is a work for solo dancer, video, and music. Dancer/choreographer Chantal Yzermans creates expressive, abstracted forms and motions with the restrained power and expanded time-sense of butoh. In “RL.1″, she performs blindfolded. Video artist Kurt Ralske uses a camera to capture images of the dancer in real-time. The images are processed and layered in real-time, creating a dialogue of shapes and forms with the dance. Dance and image drift in and out of abstraction, simultaneously or in contrast. The video functions variously as a set design, as a commentary on the dance, and as counterpoint to the dance. At times, multiples of images of the dance act as a “real-time Greek chorus” to the solo dancer, providing a record of what has occurred, expanding on what is occurring, and hinting at what is to come. At other times, the dancer’s motions have the quality of a ritual, with the video’s abstractions serving to make the invisible aspects of the ritual visible. “RL.1″ utilizes two very different techniques of communication via the presentation of image (dance and video), while achieving a harmony and simultaneity of expression. “RL.1″ premiered at Joyce Theater Soho in May 2001.

RADICAL LOW is a dance and multimedia ensemble formed in Spring 2001 by Kurt Ralske and Chantal Yzermans. Radical Low has performed at Joyce Theater Soho, Merce Cunningham Studio, at Recyclart Centre (Bruxelles, Belgium), the 92nd St. Y, Judson Hall, and Galapagos Art Space.

RADICAL LOW is exploring the intersection of dance and technology by using custom software created by the artists. New avenues are opened for the relationship between dance and sound and image. Some techniques the artists have used are: video capture, real-time video processing, image analysis, sensors, and networked audio-video control systems

Click here to view the embedded video.

In February 2003, Kurt received received the Image Award at Transmediale International Media Art Festival in Berlin, for for his work on the DVD “Live in Bruxelles” by real-time video improvisation ensemble 242.pilots.

Kurt works mainly as a performer: as a soloist, with other video artists, with live dancers, or with live musicians. He has created interactive video installations, software art, and video-derived still images. He is the author of Auvi, a commercially released software environment for creating custom real-time video programs. (http://auv-i.de)

Chantal Yzermans [dancer/choreographer] was born in Ostend, Belgium, currently residing in NY. Chantal worked in Europe as a freelance choreographer in collaboration with Belgian composer Starfish Pool. Together they toured throughout Europe and Canada with “Ritual for the Dying.” Yzermans was invited to work for the Belgian National Television, German National Television and Festival van Vlaanderen for which she choreographed a contemporary opera “Turm aus Zimst” by German composer Hans Rotman and Belgian film director Jaak Servaes. As a choreographer in residence, she worked at the Keizer Karel Hogeschool in Antwerp, Belgium, where she created “11 Windmills and One Dandelion,” presented at venues throughout France, the Netherlands, Germany and Spain. She received an award “The Vondelpreis (reisestipendium)” from the arts granting organization Alfred Toepfer Stifftung (Hamburg, Germany) for Choreography in 1998. In NYC, her work has been performed at venues such as Judson Church, presented by Movement Research; 92nd Street Y; the Merce Cunningham Studio; and Joyce Theatre Soho.

PerformanceContemporary
An ongoing series of talks with artists and writers conceived and conducted by Bonnie Marranca.
Dialogue with Richard Maxwell
Tuesday, December 17th 7PM
Regular $5, Students $2, Members Free.

Richard Maxwell is one of the most talked about new playwrights in the downtown scene whose work has also been produced increasingly around the country and in Europe. His recent play Joe was produced at PS 122. Other works include House, Boxing 2000, Drummer Wanted, and Caveman. Maxwell worked with Steppenwolf in Chicago where he was co-founder and director of the Cook County Theatre Department. He is now Artistic Director of New York City Players.

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.

PerformanceContemporary
An ongoing series of talks with artists and writers conceived and conducted by Bonnie Marranca.

Regular $5, Students $2, Members Free.

About The Wooster Group
The Wooster Group is an ensemble of artists who collaborate on the development and production of theater and media pieces. Since the early 1970′s, The Wooster Group has played a pivotal role in bringing technically sophisticated and evocative uses of sound, film, and video into the realm of contemporary theater.

The Wooster Group Members
The Wooster Group’s members are Jim Clayburgh, Willem Dafoe, Spalding Gray, Elizabeth LeCompte, Peyton Smith, Kate Valk, and Ron Vawter. Under the direction of LeCompte and with its associates and staff, the Group has created and performed all of its theater pieces at their home base, The Performing Garage, in the Soho district of New York City. The Group’s repertory has toured widely in the US and Europe, as well as to Asia, Australia, Canada, and South America.
Note: Wooster Group member Ron Vawter died April 16, 1994.

Awards
The Wooster Group has received numerous awards, including National Endowment, State Arts Council, and the City Department of Cultural Affairs grants. In 1991, the Group was awarded a Village Voice Obie, recognizing 15 years of sustained excellence. That same year, Director Elizabeth LeCompte received an NEA Distinguished Artists Fellowship for Lifetime Achievement in American Theater. In 1995, Ms. LeCompte received the prestigious MacArthur Fellowship, recognizing outstanding creative achievement in her work with The Wooster Group.

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. In addition to her work in the arts, she is also the editor of The Hudson Valley Reader and American Garden Writing. 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 event
Dialogue with Richard Maxwell :: Tuesday, December 17, 7:00 PM

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

October 1, 2002

Regular $5, Students $2, Members Free.

Location One is pleased to announce “The Theatre of Food, ” the first talk of the PerformanceContemporary series, conducted by Bonnie Marranca. At this event, Bonnie Marranca will speak about her forthcoming book, Slice of Life, an international collection of food writings she is editing, to be published by Overlook Press in 2003. Her talk will offer a broad ranging, personal perspective on food and contemporary culture, including the use of food in performance and art through the century.

Slice of Life is a collection of more than 50 contributions by well-known novelists, poets, food writers, and chefs, emphasizing the personal essay or food memoir. They cover a broad range of topics, including the pleasure of eating, memories of food, utensils, markets, religious customs, hunger, restaurant culture, writing in restaurants. The volume also features special pieces on olive oil, French cooking, bread and saints’ days, tomatoes, wine, vegetarianism — all from the unique reflections of contemporary writers.

The noted food author, Betty Fussell, has written the Preface to the book. Contributors to the volume include: Susan Sontag, Charles Simic, Emily Prager, Julia Child, Russell Baker, Wole Soyinka, Paul Schmidt, M.F.K. Fisher, Alice Walker, Sallie Tisdale, Michael Pollan, Isabel Allende, Alice Waters, Edward Hoagland, Roland Barthes.

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. In addition to her work in the arts, she is also the editor of The Hudson Valley Reader and American Garden Writing. 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.

(For information on the journal and PAJ books: mitpress.mit.edu/paj)

Bonnie Marranca is the author of two collections of essays, Ecologies of Theatre and Theatrewritings, and has edited several anthologies, including Conversations on Art and Performance, Interculturalism and Performance, Theatre of the Ridiculous Plays for the End of the Century, The Theatre of Images, American Dreams: The Imagination of Sam Shepard. She is a Guggenheim Fellow, Fulbright Senior Scholar, and winner of the George Jean Nathan Award for Dramatic Criticism. She has taught and lectured in numerous American and European universities and is the Anschutz Distinguished Fellow in American Studies at Princeton University for 2001. (all with Gautam Dasgupta);

At Location One Bonnie is director of Locution, a series of interviews with artists and writers in the performance community. In 2002, she is organizing a series of artist talks called PerformanceContemporary.

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

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

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

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

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

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

Video Manipulation by Isabelle Jenniches (in Amsterdam), Eric Redlinger and Heather Wagner
Masks and Puppets created by Shannon Harvey
Performers: John Capalbo, Jeff Grow, Jocelyn Ruggiero
Daemons & Psychopomps is a live Performance/Video/Music event inspired by the myth of Persephone. In the Location One gallery space, Ned Rothenberg and Ikue Mori will play live improvised music, while four large projections on the walls of the gallery will show the work created by video artists in NYC and Amsterdam, connected over the internet via collaborative software. The video artists will manipulate the images of actors in masks, performing in the project room of the gallery, and images captured prior to the live event. Additionally, the musicians will affect certain aspects of the images through the music they play. This entire event will be streamed live on the Location One website.

Please join us in the gallery or online at www.location1.org for this unique and exciting event.

The Myth of Persephone
According to myth, Persephone, maiden goddess and daughter of earth goddess Demeter, is captured by Hades and forced to live in the Underworld with him as his consort and queen. Demeter, enraged and grief-stricken over the abduction of her daughter, allows everything on earth to die. To help gain Persephone’s release, she appeals to several of the male gods; they comply and Hades is forced to release Persephone. However, while living in the Underworld, Persephone has eaten seeds of the pomegranate (food of the dead), and she is forced by cosmic law to return to the Hades for a portion of each year, thus creating vegetative cycles and seasons.

In this re-imagining of the myth, Persephone may or may not be a willing participant in her own abduction. The night before she must return to Demeter, Hades throws a festive farewell party in his queen’s honor and the partygoers feast on pomegranate seeds which may or may not be hallucinogenic. A hedonistic Bacchanalian fest ensues as revelers celebrate Persephone’s last night. Hangovers abound as Demeter comes to claim her daughter.

The puppets and masked used for this performance were originally created for the Messenger Theatre Company production of PERSEPHONE written and directed by Emily Davis at RedLAB in Spring 2002, produced by Agathe David Weill. PERSEPHONE will be performed at the NYC Fringe Festival (August 9-25 http://www.fringenyc.org ). For more info email messengertheatreco@yahoo.com.

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

Philoctetes
Or A Treatise on Three Ethics
by André Gide,
directed by Sonja Moser
March 7th, 8th, 9th 8:00 PM
Tickets: $10, Members free

During their voyage to Troy, the Greeks abandoned one of their own men. His name was Philoctetes. He suffered from a foot wound that bled, oozed, emitted a foul stench and caused him to wail in pain – wails that filled his fellow Greeks with an unbearable pity, a pity that they feared would dampen their courage for the ensuing battle. Consequently, he was dropped on a deserted island, with only a bow and arrows with which to survive. Ten years of bloody war followed.

Now, hoping to discover the key to victory, the Greeks consult the priest Calchus, who tells them they must return to the island where they left Philoctetes and retrieve his bow and arrows. This weapon will win the war for Greece. Ulysses, the slyest of the Greeks, is dispatched for the mission, and with him he brings Neoptolemus, the son of Achilles, whose youth and innocence he hopes will act as a foil for his scheme.

On Philoctetes’ frozen island of hostile solitude the three engage in an entirely different battle: What is virtue? Ulysses, Neoptolemus and Philoctetes set patriotism against humanism against individualism, as each one strains to act in accordance with his own sense of truth. In this rarely performed work, originally titled THE FOUL WOUND, Andre Gide’s indictment of society and defense of the solitary artist figure is both heartbreaking and breathtaking.

SONJA MOSER (Director)
Sonja Moser’s Off-Broadway credits include the New York premier of Maria Irene Fornes’ ENTER THE NIGHT at the Signature Theatre. Off-off Broadway she has directed at P.S. 122, HERE, The Duplex, Dixon Place & Expanded Arts, and has made work regionally for the University of Iowa, the Iowa Playwrights Festival and HBO Workspace. She is a graduate of the Woodruff-Bogart directing program at Columbia University, where she first discovered Gide’s Philoctetes.

SARAH BELLOWS (Neoptolemus)
last worked with Sonja on DADDY’S LITTLE GIRL (The Duplex, HBO/WB Workspace). She recently completed a training program at The Actors Center where she played Irina in THE THREE SISTERS and Boomer in a clown show. Favorite roles include Claire in THE MAIDS and Rebecca Runkle in DOPPLEGANG-BANG by David Adjmi.

JOCELYN RUGGIERO (Ulysses)
last worked with Sonja Moser playing Marlene in a production of THE BITTER TEARS OF PETRA VON KANT. Other acting credits include SONNETS FOR AN OLD CENTURY, directed by KJ Sanchez at Location One in January; FEFU AND HER FRIENDS at Santa Fe Stages, directed by Maria Irene Fornés; THE MAN WHO SHOT HIS WASHING MACHINE, directed by Tom O’Horgan at TNC; SPRINGTIME at The Image Theatre and LOVE AND UNDERSTANDING at Long Wharf Theatre, directed by Mike Bradwell. Jocelyn is currently rehearsing PERSEPHONE, written and directed by Emily Davis, a play that will use masks and puppets by Shannon Harvey. She is a graduate of Sarah Lawrence College.

LISA SHAHEEN (Philoctetes)
Recent New York credits: Gardenias in Winter (Lambs Theatre), Furious (John Houseman Theatre), Tuna and Jack (American Globe Theatre) Why We Have a Body (John Houseman Theatre) Hey Hey Bernadette- staged reading (John Houseman Theatre).

For information on Andre Gide, see www.andregide.org

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

8:00 PM
No Admission Charge

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

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

Streaming Video Performance:

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

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

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

Online forum:

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

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

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

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

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

Biographies of the Artists

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

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

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

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

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

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

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

Myth and the Contemporary, Dec. 11, 7:30 pm
Panelists: Meredith Monk,, John Jesurun,, Mary Lucier, Eiko Otake, Theodora Skiptares,
Moderator: Bonnie Marranca

Meredith Monk is a composer, choreographer, singer, creator of new opera, musical theatre works, films, and installations. A pioneer in what is now called “extended vocal technique” and “interdisciplinary performance,” she has created more than 100 works. She is a recipient of a MacArthur “Genius” Fellowship. Monk has made more than a dozen recordings, and her music has been heard in numerous films.

Mary Lucier has been a sculptor, photographer, and performance artist before turning to video in the early seventies. Her video pieces are widely exhibited in museums and galleries in the U. S. and abroad. Among her many works are Ohio at Giverny, Last Rites (Positano), Noah’s Raven, and House by the Water. Mary Lucier is represented in the current Whitney Museum exhibition entitled Into the Light.

Eiko Otake is one half of the dance partnership known as Eiko and Koma who choreograph and perform only their own works. Since leaving their native Japan almost three decades ago, they have presented their works at theatres, universities, museums, galleries and festivals across North America, Europe, and Asia. Recently, they premiered a new piece, Be With, in collaboration with dancer/choreographer Anna Halprin and Joan Jeanrenaud, a former member of Kronos Quartet, at the Kennedy Center in Washington. In January it will be seen at the Joyce Theatre.

John Jesurun is a playwright, director, and media artist. Among his many plays are Deep Sleep and fifty-two pisodes of his serial play Chang In a Void Moon. His White Water is currently running in Mexico City. The End of Cinematics, an opera in collaboration with composer Mikel Rouse, premieres in fall 2002 at the Orange County Performing Arts Center. His new media work, Virtual Actor, made in collaboration with scientists from Bell Labs, will be presented in December as part of the Brooklyn Academy of Music’s Arts in Multimedia program.

Theodora Skipitares is a visual artist and theater director who has been working for more than two decades in New York. She began as an autobiographical solo performer before incorporating realistic puppet figures, original music scores, film and video in larger theatre works that examined historical and social themes. Recently, she has been working in Vietnam and India. Next month, she will travel to Cambodia where, with La MaMa’s Ellen Stewart, she will create an opera with life-size shadow puppets. Along with Dan Hurlin, she is co-director of the Arts at St. Ann’s Puppetry Lab.

Bonnie Marranca, Moderator.
She is the author of Ecologies of Theatre and Theatrewitings, and editor of several anthologies, including Conversations on Art and Performance, Plays for the End of the Century, and The Theatre of Images.

This project is supported, in part, with public funds from the New York City Department of Cultural Affairs Challenge Program, The New York State Council on the Arts and Ellynne Skove. Special thanks to Barbara Dufty of Meredith Monk/The House Foundation for the Arts and to the Location One staff for their technical and administrative support.

December 6: Frequency Hopping
January 24 + 25 Sonnets for an Old Century
March 7-9 Philoctetes

FREQUENCY HOPPING
a work-in-progress written & directed by Elyse Singer
with Isabel Keating
Music/Radio Consultant: Joshua Fried
Costume Designer: Angela Kahler
Dramaturg: Erika Rundle

“Films have a certain place in a certain time period. Technology is forever.” –Hedy Lamarr

In 1940, Hedy Lamarr, the “most beautiful woman in the world” and composer George Antheil, the “bad boy of music” met at a Hollywood dinner party. Two years later, they received a patent for an invention now recognized as the model for wireless communication. Based on the true story of the film icon and the avant-garde composer’s extraordinary collaboration and friendship, Frequency Hopping is a darkly comic play about connecting with another person operating at the same frequency.

ELYSE SINGER (Writer/director)
Elyse Singer’s work includes Love in the Void (alt.fan.c-love), Private Property (Edinburgh Festival), Care-less: Eva Tanguay (Dixon Place) and Frequency Hopping, which was commissioned by the EST/Sloan Project and featured in the Drama League’s 2001 New Directors/New Works Program. She directed the Hourglass Group’s Off-Broadway production of the first NYC revival of Mae West’s play SEX and Deborah Swisher’s Hundreds of Sisters & One BIG Brother at the Clurman, following runs at HERE, HBO Workspace in LA, and Brava in San Francisco. In New York, she has worked extensively downtown, directing and producing the premieres of new plays by writers such as Ruth Margraff, Neena Beber, Naomi Iizuka, Catherine Zimdahl and Aaron Mack Schloff. A Yale graduate, Elyse is a Usual Suspect and Convener at New York Theatre Workshop, an alumna of Lincoln Center Theater Directors Lab and Artistic Director of the Hourglass Group. She will direct the premiere of Ruth Margraff’s newest play, Red Frogs, at P.S. 122 in February 2002.

ISABEL KEATING (Hedy Lamarr)
Isabel Keating most recently appeared in Donald Margulies’s Dinner with Friends at the Old Globe Theatre, directed by Leonard Foglia. She is the recipient of the 2000 Helen Hayes Award for Best Actress for her work in Tom Stoppard’s Indian Ink (dir. Joy Zinoman) at the Studio Theatre. [In the recent workshop of Judy's Scary Little Christmas at the ArcLight Theatre, also directed by Mr. Foglia, she played Judy Garland.] Off-Broadway: Atlantic Theatre Co.; New York Shakespeare Festivval (New Works Now); Watermark Theatre, etc. Regional: Hartford Stage; McCarter Theatre; O’Neill Theatre Center (National Playwrights Conference company member); Actors Theatre of Louisville (Humana Festival); Denver Center Theatre, etc. Films: Magnetism; Sunnyside.

JOSHUA FRIED (Sound/Radio Consultant)
Joshua Fried emerged from New York’s downtown experimental music and East Village performance scenes of the ’80s. The recipient of numerous fellowships and awards, Fried’s work has been presented at Lincoln Center, Bang On a Can, The Kitchen, etc. in NYC as well as in LA, Chicago, Berlin, Paris, Tokyo, Amsterdam, Warsaw, Prague, Copenhagen and elsewhere. His collaboration with choreographer Douglas Dunn, Spell for Opening the Mouth of N (featuring eight singer-actors wearing wireless radio headphones, and a dance company of ten), premiered in a sold-out run at The Kitchen, New York, and was one of the highlights of the 1997 Lincoln Center Out-of-Doors Festival. Fried’s recording “Jimmy Because” (with guest guitarist Fred Frith) was released by Atlantic Records; he has been re-mix producer for They Might Be Giants, Chaka Khan and Ofra Haza.

ANGELA KAHLER (Costume Designer)
Angela Kahler has worked with Elyse previously on Hourglass’s workshop of The Triple Happiness by Brooke Berman, and the American Living Room productions of The Table Dance by Mark Russell and Family Running for Mr. Whippy by Catherine Zimdahl. When not working downtown, Angie sells her soul to commercial venues such as Broadway, Opera and Film. Recent projects include: The Lion King, Annie Get Your Gun, 42nd Street and, currently, Mamma Mia.

ERIKA RUNDLE (Dramaturg)
Erika Rundle was most recently seen this summer as Ellida in Waxfactory’s Lady from the Sea at BAX. She also starred in So to Speak, which appeared at the New York Experimental Video Festival at Lincoln Center. Currently she is the dramaturg for Heiner Müller’s Quartet at Waxfactory, and a dramatic adaptation of Studs Terkel’s American Dreams: Lost and Found at The Acting Company. She co-directed multi-media productions of Lorca’s The Love of Don Perlimplin and Belisa in the Garden at the Yale Cabaret and Megan Terry’s Approaching Simone at Brown’s Production Workshop. She teaches in the theater, film, and comparative literature departments at Yale College and is the Associate Editor of Theater magazine.

HOURGLASS GROUP develops and produces provocative plays by writers who experiment with heightened dramatic language and innovative theatrical forms. Founded in 1998 by Elyse Singer, Carolyn Baeumler and Nina Hellman, the company is especially interested in presenting new work that put women’s words and imagination center-stage. In 1999, Hourglass produced the first NYC revival of Mae West’s 1926 play SEX off-Broadway at the Gershwin Hotel and the company’s production of Deborah Swisher’s Hundreds of Sisters & One BIG Brother moved Off-Broadway following a run at San Francisco’s Brava Theater. Committed to new play development, Hourglass hosts an annual summer retreat at Choate Rosemary Hall in Wallingford, Connecticut, where theatre artists work on new scripts as well as teach performance workshops to high school students in the Summer Arts Conservatory. Other programs include a reading series of adventurous new plays at the Gershwin Hotel. Hourglass will produce Ruth Margraff’s new play Red Frogs at PS122 in February 2002.

Frequency Hopping was originally commissioned and developed by the EST/Sloan Project. The play received funding and developmental support in 2001 from the Drama League Directors Project’s New Directors/New Works program.

Curated by Meredith Monk and Bonnie Marranca

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

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

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

Click here to view the embedded video.

Panelists:

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

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

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

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

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

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

Composer and visual artist, Atsushi Nishijima received his Bachelor’s degree in Musical Technology from the Osaka University of Art in 1989 and his Master’s degree in Media Art in 2001 from the International Academy of Media Arts and Science in Gifu. Originally from Kyoto and trained in experimental and contemporary music, Nishijima creates sculptures and installations which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city, which becomes a gigantic synthesizer from which everyday sounds are selected and transformed them into a unique “sound” due to “space”. Laura Trippi , curator of “Citycircus” in 1994 (New Museum of Contemporary Art, New York) included Nishijima’s “Mondrian Ping Pong”. She connects his work to the aesthetic sensibility of John Cage, who employed chance operations and rule-governed improvisations. Ong Ken Sen, artistic director of Theatre Works in Singapore, considers Nishijima to be an artist of extraordinary talent and inventiveness who addresses the critical relationship between art and science. His works have been exhibited and performed throughout Japan (solo exhibitions in 1992 at the Osaka Contemporary Art Center; in 1998 at the Dohjidai Gallery of Art, Kyoto and Ashiya City Museum of Art & History, Hyogo) , as well as Singapore, Paris and New York (1994, “Citycircus”, New Museum of Contemporary Art).

View a video interview of Atsushi Nishijima by Yuzo Sakuramoto.
with excerpt in english.

Subtractive Creation/Visible Sound
A Multimedia Installation by composer and visual artist Atsushi Nishijima
December 8th – 29, 2001

Shock jock Jack French wakes up to find himself sinking into a murky bog, unable to move. The last thing he can remember is a one-night stand the night before. A dark comedy developed with an ensemble of actors from Massachusetts-based theatre company Shakespeare and Company. With Jonathan Epstein, Allyn Burrows, Elizabeth Ingram and Lucia Brawley. Directed by the author.
You’ll need Real Player to listen to the live webcast.
listen

To mark the beginning of its fiftieth year of continuous production, the Living presented the English-language premiere of its latest work, Resistance. It is directed by Malina and written by Reznikov. Resistance: News from the Val Borbera is the first work that has been created at the theatre company’s European-based home, the Centro Living Europa in Rocchetta Ligure, Italy.

Resistance
from February 28 – March 11
at Chashama
111 W. 42nd St., New York City.

For more on this legendary theatre, see: www.livingtheatre.org

Click here to view the embedded video.

Click here to view the embedded video.

Founded in 1992 by Stanley Love, graduate of the Julliard school, the group
had its debut in a self-produced concert at The Cunningham Studio in 1993.
Since then they have performed at venues such as The Kitchen, Vineyard
Theatre, PS 122, Dixon Place, Gowanus Arts Exchange, Paula Cooper Gallery, Ohio Theatre and The Tunnel and Lime Light clubs, to mention a few. The Millenium Season is a continuation of last season’s collaboration with
Location One.
Stanley Love Performance Group is all about rhythm and emotion. Emotion
varies from happy to sad, funky to harsh and sometimes is both at the same time. Late 20th century’s pop music gives the rhythm. Movement comes from both social and modern dance idioms. The universal combines with the individual- different bodies doing the same thing. Diversity of culture and body types is a signature. One statement in different shapes. One look will tell you all, but wait ’til they start to move… “We dance to represent and display the importance of options, music is the inspiration”.

A Retrospective of work in theatre, opera, video, film, installation
Nov. 9, 10, 11 and Nov. 17, 18, 19
7:00 pm

For two weekends in November Location One will host a video program of Robert Wilson works in theatre, opera, video, film, and art. The internationally-celebrated theatre and visual artist, Robert Wilson, is also represented in New York this fall with the Giorgio Armani exhibit at the Guggenheim Museum, which he designed, and his Stockholm production of Strindberg’s A Dream Play in the Brooklyn Academy of Music’s Next Wave Festival.

In this wide-ranging video program, which also features documentaries on Wilson’s life and work, the artist is highlighted not only as a theatre and opera director and visual artist but also as an actor. Several of his European creations, some little known to American audiences, will also be shown, including the acclamied music theatre work, The Black Rider; his film, La Mort de Molière; German stagings of Gertrude Stein texts, Saints and Singing and Doctor Faustus Lights the Lights. Also part of the program is Memory/Loss which celebrates his Golden Lion Award for Sculpture at the 1993 Venice Biennale.

American contributions include The Making of a Monologue: Robert Wilson’s Hamlet, his solo interpretation of the classic, and Hamletmachine, his staging of the Heiner Müller text. Wilson’s production of the Stein opera, Four Saints in Three Acts, will also be shown. Robert Wilson & the CIVIL warS chronicles his uncompleted multi-nation project.

This is the first program in New York devoted to an extensive public video presentation of works from Robert Wilson’s oeuvre. It has been curated by theatre critic and editor Bonnie Marranca.

Stanley Love Performance Group is all about rhythm and emotion. Emotion
varies from happy to sad, funky to harsh and sometimes is both at the same time. Late 20th century’s pop music gives the rhythm. Movement comes from both social and modern dance idioms. The universal combines with the individual
- different bodies doing the same thing. Diversity of culture and body types is a signature. One statement in different shapes. One look will tell you all, but wait
’til they start to move… “We dance to represent and display the importance of options, music is the inspiration”.

May 1 – May 30, 2000

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

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

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

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

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

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

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

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

Ned Rothenberg composes and performs on saxophones, bass clarinet, flute and shakuhachi (an end blown Japanese bamboo flute). He has been internationally acclaimed for his solo music which he has presented for the past 16 years in hundreds of concerts throughout North and South America, Europe and Japan. He leads the ensembles Double Band and Power Lines and was a founding member of the cooperative group New Winds (with Robert Dick, flutes and Herb Robertson, Trumpet). His newest project is Sync, a trio with guitarist/bassist Jerome Harris and Tabla virtuoso Samir Chatterjee. His co-collaborators in other projects have included Paul Dresher, Yuji Takahashi, Sainkho Namchylak, Richard Teitelbaum, Elliott Sharp, Samm Bennett, John Zorn, Katsuya Yokoyama, Kazuhisa Uchihashi and Fred Frith. He’s lived and worked in New York City since 1978.

Rothenberg’s musical interests are numerous and his work varies widely in its sonic, emotive and stylistic profiles. A strong underlying element of his instrumental voice is the extension of the woodwind language to incorporate polyphony and accurate microtonal organization through the manipulation of multiphonics, circular breathing, and overtone control, not only using his horns in their standard melodic role but also as rhythmic and harmonic engines in both solo and ensemble contexts. As a composer he can move from “Jazz-funk in cubist perspective, dizzying, yet visceral”* (Double Band) to a solo music that is “intense, slightly melancholic, rhapsodic without being sentimental”+, while avoiding the use of mere effect- “crafting distinct, evocative compositions that boast shape as well as texture^”. (*-Jon Pareles and +Edward Rothstein, NY Times and ^Neil Tesser, Chicago Reader).

A few of Rothenberg’s more notable sojourns have been 6 trips to Japan including a 6-month residency there during which he performed his music and studied shakuhachi with two of the foremost masters of the instrument, Goro Yamaguchi and Katsuya Yokoyama. 3 trips to the former Soviet Union in’89, ‘92 and ‘94 working solo, in various groups and in duo with Sainkho Namchylak. December ‘91 saw his first trip to South America where he presented his solo music. This is in addition to numerous tours in North America and Western Europe each year playing festivals, theatres and clubs as a leader or collaborator.

Ned Rothenberg’s discography includes: a solo CD, The Crux (Leo), Double Band’s ‘Over Lays’ and ‘Real & Imagined Time’, Power Lines’ premier recording (New World ), ‘Amulet’, duo with Tuvan vocalist Sainkho Namchylak (Leo), ‘Monkey Puzzle’, a duo with Evan Parker (Leo), a studio collaboration co-composed with Paul Dresher, ‘Opposites Attract’ (New World), 2 records by Semantics (Rift & SST), New Winds’ releases ‘Potion’,’Digging it Harder From Afar’ (Victo), ‘The Cliff’ and ‘Traction’ (Sound Aspects), Cafe 9.15 with the Japanese band Altered States (DIW) as well as 3 solo LPs: Trespass, Portal, and Trials of the Argo on Lumina. His work can also be heard on the Nonesuch, A&M, ECM, Recommended, Sub Rosa, Enemy and Virgin labels. (For a complete discography see url below)

Born in 1956 in Boston, Rothenberg graduated from Oberlin College and studied music at Oberlin Conservatory, Berklee School of Music, privately with Les Scott (saxophone & clarinet), and George Coleman (jazz improvisation). However, his trademark solo technique is self-taught. His musical efforts have been furthered by grants and commissions from the New York Foundation for the Arts, New York State Council on the Arts, Cary Trust, Lila Wallace Foundation, Chamber Music America, Asian Cultural Council, Roulette, Jerome Foundation, Meet the Composer, and ASCAP.

For booking information or other info Email Ned Rothenberg: location1@location1.org
To order CD’s Email Bruce Gallanter at New York’s Downtown Music Gallery: dmg@panix.com
For full discography posted on the web: http://www.nwu.edu/jazz/artists/rothenberg.ned/discog.html#ned_discography

Click here to view the embedded video.

Stanley Love Performance Group is all about rhythm and emotion. Emotion
varies from happy to sad, funky to harsh and sometimes is both at the same time. Late 20th century’s pop music gives the rhythm. Movement comes from both social and modern dance idioms. The universal combines with the individual
- different bodies doing the same thing. Diversity of culture and body types is a signature. One statement in different shapes. One look will tell you all, but wait
’til they start to move… “We dance to represent and display the importance of options, music is the inspiration”.

Click here to view the embedded video.

Click here to view the embedded video.