de-tour

Open City | Crossroads

Mon, 20 Feb 2012 16:24:00 -0500

Open City/Otwarte Miasto, 2011, Curated by Monika Szewczyk. Book published on the occasion of the exhibition. Texts by Monika Szewczyk, Marta Ryczkowska, Magdalena Ujma. Artwork by Cezary Bodzianowski, Andrei Dureika, Maurycy Gomulicki, Ada Kaczmarczyk, Katarzyna Kozyra, Jacek Malinowski, Liliana Orbach, Alexandre Perigot, Konrad Smoleński, The Azorro (Super) Group, Izabela Tarasewicz, Mariusz Tarkawian, Alex Villar, Julita Wójcik, Martin Zet. Published by Crossroads, Lublin, Poland, 2011. Printed in offset, hardcover, 130 pgs, color. ISBN: 978-83-93-0048-5-0.

The Sea-Image | Newgray

Thu, 26 Jan 2012 12:40:00 -0500

The Sea-Image: Visual Manifestations of Port Cities and Global Waters Edited and introduction by Hakan Topal, Guven Incirlioglu. Text by Ursula Biemann, Shuruq A. M. Harb, T.J. Demos, Vyjayanthi Rao, Alex Villar, Relli De Vries, xurban_collective. The outcome of visual researches by the international Xurban Collective (whose core members are Guven Incirlioglu and Hakan Topal) and a symposium that brought together an international group of artists, scholars and writers, The Sea-Image addresses the political and economic dimension of global waters and port cities. | Order

Panel and Book Launch: The Sea-Image | Cabinet

Tue, 24 Jan 2012 17:24:28 -0500

THE SEA-IMAGE Panel and Book Launch Cabinet Wednesday, January 25, 2012, 7–9 pm SPEAKERS Keller Easterling, Vyjayanthi Rao, Alex Villar, Guven Incirlioglu, and Hakan Topal Compared to landscapes, seascapes have always appeared less tangible—at once enigmatic and threatening, but also representing hope, adventure, and communication between distant places and people. Although these familiar attitudes toward the sea still persist, headlines about the sea these days more often than not concern catastrophes that occur on and in it, from the Deepwater oil spill in the Gulf of Mexico to the nuclear disaster that engulfed northern Japan following an immense tsunami in 2011. The Sea-Image: Visual Manifestations of Port Cities and Global Waters (Newgray) addresses the sea as defined by various manifestations of the global economy and the flow of goods and bodies across national and international territories. It proposes and develops visual and narrative strategies to tackle the particularities and potentialities that the sea presents. The book is the result of visual research by an international group of artists, scholars, and writers, including Ursula Biemann and Shuruq A. M. Harb, T. J. Demos, Peter Mörtenböck and Helge Mooshammer, Vyjayanthi Rao, Alex Villar, Relli De Vries, and xurban_collective (Guven Incirlioglu and Hakan Topal). The panel, featuring Rao, Villar, Incirlioglu, and Keller Easterling, will be moderated by Topal. ABOUT THE PARTICIPANTS Keller Easterling is an architect, urbanist, writer, and professor of architecture at Yale School of Architecture. Her latest book, Enduring Innocence: Global Architecture and Its Political Masquerades (MIT Press, 2005), researches familiar spatial products that have landed in difficult or hyperbolic political situations around the world. The book won Yale’s Gustave Ranis Award for the best book by a Yale faculty member in 2005. Her previous book, Organization Space: Landscapes, Highways and Houses in America, applies network theory to a discussion of American infrastructure and development formats. Vyjayanthi Rao is assistant professor of anthropology at the New School for Social Research. She works on cities after globalization, specifically in the intersections of urban planning, design, art, violence, and speculation in the articulation of the contemporary global city. She is the author of numerous articles on these topics and is currently working on a book titled “The Speculative City.” Alex Villar is a Brazilian artist based in New York. His work, which draws from interdisciplinary theoretical sources, employs video, installation, and photography. His individual and collaborative projects are part of a long-term investigation of potential spaces of dissent in the urban landscape, which has often taken the form of an exploration of negative spaces in architecture. He has exhibited at numerous venues, including the New Museum, Mass MoCA, Drawing Center, Exit Art, Stux Gallery, Apexart, Dorsky Gallery, Institute of International Visual Arts (London), and Museu de Arte Moderna (São Paulo). Founded in 2000 by Guven Incirlioglu (Izmir, Turkey) and Hakan Topal (New York) as a transatlantic collaboration, xurban_collective focuses on regional conflict, military spatial confinement, urban segregation, neoliberal exclusion strategies, and immigration. The collective’s work has been exhibited at the Venice Biennale, the Istanbul Biennial, PS1/MoMA (New York), Apexart (New York), Thyssen-Bornemisza Art Contemporary (Vienna), Kunst-Werke (Berlin), ZKM Center for Art and Media (Karlsruhe, Germany), Pratt Institute Manhattan Gallery (New York), and National Contemporary Art Museum (Athens), among others. For more information, please visit xurban.net. Guven Incirlioglu studied architecture, photography, and art theory. Since the 1980s, he has worked mostly with photography, photo-mechanical materials, and new media, exhibiting in group and solo exhibitions in New York, Ankara, Istanbul, Sarajevo, Sofia, and other locations. Since 1990, he has been a lecturer in art and design in various schools in Turkey, including Bilkent University, Ankara, and Istanbul Bilgi University, and is currently a faculty member at Economy University’s Faculty of Art and Design in Izmir. Hakan Topal is an artist based in New York. He is co-founder of xurban_collective and teaches at the School of Visual Arts’ Fine Arts Department and CUNY’s Department of Media Culture. In 2012, he will receive his PhD in sociology at the New School for Social Research. Recently, he was the guest editor of ArteEast Quarterly and finished a documentary film, commissioned by the Neue Galerie (New York), on the late-eighteenth-century Austro-Bavarian sculptor Franz Xaver Messerschmidt. Beer for this event has been lovingly provided by Brooklyn Brewery. CABINET 300 Nevins Street, Brooklyn between Union and Sackett Streets in the Gowanus Canal area 718 222 8434 cabinetmagazine.org DIRECTIONS By F and G train: Take the F or G train to the “Carroll Street” stop (the fourth stop in Brooklyn if you are coming from Manhattan on the F train). Get out of the exit closest to the back of the train (if coming from Manhattan). Walk north, with traffic, on Smith Street until you get to Union Street (1 block). Turn right on Union Street and walk almost three blocks to Nevins Street (you will cross the Gowanus canal). Turn left on Nevins Street. We are the first door on Nevins Street (yellow door). By R train: Take the R train to the “Union Street” stop (one past “Atlantic/Pacific”). When you exit, you’ll be at the corner of Union Street and 4th Avenue. Walk two blocks west on Union Street to Nevins Street (keep the Hess gas station on your right). Turn right on Nevins Street. We are the first door on the left side on Nevins Steet (yellow door).

Time & Tide | Seaport Museum

Tue, 24 Jan 2012 05:14:00 -0500

TIME & TIDE The Waterfront in Film, 1903-2011 Curated by James Sander January 26 – December 31, 2012 One of the most essential qualities of the New York waterfront is also one of its most contradictory. More so even than the rest of the city, the waterfront is a place of constant transformation, where changing forms of transportation and commerce – and, in recent decades, a profound shift from industry to recreational and residential use – have all but remade the urban landscape. Yet by its very nature, the water is one of the city’s few truly elemental places, an environment defined in large part by the abiding character of the water itself – the lapping of waves, the glints of sunlight, the unbroken expanses of cloud and sky. It is this paradoxical mix of constancy and change — a place “standing yet hurried,” as Walt Whitman put it a century and a half ago – that underlies the concept for Time & Tide. Through the simultaneous projection of documentary films from the early 20th century to today, the installation at once presents crucial historic moments in the evolution of the New York waterfront, while seeking to evoking a place where time itself, as Whitman suggests, “avails not.” Center Screen Manhatta (excerpts). 1921. Directed by Charles Sheeler and Paul Strand. Music by Cinematic Orchestra. The Twenty-Four Dollar Island (excerpts). 1927. Directed by Robert J. Flaherty. Music by Donald Sosin. Under the Brooklyn Bridge (excerpts). Robert Fitzdale and Arthur Gold. Bridges-Go-Round. 1958. Directed by Shirley Clarke. Music by Louis and Bebe Barron. 1953. Directed by Rudy Burckhardt. Piano score by Left Screen Splitting Image. 2011. Created by Alex Villar. In his video, Villar presents two simultaneous paths from Wall Street in Manhattan to India Street in Brooklyn, by way of the new East River ferry service. On the right, a daily commuter sits within the ferry cabin, gazing onto today’s redeveloped waterfront of parks, highways, and housing developments. On the left, an “alternative” traveler makes the same journey precariously perched on the vessel’s exterior, glimpsing remnants of the waterfront’s industrial past. Right Screen Sky Scrapers of New York City, from North River. Thomas A. Edison, May 20th, 1903. Cameraman: James Blair Smith. Panorama, water front and Brooklyn Bridge from East River. Thomas A. Edison, May 20th, 1903. Cameraman: Edwin S. Porter. Panorama, Blackwell’s Island. Thomas A. Edison, May 20th, 1903. Cameraman: Edwin S. Porter. SOUTH STREET SEAPORT MUSEUM 12 Fulton Street New York, NY 10038 212.748.8600 www.seany.org

Notice of Public Hearing | Sculpture Center

Mon, 05 Dec 2011 23:22:00 -0500

NOTICE OF PUBLIC HEARING Curated by Caryn Coleman December 8 - 19, 2011 Opening Reception Thursday, December 8, 2011 7 - 8:30pm ARTISTS Lian Amaris, Michael Cataldi, Blane De St. Croix, Molly Dilworth, Carolyn Lambert, Graham Parker, Risa Puno, Woody Sullender, and Alex Villar. As legal and judicial issues permeate every aspect of social, political and cultural life, artistic production is no longer immune. The eight-month Art & Law Residency provides an intellectual and artistic setting for artists, writers, and curators to engage in ongoing discussions and debates that examine the overlap and disconnect between artistic production and the law from historical, social, ethical and intellectual standpoints. Using law as both a discourse and medium, residency participants gain the experience and knowledge they will carry into the future beyond the Program. The Art & Law Residency is a program of Volunteer Lawyers for the Arts. The VLA Art & Law Residency Program is made possible in part by generous support from the New York City Department of Cultural Affairs in partnership with the City Council, the New York Community Trust, Morrison & Foerster LLP, Shearman & Sterling LLP, SculptureCenter and Terminal LLC. SculptureCenter 4419 Purves Street Long Island City, NY 11101 sculpture-center.org

Ivory Tower | Contemporary Wing

Wed, 30 Nov 2011 23:05:00 -0500

IVORY TOWER A multi-work video installation concurrent with Art Basel, Miami Beach. Co-curated by Ginger Shulick and Lauren Gentile Thu, 12/01/2011 to Sun, 12/04/2011 ARTISTS Tiffany Carbonneau, Alex Villar, Phillip David Stearns, Paul D. Miller, Sean Capone, Nia Burks, Paul Moakley Since the 19th century, the term “ivory tower” has been used to designate a world or atmosphere where intellectuals engage in pursuits that are disconnected from the practical concerns of everyday life. As such, it usually carries pejorative connotations of a willful disconnect from the everyday world; esoteric, over-specialized, or even useless research; and academic elitism, if not outright condescension. The commencement of the 21st century in general and the state of America’s economy in particular have marked an ever-increasing divide between what artists want to create, what galleries want to sell, and what people want to see and buy. Never is this more evident than during the first week of December, when thousands of aesthetes flock like wintering geese to Miami. Ivory Tower is an attempt to bridge the gaps between the experimental/experiential and commercially-viable art, if only for a moment in time. The diversity of works shown span the fields of science, documentary film, user-generated and theoretical content, and the space between the familiar and the bizarre. Ivory Tower is set high above the downtown skyline in the glittering Marquis Miami, “downtown Miami’s most elevated address”. Participating artists to date include: Alex Villar, Nia Burks, Paul D. Miller (DJ Spooky), Paul Moakley, Phillip David Stearns, Sean Capone and Tiffany Carbonneau. Alex Villar will be showing his latest work, “Breaking into Business”, created in Lublin, Poland for the 2011 Open City Festival. The title ‘Breaking into Business’ provides a literal description as Villar utilizes moveable scaffolding to access a variety of establishments, serving as a humorous critique on gaining successful entry into a field of industry. Taken together, these actions suggest a more direct route into a desirable space. Paul D. Miller’s “Antarctica Project” concerns the intersection of mathematics and music composition, taking the hexagonal design of the snowflake and overlaying the image over a logarithmic sound track of beats coupling sound and repeating numbers. Inspired by Penrose Stairs, the Sierpinski Triangle, and cellular automata, Miller visualizes the applications of these visual anomalies onto an aural paradigm. Similarly, Phillip David Stearns’ “DCP Series” and “Apeiron | Peras” are created through data generated by either sonifying or visualizing raw electronic signals, thus rendering raw data into images. Tiffany Carbonneau explores the impact of our surroundings by presenting familiar structures in an unfamiliar way. Carbonneau allows the viewer to experience subtle architectural influences through means of video and projection, documenting and re-contextualizing. Nia Burks too re-contextualizes work, primarily found digital material. By rearranging pre-existing data, Burks is able to completely transform user-generated content by altering it as little as possible. Minimal interference by the artist is the trademark of Paul Moakley, Deputy Photo Editor for Time Magazine. Moakley remains pure to the documentary video and photography aesthetic as he records surroundings that are simultaneously familiar and alien to him. Projection artist Sean Capone will completely transform the “alternative” spaces of Ivory Tower, commenting on the intersection of lowbrow and high art. CONTEMPORARY WING Marquis Residences, 50th Floor 1100 Biscayne Blvd. Miami, FL 33132 contemporarywing.com

Video Guerrilha 2011 | São Paulo

Wed, 16 Nov 2011 21:51:00 -0500

VIDEO GUERRILHA 2011 São Paulo, Brasil Curador: Miguel Petchovsky 17, 18 e 19 de Novembro, 2011 O Vídeo Guerrilha é uma intervenção urbana que estimula a produção artística na arquitetura e no espaço público das cidades, projetando em grandes formatos obras de diferentes linguagens e autores. É uma galeria de arte a céu aberto que mostrará de forma inédita e coletiva, a obra de dezenas de artistas do Brasil e do mundo, projetadas nos prédios da Rua Augusta. Ele acontecerá nos dias 17, 18 e 19 de Novembro de 2011, a partir das 20 horas. As projeções estarão concentradas no Baixo Augusta, entre as Ruas Mathias Aires e Marquês de Paranaguá. OBJETIVO DO PROJETO Estimular a ocupação do espaço público através da arte Promover a arte como parte do cotidiano das pessoas Exaltar o valor arquitetônico das cidades e sua relação com os cidadãos Estimular a produção e o aceso gratuito de artes visuais nas cidades Fixar a Rua Augusta como grande pólo de arte e cultura urbana da cidade de SP, ajudando a melhorar a sua imagem e auto-estima Apoiar entidades e associações do Baixo Augusta que trabalham pela sua preservação e revitalização ESPAÇO 4 Rua Augusta, 788, São Paulo, Brasil map contact@videoguerrilha.com.br Website | Facebook | Twitter

Mapping Community Arts: Subversion, Repressive Tolerance and Pastoral Power.

Wed, 09 Nov 2011 12:45:00 -0500

MAPPING COMMUNITY ARTS Lecturer: Pascal Gielen Organizer/Moderator: Hakan Topal Respondend: Alex Villar Art in General Nov 8, 2011 6:30 PM In recent years there has been increased attention to so-called ‘socially engaged art practices’. Equipped with a sense of urgency and intent, artists and curators develop work with the support of communities or groups to tackle political and social issues. While the success of these projects are not easily measurable, they often reiterate the role of artist/curator as protagonists of specific forms of social change, which posits a direct contrast to recent activism which carefully distances itself from any leader-based political organizational categories. Pascal Gielen, co-editor of the recently published volume Community Art, will draw out a critical cartography of community art and will speak about the power and impotencies of this phenomenon. Since modernity, art and community, artist and social work have had an ambivalent relationship. Can art have a role in building communities? What is the political potency of forms of art that strive to integrate individuals and social groups? In the book Community Art: The Politics of Trespassing (Paul De Bruyne, Pascal Gielen, eds.; Valiz, 2011) the Italian philosopher Antonio Negri states ‘Every kind of change belongs to a form of community art’. This is the inverse of the premise that community art can be an integral component of desired social changes. Negri confronts community art, its supporters and critics with a challenging responsibility, and extends this to include everyone who wants to bring about change in social, political, economic, technological or ecological arenas. Communal and artistic go hand in hand. In Community Art, visual and performing artists and theorists employ diverse modes of thinking and writing to explore the practices and concepts of the phenomenon of community art in western and non-western societies. The book does not offer a cut-and-dried theoretical model, but presents a new critical reformulation of community art in society. The event is organized and moderated by artist Hakan Topal with a response by artist Alex Villar. Community Art is part of the Arts in Society series / Antennae by Valiz Editors: Paul De Bruyne, Pascal Gielen; Authors: Tilde Björfors, Bertus Borgers, Paul De Bruyne, Luigi Coppola, An De bisschop, Miguel Escobar, Varela, Jan Fabre, Alison M., Friedman, Pascal Gielen, Sonja Lavaert, Carol Martin, Antonio Negri, Alida Neslo, Tessa Overbeek, Lionel Popkin, Richard Schechner, Hein Schoer, Ricky Seabra, Jonas Staal, Klaas Tindemans, Luk Van den Dries, Quirijn Lennert van den Hoogen, Hans van Maanen, Bart van Nuffelen, Karel Vanhaesebrouck, Zhang Changcheng; Design: Metahaven; 374 pages, sewn paperback, 21 x 13,5 (hxw), Eng; Supported by Fontys College for the Arts; ISBN 978-90-78088-50-9, $ 28,95, published by Valiz Amsterdam, distributed in the US by D.A.P. New York Pascal Gielen is professor of sociology of the arts and director of the research centre Arts in Society at Groningen University (NL), and also director of the research group and book series ‘Arts in Society’, Fontys College for the Arts, Tilburg (NL). Publications series Arts in Society Gielen, De Bruyne (eds.), Being an Artist in Post-Fordist Times (NAi Publishers, Rotterdam 2009) Gielen, The Murmuring of the Artistic Multitude: Global Art, Memory and Post-Fordism (Valiz, Amsterdam 2009) De Bruyne, Gielen (eds.), Community Art (Valiz, Amsterdam 2010) Forthcoming spring 2012: Gielen, De Bruyne (eds.), Teaching Art in the Neoliberal Realm: Realism versus Cynicism (Valiz, Amsterdam 2012). Thanks to Anne Barlow, Executive Director, Art in General and Vera Zolberg, Professor of Sociology, New School for Social Research.

Splitting Image

Tue, 04 Oct 2011 23:36:00 -0400

Splitting Image is said to be the originary version of the saying Spitting Image, meaning an exact likeness. According to social historian Dorothy Hartley, the evenness and symmetry which the term conveys would have been obtained by pairing two split halves of the same tree. There are competing positions on this view but as it is the case with the genealogy of many sayings, the history of a term becomes enmeshed with its fictionalized account in the popular imaginary. In that sense, Splitting Image continues to convey the sense of an exact likeness, while retaining the notion of a splitting into two of the same subject. This is the point in the story that is pertinent for the current project, which takes as its point of departure a commuting experience: a one-way trip on the New York East River Ferry starting at Pier 11 on Wall Street and ending at the India Street terminal in Greenpoint. This short journey connects the Financial district to what used to be a working-class neighborhood. Greenpoint’s demographics have been changing since the mid 80s. In some ways, it mirrored the residential conversions of industrial buildings that had already taken place in Williamsburg. The rezoning of 175 of its blocks in 2005 increased the pace of this change; it brought about a boom in the construction sector. Since then this process was halted by the 2008 financial downturn, leaving a variety of unresolved environmental and infrastructural issues on the table. A polarizing issue, which the current project seizes up as its backdrop, is the effort to reclaim the waterfront for recreational use and the inclusion of a promenade into the Newtown Creek area. The main character in this video was modeled on the image of the daily commuter. In other words, someone who wants to go from point A to point B, even while needing to endure some stops in between. Like the commuter, the goal of this character is simply to make it home. For that purpose he takes the boat just like the commuter, he also chooses to go in the same direction. In this sense he is a lot like the commuter. One could venture to say that he is the spitting image of the commuter. But that would only be so if wasn’t for the fact that the choices he makes, every step of the way, are nothing like the ones the commuter makes. While the commuter walks through the proper passageway that leads into the boat, he finds his way to the boat via the supporting alleys, if not directly through the water. While the commuter finds a comfortable seat inside the boat, he ties himself up to the outer side of the boat. Unlike the commuter who wears regular clothes, he wears a full wetsuit since he expects to do what it takes to reach his destination and that could well mean getting in the water. While the commuter looks through the window toward the new offices and residential buildings, he focuses instead on industrial buildings and the docking apparatus on the piers. He can’t help but explore the different angles and possibilities the journey offers. In that sense he is nothing like the commuter who seems to have gotten accustomed with the trip to the point of going through it via the path of least resistance, which is of course the path of full compliance with the norms of conduct put in place to normalize behavior. That’s a path the main character will decidedly not take since he is anything if not combative. He will be glad to face every obstacle as if they were in fact placed on his way just to cause him to overcome them. In a way he is like a splitting image of the commuter, someone who might even wish the same but who wishes it differently. The emphasis on threading a path that is slightly peripheric in relation to an established one is a recurring trope in my work. Most recently, in On the Egde, a video realized during a residency in Stockholm, the main character is shown walking through a series of narrow paths, typically adjacent to the proper spaces meant for passersby. In ‘Splitting Image,’ this device is also at play, but this time the situation is enhanced by the shooting of the scenes from two slightly different angles, one focused on the commuter’s path, the other on the main character. Except for a few reversals in the left–right screen placement of the image, the characters from each side don’t meet in the same filmic plane; they occupy a parallel space, but not a coextensive one. Splitting Image, 4 min 40 sec video, 2 channels, silent, color, 2011. The video was first shown at Bring to Light/Nuit Blanche as a double projection onto the rolling doors of the building on East Noble South (N2) in Greenpoint. The decayed industrial cityscape of the area, coupled with the waving pattern on these two doors provide an ideal background for the contents of the projected image.

Bring to Light | Nuit Blanche New York

Fri, 30 Sep 2011 13:51:00 -0400

BRING TO LIGHT Nuit Blanche New York Ethan Vogt, Executive Director Allison Kline, Artist Liaison Saturday, October 1st, 2011 6pm to Midnight Bring to Light is a free nighttime public festival of art in New York City that takes place simultaneously with “nuit blanche” events in cities around the world. Inviting emerging and established artists to make site-specific installations of light, sound, performance and projection art, the event creates an immersive spectacle for thousands of visitors to re-imagine public space and civic life. Bring to Light will transform streets, parks and the industrial waterfront of Greenpoint, Brooklyn set against dramatic views of the Manhattan skyline. Nestled in the northwest corner of Brooklyn, Greenpoint has historically enjoyed relative anonymity due to its isolation and industrial zoning. In recent years, an influx of newcomers to the area has made Greenpoint one of the neighborhoods with the highest concentration of artists in the city. A rezoning program in 2005 created a master plan for parks and public access to the waterfront and led to increased interest from residential developers. As plans advance for the future of the neighborhood, particularly for the Greenpoint industrial waterfront, the opinions and wishes of local community members, advocates, and officials endeavor to be part of the conversation as this area is transformed. Through this artistic intervention, Bring to Light hopes to engage the public in this dialogue and leave lasting positive impacts. Nuit Blanche (French for “white night” or “all-nighter”) is a global network of locally-organized nighttime contemporary art events. Originating in Paris in 2001, the nuit blanche concept now involves millions of people in cities around the world. ARTISTS Aaron Siegel, Alex Villar, Alex Waterman, Alyssa Taylor Wendt, Amanda Long, Andrei Severny, Behnaz Babazadeh, Camille Scherrer, Chakaia Booker, CHiKA, Chris Jordan & Josh Goldberg, Chris Woebkin, Colin Snapp, Commercial Break, Daniel Canogar, David B. Smith Devan Harlan and Olek, Diller Scofidio + Renfro, Dustin Yellin, Eiji Sumi, Justin Riley and Wolfgang Gil, Eli Keszler, Elisabeth Smolarz, Ellis & Cuius, F.P. Boué, Fair Use Trio, Fanny Allié, Gabriel Barcia-Colombo, Jason Peters, Jeff Desom, Jeremy Blake, Jo Wood-Brown, Jules Marquis, Kant Smith, Karen Ostrom, Karin Hodgin Jones, Karolina Sobecka, Kon Trubkovich, Konstantin Sergeyev, Krzysztof Wodiczko, Leif Parsons, Lucky Dragons, Marcos Zotes, Nat Evans, Nathan Kensinger, Organelle Design and Elliott+Goodman, Parker Genné, Poetry Performance and Projection, PrePost, Ramon Schreuder, Raphaele Shirley, Reader, Richard Serra, Rita Ackermann, Sean Boggs, Sean McIntyre & Reid Bingham, Shai Fuller, Jocelyn Oppenheim, Jacob Segal, Bryce Suite, with Chris Jordan, So Percussion, Stepan Boltalin & Ezer Longinus, The Vandalights, Ugly Art Room, Urban Infills, Ursula Scherrer & K. L. T., Valeska Soares, Vicki DaSilva, Warm Engine, Weston Currie & Grouper, Z Collective, Zimoun. MORE INFO Website Facebook Page Facebook Event RSVP flavorpill.com DIRECTIONS By water The East River Ferry runs regular service to the India Street Pier until 8:30PM. Special ferries will run from 8:30PM until Midnight. Service will be between the India Street Pier, E. 34th St. in Manhattan & N. 7th St. in Williamsburg with boats arriving every 15 minutes. By Train G Train to Greenpoint Ave. Walk (2min) down Greenpoint Ave. to the site. This Saturday, G Trains will be replaced by shuttle buses running every 10 minutes. L Train to Bedford Ave. Walk (15min) to water then North on Kent which becomes Franklin to reach festival site. By Bicycle Bicycle parking will be available at Franklin St. and Milton St. By Taxi/Car Service Please drop at Greenpoint Ave and Franklin St. From there, it is a one block walk to the site.
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43 Uses of Drawing | Rugby Art Gallery and Museum

Mon, 05 Sep 2011 23:38:00 -0400

43 USES OF DRAWING Curated by Paul Cureton and Craig Staff 6 September to 30 October 2011 A revived interest in drawing has brought the discipline to the forefront of contemporary art. The 43 Uses of Drawing exhibition explores the practice of drawing beyond the paper surface, via the work of 43 practitioners working in a number of different areas. The aim of the exhibition is to ignite debate and discussion by mapping the different practices and uses of drawing across disciplines and beyond the boundaries of fine arts. RUGBY ART GALLERY AND MUSEUM Little Elborow Street Rugby CV21 3BZ T: (01788) 533201 F: (01788) 533204 ragm@rugby.gov.uk www.ragm.org.uk

Breaking into Business

Mon, 20 Jun 2011 22:20:00 -0400

Created on the occasion of the Open City festival in Lublin, Poland, 2011, this piece was produced during its preceding week and was presented at the opening day as a video projection on the side of a building in Lublin’s old town (Plac po Farze). In the video, the main subject uses a scaffolding-on-wheels unit to move through town in search of opportunities to break into various types of businesses. The title ‘Breaking into Business’ provides a literal description of such opportunities and makes a twisted reference to the notion of a successful entry in a field of industry. Taken together, these actions suggest a more direct route of access into a desirable space. Breaking into Business, 9 min video, silent, color, 2011. Historically, the Open City declaration was used during times of war when a city was about to be captured, announcing that it had abandoned its defensive efforts. It was essentially a preemptive measure to avoid a brutal takeover. The attacking forces were supposed to march in without destroying landmarks or attacking the local citizens. This was done in several cases in the past, notably in Manila in 1942 and Rome in ‘43. But there is another meaning conveyed by the same expression. Open City is also the name given to an autonomous city-state that gives equal access and status to residents and visitors of all faiths, races, and nationalities. Copenhagen’s Christiania is an example of this definition. While in the first case the one who approaches the gates of the city is clearly an enemy, in the second case, that person is expected to be a friend. But ultimately, as the historical record can tell, one can never be completely sure of what such openness may bring, which accounts for the ambivalence that often surrounds open invitations. In the contemporary city, there are experiences in which the trespassing of a boundary can be similarly ambivalent. Think for example of the practice of urban exploration, in which the practitioner treats the city and its buildings as an Open City of sorts and proceeds to gain access to mostly vacant buildings and abandoned industrial properties, but also to infiltrate or hack inhabited properties. Again, there is a range of meanings at play. And once more a conclusive assessment of the practitioner’s intentions cannot be done prior to the actual relations that come to constitute the experience. In some cases these actions are declared criminal and subjected to prosecution while in others they are tolerated as a form of urban tourism. Between the legality or illegality of such trespassing situations, as well as between the benevolent or malicious intent of the characters embodying these actions, there exists a gray area, indeed a zone of indiscernibility, within which a definite characterization of the subject performing the action is suspended, or at least deferred. At this point, distinct things loose their distinctive particularities and what was once impossible may acquire a conceivable potentiality. Shooting Documentation photos by Marcin Moszyński, Lublin, 2011. Including strolls through the city and some of the ‘visited’ sites: Miejska Biblioteka Publiczna, Prezydent Miasta Lublin, Centrum Szkolen i Innowacji, Centrum Kultury w Lublinie, Wyddzial Politogii, Uniwersitet Marii Curie-Sklodowskiej w Lublinie, Kurier Lubelski, Crossroads Center, Urzad Marszalkowski Wojewodztwa Lubelskiego w Lublinie, Voyevodeship. Video Crew (last image): Marcin Moszyński (photographer), Alex Villar (artist), Agata Kopycka (assistant, translator), Wojciech Wojciechowski (videographer), Anna Łukasik (assistant, producer, translator), Lublin, 2011.

Alex Villar | Hansberg/Woolf

Sun, 19 Jun 2011 16:10:00 -0400

ALEX VILLAR Hansberg/Woolf Directors: Emma Flynn and Leigh Hazzard Exhibition 24 June - 15 July, 2011 Artist Talk 24 June, 5.30pm We are pleased to announce that New York-based artist Alex Villar will inaugurate the Gallery’s exhibition programme in June 2011 with the first solo presentation of his work in the UK. Drawing on important video works made over the past 10 years, this exhibition surveys the artist’s long-running investigation and articulation of potential spaces of dissent in the urban landscape. Employing video-based, performative actions, installation and photography, Villar’s practice concentrates on matters of social space, often positioning the performer in situations where the architectural and urbanistic codes that regulate our everyday spatial and social experience can be made explicit. Villar’s work draws from multidisciplinary theoretical sources including the works of Foucault and de Certeau, and is foregrounded by aesthetic traditions ranging from the sixties and seventies performative-based sculpture and installations by Helio Oiticica, Lygia Clark and Cildo Meirelles to the urban strategies of the Situationists and the anarchitecture of Gordon Matta-Clark. Born in Brazil (1962), MFA from Hunter College (1998) and Whitney ISP Fellow (2000), VLA Art & Law Fellow (2011). Selected exhibitions include the New Museum, Mass MoCA, Drawing Center, The Menil Collection, Exit Art, Art in General, Apexart and Dorsky Gallery in the U.S.; Museum London in Canada; Institute of International Visual Arts and the Whitworth Art Gallery in England, Museu de Arte Moderna, Paço Imperial and Funarte in Brazil; Museu da Cidade in Portugal; Galleri Tommy Lund and Overgaden in Denmark, UKS and Oslo Kunstforening in Norway; Contemporary Art Centre in Lithuania; the Goteborg Konstmuseum, Rumänska kulturinstitutet and Signal in Sweden; Galeria Arsenal in Poland; Beirut Art Center in Lebanon; the Breeder in Greece; New Plymouth in New Zealand; Zendai Moma in China; Marco Museum in Spain; Kölnischer Kunstverein, Lichthaus, Halle fur Kunst and Internationale Kurzfilmtage in Germany. HANSBERG/WOOLF 49 Cochrane Street, Glasgow, G1 1HL Tel +44 (0) 7580 287 422 www.hansbergandwoolf.com Tuesday - Saturday, 11am - 6pm Office info@hansbergandwoolf.com Press press@hansbergandwoolf.com

Open City | Lublin

Sun, 19 Jun 2011 16:07:00 -0400

OPEN CITY / OTWARTE MIASTO City of Lublin, Poland Curator: Monika Szewczyk June 22, 2011 ARTISTS Cezary Bodzianowski, Andrei Dureika, Maurycy Gomulicki, Ada Kaczmarczyk, Katarzyna Kozyra, Jacek Malinowski, Liliana Orbach, Alexandre Perigot, Konrad Smoleński, The Azorro (Super) Group, Izabela Tarasewicz, Mariusz Tarkawian, Alex Villar, Julita Wójcik, Martin Zet June in Lublin – the perfect time and place to meet and to open, for the third time now, the city to art; time for artists to open to the city and for our minds to open to their ideas – all this just days ahead of the closing of European Capital of Culture competition. The festival, as defined three years ago by Waldemar Tatarczuk, the author of the Open City project, alludes on the one hand to the military strategy of keeping city gates open, and on the other to Oskar Hansen’s Open Form in architecture. This year’s edition follows these axes. The city is above all the architecture. We seek to foreground it by “constructing” Elvis’s House or The Site; by commenting on Lublin’s existing architecture; by conquering that architecture in a performative gesture. The city is above all the people. We seek to build a meeting space for the people of Lublin by offering them places that will captivate them, liberate them from their daily routines, encourage playful interaction. For it is impossible not to be captivated by the summer in a beautiful city and not to yield to the pleasures of music, of movies screened in courtyards of old tenement houses, of games and slingshot competitions. These two axes sometimes intersect, and then we listen to music in Elvis’s House or make our way through the openings of The Site. We always move in the shared space of art. Crossroads 39 Krakowskie Przedmieście Street 20-076 Lublin Telephone: +48 81 466 59 89 E-mail: info@opencity.pl http://www.opencity.pl/en/

LumenFest 2011 | Lighthouse Museum site

Fri, 10 Jun 2011 15:56:00 -0400

LUMENFEST 2011 Head curator Ginger Shulick Guest Curators: Denise Carvalho, Jill McDermid and Erik Hokanson, Natalia Mount, Peter Duhon, Paul Moakley Lighthouse Museum Site June 25th 6pm-midnight ARTISTS Adriana Varella, Aimee Norwich, Alex Villar, Alexey VS, Alice Vogler, Alina Rojas, Alison Ward, Allison Berkoy, Amanda Curtis, Amanda Morgan, Anarcho Art Lab, Ancient Ocean, Andrew Mount, Angela Freiberger, Angela Washko, Anya Liftig, Brenda Anne Kenneally, Brendan Coyle, Bruce Randall, Carolina Redondo, Caustic Castle, Charles Chace, Chaw Ei Thein, Claudia Pena Salinas, Daniel Pepice, Daniela Kostova, Daphane Park, Dena Al-Adeeb, Don Porcella, Elinor Evelyn, Erik Hokanson, Erik Sanner, Fabio Marco Pirovino, Gabriel Comrie Pepín, Grady Gerbracht, Hassan Pitts, Heavy Hymns, Hiroshi Shafer, Hz Collective, Igor Baloste, Jaanika Peerna, Janaina Tschäpe, Jason Peters, Jeanne Verdoux, Jill McDermid, Jo Q. Nelson, Jodie Lyn-Kee Chow, John Loggia, Joro De Boro, Kathryne Hall, Katie Berry, Katie Murray, Kazue Taguchi, Kelley Bell, Kelly Pinho, Kerry Downey, Kirk Peterson, Kyle Corea, Latoya Ruby Frazier, Laurel Jay Carpenter, Lauren Fleishman, Lisa Dahl, Lopi Laroe, Lydia Watson-Lewis, Mandy Morrison, Margaret Salmon, Marina Temkina, Mark Clare, Marni Kotak, Matthew Sleeth, Meghan Van Alstyne, Melissa West, Mike Shane, Mikhael Antone, Miryana Todorova, Myk Henry, Nguyen Smith, Nia Burks, Nick Fevelo, Nicole Baker, Nijah Cunningham, Nilton Maltz, Noah Klersfeld, Özlem Günyol & Mustafa Kunt, Paul Moakley, Pedro Motta, Petra Lindholm, Phil Stearns, Pilottone, Quinn Dukes McDivitt, Rafael Sanchez, Rebecca Jampol, Rob Andrews, Russell Chartier & Paul Botelho, Sama Alshaibi, Sander Houtkruijer, Sean Metelerkamp, Sean Simpson, Sebastien Sanz de Santamaria, Staten Island OutLOUD, Steven Lapcevic, Syracuse Experimental, Tattfoo Tan, Tiffany Carbonneau, Tomaz Hipolito, Vela Phelan, Video Gang, Yana Dimitrova, Yoon Young Park, Zhenesse Staniec Heinemann. Lumen is an outdoor video and performance art festival featuring cutting edge work by established and emerging artists with raw, decrepit warehouses as the backdrop. It is in its second year, bringing over 800 people to Staten Island’s waterfront for this single largest contemporary art one-day event in Staten island’s history. Lumen will take place on June 25th, 2011 on the northern, industrial, Staten Island waterfront site of the Lighthouse Museum. In addition to the video projections, there are a full-range of performance art events happening throughout the day, courtesy of Grace Exhibition Space in Brooklyn. These performance art events keep the audience involved as we wait for the sun to set and the projectors start to roll. LUMEN Lighthouse Museum 2 minutes from the SI Ferry Terminal For more information: Monica Valenzuela at 718.447.3329x1004 or mvalenzuela@statenislandarts.org. www.statenislandarts.org/blog/lumen

Encontros | Paraíso Subway Station

Sat, 09 Apr 2011 16:22:00 -0400

ENCONTROS Curator: Giselle Beiguelman Selection: Nelson Brissac Peixoto, Ricardo van Steen, Guilherme Kujawski, luiz duVa e Fernando Oliva Paraíso Subway Station, São Paulo April 11 and 25 – May 16 and 30 ARTISTS Ivan Claudio, Alex Villar, Zilch, Júlio Leite, Rodrigo Born, Miro Soares, Marco Del Fiol, Davi Flores, David D’Visant, Manifesto21.tv The video “Crash Course” will be shown in the project “Encounters,” by the Secretary of Metropolitan Transportation of São Paulo, along with nine other finalists from the 2010 Festival httpVideo, which was conducted by the Instituto Sergio Motta with the theme “In Transit: Mobility and entropy.” The screenings will take place on April 11 and 25, as well as on May 16 and 30, at noon, in the space “Encounters” at the Paraíso Subway Station in São Paulo, Brazil. METRO SAO PAULO Paraíso Subway Station Project Encontros page on Facebook

Art&Law Residency

Thu, 10 Feb 2011 14:27:00 -0500

VLA Announces: 2011 Art & Law Residency Artists and Writers Volunteer Lawyers for the Arts is proud to announce the 2011 Art & Law Residency Program participants. The eight visual artists and four writers will meet for semi-monthly Seminars directed at the theoretical and critical examination of current art and law issues. During the course of the Program, artists and writers will develop new projects and papers and receive support from Faculty on a regular basis to discuss and address the aesthetic, practical, philosophical, legal and judicial aspects of their work. The Residency will culminate in a public Exhibition and Symposium held at the Maccarone Gallery in New York City where the participants will exhibit their projects and present papers. The twelve participants are Artists Michael Cataldi was born in 1982 in Philadelphia, and currently lives and works in New York City. Cataldi received a Bachelors degree in Fine Arts from the Maryland Institute College of Art in 2004; attended the Skowhegan School of Painting and Sculpture in 2005, received a fellowship at Socrates Sculpture Park in 2006, and was awarded a workspace studio at the Lower Manhattan Cultural Council in 2007. He completed a Masters in Urban Planning from the City University of New York in 2009 and the Whitney Independent Study Program in 2010. His installations, photographic projects, and drawings have been shown in Baltimore, Washington D.C., and New York. Cataldi’s work has been featured in the Village Voice, Art in America, and Artforum. Blane De St. Croix’s recent body of work explores the geopolitical landscape through drawing and sculptural installation. De St. Croix conducts extensive research on each project—through site visits, photographic documentation, interviews, and satellite imagery. Employing a combination of natural and industrial materials, he is interested in articulating humankind’s desire to take command over the earth, revealing distinct conflicts with ecology, politics, and ourselves, in large-scale installations that utilize architectural space in a distinct, powerful, and imposing manner. De St. Croix has been the recipient of numerous grants and awards. Selected awards include: a 2010 John Simon Guggenheim Memorial Foundation Fellowship; 2009 The Joan Mitchell Foundation Grant for Painters and Sculptors; The Pollock Krasner Foundation Grant; a regional National Endowment for the Arts and other prominent awards. De St. Croix was favorably reviewed by art critic Jerry Saltz in NY magazine last year for his large installation Broken Landscape at Smack Mellon in Brooklyn, NY, the project travelled from NY to F.A.R (Future Arts Research) in Phoenix AZ for a solo exhibition that Bruce W. Ferguson curated. Additionally, his work has been included in numerous solo and group exhibitions in national and international venues. De St. Croix has also been awarded many notable international and national fellowship and artist residencies. Selected residencies at John Michael Kohler Arts Center, Foundry Artist Residency, Wisconsin, Djerassi Artist Residency Program, Woodside, CA, Gasworks Artist Studio Residency, Triangle Arts Trust, London, Tyrone Gutherie Center, Ireland, Two MacDowell Colony Fellowships, Peterborough, NH; an Art Omi Artist Residency, Ghent, NY; Special Editions Residency, Lower East Side Printshop, New York, NY. Blane De St. Croix was born in Boston Massachusetts. Educated at Cranbrook Academy of Art, Bloomfield Hills, Michigan (M.F.A. - Sculpture) and Massachusetts College of Art, Boston, Massachusetts (B.F.A.-Sculpture with distinction). For more information: blanedestcroix.blogspot.com Molly Dilworth (Van Lier Fellow, 2011) is a Brooklyn based artist who views creative practice as a form of research. Using data from a specific site as a structure, she builds a form for things that invisibly motivate our actions. Her painting Cool Water, Hot Island was selected as the surface treatment for the 5 block 50,000 sq. ft. pedestrian plazas on Broadway in Times Square. Her 2010 rooftop painting was made in conjunction with the NYC CoolRoofs program was commissioned by 350.org as part of their international climate change art initiative.For more information: mollydilworth.com Carolyn Lambert is a multi-media artist who currently lives and works in New York City. Her work focuses on sites of conflicting interest, locations of disputed value. She enters these sites as a researcher: staging events and collecting information to engage multiple perspectives and then re-framing and re-presenting her research through video, performance, audio, sculpture and drawing. Her work has been exhibited throughout North America with a number of recent performances and installations in New York City. She received her MFA from Carnegie Mellon in 2005 and has been awarded project grants from the Ford Motor Company, National Wildlife Federation, and the Steinbrenner Institute. She teaches Digital Media at Marymount Manhattan College and Adelphi University. Graham Parker is a multimedia artist and writer based in New York. His work explores digital culture as seen within a historical continuum of human inspiration and folly relating to the growth of technology - often finding unexpected, even uncanny connections between these different moments and modes. Encompassing 2D work, installation, video and performance, his work has been commissioned by the Tate Gallery, Henry Moore Institute, Centre for the Understanding of the Built Environment, Foundation for Art and Creative Technology, Lower Manhattan Cultural Council, EMPAC and the Arts Council of England, amongst others, and is held in public and private collections around the world. He is the author of Fair Use (notes from spam) (published by Book Works), and is a former participant in both the Studio and the Architecture and Urbanism programs of the Whitney Museum ISP. Risa Puno creates interactive installations and functional objects that play with elements of everyday life. She has exhibited at national and international venues, including: Socrates Sculpture Park; MMX Open Art Venue in Berlin, Germany; Queens Museum of Art; The Bronx Museum of the Arts; Jersey City Museum; apexart; Bronx River Art Center; Galerie Stefan Röpke in Cologne, Germany; and Scope New York: Curator’s Choice. Her work has been written about in The New York Times, The Wall Street Journal, The New Yorker, and artnet Magazine. She has received several awards and honors, including project grants from Socrates Sculpture Park and Jersey City Museum, participation in the Artists in the Marketplace program at The Bronx Museum, and an Emerging Artist Grant from Scope New York. She has lectured on a panel for A-Lab Artist Forum, and as a visiting artist at Dumbo Arts Center, Satellite Academy, and Monmouth University. Puno was born in 1981 and grew up in Lousiville, Kentucky. She studied art and medicine at Brown University and earned her MFA from New York University. She currently lives and works in New York City.For more information: risapuno.com Woody Sullender is an artist currently based in Brooklyn, NY, working primarily in music and audio media. Over the past few years, he has emerged as a pre-eminent experimental banjo performer, playing with and against the cultural baggage of the instrument. More recent work focuses on “erasing” existing audio by removing most of the frequencies from a recording via band-pass filters. This has manifested in a range of media from a lathe-cut record of a diminished “Smells Like Teen Spirit” to an FM broadcast of erased radio stations. Among other activities, he teaches new media in the New York area and hosts a weekly radio show on WFMU. Alex Villar (Van Lier Fellow, 2011) was born in Brazil 1962, and is currently based in New York. Villar has an MFA from Hunter College ‘98 and was a Whitney Independent Study Program fellow 2000. Villar’s work draws from interdisciplinary theoretical sources; it employs video, installation and photography. His individual and collaborative projects are part of a long-term investigation of potential spaces of dissent in the urban landscape; it has often taken the form of an exploration of negative spaces in architecture. Selected exhibitions include the New Museum, Mass MoCA, Drawing Center, Exit Art, Stux Gallery, Apexart and Dorsky Gallery in New York; Institute of International Visual Arts in London, Museu de Arte Moderna in São Paulo, Paço Imperial and Funarte in Rio de Janeiro, Galleri Tommy Lund and Overgaden in Copenhagen, UKS in Oslo, Contemporary Art Centre in Vilnius, the Goteborg Konstmuseum in Sweeden, Galerie Joanna Kamm in Berlin, Signal in Malmo, Galeria Arsenal in Poland, Lichthaus in Bremen and Halle fur Kunst in Luneburg. Published articles and reviews in ReMarx, Text zur Kunst, Tema Celeste and New York Times. For more information: de-tour.org Writers Mazie M. Harris is a doctoral candidate in the Department of the History of Art and Architecture at Brown University. Currently writing a dissertation on the influence of nineteenth-century intellectual property disputes on the development of photographic portraiture in the United States, she is interested in the ways in which the foundations of American copyright and patent law continue to reverberate in contemporary photographic practice. The co-curator of Presence through Process, an exhibition of recent photography at the Museum of Art, Rhode Island School of Design, she has held positions in the RISD Museum Department of Contemporary Art and the Agnes Mongan Center for the Study of Prints, Drawings, and Photographs in the Harvard Art Museums, and has contributed to the contemporary art journal Art Lies. Previous scholarly projects have analyzed issues of technology, authorship, and cultural regulation in Civil War propaganda, late nineteenth-century stereoscopy, mid-twentieth century photographic pedagogy, and 1960s nuclear protest imagery. In her ongoing research and teaching, she reflects on perceived relationships between photography, property, and privacy by examining the retouching and circulation of individual and group portraits. Lorraine Lezama is a Harvard University graduate and recipient of a Mark De Wolfe Howe Fellowship in Civil Rights, Civil Liberties and Anglo-American History from Harvard Law School. She has presented work and participated in symposia and conferences at Yale Law School, Harvard University, the Law and Society Association and elsewhere. Her work has been widely published in different fora including The Washington Post, The Harvard Women’s Law Journal, The Harvard International Law Journal and The Journal of Law, Medicine and Ethics. She is an art critic for geekweek.com, a Los Angeles-based digital publication and writes about shifts in the digital and entertainment ecosystems, new media, and contemporary art and its relation to emerging technologies. Her current research focuses on the emergence and impact of cultural arbitrageurs in the world of contemporary art, analyses of the contemporary art market, art auction dynamics, pricing strategies and market design in the art world and the impact and consequences of asymmetric information in transactions; museum ethics and governance; the recent proliferation of commercial digital art-spaces, platforms and online fundraising infrastructures and an exploration of the shift in legal and cultural regimes governing the creation and ownership of intellectual property. Ms. Lezama is a founder and Managing Partner of the Clarendon Care Group, an incubator which provides strategic consulting services to a range of international and domestic private and institutional clients, many in the non-profit space, with a focus on organizations whose missions include sustainable urban redevelopment, rehabilitation and stewardship. Lian Amaris Sifuentes is a writer and artist based in New York City. She has Master’s degrees in Performance Studies and in Interactive Telecommunications, both from New York University, and has contributed articles on performance and media to Theatre Journal, TDR: The Drama Review, and Explorations on Media Ecology, along with several edited collections including the forthcoming S(t)imulated Realities: The Hyperreal in Popular Culture (McFarland), and Digital Visual Culture: Intersections and Interactions in 21st Century Art Education (The National Art Education Association). Her current research interests include ethical and legal issues regarding intellectual property, copyright, and Fair Use, with a focus on authorship conflicts for artists who “cite” the work of other artists, or use another artist’s work as the raw material for their own. She has presented her artwork and scholarship at nine international conferences and at over twenty festivals, including such venues as The Guggenheim Museum, The San Jose Museum of Art, Cambridge University, UC Berkeley, P.S. 122, HERE Arts Center, and the Recoleta Cultural Center in Argentina. Her artwork has been covered by The New York Times, Reuters, The New York Post, The Denver Post, and Allure Magazine, among others. After three years as a professor of performance studies and digital media at Colorado College, Sifuentes joined the Education Division of the Brooklyn Museum where she oversees programs for college and graduate students and works to bridge the gaps between performance, visual arts, and new media through public programs. For more information: lianamaris.com Tracy Zwick is completing her Master of the Arts degree at Columbia University with a specialization in Modern Art/Critical Theory. She holds a B.A. in Communications and Theater Arts as well as a J.D. (Juris Doctor). Tracy clerked for the Presiding Justice of the Illinois Appellate Court upon graduating from law school, then spent five years as a litigation associate at Willkie, Farr & Gallagher in New York, where she also served on the pro bono committee. Before joining the Department of Art History and Archeology at Columbia, Tracy worked with inMotion (formerly Network for Women’s Services), representing abused and indigent minority women in contested family court proceedings. She subsequently spearheaded the Humanitarian Law Project, travelling to various parts of Pakistan to establish, ab initio, codes of evidence, tribunals and parliamentary procedures for adjudicating claims of repatriated child victims of human trafficking. Tracy’s current projects include an assessment and juxtaposition of legal and artistic responses to human rights atrocities in South America, and a contemporaneous investigation into the phenomenology of traumatic memory and it’s binary, historical amnesia. Spanish is her primary second language. Curatorial Assistant Jamie Knowles is a Long Island City-based artist and arts professional interested in linking self-identity to our collective memory. His examination of history, gender, and sexuality often leads to secondary studies and research of law and political theory. He was involved in planning The Last Supper Festival, an annual art collaborative, at the 3rd Ward and will be working with the Williamsburg Gallery Association assisting with Public Relations. He recently received his BA in Studio Art from Davidson College. Program Website vlany.org/residency.html

Breaking into Business, 9 min video, silent, color, 2011.

Mon, 17 Jan 2011 15:20:00 -0500

Breaking into Business, 9 min video, silent, color, 2011.

On the Edge

Thu, 13 Jan 2011 16:46:00 -0500

Shot during an art residency at Iaspis in 2007, On the Edge has the city of Stockholm as its background. The piece highlights the quotidian experiences of pedestrians as they negotiate the shared space of the street. The video depicts a walking through spaces that are normally not meant to be occupied: gaps between parked cars and the curb, the outer space of fenced sidewalks, extremely narrow passageways, etc. As the scenes accumulate, so does the perception that a slight deviation is being proposed in the otherwise uncontested normalcy of everyday experience.

Between School Sign and Façade, c-print, variable dimensions, 2007 Turned Jersey Barrier, c-print, variable dimensions, 2007 Semi-circle Sidewalk, c-print, variable dimensions, 2007 Round Sidewalk, c-print, variable dimensions, 2007 Between Curb and Black Car, c-print, variable dimensions, 2007 Between Handrail and Glass Façade, c-print, variable dimensions, 2007 Between Pole and Wall, c-print, variable dimensions, 2007 S-curved Sidewalk, c-print, variable dimensions, 2007 Boomerang Fence, c-print, variable dimensions, 2007

On the Edge, 10 min video, silent, color, 2007

Experimental Geography | Foreman

Mon, 10 Jan 2011 12:19:00 -0500

EXPERIMENTAL GEOGRAPHY Curated by Nato Thompson Foreman Art Gallery, Bishop’s University January 28, 2011 - March 21, 2011 ARTISTS Francis Alys, AREA Chicago, The Center for Land Use Interpretation (CLUI), Center for Urban Pedagogy (CUP), kanarinka (Catherine D’lgnazio), e-Xplo, Ilana Halperin, Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker (project organizer), Alex Villar, and Yin Xiuzhen. Experimental Geography presents a panoptic view of this new practice through a wide range of mediums including interactive computer units, sound and video installations, photography, sculpture, and experimental cartography created by 18 artists or artist teams from six countries as well as the United States. Geography can involve the study of specific histories, sites, and memories. Every estuary, landfill, and cul-de-sac has a story to tell. The task of the geographer is to alert us to what is directly in front of us, while the task of the experimental geographer — an amalgam of scientist, artist, and explorer — is to do so in a manner that deploys aesthetics, ambiguity, poetry, and a dash of empiricism. The manifestations of “experimental geography” (a term coined by geographer Trevor Paglen in 2002) run the gamut of contemporary art practice: sewn cloth cities that spill out of suitcases, bus tours through water treatment centers, performers climbing up the sides of buildings, and sound art of the breaths exhaled in running the evacuation route of Boston. In the hands of contemporary artists, the study of humanity’s engagement with the earth’s topography becomes a riddle best solved in experimental fashion. The approaches used by the artists featured in Experimental Geography range from a poetic conflation of humanity and the earth to more empirical studies of our planet. Ilana Halperin melds immediate physical and personal actions with geologic contexts; she offers poetic conflations of differing fields of interest. Creating projects that are more empirically minded, The Center for Land Use Interpretation (CLUI), a research organization, explores the nature and extent of human interaction with the earth’s surface, embracing a multidisciplinary approach to fulfilling its mission. Using skill sets culled from the toolbox of geography, the work re-familiarizes the viewer with the overlooked American landscape, including man-made islands, submerged cities, traffic in Los Angeles, and the broadcast antennas in the San Gabriel Mountains, and other details drawn from everyday experience. Catalog The exhibition is accompanied by an illustrated catalogue co-published by iCI and Melville House Publishing. The catalogue includes essays by curator Nato Thompson, art historian Jeffrey Kastner, and artist Trevor Paglen; artist’s statements; and brief texts on forms of artistic practice. Experimental Geography is a traveling exhibition organized and circulated by iCI (Independent Curators International), New York. The guest curator for the exhibition is Nato Thompson. The exhibition, tour, and catalogue are made possible, in part, by the Horace W. Goldsmith Foundation, the iCI Advocates and the iCI Partners, Gerrit L. and Sydie Lansing, and Barbara and John Robinson. Its presentation at DePauw University has been generously funded by the Richard D. and Barbara Dixon Harrison Exhibition Fund. Nato Thompson is a curator at Creative Time, New York, as well as a writer and activist. Among his public projects for Creative Time are Waiting for Godot in New Orleans, a project by Paul Chan in collaboration with The Classical Theatre of Harlem, and Mike Nelson: A Psychic Vacuum. Thompson was formerly a curator at MASS MoCA, where his exhibitions included The Interventionists: Art in the Social Sphere and Ahistoric Occasion: Artists Making History. Founded in 1975, iCI is a non-profit organization dedicated to enhancing the understanding and appreciation of contemporary art through traveling exhibitions and other activities that reach a diverse national and international audience. Collaborating with a wide range of eminent curators, iCI develops innovative traveling exhibitions, accompanied by catalogues and other educational materials, to introduce and document challenging new work in all mediums by younger as well as more established artists from the United States and abroad. FOREMAN ART GALLERY AT BISHOP’S UNIVERSITY 2600 College Street, Sherbrooke (Lennoxville) QC, J1M 1Z7 E - gallery@ubishops.ca T - (819) 822-9600 ext. 2260 F - (819)822-9703 www.ubishops.ca/foreman/