Source: http://franklinfurnace.org/goings_on/recent_goings_on/2011/11_05_30.php
Timestamp: 2019-04-19 08:58:16+00:00

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]performance s p a c e [ is a point of syntheses where, through and beyond actions, questions of community, support, generation(s), re-generation and the place or position of performance is contemplated and rendered visceral.This action is B E Y O N D N E C E S S I T Y - a week long programme housing some of the most radical, contemporary and influential makers of live work to date.
Performance, film and discussion will form a supporting action, between generations and geographies; presenting, acknowledging and celebrating a cross-section of artists investigating performance process, Live and body based fine art practice.
Through bringing together multiple praxis from various generations, philosophies and geographies - this programme hopes to challenge, sustain and accommodate, a thriving performance community often found outside other more established and formalised institutions of art and culture.
Throughout the programme we shall be considering the influence, role and fluxing nature of such institutions and their relationship to (sub)cultures, fringe and the renegade. While also investigating further modes and sites where in performance may be viewed as an engaging, inciting and inescapable discourse of society.
B E Y O N D N E C E S S I T Y is a fundraising event. Our aim is the sustainability of ]performance s p a c e [ as a environment dedicated to the cultivation and dissemination of both emergent and established practioners. Our opening event and subsequent activity has been free in order to maintain accessibility and welcome the local community - However, now we need your help.
Radical and challenging work needs a community; a community needs radical and challenging work - This is B E Y O N D N E C E S S I T Y.
B E Y O N D N E C E S S I T Y is a fundraising event. Our aim is the sustainability of ]performance s p a c e [ as a environment dedicated to the cultivation and dissemination of both emergent and established practitioners. Our opening event and subsequent activity has been free in order to maintain accessibility and welcome the local community - However, now we need your help.
In WAKE (visible tracks of turbulence) , six artists will inhabit Dilston Grove sequentially, each having chosen the artist following them. They are linked by traces of ideas and remnants of materials in the space. The audience can see and experience the results of each residency every weekend and trace the narrative of this particular space, time and group of artists. WAKE (visible tracks of turbulence) is a dialogue and exchange about ownership, collective process, where a work begins or ends, materiality itself and the non-verbal transmission of ideas.
Anne, who initiated and conceived the project, will start the process on 11th and 12th June , followed each weekend by William Cobbing,David Cotterrell, Carl Von Weiler, Rachel Lowe andBronwen Buckeridge.
The set consists of the 2 screen version of TAPS, the composite film with 80 of Paul Burwell's former collaborators.
work that needs to be seen"
The second DVD, PAST is called Self-Portrait. Who of? Paul Burwell and Anne Bean Dialogues 2010. It includes archival footage and text and images from Paul's notebooks kept for over 30 years.
For several years, I have been working with the young Iraqi artist, Poshya Kakl making several public actions together both in Iraq and through Skype. She has just made a film Knitting Iron with women inside a jail in Iraq, imprisoned for refusing arranged marriages. These women mostly feel safer inside prison than out.
I will interact with the film that she made of this action, along with several participants. It is screened for the first time outside of Iraq at BE festival.
Swinburne University's Dean of Design, Professor Ken Friedman has been appointed a University Distinguished Professor.
Professor Friedman was recognised for his extensive contribution to design research and education, both internationally and at Swinburne.
The appointment is highly-regarded and a rare honour, being the first non-science University Distinguished Professor appointment in Swinburne's history.
Swinburne currently has five University Distinguished Professors. These appointments are administered by the Vice-Chancellor and involve a rigorous application process, including demonstrating international recognition and prominence in research, publication in major international journals, citations by a broad cross section of peers and receiving international awards and prizes.
Professor Friedman's research covers philosophy of design, doctoral education in design, knowledge management, and philosophy of science.
Having worked with national design policy in Estonia, Latvia, Lithuania, and Wales, and state design policy in Victoria, he is active in developing international research networks and conferences for the design research community.
Professor Friedman is an editor of the journals Artifact and the Journal of Design Research and a Council Member of the Design Research Society and the Australian Deans of the Built Environment and Design.
He was also awarded a degree of Doctor of Science, honoris causa, for outstanding contributions to design research by Loughborough University in 2007.
Derek Horton and Lisa Stansbie are pleased to announce that a recording of Soanyway's first broadcast is now available on the Soanyway site.
Marion Harrison, in collaboration with Resonance FM radio, produced Whichever Way, broadcast live on Resonance on 26 April 2011.
Marion commissioned new audio work "translated" from its original format by a number of Soanyway contributors, based in the UK, Berlin, Dublin, New York and Los Angeles.
This recording of the hour-long broadcast, hosted by Marion and Derek Horton contains contributions from Paul Cordwell, Graham Dunning, GH Hovagimyan, Barry Hughes, Richard Kostelanetz, Brighid Mulley, Harold Offeh and Alex Staiger.
The broadcast also features an interview with GH Hovagimyan in which he discusses his experience of the Downtown scene in New York in the 1970’s and 80’s and relates it to his current collaborative practices in new media.
Following this first successful venture into other media and new publishing platforms, we intend to invite a number of artists and curators to work with us to generate new projects that take Soanyway beyond its current online format.
Sean Kelly is delighted to announce that Joseph Kosuth’s solo exhibition—'Texts for Nothing (Waiting for—)' Samuel Beckett, in play, in connection with ‘A History of Installations, 1965-2011’—has opened at Haus Konstruktiv in Zurich, Switzerland and will run through August 1, 2011. The exhibition is timed to coincide with Art 42 Basel and would be a convenient stop for those traveling through Zurich en route to the art fair.
This exhibition will include Kosuth’s ambitious new work, ‘Texts for Nothing (Waiting for—)’ Samuel Beckett, in play, a version of which was shown here at the gallery in April. The installation incorporates two of Beckett’s writings, one quintessentially associated with the author—Waiting for Godot—and the other much lesser known Texts for Nothing. Excerpted texts from these two sources are presented in face-dipped warm white neon in a dramatically darkened room along with a black and white reproduction of the Caspar David Friedrich painting Two Men Contemplating the Moon, an oft-cited source of inspiration for Beckett’s Waiting For Godot. Kosuth’s work shares a significant concern with Beckett: both practices manifest a parallel concern with meaning. Beckett approaches the question of meaning by investigating its absence, especially in those locations where we would most hope to find it, while Kosuth approaches meaning as something undeniably present and poses questions concerned with how it is produced—by the artist and by the viewer.
Another new work realized for the exhibition in Zurich belongs to the series entitled ‘Text/Context’, in which Kosuth refers to the language of advertising. In this work, text passages (translated into three languages) will be presented in two contexts. On the street, the texts are presented as anonymous billboard ads in public locations throughout Zurich. The same poster seen on the billboards is then presented at Haus Konstruktiv as part of the exhibition.
The exhibition also includes several historic works, including the dramatic ‘Passagen-Werk’, which will be on view for the first time since its original installation at Documenta IX in 1992 at the Neue Galerie. For the iteration at Haus Konstruktiv, black cloths, screen-printed with quotes relevant to the new exhibition, will hang over works from the museum’s permanent collection.
Generous financial support for the exhibition was provided by the following: the Art Progressive Foundation; ewz, Zurich; Michael and Ellen Ringier, Küsnacht; Ernst Schweizer AG, Metallbau (project donor) and various private sponsors.
For more information about 'Texts for Nothing (Waiting for—)' Samuel Beckett, in play, in connection with ‘A History of Installations, 1965-2011’, please visit the Haus Konstruktiv website at: www.hauskonstruktiv.ch. Museum hours are Tuesday, Thursday and Friday 12pm to 6pm, Wednesday 12pm to 8pm and Saturdays and Sunday 11am to 6pm.
returns to New York to perform new works and a few reinterpretations from his ever-evolving "living archive"
ONE NIGHT ONLY—TICKETS ON SALE NOW!
Susan Kleinberg is participating in TRA: Edge of Becoming at the Palazzo Fortuny in Venice, opening June 4, through November 27, 2011.
TRA: Edge of Becoming is an exhibition that explores the inter-connectedness between place, history, creativity and universal wisdom, curated by Daniella Ferretti, Rosa Martinez, Francesco Poli and Axel Vervoordt.
TRA means a passage through an open doorway. A gateway to what lies beyond. The threshold of thought. The expansion of perception. The energy within the void. The power of beginnings. TRA forges new passages of perspective and possibility through the transformative experience of art with the will of enhancing revelation and knowledge.
Marina Abramovic, Carla Accardi, Giovanni Anselmo, Janine Antoni, Adolphe Appia, Bae Bien-U, Ida Barbarigo, Miquel Barcelò, Matthew Barney, Massimo Bartolini, Davide Benati, Gerrit Adriaensz Berckheyde, Bertozzi e Casoni, Alberto Biasi, Ali-ghiero Boetti, Otto Boll, Vincenzo Bonomini, Monica Bonvicini, Davide Boriani, Michaël Borremans, Tania Bruguera, Peter Buggenhout, Alberto Burri, Jean-Marie Bytebier, Francesco Candeloro, Fernando Garbellotto, Felice Casorati, Vincenzo Castella, Chen Zhen, Pieter Claeissins, Antoni Clavé, Francesco Clemente, Niccolò Codazzi, Gianni Colombo, Dadamaino, Berlinde De Bruyckere, Pieter De Hooch, Riccardo De Marchi, François de Nomé, Filippo De Pisis, Gabriele De Vecchi, Olivier Dollinger, Désirée Dolron, Maurizio Donzelli, Piero Dorazio, Marcel Duchamp, Pablo Echaurren, Luciano Fabro, Lara Favaretto, León Ferrari, Lucio Fontana, Mariano Fortuny y Madrazo, Mariano Fortuny y Marsal, Franciabigio, Adam Fuss, Cristina Garcia Rodero, Alberto Giacometti, Raimund Girke, Anthony Gormley, Francisco Goya, Gotthard Graubner, Cao Guimarães, Henri-Joseph Harpignies, Gary Hill, Sadaharu Horio, Ilya & Emilia Kabakov, Wassily Kandinsky, Tanyu Kano, Anish Kapoor, Kcho, Paul Klee, Susan Kleinberg, Osamu Kokufu, Jannis Kounellis, Mitsuko Kuebli, Luisa Lambri, Walter Leblanc, Fernand Léger, Osvaldo Licini, Robert Longo, Heinz Mack, Alberto Magnelli, Robert Mallet-Stevens, Man Ray, Piero Manzoni, Enzo Mari, Raffaela Mariniello, Alberto Martini, Gordon Matta-Clark, Sebastián Matta, Fausto Melotti, Ana Mendieta, Marisa Merz, Meekyoung Shin, Sabrina Mezzaqui, Domi Mora, Mattia Moreni, Michel Mouffe, Saburo Murakami, Esther Giles Nampitjinpa, Shirin Neshat, Rivane Neuenschwander, Louise Nevelson, Renato Nicolodi, Mario Nigro, Francesco Nonino, Hans Op de Beeck, Roman Opalka, Giulio Paolini, Lygia Pape, Giuseppe Penone, Otto Piene, Giovanni Battista Piranesi, Hugo Pratt, Kichizaemon Rakú, Araya Rasdjarmrearnsook, Gerhard Richter, Auguste Rodin, Bernardí Roig, Mark Rothko, Doris Salcedo, Remo Salvadori, Alberto Savinio, Jan Schoonhoven, Richard Serra, Conrad Shawcross, Fujiko Shiraga, Kazuo Shiraga, Kimsooja, Jesús Rafael Soto, Ettore Spalletti, Dominique Stroobant, Hiroshi Sugimoto, Antoni Tàpies, Pascale Marthine Tayou, Marco Tirelli, Celestino Turletti, James Turrell, Luc Tuymans, Günther Uecker, Giuseppe Uncini, Camiel Van Breedam, Joos Van Cleef, Alex Van Gelder, Emilio Vedova, Jef Verheyen, Giorgio Vigna, Nanda Vigo, Carl Michael von Hausswolff, Carl Julius von Leypold, Harmen Willemsz Wieringa, Maaria Wirkkala, Gao Xingjian, Jiro Yoshihara.
Galería Moriarty is pleased to announce the upcoming presentation of three sections of Warren Neidich’s seminal photographic work American History Reinvented, 1985-1996.
These works were originally exhibited at the Aperture Foundation Gallery, New York City,1989 and the List Center of Art, MIT, Cambridge, Massachusetts,1991, and published as a book of the same title by Aperture Foundation in 1989. Recently they were included in an exhibition curated by Octavio Zaya at MUSAC, Leon Spain, entitled Bringing Up Knowledge, 2010 and by Carson Chan in Back to the Future, 2009, at COMA, Berlin.
Pseudo-event the Politics of Appropriation, 1996, presents scripted historical reenactments of found photographs originally discovered at the African American History Museum-Long Island, Hempstead, New York. The found photographs acted as a template for a contemporary diptych. The left hand made Albumen print, presents actors dressed in period costumes who stage these reenactments utilizing Beth Page Historical Restoration, Beth Page, New York, as their backdrop. Each image portrays a dramaturgy of an event first documented as a photograph of everyday life in which those who are portrayed as disenfranchised are re-historicized as empowered. An accompanying right hand image is appropriated from the left and is altered through pre photo shop methodologies like cropping, air brushing and collage. Techniques made all too real in the recent air brushing out of Hilary Clinton from a photograph depicting her with President Obama in the Situation Room at the White House during the assassination of Osama Ben Laden.
Contra-Curtis: Early American Cover-ups, 1989 use the masterful photographs of Edward Curtis as the basis of a series of film stills which mine the American Cowboy Western in search of the true story of the decimation of American Indigenous peoples at the hands of settlers taming the American West. Neidich’s hand made platinum prints like the albumen prints discussed above and the tintypes below are a return to anachronistic printing processes and give the works their added air of authenticity. Here however this material has another purpose; to expose the underlining profit motive at the base of Manifest Destiny and the CIA’s Contra War against Nicaragua 1978-1990. Platinum printing was used in the original Curtis photographs which like gold is a precious metal.
Aerial Reconnaissance Photographs: The Battle of Chicamauga, 1991, takes a look at the nature of photography as a capricious signifier. Here the author photographed the Civil War re-enactment of the Battle of Chicamauga, outside in Chattanooga Tennessee from a rented airplane and then utilized the images thus produced as originals for making original tintypes. American History Reinvented, The Complete Work, 1985-1996 will be published by Archive Press, Berlin in the Spring, 2012.
Warren Neidich is an artist and writer who works in Los Angeles and Berlin. He is the recipient of the Vilem Flusser Theory Award, Berlin 2010, The Fulbright Scholar Program Award, 2011, and the Macdowell Fellowship, 2011. He is winner of the Madrid Abierto Public Sculpture Award, Madrid, 2004. His art works have been shown internationally at such institutions as MUSAC, Leon, Spain, The Whitney Museum of American Art, New York City, Institute of Contemporary Art-London, The Ludwig Museum Cologne, Germany, MuCKA, Antwerp and PS1-MOMA, Long Island City. Upcoming exhibitions 2011 include Extra City, Antwerp, LAXRT, Los Angeles and the Emily Harvey Foundation, New York City. His recent book Cognitive Architecture: From Biopolitics to Noo Politics, 2010, is recently published by 010 Publishers, Rotterdam.
FF Alumn Mitzi Humphrey will introduce her art6 Co-Director Henrietta Near at the 8th lecture in the series of Pinkney Near Memorial Lectures in Art History sponsored by the gallery. Humphrey originated the series over seven years ago, in memory of Henrietta's husband, Pinkney Near, the first chief curator of the Virginia Museum of Fine Arts.
Henrietta Near will then introduce Richard Woodward, Curator of African Art at the Virginia Museum of Fine Arts in Richmond, Virginia who will discuss the recent spectacular exhibition of Ife art, on loan from Nigeria, and the museum's own magnificent permanent collection of African art, recently re-installed. Following the lecture, there will be a Q. and A. session, refreshments, and an opportunity to continue the discussion and view the art6 Juneteenth exhibition, which opens to the public the night before with a 6-10:00 pm First Friday reception. Mr. Woodward will speak on Saturday evening, June 4, at 8 p.m. A donation of $5.00 is requested.
From June 3 - 25, art6 will present its Third Juneteenth Exhibition celebrating the end of slavery in America. The official document for this emancipation was signed on June 19, 1865. Art6 will be showing over 25 artists to commemorate the event; there will also be several donations of art work from Africa on display.
On Saturday, June 18 there will be a concert of jazz featuring "Quiet Steps" a group started and directed by Jose Williams. The concert will be presented at 8 p.m.and admission is $10.00 at the door. Art6 is located at 6 East Broad Street in downtown Richmond. Hours are: Opening Night 6-10 p.m.; Saturdays from 12 to 4 p.m. and by appointment.
Following Estevez’ baptism as a Bronxite in the Bronx River, he invites eight artists to engage Bronx residents, by way of visits, discussions, hands-on workshops and artistic experiences, in a reflection of what it might mean to them to be a Bronxite. The exchanges are preserved in an exhibition comprised of videos, photographs, digital arts, logos, props and documents highlighting the day-to-day of the borough of New York City with, perhaps, the most defined persona.
Born Again: A Lebanese-Dominican Dominican York is born again as a Bronxite and Eight Artists Respond to Born Again were conceived by Nicolas Dumit Estevez for Longwood Art Gallery/ Bronx Council on the Arts and presented with collaborating organizations, including Bronx River Alliance, El Museo del Barrio, Banana Kelly High School, Lehman College Art Gallery, two programs from Phipps Community Development Corporation: Drew Gardens and La Casa de Felicidad, and THE POINT CDC, among others. Special thanks to Griffin Editions.
The Fabric Workshop and Museum (FWM) is pleased to present Close at Hand: Philadelphia Artists from the Permanent Collection, featuring a broad range of significant works produced in collaboration with FWM through its renowned Artists-in-Residence program. This vibrant exhibition represents artists based in Philadelphia at the time of their FWM projects and includes works created for this show. Curated by Marion Boulton Stroud, FWM Artistic Director; Ruth Fine, Special Projects in Modern Art, National Gallery of Art, Washington, D.C.; Virgil Marti, Artist/Curator; and Mary Anne Friel, FWM Project Coordinator/Master Printer.
This exhibition demonstrates FWM contributions to contemporary art, particularly highlighting its collaborations with Philadelphia artists.
VIERNES. 3 de junio - 19hs.
Presentación de su instalación sonora Archivos del presente y secretos del tiempo.
When Socrates counseled "know thyself," John Fleck not only listened and obeyed, he took this intelligence to the stage. The result is Mad Women, a one-man peripatetic therapy session self-conceived and -written, given it's world premiere at the Skylight Theatre in Los Feliz.
An homage to mad mothers (Josephine) and idols (Judy Garland), not to mention mothers as idols and idols as mothers, the production rivets, compels, and galvanizes. A Vesuvius of spittle and sweat, with lips aquiver and eyes bugged-out, Fleck's devo-esque performance provides him with a sweat-lodge purge and us with a fascinating look at faulty-idol worship that pre-dates, by a couple of decades, Michael Jackson. He erupts (the magma is this production) with his fascination with Judy Garland, the source of said fascination (mom, gamine-eyed), and the impact it had on his life (the consequence that he wasn't a post-world War Two he-man like his father but, rather, a Man in Tight Pants). Fleck's brilliance shines in his ability to articulate, communicate, and, ultimately, entertain at the same time he channels a nervous breakdown. If that doesn't define creative madness, then nothing does. We the audience surf his channeling, mesmerized that someone could so articulate the way we project ourselves onto our idols, both as sources of inspiration and as role models, of a sort.
He endears himself to us with his charisma, his energy and his bluntness, framed as a Joan Rivers "Can we talk?" He takes us from Judymania (he karaokes a bootleg tape of one of her final performances here in Los Angeles), back a couple of decades to his tragicomic Judy-shtick performance at the American Legion in Cleveland (his father wanted to kill him for that), to his career in TV and film (like Garland, he is a trooper), and so to the story of his Mother (Alzheimer's) and his father.
Fleck is raw -- a fallen electric wire that crackles across the stage, insulation stripped. The result is a supercharged production. We left purged, agog at how live theatre not only exposes the complexity of the he-on-stage but also holds up a contorting circus mirror to our own lives, loves, and dreams.
A lovely, unintended touch of stagecraft. The lights shine down on a silver tray upon which stands a martini glass. The light reflects back up, through the prism of the glass, onto a back wall. The result? Tinkerbelle as road kill, a nice metaphor for our magpie fascination with flawed but shiny things.
You walk out caught up in the show's frenetic reverb at how anyone could be so raw so naked, so exposed. Better him than me, which is precisely the point. The implications for us, the audience, still agog after two days, are obvious: acknowledge your identity, run with it, and, for God's sake, don't look back, unless you're doing a one-person show.
Performances are 8pm, Friday & Saturday, 7pm, Sunday performances. The show runs until May 29. The Theatre is located at 1816 N. Vermont, Los Angeles, Tickets are $20. For more information call (702) 582-8587 or visit www.katselastheatre.com.
Great moments on the stage tend to sear themselves in our memory banks: visions of Nureyev in midleap or Zoe Caldwell exposing her breasts for Cleopatra's death scene. Leave it to notorious NEA Four survivor John Fleck to add another indelible image: standing alone onstage as Judy Garland's then-preteen son Joey Luft donning his mother's wig and sequined jacket after her last drunken L.A. appearance at the Coconut Grove in 1967, belting a vibrato-rich opera selection in falsetto to the empty auditorium with his "Uncle Vincente" Minnelli accompanying him on the piano. Fleck proves he can fly through the air higher than Rudy and handle his asp even more effectively than Zoe.
One wonders if director Ric Montejano had to use a cattle prod to wrangle his charge, Fleck delivering a delightfully irreverent one-person show. With his sweat-drenched, pop-eyed delivery and an ever-present dry martini as fortification, Fleck channels Garland, but not in the Jim Bailey way. Instead Fleck reaches deep into the star's loneliness and descent into drug- and booze-fueled neurosis, then presents a parallel image of his own mother, caught on his video camera at home in Ohio as she nodded off in an Alzheimer's haze. As the taped Josephine Fleck loses herself watching her beloved idol Judy on TV in "Meet Me in St. Louis," her son calls out plaintively to the image projected behind him, "Hey, just meet me in Cleveland, will you, Ma?"
This is heady stuff, personal but performed with manic energy and nonstop brash assaults to our senses, a state even he admits is "kinda like a tornado, isn't it? Does that man ever breathe?" It's a good reminder as one sits watching Fleck open his chest and bare his heart without sacrificing any chance for a wild screech, a Tallulah laugh, or a silly move of his beanpole body. He courageously offers an evening full of leaps and laughs and tears and a few good bites on the teat at his own expense.

References: Art 42
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