Daniel Reich: Believer Henry St Settlement Playhouse, Abrons Arts Center Lecture / Artist Talk Tuesday May 14, 2013, from 4:00 PM to 7:00 PM www.abronsartscenter.org
A Gathering for Daniel Tuesday May 14th, 2013 4 pm all are welcome
The East Village / Lower East Side 466 Grand Street (at Pitt Street), New York NY, 10002212-598-0400 email@example.com
Lecture / Artist Talk Tuesday May 14, 2013
Michel Auder and Andrew Neel, The Feature, 2008. Still from video, 177 minutes.
Launch of e-flux journal #44, (Im)practical (Im)possibilities guest-edited by Carlos Motta e-flux Lecture / Artist Talk Tuesday May 14, 2013, from 6:00 PM to 8:00 PM www.e-flux.com
Join us on May 14 at e-flux, where Gregg Bordowitz, Malik Gaines, Pati Hertling and Eileen Miles, and Carlos Motta will discuss the role of creative strategies of queer resistance in contemporary art, activism, and cultural production.
Gregg Bordowitz is a writer and artist. His most recent book General Idea: Imagevirus was published as part of Afterall Books’ One Work series. Bordowitz is currently the Program Director of the School of the Art Institute of Chicago Low-Residency MFA Program.
Malik Gaines is an artist and writer in New York. With the collective My Barbarian, he has presented work nationally and internationally, including solo exhibitions at Hammer Museum, LA; Museo El Eco, Mexico City; and Participant Inc., New York. He received his Ph.D. in Performance Studies from UCLA and currently serves as Assistant Professor of Art at Hunter College, CUNY, teaching combined media, performance, and theory.
Pati Hertling is an attorney and independent curator. From 2005-2010 she organized Evas Arche und der Feminist, a monthly series of salon events presenting works by two artists for one night, first in Berlin and later in New York. She recently founded Le Potage de Madame Zazouf, a monthly performance salon in New York City. She is also co-curating the 2013 Fire Island Performance Series.
Eileen Myles is a poet. Snowflake/different streets (poems, 2012) is the latest of her 18 books. Inferno (a poet’s novel) came out in 2010. In 2010 the Poetry Society of America awarded Eileen the Shelley Prize. She is a Prof. Emeritus of Writing at UC San Diego. She’s a 2012 Guggenheim fellow.
Carlos Motta is an interdisciplinary artist whose work has been presented at the Tate Modern, London; Guggenheim Museum, New Museum and MoMA/PS1, New York; Museu Serralves Porto; Castello di Rivoli; Museo de Arte del Banco de la República, Bogotá; X Lyon Biennale; and in many other independent spaces around the world. Motta is a 2012 Creative Capital Grantee and a 2008 Guggenheim Fellow; and is part of the faculty at Parsons The New School of Design and The Milton Avery School of the Arts at Bard College. Motta guest edited e-flux journal #44.
Julieta Aranda is an artist currently living and working between Berlin and New York. Aranda’s work has been exhibited internationally in venues such as Witte de With (2013), MACRO Roma (2012) dOCUMENTA (13) (2012), N.B.K. (2012), 54th Venice Biennale (2011), Portikus, Frankfurt (2011); amongst others. As co-director of e-flux together with Anton Vidokle, Julieta Aranda has developed the projects Time/Bank, Pawnshop, and e-flux video rental.
The East Village / Lower East Side 311 East Broadway, New York NY, 10002
Lecture / Artist Talk Tuesday May 14, 2013
Image: Julie Mehretu, Stadia II, 2004, Ink and acrylic on canvas. Collection of Carnegie Museum of Art, Pittsburgh. Courtesty of the artist and Marian Goodman Gallery.
ARTISTS AT THE INSTITUTE Julie Mehretu Institute of Fine Arts at NYU Lecture / Artist Talk Tuesday May 14, 2013, 6:30 PM www.nyu.edu
Tuesday, April 23, 2013 6:30 PM in the Lecture Hall The Institute of Fine Arts, New York University followed by a reception
Julie Mehretu's wall paintings and works on paper overlay architectural plans, diagrams and maps of both the urban and natural environments with abstract forms and personal notations to convey the energy and chaos of today's globalized world. These shards of color and planar forms seem to be suspended between surface and ground, often caught in centrifugal motion around the axis of her compositions, calling attention to the tensions between "movement and stasis, freedom and control, chaos and order, and individual action and collective power." Drawing from her own itinerant biography, Mehretu comments on border-crossing and travel, emphasizing the dynamism of international cities, but also their dangerous militarization of spaces and bodies.
Born in Ethiopia, Mehretu earned her BA from Kalamazoo College (1992) and MFA from Rhode Island School of Design. Her works are in the collections of the Museum of Modern Art, NY; Museum of Fine Arts, Boston; the Hammer Museum, Los Angeles; and National Gallery of Art, Washington DC.
Taking advantage of the IFA’s location in one of the world’s leading art centers, the Graduate Student Association invites artists to discuss their work at the Institute. Begun in 1983, these talks are now funded by a generous gift in memory of late IFA Professor Kirk Varnedoe, who inspired the series.
The lectures are free and open to the public, but an RSVP is required. To make a reservation for this event, please click here. Please note that seating in the Lecture Hall is on a first-come first-served basis with RSVP.
Student Coordinators: Anne Wheeler and Jeffrey Uslip
The Upper East Side 1 East 78th Street, New York NY, 10075
Lecture / Artist Talk Tuesday May 14, 2013
Janine Antoni, Loving Care, 1992, Performance with “Loving Care” hair dye, Natural Black, Dimensions variable, photographed by Prudence Cuming, Associates at Anthony d’Offay Gallery, London, 1993
Brooklyn Commons: Janine Antoni and Anastasia Ax International Studio & Curatorial Program (ISCP) Lecture / Artist Talk Tuesday May 14, 2013, 6:30 PM www.iscp-nyc.org
Seating is limited so please arrive early.
Brooklyn Commons, a discussion series this spring at ISCP, presents intellectual and artistic pairings between the established Brooklyn-based artist community and ISCP residents. This series puts artists in conversation who have not shared a dialogue in the past and focuses on the vibrant and diverse cultural practitioners living and working in Brooklyn, both long- and short-term.
On May 14th, Janine Antoni and Anastasia Ax will consider sculptural production in relation to process and the body.
Janine Antoni’s artwork captures the human condition in a complex and subtle way. Her work takes on a physicality that speaks directly to the viewer’s body, unleashing a deeply felt emotional response. She employs a variety of mediums to captivate her viewers including sculpture, photography, installation, and video. Born on January 19,1964 in Freeport, Bahamas, Antoni received her BA in 1986 from Sarah Lawrence College and her MFA from Rhode Island School of Design in 1989. Her work has been shown in exhibitions nationally and internationally. Antoni lives in New York and is represented by Luhring Augustine Gallery.
Anastasia Ax was born in 1979 and lives and works in Stockholm. She works in a variety of media such as drawing, installation, sound, performance and sculpture. Her performance acts and site-specific installations are characterized by architectural collapse and transformations over time, and pose questions about artistic authorship and institutional control. Recent exhibitions include Imagine Death, CSV Center, New York; Swedish Energies, ISSUE Project Room, New York; Explosion!, The Joan Miró Foundation, Barcelona; and Explosion!, Moderna Museet, Stockholm. Ax was shortlisted for the Carnegie Art Award 2010.
Brooklyn Commons is organized by Kari Conte, ISCP Director of Programs and Exhibitions.
Svay Sareth, Mon Boulet, 2011, metal, 200 cm sphere, courtesy of the artist and SA SA BASSAC
Dialogues in Contemporary Art: Take 5, with Erin Gleeson and Leeza Ahmady ICI Curatorial Hub Lecture / Artist Talk Tuesday May 14, 2013, from 7:00 PM to 8:30 PM www.curatorsintl.org
Leeza Ahmady and Erin Gleeson, co-curators of the Season of Cambodia Visual Art program, IN RESIDENCE, will discuss the curatorial process that brought together 10 Cambodian contemporary artists, one curator, 14 New York institutions, and numerous international scholars, critics, and curators for two months of residencies and public programs. IN RESIDENCE opens up a significantly visible dialogue around contemporary art practice in Cambodia to New York City audiences.
This event is free and open to the public. Please RSVP to firstname.lastname@example.org with DCA TAKE 5 in the subject field.
This program is a co-collaboration between ICI and AhmadyArts, and presented as part of IN RESIDENCE, the Visual Art Program of Season of Cambodia, a Living Arts Festival. Season of Cambodia is a special initiative of Cambodian Living Arts in partnership with Cambodia’s leading arts organizations and New York’s most vibrant cultural and academic institutions. The Festival features more than 125 Cambodian performing and visual artists at New York City’s stages, screens, galleries, and public spaces, creating a broad and dynamic platform for Cambodia’s cultural treasures to be shared with an international audience. For more information about IN RESIDENCE program and complete schedule of events, click here.
Leeza Ahmady Born in Afghanistan and based in New York, Leeza Ahmady is an independent curator, the Director of Asian Contemporary Art Week (ACAW), and dOCUMENTA(13) Agent. Ahmady has traveled widely in Central Asia, presenting the largely unknown artists of the region in international art forums such as the Venice Biennale, Istanbul Biennial, and Asia Art Archive in Hong Kong. She directs Asian Contemporary Art Week (ACAW), an annual event initiated by the Asia Society, New York, comprising a series of special exhibitions, lectures, and performances at leading city museums and galleries. Ahmady’s efforts in complicating categorical notions about Asia have resulted in an expanded list of participating artists, and a broad consortium of venues that support the initiative, such as the Guggenheim Museum and the Museum of Modern Art.
Erin Gleeson Erin Gleeson is a curator focusing on contemporary art in Cambodia. Current projects include Season of Cambodia visual arts residency and the public program IN RESIDENCE, NYC; the exhibition and book Phnom Penh: Rescue Archeology/ Contemporary Art and Urban Change in Cambodia ifa, Germany; and the 4th Singapore Biennale. She was a nominee for the 2012 ICI Independent Vision Award and the recipient of a 2013 Foundation for Arts Initiatives travel grant. Gleeson is currently Artistic Director of SA SA BASSAC, an exhibition and residency space and reading room dedicated to facilitating, archiving, and mediating contemporary art projects and dialogues in and from Cambodia.
Tribeca / Downtown 401 Broadway, Suite 1620, New York NY, 10013
Reading Tuesday May 14, 2013
Image from In Search of the Public: Notes on the Contemporary American City
Reading Images: In Search of the Public Storefront for Art and Architecture Reading Tuesday May 14, 2013, from 7:00 PM to 9:00 PM www.storefrontnews.org
READING IMAGES SERIES: In Search of the Public May 14, 2013 7pm
At the Reading Images Series: In Search of the Public, Storefront for Art and Architecture and the authors of In Search of the Public: Notes on the Contemporary American City, including Mario Gandelsonas, Rafi Segal and Els Verbakel, will discuss public space and how recent urban events such as Occupy Wall Street have modified citizens’ understanding of public space.
Washington, DC (May 2013) — How much is public space worth? How can it be mapped, understood, and strengthened? In Search of the Public: Notes on the Contemporary American City (Publication Date: May 27, 2013) presents a collection of projects, essays, and interviews from prominent experts that deal with the evolving role of public space within contemporary American urbanism.
The authors look at public spaces from an economic perspective, viewing them as public goods at a time when the public realm is shrinking in many cities as the market of dollars takes priority over the market of ideas. In each piece, leading thinkers tackle the challenge of making shared space in an age of urban growth and change.
The book examines public space from ancient agora to Washington D.C.’s Anacostia waterfront. Authors look at the imminent build out of New Jersey—an extreme situation that prefigures a nationwide encounter with the limits of sprawl. Lastly, the book exposes “the public” as the blind spot of an urbanism that dismissed the relevance of public spaces, an absence that became glaring with the reactivation of public spaces by social media, popular uprisings in the Middle East, and the “occupy” movement in the United States and around the world.
Contributors come from a range of disciplines including architecture, policy, and non-profit advocacy. Contrary to urban studies that focus their efforts on issues such as zoning, building codes, and land use policy, this publication focuses on the relevance and potential of architecture—as a practice of programming and form making—to transform the city and change our conception of public space.
By bringing together a range of perspectives, In Search of the Public underscores the value—and necessity—of an urbanism that respects community, particularly in an age of social, economic, and environmental challenges.
About the Book In Search of the Public: Notes on the Contemporary American City presents a collection of essays, interviews, and projects that deal with the role of public space within contemporary American urbanism. This publication examines the physical, social, and political impact of public/collective space through three key aspects: ownership, density, and the right of access within the city. The book looks at public spaces from an economic perspective viewing the spaces as public goods at a time when the public realm was rapidly shrinking as a result of the extreme dominance of the market of dollars versus the market of ideas. The text also confronts the imminent build out of New Jersey—and extreme situation that prefigures a nationwide encounter with the limits of sprawl. Finally, the book exposes the public as the blind spot of an urbanism that dismissed the relevance of public spaces that are now reactivated by the reinvestments in urban areas.
Contributors come from a range of disciplines, bringing together perspectives of architects, politicians, academics, and non-profit advocates. Contrary to urban studies that focus their efforts on issues such as zoning, building codes, and land use policy, this publication focuses on the relevance and potential of architecture—as a practice of programming and form making—to transform the city and change our conception of public space.
About the Authors Mario Gandelsonas is a professor of architectural design, Class of 1913 Lecturer in Architecture, and the director of the Center for Architecture, Urbanism, and Infrastructure at the Princeton University School of Architecture.
Rafi Segal is principal of Rafi Segal Architecture Urbanism, located in Tel Aviv. He received his Ph.D. from Princeton University and has taught at the Harvard University Graduate School of Design.
Els Verbakel is a founding partner of Derman Verbakel Architecture in Tel Aviv and a lecturer at the Technion Faculty of Architecture and Town Planning.
------------------------------------------------------------------------------------------------ The Reading Images Series is an event series that brings groups of scholars, architects, artists and critics together to closely look into images and construct arguments, narratives and observations that produce incisive readings of form, politics, gaze and representation.
Soho 97 Kenmare Street, New York NY, 10012212-431-5795 email@example.com
Screening Tuesday May 14, 2013
Augen: Super Ball and Ziggy Atem Presented by C. Spencer Yeh Light Industry Screening Tuesday May 14, 2013, 7:30 PM www.lightindustry.org
Light Industry hosts a double bill of VHS tapes from legendary Japanese noise label Augen.
“For a moment in the mid-90s, amongst aficionados of the organized sound (music?) form noise—in particular the ethnographically delineated Japanese Noise—no one knew what was happening. The visceral and chaotic gestures which initially defined the genre, like the use of rock and roll detritus to make a new garbage language, had folded back on themselves. Noise strategy was simultaneously highly exclusive—a modern rendition of the Futurist anthem, hurtling past prevailing notions of taste or musical idiom—and indiscriminately inclusive, because when you start from a supposed nothing, everything is allowed. The appetite of noise was always too big for its own self-digestion, so some of the flock wandered outside of the field to feed on other genres. It became less about what equipment you used, how loud you walked, and more like punk rock: an ideology and attitude. As an invasive growth, it effortlessly tunneled through rock, pop, techno, onwards. A few noisemongers at the time even appointed this particular pollution a new genre—scum—a niche hybrid predicated on the body of larger extant forms.
Noise is not without its own idols. Noise is notorious in its self-documenting and self-publishing, but in the end noise could not escape the vicissitudes of culture and history. The wildest rumors and legends were proven to be true years later (the Hanatarashi destroying a small club with a backhoe, the Merzbow ‘Merz-cedes’ with a CD welded into the stereo) and corroborated via blog posts and YouTube uploads. Yet despite best intentions, the stacking of touchstones always creates forgotten spaces; “you weren’t there” can only go so far without substantial documentary capital, and so in these cracks we find the scum of Super Ball and Ziggy Atem.
With scant exception, both artists’ legacies are primarily (and arguably best) preserved on a pair of tapes released by Japanese VHS label Augen (b. 1994). Augen specialized in these home video releases, and while much of their catalog is worth exploring, the majority of its titles feel supplemental to the respective artists’ recorded works and continued performance practice. In the bizarre parallel universe where outfits such as Caroliner Rainbow and Costes can be considered ‘established,’ it is with these two near-forgotten acts that video actually saved the radio star (ugh).” - CSY
Super Ball Teenage Superstar on Stage VHS, 1995, 45 mins
“Legendary highschool girl trio.They can't play any instrumental and music. Real stupid japanese teenage DADA or GUTAI performance. Thurston Moore selected this video for '95 best 10 of CROSSBEAT magazine in Japan.” - Augen catalog description
“As much of a ‘buzz band’ as you can have in the Osaka noise scene, Super Ball began after leader Nao attended a live performance of Japanese noise-rock act the Boredoms. Inspired to ‘do something’ despite a lack of perceived experience, she recruited two of her peers, wound up a toy bear as the drummer, and blew through a couple initial band names (including Miss Osaka and Death Fuck). Teenage Superstar on Stage follows Super Ball and their anti-performances over the course of a year and change. The video document serves as both their official debut album, as well as their greatest hits collection. Yamatsuka Eye of the Boredoms said they gave him more of a shock than hearing Butthole Surfers for the first time. Between that and opening for the Lunachicks, any rocknroll aspirations were more than fulfilled. As Nao had been quoted in the crucial Japanese noise zine Exile Osaka from 1994, ‘I’m not thinking of doing Superball for my whole life and there’s no way that being in a band is going to put groceries on the table.’” - CSY
Ziggy Atem C.I.A. Dry Ice System: Music of Death VHS, 1995, 33 mins
“Strange cosmic noise act by an alien from mental hospital. He can speak another planet language.It's not joke. Nobody believes it but he only belives so.......” - Augen catalog description
“A document in two sections, the first being in the ‘studio,’ eavesdropping on Ziggy’s private speak-n-dance through the prism of primitive video effects. The second finds Atem in the club; outed, Atem is static. He rants, hands mostly folded or at his sides, his backing band equally still as his shadow, while a dancer flamboyantly frames the performers and audience. Not much is known about Atem—there were a couple of cassettes and one CD under the name Satan Alpha Beel Atem (released by Augen-affiliated imprint Horen). Some have tried to tag him with ‘outsider’ status, while others view him as a curiosity in a long line of progressive oddity. All one can do is watch and wonder.” - CSY
C. Spencer Yeh is recognized for his interdisciplinary activities and collaborations as an artist, composer, and improviser, as well as his music project Burning Star Core. Recent recorded works include Ambient (with Robert Piotrowicz), 1975, and Transitions, under the CS Yeh moniker. Yeh also volunteers as a trailer editor and occasional programmer for Spectacle Theater in Williamsburg, Brooklyn.
Tickets - $7, available at door.
Please note: seating is limited. First-come, first-served. Box office opens at 7pm.