Tag Archives: contemporary

Carla Gannis, Brian L. Frye, Dmitry “Dima” Strakovsky & Tim Schneider | The Art Markets Are Present

The Art Markets Are Present

Carla Gannis, Brian L. Frye,Dmitry “Dima” Strakovsky & Tim Schneider

Thursday, August 25 | 7 pm

"Autoeroticomplete" is the title 2015, animated gif by Carla Gannis

“Autoeroticomplete” is the title
2015, animated gif by Carla Gannis

Special presentation discussing the intersection between art, technology, and business.  Followed by a panel discussion with the artists and writers.

Moderated by Lara Pan

Free Admission

About the Participants

Carla Gannis
www.carlagannis.com
@carlagannis

Carla GannisCarla Gannis identifies as a visual storyteller. With the use of 21st Century representational technologies she narrates through a “digital looking glass” where reflections on power, sexuality, marginalization, and agency emerge. She is fascinated by digital semiotics and the situation of identity in the blurring contexts of physical and virtual.


Gannis has also participated on numerous panels regarding intersections in art and technology including “Let’s Get Digital” at the Metropolitan Museum of Art and “Cogency in the Imaginarium” at Cooper Union and at the School of the Art Institute of Chicago. In 2015 her speculative fiction was included in DEVOURING THE GREEN:: fear of a human planet: a cyborg / eco poetry anthology, published by Jaded Ibis Press.

Since 2003, Gannis’ work has appeared in over 20 solo exhibitions and numerous group exhibitions both nationally and internationally. Her most recent solo exhibitions include “A Subject Self-Defined” at TRANSFER Gallery, Brooklyn, NY and “The Garden of Emoji Delights” both at Real Art Ways, Hartford, CT and at The Hudson River Museum, Yonkers, NY. Features on her work have appeared in The Creators Project, The Huffington Post, Wired, Buzzfeed, FastCo, Hyperallergic, Art F City, Art Critical, The Wall Street Journal, The New York Times, ARTnews,  and The LA Times, among others.


Brian Frye
http://ournixon.com/
@brianlfrye
Brian FryeBrian L. Frye is a filmmaker, writer, and professor of law. His films explore relationships between history, society, and cinema through archival and amateur images. In 2013, he produced the documentary Our Nixon, which was broadcast by CNN and opened theatrically nationwide.

Brian L. Frye is also Spears-Gilbert Associate Professor of Law at the University of Kentucky College of Law. He joined the faculty of the College of Law in 2012. He teaches classes in civil procedure, intellectual property, copyright, and nonprofit organizations, as well as a seminar on law and popular culture.

Brian’s films have been shown by The Whitney Museum, New York Film Festival, Pacific Film Archive, New York Underground Film Festival, San Francisco Museum of Modern Art, The Warhol Museum, Media City and Images Festival. His films are in the permanent collection of The Whitney Museum. His writing on film has appeared in October, The New Republic, Film Comment and The Village Voice. A Professor of Law at the University of Kentucky, his legal scholarship concerns interactions between the law and the arts, focusing on issues relating to nonprofit organizations and intellectual property. Brian is a Creative Capital grantee and was named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2012.

Dmitry “Dima” Strakovsky
www.shiftingplanes.org/
@dima_strakovsky

Dmitry "Dima" Strakovsky Dmitry “Dima” Strakovsky was born in St.Petersburg, Russia in 1976. He has lived in the United States since 1988. Dima completed his MFA degree at The School of the Art Institute of Chicago’s Department of Art and Technology and stayed in Chicago for several years producing art and working for various companies in the toy invention industry. He has been able to parlay this experience into a series of classes that deal with electro-mechanical fabrication and software development in the arts.

Dima’s work spans diverse media and conceptual interests. Collaborative performances, media installations, drawing and sculptural works are just some of the examples of different modalities that define his output. His work has been included in a variety of exhibitions and events at venues such as Tokyo National University of Fine Arts and Music, Moscow Biennale, Mediations Biennale (Poznan) and Indianapolis Museum of Contemporary Art.

Tim Schneider
www.thegray-market.com/about/
Tim Schneider
Tim Schneider is a an LA based freelance writer who primarily focuses on the intersection of art, tech, and business. He founded the blog The Gray Market in 2013. The Gray Market seeks to help fine artists, art dealers, and arts professionals build sustainable careers in an industry where economics are seldom discussed, best practices have yet to be developed, and technology is (finally) creating change.

Previously, he spent seven years in the Los Angeles gallery sector, primarily overseeing prominent private and corporate collections, as well as project-managing site-specific installations by leading blue-chip artists. While he continues writing, Schneider now also consults on diverse projects for dealers, artists, collectors, and startups, as well as providing expert testimony in legal matters on the inner workings of the art market. His first book, The Great Reframing: How Technology Will––and Won’t––Change Contemporary Art Sales Forever, will be completed later this year.

 

Conceived by Lara Pan

Contact: press@whiteboxny.org

Presented by WhiteBox
@WhiteBoxny
#WhiteBoxLab

 

Sergio Krakowski : Exclusive Performance for WhiteboxLab | Aug 11 @ 9:30 PM

Sergio

WhiteBoxLab>>SoundLounge
Critical Thursdays

Sergio Krakowski
Exclusive Performance for WhiteboxLab

Thursday, August 11 | 9:30 pm

Followed by conversation with Sergio Krakowski & Lara Pan

About the artist:
Born on December 18th 1979, Sergio dedicated his whole life to the Pandeiro, also known as the Brazilian Tambourine. A complete “hand drum kit”, this instrument has always been considered a symbol of Brazilian Music and Culture. Crossing whatever national and cultural barrier, Sergio made this instrument a possible tool in various musical genres, from the Choro, the fundament of Brazilian Music, to Jazz, Contemporary and Electronic Music.

In his twenty year career, Sergio Krakowski has shared the stage with artists such as Maria Bethânia, Gonzalo Rubalcaba, Lionel Loueke, Donny McCaslin, Anat Cohen, David Binney, Edmar Castañeda, Cyro Baptista, Gregoire Maret, Tigran Hamasyan, Dan Weiss, Miles Okazaki, John Escreet, Nate Wood, Lenine, Chico César, David Linx, Chano Domínguez, Maria João, Mario Laginha, Nelson Veras, Yamandú Costa and Hamilton de Holanda.

In June 2013, Sergio moved to New York and got involved in many musical projects, recorded on the album “Anacapa” by David Binney, joined Edmar Castañeda’s World Music Ensemble, created a duo project with Cyro Baptista that played at the legendary experimental music headquarter, The Stone, and joined the Choro Aventuroso, Anat Cohen’s Brazilian music band that performed in NYC’s most prestigious venues such as the Jazz at Lincoln Center, the 54 Below, and outside the US, at the Umbria Winter Jazz Festival.  He also performed as part of the exhibition Ernesto Neto: el cuerpo que me lleva at the Guggenheim Museum, Bilbao.


 

The artist will discuss his art practice and most recent album, “Pássaros: The Foundation of the Island” released by Ruweh Records on June 2nd at National Sawdust.

Link to artist’s website: http://www.skrako.com/

Conceived by Lara Pan

Contact: press@whiteboxny.org

Presented by WhiteBox
@WhiteBoxny
#WhiteBoxLab

 

The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs
and New York State Council for the Arts

NYSCA
Department of Cultural Affairs NYC

Outsider Art Film Screening & Rare Works on View S.S.S. (Sava Sekulic Self-Taught) Thursday, Aug 4 @ 7pm

Sava Sekulić, The Pig with the Four Heads, 1960
WhiteBoxLab>>Critical Thursdays 

 Outsider Art Film Screening & Rare Works on View

S.S.S. (Sava Sekulic Self-Taught)
Thursday, August 4 | 7pm
Free Admission

 

About the Film


Sava Sekulić (1902-1989), a poet and a painter, was a unique phenomenon in Serbian modern art having been part of the ‘marginal’ group L´Art Brut. Illiterate until the age of 30, he taught himself how to read and write, signing his works “CCC” (SSS in Cyrillic) standing  for Sava Sekulić Samouk, “Samouk” meaning Self-Taught. This film was recorded in Belgrade and Jagodina (Svetozarevo, Ex-Yugoslavia) in 1973, remaining the only existing documentary on his life and work.

 

About the Artist

After being rejected and mistreated in his poverty-stricken hometown of Bilisani in Croatia, the 17-year old Sava Sekulić set out for a new life.  Barefooted, he marched from place to place, working at various odd jobs across Croatia, the Lika region, Slavonia and Syrmia, and eventually found himself in Belgrade where he lived for the rest of his life. He took any job he got offered – farm laborer, lumberman, bricklayer, and factory worker – and struggled just to barely survive. In 1924, he married his first wife who passed away shortly after their only child’s death. Deeply affected by yet another tragic loss, Sava Sekulić started painting and writing poetry in 1932. Having been an illiterate until the age of 30, he taught himself how to read and write and signed his works “CCC” meaning “SSS” in the Cyrillic alphabet and standing for Sava Sekulić Samuk, “Samuk” meaning self-taught.

 

About the Director


Slobodan D. Pesic was born in 1956 in Novi Sad, Serbia, Yugoslavia. He is a director and writer, known for The Harms Case (1987), Heart of a Dog and Recycle This Movie.

Pesic also co-wrote (with Annie Gottlieb) a book: “The Cube” (HarperCollins SF, 1995), which has been translated into 6 languages. The Cube is an imagination game—and more—that holds a secret you are dared not to reveal. Last seen making the rounds in the coffeehouses of Eastern Europe, the Cube is rumored to be of ancient Sufi origin, but no one really knows for certain. This mystery game just seems to reappear when and where it is needed. Now it is here! Inside these pages, the game is revealed along with intriguing stories of others who have played the Cube—including such celebrities as Gloria Steinem, Willem Dafoe, Erica Jong, and Judy Collins.

 

Conceived by Lara Pan

 

 

Presented by WhiteBox
@whiteboxny
#WhiteBoxLab

 

The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the Arts

 

 

Natalie White for Equal Rights

  March to Washington D.C. July 8 – July 23, 2016 #MarchforERA Dear Friends, From July 8-23, 2016, Natalie White For Equal Rights will be leading a march from New York City to Washington, D.C. in protest of the lack… Continue reading

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Natalie White for Equal Rights

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WhiteBox presents

In collaboration with Wallplay

NATALIE WHITE FOR EQUAL RIGHTS

 

EXHIBITION – JUNE 5 TO JULY 9, 2016

OPENING RECEPTION – SUNDAY JUNE 5 | 4-8PM

MARCH TO WASHINGTON D.C – JULY 8 TO JULY 20, 2016

CLICK HERE TO DONATE TO NATALIE WHITE’S MARCH FOR EQUAL RIGHTS

Press

Huffington Post, Natalie White For Equal Rights, by Ruth Young

Page Six, Ex-Peter Beard muse Natalie White marching for equal rights, by Richard Johnson

Untitled Magazine, Artist Natalie White Bares It All In the Name of Equal Rights, by Admin21

Popdust,  Natalie White, Topless Artist Wants Us To Make More Money!, by Suzy McCoppin

Press Release
New York City- WhiteBox and Wallplay are pleased to present Natalie White for Equal Rights, an interactive multimedia solo exhibition by Natalie White. Dedicated to raising awareness for the ratification of the Equal Rights Amendment (E.R.A), the show promotes the need for inclusion. “Everybody wins if the E.R.A is passed,” says White. The exhibition serves as a launching platform for a two week march from New York City to Washington, DC, to raise awareness of the Equal Rights Amendment with the mission of educating people about the issue along the way.

The United States is only one of seven countries in the world along with Iran, Somalia, Sudan, South Sudan, and the two Pacific Island nations Palau and Tonga that have not ratified the UN Convention on the Elimination of All Forms of Discrimination of Women (CEDAW). Known as the International Bill of Rights for Women, CEDAW has been signed and ratified by 187 countries, virtually every other country on Earth. This fact is what inspired White to dedicate her life to getting the E.R.A passed, raising awareness through her art.

“The Vietnam War ended in part because rock and roll music brought attention to the issue and a call for peace was transmitted through art. The Civil Rights movement was spearheaded by poets and activists calling out their leaders. I am an artist– it is my duty to help stop centuries of discrimination against women. Even if it’s not convenient or easy, it must be done,” says White.

Natalie White for Equal Rights features White’s self-portrait double exposure oversized polaroid images in red, white and blue. A bronze sculpture of White, nude in combat boots holding the American Flag is the centerpiece of the exhibition. The underground exhibition space will feature an interactive study with books on the Constitution, a timeline of the history of the E.R.A and information on steps that can be taken to get it passed. A series of propaganda flags will be shown, “Sons of Liberty, Defend the Republic” will alternatively read, “Sisters of Liberty, Demand Equal Rights”. Moreover, instead of the original flag in which the rattlesnake is sliced into pieces that originally represent the states of the Colonial America, White’s redefined flag will have abbreviations of the states that have yet to ratify the E.R.A.

The Equal Rights Amendment (ERA) is a proposed amendment to the United States Constitution that would expressly prohibit discrimination against girls and women on the basis of gender. The Constitution currently does not guarantee equal rights for women. In her work, Natalie White advocates for a more progressive legislature, rooted in the fact that economic inequality, pregnancy discrimination, violence against women, and other forms of discrimination against women and girls are pervasive and leave women without effective legal recourse. State laws are not uniform and federal laws are not comprehensive. Moreover, these laws can be, and in some cases have been, rolled back at any time.

Natalie White is a provocative and progressive feminist artist, best known for her self-portrait work in giant polaroid photography and her contributions as a “muse” to the work of many of today’s art and fashion luminaries, such as George Condo, Olivier Zahm, Will Cotton, Spencer Tunick, and Sean Lennon. “Feminist by nature, riot by habit”, Natalie White is a leader in advocating for female empowerment and self-affirmation through art. Born in 1988 in Fairmont, West Virginia, White first gained attention internationally as a young model. She is notably the first American ever to be featured in French Playboy. Reclaiming the objectification of her body as her own art in 2013 at Who Shot Natalie White, a retrospective from twenty five artists for whom she had been a muse, White debuted herself as a solo artist. She also has performed at the Art Basel Miami Women in Art benefit in collaboration with the Brooklyn Museum’s Elizabeth Sackler Center.

Laura O’Reilly, founder of Wallplay, curated the first installment of Natalie White for Equal Rights entitled “Instant Gratification”, in September 2015 at Wallplay’s store-front project space in The Hole. The installation featured a daily performance piece by White, topless and enclosed in a plexiglass box in the front window with a sign stating that the E.R.A had never been passed, a fact which most women walking by were not aware of. Natalie White for Equal Rights is a platform and exhibition produced with the aim of bringing wit and enjoyment to the daunting process of instigating policy change.

White’s exhibition at WhiteBox will serve as a launching platform for a two week march from New York City to Washington, DC in protest of the lack of ratification of the Equal Rights Amendment. Feminists of all genders, age, religion and race are invited to participate. There will be two stops a day in various cities and towns along the way. The concluding stop of each day of the March For ERA will feature festive speeches, a concert and collaborative art installations. Participants will stay and rest at community centers, rock & roll tour buses and campgrounds. Once the March reaches DC, there will be a final protest asking Congress to vote to extend the deadline on the ERA. A supermajority of Congress (⅔ of Congress) will have to vote to extend the Equal Rights Amendment before ratification would go to the States.

Natalie White and WhiteBox are raising money for the march through donations channeled through WhiteBox, a 501 c3 organization, as well as crowdsourcing on Kickstarter and donations through art sales from the exhibition.

 

CLICK HERE TO DONATE TO NATALIE WHITE’S MARCH FOR EQUAL RIGHTS
   

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Organized by Juan Puntes

Curated by Laura O’Reilly

Contact: press@whiteboxny.org

The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the Arts

www.NatalieWhiteForEqualRights.org

NYSCADepartment of Cultural Affairs NYC

In-between Program Series: Let the Bidding Begin & Sonic Sea

WhiteBox presents

In-between program series

Let the Bidding Begin & Sonic Sea

 

Tuesday, May 31 | 6 – 9pm

Let the Bidding Begin




 

Giovanna Olmos | Johan Wahlstrom | Li Guangming

Three act performance inspired from the current art market trends and political landscape.

Act I | 6pm
Untitled (How to sell a digital painting) conceived by Giovanna Olmos

Act II | 7pm
Per Square Inch is a staged art auction that artist Johan Wahlstrom imagined. For this performance he collaborates with artist Marina Markovic and actress Katie Apicella.

Act III | 8:30pm

Special performance by Li Guangming. Inspired by nature and Daoist thought Li Guangming will do a performance and the audience will be invited to bid per square foot.

Special thanks to Barbara and Ed Jr. from Stonewallfarms.net | Jeffersonville NY

Conceived by Lara Pan

Wednesday, June 1 | 7pm

Sonic Sea

A Film by the Natural Resources Defense Council (NRDC), Imaginary Forces (IF), International Fund for Animal Welfare (IFAW) and Diamond Docs.

Sonic Sea is a 60-minute documentary about the impact of industrial and military noise on whales and other marine life. It tells the story of Ken Balcomb, a former US Navy officer who solved a tragic mystery involving a mass stranding of whales in the Bahamas—and changed forever the way we understand our impact on the ocean. In the darkness of the sea, whales depend on sound to mate, find food, migrate, raise their young and defend against predators. But over the last century, human activity has transformed the oceanʼs delicate acoustic habitat, challenging the ability of whales and other marine life to prosper, and ultimately to survive. Sonic Sea offers solutions and hope for a quieter ocean, and underscores that the oceanʼs destiny is inextricably bound with our own. Sonic Sea is narrated by Rachel McAdams and features the musician, human rights and environmental activist, Sting, in addition to the renowned ocean experts Dr. Sylvia Earle, Dr. Paul Spong, Dr. Christopher Clark and Jean-Michel Cousteau. The film was produced by the Natural Resources Defense Council (NRDC) and Imaginary Forces in association the with International Fund for Animal Welfare (IFAW) and Diamond Docs. Sonic Sea was directed and produced by Michelle Dougherty and Daniel Hinerfeld, written by Mark Monroe (The Cove, Racing Extinction) and scored by the Grammy-winning composer Heitor Pereira (Minions, Itʼs Complicated).

 

NYSCA     Department of Cultural Affairs NYC

On View Now | 585,000 m2 – History of the Jewish Quarter of Budapest A Mixed Media Exhibition

WhiteBox Presents In association with The Balassi Institute- Hungarian Cultural Center 585,000 m2 History of the Jewish Quarter of Budapest A Mixed Media Exhibition April 7-21, 2016 Wednesday through Sunday 11am – 6pm Participating Artists Zsuzsi Flóhr, Zsófia Szemző, Márton Szirmai,… Continue reading

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Ear to the Earth – GetTogether #1 “Jungle-Ized”

Date: Thursday March 31, at 7:30 Location: WhiteBox 329 Broome St Opening event of the new Ear to the Earth – GetTogether #1. Soundwalk Collective discusses Jungle-Ized, their upcoming project in Times Square and Francisco Lopez’s sound recording in South… Continue reading

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JOHN CAGE: MAN AND MYTH (1990) SCREENING PREMIERE – LIVE MUSIC & FILM & PANEL

DATE: Sat. April 2 at 6-9pm LOCATION: WhiteBox 329 Broome Street Suggested donation $10, students/seniors $5 Director Mitch Corber’s “John Cage: Man and Myth”—the rarely seen 1990 cult documentary classic capturing Cage, the zen genius, in his twilight years yet… Continue reading

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JOHN CAGE: MAN AND MYTH (1990) Screening Premiere – Live Music & Film & Panel

WBX_JohnCage

Suggested donation $10, students/seniors $5

Director Mitch Corber’s “John Cage: Man and Myth”—the rarely seen 1990
cult documentary classic capturing Cage, the zen genius, in his twilight years
yet at the height of his powers—is back, in a fresh, digitally-remastered
format to speak to a new generation.
A special multimedia evening this Sat. April 2 (info above) is slated
to fete Cage and the stellar reissue.
6:00 pm   Prelude
Live electronica music music from Cage devotee Lorin Roser and
surprise guests, along with Cage mesostic poetry video short by Corber.
6:45 pm   JOHN CAGE: MAN AND MYTH video-projection
8:00 pm   Panel Discussion “John Cage for a New Generation”
panelists include violist Hannah Levinson of ANDPLAY, composer
Nicholas Demaison, Roser, Corber, poet Tom Savage, artist/poet
Aliza Tucker, with moderator Adam Meyer

The doc is listed on WorldCat: “John Cage: Man and Myth” presents a spoken and musical tribute,
with comments by today’s foremost music, literary and artworld figures, and an absorbing
in-depth interview with Cage himself.” Interviewees in the cult classic doc are Cage experts
Philip Glass, Richard Kostelanetz, Alison Knowles, Jackson Mac Low, David Antin, Glenn Branca,
concert pianists Grete Sultan and Joshua Pierce, and microtonalists
Johnny Reinhard and Ivor Darreg. Dazzlingly performing his “Portrait of John Cage”
is surrealist Stuart Sherman.

“John Cage: Man and Myth” is a head-on authoritative portrait in the best tradition
of biographical documentaries. It’s also a formal tour de force as a cinematic
dialogue with the Cage esthetic itself, enshrining both charted and random elements
inside the film’s unreeling narrative.

JEAN PIERRE MULLER 7×7 : COLORBOX & A RED SHOW IN A

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7×7 with ROBERT WYATT | ARCHIE SHEPP | NILE RODGERS | TERRY RILEY | SEAN O’HAGAN | MULATU ASTATKE | KASSIN
EXHIBITION – FEBRUARY 29th TO M ARCH 29th 2016
OPENING RECEPTION – SUNDAY MARCH 6th | 4-8PM
Music Performance @ WhiteBox | Archie Shepp March 29th
Live transmission | Archie Shepp MARCH 6th

Press

Night Flight, “Colorbox” and “A Red Show in A”: Jean Pierre Muller’s “7×7″ art project continues at WhiteBox on NYC’s Lower East Side By Bryan
Le Soir, Rendre Hommage à un Islam Tolérant, by Philippe Manche (March 15, 2016)
The Armory Arts Show, JEAN PIERRE MULLER 7X7 : COLORBOX & A RED SHOW IN A

ColorBox and A Red Show in A are the latest works to emerge from Jean Pierre Muller’s innovative 7×7 project. 7×7 is an inter-disciplinary collaboration between Belgian artist Muller and seven musical luminaries from a variety of contemporary genres; Nile Rodgers, Robert Wyatt, Mulatu Astatke, Archie Shepp, Sean O’Hagan, Kassin and Terry Riley. 7×7 is based on the simple principle that the seven colors of the rainbow correspond to the seven notes of the scale, the seven days of the week (and deities and planets associated with those days) and the seven chakras. Seven sound altarpieces have been created, in an edition of seven, each housing an original music by one of the seven composers. A is Red is Monday, Day of the Moon and of Diana (Robert Wyatt), B is Orange is Tuesday, Day of Mars (Archie Shepp), and so on.

In the summer of 2012, Muller created a full site-specific set for 7×7 at Edinburgh’s Summerhall: 7x7th Street. As its name suggests, this was actually a real street with billboards, signs, small houses, …

A year later, Jean Pierre Muller and Nile Rodgers created An Indigo Night in F at the same venue, an amazing show combining music, live painting and theatre. This acclaimed event was inspired by their collaboration on the 7×7-F-Indigo sound altarpiece.

For WhiteBox, Jean Pierre Muller will present two original shows related to 7×7: ColorBox on the main level and A Red show in A on the lower level.

ColorBox

Isaac Newton divided his color wheel in seven parts: red, orange, yellow, green, blue, indigo and violet. White is in the central part of the diagram, because all colors of light mixed together produce white. 7×7  at WhiteBox makes complete sense.

How can we embrace diversity in a world torn by the conflict between standardization and obsession for identity? Muller wishes to pen the color box and celebrate the full spectrum of our lives in their many contradictions. Rather than taking the stance of the artist as a moralist, he embarks us on a journey through the seas of complexity and the skies of hybridity.

Sometimes taking a sound panoramic view on things – drawing lessons from past history, digging into the origins of words, the meaning of symbols – sometimes zooming into our most intimate obsessions, Muller utters a multi-layered cry for life, plural yet deeply personal.

As much a painter as a printmaker, Jean Pierre Muller also uses light, sound and interactivity to make us feel the beat of the world, the rhythm of life. The elements that Jean Pierre uses in his art reflect processes of urban evolution and the way people become connected to each other through common experiences and references. Like streets grown organically over time, these elements interact through juxtaposition and ever increasing layers of complexity and history. They also tell many intertwined stories, much like the intertwined stories of people in a street, who may not know each other but are linked through commonality of space and time.

A Red Show in A

Jean Pierre, together with Robert Wyatt, one of music’s greatest shamans, has expanded and deepened the rich material used for their 7×7-Red-A sound altarpiece. It is a nostalgic salute to Al-Andalusia, when Spain was under Moorish rule and religions coexisted peacefully (at least, this is the way one can dream of it today, when everything concurs to convince us we’re at war with the others). The most powerful symbol of this period is the Alhambra palace in Granada. This golden age ended in 1492 with the Alhambra Decree and the expulsion of all the Jews from Spain. Al-Hamra  means the Red one, in Arabic…

For WhiteBox, the artist has built his own Alhambra, a red temple to house the 7×7-Red-A sound altarpiece, with meaningful columns and whispering walls (with voices by Robert Wyatt, but also Terry Riley, Archie Shepp and Nile Rodgers). Muller has adapted Kazimir Malevich’s emblematic paintings of the Black Square, the Black Circle and the Black Cross into a Red Star of David, a Red Crescent and a Red Cross. These are powerful symbols to initiate a new reflection on hybridity, coexistence, expulsion… and the power of symbols.

Following on from the success of 7x7th Street  and An Indigo Night in F  with Nile Rodgers, Spectrum  and A Red Show in A represent the next stage in a truly international project of ever-growing artistic ambition and cultural resonance.

 

www.7x7project.com

www.jpmuller.be

Jean Pierre Muller is a Belgian Neo-pop artist who makes vibrant assemblages using high and low forms and techniques. In his work, photography, drawing, silk-screen and painting come together and gestural and mechanical interventions meet. His collaborations with musicians offer an interactivity to his paintings, giving his audience new participatory ways of entering his world. Jean Pierre is committed to both his art practice and his role as head of the Printmaking Department at La Cambre, one of Belgium’s leading schools of art and design. His work has been shown at the Museum of Contemporary Art in Saragossa, the Hanover World Fair, the Royal Festival Hall and, latterly, Summerhall as part of the Edinburgh Festival.

Robert Wyatt was a founding member of the Soft Machine, who along with Pink Floyd helped to transform the late sixties psychedelic scene in the UK into something more lasting. In his long and distinguished solo career, he has been mixing simple and effective keyboard melody lines with poignant lyrics, often filled with personal and political references. He’s simply the most beautiful voice in English music (5 to 6 octaves of range, each octave is of a totally different character), and the long list of his collaborators includes Jimi Hendrix, Mike Oldfield, Brian Eno, Björk, David Gilmour or Paul Weller.

NYSCA     Department of Cultural Affairs NYC

#makeamericagreatagain SATURDAY February 20th 8-10PM

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KID (Millenial) Installation, Wojtek Ulrich 2016

 

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Join us Saturday for the 2016
Presidential Caucuses
Live from South Carolina & Nevada

As seen in: Newsweek
6-8 PM Closed Doors –
Live radio web-stream of roundtable

PM On Trumpery Politics
“Donald Trump’s post-christian candidacy”

Transmitted live only VIA www.whiteboxny.org
www.criticalpractices.org

8:00 PM Project Space – Screening of
Boogie Man: The Lee Atwater Story
Film, 01h:26min by Stefan Forbes

9:00 PM Main Space – Poetry and Music
Steven Dalachinsky | Vyt Bakaitis + Nao Nishihara | Wolodymyr Starosolsky

9:30 PM Project Space – Screening of
Normal Es Bueno (I like America and America likes me)
HD Video, 28min: 47 sec by Yali Romagoza’s

SATURDAY February 20th 8-10PM
With lousy beer by COORS

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Trumps Wall, Khaled Jarrar 2016

Curated by Raul Zamudio and Juan Puntes / Co-curated by Blanca De La Torre

A group show and performances in response to the 2016 presidential election charade

Link to more information

Stay tuned ROUND TABLE AND CLOSING PARTY SATURDAY, February 20th | 6:30-10:00pm

Live from WhiteBox NYC Live streaming video by Ustream   6:30 – 8:00 pm Close Door – CPI ROUND TABLE on Trumpery Politics ”Donald Trump’s Post-Christian Candidacy” transmitted live here 8:00 – 10:00 pm – Closing party and Live from … Continue reading

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#MakeAmericaGreatAgain

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#makeamericagreatagain
February 1st – 21st 2016
Live from South Carolina
February 20th, 2016 8-10PM

 

Press
WhiteHot Magazine, #makeamericagreatagain curated by Raul Zamudio and Juan Puntes, by Gregory De La Haba
Washington Square News, Political Art Gallery Uses Satire to #makeamericagreatagain , by Hannah Starke

 
Mac Premo + Duke Riley | Louise Fishman | Regina Jose Galindo
Kyle Goen | Federico Solmi | Ivan Navarro | Cris Gianakos | James Hyde
Jaishri Abichandani | Conrad Atkinson | Isaac Aden
ANVIL Collective | Luis Alonzo Barkigia | Majeed Benteeha
Terry Berkowitz | Hans Breder | The Blue Noses | Alberto Borea
Robert Boyd | Juanli Carrion | Paolo Cirio | Tony Conway | Joseph DeLappe
Dread Scott | Eduardo Gil | Mathew Grenier | Glenn Goldberg
Pablo Helguera | Richard Humann | Samuel Jablon
Juan Lazaro + Jevijoe Vitug | Alexander Kosolapov | Teresa Margolles
Ferran Martin | Susana Pilar Delahante Matienzo | Mary Mattingly
Yusef Merhi | Igor Molochevski | Robert Priseman | Fariden Sakhaeifar | PS3*
Joaquin Segura | Vitaly Komar | Edgar Serrano | Elliott Sharp
Wolodymyr Starosolsky | Quintin Rivera Toro | Terreform ONE | Wojtek Ulrich
Ruben Verdu | Roberto Visani | Johan Wahlstrom | Jordan Weber | Roger Welch
Hans Winkler | Irena Lagator Pejovic | Antonio De La Rosa |Micha Das Bach
Luis Alonzo Barkigia | Aliana & Jeff Bliumis | Carla Gannis | Jamie Martinez
Jean Pierre Muller | Ben Sakoguchi | Khaled Jarrar | Lee Wells | Marshall and Ligorano Reese and more

#makeamericagreatagain is a group exhibition of diverse media that will run during February and coincide with the initial Democratic and Republican primaries.  The exhibition’s title is culled verbatim from Donald Trump’s campaign slogan. Appropriation does not stop there, however, for #makeamericagreatagain thematically rubs up against the demagoguery prevalent in the current American social and political landscape and rhetoric espoused by primary candidates to engender fear in the American public.

The appropriated hashtag also serves as curatorial device to further expand the exhibition into social media. The exhibition-viewing public and those not physically present to see the show, will be asked to upload images or texts with the hashtag of #makamericagreatgain onto Twitter, Instagram or Facebook. These contributions will become part of the exhibition and will be interventions into existing social media sites with the same hashtag.

Curated by Raul Zamudio and Juan Puntes / Co-curated by Blanca de la Torre

More information forth coming

NYSCA     Department of Cultural Affairs NYC

Press on Masha Alyokhina introducing Balkans Women’s Museum in Montenegro @ WBX winter benefit event hosted by Artnet

Artnet Pussy Riot’s Maria Alyokhina on Her Plans for a Women’s Museum Independent Pussy Riot to open ‘women’s­only’ museum Агентство ФрансПресс Les Pussy Riot veulent créer un musée 100% féminin Rolling Stone Pussy Riot Plan to Open ‘Women­Only’ Museum in… Continue reading

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RECYCLING RELIGION

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RECYCLING RELIGION
December 13 – January 17, 2016

 

Opening reception / Meet the artists.
Join for a conversation with Masha Alyokhina.
Sunday Dec. 13, 5-8 pm

Pussy Riot_8883

Punk Prayer by Pussy Riot

 

Press on Recycling Religion 

 

Artnet News, Pussy Riot’s, Maria Alyokhina on Her Plans for a Women’s Museum, by Cait Munro

 

Press Release

 

Recycling Religion examines the role of religion in Russia and Eastern Europe since the collapse of the Soviet empire. Paradoxically in the modern age, the once repressed and dormant Orthodox Church has evolved in the past quarter century to become an intrinsic and powerful extension of the State, commanding broad influence over life beyond its purely spiritual role.

 

From art and entertainment to dress code, and numerous other aspects of personal behavior, this essentially anachronistic religion insinuates its moralizing, oppressive influence and rancid style into life at large.

 

In the case of art, the Church goes to extreme lengths to impose and control popular taste, to the inevitable disgust of a new generation of artists—a stellar and representative group of which is represented in this exhibition—who dare to employ Orthodox imagery and symbolism to undermine the established religious canon and the dystopia it fosters in harness with state power.

 

To such artists, the Church is but a hollow vessel that sustains itself only with elaborate stage sets and costumes, outdated ritual, and severe moralizing. However, it is their contention that while the regurgitated apparatus of the official Church represents a moribund ideology, it serves also as a foil by which art can transcend tradition and discover the new-within-the-old.

 

This subterfuge is depicted vividly, and in fact compassionately, in this exhibition, in which, through installation, performance, video, and graphic art, the conservative and radical poles of post-Soviet society are shown to in fact interact. As one allegedly spiritual force engages in tearing the world apart while pretending to mend it, another, more pragmatic, biological force appeals to the need to rebuild society out of the ruins of Orthodoxy, thus recycling religion, rather than eradicating it entirely.

 

Marat Guelman / Juan Puntes.

 

Recycling Religion Artists

 

Pussy Riot, Oleg Kulik, Dmitri Gutov, Iija Soskic,
Jelena Tomasevic, Recycle Group, Alexander Kosolapov, Duke Riley + Mac Premo, Federico Solmi, Robert Priseman, ANVIL Collective, Electroboutique,
Vladimir Kozin, Pavel Brat, Arsen Savadov

 

 

Press contact : press@whiteboxny.org

 

Recycling Religion  is supported in part by Dukley European Art Community, Martin C. Liu and WhiteBox board members

 

 

The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the Arts

 

Special thanks to Postmasters Gallery, Richard Taittinger Gallery, and Magnan Metz Gallery
Special thanks to media sponsor artnet
                    Martin C. Liu and Associates

 

WINTER BENEFIT – HONORING PUSSY RIOT

    Winter Benefit   Honoring Pussy Riot   With the WhiteBox / Martin C. Liu Arts & Humanity Award   Punk Prayer by Pussy Riot   Wednesday December 16, 2015   @ 8pm   Cocktail reception, dinner & art raffle… Continue reading

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Winter Benefit – Honoring Pussy Riot

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Winter Benefit

 

Honoring Pussy Riot

 

With the WhiteBox / Martin C. Liu
Arts & Humanity Award

 

Punk Prayer by Pussy Riot

 

Wednesday December 16, 2015

 

@ 8pm

 

Cocktail reception, dinner & art raffle

 

Conversation with Masha Alyokhina / Pussy Riot
and special guests

 

Eleanor Heartney

 

Carolee Schneemann

 

Martha Wilson

 

Dread Scott

 

Marjorie Martay

 

 Press on Pussy Riot:

 

The Daily Beast, Why Pussy Riot Won’t Stop Fighting, by Anthony Haden-Guest

 

 Artnet News, Pussy Riot’s, Maria Alyokhina on Her Plans for a Women’s Museum, by Cait Munro

 

Location: Artnet Headquarters 233 Broadway NY NY 10007

Contribution Information:

Link to support WhiteBox at $300

Link to support WhiteBox as an artist at $100

Wine:

Meursault Les Meix Chavaux – 2013

Chateau Meyney Prieur de Meyney – 2005

Dinner catered by Plataforma

Introduction by Marat Guelman and Masha Alyokhina on new Balkans Women’s Museum

 

Donations include a chance to win an original artwork by:

Mary Mattingly

 Duke Riley / Mac Premo

Eduardo Gil

 

Link to exhibition with Pussy Riot press release
Press contact : press@whiteboxny.org

 

Recycling Religion  is supported in part by Dukley European Art Community, Martin C. Liu Associates and WhiteBox board members

 

 

The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the Arts

 

Special thanks to Postmasters Gallery, Richard Taittinger Gallery, and Magnan Metz Gallery
Special thanks to media sponsor artnet
                   Martin C. Liu and Associates

 

Satellite Art Fair – Miami FL – WhiteBox and Dukley European Art Community

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WhiteBox presents in collaboration with Dukley European Art Community

 

 
Recycling Religion
@
Satellite Art Fair
Miami  – Dec. 1st-6th
The Deauville Parking Garage
6625 Indian Creek Drive | Miami Beach, FL

 

 

PREVIEW AND OPENING
Tuesday, December 1 | 4:00pm to 10:00pm

 

GENERAL HOURS
Wednesday, December 2 | 12:00pm to 9:00pm
Thursday, December 3 | 12:00pm to 10:00pm
Friday, December 4 | 12:00pm to 10:00pm
Saturday, December 5 | 12:00pm to 10:00pm
Sunday, December 6 | 12:00pm to 6:00pm

 

Recycling Religion Artists

 

Vladimir Kozin, Pavel Brat, Pussy Riot, Oleg Kulik, Dmitri Gutov, Iija Soskic,
Jelena Tomasevic, Recycle Group, Alexander Kosolapov, Duke Riley + Mac Premo, Federico Solmi, Robert Priseman, ANVIL Collective, Electroboutique, Arsen Savadov

 

Curated by Marat Guelman and Juan Puntes

 

 

Satellite Art Fair Map

 

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Complimentary Art Fair Shuttle Service

 

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Press contact : press@whiteboxny.org

 

Recycling Religion  is supported in part by Dukely European Art Community and WhiteBox board members
The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the Arts
Special thanks to Postmasters Gallery, Richard Taittinger Gallery, and Magnan Metz Gallery
Special thanks to media sponsor artnet

 

                   

 

Special Guest Performance – ISAAC ADEN – NIETZSCHE’S HORSE

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Special Guest Performance

ISAAC ADEN

NIETZSCHE’S HORSE

WITH ROB SHIPIRO AS FRIEDRICH NIETZSCHE

“On 3 January 1889, Nietzsche suffered a mental collapse. Two policemen approached him after he caused a public disturbance in the streets of Turin. What happened remains unknown, but an often-repeated tale from shortly after his death states that Nietzsche witnessed the flogging of a horse at the other end of the Piazza Carlo Alberto, ran to the horse, threw his arms up around its neck to protect it, and then collapsed to the ground.”[1]

ISAAC ADEN NIETZSCHE’S HORSE _8571

Press Contact : ISAAC.ADEN@GMAIL.COM

[1] Kaufmann 1974, p. 67.

GUEST PERFORMANCES – Isaac Aden & Jon Tsoi

Special Performance Event November 15th   5:30 ISAAC ADEN NIETZSCHE’S HORSE      WITH ROB SHIPIRO AS FRIEDRICH NIETZSCHE “On 3 January 1889, Nietzsche suffered a mental collapse. Two policemen approached him after he caused a public disturbance in the streets… Continue reading

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Live performance – Jon Tsoi – Slicing Space

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WhiteBox presents

JON TSOI

Slicing Space

Recent Performative Paintings
 

Nov. 15th – Dec. 9thOpening reception
Sunday Nov. 15TH | 6-8PM
Curated by Kevin Alexander

Press contact : press@whiteboxny.org

 

JON TSOI : BLINDFOLDED is made possible in part by anonymous supporters and WhiteBox board members

 

The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the Arts.

 

 NYSCA         DCA_Logo

Video Interview – YU LIK WAI: IT’S A BRIGHT, GUILTY WORLD

Renowned Hong Kong-born, Beijing-based filmmaker Yu Lik Wai is having his debut New York solo exhibition at WhiteBox, showcasing a series of dark, fictional realities located not far from the truth. SinoVision Journal reporter Lani Nelson has the story.

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Ilija Šoškić : WBX at PERFORMA15 Maximum Energy – Minimum Time

Ilija Soskic WhiteBox Performa 15

WhiteBox at PERFORMA15 presents

Ilija Šoškić: INTERSECTIONS – Milk and Silk

(Homage to Mayakovsky and related actions)

FINAL PERFORMANCE

Maximum Energy – Minimum Time

Saturday, Nov. 21, 6pm-9pm

Free – waiting list sign up e-mail press@whiteboxny.org 
Send Email

Ilija Šoškić draws excerpts from past works–Conversation, Controversy, Arm-wrestling and Maximum Energy – Minimum Time–to be performed anew, reinterpreting those seminal actions within the context of the present.

The performance Maximum Energy – Minimum Time adapts its costuming commemorate the suicide of Vladimir Mayakovsky, a Russian Soviet poet. Dressed in a Red Army uniform, Šoškić performed Mayakovsky’s death, where he fashioned himself a soldier. Šoškić does not mourn Mayakovsky, nor does he create a martyr’s sage out of his “soldier’s death”. For him, Mayakovsky is here a vital figure, a true militant poet.

Image credit: Ilija Šoškić, Maximum Energy – Minimum Time, 1975; courtesy of the artist and White Box.

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Video Documentation – Intimate Transgressions: The Act of Doing

OCTOBER 1, 2015 PARTICIPANTS Anita Glesta, Fion Gunn, Eleanor Heartney, Shirin Neshat, Luisa Valenzuela, Juan Puntes, Raul Zamudio, Marjorie Martay The Sackler Center presents a discussion of art’s role in raising awareness of war, genocide, rape, and sexual violence, as… Continue reading

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Yu Lik Wai: It’s A Bright Guilty World

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MOCA (Museum of Chinese in America) and WhiteBox present

Yu Lik Wai: It’s A Bright Guilty World

On view October 8th through November 8th 2015
Opening reception October 8th | 6-8pm

Release – August 6th 2015
New York City – WhiteBox and the Museum of Chinese in America (MOCA) are pleased to present the first solo exhibition in New York of Yu Lik Wai, one of the most renowned filmmakers and cinematographers working today. This co-presentation of two Lower East Side/Chinatown cultural institutions will feature a recent series of photographic prints, and a 3-channel video holographic installation titled Flux (2008) by the Hong Kong-born, Beijing-based artist, who has collaborated with directors Jia Jiangke, Ann Hui, Wong Kar-Wai and Lou Ye, among others. His feature films include Neon Goddesses (1996), Love Will Tear Us Apart (1999) and Plastic City (2008). The exhibition is curated by Herb Tam, Curator and Director of Exhibitions at MOCA, and Juan Puntes, Artistic Director at WhiteBox. Link to full press release

 

Born in 1966, Yu Lik Wai is a Chinese filmmaker and photographer who lives and works in Beijing. His directorial feature films include Love Will Tear Us Apart (1999, in competition Cannes Film Festival), All Tomorrow’s Parties (2003, Cannes Film Festival Un Certain Regard) and Plastic City (2008, in competition Venice Film Festival). During his 18-year career as a cinematographer, he has shot all of Jia Zhangke’s films to date, and has worked with Ann Hui and Lou Ye, amongst others. Yu was awarded numerous international prizes, including: Best Cinematography, Los Angeles Film Critics Association Award (2008), Best Cinematography, Las Palmas de Gran Canaria International Film Festival (2004). Yu’s photographs are in the permanent collection of M+, the new museum for visual culture in Hong Kong, and the Tokyo Metropolitan Museum of Photography.

Curated by Herb Tam and co-curated by Juan Puntes
Press contact : press@whiteboxny.org

Yu Lik Wai: It’s A Bright Guilty World is made possible with generous support from Ted and  Clara Wang. Special thanks to Museum of Chinese in America.

The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the arts.

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Intimate Transgressions

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WhiteBox and CAPA (Center for Asia Pacific Affairs) present

Intimate Transgressions

On view September 3rd through October 4th 2015
Preview – meet the artists | September 3rd | 6-8pm
Opening Reception – meet the curators + performances | September 9th | 6-8pm

Panel Discussion – The Act of Doing, hosted by Elizabeth A. Sackler Center for Feminist Art – Brooklyn Museum Thursday, October 1st | 7-9pm

Introduction by Marjorie Martay founder of Art W and council member of the Elizabeth A . Sackler Center for Feminist Art. Co-moderated by Fion Gunn and Anita Glesta.
Panelists: Eleanor Heartney / Luisa Valenzuela / Shirin Neshat

Andi Arnovitz | A.N.V.I.L. Art Collective | Niamh Cunningham | Regina José Galindo | Anita Glesta | Fion Gunn | Jusuf Hadžifejzović | Nermine Hammam | Šejla Kamerić | Teresa Margolles Elahe MassumiSusana Pilar Delahante Matienzo | Chen Mei-Tsen | Chen Qingqing | Atsuko Nakamura | Gail Ritchie | Yoshiko Shimada | Xin Song | Michael Lisle-Taylor Jelena TomasevicMa Yanling | Gao Yuan

Press

Sinovision English Channel, Intimate Transgressions: Investigating Sexual Violence as a Weapon of War

Women’s Voices for Change, Art and Awareness: the Making of ‘Intimate Transgressions’ – Part 1, by Suzanne Russell

Women’s Voices for Change, Art and Awareness: the Making of ‘Intimate Transgressions’ – Part 2, by Suzanne Russell

Release – August 28th 2015
New York City – Intimate Transgressions is a multimedia exhibition of twenty-two artists from around the world responding to the challenging theme of sexual violence as a tactic of terror. The exhibition is presented by WhiteBox and CAPA. The artworks on display react to the transnational issue of violence against women during times of conflict from both a historical and contemporary perspective. As a starting point for Intimate Transgressions, the disturbing situation of the ‘Comfort Women’ during and after WWII is also the project’s central highlight. This open-ended investigation includes performance, installations, and a series of concurrent talks and workshops. The premiere at WhiteBox opens the Intimate Transgressions word tour followed by Beijing on October 25 th , 2015.

The exhibition was conceived by international artist curator Fion Gunn in association with Juan Puntes, WhiteBox Artistic Director. Commenting on the need for such an exhibition, Fion Gunn said:

The opening of Intimate Transgressions on September 3rd, 2015 marks the seventieth anniversary of Japan signing the armistice with the allied forces during World War II. Researching this historic period and uncovering the disturbing plight of the so called ‘Comfort Women’ made me realize that sexual violence against women during periods of war continues to this day and it is an outrage which is not being eradicated. With Intimate Transgressions, the issue has been raised and dialogue initiated as part of a movement to protect women from such crimes”

The artists involved in the exhibition come from as far afield as China, Egypt, Cuba, Mexico, Ireland, the United Kingdom and the United States. The work is diverse and covers a range of media and styles from drawing and print to installation and video. The cohesion of the exhibition is its desire to initiate a dialogue about conflict and violence against women from a global and shared oppositional stance

Curated by Fion Gunn and Juan Puntes

Contact : press@whiteboxny.org

Educational Film Links on Comfort Women:

Arirang Special “Comfort Women” One Last Cry by Taeyeol Park

‘Comfort Women’  by KRON TV reportage

‘An Uncomfortable Truth’  an fiction film by Jan Ruff O’Herne

Comfort Woman-Wian Bu by James Bang

About “Comfort Women”:

These women principally from Korea, China, the Philippines, Taiwan and other countries occupied by the Japanese, were abducted, forced into sexual slavery and treated with such extreme brutality, that most did not survive the war. Following the end of hostilities their plight was side-lined, no one was held accountable for their sufferings and their story was wiped from Japanese history books by those in power. While the exhibition investigates individual and collective accountability, it is not intended as a documentary of horrors. Rather it will speak of loss and resilience, of sorrow and our shared humanity.

Intimate Transgressions is supported by CAPA (Center for Asia Pacific Affairs), the Irish Consulate in New York and Arts Council of Northern Ireland.

 The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the arts.

Logo_CAPADCA_Logo  embassy-logo (1)   acni   NYSCA

Look and Listen Festival at Whitebox Art Center

 “This annual series, chock-full of edgy new music, builds on the longtime New York tradition of presenting contemporary concerts in art galleries. ” –  The New Yorker Saturday, May 2, Fred Sherry hosts the Daedalus Quartet, William Schimmel and Talujon,… Continue reading

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WhiteBox Project Room: Between Heaven and Hell

Heaven and Hell_RSans

WhiteBox Project Room presents

 Between Heaven and Hell

 A benefit exhibition

Curated by Raul Zamudio

 Photography by Romulo Sans

On view May 20th to June 10th
Opening Reception Wednesday May 20th | 7-9pm

WhiteBox Project Room is pleased to present the solo exhibition of Romulo Sans titled Romulo Sans: Between Heaven and Hell. Like the Catholic posthumous, impure state of the soul in a nether region between salvation and damnation, the exhibition explores the liminal space of other dichotomies including sacred/profane, religiosity/secularism, orthodoxy/heterodoxy, individual/collective, spirit/corporeality, and East/West.

Whereas in previous works Sans created narrative sagas that ran the gamut of gritty urban New York street culture to impeccably staged mise-en-scenes that converge haute couture with memento mori, Romulo Sans: Between Heaven and Hell is more topical by indirectly citing events within the context of social violence, Religious authoritarianism, political corruption, corporate greed, media collusion, and consumerism. Exemplifying this is a photograph of what appears to be a runway model casually smoking a cigarette with a blue recycling bag over her head filled with environmentally toxic products. Is this some avant-garde fashion accessory or a poignant eco-political work about the complacency of culture and the culture of complacency?

In another work, the word Caliphate is written in typography used in Coca-Cola advertisements. On the one hand, the work mines Western Islamophobia and its perception of terror groups wanting to become ubiquitous and inevitably corporatized. On the other hand, it also alludes to shadow economies and vulture capitalism evinced, for instance, in Western multinational corporations with subsidiaries who indirectly fund religious and political violence to create economic opportunities in their pathological desire for global power.

Proceeds will benefit Whitebox Project Room’s new programming 

ANTHROPOLOGICAL LANDSCAPE

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Whitebox Art Center
presents

ANTHROPOLOGICAL LANDSCAPE

Francesco Jodice | Carolina Sandretto | Corinna von der Groeben

On view May 12 – June 14
Opening celebration May 17th |  4-8pm

Curated by Laura Cherubini

Link to press release

Whitebox at SELECT Fair NY

Logo SELECT

Whitebox Art Center at SELECT Fair NY
May 13th -17th, 2015

General Hours
May 14 & 15 |  2 -10pm
May 16th | 12-10pm
May 17th | 12-6pm

Whitebox Art Center is pleased to present at SELECT Fair, Arial Allusions by Andriy Bazyuta featured on the rooftop with “You Are Here” Festival (aka The Maze ) and Ex of IN exhibition by Steven Holl in booth 206.

Arial Allusions | Andriy Bazyuta

Arial Allusions is an interactive, multilayered 3D dual projection work engaging visitors-as-participants through the use of ‘Kinect’ 3D sensors akin to a dendrological ideation. Beaming the moving audience from high up figure by figure will propel, in real time, the illusion of an amended architectural space where human sounds get converted into analogous geometrical images using as foil the ‘maze’ construct provided by Now You See Collective. Likewise, classic New York City rooftop elements such as the water tower, gazebos, retaining low walls, and the tar floor will become screening fields.

Figures entering the rooftop, upon coming in contact with sensors, will become active participants, their body shapes surrounded by an unlimited number of projected geometrical moving visual patterns caused by their transposed innate sounds. These sounds will be gleaned, processed, and visually mapped into constant oscillating images thrown upon various architectures surrounding the audience. The larger the crowd and the louder the sound propelled, the shakier the projected vibrating images will become, reaching a super saturated point turning into a sea of electrifying, rambling and shattering images.

Projections will be sourced from two asymmetrical perspective points. The one situated high up on the water tower will track and trap shifting bodies from above enclosing their figures into a single, vertiginously colored micro-environment which upon being approached by another body, the second low lying projector will, in synchronicity, linearly surround both images from its binary position in a dramatic overlap.

Ex of IN  | Steven Holl
Text of Yehuda Saffran.

Link to Steven Holl Architects

When geometry is no longer Euclidian we are thrown into a limitless world of the imagination. Conjugating cubic forms with spheres increases the infinite possibility to see some such configurations as a plastic reality. But a rational process does not guaranty the right ratio. Provided we are able to think, at the same time, that what we are seeing are not geometry but something else. These are some of the considerations we are obliged to entertain as we are engaged in the nature of the challenge posed to us in these experiments. These grouping and re-grouping of similar patterns is not a simple operation as it may appear. We are obliged to take the greatest care in employing harmonic ratios not only in a single form, but also in the relation of one form to each other, and it is this demand for the right ratio which could be in the centre of our conception of architecture, ultimately: “Una cosa mentale”.

Logo SELECT

WhiteboxLab>Sound Lounge: APOCRYPHA

Whitebox Art Center Classic Logo

lookandlisten2

Saturday, May 2 | 8pm

Fred Sherry hosts the Daedalus Quartet, William Schimmel and Talujon, prerforming works by Luke Carlson, Daniel Fawcett (2015 L&L composers competition winner), William Schimmel, Anna Thorvaldsdottir, and Anna Weesner.

Sunday, May 3 | 7pm

Terrance McKight hosts Miranda Cuckson, the Tyshawn Sorey Trio, and Jeffery Zeigler with Jason Treuting, performing works by Paola Prestini, Shulamit Ran, Kaija Saariaho, Tyshwan Sorey, Jason Treuting (2015 L&L commission), and Iannis Xenakis.

For tickets contact Look and Listen Festival

 

 

Oracle

Friday, May 8 | 7:30pm

In this concert, members of New Vintage Baroque wade into the ambiguous territory of anonymous, misattributed, and spurious works. Accompanying them on this journey will be the composing-singing-bards of Oracle Hysterical, writing companion pieces to the Passionate Pilgrim, an anonymous anthology of 20 poems once attributed to one “W. Shakespeare.” Featuring new works by Brad Balliett, Doug Balliett, Elliot Cole, and Majel Connery.

For tickets contact New Vintage Baroque

 

 

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Lit Lounge Sundays Salon > Stand Up Philosophy

2014.Step Not Beyond_Chairs_1

WhiteboxLab>Lit Lounge

presents

Stand Up Philosophy – Dejan Lukic

Step Not Beyond / Philosophical Therapeutics for the Lucid

A series of spring workshops on Hallucination
Sunday, March 29 | 3-5 pm
Sundays, April 12 & 26 | 3-5 pm

Donate to WhiteboxLab>Lit Lounge

An open and free workshop series focusing on themes central to art and culture. These enlightening lectures will teach you how to look at art with more confidence and an expanded vocabulary. They will speak about the role seduction plays in choosing what we like. A veritable “scholastic-oracular” presentation that is scholarly and enigmatic, rigorous and rarefied, where key terms in aesthetics are defined in a fluid and luminous language. The goal is to take essential experiences which became occluded in contemporary practice as purely practical matters that can be plugged into our lives to better inform our tastes. Inspiration is drawn from art, philosophy, architecture, and anthropology. The mediator, Dejan Lukic holds a Phd in anthropology from Columbia University and has lectured at numerous universities. For more details visit: www.stepnotbeyond.com

On Hallucination

Is it fair to say that superior works of art, literature, philosophy, film, etc., are some kinds of (precise and revelatory) hallucination? To what extent can we address reality itself as hallucinatory? On the other hand, what are the implications of sober hallucination, one that results neither from intoxication nor from any disorder? The Latin root of the term is hallucinari, meaning “gone astray in thought.” Hence, is it not ethically and aesthetically necessary to produce (in this world, our world, gone astray) a work that is equally out of bounds, wandering according to its own impulses? How else can reinvigorated sensations, ideas, and worlds emerge (if not during twilight and dawn)?

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PAJ 109 – Performance and Architecture

WhiteboxLab PAJ 109 - Performance and Architecture

Whitebox Art Center
in collaboration with PAJ

PAJ 109 – Performance and Architecture

PAJ 109’s design portfolios were organized by landscape architect Cathryn Dwyre, who teaches at Pratt, and architect Chris Perry, head of graduate studies and director of the Geofutures program at Rensselaer’s School of Architecture. They will speak about landscape and performance in the context of new directions in architecture and design practices. ­

Seth and Ariane Harrison of the design firm Harrison Atelier and ANAcycle architect Lydia Kallipoliti will also give presentations on their architectural projects in the greater New York City area.

The new PAJ 109 showcases ten architecture and design portfolios on installations, robotics,ecological projects, immersive environments and interview with Bernard Tschumi.

The event will be introduced by PAJ editor Bonnie Marranca

Link to introduction, “Expanded Fields: Architecture/Landscape/Performance” by Special issue editors and architects Cathryn Dwyre and Chris Perry

Link to PAJ Archive

WHITE VOX – The Resonance of Space

WhiteboxLab SoundLounge WhiteVox

WhiteboxLab > SoundLounge presents

WHITE VOX – The Resonance of Space
Multi-media sound and visual performance featuring NYU Steinhardt woodwind players

Saturday February 21st 2015 |  5:30pm to 7:30pm

This workshop and performance directed by NYU Faculty/Oboist, Matt Sullivan and painter, Ken Cro-Ken, will begin at sunset (5:34 PM EST) and end at “Astro Twilight Set” 7:06 PM.

NYU Steinhardt woodwind players will explore the sound of the unique urban-industrial architecture of Whitebox Art Center-street level space-utilizing the recorded sonic resonance of the planets in our solar system using as foil, a free improvisation to the works of Bach, Varese and other composers.

Following, there will be refreshments and a discussion and experimentation among participants and audience.

(re)create Residency Award

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Screen Shot 2015-02-16 at 8.36.43 PM(re)create Residency Award Exhibition at Whitebox Art Center

Reception from 2-7pm with moderated discussion at 6pm

New York, NY — Feb 8th 2015 — (re)-create, a new, non-profit arts organization, is pleased to announce an exhibit of work by the recipients of its first artist’s residency, Laura Splan (www.laurasplan.com) and Ève K. Tremblay (www.evektremblay.com). (re)create’s mission is to support work that synthesizes “art, sustainability, cultural & personal renewal” and those who make it. Thrown into the Idaho wilderness on the shores of Hayden Lake in Kootenai County, the artists spent two weeks in a rustic camp setting with no requirement other than to leave a “trace” of their experiences, a selection of which will be on view at Whitebox Art Center (329 Broome St., New York, NY) this February!

Splan’s works on paper and video present a retooling of Surrealist automatic drawings. During her residency, she constructed drawing instruments using found charcoal, twigs, and string attached to solar-powered motors. Pieces of charcoal salvaged from the campfire were moved across paper by the motor vibrations. The clumsy, iterative movements created abstract marks easily mistaken for those of a human hand. The chalky compositions materialize the ephemeral forces of nature. “Collaboration” within the project emerges where chance, idiosyncrasies, and arbitrary parameters collide. Timing and placement became the marks of the artist, while technical glitches and fluctuations in sunlight became the unique gestural marks of the instruments.

Tremblay takes a more personal approach. Based on an invented family magic bird mythology, pyrometric cones normally used inside her father’s ceramic kilns to monitor temperature are staged in a series of mini ephemeral land art installations entitled Suite cone pyrometriques. Unfired the cones are straight and colored, once fired they melt in different shapes and turn white. Photographed they find evocative shapes and new roles as sculptural objects, forming scenes of a larger project Tremblay calls Madeleines minerales, a Proustian body of work including fired and unfired ceramic pieces and photographs.

(re)create happily invites you to this double journey through imaginary Idahoan landscapes, guided by an artist talk at 6pm, February 17, 2015.

Press Contact:

Gale Elston, President of (re)create Residency

recreateforartists@gmail.com

www.recreateresidency.com

Underline : Recent Works by Judy Yang

Whitebox Art Center Joo Yeon Judy Yang

Whitebox Art Center presents

Underline: Recent Work by Judy Yang

On view February 4th to 24th 2015

Opening reception February 6th | 6-9pm

New York City – Underline is an exhibition presenting recent work by JooYeon Judy Yang, curated by Argentine curator Lucila Gradin. Judy Yang’s work arises from the artist’s own merging of visual traditions wrought from her East Asian lineage and Western experience, evoking coded landscapes and meticulously layered architectural renderings, taking influences from religious myth and social catastrophes, to talk about the political consequences of media manipulation.

In the exhibition there will be two bodies of work in dialogue. On one side Judy Yang will present three large-scale scraped boards from her series “Mistreatment of Life,” developed after the artist’s own first-hand experience of the 2010 foot-and-mouth disease (FMD) outbreak, after which Yang began to question the economy of food and health in our society. On the other side of the exhibition space, seven currency collages from the series “One Nation Banknote” will be displayed, recomposing the idealized iconography of real international currency to reveal an underlying narrative of social catastrophe.

These formally engaging, rigorous and labor-intensive works reference on one hand the vertical spaces and textured expanses of Asian scroll painting landscapes, while simultaneously calling to mind the heavily etched lines influenced by Western print masters.

This collection of pieces demands close examination: a slow, careful review akin to the study of evidence. Such a forensic visual investigation prompts the exploration of different approaches to morality through the highly detailed spaces of an East/West hybrid, filtered through the artist’s deft hand and careful, sensitive rendering.

The title of the show references the crawling television news ticker, which the artist interprets as the bearer of real information in the face of the distracting, manipulated spectacle of the images “breaking” on the screen.

Curated by Lucila Gradin

 Link to Press Kit

The Station

Postcard Side I

The Station
A two hour live immersive installation of sound, light, movement and sculpture.

December 9th | 7pm

So Young An | Li Cata | Carly Czach | Carlye Eckert | Mandie Erickson | Michael Getmon Robert Duteil | Susan Hayes | Phillip Kim | Thea Little | Rebecca Medina | India Menuez Ross Menuez | Jeremy Pheiffer  | Courtney Surmanek | Seth Tillet | Bill Toles

New York City – Whitebox Art Center is pleased to present an on-going collaborative InnerCity Projects by Jo Wood-Brown and Miriam Parker.  This multi-media installation explores how we form our world through images. The viewer becomes immersed in an interactive painting, integrating reality through the lens of the imagination. The soundscape, as well as the movement of the performers, draw from improvisation to create a unique environment based on each individual inhabiting the space.

InnerCity Projects is a creative team that brings together installation, dance, video, sculpture and painting. Jo Wood-Brown and Miriam Parker began working together in 2007 with the interest in creating hybrids between visual art and dance as a way of fusing many different ways of seeing.

The Station is a live installation that epitomizes the interdisciplinary innovation of both Parker and Wood-Brown. The work distills, morphs and changes as it travels through many media and disciplines. The audience is invited to migrate through the exhibition along set pathways of cement bricks, giving the audience a performative, participatory role.

Each viewer’s experience is shaped further by encounters with performance, image, structure, sound and light.

Created by Jo Wood-Brown & Miriam Parker. Dramaturgy by Michael Getman.

For information please visit: www.innercityprojects.net
Link to InnerCity Projects Facebook
Link to InnerCity Projects vimeo

 InnerCity Projects is supported by Mifal Hapais and Lower Manhattan Cultural Council.

Mifal Hapais LogoLower Level Manhattan Cultural Council Logo2

 

 

On Power and Secrecy | LitLounge Sundays Salon > Stand Up Philosophy

On Power and Secrecy Sundays, December 14 & 28 | 3pm – 5 pm Power: the capacity to act, an energetic principle. The most basic principle that denotes an ability to affect and to be affected by something or someone.… Continue reading

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LitLounge Sundays Salon > Stand Up Philosophy

whitebox Art Center LitLounge

WhiteboxLab>Lit Lounge
presents
 

Stand Up Philosophy – Dejan Lukic
Step Not Beyond / Philosophical Therapeutics for the Lucid

An open and free workshop series focusing on themes central to art and culture (desire, sensation, power). These enlightening lectures will teach you how to look at art with more confidence and an expanded vocabulary. They will speak about the role seduction plays in choosing what we like. A veritable “scholastic-oracular” presentation that is scholarly and enigmatic, rigorous and rarefied, where key terms in aesthetics are defined in a fluid and luminous language. The goal is to take essential experiences which became occluded in contemporary practice as purely practical matters that can be plugged into our lives to better inform our tastes. Inspiration is drawn from art, philosophy, architecture, and anthropology. The mediator, Dejan Lukic holds a Phd in anthropology from Columbia University and has lectured at numerous universities. For more details visit: www.stepnotbeyond.com

Donate to Whitebox Art Center

On Desire

Thursdays, October 9, 16, 23, 30 |  7pm – 9 pm

There is a “thrust” which determines our strongest feelings of being alive. With it, a simple but difficult question arises: what is desire? An impulse that drives us toward what we lack or a force that constantly derails us and throws us off track? What are its economies, politics, and aesthetics? Can this “hunger,” as a set of inclinations, be trained? And if life itself is a constant outpouring why do we create boundaries for ourselves?

On Sensation

Sundays, November 16 & 30 | 3pm – 5 pm

Art produces sensation and in this respect connects us to what we call “life.” But more importantly, what are the unforeseen sensations, why do they matter, how do they intervene within our daily life, how do they make it extraordinary? How do individual authors construct impersonal sensations (through what vulnerabilities)? And finally, what kind of perception, awareness, and furor does every new sensation open?

On Power and Secrecy

Sundays, December 14 & 28 | 3pm – 5 pm

Power: the capacity to act, an energetic principle. The most basic principle that denotes an ability to affect and to be affected by something or someone. One writer says that secrecy is at the core of power. But how do we define power? How many different types and experiences of power are there (being overpowered, empowered, in resistance, in domination, etc.)? How does secrecy harness its own power? Public or private: which contains a more vigorous degree of empowerment? And which is healthier: the crude power of the institution (megapower) or the ephemeral power of the fugitive (micropower)?

 

The programs of Whitebox Art Center are made possible in part by the New York City Department of Cultural Affairs.

Whitebox Art Center DCA sponsor
 

PASSPORT : The New Yorker 9th Annual

WhiteboxArtCenter-and-The-New-Yorker-Passport-260x114

Whitebox Art Center presents

Passport: The New Yorker 9th Annual

Check-in and Passport Pickup at Headquarters Whitebox Art Center | 11am – 3pm

Join us for a day-long immersion in New York’s vibrant downtown arts scene. Stops along this self-guided gallery crawl through the Lower East Side and SoHo include art demonstrations and other interactive attractions. Along the way, guests receive artist-designed stamps in their custom-made “passports” to document the journey. The day culminates in a wrap party, featuring culinary experiences curated by Smorgasburg and a silent auction in partnership with Paddle8, benefitting CreativeTime, a New York-based nonprofit arts organization.

PASSPORT : The New Yorker 9th Annual is made possible with the support of event sponsors who contribute to the spirit of the occasion with custom giveaways and interactive opportunities throughout the day and evening.

Whitebox Art Center and The New Yorker

Launch Party : Mobile Issue #3

Whitebox art center

Celebrate the launch of Mobile Album International’s 3rd issue:
Performance, body, fiction, created by Montagne Froide / Cold Mountain (France). Special guests and reception at Whitebox Art Center.

Michel Collet | Bartolome Ferrando | Serge Gavronsky
John Giorno | Bob Holman | Richard Kostelanetz
Nicola L. | Arnaud Ladelle-Rojoux
Patrice Lerochereuil | Larry Litt
Jonas Mekas | Willam S. Niederkorn
Valentine Verhaeghe | Christian Xatrec

Link to www.mobile-album-international.com

Network : The documentation for this issue has been realized in partnership with the research center -Le Corps de l’artiste, Body & Art- the Institut Supérieur des Beaux-Arts of Besançon, France, the Emily Harvey Foundation, New York, The Black Kit, Europäisches Performance Institut / ASA-European, Cologne, Germany. /M.A.I. is part of Seize Mille, a contemporary art network in Franche-Comté, France. This edition contributes to the publishing of Alternante, Parcours Fourier, created by the Centre d’Art Mobile.

Montagne Froide / Cold Mountain is supported by DRAC Franche-Comté, the French Ministry of Culture and Communication, the Region of Franche-Comté, the General Council of Haute-Saône, the French Institute, and the Cultural Services of the French Embassy in the United States.

R. B. Schlather: Opera: Alcina

Photograph by Matthu Placek

WhiteboxLab>Sound Lounge
presents

R. B. SCHLATHER: OPERA: ALCINA George Frideric Handel, 1735

Open rehearsals | September 6-17th
Free and open to the public daily except for Thursdays | 11am-6pm

General Rehearsal | September 19th | 7pm
Performances | September 20th & 21st | 7pm
Talk back after performance on September 21st

SUGGESTED DONATION TICKETING FOR RESERVATIONS TO GENERAL REHEARSAL 9/19 AND FINAL PERFORMANCES 9/20-9/21

PRODUCTION TEAM

Music Director | Geoffrey McDonald
Stage Director | R. B. Schlather
Costume | Terese Wadden
Scenography | Paul Tate DePoo
Lighting Design | JAX Messenger
Hair and Makeup Design | Dave Bova
Titles | Steven Jude Tietjen
Stage Manager | Audrey Chait
Interactive Media Design | Igor Molochevski
Assistant Director | Emily Cuk

CAST
Alcina | Katharina Hagopian
Ruggiero | Jamie Van Eyck
Morgana | Anne- Carolyn Bird
Bradamante | Eve Gigliotti
Oronte | Samuel Levine
Melisso | David Adam Moore

ORCHESTRA
Harpsichord | Elliot Figg
Oboe | Ellen Hindson
Violin | Johanna Novom
Oboe | Kristin Olson
Cello | Katie Rietman
Viola | Elizabeth Weinfield
Bass | Wen Yang
Violin | Jude Ziliak

Press

New York Times, A Sorceress Stirs Up a Sense of Adventurousness by Zachary Woolfe

Huffington Post, The Rumors of Opera’s Death Have Been Greatly Exaggerated (Pt. 2) by Jennifer Rivera

Frankfurter Allfemeine Blog, Im weißen Zauberschuhkarton steckt die Zukunft der Oper by Patrick Bahners

Parterre Box, About Last Night by John Yohalem

IMBY (In My Backyard), Hudson’s Schlather Directs Handel’s “Alcina” in New York by John Issacs

IMBY (In My Backyard), Open house: Opera at Whitebox > SoundLounge by Whitebox Art Center

Press Release

New York City – Whitebox Art Center is pleased to present the work of opera director R. B. Schlather as part of WhiteboxLab>Sound Lounge, a series of unconventional works. For two weeks, Whitebox’s main exhibition space will be a laboratory for the rehearsal and performance of an operatic score, culminating in two performances of George Frideric Handel’s Alcina, an 18th century baroque opera. This theatric installation uses the opera seria, or “serious opera”, Alcina (1735) as source material. The libretto, L’Isola d’Alcina (1728) is by Riccardo Broschi, based off of Ludovico Ariosto’s epic poem Orlando Furioso. Alcina is a story of love and illusion that premiered during Handel’s remarkable hit season at the Covent Garden Theatre in London in 1735, and is regarded as one of his most inventive and melodic musical scores.

WhiteboxLab>Sound Lounge and R. B. Schlather respond to the changing landscape of operatic performance in New York City and around the world by staging this work in an untraditional opera venue. As a laboratory, WhiteboxLab>Sound Lounge is delighted to open all musical and staging rehearsals, September 6 – 17, prior to the General Rehearsal on September 19th at 7pm and the final productions on September 20th and 21st at 7pm, with a Talkback after the performance on the 21st moderated by Joseph Cermatori. This program will be free and open to the public daily, except for Thursdays, from 11am to 6pm. For the final performances, the opera will be enacted live with an orchestra, in Italian, utilizing new technologies with projected English subtitles.

The opera is set on the island of the enchantress Alcina, and explores themes of identity, illusion, and transformation. This island exists as a beautiful landscape in the middle of the ocean, where Alcina culls her powers to create a paradise, only to lure and seduce the knights that wash up on her shore, one of whom is the heroic Ruggiero. Alcina’s magic causes Ruggiero to fall under her spell and, in doing so, he forsakes his duty as a knight and forgets his fiancée, Bradamante. The opera develops as Bradamante disguises herself as a male warrior her brother “Ricciardo” and sets out on a mission to recover her love.

Accompanied by Alcina’s guardian, Melisso, the two are shipwrecked on Alcina’s island by fate. Imminent danger awaits Ruggiero, as Alcina possesses the power to transform her foes and lovers of whom she tires into rocks, trees, and wild beasts. The already heavily dramatized plot is further complicated by the integration of different characters who all, in their own right, act on emotions of love and jealousy. In portraying Alcina’s thickened plot, Schlather’s production brings to life a story of enchantment, folding into it classic operatic moments of romance, betrayal, violence, unrequited love, and magic.

R. B. Schlather is an opera director based in Manhattan, NY. Schlather’s recent credits include Werther for Opera Company Brooklyn, Treemonisha for New York City Opera, and Some Call Refuge at Vaudeville Park. Additionally, Schlather has directed The Arianna Project for lauded early music group Musica Nuova, a concert with Nico Muhly and Gotham Chamber Opera at the multimedia art cabaret (le) Poisson Rouge . He is also accredited for I. Were., a pastiche created with countertenor Anthony Roth Costanzo and dramaturge Joe Cermatori for the Salon/Sanctuary Concerts. He regularly assists Christopher Alden, most recently at the Los Angeles Philharmonic, Boston Lyric Opera, English National Opera salon and sanctuary concert, New York City Opera, and the Canadian Opera Company. He has assisted Kevin Newbury at Bard Summerscape and Central City Opera. In the near future, Schlather will be directing opera productions at Tanglewood Music Festival and at the Gran Teatre del Liceu, Barcelona.

R. B. Schlather’s production is part of Whitebox’s new program, WhiteboxLab>Sound Lounge, which aims to create sustained and in-depth exposure for artists working in temporal mediums such as performance, sound art, and literary arts, while providing a platform for audiences to experience artist practices.

Synopsis: The sorceress Alcina lives on an island in the ocean, and enchants the knights that arrive on her shores. When tired of her lovers she transforms them into rocks, trees and wild beasts. The heroic knight Ruggiero has fallen under her spell, and forgotten his fiancée, Bradamante. Bradamante, in male disguise as her brother “Ricciardo,” has set out with her guardian, Melisso, to recover Ruggiero, and the two are shipwrecked on Alcinaʼs island by fate. There they encounter Alcinaʼs flighty sorceress sister, Morgana, who instantly falls in love with “Ricciardo.” They discover Ruggiero in Alcinaʼs embrace, with no memory of his betrothal. He angrily rebukes “Ricciardo” as competing for Alcinaʼs affections. Alcinaʼs general, Oronte, in love with Morgana and stung by her sudden infatuation with “Riccairdo”, arrives to challenge “him” to a duel. This dramatic scenario of identities and transformations plays out until the source of Alcinaʼs magic power is broken, and all, including Alcinaʼs transfigured lovers, are returned to human shape and sanity.

R. B. Schlather 2014

This opera is made possible by Felicia Blum, Allen R. & Judy Brick Freedman, Stephanie French and Charles Klein, Sherwin M. Goldman, Nancy Henriksson, Graham and Susan McDonald, Roy Niederhoffer, Nowick Taylor Trust, The Alfred & Jane Ross Foundation and Karen R. Schlather

Press Contact: press@whiteboxny.org

Twitter: @davidadammoore @slevinesinger

The programs of Whitebox Art Center are made possible in part by the New York City Department of Cultural Affairs.

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CLICK CLICK CLICK: Screening

Whitebox_CLICKCLICKCLICK 2014_Sabrina Ratté

 Whitebox Art Center presents

Click. Click. Click. Copy. Paste. Drag. Drop. These are the new gestures of digital image making. Click Click Click is a survey of contemporary digital moving image practices that span GIFs, augmented performances, green screen keying, collage, appropriation, Processing, 3D renders and more.

Artists in the screening: Morehshin Allahyari, Claudia Bitran, Hannah Black, Gaby Cepeda and Adriana Minoliti, Jennifer Chan, Jennie Cole, Claire Evans, Dafna Ganani, Geraldine Juárez, Nicole Killian, Claudia Maté, Raquel Meyers, Lorna Mills, Eva Papamargariti, Sabrina Ratté, Tessa Siddle, Giselle Zatonyl

Nicole Killian, Move It, 2013, 30 sec.

Move It is an excerpt from an ongoing investigation into getting the crowd pumped up and moving.

Lorna Mills, Jump Rope, 2011, GIF

Lorna Mills channels and trolls the internet through her assemblage GIFs. Searching the far reaching corners of the world wide web, Mills pulls out the most peculiar, inane, and baffling imagery and then recontextualizes it into her own carefully crafted compositions.

Claudia Bitran, The Zone: Action, 2013, 3:17 min

The Zone is a series of three trailers for movies that do not exist: a Korean horror film, a Latino action film, and a French drama film. In the Latino action trailer, I perform as Macarena de las Heras, a strong and determined woman who has to go through different adventures in order to enter “The Zone.” She rides motorcycles, fights gangsters, tries to get information from the gatas, and shoots guns while running through the desert and making out with hot guys.

Gaby Cepeda and Adriana Minoliti, Conspirativas (series), 2013, GIF

These collaborative images capture an intersection between the artists’ loving interrogations of celebrity culture (Cepeda) and pornography (Minoliti). The result is an image that tackles female sexuality in its vicissitudes.

Claudia Maté, Fill Shapes, 2012, 1:54 min.

Fill Shapes uses Processing and After Effects to make squares and circles dance across the screen in this brightly colored geometric fantasy.

Lorna Mills, Garden Variety (series), 2013, GIF

Lorna Mills, Stress Relief, 2011, GIF

Eva Papamargariti, RandomAccessData, 2014, 4:50 min.

RandomAccessData is a parallel visual and verbal narration between references; it is a stream of information that creates a tag cloud based on random thoughts about post- internet art, radical utopian groups of the ’60s, today’s virtual field, the definitive role of searching and tagging inside the cyberspace, terms like distribution and reproduction of image, constant data flow, internet immersion, real ID vs cyber ID and the notion of auto generated content.

Dafna Ganani, I Dream of I Dream of Jennie, 2013, 3:42 min.

I Dream of I Dream of Jennie is a mediated performance by the artist Dafna Ganani. It references the 70’s American TV series I Dream of Jeannie and uses glitched images of copyrights licenses, biopunked Barbara Eden in her Jeannie costume, dolphins, BIOS homepage to propose a cybernetics fantasy: beings with both organic and cybernetic parts.

Gaby Cepeda and Adriana Minoliti, Conspirativas (series), 2013, GIFs

Hannah Black, Intensive Care/Hot New Track, 2013, 5:36 min

Remixed fragments of what’s allowed to appear on the surface of the world: Rihanna/Chris Brown, US/Iraq, blackness/whiteness, pain/pleasure, money/body. “Love and shame are the theory and the practice.”

Lorna Mills, Garden Variety (series), 2013, GIF

Geraldine Juárez, Love Not Money, 2009, 1:06 min

In 2009, months after the stock market meltdown, i created a personal stock market to track my assets: desires, work, routines, expectations and emotions – and how the way i valued them felt closer to death, money or love.

The video is the output of four weeks of emotional capitalism, where my assets were collected in a notebook and mapped and visualized originally in Processing.

Claire Evans, Digital Decay: Meditation/Disintegration, 2011, 1:50 min

Meditation/Disintegration is an animation of individual video frames saved in incrementally lower file formats hundreds and hundreds of times. Where is the line at which compression ceases to preserve information entirely? The digital image washes away on the tide of its own preservation. The beach ball is the third eye.

Lorna Mills, Splode (series), 2012, GIF

Morehshin Allahyari, The Romantic Self-Exiles I, 2012, 5:06 min.

To build a land; an imaginary home. To push the limits of real and unreal, memory and imagination, locality and universality. To put together my most vivid memories on flat planes or 3D cubes. Inside and outside the empty rooms, rooms without bodies, rooms left behind. A reflection and presentation of emotional attachments. Collective and personal.

Jennie Cole, a device of a special type, 2012, 3:32 min.

a device of special type investigates encounters with text in electronic media, in response to Donna Haraway’s assertion that writing is ‘pre-eminently the technology of cyborgs’. Exploring ideas of transhumanist possibility alongside the manipulations of identity suggested by the internet’s corporate ‘like’, the language in this video is at once page-based, screen-based, illuminated and infiltrated by symbols and logos.

Lorna Mills, Garden Variety (series), 2013, GIFs

Tessa Siddle, Hexenhaus, 2010, 2:47 min.

Hexenhaus is a video fragment from a series of work about domestic ritual and relations between humans, houseplants, and animals. Following the collapse of a relationship a failed banishing ritual is performed with my pet houseplants/familiars. An attempt to convert loneliness into solitude results in only more loneliness.

Nicole Killian, Attention, 2013, 2:53 min.

Attention is a video exploring mall madness and meditation.

Gaby Cepeda and Adriana Minoliti, Conspirativas (series), 2013, GIFs

Giselle Zatonyl, The Harm of Coming into Existence, 2014, 1:57 min.

Zatonyl’s 3D rendered video juxtaposes glittery, soft colors with hard lines forming an imaginative factoy-like space that produces unknown, but assuredly delightful things.

Jennifer Chan, Boyfriend 男友 [Nanyou], 2014, 6:27 min.

BOYFRIEND combines YouTube-captured webcam videos with images of dominant East Asian masculinity. Headlined by a Mandarin cover of Justin Bieber’s pop hit Boyfriend, K-pop stars, J-pop stars, Taiwanese diaspora, and Canto-pop icons, are recut against confessional Asian American “dudes” to deliberate the superficial aspects of performing the archetypal romantic straight male partner in Asian culture.

Lorna Mills, Linguine Primavera, 2013, GIF

Lorna Mills, Kitty Fire, 2011, GIF

Raquel Meyers, 2SLEEP1 ❚❚❚❚❚❚❚ 002. MATSAMÖT, 2013, 3:23 min.

Matsamöt is part of 2SLEEP1, a playlist of audiovisual performances in text mode, designed to make you fall asleep. The music interface and the graphics are built up from text symbols (PETSCII). Made by Raquel Meyers and Goto80 using c-64.

Sabrina Ratté, The Land Behind, 2013, 4:56 min.

Traveling on an undefined territory where the illusion of a continuous tracking shot emphasizes an unreachable destination. Through the syncopated editing and multiple transitions, images of the area themselves become traveling entities, creating confusion on the level of the depicted space as much as with the level of its temporality.

Photo caption : Still from Sabrina Ratté’s The Land Behind, 2013, 4:56 min.

 

Whitebox Art Center DCA sponsor

Coded After Lovelace

Claudia Hart's "Caress"

Whitebox Art Center presents

Coded After Lovelace

Curated by Faith Holland & Nora O’ Murchú

Exhibition on view August 14th – September 2nd 2014
Opening reception Thursday August 14th  | 6-8pm

Carla Gannis | Claudia Hart | Olia Lialina | Jillian Mayer | Rosa Menkman | Arleen Schloss | Lillian F Schwartz

Press

Hyperallergic, Tracing a Lineage of Tech-Minded Women Artists by Jillian Steinhauer

Riposte Magazine, Coded After Lovelace by Emma Tucker

Mandy Machine, All of Piece; Maria Lassnig and Coded After Lovelace by Mandy Morrison

New York City – Coded After Lovelace offers a survey of art that critically reflects on the creative use of technology: its developments and limitations. From the room-sized computers of the Bell Labs era to the tablet-based work of today, these seven artists question the boundary between art and technology. Coded After Lovelace creates a new lineage across artists of different generations.

Link to full press release

Press Contact: press@whiteboxny.org

Whitebox Art Center DCA sponsor

NO EXIT : A Project by Khaled Jarrar

Still from Khaled Jarrar's "I. Soldier"

Whitebox Art Center Presents

NO EXIT
A Project by Khaled Jarrar
On View July 24th – August 9th (extended)

Opening reception at Whitebox Art Center July 24th 5 – 7 pm

Link to images and press packet 

New York City – Whitebox Art Center presents a solo show by Palestinian artist Khaled Jarrar, produced and curated by Myriam Vanneschi.

The Israel Border Police denied artist Khaled Jarrar exit to travel to NYC for this project and his participation in the show Here and Elsewhere at the New Museum. He has since decided to create a new work for this show that deals with his status as well as the current situation in Gaza. This new media piece will be live updated as the situation develops.

Khaled Jarrar describes his experience attempting to leave Palestine on July 23rd, 2014: “Another massacre is taking place in Gaza, and Israel is trying to sell it as a war with Hamas using a deceptive media campaign, turning the oppressed into a villain. It is a fact that Israel is an occupying and apartheid country that controls our land, steals our water and natural resources, depriving us of our basic human rights for the past 66 years. The Israeli recurrent massacres will never end. Telling and sharing our stories and what is happening in Palestine is very essential. We are obliged to take the streets and strongly condemn the killing of the people of Gaza”.

NO EXIT is produced and curated by Myriam Vanneschi and co-produced by Igor Molochevski.
The programs of Whitebox Art Center are made possible in part by the New York City Department of Cultural Affairs.

Press Contact: press@whiteboxny.org

Links to Press:

ArtFCity: Weighing Risks After Last Weeks Cancelled Pro-Palestine Workshop by Whitney Kimball

WNYC RADIO: Art That Reaches Beyond Palestine by Deborah Solomon & Gisele Regatao

Hyperallergic: The Real Life Politics of Palestinian Art in New York by Hrag Vartanian

Artnet News: Pro-Palestine Exhibition Cancelled in NYC by Ben Davis

Hyperallergic: Israel Denies Exit for Palestinian Artist In New Museum Show by Myriam Vanneschi

Le Monde: Khaled Jarrar, artiste et militaire palestinien, n’ira pas à New York by Robin Braquet

Animal New York: Israel Denies Exit Palestinian Artist Bars Attending His New Museum Show by Marina Galperina

ArtNews: No Exit for Palestinian Artist Khaled Jarrar

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HERE AND ELSEWHERE, AT WAR, AND INTO THE FUTURE: PALESTINE

here and where

LIVE WEB STREAM PANEL DISCUSSION
Organized and moderated by Mohammad Salemy as part of the Fixing the Future Platform 

Hosted Live at Whitebox Art Center | 329 Broome St New York, NY 10002

Panelists: Joseph Audeh, Ariella Azoulay, Judith Rodenbeck, Alex Shams, and Myriam Vanneschi

Link to YouTube Video Stream

An uncanny timeliness opened an unexpected connection between global contemporary art and geopolitics this month when, following the escalation of Israel’s military operations in Gaza, a planned exhibition of works from and about the Arab world opened at New York’s New Museum of Contemporary Art. Not only is the exhibition the biggest of its kind but, in addition to works from Palestinian artists throughout the show, the fifth floor of the museum houses a separately curated presentation of art and archival materials about and from Palestine.

It’s merely a truism to respond to this happenstance with the well-known quote by Walter Benjamin, that “there is no document of civilization which is not at the same time a document of barbarism.” However, investigating the subtleties of Benjamin’s link between civilization and barbarism seems especially pertinent to these coincidental exposures of the politics of the Arab world in that the operating logics of both Israel’s Operation Protective Edge and New Museum’s Here and Elsewhere each in their own way contend with the form and content of the anticolonial resistance that has historically provided the Raison d’être for so much of Arab art, specifically contemporary art from Palestine.

In this conversation organized by Mohammad Salemy, Ariella Azoulay, Joseph Audeh, Judith Rodenbeck, Alex Shams, and Myriam Vanneschi will discuss what connections can be made between seemingly unrelated categories of military and museum as well as war and art.

The Middle East continues to be a primary site for the blood-drenched transformations of our planetary geopolitical system and is now also taking a leading role in the emergence of a global contemporary art. The discussion will consider whether the coincidental exposure of geopolitical violence in the Middle East and art from the region to audiences in the global north can help us understand the future of Palestine and the place of production and distribution of contemporary art in the future.

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BIOS

Joseph Audeh is an artist whose work combines science, culture and technology to explore the physical and political landscape of the Middle East. In 2013, Audeh developed Machine for Raising Water, an adaptation of a thousand-year-old irrigation device, with farmers in the Nile River Valley and water mechanics in Cairo at Townhouse Gallery. Audeh’s projects have appeared at New York University, Whitebox Art Center (New York), Virginia Commonwealth University Qatar (Doha), the Mediterranean Science, Policy, Research and Innovation Gateway (Cairo), and Makan Art Space (Amman). He currently works for Trevor Paglen and is a member of the New Museum’s art + technology incubator, NEW INC.

Ariella Azoulay (born 1962), teaches at the Department of Modern Culture and Media and the Department of Comparative Literature, Brown University
Her recent books include  From Palestine to Israel: A Photographic Record of Destruction and State Formation, 1947-1950, (Pluto Press, 2011), Civil Imagination: The Political Ontology of Photography (Verso, 2012) and The Civil Contract of Photography (Zone Books, 2008). Azoulay is also the She is the curator of When The Body Politic Ceases To Be An Idea, Exhibition Room – Manifesta Journal Around Curatorial Practices No 16 (folded format in Hebrew, MOBY, 2013), Potential History (2012, Stuk / Artefact, Louven), Untaken Photographs (2010, Igor Zabel Award,  The Moderna galerija, Lubliana; Zochrot, Tel Aviv), Architecture of Destruction (Zochrot, Tel Aviv), Everything Could Be Seen (Um El Fahem Gallery of Art).

Judith Rodenbeck is an art historian and critic based in New York and Los Angeles. A past editor of Art Journal, she is also author of Radical Prototypes: Allan Kaprow and the Invention of Happenings. Her essay on Akram Zaatari’s missives is forthcoming this fall.

Alex Shams is an editor at Ma’an News Agency, the largest independent news agency in Palestine. He is also an editor-in-chief of Ajam Media Collective, a blog focused on society and culture in Iran and Central Asia. A native of Los Angeles, he received his master’s in Middle Eastern studies with a focus on gender in modern Iran from Harvard University in 2013. His work focuses on gender, urbanism, and Islamic political thought in the region. He has previously lived in Lebanon, and currently resides in Bethlehem.

Myriam Vanneschi is an independent curator and writer from the Netherlands. Her interests include Social Practice art, New Media art, feminism and art in a global context. She is a contributor to ArtBerlin and Hyperallergic. Very recently, she curated NO EXIT by Khaled Jarrar at Whitebox Art Center.

Mohammad Salemy is an independent Vancouver-based critic and curator from Iran. He has curated exhibitions at the Koerner Gallery and AMS Gallery at the University of British Columbia, as well as the Satellite Gallery and Dadabase. He co-curated Faces exhibition at the Morris and Helen Belkin Art Gallery. In 2014, Salemy organized the Incredible Machines conference in Vancouver. Salemy holds a masters degree in Critical and Curatorial Studies from the University of British Columbia.

Link to Fixing the Future http://fixingthefuture.info

Coded After Lovelace

Coded After Lovelace Curated by Faith Holland & Nora O’ Murchú Exhibition on view August 14th – September 2nd 2014 Opening reception Thursday August 14th  | 6-8pm Carla Gannis | Claudia Hart | Olia Lialina | Jillian Mayer | Rosa… Continue reading

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Now You See : New Chinese Video Art From the Collection of Michael I. Jacobs

Whitebox Art Center presents Now You See New Chinese Video Art from the Collection of Dr. Michael I. Jacobs Opening reception Wednesday May 28th | 6-8pm Exhibition on view May 25th – June 19th 2014 Link to event Link to Press… Continue reading

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Either/Or

Either/Or at Whitebox Art Center

Co-Produced by Whitebox Art Center, Either/Or and Issue Project Room

Either/Or : Ninth Annual Spring Festival of Contemporary Music

June 26th and 27th 2014 | 8pm

Tickets: $10 cash at the door
Whitebox Art Center
329 Broome Street
New York, NY 10002
PH: 212-714-2347

Either/Or performs their Ninth Annual Spring Festival of Contemporary Music for three nights of uncompromising and experimental new music. Either/Or is Aaron Baird (bass), Richard Carrick (electric guitar), Vasko Dukovski (clarinet), Russell Greenberg (percussion), Margaret Lancaster (flute), and co-director David Shively (percussion and electric guitar).

June 26th performance features soloists Aaron Baird, Vasko Dukovski, Margaret Lancaster, and co-director David Shively in a theatrical melange of works by iconic composers. Stockhausen’s flute solo will be performed in full body cat suit to Kagel and Druckman’s theatrical adventures and Lucier’s pure sound exploration of two slowly detuning electric guitars, this is a concert not to be missed.

Either/Or Program for June 26th:
Mauricio Kagel – Rigaudon (1982)
Toshio Hosokawa – Atem-Lied (1997)
Jacob Druckman – Valentine (1969)
Alvin Lucier – Criss-Cross (2013)
Wei-Chieh Lin – quivering (2014, WP)
Karlheinz Stockhausen – ZUNGENSPITZENTANZ (vom SAMSTAG aus LICHT, 1983)
Mauricio Kagel – Rigaudon / Ranz des vaches (1982)

June 27th performance is a CD release concert for co-director Richard Carrick’s upcoming CD Stone Guitars to be released by New Focus Recordings in early July. Stone Guitars multi-layered electric guitar music features Carrick (guitar) and Vasko Dukovski (clarinet) alongside special guests Gamin (Korean piri) and Chris Cochrane (guitar).

Link to Facebook Album

June 29th 2014 | 3pm

Tickets: $15 at the door or online: http://issueprojectroom.org
Issue Project Room
22 Boerum Place, Ground floor
Brooklyn, NY 11201
PH: 718-330-0313

The festival culminates on June 29th with a special event for Either/Or’s 10th Birthday: Morton Feldman’s rarely heard 4 1/2 hour epic, For Philip Guston, at Brooklyn’s Issue Project Room. Either/Or has championed Feldman’s music for the past decade and his late trios for flute, piano, and percussion are among the works closest to the heart of the Either/Or repertoire. This will be a rare performance of one of the true masterworks of late 20th century experimentalism, balancing the sheer timbral beauty of this unique ensemble with virtuosic interplay and Feldman’s inimitable sense of scale.

The ninth annual Either/Or Spring Festival is a co-production between Issue Project Room, Whitebox Art Center, and Either/Or. More event details can be found at www.eitherormusic.org and issueprojectroom.org

Check out a sample of the music at : https://soundcloud.com/rcrichardcarrickcom/dawn

Either/Or’s 2013-14 Concert Season is made possible by the generous support of the BMI Foundation, the New York State Council on the Arts (a New York State agency), Musik i Syd/Swedish Arts Council, and by our private donors. Either/Or is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

Photograph by Julieta Cervantes

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HONKY

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Whitebox Art Center and MAK Gallery present

 

Piotr Skiba’s New York Premiere Performance

Piotr Skiba at Whitebox Art Center

 

On view June 20th through 22nd 2014
Opening reception June 20th | 6-8pm

Link to images

New York City – Piotr Skiba’s New York premiere performance — HONKY — features a series of video installations that make use of elements of the ready-made & the found, combined with sequential performance footage to produce a single, if contextually fragmented, narrative focused on individual displacement. In a series of episodic self-portraiture — as if unpacking the Russian dolls of invented characters — Skiba offers a glimpse of his self-made mythology on the one hand, while on the other he opens a discussion on alterity, and the intense erosion of tolerance affecting the homogenous society of Poland.

The artist, penetrating the fluid boundary between himself and the Other, multiplies the motif of the mask. White mask vs. Black mask. Negative space, the relevant shapes; the “real” subject of conversation is oftentimes created by a deliberate reversal of the figure and ground. A Honky-Polack drowning in the incomprehensible soundscape of New York illuminates the desolation of the anonymous hobo-preacher, whose black silhouette seemed so arbitrarily pinned onto the whiteboard of Skiba’s hometown as to become his shamanic alter ego. Skiba projects persistent feelings of displacement — by setting things in a configuration and an environment where they in their turn displace and alienate, and thereby acquire a new aspect, an unfamiliar affect despite being familiar objects and ordinary people.

The key to the curatorial perspective may lie in the sculpture of Black Homer: an oversized plush “bath slipper” sprayed with matte paint which transforms one of the most influential characters in the history of TV — Homer Simpson — into a powerful totemic presence. Flattened by a black finish, the already dull features of this American suburban stereotype take on a painfully amorphous yet threatening expression. Power found, or power redeemed by blackness on a flip of this particular coin feeding a fascination of a young Polack with hip-hop, or rap culture.

The viewer is thrown into a disturbing carnival of schizophrenia when confronted by either the hoodie of the imaginary black figure from Skiba’s performance, a white high-end latex mask reminiscent of bank robberies, or the impenetrability of a foreign language described by Canetti as an ‘acoustic mask’. By a series of transpositions performed on the artist’s own face, body, or individual limbs used as fragmented images isolated from their original context, Skiba produces the associations of exclusion, loss, and finally, impending madness.

Special thanks to MAK Gallery. For more information on MAK Gallery visit http://www.makgallery.com/ Like MAK Gallery on Facebook

Contact press at press@whiteboxny.org

Link to artist website
Link to more information on Dorota Czerner, Curator
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Narcistecture

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Whitebox Art Center presents

Narcistecture
New Photographs by Klaus Pichler

Opening reception Friday June 13th | 6-8pm
Exhibition on view June 13th – July 7th 2014

Curated by Carolina Sandretto and Tony Guerrero

This exhibition is made possible by US Austrian Chamber of Commerce.
Whitebox Art Center extends a special thank you to Duggal Visual Solutions.
The programs of Whitebox Art Center are made possible in part by the New York City Department of Cultural Affairs.

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Now You See

Cheng Ran, The Sorrows of Young Werther, 2009. Video still. Courtesy the artist.

Whitebox Art Center presents

Now You See

New Chinese Video Art from the Collection of Dr. Michael I. Jacobs

Opening reception Wednesday May 28th | 6-8pm
Exhibition on view May 25th – June 19th 2014

Shiyuan Liu | Li Ming | Cheng Ran | Chen Xiaoyuan | Hu Xiaoyuan
Wang Xin | Kan Xuan | Sun Xun | Liang Yue | Jiang Zhi

Link to press release

This exhibition made possible by Paul and Moya Coulson.
Additional funding provided by Robin Kellner Sicher and John Sicher
Lawrence Graev and Anthony Orphanos.

Image courtesy of the artist Cheng Ran

Dada Pop-Up: The Absurdities of Our Times

Whitebox Art Center and Zurich Meets New York

Presented by Zürich Meets New York: A Festival of Swiss Ingenuity
in partnership with Whitebox Art Center

Dada Pop-Up: The Absurdities of Our Times

On view May 19th through 22nd 2014
Opening reception May 19th | 6-8 p.m.

Dada Pop-Up Exhibition: The Absurdities of our Times
Dada Pop-Up is an exhibition featuring uncensored, spontaneous performances and exchanges as they would have taken place at Cabaret Voltaire (Zürich) almost one hundred years ago, when artists and otherwise curious people let their minds run free to see what would happen. Featured artists will present short vignettes rekindling a time when art was created in a fun and communal spirit.

Curated by Swiss artist Clarina Bezzola
Link to Zurich Meets New York

Photo: The Beholder, 2010 Polyester felt, 5 x 5 x 5 ft

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Dada on Tour

Whitebox Art Center

Presented by Zürich Meets New York: A Festival of Swiss Ingenuity

in partnership with Dada 100 Zurich 2016, Cabaret Voltaire in Zürich, and Whitebox Art Center

Dada on Tour

On view May 18th through 22nd 2014
Opening celebration Sunday May 18th | 11 – 6pm

Jean Arp | Hugo Ball | André Breton | Marcel Duchamp | Baroness Elsa von Freytag-Loringhoven | Francis Picabia | Sophie Taeuber-Arp | Tristan Tzara | and others

Born at Zurich’s Cabaret Voltaire in 1916, the Dada movement quickly spread to cities such as New York, Berlin and Paris. Enter a “nomadic” tent and discover the visions, actions, scandals and love stories of 165 Dadaists: Jean Arp, Hugo Ball, André Breton, Marcel Duchamp, Baroness Elsa von Freytag-Loringhoven, Francis Picabia, Sophie Taeuber-Arp and Tristan Tzara, among others. The multimedia installation features the “Starry Heaven of Dada,” mapping the journey of this international art movement from 1916 to 1923.

Zürich Meets New York: A Festival of Swiss Ingenuity, May 16-23, 2014, highlights the contemporary relevance of visionary movements and ideas born in Zurich and their impact on American culture. Building on the upcoming 100th anniversary of the Dada movement and Zurich’s role as a 21st-century hub for artistic and scientific innovation, the festival features 25 events at venues across the city, and is presented by the Consulate General of Switzerland in New York, the City of Zurich, ETH Zurich and the University of Zurich (UZH).

Free admission

link to Dada On Tour

Caption : Schweizerisches Literaturarchiv (SLA), Bern. Estate Hugo Ball/ Emmy Hennings

Anthony Haden Guest “The Further Chronicles of Now”

Whitebox Art Center at Cutlog Art Center

Whitebox Art Center presents
At Cutlog Contemporary Art Fair

Anthony Haden Guest
“The Further Chronicles of Now”

Vernissage – May 7th 2014 | 5pm – 10pm
The Clemente Soto Vélez Cultural and Education Center – May 8th – 11th
107 Suffolk Street New York NY 10002 – Booth B1

Readings by Anthony Haden-Guest from “The Further Chronicles of Now”:

Wednesday, May 7 | 6:30 pm (Vernissage) in Video Gallery, 1st floor
Thursday, May 8 | 4:00 pm in Video Gallery, 1st floor
Friday, May 9 | 8:30 pm in Video Gallery, 1st floor
Saturday, May 10 | 4:00 pm in Video Gallery, 1st floor
Sunday, May 11 | 2:00-6:00 pm in Video Gallery, 1st floor

New York City – Whitebox Art Center presents Anthony Haden-Guest’s readings, drawings, animations, and site-specific interventions at cutlog.  For each day of the fair, Haden-Guest will read his darkly comic rhymes, some being about the art world, while his cartoons roll by on screen. His drawings depict caricatures of artists and quotes in the series So They Say, the most foolish lines in rock history, titled Rock and Roll Hall of Shame, and each hour of a day in New York in 24 Hours. On the last day of the art fair, Sunday May 11th, Whitebox Art Center and Haden-Guest will stage an impromptu full-day program of readings and performances.

Anthony Haden-Guest is a writer, reporter, and artist. He lives and works in London and New York and has published in leading magazines in Britain and America, most recently in Esquire and GQ (UK). His series of drawings 24 Hours will be published in Dujour Magazine later this year.

Press Contact: press@whiteboxny.org

Liberation Art

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ArtPalestine International and Whitebox Art Center present

Liberation Art

Readings and Performance Thursday April 10th | 6:30-9pm

 

6:30 pm Samia Halaby signs her books.

7pm Samia Halaby reads Samia Halaby, Five Decades of Painting and Innovation by Maymanah Farhat published by Booth Clibborn Editions. She also reads select excerpts from Art of Palestine, A detailed study of Palestinian art during the second half of the twentieth century

7:45pm Special guest performance artist Elias Wakeem: video screening Borderline Drag Show and drag show lip-sync to Fairouz’s Can You See How Big the Sea Is?

8pm Alison Weir reads Against Our Better Judgment: The Hidden History of How the U.S. was Used to Create Israel

Samia Halaby: Five Decades of Painting and Innovation offers an unprecedented look at one of the world’s leading abstract painters. Spanning over five decades of the Palestinian artist’s illustrious career, from her early student days in the 1960s to her most recent series in 2013, the book contains nearly 450 colour reproductions, presenting her expansive oeuvre through paintings, prints, and drawings. These images are accompanied by an in-depth essay by art historian Maymanah Farhat in addition to the personal reflections of the artist on her theories of abstraction and the many inspirations and approaches that were involved in creating some of her most recognized works.

Samia A. Halaby is a Palestinian artist and scholar who lives and works in New York. Born in Jerusalem in 1936 during the British Mandate, today she is recognized as one of the Arab world’s leading contemporary painters. Halaby has also been active in American academia, teaching art at the university level for seventeen years, a decade of which was spent as an associate professor at the renowned Yale School of Art (1972–82) as the first woman ever to hold the position of associate professor. In addition to participating in leftist political organizing for various causes, she has long been an advocate of pro-Palestinian struggles.

Elias Wakeem also known as Madam Tayoush is an emerging queer arab Palestinian artist living and working in New York City. Through performance she examines the reaction of the audience to her personal story of the place she grew up in with its geographical, historical and political situations. Madam Tayoush created over the past few years a series of monthly radical queer drag ball parties in Jerusalem called “Jerusalem is Burning”.

Alison Weir’s new book Against Our Better Judgment: The Hidden History of How the U.S. was Used to Create Israel.  Alison Weir is a journalist, author and president of the “Council for the National Interest” as well as executive director of “If Americans Knew” a nonprofit organization dedicated to providing Americans with information on topics of importance that are misreported or under-reported in the American media.

See more about her book at Amazon

Book reading at  Whitebox Art Center    Samia Halaby, Five Decades...book cover sm

 

How Green Was My Valley – Artist talk

Whitebox Art Center

Center for Palestine Studies, Alwan for the Arts, ArtPalestine International and Whitebox Art Center present

How Green Was My Valley – Artist talk
Due to technical difficulties, the talk has been moved from Alwan For The Arts to Whitebox Art Center

Friday April 4th | 7:30pm
Joseph Audeh, Samira Badran & Mary Tuma | Moderated by Dr. Raouf J. Halaby

Free and open to the public
- Doors open at 6:30pm

Link to exhibition and press release
Link to Reading and Performance event
Link to Dr. Raouf J. Halaby’s article on Counter Punch

Joseph Audeh
(b. 1989, Sarasota, Florida)

Joseph Audeh currently lives and works in New York. His work engages architecture, environmental change, and technology. His various projects imagine solutions to meet future energy needs by combining old forms of environmental knowledge with breakthroughs in emerging technology. Audeh was selected as a Berkeley Design Fellow (2011), a finalist for the Frieze Writer’s Prize (2012), and a traveling artist for the River Has Two Banks at Makan Art Space, Amman (2012). He recently completed an artist residency at Townhouse Gallery, Cairo (2013).

Samira Badran
(b. 1954, Libya)

Samira Badran was born to Palestinian parents in Tripoli, Libya and currently lives and works in Barcelona. Her father, Islamic artist Jamal Badran influenced her practice, which uses a wide range of mediums including painting, collage, photography, and installation. She has exhibited at the Sharjah Biennial, Al Hoash—the Palestinian Art Court in Jerusalem, The UNESCO Palace in Paris, The Modern Art Gallery in Baghdad, the Jordanian National Gallery of Fine Arts in Amman, the Washington Museum of Women in the Arts, Musèe du Luxembourg, Paris, Centro Internazionale Multimedia, Italy, Gemeetemuseum den Haag, Foreign Ministry of Berlin, Al-Ma’mal Foundation, Jerusalem and Espai Agora, Barcelona.

Mary Tuma
(b. 1961, Oakland)

Mary Tuma was born in California in 1961 to a native Californian mother of Irish descent and a Palestinian father. She currently lives and works in Charlotte, North Carolina. She began sewing and crocheting with her mother at an early age. Her love of these processes led her to begin her formal study of art as an apprentice at Beautiful Arts Hall in Kerdassa, Egypt, where she learned to weave tapestries. Tuma’s work has been shown, nationally and internationally, in such venues as the Crocker Art Museum, The Maruki Gallery in Hiroshima, The Southeastern Center for Contemporary Art, Al-Kahf Gallery in Bethlehem, The Cheongju International Craft Biennial, the Station Museum in Houston and Contemporary Projects in Kuwait City. Her work has appeared in Contemporary Practices, Art in America, Dar Al-Hayat, The New York Times, The Christian Science Monitor, Counterpunch, NYArts, Mother Jones,The San Francisco Chronicle and The Jordan Star, among others.

Moderator – Raouf J. Halaby
(b. 1945, Jerusalem)

Raouf J. Halaby is a native of Jerusalem, Palestine. In 1959 he moved from Upper Bakaa to Beirut, Lebanon and graduated with honors from the National Protestant Secondary School in 1964. He was awarded a Bachelor and Master’s degrees from Ouachita Baptist University, and his Ed.D. in the College Teaching of English from Texas A&M University in 1973. He studied Art History in Rome, Italy.

Since 1973, he has been teaching at his alma mater and is in his 41st year as a Professor of English and Art. Halaby has served on national, regional and local boards, as a consultant for University of Minnesota’s Immigration History Research center. He is a widely-published author, a regular contributor to CounterPunch, a photographer, and an award-winning sculptor, whose works have been exhibited nationally. He is a peace activist dedicated to the cause of Palestine and her dispossessed people.

Thank you to the co-sponsors of the Artist Talk

Center for Palestine Studies, Alwan for the Arts, ArtPalestine International

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How Green Was My Valley – Opening Celebration

Whitebox Art Center

ArtPalestine International and Whitebox Art Center present

How Green Was My Valley

On view April 3rd – 27th 2014
Opening celebration Thursday April 3rd | 6-8 pm
Readings and Performance Thursday April 10th | 5-7:30pm

Link to exhibition and press release
Link to Reading and Performance event

Mohamed Abusal | Tarek Al Ghoussein | Mohammed Al Hawajri | Joseph Audeh
Samira Badran | Taysir Batniji | Rana Bishara | Haitham Ennasr | Tanya Habjouqa
Wafa Hourani | Jeffar Khaldi | Mohammed Musallam | Larissa Sansour
Amer Shomali | Mary Tuma

TIME::CODE

          Whitebox Art Center presents TIME::CODE Video Art from the Present to the Past into the Future Opening celebration Sunday February 23rd | 12-6pm Special Screening Living Room by Michael Snow Sunday February 23rd | 3pm On view… Continue reading

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