Tag Archives: digital media

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

WhiteBoxLab>>Critical Thursdays

The Art Markets Are Present Carla Gannis, Brian L. Frye,Dmitry “Dima” Strakovsky & Tim Schneider Thursday, August 25 | 7 pm Special presentation discussing the intersection between art, technology, and business.  Followed by a panel discussion with the artists and… Continue reading

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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

 

 

In-Between program: 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… Continue reading

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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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585,000 m2 – History of the Jewish Quarter of Budapest A Mixed Media Exhibition

585000_poster_lettersize_bwlogo

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

OPENING – Thursday, April 7 | 6-8pm

Participating Artists
Zsuzsi Flóhr, Zsófia Szemző, Márton Szirmai, Dániel Halász, István Illés, Levente Csordás in collaboration with Miklós Mendrei and Benjamin Kalászi, Balázs Varjú Tóth, Mátyás Csiszár along with Csaba Kalotás (music) and Éva Szombat (photo).

 

585,000 m2 examines the symbolic spaces and the inscriptions of history -from the pre-World War 2 period to the present-found in the Jewish Quarter in the 7th district of Budapest, through visual art statements. The title is a reference to the massive surface area of the Quarter, a dense urban neighborhood overflowing with signifiers.

The curators invited nine young Hungarian artists to reflect upon particular buildings and discover the stories behind them, in their own artistic tone, using mostly visual media to mediate between past and present, history and art, artist and society. The conceptual installations and mixed media works operate as visual manifestos to alert the audience to both the history-defying existence of the Quarter itself, where Jews and non-Jews now once more converge, and the revival of cultural, religious, and social life rooted in the history of cohabitation before and after the Shoah.

The diversity of the Quarter is mirrored by the variegated techniques of the participating artists. Coming from different fields of contemporary arts, the most important intersection of the contributors is the Quarter itself, the space that beyond a geographical location operates as an irreducible excess. This excess contains the survival and revival of those marked for death but also the unquantifiable violence unleashed on the area and its inhabitants during World War 2, as well as, more recently, of the co-existence of traditional and experimental cultural life. Through the past decade the Quarter transformed itself and became the place that it is today, forming the identity of another generation of young Hungarians, among them the artists who now propose their statements, drawing on both cultural and personal memory.

Mixing archival and present-day frames with individual video installations, the exhibition invites the audience to step into the Quarter, to experience its bustling religious and cultural life and the artists’ transformative vision of this life. The video installations focus on individual buildings, their functions today, and on how the stories that can be told about them give rise to a vision of the Quarter. They also document, without looking away, the radical interventions to which it was subjected by the perpetrators of the Shoah, leaving an indelible mark on private and public spaces alike. Each installation provides a unique and idiosyncratic portrait of the spaces, showing the effects of time and how the present faces, accepts, and adopts the past.

Curated by:
Andrea Ausztrics, Historian and Media Artist
Zita Mara Vadász, Curator, Balassi Institute – Hungarian Cultural Center, New York

Contact:
press@whiteboxny
Presented by Balassi Institute – Hungarian Cultural Center and WhiteBox, in association with Tom Lantos Institute, the Consulate General of Hungary in New York, the Ministry for Foreign Affairs and Trade of Hungary, the Hungarian National Tourist Office in New York.

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

Screen Shot 2016-03-02 at 7.48.48 PM

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

muller-red-wall-kaaba-s2

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

RECYCLING RELIGION

Kosolapov_my-body
 
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

 

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

 

                   

 

Yu Lik Wai: It’s A Bright Guilty World

Key art_lowres

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.

NYSCA         DCA_Logo  Museum-of-Chinese-in-America-logo

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

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”.

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Whitebox Art Center in collaboration with PAJ

PAJ 109 – Performance and Architecture Launch | March 1st  2pm – 4pm 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… Continue reading

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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.

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

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.

______________
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

Here and elsewhere, at war, and into the future: Palestine

Live Web Stream panel discussion organized and moderated by Mohammad Salemy as part of the Fixing the Future Platform  Tuesday August 5, 2014, 6PM EST Hosted Live at Whitebox Art Center | 329 Broome St New York, NY 10002 Panelists:… Continue reading

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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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HONKY

Black Homer-vertic_lowres

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
Print

DCA_Logo

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

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

alwan logo final 10-2013   cps logo blue (3)   ArtPalestineInternational_logo

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

The Armory Show 2014: Armory Arts Week LOWER EAST SIDE DAY

Whitebox Art Center

Whitebox Art Center Hosts
The Armory Show 2014: Armory Arts Week LOWER EAST SIDE DAY
Sunday, March 9th | 11am to 6pm
RSVP to press@whiteboxny.org
Link to The Armory Arts Week

TIME::CODE
Video Art from the Present to the Past into the Future
On view February 23rd to March 28th 2014

Link to exhibition and press release

Oreet Ashery | Dara Birnbaum | Alina and Jeff Bliumis | Robert Boyd
Hans Breder | Tania Candiani | Stefano Cagol | Gordon Cheung | Jaime Davidovich
Braco Dimitrijevic | Adolfo Doring | Dieter Froese | Gary Hill | Ferrán Martín
Mary Mattingly | Jonas Mekas | Yucef Merhi | Igor Molochevski | Iván Navarro
Damian Ontiveros | Dennis Oppenheim | Jean-Gabriel Périot | Larissa Sansour
Arleen Schloss | Carolee Schneemann | Kiki Seror | Michael Snow | S&P Stanikas
Javier Téllez | The Blue Noses | Wojtek Ulrich | Roi Vaara | Helena von Karkkainen
Ai Weiwei | Sislej Xhafa

TIME:CODE is an exhibition of video art selected from Whitebox Art Center’s archive. The title and curatorial framework metaphorically weave technical nomenclature for video and film synchronization and the experimental film directed by Mike Figgis. The former is addressed in the historical arc of the exhibition consisting of important works by early video pioneers, including Michael Snow, Jonas Mekas, Carolee Schneemann, Gary Hill, Dieter Froese, Dara Birnbaum, Dennis Oppenheim and Jaime Davidovich, shown alongside a succeeding generation of video artists including Ai Weiwei, Gordon Cheung, Sislej Xhafa and others who have engaged the medium as innovatively as their predecessors.

Whitebox Art Center

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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TIME::CODE

Whitebox Art Center

Whitebox Art Center presents

TIME::CODE
Video Art from the Present to the Past into the Future

On view February 23rd to March 28th 2014
Opening Sunday February 23rd | 12-6pm

Link to exhibition and press release

Oreet Ashery | Dara Birnbaum | Alina and Jeff Bliumis | Robert Boyd
Hans Breder | Tania Candiani | Stefano Cagol | Gordon Cheung | Jaime Davidovich
Braco Dimitrijevic | Adolfo Doring | Dieter Froese | Gary Hill | Ferrán Martín
Mary Mattingly | Jonas Mekas | Yucef Merhi | Igor Molochevski | Iván Navarro
Damian Ontiveros | Dennis Oppenheim | Jean-Gabriel Périot | Larissa Sansour
Arleen Schloss | Carolee Schneemann | Kiki Seror | Michael Snow | S&P Stanikas
Javier Téllez | The Blue Noses | Wojtek Ulrich | Roi Vaara | Helena von Karkkainen
Ai Weiwei | Sislej Xhafa

Whitebox Art Center at PERFORMA13

Whitebox Art Center at PERFORMA13 presents: Unconscious Media, Dieter Meier and Christopher Knowles Unconscious Media (Hans Breder) “Experiments in Intermedial Activism” Live Web Teleconference/ Performance Nov. 2 | 3-5pm Link to event Dieter Meier YELLO Video Performances Exhibition on view Nov. 3 –… Continue reading

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UNCONSCIOUS MEDIA (Hans Breder) “Experiments in Intermedial Activism”

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New York City, Whitebox Art Center presents: Unconscious Media — an experiment in Intermedial Activism; Saturday November 2, from 3 to 5 pm.

Unconscious Media is Intermedia epitomized in performance, video, audience participation, and mobile media feeds. They coalesce in a spectacular philosophical inquest using smartphones, tablets, Google Hangouts and Tweeter to probe cross-pollination between quantum mechanics, the nature of mind, and art-making. This trans-continental web conference — with several feeds coming in from different countries — is a pathbreaking juxtaposition of artists and thinkers whose work are exemplary hybrids of art, technology, philosophy and pure science.

Featuring among others: Hans Breder, early pioneer of media art and founder of the Intermedia and Video Art program at The University of Iowa in 1968; Igor Molochevski, (New York) artist focused on technology integration, physical computing and generative programing; Dr. Gregory L. Matloff, professor of astronomy at CUNY and expert in interstellar propulsion; Raul Marroquin, (Amsterdam) whose work comprises early time-based experiments in video and television; Herman Rapaport, art philosopher and writer; Caridad Botella, (Bogotá) specializing in mobile phone-made cinema; Ellen K. Levy, artist and teacher at SVA completing a PhD for artists involved with science and technology at the Zurich Node of the Planetary Collegium.

Organized by Carlos Cuellar, writer and curator focused on media art, performance, social theory and metaphysics.

The event will be broadcast simultaneously via GOA and Youtube. Google + event notifications will be sent early this week. URL for the Youtube simulcast will be Tweeted and posted on Facebook minutes before broadcast.

PERFORMERS/PANELISTS

Hans Breder, artist and founder of the Intermedia program in 1968 at the University of Iowa. Ellen K. Levy, PhD, artist and Special Advisor on the Arts and Sciences of the Institute for Doctoral Studies in the Visual Arts. Raul Marroquin, artist and pioneer in Video Art and Media Web Conferencing. Herman Rapaport, PhD, philosopher of art, Reynolds Professor of English at Wake Forest University. Igor Molochevski, media artist and manager of Digital Technology at Pratt Institute. Caridad Botella, the Artistic Co-Director of SKLN gallery Bogota. Yolanda Duarte, performance artist, SKLN gallery Bogota. Carlos Cuellar Brown, performance artist, writer, and co-director of Unconscious Media.

Biographies listed below press release.

FOR IMMEDIATE RELEASE

Whitebox Art Center presents a Web Conference Panel Performance: UNCONSCIOUS MEDIA (Experiments in Intermedial Activism)

New York City – The explosive proliferation of digital media has opened new discussions in the understanding of human perception.

Whitebox Art Center stages this fall a unique experiment in intermedial activism when it hosts the web-conference: Unconscious Media. This web-conference initiated by Hans Breder will bring together a diverse group of experts, artists and performers to explore the wider perspective of digital media and quantum activism. Hans Breder has said: “Digital technology allows me to excavate new worlds of microcosmic event horizons. I aim for a dematerialization of content by entering into the microstructure of sound and imagery.”

Unconscious Media will be broadcast live on the world wide web and include four simultaneous city feeds (New York, Amsterdam, Bogota, Copenhagen) on a giant multi-screen on all three venues with: live interactive performances, digital art, discussion segments, audience participation and live social media feeds.

“Digital media has become a major force in society with great potential to play an active role in shaping art and society” contends Juan Puntes, Founding Director of Whitebox Art Center. “For the most part, the transformative dialogues of these intermedial body extensions, happen irrationally in the unconscious.” The artist can become a subliminal activist deploying technological appendages that interface and change our perceptions into surreal domains. “This is a paradigmatic change that disrupts conversations regarding the nature of reality and consciousness,” explained Carlos Cuellar Brown co-director for this web-conference event.

Unconscious Media will feature artists Hans Breder and Raul Marroquin (Pioneer in Video Art and Media Web Conferencing) as well as experts in art and philosophy such as Reynolds Professor of English at Wake Forest University, Herman Rapaport. A remarkable architect (tbc) has been invited as honorable panel member to share his knowledge on human perception and phenomenological space. Special appearances include: Ellen K. Levy, Special Advisor on the Arts and Sciences IDSVA. Caridad Botella, Artistic Director of SKLN gallery Bogota, featuring performance artist Yolanda Duarte, and in studio at the Whitebox performance artist and writer Carlos Cuellar Brown.

Finally audience and attendees will enjoy participation on live cams or by messaging chat board.

To find out more about the Unconscious Media Web Conference, visit www.whiteboxny.org     or write to us at admin@whiteboxny.org

For press materials, contact  press@whiteboxny.org

 

PERFORMERS/PANELISTS BIOGRAPHY

Hans Breder was born in Germany in 1935 and moved to NYC in 1964. His first exhibition in NY consisted of constructivist-aligned objects showcased at the Richard Feigen Gallery in 1967.

Breder created the first “Intermedia and Video Art Program” at the University of Iowa in 1968. This year, the Iowa program is included in the traveling exhibition Anti-Academy.

Breder’s time-based work has been included in several Whitney Biennials (1987, 1989, 1991).  In 2013, he has enjoyed a major retrospective of his media work at Ostwall Museum, Dortmund, Germany. His most recent moving images are presently shown at Whitebox Art Center.

His new paintings and recent video installations are grounded in an exploration of the neuro-opthalmology of image perception — continuing Breder’s 40-year interest in that medium. Working with a neuro-opthalmologist and a scientific imaging specialist, Breder utilizes the interactions of the retina’s color sensitive photoreceptor cone cells (S, M, and L) by converting the cells’ differing spectral sensitivities into RGB print values. The result is paintings whose vibrating color space, where image and afterimage interact, recall the utopian optical constructivism of painters like Wojciech Fangor, as well as the meticulously photoshopped, if blithely neutered, color field photography of younger artists like Cory Arcangel.

Dr. Gregory L. Matloff is emeritus associate and adjunct associate professor of physics at New York City College of Technology (CUNY), having also coordinated the astronomy program at that institution. Dr. Matloff has consulted for the NASA Marshall Space Flight Center; he is a Fellow of the British interplanetary Society, and a Corresponding Member of the International Academy of Astronautics. His pioneering research in solar-sail technology has been utilized by NASA in plans for extra-solar probes and in consideration of technologies to divert Earth-threatening asteroids.

Igor Molochevski is a new media artist, film-maker, and photographer. His work — defined by the destructuralization of visual and conceptual paradigms — is based on the integration of mixed media and technology.  Molochevski’s workflow includes live coding, interactive and generative programing, kinetic sculptures, sound design, and digital imaging.

Raul Marroquin was born Bogotá, Colombia in 1948. As an early pioneer of video art starting in 1968 published Fandangos, an artist magazine; followed by other initiatives like the Kremlin Mole published in Amsterdam during the 1980s. After a series of experiments with national television stations in several European countries, he began to explore the possibilities of cable television in Amsterdam and in 1990 co-authored Time Based Art Television. He currently lectures and conducts workshops at various institutions such as the Center for Advanced Visual Studies at MIT, among others.

Yolanda Duarte is an artist based in Bogotá, Colombia. Her work explores the relationship between nature and technology as it pertains to experiences of the human body through the use of experimental interfaces, software and apps created for mass media.

Caridad Botella is an art historian, film scholar, art and film writer, organizer, freelance lecturer on film theory, and cell phone made cinema based in Bogotá, Colombia. She studied at the University of Amsterdam, there acquiring a Master’s Degree in Film Studies and completing her Master’s thesis in Mobile-Phone Cinema. She’s written on the subject for several publications such as: CINEMASCOPE Independent Film Journal, Off Beat Cinema, and Artpulse.

Ellen K. Levy, a New York-based artist with special expertise in the interface between art and science. Levy has had numerous group and solo exhibitions in the US and abroad at venues such as: the National Academy of Sciences (1985), the 2nd Moscow Biennale in Petroliana (cur. E. Sorokina, 2007), the Boulder Museum of Contemporary Art in Weather Report: Art & Climate Change (cur. L. Lippard, 2007), and Michael Steinberg Fine Art in New York City (2009). She will be teaching a seminar on art and neuroscience this coming spring at The New School.

Herman Rapaport is Professor of English at Wake Forest University. He is a critical theorist who has written on art, television, literature, music, performance, philosophy, and psychoanalysis. Among his books are Heidegger and Derrida, The Theory Mess, and The Literary Theory Toolkit.

Carlos Cuellar Brown was born in Bogotá, Colombia and is a time-based artist in New York City. He is an essayist who has written on media art, performance, social theory and metaphysics. Currently, he is a columnist for Second Sight Magazine and the Fullinsight blog page out of the Netherlands. His essay on Intermedia and Consciousness: Intermedial Being will be published this fall in (A Journal of Performance and Art) PAJ 106 issue.

Hans Breder NUNC STANS

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Whitebox Art Center presents

Hans Breder
NUNC STANS
Time-based paintings

On view Oct. 10th through Nov. 1st 2013
Opening Oct. 10 | 6-9 pm

Whitebox Art Center is pleased to present new time-based paintings by a seminal pioneer of media art, Hans Breder.

In NUNC STANS, Breder’s time-based paintings unfold slowly. Brightly colored patterns evolve, shift, and merge into each other. They change from one moment of perception to the next and cannot be clearly determined. The observer does not succeed in remembering the preceding image because the image itself never solidifies. What comes next cannot be predicted.

Link to opening reception images

Link to full press release