Tag Archives: Film / Video Screenings

FILM SCREENING AND PANEL DISCUSSION: SONIC SEA

WhiteBox presents 

SONIC SEA (60′)

FILM SCREENING AND PANEL DISCUSSION
SEPTEMBER 28, 2016 | SCREENING 7PM – PANEL TO FOLLOW

 

SONIC SEA, directed by Daniel Hinerfeld, Michelle Dougherty

Sonic Sea is a 60-minute documentary about the impact of industrial and military ocean noise on whales and other marine life. It tells the story of a former US Navy officer who solved a tragic mystery and changed forever the way we understand our impact on the ocean. The film is narrated by Rachel McAdams and features Sting, in addition to the renowned ocean experts Dr. Sylvia Earle, Dr. Paul Spong, Dr. Christopher Clark and Jean-Michel Cousteau. Sonic Sea was produced by the Natural Resources Defense Council (NRDC) and Imaginary Forces in association with the International Fund for Animal Welfare (IFAW) and Diamond Docs.

Following the screenings, the panel will be moderated by Joel Chadabe, president and founder of Ear to the Earth, adjunct faculty at NYU, author, and composer whose works have been featured at the Venice Biennale, Ars Electronica (Linz, Austria), Inventionen (Berlin), and other venues and festivals as a complement to his environmental concerns.

 

Hon. Steven S. Honigman
Former General Counsel of the Navy
The Honorable Steven S. Honigman served as the General Counsel of the Navy and received the Navy Department’s Distinguished Public Service Award. He is committed to supporting naval operations while protecting environmental resources. He is currently an attorney is private practice in New York City.

 

William J. Parker, III, Ph.D.
Former Commodore, United States Navy
William J. Parker is a retired senior naval officer with multiple combat tours who commanded three ships and served as Chief of Staff for United States Naval Forces. He is currently COO of the East West Institute.

 

Francine Kershaw, Ph.D.
Marine Mammals Science Fellow, Natural Resources Defense Council
As a member of the NRDC’s Marine Mammal Protection Project, Dr. Kershaw identifies areas of the ocean that are crucial for marine mammals and then assesses how vulnerable those areas are to human impacts. She combines information on marine mammal behavior, genetics, and oceanography using geospatial tools to advocate for and improve marine mammal protections.

 

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

Press Contact: press@whiteboxny.org

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Sarah Singh + Rey Parla | The Creative Process in Art & Filmmaking

WhiteBoxLab>> Critical Thursdays

Sarah Singh + Rey Parla

The Creative Process in Art & Filmmaking

Special presentation introducing their singular practices
Followed by panel discussion moderated by Lara Pan

About the Artists

Sarah Singh
A filmmaker, artist, award-winning documentarian and photographer, Sarah Singh was born    into the RScreen Shot 2016-08-16 at 5.21.49 PMoyal family of Patiala, Punjab in India. As a  young child, her family moved to the US and it was not  until her early 20s that she was able to psychologically  connect with India, but once it happened, she was    totally ‘seduced by it’. Her latest artistic expression, A  Million Rivers saw a world premiere at the Victoria and  Albert Museum, London, and has since screened at    the Kunsthalle Bremen, Germany and as a private    preview at the Löwen palais, Berlin to much acclaim    and applause.

I consider myself primarily an architect of images, and writing poetry is an intrinsic part of this architectural filmmaking process because it helps me distill the conceptual framework.

For Whitebox Lab, she will discuss her practice and show select parts of A Million Rivers, her surrealist work of film art which stars legendary actors Om Puri and Lillete Dubey. A Million Rivers will have its North American premiere November 2016 in New York City.

Sarah’s next film will star some of the world’s most interesting actors and is set in Germany. It will challenge both an American film genre and an American art aesthetic that has been dominated by men.

 

Rey Parlá
Rey Parlá is a Cuban American visual artist working in photography, painting and filmmaking. Parlá firReyst received recognition for his “motion-paintings” at the 12th Annual Miami International Film Festival. Parlá’s time based media works are short Super 8 film documentaries he then hand-painted, edited, and collaged after shooting his brother José Parlá and friends while they created mural painting projects in Miami. Early exposure to Hip Hop culture and its environment drew him to photography and filmmaking. Parlá references artists such as Georges Méliès, Man Ray, Len Lye, Stan Brakhage, Tony Conrad, and László Moholy-Nagy and many others who often time radically contradicted the current view that photography or filmmaking must only depict the natural world.

I am the camera. My hands the mechanical levers, my eyes the prism and lens, my energy processes “negative capability” through painting, scratching, and drawing while using line and light to deconstruct and re-construct the mysteries of the visual image as I create self-portraits on this celluloid material of emulsions.”

Parlá has received Honorable Mentions and Special Event Presentations for his films : Rumba Abstracta, Sporadic Germination, and The Revolution of Super 8 Universe: A Self-Portrait at several film festivals like: The Anti Film Festival, The Alliance Cinema, Milan International Film Festival, Flower Film Festival, The Central Florida Film & Video Festival, The Independent Feature Project, El Museo Universitario de Ciencias y Arte Roma (MUCA Roma), The Lynn and Louis Wolfson II Florida Moving Image Archives, and The Cuban Alternative Film Festival in Little Habana. Parlá is currently preparing for an upcoming show at *happylucky no.1* gallery in Brooklyn, New York.

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

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 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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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

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.

#makeamericagreatagain SATURDAY February 20th 8-10PM

KID (Millenial) Installation, Wojtek Ulrich 2016

 

Screen Shot 2016-02-19 at 9.03.20 PM

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

Screen Shot 2016-02-19 at 9.10.34 PM
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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Satellite Art Fair – Miami FL – WhiteBox and Dukley European Art Community

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

 

SATELLITE_MAP_1

 

Complimentary Art Fair Shuttle Service

 

shuttle

 

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

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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The New York Times – Art Review

A lively, messy scrapbook of a show, “The Last Party” surveys, as per its subtitle, the “Influence of New York’s Club Culture: Mid-70s to Early ’90s.” Presenting photographs, videos, paintings and a re-creation of the Mars Bar, the famous dive… Continue reading

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Intimate Transgressions

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.

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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

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

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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Dada on Tour

Presented by Zurich Meets New York: A Festival of Swiss Ingenuity in partnership with with Dada 100 Zurich 2016, Cabaret Voltaire in Zurich, and Whitebox Art Center Dada on Tour On view May 18th through 22nd 2014 Opening celebration Sunday May… Continue reading

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HONKY

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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Klaus Lutz – Film Screening 

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

in partnership with the Estate of Kaus Lutz, Rotwand Gallery Zürich, and Whitebox Art Center

Klaus Lutz Film Screening

Sunday May 18th 2014 | 4-5:30pm

Swiss-born artist and filmmaker Klaus Lutz, who died in New York in 2009, left a remarkable body of work, characterized by a unique cinematic vision. Shot in 16mm and using animation and multiple exposures, his films are reminiscent of those of Georges Méliès and the 1920s avant-garde, yet they create a universe of their own. Enjoy a selection of his most iconic films, spectacularly projected on a large balloon.

Free admission

RSVP: ZHNY.eventbrite.com 

Reception to follow

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).

Link to Klaus Lutz Film Screening

Caption : “Klaus Lutz In the Universe”, Museum Haus Konstruktiv (installation view), 2012 . Photo: Stefan Altenburger

ZurichMeetsNewYork_Horizontal

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

 

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

 

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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OUTLAW

OUTLAW
January 11-14, 2012
Opening Reception: January 12th 6-10 pm.

2feet12inches in collaboration with White Box present: Outlaw
Curated by: Robert Aloia, Brent Bartley, Frankie Cedeno and Laksmi Hedemark

Inspired by the downtown New York City art, music, and nightlife scene of the late ’80’s into the early ’90’s. That time and the infamous outlaw parties were symbolic of our city and the way we lived our lives.
Contributing Artists: Alex Arcadia, Alfredo Martinez, Charles Hardwick, Chino, Christophe Roberts, Curtis Kulig, Donald Gajadhar, Doug Landau, Dr. Dax, Ghost, Hugh Gran, Ilene Byers, Jayson Atienza, Jesper Haynes, Joey Glover, John Perry, Josh Wallman, Juna Skenderi, Justin Carty, Kinjal Mitra, Leyman Duky, Mare, Michael Alig, Michael Jarvis, Michelle Reyes, Minka Sicklinger, Mint and Serf, Nemo Librizzi, Pablo Power, Paul D. Edwards, Pork, Savior Elmundo, Senz, Shauna Figueroa, Spam, Strider, Tony Chan, Xaviera Simmons, 13thWitness and more…
The second group at show by 2feet12inches at White Box, Outlaw pays homage from the famous to the nameless figures that played a role in making New York City the epicenter of all that was cool in the world, and is still evident in today’s music, art and fashion, highlighting the inspiring quality of the squatters, punks, skaters, people with ‘real jobs’ and their dealers, artists, DJs, musicians, party promoters, etc.
DJ’s: Jazzy Nice, Jonny Santos, Julie Covello, Sal Principato, Shorty, Small Change, Steve Lewis and more…

Art Wars | Wednesday, January 11 | 7pm
Hosted by Savior Elmundo and Voodoo Ray
Featured Screenings:
Downtown Calling | Thursday, January 12 | 6:30 pm
A documentary explaining, in detail, the evolution of New York City’s fertile music and art subculture during the late ’70s early ’80s and how its collective output continues to play a prominent, driving role in the international fashion, art and music industries today.
In the Cups | Friday, January 13 | 7pm
Directed by Nemo Librizzi
Hosted by Dominic Chianese, John “Bloodclot” Joseph, and Bill Spector
Event Photography by: Kenny Rodriguez
Shot by: Kevin Chung
Press Contact: Laksmi Hedemark 646-258-0485

WHERE IS AI WEI WEI?

Where is Ai Weiwei?

Special Exhibition/Film Screening/Performances and Benefit Art Sale – June 7th 2011

6PM Performances
7PM Symposium-moderated by Jerome A. Cohen
8PM Benefit Art Sale

Link to video : Alfredo Jaar

Link to video : Carol Bogart

Where is Ai Weiwei?
Symposium moderated by Jerome A. Cohen (Human Rights lawyer as well as adviser to the US government, Human Rights Watch and Amnesty International). This symposium included a broad demographic of influential and informed panelists: Chilean-born artist, architect and filmmaker, Alfredo Jaar; art critic and author (recently wrote article on Ai Weiwei in a summer issue of Art in America), Eleanor Heartney; Deputy Executive Director of Human Rights Watch, Carroll Bogert; journalist for The Wall Street Journal and personal acquaintance of Ai Weiwei, Melik Kaylan; Russian artist of collective “Komar and Melamid,” Alexander Melamid; and Chinese art specialist, author and professor Joan L. Cohen.

TIME SUITE SERIES

WHITE BOX PROJECTS
JOHN ZIEMAN: TIME SUITE SERIES
MARCH 5 – 27, 2011
 CURATED BY RAUL ZAMUDIO
OPENING RECEPTION: MARCH 5, 6 – 8 PM

CURATED BY RAUL ZAMUDIO

TimeSuite 2007 4:00 min, single channel, hi-definition, stereo.First Dream 2008 4:00 min, single channel, hi-definition, stereo. TS3 2010 3:30 min, 3-D,hi-definition, stereo.
Appearing together for the first time, these three video works share a unique mode of inquiry, blending word art and portraiture.
Zieman literally projects his animated text upon the human form, then records the composite image as as sort of “layered portrait”.
Texts range from social dissections, (“Something you almost said gave me hope”) to meta-commentary (“I saw a story was to be written on me – with my choice – without”);
terse utterances, (“Stop projecting on me”), to inner realizations, (“It all comes faster now- This is how change feels”).
Texts topographically map the subject, propelling the visual portrait toward new densities of observation.
The viewer is offered a complex psychological space, suggesting inner musings, explicitly naming interpersonal tensions, and witnessing the shared human condition, where time itself becomes the ultimate metric.

SANCTIONEDARRAY

October 25, 5 – 9 pm, Screening Event at Big Screen Project, 6th Ave between 29th and 30th
November 2, 12-10 pm, Screening Event at White Box
November 2, 7 pm, Roundtable Discussion at White Box
November 3, 11-7 pm, Screening Event at White Box

SanctionedArray is an online database of video art conceived in response to the exclusion of artists from OFAC (Office of Foreign Assets Control) sanctioned countries from participating in YouTube Play. A Biennial of Creative Video. Artists who are citizens or residents of Belarus, Cote d’Ivoire, Congo, Cuba, Iran, Iraq, Lebanon, North Korea, Somalia, Sudan, Syria, Myanmar/Burma, and Zimbabwe are not eligible to submit their work. We maintain that the application of OFAC sanctions to the video biennial perpetuates the conditions that led to the imposition of these sanctions.

One hundred finalists will be selected from the 781 entries by a jury comprised of international art professionals for the SanctionedArray online database. An interactive screening of the selected entries will be held on November 2nd and 3rd at White Box. The roundtable discussion, on November 2nd, will include Wafaa Bilal, artist, Hamid Dabashi, author and professor, Columbia University, Shayana Kadidal, attorney, Center for Constitutional Rights, and Ricardo Miranda Zúñiga, artist.

Evolving from SanctionedArray is CuratorsArray, an ongoing series of video exhibitions and screenings by independent curators drawing from the SanctionedArray database. The first iteration of CuratorsArray is Others2Specify, a playlist of 52 videos curated by SpecifyOthers from the first call for submissions. It will premiere at Big Screen Project on October 25th, then screened again at White Box on November 2nd and 3rd, and posted online afterwards. The premiere will coincide with the Play biennial at the Guggenheim, to challenge the status quo by providing a platform for artists excluded due to their country of origin. At SanctionedArray, we look forward to having everyone play.

To submit your work, visit sanctionedarray.specifyothers.com.

Conceived and organized by Specify Others in collaboration with White Box, and co-presented by ArteEast.