Tag Archives: multimedia

Walter Benjamin Opera: Port Bou by Elliott Sharp

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Performance: December 7, 2016 | 8pm

Tickets (sold at the door): $20

 

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The opera PORT BOU by Elliott Sharp presents the last moments in the life of philosopher Walter Benjamin at Port-Bou in 1940 as he was fleeing Nazi-occupied France. The work features the astounding Nicholas Isherwood, bass/baritone, the virtuosi Jenny Lin, piano, and William Schimmel, accordion, as well as Sharp’s recorded electroacoustic sound files and the video sets and settings of Janene Higgins.

In his spoken introduction to the Berlin performance of PORT BOU, Volker Schlörndorf, director of The Tin Drum stated:  “Anybody’s agony, the night before closing the door on the world, is hard to transcribe in musical notes, I thought, even more so a philosopher’s Angst. Yet, it can be done, and his voice, this particular voice, roaming a hotel room in exile, is proof of it. A metaphysical achievement.”

The Final Moments in Benjamin’s Life

What might we surmise about the internal state of a man deciding that life is no longer livable, especially when that man is Walter Benjamin in 1940 in the border town of Port Bou, attempting escape? As the Second World War was increasing in magnitude it was not uncommon for Jewish writers, artists, and professionals to carry the means of suicide with them, believing it to be preferable to internment and torture at the hands of the Nazis. This was a time of desperation and götterdämmerung was in the air, whether global or personal.

Benjamin was unafraid to delve into the myriad philosophies and modes of living presented to him but never would fully give himself to any of them. Whether it was domestic tranquility, mysteries of the Kabbala, political Zionism, the erotic, pure Communism, or academic abstraction, all offered seductions and enticements but never enough for a complete commitment. Benjamin was solipsistic and sybaritic, sufficiently fulfilled by his solitary obsessions and interests to remain an autonomous free-agent. His strengths were of the esthetic, the cerebral, not those of a man who might suffer and fight for his ideals.

While attempting to reach Lisbon and from there, ship’s passage to America, Benjamin attained a realization that the obstacles to his salvation were insurmountable. Then and there, he chose to submit by the obvious means at hand to remove himself from conflicts both internal and external. We might see this as an act of exhaustion, not a willful exit but a collapse of will, the loss of inner reserve.

In PORT BOU, Sharp attempts to manifest this state, all taking place in the last few minutes of real-time for Benjamin. As composer and author, he acts as an antenna for the imagined emanations of Benjamin’s distress and translate them to the frequencies of music and drama. Benjamin was heroic in his thoughts but PORT BOU does not attempt to make a hero of the man. He is yet another innocent casualty of a great tragedy, one in which he might never have imagined himself a protagonist.


ELLIOTT SHARP is a central figure in the avant-garde music scene in New York City for over thirty years, Elliott Sharp leads the projects Orchestra Carbon, SysOrk, Tectonics and Terraplane, and has pioneered the application of fractal geometry, chaos theory, and genetic metaphors to musical composition. Winner of the 2015 Berlin Prize in Music and a 2014 Guggenheim Fellowship, Sharp has has been featured in the Darmstadt and Donaueschingen festivals, New Music Stockholm, Au Printemps-Paris, Hessischer Rundfunk Klangbiennale, and the Venice Biennale. His Storm of the Eye, composed for Hilary Hahn, appeared on her Grammy-winning album In 27 Pieces. His opera Port Bou premiered in NYC in 2014 and in Berlin in 2015. Sharp’s range of collaborators have included Qawwali singer Nusrat Fateh Ali Khan; Ensemble Modern; Debbie Harry; blues legends Hubert Sumlin and Pops Staples; RadioSinfonie Frankfurt; jazz greats Jack Dejohnette and Sonny Sharrock; JACK Quartet; turntable innovator Christian Marclay; and Bachir Attar, leader of the Master Musicians Of Jahjouka, Morocco. His work is the subject of the documentary Doing The Don’t and he has been featured on NPR’s “All Things Considered”. Installations include Foliage, Fluvial, Chromatine, and Tag. His Cryptid Fragments was included in the Bitstreams show at the Whitney Museum. 

JANENE HIGGINS is a graphic designer and video artist based in NYC. Her short videos have been presented in festivals and galleries internationally. In the realm of video performance, she has collaborated with many of New York’s preeminent composers and improvisors of New Music. Her work as a graphic artist and designer of motion graphics has been featured in major magazines, CD covers, and the windows of Saks Fifth Avenue.

NICHOLAS ISHERWOOD is a US-born bass singer, who specialises in contemporary and baroque music. Notable roles include “Lucifer” in the world premieres of Stockhausen’s Montag, Dienstag, and Freitag from Licht at La Scala and the Leipzig Opera, and in Donnerstag aus Licht at Covent Garden. Isherwood has worked with Joel Cohen, William Christie, Peter Eötvös, Paul McCreesh, Nicholas McGegan, Kent Nagano, Zubin Mehta and Gennadi Rozhdestvensky as well as composers Sylvano Bussotti, Elliott Carter, George Crumb, Hans Werner Henze, Mauricio Kagel, György Kurtág, Olivier Messiaen, Giacinto Scelsi, Karlheinz Stockhausen, and Iannis Xenakis in venues such as La Scala, Covent Garden, the Théatre des Champs Elysées, Salzburg Festival, Concertgebouw, Berlin Staatsoper, Vienna Konzerthaus, Tanglewood).  His operatic roles include: “Antinoo” in Monteverdi’s Il Ritorno di Ulisse in Patria with Boston Baroque; “Claudio” in Händel’s Agrippina with Nicholas McGegan; “Satiro” in Rossi’s Orfeo and “Pan” in Marais’ Alcione with Les Arts Florissants; “Joas” in Porpora’s Il Gedeone with Martin Haselböck; “Frère Léon” in Saint François d’Assise in the last composer supervised production; “Der Tod” in the two productions of Ullmann’s Der Kaiser von Atlantis with the Internationale Bachakademie Stuttgart and 2e2m, “Roméo” in Dusapin’s Roméo et Juliette at the Avignon Festival; “Lear” in Hosokawa’s Vision of Lear for the Munich Biennale; “Il Testimone” in Bussotti’s Tieste at the Rome Opera, and “Micromégas” in Mefano’s Micromégas. Recent performances include works by Sylvano Bussotti at the Stockholm New Music Festival in 2008.

JENNY LIN was born in Taiwan and raised in Austria and the USA. She began her piano studies at the age of 4. She received an Artist Diploma from Peabody Conservatory and also holds a bachelor’s degree in German Literature from Johns Hopkins University. She has worked with Richard Goode and Blanca Uribe in New York, and with Leon Fleisher, Dimitri Bashkirov and Andreas Staier at the Fondazione Internazionale per il Pianoforte in Cadenabbia, Italy. Jenny Lin’s concerts have taken her to Carnegie Hall, Avery Fisher Hall, Kennedy Center, MoMA, Whitney Museum, National Gallery of Art, Corcoran Gallery, and to festivals worldwide including the Chopin Festival in Austria, Ars Musica Festivals in Belgium, Shanghai New Music Festival, Divonne Festival in France, Schleswig-Holstein, Potsdam and Husum Festivals in Germany, Millennium Festival in Spain, and Festival Archipel in Switzerland.

WILLIAM SCHIMMEL, accordion, is one of the principal architects in the resurgence of the accordion, the revival of the Tango in America and the philosphy of Musical Reality (composition with pre-existing music). He has performed with most major symphony orchestras in the United States as well as virtually every chamber and new music group in New York. He is the founder of the Tango Project and worked with John Cale, Sting and Tom Waits, who made the legendary statement: “Bill Schimmel doesn’t play the accordion, he is an accordion”.

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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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Natalie White for Equal Rights

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

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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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Last Weekend On View: CARLOS SALAS – THE HEART OF THE MATTER

   ON VIEW APRIL 29 THROUGH MAY 29 2016 PREVIEWS: FRIDAY APRIL 29, 6-8 PM OPENING RECEPTION: SUNDAY MAY 8, 4-7 PM

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

WhiteBox presents

In-between program series

Let the Bidding Begin & Sonic Sea

 

Tuesday, May 31 | 6 – 9pm

Let the Bidding Begin




 

Giovanna Olmos | Johan Wahlstrom | Li Guangming

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

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

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

Act III | 8:30pm

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

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

Conceived by Lara Pan

Wednesday, June 1 | 7pm

Sonic Sea

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

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

 

NYSCA     Department of Cultural Affairs NYC

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

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

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

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

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

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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

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

WBX_JohnCage

Suggested donation $10, students/seniors $5

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

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

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

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

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

Press

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

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

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

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

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

ColorBox

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

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

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

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

A Red Show in A

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

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

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

 

www.7x7project.com

www.jpmuller.be

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

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

NYSCA     Department of Cultural Affairs NYC

#makeamericagreatagain SATURDAY February 20th 8-10PM

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KID (Millenial) Installation, Wojtek Ulrich 2016

 

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

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

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

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

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

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

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

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

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Trumps Wall, Khaled Jarrar 2016

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

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

Link to more information

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

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

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RECYCLING RELIGION

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

garage
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

 

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

 

                   

 

Special Guest Performance – ISAAC ADEN – NIETZSCHE’S HORSE

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Special Guest Performance

ISAAC ADEN

NIETZSCHE’S HORSE

WITH ROB SHIPIRO AS FRIEDRICH NIETZSCHE

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

ISAAC ADEN NIETZSCHE’S HORSE _8571

Press Contact : ISAAC.ADEN@GMAIL.COM

[1] Kaufmann 1974, p. 67.

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

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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 Benefit and Art Auction: Buy Tickets/Preview and Bid

  WhiteBox Benefit Art Auction & WhiteBox and Richard J. Massey Foundation Arts and Humanities Award Honoring Karen Finley   Tuesday, June 23rd 2015 | 6:30-9pm   Your ticket purchase(s) will also be credited to your auction bidding and part… Continue reading

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Whitebox at SELECT Fair NY

Logo SELECT

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

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

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

Arial Allusions | Andriy Bazyuta

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

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

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

Ex of IN  | Steven Holl
Text of Yehuda Saffran.

Link to Steven Holl Architects

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

Logo SELECT

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

NO EXIT : A Project by Khaled Jarrar

Still from Khaled Jarrar's "I. Soldier"

Whitebox Art Center Presents

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

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

Link to images and press packet 

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

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

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

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

Press Contact: press@whiteboxny.org

Links to Press:

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

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

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

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

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

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

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

ArtNews: No Exit for Palestinian Artist Khaled Jarrar

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

here and where

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

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

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

Link to YouTube Video Stream

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

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

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

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

______________
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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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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China: June 4, 1989

Whitebox Art Center and Asian American Arts Centre present

Whitebox Art Center and Asian American Arts Centre present

China: June 4, 1989

The 25th Anniversary Exhibition in Commemoration of Tiananmen Square

Special Screening of “Portraits of Loss and the Quest for Justice” July 1st & 10th | 6-6:30pm
Closing Reception Tuesday, June 10th | 5-7pm
Exhibition on view June 1st – 10th 2014

Vito Acconci | Luis Cruz Azaceta | Betty Beaumont
Luis Camnitzer | Mel Chin | Agnes Denes | Lotus Do
John Duff Leon Golub | Billy Harlem | Edgar Heap of Birds
Ava Hsueh | Kunio Izuka | Ik Joong Kang | Donald Lipski
Liliana Porter | Rumiko Tsuda | Daniel Georges | Dolly Unithan
Martin Wong | Sofia Zezmer | Zhang Hongtu

Image credit : “China Doll Flag” by Vito Acconi; nylon flag, mannequin, rope; 60in x 36in

Whitebox Art Center and Asian American Arts Centre present Art Center presents

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

Klaus Lutz – Film Screening 

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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

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Dada Pop-Up: The Absurdities of Our Times

Whitebox Art Center and Zurich Meets New York

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

Dada Pop-Up: The Absurdities of Our Times

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

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

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

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

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Dada on Tour

Whitebox Art Center

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

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

Dada on Tour

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

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

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

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

Free admission

link to Dada On Tour

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

Anthony Haden Guest “The Further Chronicles of Now”

Whitebox Art Center at Cutlog Art Center

Whitebox Art Center presents
At Cutlog Contemporary Art Fair

Anthony Haden Guest
“The Further Chronicles of Now”

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

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

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

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

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

Press Contact: press@whiteboxny.org

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

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

Christopher Knowles

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Limited seating available, first come first served.

 

The Sundance Kid is Beautiful by Christopher Knowles

 

featuring Christopher Knowles
directed by Noah Khoshbin
produced by Andrew Gilchrist
dramaturgy by Lauren DiGiulio
designed by Eugene Tsai
lighting design by John Torres
sound design by Bryce Kretschmann
set construction by Stephen Crawford

costume design by Kevin Santos

Christopher Knowles’s incredibly diverse practice, which includes writing, painting, sculpture, and performance, exhibits a fascination with the aural and visual elements of language. Born in Brooklyn in 1959, Knowles first became widely known in the theatrical community as an early collaborator of Robert Wilson. While still a young teenager, Knowles provided the libretto for Robert Wilson and Philip Glass’s 1976 genre-changing opera Einstein on the Beach.

First exhibited as a solo artist in 1974, Knowles has continued to cultivate a prolific practice that explores themes surrounding communication and sign systems. Knowles’s works employ meticulous geometrical abstractions of text and pattern, and are broadly influential as both objects and performance-art constructions. His work has been exhibited in many solo and group showings internationally, and his poetry has been published in a variety of magazines and journals, including The New Yorker, The Village Voice, and Interview Magazine. His two and three-dimensional works are held in the permanent collections of the Museum of Modern Art, NY, the Brooklyn Museum, the Museum Boymans-van Beuningen, Rotterdam, and numerous other international institutions and private collections. His large typing Untitled (Christopher Knowles, Puevfgbcure Xabjyrf) was featured in MoMA’s 2012 exhibition Ecstatic Alphabets/Heaps of Language. Knowles is represented by Gavin Brown’s enterprise, New York.

The Sundance Kid is Beautiful with Christopher Knowles features the artist performing a selection of rarely-shown works, including The Sundance Kid is Beautiful and texts from Einstein on the Beach in a multimedia environment that incorporates recent poetry and sculpture.

The performance combines elements of a theatrical vocabulary with Knowles’s delicately patterned texts to create a scenography that extends the structured logic observed throughout his two and three-dimensional practice into a performative domain.

This very special event, which makes its New York premiere after opening at the Louvre Museum as part of Living Rooms, is made possible by the support of American Friends of the Louvre and Gavin Brown’s enterprise. It is staged by Noah Khoshbin and produced by Andrew Gilchrist, with dramaturgy by Lauren DiGiulio, design by Eugene Tsai, lighting design by John Torres, sound design by Bryce Kretschmann, costume design by Kevin Santos and set construction by Stephen Crawford.

Developed at The Watermill Center. Commissioned by the Byrd Hoffman Water Mill Foundation, Gavin Brown’s enterprise, New York, in association with The Martin E. Segal Theatre Center at The Graduate Center, CUNY, Change Performing Arts and Dissident Industries, made possible in part from a generous grant from WorldStage, with further support from the American Friends of the Louvre.

Press contact: Andrew Gilchrist at aggilchrist@gmail.com

Dieter Meier – YELLO Video Performances

Whitebox Art Center Dieter Meier

Whitebox Art Center at PERFORMA13
presents

Dieter Meier
YELLO Video Performances
Nov.3-21 | Daily 11-6pm

Dieter Meier in conversation with Anthony Haden-Guest

and ‘Tarock N.B.’ (2013) performed by Nin Brudermann
Nov. 21 | 6pm

Closing reception Nov.21 | 6-8pm

New York City – Since the 1960s Dieter Meier is an active film director, performance artist, conceptual artist and musician. Dieter Meier became known to the broader public as part of the influential Electro Pop duo YELLO, partnering with Boris Blank to produce eighteen albums. YELLO‘s 1985 single ‘Oh Yeah’ is featured on sound tracks to popular films and TV shows such as Ferris Bueller’s Day Off, The Secret to My Suce$s, South Park and The Simpsons. YELLO music videos shown during the 1980s emphatically defined early video performance genre on MTV and other dedicated programming.

“As an experimental filmmaker, I used the camera like a brush, creating moving frescoes. The drama was film as film. Using the same technique, 16mm films became animated stage designs, projected on high reflection scotch screens, in front of which YELLO performed.” Dieter Meier 2003

Out of the creation of these experimental films the first ‘music videos’ emerged. “I started to produce these little films for fun, because the music of Boris Blank was incredibly inspiring” says Dieter Meier. “We had quite a few of these YELLO films ready, and when MTV started to broadcast them, this new format was called music video.” As YELLO did not play live, these videos were the only format with which the band could present itself to an audience.

Dieter Meier with his YELLO video performances not only contributed to the stylistic development of video and film, but also created an ‘image’ culture in new media which made his experimental visuals accessible to a broad audience.

YELLO VIDEO PERFORMANCES, curated by Harald Falckenberg and Tony Guerrero, is a selection of music video performances produced from 1981 to 2009.

Dieter Meier in conversation with Anthony Haden-Guest at the closing reception Nov. 21st 6-8pm.

For more information, email press@whiteboxny.org

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.

Performa13

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Whitebox Art Center at PERFORMA13 presents:

Unconscious Media (Hans Breder), 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
Nov. 3 – 21 | Daily 11-6pm

Dieter Meier in conversation with Anthony Haden-Guest

and Tarock N.B. performed by Nin Brudermann
Nov. 21 | 6pm

Link to event

Christopher Knowles
In collaboration with Watermill Center
The Sundance Kid is Beautiful
Nov. 23 and 24 | Each Day 7:30 pm

Link to event

 

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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

Unveiled | Music – Performance – Readings

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Whitebox Art Center will host a multi-media event generated in collaboration with KafLab. Unveiled will combine music, performance, technology and readings. This response to cultural and political complexities in the Middle East— will take place on the closing of Beyond the Cloth: The Kafiye Project.

Music

Starting with acoustic and traditional Arab musical forms of the oud (Hadi Eldebek) and acoustic guitar (Plus Aziz) juxtaposing with an exploration of improvised drawing and experimental sound (Kevork Mourad) raw interaction of words and music hip hop/spoken word/postmodernist African American youth culture (organized and led by Chris Carr).

Performance

Ferrán Martín’s performative use of fire and wood — highlighting destruction as a process inherent to civilization— is an experience of transformation in time informed by rituals native to the Western Mediterranean Basin.

Rosalinda González’s musical performance of an original composition — for electric violin, mattress needles and cymbals— is inspired by female protesters in Egypt. The two-channel video projection ties into iconoclastic suppression of Christianity in the region.

Pasha Radetzki’s HUEWOMANITY in conjunction with the U.N. MOM Committee and its Digitala sub-committee explores the possibility of progress in contemporary children’s rights today — particularly in Syria.

Interactive installation by Igor Molochevski and Ella Averbukh — The Silent Prayer of Magnetic Field, for which Ella will create — in real-time— a canvas of yarn embedded with magnetic components following geometric patterns related to the Kafiye. A real-time analysis of the magnetic field generated by her movements will create musical composition.

Readings

Music and performances will be punctuated with live readings by Anthony Hayden-Guest’s referent to his days covering for the British Press the Civil War in Lebanon in relation to today’s situation. Erum Naqvi will introduce the event while providing a framework extrapolated from her writings on globalization and contemporary aesthetics.

WHERE IS AI WEI WEI?

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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.