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Not for Sale is a dynamic series of symposia on visual arts performance presented by PERFORMA. The panel discussions are organized by RoseLee Goldberg, Founding Director, and Defne Ayas, Curatorial Associate, PERFORMA.
Established in April 2004 by renowned critic, curator and performance art historian RoseLee Goldberg, PERFORMA is a non-profit interdisciplinary arts organization committed to the research, development, and presentation of performance by visual artists from around the world. Throughout the year, PERFORMA presents lectures, panel discussions, and workshops on an ongoing basis that explore the relationship between performance and the visual arts.
PERFORMA also produces the PERFORMA Biennial of visual art performance held in New York City. PERFORMA07 will take place from November 1-20, 2007. As with PERFORMA05, New York's first performance biennial, PERFORMA07 will bring together more than twenty of the city's leading cultural institutions to present live work in all disciplines by visual artists from around the world.
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Performa 2007: Overview of Performa 2007 with Defne Ayas listen |
listen with RealPlayer First broadcast October 29, 2007
Jeannie Hopper interviews Defne Ayas on the upcoming Performa 2007. Ayas is the Associate Curator at PERFORMA, where she has worked since its inception. Prior to joining PERFORMA, Ayas worked as the Education and New Media Programs Coordinator at the New Museum of Contemporary Art" and co-organized numerous new media-related public programs and performances there. Native of Istanbul, Ayas shares her time between New York and Shanghai, where she is an adjunct professor of contemporary art and new media at New York University in Shanghai. Ayas is on the Advisory Board of Arthub/Bizart in Shanghai, and CCA in Kabul, Afghanistan.
With Museum Museum--a series of personal experiences inside and about the Metropolitan Museum of Art--David Adamo assigns himself tasks that push the limits of his own will. Part performance and part research trips, these incidents are the starting point for a sequence of installations and projects in which Adamo aims to dissect and reprocess both gathered data and the memories of his experiences. Never satisfied to allow boundaries to be defined for him, Adamo navigates limits of normal behavior and circumstance, and in so doing redefines where those borders lie. Through his investigations of the everyday, Adamo orchestrates subtle gestures that are nonetheless courageous and triumphant. Limits may be set by outside circumstance - for example, the regulations of entry for the New York City Marathon - yet his work does not delight in simply breaking rules. Instead, Adamo skates along the defining line of such parameters.
David Adamo (b. Rochester, NY, 1979) makes collaborative projects, performances and installations have been shown in New York at The Kitchen, Swiss Institute-Contemporary Art, Andrew Kreps Gallery, Deitch Projects, Spencer Brownstone Gallery and Art in General. Internationally he has shown at Peres Projects - Athens, Zendi MoMA - Shanghai, Palais de Tokyo - Paris, Klink & Bang - Iceland, Impulstanz - Vienna and Kunstverein - Hanover...He collaborates regularly with Maria Hassabi, Michael Portnoy, The micro-explorers club, The Foreign Culture Institute and Invasionistas.
From the small confines of the DISPATCH BUREAU a pinpoint or locus is traced along a multi-faceted plane of information. Strategies of diffusion and communication are elaborated as simple concepts of exhibition-making are dismissed. Could the most interesting performance exist without an audience? Can spaces be linked across geographical borders, through diverse channels, the same way ideas are spread? Dispatch offers a model for curatorial production: an office for receiving and originating exhibitions, projects, and concepts treated as time-sensitive transmissions.
In this recording, Jeannie Hopper interviews Tris Vonna-Michell and DISPATCH's Gabrielle Giattino on November 5, 2007, at DISPATCH.
“It is not a specific individual which I portray, it is a mimicking of public opinion, of cultural phenomena. The notion of normality is a perfect ground for obscenity and it is exactly that which I wish to take apart, defuse, put in disorder."
Tamy Ben-Tor (b. Jerusalem, 1975) makes performances and videos in which she attempts to “create a form for the formless” and “portray my mind’s hybrids and demons.” She has performed and exhibited at Zach Feuer (LFL) Gallery, Sara Meltzer Gallery, and P.S.1 Contemporary Art Center, all in New York, and was featured in the PERFORMA05 biennial.
In this recording, Jon Kessler interviews Tamy Ben-Tor on November 19, 2007, at WPS1's Clocktower studio.
Multimedia artist Sanford Biggers presents The Somethin’ Suite, a conceptual exploration of the “Negro variety show” popular at the turn of the 20th century. Presented in speakeasies and small variety theaters across the country, with performers (both black and white) typically appearing in blackface for white audiences, they were deeply problematic, but also catapulted some of America’s most inventive musicians, including Ma Rainey, Scott Joplin, and Al Jolson, to stardom. Arguably the first distinctively American theatrical form, the oppressive system behind blackface entertainment has evolved into today’s popular music industry, Biggers suggests. The Somethin’ Suite, following minstrelsy's traditional 3-act structure, is performed by spoken-word artist Saul Williams, singers Esthero, Shae Fiol, Imami Uzuri, and Martin Luther, and DJs CX KiDTRONiX and Jahi Sundance, whose talents combine to provide a sonic history of contemporary music as well as a clear-eyed examination of today’s popular music industry. A PERFORMA Commission.
Sanford Biggers (b. Los Angeles, CA, 1970) is a multimedia artist who borrows from the study of ethnological objects, popular icons, and the Dadaist tradition to deal with cultural and creative systems, art history, and politics. He has had solo exhibitions at the Contemporary Arts Museum, Houston, in Nagoya, Japan, and at Triple Candy, New York, and he has been featured in group shows at many venues including The New Museum for Contemporary Art, the Studio Museum in Harlem, and P.S.1 Contemporary Art Center, all in New York.
In this recording, PERFORMA's RoseLee Goldberg interviews Sanford Biggers on November 14, 2007, at WPS1's Clocktower studio.
Paralleling his allegorical depictions of post-modern cityscapes in drawings and stage-set-like structures, Pablo Bronstein combines baroque dance with a work-like attitude to ordinary movement that is remniscient of the pared-down aesthetic of 1960s minimalist choreography. The straightforward practice of walking is convoluted, in his piece, by the mannered swirls and turns of a ritual pas-de-deux. For PERFORMA07, Bronstein will create a complex multi-part Plaza Minuet in four postmodern lobby spaces in downtown Manhattan. Within the everyday pedestrian activities of the working city, balletic poses crystallize temporarily, in a sequence of continuously revised tableaux vivants. Bronstein's combination of languages and styles re-connects the highly specialized tradition of ballet, as it was investigated by Balanchine and his peers uptown some 50 years ago, with the contrasting, simultaneous history of the radical "downtown scene".
Pablo Bronstein (b. Buenos Aires, 1977) uses architectural design and drawing to engage with the grandiose and imperial past of the built environment. His preoccupation with form is also an influence in his live work: his project for the Tate Triennial (2006) blended the regimented patterns of baroque dance with the more minimalist choreography of the 1960s. His work has been exhibited at the Tate Britain, London, the ICA, London, and Mary Boone Gallery New York.
In this recording, PERFORMA's Tairone Bastien interviews Pablo Bronstein on November 12, 2007, at WPS1's Clocktower studio.
The first in a series of events to announce the creation of the new Party of Migrant People, an international institution with political aspirations which defines displacement and migratory condition on our contemporary society as a new international culture; where Kurds, Mexicans, Algerians, and Chinese migrants are all part of the same country: that one of the Migrant People. Delayed Patriotism" focus on the development of the American Government in the political landscape of the world in the last 100 years.
Tania Bruguera is an artist whose work over the past 10 years has been concerned with the impact of political discourse, ideology and power on people's lives. Viewed from different perspectives, she has unmasked various mechanisms of power where we (the people) are not victims but collaborators. Since 2002 (with the creation of "Cátedra Arte de Conducta" an alternative art school project in Havana) she started a series of projects where she moved on to appropriate not the language of power but the resources, the place of power. Bruguera is not interested anymore on representing a political situation but to create a political situation; to instead of reproducing some of the strategies used by political power, put them into motion. She has been working towards building utopias not as a state but as acting and implemented facts through social and behavioral performances.
In this recording, PERFORMA's Defne Ayas interviews Tania Bruguera on November 20, 2007, at WPS1's Clocktower studio.
French artist Marie Cool and Italian dancer Fabio Balducci work together as a performance duo. For PERFORMA07, Cool and Balducci present Untitled (Prayers, 1996-2007) at the Clocktower Gallery, a series of understated and deceptively simple actions, which incorporate everyday objects such as thread, salt, effervescent aspirin, scotch tape, and a nylon bag. Seventy such actions have been developed by them to date, each lasting between one and nine minutes. Of these, up to 15 are carefully edited together by Cool and Balducci to produce an evening performance.
Marie Cool (1961, France) and Fabio Balducci (1964, Italy) live and work in Paris. Based in France, Marie Cool and Fabio Balducci have collaborated since 1995 to great international acclaim. These selections from their series of short (often two to three minute-long) performances Untitled (Prayers) 1996-2004, are performed solo by Marie Cool, who uses basic movements, objects, and materials to evoke both the personal and universal. Their work has been presented in many festivals and venues in Europe including Avignon Festival, Ikon Gallery, South London, Maison Rouge/Fondation, Mudam, and Festival d'Automne a Paris.
In this recording, PERFORMA's Defne Ayas and Sara Dufour (Translator) interview Marie Cool and Fabio Balducci on October 31, 2007, at WPS1's Clocktower studio.
Mathieu Copeland's Performa exhibition at the Swiss Institute questions the possibilities of the spoken word in regard to art, memory and exhibition making.
Distant and parallel to traditional performance, Copeland's program integrates the choreography of viewing with language. These audibly challenging presentations fold performance back onto itself and examine the tenuous relationships between spectator and spectacle.
A Spoken Word Exhibition consists of spoken artworks to be repeated by the institute‘s staff only when viewers request them. Spoken artworks, exchanged as a gesture between two people, generate a fleeting exhibition which disappears after words are spoken. In providing only sonic artifacts, exhibitions of worded artworks, the curator purposefully questions the viewers, ignites their listening capabilities, and implicitly questions memory. Day and night after day and night, sound stacks upon sound, spectators mentally accumulate lines, inevitably remembering and forgetting these ephemeral sentences.
During the exhibition the Swiss Institute will be open from noon to midnight. The opening will kick off with a live performance the evening of November 1. Several artists are also invited to realize a live series of spoken word events at The Swiss Institute including Michael Portnoy, who will realise A Seminar in Sublingual Carnage, and David Medalla. These events will take place every evening at 6pm.
Please check with the Swiss Institute website, swissinstitute.net, for more information.
Artists contributing to “A Spoken Words Exhibition” include Vito Acconci, James Lee Byars, Nick Curris (aka Momus), Douglas Coupland, Karl Holmqvist, Maurizio Nannucci, Yoko Ono, Mai-Thu Perret, Emilio Prini, Tomas Vanek, Lawrence Weiner, and Ian Wilson. Artists contributing to “A Series of Spoken Words Retrospectives” include David Medalla, and Gustav Metzger.
Born in France, 1977, Mathieu Copeland is a curator living and working in London. A graduate from Goldsmiths College - London in 2003, Copeland curated the Anna Sanders Films (a touring film programme with Charles de Meaux, Dominique Gonzalez- Foerster, Pierre Huyghe, Philippe Parreno, and Apichatpong Weerasethakul); and published and curated Perfect Magazine. His recent projects include Phill Niblock (London); Exhibition's Ruins (SAFN museum Reykjavik); Soundtrack for An Exhibition (Muse'e d'Art Contemporain Lyon), Expat-Art Centre (ICA london). He is one of the invited curators for the Lyon Biennale for Contemporary Art.
Curator Tairone Bastien with the psychological performance artist Brock Enright in conversation in advance of the presentation of Enright's variety show based on the original Ed Sullivan show, Toast of the Town on Nov. 2, 2007.
Born 1976, in New York, Brock Enright is a psychological performance artist who instigates disorder through evocations of fabricated terror and varying degrees of crisis. Creating provocative work that clouds the distinction between fiction and reality, Enright has shown at major galleries around the world including: ZKM Museum Karlsruhe, Germany; Fredric Snitzer Gallery, Miami, FL; Greater New York at P.S. 1, New York; The Trade Show, MASS MOCA, Artists Space, and many others. (19 minutes)
Karl Holmqvist's use of the spoken word goes back to early nineties New York (St Marks Poetry Project, Pyramid Club, ABC No Rio). Holmqvist will be reading a new concrete poem written as part of the publication FACEHUG.
Karl Holmqvist (b. Vasteras, Sweden, 1964) lives and works in Berlin. Holmqvist deals with texts presented in written or spoken form, in which he explores the communal and emotive aspects of the spoken word. Exploring the transformatory potentials of language, Holmqvist believes in the act of listening as a counter balance to the more isolatory and authoritative qualities of the written word .
His work is usually minimal and reveals itself in multiple formats including recordings and readings of spoken word, boxes of published texts, films, concerts, and listening stations.
His most recent exhibitions include The Grey Triangle, a solo show at Hollybush Gardens in London, and the group exhibitions Le Truc at Project Arts Centre in Dublin and Playback at Musée d'Art Moderne de la Ville de Paris in Paris, all 2007. Publications are The K. Protocol (2003) I ON A LION IN ZION (2005) and a forthcoming complete selection of his artist's writing.
In this recording, PERFORMA's Defne Ayas interviews Karl Holmqvist on October 31, 2007, at WPS1's Clocktower studio.
Performa 2007: Lu Jie and Qiu Zhijie, Long March (The Thunderstorm is Slowly Approaching) listen |
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First broadcast November 8, 2007
The Thunderstorm is Slowly Approaching, by the artist Qiu Zhije, takes the traditional Chinese dragon dance as a starting point for investigating the pressures to hide national identity within a 'host' culture, in a festive public gathering in Chinatown. The Thunderstorm is Slowly Approaching includes installation, performance, video, and a ceremonial ten-member dragon dance team wearing a costume made from camouflage.
Qiu Zhijie is an artist, curator, writer, and teacher whose experimental projects since the mid-1990s incorporate varied media in a visual challenge of authority and presumed social understanding. He was one of the first to engage new media activity in China, cocurating the influential exhibition Post Sensibility: Alien Bodies and Delusion in Beijing, in 1999. Qiu Zhijie is currently a professor at Total Art Studio at the China Academy of Art in Hangzhou, where he established a course focused on cultural research and concept-based practice through artistic creation, curation and teaching. Major group exhibitions include: The Real Thing: Contemporary Art from China, Tate Liverpool, UK; 2nd Yokohama Triennale, Japan; 5th Shanghai Biennale, China; and Transience: Chinese Experimental Art at the End of Twentieth Century, Smart Museum of Art, USA.
In this recording, PERFORMA's Defne Ayas interviews Lu Jie (Curator of the Long March) and Qiu Zhijie on November 7, 2007, at WPS1's Clocktower studio.
American artist Allan Kaprow is credited with inventing the term "happenings" to describe performance art pieces that involved public participation. This unique program, further explores Kaprow's innovative artistic practices and legacy. The evening includes original film and video and a discussion with artist Paul McCarthy, art historian Irving Sandler, and Stephanie Rosenthal, the Haus der Kunst curator who recently organized the historic reconstruction of 18 Happenings in 6 Parts as part of a major Kaprow retrospective that will be also be featured during PERFORMA07. PERFORMA's RoseLee Goldberg moderates the event.
Recorded on November 8, 2007, at the Jewish Museum, New York City.
Xavier Le Roy's premise begins with a study of the expressive "choreography" of Sir Simon Rattle's conducting style which Le Roy will use as the structure for an evening-length performance of Sacre du Printemps. Le Roy will recreate and elaborate on the conductor's movements on stage using the documentary film "Rhythm is It!," which features Rattle conducting "The Rite of Spring" by Igor Stravinsky. The piece will be performed by Le Roy, accompanied by an audio playback arrangement which isolates each instrument in the orchestra and creates the sensation that each audience member could be a musician in the orchestra, therein turning audience into virtual orchestra and dancer into "conductor."
Xavier Le Roy (b. Juvisy sur Orge, France) is a Berlin-based choreographer, dancer, and director. He began dancing in 1991 and then began to develop his own work in 1993. In 1996, Le Roy worked with the "Quatuor Albrecht Knust" (Paris) on the recreation of a piece by Yvonne Rainer, "Continuous Project-Altered Daily" and "Satisfying Lover" by Steve Paxton. His work has pioneered a view of the body as a distinct entity in itself, rather than a mere tool for pre-existing dance techniques. His piece "Self Unfinished," (1998) creates the illusion of a moving headless body, and has become a key reference in contemporary dance today. Since 2004, Xavier Le Roy has been involved in various educational programs, and will be Associate Artist at the Centre National Choregraphique de Montpellier in 2007 and 2008.
In this recording, PERFORMA's RoseLee Goldberg interviews Xavier Le Roy on November 15, 2007, at WPS1's Clocktower studio.
Eva and Franco Mattes will reenact three historical performances through their avatars, which were constructed out of the shape and surface of their bodies, in the online world, Second Life. Synthetic Performance is part of a series of performances that have taken place in synthetic worlds and videogames. People are invited to attend the live performances at Artist Space and interact with the videogame from within the gallery or from anywhere in the world.
Eva and Franco Mattes aka 0100101110101101.ORG are a couple of restless
European con-artists who use unconventional communication tactics to obtain
the largest visibility with minimal effort. Past works include staging a hoax involving a completely made-up artist, ripping off the Holy See and spreading a computer virus as a work of art.
The Mattes' have shown internationally, including exhibitions at: Collection Lambert, Avignon; Fondazione Pitti Discovery, Florence; Postmasters Gallery,
New York; Lentos Museum of Modern Art, Linz; New Museum of Contemporary Art, New York; ICC, Tokyo, and Manifesta4, Frankfurt. They received the Jerome Commission from the Walker Art Center in 2001 and a fellowship from New York's Columbia University in 2006. Their work is a part of several private and public collections such as the Walker Art Center, Minneapolis; MEIAC, Spain, and MAK, Vienna.
In this recording, WPS1's David Weinstein interviews Eva and Franco Mattes on November 12, 2007, at WPS1's Clocktower studio.
ALL TOGETHER NOW is a series of four performances that will be presented by Brooklyn-based artist Dave McKenzie in and around the Studio Museum as part of PERFORMA07. The project consists of four works that look at the artist’s past and current state of practice, which is based on performance and intervention with the public. The collaboration will mark the four-year anniversary of McKenzie’s residency at the Studio Museum where he conceived the first of the four performances, We Shall Overcome (2004) .
Dave McKenzie (b. Kingston, Jamaica, 1977) is an interdisciplinary artist whose ideas often begins as video and then transition into the more unpredictable medium of live performance. Common materials, simple gestures, and ordinary events all provide him with inspiration. His most recent exhibitions include at The Institute of Contemporary Art/ Boston, The Kitchen, New York, and SculptureCenter, Long Island City.
In this recording, PERFORMA's Romi Crawford interviews Dave McKenzie on October 31, 2007, at WPS1's Clocktower studio.
Art in General has invited artist, playwrite and theatre director, Darren O’Donnell to develop Haircuts by Children in New York. Together, they work with a number of children between the ages of eight and twelve and, in popular hair salons in Art in General’s neighborhood of Chinatown and Tribeca, offering the public free haircuts by children.
Haircuts by Children invites a consideration of children as creative and competent individuals whose aesthetic efforts should be trusted. The project takes up the belief that it’s important to consider that children should be permitted to participate politically. The idea that children should have access to the political process is, to many, as alien as the suggestion that children should be allowed access to our hair. There’s no doubt that hairstyles are one of the most personal and sensitive aspects of image. Letting children cut hair, we believe, whimsically references or evokes the kind of leap of faith, courage and understanding required to grant children deeper citizenship rights.
Darren O’Donnell (b. Canada, 1965) is an artist, writer, playwright, director, and actor. His projects are accessible and entertaining while remaining vigorously polemic in their exploration of political and social issues. In 1993, he founded Mammalian Diving Reflex, a group that engages in the artistic use of the institutions of civil society. He was the 2000 winner of the Pauline McGibbon Award for directing, the 2000 Gabriel Award for broadcasting and has been nominated for a number of Dora Awards for his writing, directing, and acting.
In this recording, PERFORMA's Sofia Hernandez interviews Darren O'Donnell on October 31, 2007, at WPS1's Clocktower studio.
PERFORMA 07 presents "Bring Me The Head Of...", a new experiential, culinary work by Turkish artist Serkan Özkaya, which will have its US Premiere at Freemans restaurant in New York City, October 27 – November 20, as part of the second edition of the biennial of new visual art performance.
"Bring Me The Head Of..." is the name of a dish conceived by Özkaya that will be incorporated into the restaurant's menu by Freemans' chef Jean Adamson. The dish is the artwork: formed into the shape of a head of an icon of childhood, cooked, served and eaten by patrons of the restaurant.
Freemans chef Jean Adamson selects the ingredients and creates a recipe that fits seamlessly into the existing menu. However, unlike other menu items, "Bring Me The Head Of..." will be listed as an artwork for sale, and patrons will be invited to consume and thereby destroy the art.
Özkaya's conceptual works are about appropriation and reproduction; they usually operate outside traditional spaces for art in this case, on the tables of one of New York's hippest restaurants. This work is produced through a mutual relationship between the audience (the patron) and the artwork (the food), and perhaps most importantly, it is about a unique experience with a reproducible art piece, that can be created and destroyed as many times as patrons order the dish.
"Bring Me The Head Of..." is also about creating a new venue for sculpture—in this case, a restaurant instead of a gallery—as a space for an aesthetic experience. It requires a certain leap of faith: in order to experience Özkaya's art, one has to go to the restaurant, select the dish, devour it, and pay for the experience in all its conceptual, experiential and tasteful layers.
Born in Istanbul in 1973, Özkaya has held solo shows around the world, and has also participated in numerous group exhibitions, including Steiler Konter, Bregenzer Kunstverein; Pre Emptive, Kunsthalle Bern; 9th International Istanbul Biennial; public.exe: Public Execution, Exit Art, New York; Democracy is Fun?, Whitebox, New York; and Placebo Effect, Sparwasser HQ, Berlin. Between 2003–2006 Özkaya produced "Today Could Be a Day of Historical Importance" in collaboration with four major newspapers, including the New York Times. Özkaya is also the author of four books, including Genius and Creativity in the Arts.
In this recording, PERFORMA's Defne Ayas interviews Serkan Ozkaya on October 31, 2007, at WPS1's Clocktower studio.
Adam Pendleton is one of ten featured artists commissioned by PERFORMA to create a new work for PERFORMA 07. Taking the tradition and energy of the Southern-style religious revival and fusing it with experimental writing practices, Adam Pendleton's The Revival is a new form of community performance. The minimalist setting of a white floor scattered with black ceramic seating cubes creates a space for contemplation and reflection that builds via a live gospel, jazz, and pop score to a final crescendo. Pendleton's sermon, dream of an uncommon language, will invoke the power of experimental language to subvert the confines of everyday discourse. The sermon is constructed from text by the artist and a host of writers, including the playwright Larry Kramer and poets Paolo Javier and Leslie Scalapino.
Pendleton will be joined by a community of singers, dancers, artists, and poets, including acclaimed jazz pianist and composer Jason Moran and vocalist and composer Alicia Hall Moran and including testimonials (confessions) by artist Liam Gillick and poet Jena Osman. Drawing inspiration from the Language Poets of the seventies, whose trajectory from Gertrude Stein leads through the Beat and New York Schools to Charles Bernstein, Bruce Andrews and others, as well as from a parallel school of conceptual artists who use language as image, from Lawrence Weiner and Joseph Kosuth to Barbara Kruger and Jenny Holzer, Pendleton creates an entirely new space for himself: pure language as visual theater.
Adam Pendleton is an artist, writer, and performer who approaches his projects as multi-disciplinary hybrids. Through extreme freedom of reference and quotation, as well as a rejection of conventional hierarchies between sources, Pendleton aims to create a perpetual de-historicized present tense, one that upsets and imbalances comfortably subjective interpretations of history and culture. He has exhibited extensively throughout the US, including at the Museum of Contemporary Art Chicago (2007), Contemporary Arts Museum, Houston (2005), and The Studio Museum in Harlem(2005-6), and will also be performing at the tina b. Prague Contemporary Art Festival this fall.
In this recording, PERFORMA's RoseLee Goldberg interviews Adam Pendleton on November 7, 2007, at WPS1's Clocktower studio.
Four Italian artists, including Emilio Fantin, Luigi Negro, Giancarlo Norese, Cesare Pietroiusti and New York-based artist Joan Jonas will collaborate on this performance work. By combining semi-concrete, semi-absurdist methods with a wide variety of media, the artists will create stories, a play, and a collective peformance about sculptures and actual sculptors whose exposure has waned into oblivion.
As part of Forgotten, Continuous, Influx: 30 hours at SculptureCenter
Cesare Pietroiusti’s artistic practice focuses on quizzical situations hidden within quotidian relationships and ordinary acts. His interest lies in the insignificant, the overlooked, the obsolete, and the misunderstood, which he transforms into memorable moments of social pose through committed interest and restrained series of gestures. In 2003, Pietroiusti participated in the 50th Venice Biennale with his work Riserva Artificiale, and an the course of 2005 alone, he made and distributed over 50,000 artworks for free, a practice he continues today in conjunction with his ongoing performance projects.
In this recording, Sculpture Center's Sarina Basta interviews Cesare Pietroiusti on November 13, 2007, at WPS1's Clocktower studio.
Art Radio's Jeannie Hopper with curator Eric C. Shiner discuss Ei Arakawa & Amy Sillman's BYOF - Bring Your Own Flowers at the Japan Society, in a live performance of painting-actions, on November 2, 2007.
Performa 2007: Tris Vonna-Michell and Gabrielle Giattino listen |
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First broadcast November 21, 2007
Vonna-Michell occupies the office and channels of DISPATCH to relay, perform and weave through a story that began with a quest for Henri Chopin.
Since 2003, Tris Vonna-Michell (b. Southend on Sea, UK, 1982) has been working on a series of inter-related stories which take form as performances and installations which function as chapters within an over-arching plot. In the minimal surroundings in which he performs, slide projections, texts and objects are interwoven as theatrical props for the various storylines which are put before the audience. The performing (often high-speed verbal monologues to a small audience group) is a combination of structure and script while remaining spontaneous and improvisational. Vonna-Michell has had solo exhibitions at several institutions in Europe, including the Witte de With in Rotterdam, the Braunschweig Kunstverin, the Palais des Beaux-Arts in Brussels, and the
Atelierfrankfurt in Frankfurt am Main. He has performed and participated in several group exhibitions including those at the Zentrum Paul Klee in Berne, at the Neue Alte Brücke in Frankfurt am Main and at the New Wight Gallery, UCLA in Los Angeles.
From the small confines of the DISPATCH BUREAU a pinpoint or locus is traced along a multi-faceted plane of information. Strategies of diffusion and communication are elaborated as simple concepts of exhibition-making are dismissed. Could the most interesting performance exist without an audience? Can spaces be linked across geographical borders, through diverse channels, the same way ideas are spread? Dispatch offers a model for curatorial production: an office for receiving and originating exhibitions, projects, and concepts treated as time-sensitive transmissions.
In this recording, Jeannie Hopper interviews Tris Vonna-Michell and DISPATCH's Gabrielle Giattino on November 15, 2007, at DISPATCH.
Performa 2007: You Didn't Have to Be There (Photography, Performance, and Contemporary Art) listen |
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First broadcast November 21, 2007
In this panel discussion artists and critics, including Marina Abramovic, Vanessa Beecroft, Babette Mangolte (moderated by: PERFORMA's RoseLee Goldberg) explore the significance of photography in the history of performance since the 1960s and the influence of performance on contemporary photography. Vera List Center's Carin Kuoni, Aperture's Michelle Dunn, and RoseLee Goldberg offer introductory remarks.
Aperture's "Confounding Expectations III: Photography in Context" lecture series is presented by the Vera List Center for Art and Politics and Parsons The New School for Design in collaboration with Aperture Foundation, with generous support from the ASMP Foundation, Milton & Sally Avery Arts Foundation, the Kettering Family Foundation and the Henry Nias Foundation. This, and Aperture's other artist lectures, are made possible, in part, by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs."
Recorded on November 14, 2007, at the New School University, New York City.
Performance art of the 70s was provocative and radical. Since then it has become recognized as a fundable, collectible commodity. How does the insertion of the museum into the equation affect the creation, experience and preservation of performance? Art historian and critic
RoseLee Goldberg moderates a panel of artist
Marina Abramovic, Cuban-born artist Tania Bruguera, philosopher, critic and curator Klaus Ottman, and curator Debra Singer, now Executive Director of The Kitchen. Among many highlights, Ottmann's extraordinary account of the life, death and work of James Lee Byars.
The panel was sponsored by Performa, a non-profit interdisciplinary arts
organization founded to commission and present new performance work in the
visual arts. Not For Sale is presented in conjunction with New York
University's Dept. of Art and Art Professions. Recorded 18 November 2004.
How do artists today give shape to radical notions in performance work? As more and more museums, galleries, and art fairs add performance to their programs, can this material still carry the provocative edge of its precedents? A panel of artists, writers, and curators discuss whether the term "radical" still holds today, in the art world and in the broader social and political sphere. This panel discussion, entitled Forever Radical? and sponsored by Performa, was held April 12, 2007 at New York University.
Panelists:
Laura Hoptman -- Senior Curator of the New Museum of Contemporary Art
Greil Marcus -- author and cultural critic
Adam Pendleton -- artist
Emily Sundblad -- artist and Co-Director, Reena Spauldings Fine Arts
Moderated by RoseLee Goldberg, Director of Performa
The Not For Sale: New Media and Sound panel, moderated by art historian and critic RoseLee Goldberg, features comments and discussion by: Elizabeth LeCompte, theater director for The Wooster Group, Ron Kuivila, artist and composer, Christian Marclay, artist, and Christoph Cox, philosopher and critic. Highlights include LeCompte's recollection of her early innovative use of video and Kuivila's virtuosic deconstruction of John Cage.
David Ross added concluding remarks.
This panel discussion took place April 21, 2005 at Einstein Auditorium, New York University. The Not For Sale Series is sponsored by PERFORMA, a non-profit organization dedicated to the research, development and presentation of performance by visual artists from around the world.
As part of WPS1's coverage of the Performa Biennial 2005 November
3-20, 2005 critic, author, historian and Performa director RoseLee
Goldberg interviewed the performance artist Francis Alÿs.
Originally trained as an architect, Alÿs has undertaken performance projects including Paradox of Praxis, where he pushed a block of ice through the streets of Mexico City until it melted, and When Faith Moves Mountains, where 500 people moved a giant sand dune near Lima, Peru using shovels.
WPS1 is the proud Internet Sponsor of PERFORMA05-the first biennial of new visual art performance in New York City. More than 20 venues throughout New York will present a multidisciplinary program of live performance, film screenings, lectures, and exhibitions from November 3 through 21, 2005. PERFORMA05 is organized by PERFORMA, a nonprofit arts organization committed to the research, development, and presentation of performance by visual artists. For more information, please visit www.performa-arts.org.
New York based Sharon Hayes' artistic role is to orchestrate and document collective activity in the public domain. Her video, performance and installation projects have engaged individual and group perceptions of political events and ideologies, employing conceptual and methodological approaches borrowed from artistic and academic practices such as theater, film, anthropology, linguistics, and journalism. Her Performa exhibition, After Before, at Art In General runs through Dec. 17, 2005. Artist and teacher Doug Ashford interviews the artist at the WPS1 Clocktower studios.
RoseLee Goldberg sits down in the WPS1 Clocktower studios with the Dutch-born, Canadian-based director Renee Daalder who first gained wide recognition for his cult classic high school revenge drama Massacre at Central High (1976). He did not helm another film until the 1986's Population One, which was later followed by two films over a decade later, Habitat (1997) and Hysteria (1998). Daalder's work-in-progress entitled Here Is Always Somewhere Else was shown at Anthology Film Archives as part of the Performa05 Biennial on a bill with the Bas Jan Ader retrospective.
Jens Hoffman wants to disrupt time and space. A Hans Ulrich Obrist protogé, Hoffman challenges traditional curating practices with projects such as The Next Documenta Should Be Curated by an Artist and A Show That Will Show That a Show Is Not Only a Show. Since Harald Szeeman transformed the role with his 1969 seminal show Live In Your Head: When Attitudes Become Form, curators have asserted themselves as creative forces in their own right. Jens Hoffman carries on in this tradition, inspiring admiration, controversy, and little ditties along the way. (29 minutes)
WPS1 is the proud Internet Sponsor of PERFORMA05-the first biennial of new visual art performance in New York City. More than 20 venues throughout New York will present a multidisciplinary program of live performance, film screenings, lectures, and exhibitions from November 3 through 21, 2005. PERFORMA05 is organized by PERFORMA, a nonprofit arts organization committed to the research, development, and presentation of performance by visual artists. For more information, please visit www.performa-arts.org.
Artist and new media expert Lea Rekow in conversation with Pablo Helguera whose opera, The Foreign Legion, will be presented as part of the Performa Biennial in New York on Nov. 10-11, 2005, as part of a series of works begun in 2004 as a means to exploit the interstices between art discussion and art making and the place of art in the broader cultural context. The title refers to the historical traditions of mercenary soldiers, and while addressing current political climates, the performance seeks to question the compromising of our beliefs in order to gain, or simply survive.
WPS1 is the proud Internet Sponsor of PERFORMA05-the first biennial of new visual art performance in New York City. More than 20 venues throughout New York will present a multidisciplinary program of live performance, film screenings, lectures, and exhibitions from November 3 through 21, 2005. PERFORMA05 is organized by PERFORMA, a nonprofit arts organization committed to the research, development, and presentation of performance by visual artists. For more information, please visit www.performa-arts.org.
