TOUR & ARTIST TALK: The Personal Sphere
Oct
24
6:00 PM18:00

TOUR & ARTIST TALK: The Personal Sphere

  • Anya and Andrew Shiva Gallery, John Jay College of Criminal Justice CUNY (ground floor) (map)
  • Google Calendar ICS

accompanying the exhibition
THE UN-HEROIC ACT:
Representations of Rape in  Contemporary Women's Art in the U.S.

Anya and Andrew Shiva Gallery
September 4 – November 2, 2018, Mon-Fri 10-6 PM

The evening starts with a tour of the exhibition with curator Monika Fabijanska, followed by a discussion with artists Roya Amigh, Angela Fraleigh, and Lynn Hershman Leeson about means artists employ to tell personal stories, moderated by Monika Fabijanska. Lynn Hershman Leeson’s Electronic Diary Part III: First Person Plural (1988, color, sound, 28 min), will be screened as part of the event.

*****

Roya Amigh employs mythical figures from the writings of classical Persian poets Ferdowsi, Rumi, and Hafez and imagery from Persian miniature to explore the stories of contemporary women in her meticulous installations. She earned MFA degrees from the Central Azad University in Tehran, 2010, and Boston University, 2012. She had solo shows at Babson College, MA, 2018; FiveMyles gallery, Brooklyn, NY, and Iron Tail Gallery, Lincoln, NE, 2017. Group shows include Yangpyeong Art Museum, Gyeonggi-do, Korea, 2018; the Museum of Contemporary Art of Crete, Rethymno, Greece, 2018; Brown University, Providence, RI, 2017; The Art Complex Museum, Duxbury, MA, 2017; Edward Hopper House Museum, Nyack, NY, 2016; Katonah Museum of Art, NY, 2015; and Macy Gallery, Columbia University, NYC, 2014. She was artist-in-residence at Art Omi, Ghent, NY, and MASS MoCA, North Adams, MA. She lives and works in Cambridge, MA. www.royaamigh.com

Angela Fraleigh’s lavish figurative paintings draw on antique tales of pursuit and abduction to illustrate the charged complexity of wanting and explore narratives of women and marginalized female figures in art history. Fraleigh earned BFA from Boston University and MFA from Yale University. Her solo exhibitions include those at the Edward Hopper House, Nyack, NY, 2018; Everson Museum of Art, Syracuse, NY, 2016; Vanderbilt Mansion, Hyde Park, NY, 2015; University of the Arts, Philadelphia, PA, 2011; and PPOW Gallery, NYC, 2008. She participated in group shows at the University of Texas, Arlington, TX, 2016; The Gateway Project Newark, NJ, 2015; Diverseworks, Houston TX, 2013; Museum of Fine Arts, Houston, TX, 2011, 2008; Kemper Museum of Contemporary Art, Kansas City, MO, 2008; and CUNY Hunter College, NYC. She lives and works in New York, NY and Allentown, PA. www.angelafraleigh.com

Lynn Hershman Leeson is an artist and filmmaker acclaimed for the pioneering use of new technologies through which she addresses issues such as trauma, identity, and the relationship between the real and the virtual. Her work in media-based technology pioneered digital art forms. She also made some of the earliest works that used artificial intelligence, biological computing, and DNA manipulation. As a film director she wrote, directed and produced Strange Culture, Conceiving Ada and Teknolust, all starring Tilda Swinton, which screened at the Sundance, Toronto and Berlin festivals; and a 2011 groundbreaking documentary !Women Art Revolution. Leeson’s 2014 retrospective organized at the ZKM Karlsruhe traveled to Yerba Buena Center, San Francisco, 2017; other retrospectives include Whitworth Art Gallery, Manchester, UK, 2007; and Henry Art Gallery, University of Washington, Seattle, 2005. Her works are in the collections of MoMA, Whitney Museum, ZKM, LACMA, National Gallery of Art of Canada, Walker Art Center, Berkeley Museum of Art, and SFMoMA. www.lynnhershman.com

Image: Roya Amigh, The Coerced Contact, 2016, thread, paper, pieces of cloth, lace, 62 x 64 x 35 in. ©2016/2018 Roya Amigh. Courtesy of the artist

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SYMPOSIUM: Iconography of Rape in Contemporary Women's Art in the U.S.
Oct
3
5:00 PM17:00

SYMPOSIUM: Iconography of Rape in Contemporary Women's Art in the U.S.

  • Shiva Gallery (ground floor) and Moot Court (6th Floor), John Jay College of Criminal Justice, CUNY (map)
  • Google Calendar ICS

accompanying the exhibition
THE UN-HEROIC ACT:
Representations of Rape in  Contemporary Women's Art in the U.S.

Anya and Andrew Shiva Gallery
(September 4 – November 2, 2018, Mon-Fri 10-6 PM)

5:00-5:30 PM –  Tour of the exhibition with curator Monika Fabijanska, Shiva Gallery, ground floor
5:40-6:00 PM –   Opening Remarks: professor Katie Gentile (John Jay College), the Moot Court, 6th floor
6:00-6:30 PM –  Introduction to the Iconography of Rape: curator Monika Fabijanska
6:30-7:30 PM –    Panel I: The Social Dimension and Political Action:
Guerrilla Girls, Bang Geul Han, and Sonya Kelliher-Combs
moderated by Nancy Princenthal
7:30-8:30 PM –    Panel II: The Iconography of Rape and History of Art, Literature and Film:
Natalie Frank, Kathleen Gilje, and Naima Ramos-Chapman
moderated by Carmen Hermo (Brooklyn Museum)
8:30-9:00 PM –    Social time in the gallery

the symposium will be streamed live

*****

Monika Fabijanska is a New York-based art historian and independent curator, who specializes in women's art and feminist art. She originated the idea and provided curatorial consulting and institutional support for The Museum of Modern Art acquisition and retrospective exhibition of the feminist sculptor Alina Szapocznikow (2012); consulted on WACK! Art in the Feminist Revolution with curator Connie Butler (MoCA LA, 2007); and Global Feminisms with Maura Reilly (Brooklyn Museum, 2007). She produced and co-organized Architectures of Gender: Contemporary Women’s Art in Poland (SculptureCenter, 2003) with Aneta Szylak. Fabijanska organized and spoke at the international conference Art and Theater of Tadeusz Kantor at the Graduate Center CUNY and curated Tadeusz Kantor's "Theatre of Death" screening series and exhibition at La MaMa E.T.C., NYC (2008-2009). She curated the exhibition Polyphony of Images. Cutting-Edge Contemporary Art from Poland: Video, Performance, and Other Media (De Lamar Mansion, NYC, 2006). www.monikafabijanska.com

Natalie Frank explores contemporary discourse on feminism, sexuality, and violence. Recent drawings and books The Story of O and The Sorcerer’s Apprentice use literature as inspiration. Her gouache and chalk pastel drawings of the unsanitized Brothers Grimm tales, bring back, with Jack Zipes’ translations, aspects of incest, rape and physical violence left out of our familiar stories. The 2015 exhibition at the New York’s Drawing Center travelled to Blanton Museum, Austin, and University of Kentucky Art Museum, Lexington, accompanied by Tales of the Brothers Grimm: Drawings by Natalie Frank, published by Damiani, 2015. Frank earned BA from Yale University, 2002, and MFA from Columbia University, 2006. She is a Fulbright Scholar, Oslo, Norway. Her work is included in the collections of the Whitney Museum and the Brooklyn Museum in NYC; Art Institute of Chicago; and Yale University Art Museum. She lives and works in New York, NY. www.natalie-frank.com

Katie Gentile, Ph.D. is Professor of Gender Studies and Chair of the Department of Interdisciplinary Studies at John Jay College of Criminal Justice. She is the author of Creating bodies: Eating disorders as self-destructive survival and the 2017 Gradiva Award winning The Business of being made: The temporalities of reproductive technologies, in psychoanalysis and cultures, both from Routledge. She is the editor of the Routledge book series Genders & Sexualities in Minds & Culture and a co-editor of the journal Studies in Gender and Sexuality. She is on the faculty of New York University’s Postdoctoral Program in Psychotherapy and Psychoanalysis and the Critical Social Psychology program at the CUNY Graduate Center. She is in private practice in New York City. www.jjay.cuny.edu/faculty/katie-gentile

Kathleen Gilje holds BFA from the City College of New York; she later studied 16th & 17th c. Italian Art and Conservation at the Museo di Capodimonte in Naples, Italy, 1967-71. In her paintings, Gilje employs “a tour de force of technical bravura” (Linda Nochlin) revisiting some of the iconic works of Western art while subverting their meaning with feminist and ecological perspective. Solo exhibitions include the Bruce Museum, Greenwich, CT; National Museum of Women in the Arts, Washington D.C.; List Visual Arts Center at MIT, Cambridge, MA; and University of Rochester, NY. Her works are in the collections of the National Portrait Gallery and National Museum of Women in the Arts, Washington, DC; Yale University Art Gallery; Addison Gallery of American Art, Phillips Academy, Andover, MA; Musée Ingres, Louvre Museum, Montauban, France; and Bass Museum, Miami. She lives and works in New York, NY. www.kathleengilje.com

Guerrilla Girls is a group of anonymous feminist activist artists launched in 1985 in response to the Museum of Modern Art's exhibition An International Survey of Recent Painting and Sculpture, 1984, which included only 13 women among 165 artists. Since its formation, over 55 people have been members. Wearing gorilla masks in public and using names of deceased female artists as their pseudonyms, they employ facts and statistics, humor and catchy visuals in their posters, stickers, and street projects to expose gender and ethnic bias as well as corruption in art, film, pop culture, and politics. 2005 Venice Biennale opened its main exhibition with a selection of their works. Recent exhibitions and retrospectives include Museu de Arte de Sao Paulo, 2017; Baltimore Museum of Art, 2017; Tate Modern, London 2016; Walker Art Center, Minneapolis, 2016; and Matadero, Madrid, 2015. www.guerrillagirls.com

Bang Geul Han employs digital technologies to explore language, body politics and race, and blurs our understanding of private and public territories. She earned her BFA in Painting from the Seoul National University in Korea, 2002, and her MFA in Electronic Integrated Art from the Alfred University, NY, 2005. She had solo exhibitions at NURTUREart, Brooklyn, NY, 2018; Projét Pangée, Montréal, 2016; Art Museum of SUNY Potsdam, NY, 2015; and A.I.R. Gallery, Brooklyn, NY, 2012. Selected group shows include those at the Bronx Museum of the Arts, NYC; Art Museum of Kyungpook National University, Daegu, Korea, 2017; Queens Museum, NYC, 2016; A.I.R. Gallery, Brooklyn, NY, 2012, 2011; Centro Internazionale per l’Arte Contemporanea, Rome, 2012; and SangSangMadang, Seoul, 2011. She lives and works in Brooklyn, NY. www.whatbunny.org

Carmen Hermo is Associate Curator at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art. There, she curated Roots of “The Dinner Party”: History in the Making, and co-curated the current exhibitions Half the Picture: A Feminist Look at the Collection and Something to Say: Brooklyn Hi-Art! Machine, Deborah Kass, Kameelah Janan Rasheed, and Hank Willis Thomas. Hermo serves on both the Council for Feminist Art and the Young Leadership Council. Previously, she was Assistant Curator for Collections at the Guggenheim Museum (2010–16), where she served on the museum’s Young Collectors Council acquisition committee. She co-curated Now’s the Time: Recent Acquisitions (2012–13) and Storylines: Contemporary Art at the Guggenheim (2015). Hermo received her B.A. in Art History and English from the University of Richmond and is pursuing an M.A. in Art History at Hunter College.

Sonya Kelliher-Combs is an artist of mixed decent: Iñupiaq from the North Slope of Alaska, Athabascan from the Interior, German and Irish. She uses imagery and symbols that speak about culture and the life of her ancestors, and marginalization and the struggles of Indigenous peoples. Group exhibitions include SITE Santa Fe, 2016; Nordamerika Native Museum, Zurich, 2015; National Gallery of Canada, Ottawa, 2013; National Museum of the American Indian, NYC, 2010; FiveMyles gallery, Brooklyn, NY, 2008; Museum of Art & Design, NYC, 2005; Cheongju International Craft Biennial, South Korea, 2005; and the Arts from the Arctic, Anchorage Museum of History and Art, 1993. Solo exhibitions include the Northern Norway Art Museum, 2018; Institute of American Indian Art, Santa Fe, 2006; Anchorage Museum of History and Art, 2005; and Alaska State Museum, Juneau, 2001. She lives and works in Anchorage, AK. www.sonyakellihercombs.com

Nancy Princenthal is a New York-based writer whose book Agnes Martin: Her Life and Art (Thames and Hudson, 2015) received the 2016 PEN/Jacqueline Bograd Weld Award for Biography. A former Senior Editor of Art in America, where she remains a Contributing Editor, she has also written for the New York Times, Parkett, the Village Voice and many other publications. Princenthal is the author of Hannah Wilke (Prestel, 2010), and a co-author of two recent books on women artists. Her essays have appeared in monographs on artists including Doris Salcedo, Robert Mangold and Alfredo Jaar. A graduate of the University of Pennsylvania (B.A.), Hunter College (M.A.), and the Whitney Independent Study program, she has taught at the Center for Curatorial Studies, Bard College; Princeton University; and Yale University, and is currently on the faculty of the MFA Art Writing program at the School of Visual Arts. Princenthal is the author of the forthcoming book, "Unspeakable Acts: How Women Performance Artists of the 1970s Made Sexual Violence Visible" (Thames & Hudson, fall 2019).

Naima Ramos-Chapman is an interdisciplinary artist and filmmaker. She tells stories of transformation and understated bravery that stem from true accounts and uses choreographed gestural movement to render psycho-spiritual realities we cannot see. She trained at The Alvin Ailey School for Dance, The Barrow Group for Acting, Howard University, and has a BA in Journalism from Brooklyn College, CUNY. Her writings were published in Huffington Post, The Nation, NPR, Colorlines, Saint Heron, and Postbourgie. Her debut short, And Nothing Happened premiered at the 2016 Slamdance Film Festival, and screened at the Brooklyn Museum, L.A. Film Festival, BAMcinemafest, Blackstar Film Festival, Rooftop Films, Urbanworld, CinemAfrica in Stockholm and Tacoma Film Festival – where it won Best Director. It is now a Vimeo Staff Pick. In 2017, Ramos-Chapman received a fellowship from the Sundance Institute for Screenwriting Intensive for her first feature-length script. She lives and works in Brooklyn, NY. www.naimaramoschapman.com

Image: Kathleen Gilje, Susanna and the Elders, Restored, 1998/2018, X-ray image on Arches paper, 52.5 x 36.75 in. ©2018 Kathleen Gilje. Courtesy of the artist

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TOUR & ARTIST TALK: Rape in the Social Context
Sep
26
6:00 PM18:00

TOUR & ARTIST TALK: Rape in the Social Context

  • Anya and Andrew Shiva Gallery, John Jay College of Criminal Justice, CUNY (ground floor) (map)
  • Google Calendar ICS

accompanying the exhibition
THE UN-HEROIC ACT:
Representations of Rape in  Contemporary Women's Art in the U.S.

Anya and Andrew Shiva Gallery
September 4 – November 2, 2018, Mon-Fri 10-6 PM

The evening starts with a tour of the exhibition with curator Monika Fabijanska. Following Christen Clifford’s (New School) introduction to the history of rape, artist Jennifer Karady will discuss her Soldiers' Stories from Iraq and Afghanistan project - her exploration of combat trauma, military sexual trauma and her collaboration with U.S. veterans, while Ada Trillo will talk about her project How did I get here? in the context of women trafficking, rape and prostitution, and feminicidios – violent homicides of women on the U.S.-Mexican border. Moderated by professor Shonna Trinch (John Jay College).

*****

Christen Clifford is a feminist performance artist, filmmaker, writer, curator, professor and mother. She teaches "The Body in Performance Art" and "Rape Culture and Sexual Justice" at The New School. Clifford is the co-chair, with Jasmine Wahi, of The Feminist Art Project's national symposium in 2019: RAPE, REPRESENTATION AND RADICALITY. Performance art shown at The New Museum, PS122, Postmasters Gallery, ArtShareLA; for The No Wave Performance Task Force she was lead artist on #wewishanamendietawasstillalive; writing published in Broadly, The Guardian, and Filmmaker Magazine. 2018 Feminist-in-Residence at Project for Empty Space. 2018 Screen Forward Fellow at IFP. NYFA and NYSCA recipient. @cd_clifford christenclifford.info

Jennifer Karady has worked with American veterans since 2006 to create staged narrative photographs that reveal how their experiences of war infiltrate their daily civilian lives. The series Soldiers’ Stories from Iraq and Afghanistan was shown at such venues as the Palm Springs Art Museum, CA, 2014; Slusser Gallery, University of Michigan, Ann Arbor, 2014; Berman Museum of Art, Ursinus College, Collegeville, PA, 2013; and CEPA Gallery, Buffalo, 2011. Karady participated in numerous group shows including at the Ringling Museum of Art, Sarasota, FL, 2017; Preus Museum, Oslo, 2017; Harn Museum of Art, University of Florida, Gainesville, 2016; Fotografisk Center, Copenhagen, 2016; The Albright Knox Gallery, Buffalo, 2013; and Johnson Museum, Cornell University, Ithaca, 2006. Public collections include SF MOMA and The Albright Knox Gallery. She lives and works in Brooklyn, NY. www.jenniferkarady.com

Ada Trillo is a photographer and painter, exploring cultural heritage and socio-political issues on the U.S.-Mexican border where she was born. She has a BA in Fashion Design from Istituto Marangoni, Milan, Italy and BA in Marketing from Drexel University, Philadelphia, PA. Trillo’s photographs are in the permanent collection of The Philadelphia Museum of Art and have been reviewed in The Huffington Post, CBS Philly, Philadelphia Weekly, Al Dia News, Telemundo 51, and The Candid Frame podcast. Trillo has spoken at conferences on human trafficking. She lives and works in Philadelphia, PA. www.adatrillo.com

Shonna Trinch is Associate Professor of Linguistic Anthropology at John Jay College. She received her PhD from the University of Pittsburgh in Spanish Linguistics. She has conducted fieldwork in the U.S. Southwest where she spent 13 months studying the ways in which Latina women and sociolegal authorities in 10 different institutional settings collaborate and conflict in the creation of narratives of domestic abuse. Trinch has published extensively on these topics. Her current research focuses on gentrification, urban redevelopment and linguistic landscapes in Brooklyn, NY. www.jjay.cuny.edu/faculty/shonna-trinch

Image: Jennifer Karady, Former Specialist Brittny Gillespie, 139th Military Police Company, 16th MP Brigade, U.S. Army, veteran of Operation Iraqi Freedom, with Volunteers of America-Los Angeles Battle Buddy Elizabeth Saucedo and friend Corey; Los Angeles, CA, 2014, from the series Soldiers’ Stories from Iraq and Afghanistan, chromogenic color print, 48 x 48 in. ©2014 Jennifer Karady. Courtesy of the artist

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THE UN-HEROIC ACT: REPRESENTATIONS OF RAPE IN CONTEMPORARY WOMEN'S ART IN THE U.S.
Sep
4
to Nov 3

THE UN-HEROIC ACT: REPRESENTATIONS OF RAPE IN CONTEMPORARY WOMEN'S ART IN THE U.S.

  • Anya and Andrew Shiva Gallery, John Jay College of Criminal Justice CUNY (map)
  • Google Calendar ICS

curated by Monika Fabijanska

September 4 -November 2, 2018
gallery hours: Monday-Friday 10-6, Saturday 12-6

opening reception: September 12, 2018, 5:30-8:30 PM
artists talk & gallery tour: September 26, 2018, 6-8 PM
symposium & gallery tour: October 3, 2018, 5-9 PM
artists talk & gallery tour: October 24, 2018, 6-8 PM
SCROLL DOWN FOR PUBLIC PROGRAMMING DETAILS

This concentrated survey of works devoted to rape, by a diverse roster of women artists representing three generations, including Jenny Holzer, Suzanne Lacy, Ana Mendieta, Yoko Ono, and Kara Walker, aims to demonstrate that rape constitutes one of central themes in women’s art and will analyze its rich iconography in all mediums.

The exhibition aims to fill a gap in the history of art, where the subject of rape – as seen from women’s perspective – is a blank spot. What makes women's works radically different from those by men is the focus not on the action or drama, but on the lasting psychological devastation of the victim: her suffering, silence, shame, and loneliness. Often strikingly beautiful, they are rarely shown or their true meaning is obscured.

Image: Suzanne Lacy, Three Weeks in May, 1977, paper, ink ©1977. Suzanne Lacy. Courtesy of the artist.

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TCC Presents: Studio visits with Angela Fraleigh, Derek Fordjour, and Narcissister
Jun
26
7:30 PM19:30

TCC Presents: Studio visits with Angela Fraleigh, Derek Fordjour, and Narcissister

20 Jay Street, 7th Floor, Brooklyn NY, 11201

For the closing of its Spring 2018 Season, TCC will visit Angela Fraleigh, Derek Fordjour, and Narcissister at the Sharpe-Walentas Studio Program, 20 Jay Street, Brooklyn, NY. Please, arrive on time and meet us on the 7th Floor! From there, at 8:30 PM, we will come together for a social hour at our usual address, at the 68 Jay Street Bar. The studio tour will be led by Monika Fabijanska.

Angela Fraleigh explores narratives of women and marginalized female figures in art history. In her monumental paintings, she has incorporated women painted by Baroque and Rococo painters such as Francois Boucher and Francois Lemoyne: posed odalisques, goddesses, nymphs, and allegories, now free from their assigned, often ambiguous roles sit together reassembled by Fraleigh in imagined circles of shared-knowledge, which has been passed down to us in sanitized fairy tales. Currently, Fraleigh is working on a series of site-specific paintings for Edward Hopper House Museum in Nyack, NY, inspired by the work and relationship of Edward and Jo Hopper, and addressing the role of muses in male artists’ lives.

Angela Fraleigh earned her MFA from Yale University. Her solo exhibitions include those at the Vanderbilt Mansion, Hyde Park, NY (2015), Inman Gallery, Houston, TX (2014), and University of the Arts, Philadelphia, PA (2011). She has also exhibited at the Museum of Fine Arts Houston, TX, Kemper Museum of Contemporary Art, Kansas City, MO, P.P.O.W Gallery and Massimo Audiello Gallery, NYC. Fraleigh is a professor and the department chairperson of the Moravian College art department, and is represented by Inman Gallery in Houston.

Derek Fordjour’s images draw upon a variety of sources, including sporting imagery, board and card games, carnival motifs, and the circus, to explore ideas of vulnerability. He uses the economic, political and psychosocial implications of games to discuss the power structure that exists around rewards and sanctions, merit and punishment, both within the game and as an allegory for the broader human experience.

Derek Fordjour was born in Memphis, TN to parents of Ghanaian heritage. He earned his MA in Art Education from Harvard University and MFA in painting from Hunter College CUNY. His works have been exhibited at Galerie Lelong, New York, NY, The Taubman Museum, Roanoke, VA, and Galleria Monica DeCardenas in Switzerland, among others. Fordjour was awarded an MTA commission for permanent art for the 145th Street station in Harlem. He is represented by Night Gallery in Los Angeles and Josh Lilley Gallery in London, which will present his solo installation at Art Basel Miami 2018.

Narcissister employs a spectacle-rich approach to explorations of gender, racial identity, and sexuality. Humor, pop songs, elaborate costumes, contemporary dance, and her trademark mask are her tools in deconstructing stereotypical representations. By opening up and turning against themselves what Stuart Hall calls "fixed and closed stereotypical representations” Narcissister exposes in live performance, video and photography, the practice of representation itself, and challenges the audience to question its own attraction and repulsion.

Narcissister is a Brooklyn-based artist and performer. Wearing a mask and merkin, she works at the intersection of performance, dance, art, and activism. She has presented her work at The New Museum, MoMA PS 1, The Kitchen, Abrons Art Center, and at many nightclubs, galleries, and alternative art spaces. Questioning the divide between popular entertainment and experimental art, she appeared on America’s Got Talent in 2011. Narcissister is a 2015 Creative Capital Fellow, a 2015 Theo Westernberger Grantee, and a 2015 United States Artists Fellow.

Photo: Angela Fraleigh in her studio at the Sharpe-Walentas Studio Program, Brooklyn, NY, March 2018, photo Monika Fabijanska
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Dan Bainbridge performance @ TCC
Nov
7
7:30 PM19:30

Dan Bainbridge performance @ TCC

FREE
curated by Monika Fabijanska for The Culture Club

Tampering with childhood fantasies, Western mythology and Eastern spirituality, Dan Bainbridge creates mixed-media objects, installations, assemblages, and performances employing his animated objects, music, and collaboration with other artists.

He makes toy-like animals that on a closer examination appear increasingly bizarre. His menagerie reminds of a medieval bestiary where no distinction was made between species native to Europe, exotic animals, and imaginary beings. For his 2017 solo exhibition, Bainbridge created sculptural works that were interactive and meant to be played with the help of unitars. The audience could stroke and pluck the instruments’ primitive single strings attached to the animal sculptures by electrical umbilical cords. The suspended whale, the hyena bust, the pig drum – these musical sculptures set the stage for a performance.

There is something deeply unsettling about Bainbridge’s inscrutable creatures. They are seemingly vulnerable and repulsive at the same time. The artist uses grotesque to convey melancholy, but we also sense lurking evil, covert eroticism, and latent cruelty. A recurring motif in his work, Monkey Mop Boy is a figure of exploitation straddling the murky ground between innocence and evil. Possibly the artist’s alter ego, the Boy insinuates himself into other works and since 2009 is prominently featured in the artist’s performances.

The hybrid and ominous character of Dan Bainbridge’s works, the tension between physical nature of the materials and the subject, as well as the connection he makes between toys and exploitation, situate his work within the tradition of critique of American society by such artists as Mike Kelley or Paul McCarthy and evoke specifically American nightmares.

Dan Bainbridge, b. 1976 in Dubuque, IA, lives and works in Brooklyn, NY. He graduated with MFA in Studio Art from the Illinois State University in Normal, IL (2006), where he had several exhibitions. Bainbridge had two solo shows at the ART3 gallery, Brooklyn, NY (2015, 2017) and presented three elaborate performances there. His works have been featured in many group shows, including Casino Cabaret, Safe Gallery, Brooklyn, NY, 2016, Pyramid Scheme curated by Nat Ward, Brooklyn, 2014, and The Librarians, Queens College Art Center, Queens, NY, 2013. He co-founded collectives Monkey Mop Boy and French Neon.

Monika Fabijanska is an art historian with over 15 years’ experience in curating, producing, and managing arts in New York City. She specializes in international contemporary art and has special interest in women's art and feminist art. She is currently working on the exhibition The Un-Heroic Act. Representations of Rape in Contemporary Women’s Art in the US at the Shiva Gallery at John Jay College for Criminal Justice, CUNY (fall 2018).

Photo: Dan Bainbridge's performance accompanying his exhibition Bestiary, ART3 Gallery, Brooklyn, NY, June 13, 2015© Dan Bainbridge 2015, photo Monika Fabijanska
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Monika Fabijanska: LET'S TALK ABOUT RAPE
Oct
17
7:30 PM19:30

Monika Fabijanska: LET'S TALK ABOUT RAPE

FREE
presented by The Culture Club

Curator Monika Fabijanska will discuss her upcoming exhibition The Un-Heroic Act. Representations of Rape in Contemporary Women’s Art in the US, scheduled September-October 2018 at the Shiva Gallery at John Jay College for Criminal Justice, CUNY.

The exhibition proposes a concentrated survey of works devoted to rape, by three generations of women artists including Roya Amigh, Andrea Bowers, Angela Fraleigh, Natalie Frank, Lynn Hershman Leeson, Jenny Holzer, Suzanne Lacy, Ana Mendieta, Senga Nengudi, Yoko Ono, Carolee Thea, and Kara Walker. It will demonstrate that rape constitutes one of central themes in women’s art and analyze its rich iconography in all mediums.

The Un-Heroic Act is a sponsored project of the New York Foundation for the Arts through which you can make a tax deductible donation to support the exhibition and the catalog.

Monika Fabijanska is an art historian with over 15 years’ experience in curating, producing, and managing arts. Based in New York City, she specializes in international contemporary art and has special interest in women's art and feminist art.

Photo: Suzanne Lacy, Leslie Labowitz, Three Weeks in May, 1977
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Monika Fabijanska in ATOA panel on Censorship and the Arts
Sep
26
6:00 PM18:00

Monika Fabijanska in ATOA panel on Censorship and the Arts

ATOA's Critical Dialogues in the Visual Arts at:
National Arts Club

15 Grammercy Park South
New York, NY 10003
tel. 212.475.3424

CENSORSHIP AND THE ARTS
Moderator: Bill Pangburn, ATOA board member, artist, curator, professor
Panelists:
Monika Fabijanska, art historian
Patricia Karetzky, Oskar Munsterberg Chair of Asian Art at Bard College
Svetlana Mintcheva, program director for the National Coalition Against Censorship
Richard Vine, managing editor of Art in America
 

Tuesday, September 26, 2017, 6-8 PM (panel starts at 6:30 PM)
$8 general admission; $5 students and seniors, Passholders & NAC Members FREE

Censorship as a possibility, as a reality, is always near at hand. We like to think of it as being the problem of others, but the US has had and continues to have its share of battles over freedom of expression. The panelists on this symposium bring different insights to this timely and all-too-relevant topic.

Monika Fabijanska specializes in international contemporary art and has special interest in women's art and feminist art. Based in New York City, she is an art historian with over 15 years’ experience in curating, producing, and managing arts. She was Poland's cultural attache in NYC, 2000-2010, and Director of the Polish Cultural Institute, 2005-2010.

Patricia Karetzky is the Oskar Munsterberg Chair of Asian Art at Bard College, New York since 1988 and Adjunct Professor at Lehman College, City College of New York since 1994. She is the curator of the exhibition I Have no Enemies I Have No Friends - Contemporary Chinese Dissident Art, currently on view at the Anya and Andrew Shiva Gallery, John Jay College.

Richard Vine is the managing editor of Art in America and holds a Ph.D. in literature from the University of Chicago. He has written hundreds of critical essays, two nonfiction books on contemporary art, and is the author of Soho Sins, a novel.

Svetlana Mintcheva is the program director for the National Coalition Against Censorship. She is the co-editor of Censoring Culture: Contemporary Threats to Free Expression. Active as a curator, she also teaches at NYU.

Bill Pangburn (moderator) is an ATOA board member, artist, curator, professor, and director of the Anya and Andrew Shiva Gallery, John Jay College, City University of New York.

The mission of Artists Talk on Art (ATOA) is to provide a forum for critical discussions in the visual arts. After over 40 years we are one of the longest running art discussions. We depend upon artists who are willing to talk about their work, and volunteer their time. ATOA is a not-for-profit corporation run by artists.

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Monika Fabijanska in conversation with Roya Amigh
Aug
25
6:00 PM18:00

Monika Fabijanska in conversation with Roya Amigh

FiveMyles gallery
558 St. Johns Place
Brooklyn, NY 11238

Monika Fabijanska in conversation with Roya Amigh and Haleh Liza
accompanying Roya Amigh's solo exhibition, 

ROYA AMIGH
IN MY SLEEP I MIGRATE BACK

August 5 - 27, 2017
Thu-Sun, 1-6 PM, or by appointment
Opening Reception: Saturday, August 5, 4:30-7 PM

In recreating imagery that pieces together elements of different legends depicted in Persian miniature, I am able to question the complexities in the stories of Iranian women," says Roya Amigh. In her meticulous installations, she employs mythical figures from the poetry of Persian classics: Ferdowsi, Rumi, and Hafez. Large numbers of tiny drawings, created by gluing thread onto paper, are then assembled together resulting in fragile structures that reflect the ephemeral quality of memories suspended in space.

Persian storytelling is not linear; it relies on stories passed down from one person to another, where truth and fiction merge. Amigh says, “Echoing the natural distortions of memory, I create my own version of this mythology, featuring stories that happened to me or to the women I know.

From her complex, elaborate installations – whether tiny or wall-size – whole armies of personages spill out to form complicated narratives. In that sense, thread and paper become an extension of her diary. Amigh interweaves mythical beings and horrifying real events, turning traditional miniature into clouds of scrolls that resemble sets for a puppet theater.

In her first New York City show, at the FiveMyles gallery, the artist investigates her own biography in its personal and political dimensions as her works gain fully sculptural quality.

More about Roya Amigh

Haleh Liza is a poet, vocalist, and translator. Her poems were published by Columbia University Press and Rattapallax Press, and she is currently working on a book of Rumi translations. She has recited her own poems and translations at venues such as the Metropolitan Museum of Art, and has led workshops in which she explores Rumi’s poetry at Dartmouth University, University of Cincinnati, and the Wanderlust festival. Haleh has performed at the David Byrne-curated series at Carnegie Hall, the Bonnaroo Festival, UNC Chapel Hill, Celebrate Brooklyn the Mimi Fest, and the World Music Fest in Chicago, and she performed songs featuring the lyrics of Rumi at the Lincoln Center Out of Doors Festival.

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Monika Fabijanska presents Maciej Toporowicz at the New York's SPRING/BREAK Art Show 2017
Feb
28
to Mar 6

Monika Fabijanska presents Maciej Toporowicz at the New York's SPRING/BREAK Art Show 2017

  • 4 Times Square, 23rd Fl New York, NY 10036 (map)
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Monika Fabijanska at the
SPRING/BREAK Art Show 2017 (booth 23.49)

MACIEJ TOPOROWICZ:
SERIAL KILLERS AND OTHER FINGERPRINTS


Preview Day: Tuesday, February 28
Collectors Preview: 11 AM - 5 PM (by invitation only, RSVP required, register by Feb. 15)
Press Preview: 3-5 PM (register)
Vernissage: 5-9 PM (ticketed event, $20; SPRING/BREAK VIP cardholders, Free)

Public hours: March 1-6, 11 AM - 6 PM
Day Guest Passes will be available for purchase at the door or online

Artworks will be available for purchase online starting from Feb. 28 here

Lord Henry said to Dorian Gray: Crime belongs exclusively to the lower orders. ... I should fancy that crime was to them what art is to us, simply a method of procuring extraordinary sensations.

The series of 42 gouache portraits of Serial Killers was executed by Maciej Toporowicz in a single night session in 1993. The artist used his own fingerprints to create a study of world’s most infamous human monsters who remain subject of scientific analysis and achieved cult status in pop culture. Toporowicz, known for consistent adoption of risk as creative strategy, often exposed himself to legal problems: he interpreted the subject again, producing an edition of silkscreened postage stamps which were mailed.

...quick, smudged fingerprints show the figures as shadowy and indistinct […] At the same time, the fingerprints leave evidence, identification, and accountability with the artist, who becomes a stand-in for all of us - Boston Globe review of the show at the Fuller Museum of Art, Brockton, MA, 2000

All art that aims at transgressing limit situations is autobiographical, as it is through this transgression that the artist ‘is.’ Toporowicz has employed danger, provocation, illegal actions – strategies he had developed as an art student under Martial Law in Poland in 1980s, organizing underground performances influenced by the Viennese Actionism, and reacting to the systemic political oppression with provocative art.

Ian Buruma's text Art and Violence, where he writes that …fear is the greatest spur that drives humans to describe, depict, or act out forms of violence and cruelty […] People still need to see their fears, their lusts, and their darker impulses sublimated in fantasy, seems to hold the analytical key to the art of Maciej Toporowicz. Not only the need to overcome fear and a desire for catharsis are present in it, but also guilty pleasure, fascination with their seductive power. 

Leaving his fingerprints in Serial Killers, Toporowicz hid his likeness but not the identity, and returned to explore identity itself in the series Fingerprints, where he rendered papillary lines of himself and his friends with human hair of different colors that belonged to other people.

Toporowicz continues to create political works based on images imprinted in mass culture and doesn’t conceal his own fascination with objects of his critique: American gun culture, fetishization of violence and cult of celebrity. Created at the time of a heated debate over access to weapons in the US and the role of NRA in national politics, two new series Targets (collages, 2015) and Disney Targets (acrylic on canvas, 2015) refer to his 1993 gouaches: Serial Killers and Disney – 6 drawings made with body prints, which sexualized famous cartoon characters.

Read the full curatorial statement

VICE Creators review

Gothamist recommendation

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Monika Weiss' "Sustenazo (Lament II)" in "The Poetics of Absence" curated by Cristiana de Marchi at the 1x1 Art Gallery, Dubai, UAE
Jan
15
to Feb 28

Monika Weiss' "Sustenazo (Lament II)" in "The Poetics of Absence" curated by Cristiana de Marchi at the 1x1 Art Gallery, Dubai, UAE

Gallery Hours: Sat-Thu, 11-7
Opening: Sunday, January 15, 2017, 6-9 PM

ARTISTS: Afra Bin Dhaher, Alia Lootah, Chittrovanu Mazumdar, John Clang, Lamia Joreige, Mohammed - Said Baalbaki, Monika Weiss, Nedim Kufi, Reza Aramesh, Tarek Al Ghoussein, Tomoko Hayashi, Wafaa Bilal and Youssef Nabil

"Absence is a topos of literary relevance, based on the roots of European culture and civilisation. The theme of travel is strictly connected to that of separation, of disruption and of the inevitability of making the farewells. The reverse of these feelings is of course the attempt to neutralize or even annihilate the evidence of severance through a series of stratagems, which are methods that voyagers, travellers, and migrants have perfected over the millennial history of humanity or, individually, during the course of one’s experience”. – writes the exhibition curator
 
Commissioned by CCA Zamek Ujazdowski in Warsaw, Monika WeissSustenazo (2010) was inspired by the forced expulsion of patients of the Ujazdowski Hospital into the streets of Warsaw by the German army during 1944 Warsaw Uprising. The artist’s elaboration on the concept of Lament as an art form, the video includes music composed by the artist from hundreds of operatic laments, a chorus of voices reading passages from Goethe’s and Celan's poetry in German, and the voice of a surviving nurse speaking in Polish. Evoking complex relationship between two seemingly irreconcilable phenomena – high culture and genocide, both belonging to European modernity, the work was shown at the Center for Contemporary Art Zamek Ujazdowski, Warsaw, Poland; Museum of Memory and Human Rights, Santiago, Chile; and Frost Art Museum, Miami, USA, and is now in the collection of these museums. It was also presented at the Goethe Institut, New Delhi, India, and TAZ, Potsdam, Germany.

“Weiss recalls the horror of the event resorting to literary texts, direct testimonies of survivors, and images of the time. She does so using a cinematographic language and fragmented and suggestive elements which do not pretend to evoke a historical event but an emotion, a feeling. A feeling that is logically not experienced in the same way in different countries. An image which is as clear as it is necessary. All the more so at present, when history is a murmur”.

– Juan José Santos, Sustenazo (Lament II) - Monika Weiss, Museum of Memory and Human Rights, Chile, Arte al Dia International, Miami, FL, May 16, 2013

Gulf News review

The National review

The Gulf Today preview

Departures

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Monika Weiss' "Shrouds" & "Two Laments". Screening and conversation with the artist at Boston University
Nov
9
6:00 PM18:00

Monika Weiss' "Shrouds" & "Two Laments". Screening and conversation with the artist at Boston University

  • Boston University Photonics Center (map)
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Monika Weiss' interdisciplinary work investigates relationships between body and history, and evokes ancient rituals of lamentation. Her current projects consider aspects of collective memory and amnesia as reflected in the physical and political space of a city.

In Shrouds–Całuny (2012), Weiss choreographed and filmed from an airplane local women performing silent gestures of lamentation on the site of the forgotten concentration camp for Jewish women in Grünberg, now Zielona Góra in Poland. Two Laments (19 Cantos) (2015-ongoing) is a series of 19 film projections inspired by events in India, and juxtaposing two forms of global violence: the rape of women and the colonial subjugation of cities. Both projects employ lamentation as a form of postmemory, set in opposition to acts of conquest and power.

Born in Warsaw, Poland and based in New York City, Monika Weiss is currently Associate Professor at the Washington University in Saint Louis, MO. Known for her performances, installations, and public projects, she has exhibited in museums internationally. She is represented by Monika Fabijanska Contemporary Art in NYC.

Moderated by poet and translator Alissa Valles. Co-sponsored by the Center for the Study of Europe, the Elie Wiesel Center for Jewish Studies, the Women's, Gender, and Sexuality Studies Program, and the Editorial Institute.

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Maciej Toporowicz' "Aokigahara" in "Wall Signs" at the Contemporary Art Gallery Opole, Poland
Oct
13
to Nov 17

Maciej Toporowicz' "Aokigahara" in "Wall Signs" at the Contemporary Art Gallery Opole, Poland

  • Galeria Sztuki Wspolczesnej / Contemporary Art Gallery Opole (map)
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Gallery Hours: Mon-Sun, 10-6
Opening: Thursday, October 13, 2016, 8 PM

ARTISTS: Jan Baracz, Krzysztof M. Bednarski, Jan Domicz, Adam Niklewicz, Remigiusz Suda, Maciej Toporowicz.

Writes Łukasz Kropiowski, the curator: „The exhibition aims at considering a possibility of a different approach to the phenomenon of death - a point linking a natural phenomenon and a meta-empirical mystery - an attempt to approach the subject beyond (or maybe rather between) conceptualizations of biochemistry, medicine, psychology, demography, economy, law - on the one hand, and metaphysical meditation and theology on the other. I wish to research a possibility of leaving the platitude of a mortuary, aesthetics of a cemetery, rhetoric of a guidebook or any certain eschatology. In the exhibition both „poles” of the optics of death will inevitably be manifested, but the border between them will not run between artworks or exhibition rooms, but inside the works themselves: unclear, neutralized and ambiguous".

Maciej Toporowicz' immersive installation Aokigahara employs his photographs and sound recorded in 2002 in the notorious Suicide Forest or Sea of Trees, located at the base of Mount Fuji in Japan. It is reportedly the most popular place to commit a suicide in Japan. In 2003, 105 bodies were found in the forest, far exceeding the previous record of 78 in 2002. 

In recent years, the local government stopped publicizing the numbers in an attempt to downplay Aokigahara’s association with suicide. The high rate of suicide has led officials to place signs at the entry of the forest, in Japanese and English, urging suicidal visitors to seek help and not kill themselves. 

The site’s popularity has been attributed to the 1960 novel Kuroi Jukai (Black Sea of Trees) by Seicho Matsumoto. However, the history of suicide in Aokigahara predates the novel’s publication, and the place has long been associated with death. Suicide may have been practiced there since the 19th century, and the forest is reputedly haunted by the spirits of those who died.

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The Watermill Center Summer Benefit & Auction features Monika Weiss' Nirbhaya VIII-1
Jul
30
6:00 PM18:00

The Watermill Center Summer Benefit & Auction features Monika Weiss' Nirbhaya VIII-1

The Watermill Center
39 Water Mill Towd Road
Water Mill, NY 11976
purchase tickets
online bidding opens on July 18 at 12 PM EST on ARTSY


The Watermill Center’s annual gala is one of the most spectacular evenings on the New York social calendar… – artnet news

Robert Wilson’s artistic base and incubator for his work, The Watermill Center, opened in 2006. Wilson envisioned it as a laboratory for experimentation – a space accommodating artists-in-residence, students, and collaborators, housing an extensive collection of art and artifacts and providing a “think tank” in which artists could conceive, develop, and rehearse new work.

The Watermill Center once again will bring together the worlds of theater, art, fashion, design, and society for The 23rd Annual Watermill Center Summer Benefit & Auction. Watermill’s International Summer Program participants come from over 25 countries to create installations and performances throughout eight-and-a-half acre grounds for the event. The funds raised support the Center’s year-round Artist Residency and Education Programs, providing a unique environment for young and emerging artists to explore and develop new work. The evening will begin with cocktails, a silent auction and guests touring installations and performances throughout The Center’s grounds. It continues with a seated dinner, live auction and performances, and concludes with a post-event party and dancing.

Monika Weiss is a Polish-born artist based in New York who creates public projects, film projections, drawings, and performances that evoke ancient rituals of lamentation and investigate relationships between body and history. Her current work focuses on memory and amnesia as reflected in the physical and political space of the City. The drawing Nirbhaya VIII-1 belongs to Two Laments (19 Cantos) (2015-ongoing) a series of 19 films projections inspired by events in India, juxtaposing two forms of global violence: the rape of women and the colonial subjugation of cities. Weiss' exquisite drawings are featured in the Albertina Museum in Vienna, Austria, one of the world's largest and most important print and drawing collections.

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Weiss in ƑƑ Conversation Circle: "Lamentations: on Matrixial Border Spaces" in Berlin, Germany
Jun
30
7:00 PM19:00

Weiss in ƑƑ Conversation Circle: "Lamentations: on Matrixial Border Spaces" in Berlin, Germany

KN (Raum für Kunst im Kontext)
68 Skalitzer Straße
Berlin, 10997
Germany
This is a closed conversation circle, RSVP to vanessa.k.gravenor AT gmail DOT com

ƒƒ welcomes artist Monika Weiss to open up a discussion on lamentations and response-ability in the face of atrocity. Griselda Pollock’s Virtual Feminist Museum will be a subject of discussion as well as Bracha Ettinger’s Matrixial Border Space. Can images resonate traces of past events that they themselves defy speech thought and structural word patters? How can the breakdown of language manifest itself into a feminine space or border space where community can be facilitated and actualized?

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Monika Weiss’ "Wrath" as part of The Stavros Niarchos Foundation Cultural Center opening in Athens, Greece
Jun
23
to Jun 26

Monika Weiss’ "Wrath" as part of The Stavros Niarchos Foundation Cultural Center opening in Athens, Greece

  • Stavros Niarchos Foundation Cultural Center (map)
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Monika Weiss’ Wrath (Canto 1, Canto 2, Canto 3)
in Fireflies in the Night Take Wing,
an international video art survey
organized by curators Barbara London, Kalliopi Minioudaki, Francesca Pietropaolo,
and artistic director Robert Storr

Wrath (Canto 1, Canto 2, Canto 3) […] the video foregrounds a signature performative device in Monika Weiss’ recent work—lamentation—as a powerfully political, yet fundamentally ethical means to deal with personal, gendered and collective trauma by “dignifying and veiling it with anonymity,” in the artist’s words".        – Kalliopi Minioudaki, Fireflies co-curator

Designed by architect Renzo PianoThe Stavros Niarchos Foundation Cultural Center (SNFCC) consists of new facilities for the National Library of Greece, the Greek National Opera, and the 210,000 m² Stavros Niarchos Park. 

For its opening, the SNFCC will host Metamorphosis: The SNFCC to the World – a cultural event presenting 400 artists from Greece and around the world. Part of this festival, Fireflies in the Night Take Wing is a special four-night program surveying some of the most important works realized in the quintessential medium of the late 20th and early 21st centuries: video. Post-midnight screenings will consist of eleven separate looped video programs screened at eleven sites scattered throughout the SNFCC buildings and grounds. These hour-long loops screened non-stop will be composed of works by more than 50 artists from 29 countries, many of them showing in Greece for the first time, and including Pauline Boudry, Yang Fudong, Alfredo Jaar, Basim Magdy, Oscar Muñoz, Shirin Neshat, Adrian Paci, Liliana Porter, Yvonne Rainer, and Monika Weiss.

Kalliopi Minioudaki, Ph.D. is an art historian who works as independent scholar, critic and curator in New York and Athens. She specializes in American and European postwar art from a feminist perspective and was co-editor and co-author of Seductive Subversion: Women Pop Artists, 1958-1968 (University of the Arts, 2010), among her many publications.

Kalliopi Minioudaki about Monika Weiss’ Wrath
Download the program brochure
Download the press release


Admission is free. The entrance is located at the junction of Evripidou & Dimosthenous streets (Kallithea). SNFCC will remain open from Friday, June 24 at 6 PM till Sunday, June 26 at 4 AM continuously. 

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Maciej Toporowicz in "All Mounds Can Be Seen from My Window" – Bunkier Sztuki 50th anniversary exhibition
Mar
5
to May 8

Maciej Toporowicz in "All Mounds Can Be Seen from My Window" – Bunkier Sztuki 50th anniversary exhibition

Bunkier Sztuki
3A Plac Szczepański
Kraków, 33-332
Poland

A group show commemorating 50 years of the venerable non-profit art space Bunkier Sztuki in Krakow, Poland, features documentation of the most successful performance by AWACS, a performance duo founded by Maciej Toporowicz and Piotr Grzybowski, and active 1981-1983. In this iconic performance, which took place in Krakow in 1981, they toyed with a real danger of 220 V electrocution, terrorist attack, and the issue of trust and solidarity between brothers in arms. In the end there was a gas bomb exploding on a stage. This performance reflected the darkest years of living in communist Poland, and it was published in 1982 by a radical California magazine High Performance. Selected by curator Krzysztof Siatka.

Curated by: Anna Bargiel, Paulina Hyła, Magdalena Kownacka, Lidia Krawczyk, Anna Lebensztejn, Kinga Olesiejuk, Aneta Rostkowska, Krzysztof Siatka, Karolina Vyšata, Magdalena Ziółkowska 

Artists participating: AWACS (Peter Grzybowski, Maciej Toporowicz), Azorro (Oskar Dawicki, Igor Krenz, Wojciech Niedzielko, Łukasz Skąpski), Agata Biskup & Przemysław Czepurko, Janusz Byszewski, Yane Calovski, Marek Chlanda, Wincenty Dunikowski-Duniko, Roman Dziadkiewicz, Andris Eglītis, Peter Grzybowski, Maciej Jerzmanowski, Janusz Kaczorowski, Konger (Marian Figiel, Władysław Kaźmierczak, Marcin Krzyżanowski, Artur Tajber), Katarzyna Krakowiak, Mateusz Kula, Monika Niwelińska, Stefan Papp, Maria Pinińska-Bereś, Michael Portnoy, Laure Prouvost, Artur Tajber, Raša Todosijević, Krystyna Tołłoczko-Różyska, Zbigniew Warpechowski, Mieczysław Wejman, andAnna Zaradny.

 

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n.paradoxa reviews Monika Weiss' "Two Laments"
Jan
1
to Jun 1

n.paradoxa reviews Monika Weiss' "Two Laments"

Excerpts from an in-depth review of Monika Weiss’ work-in-progress, Two Laments by Vanessa Gravenor in n.paradoxa – international feminist art journal:

Monika Weiss’ "Two Laments", a series of video cantos that address the event of rape in India […], questions both how one can be emancipated from the residual pain of victimhood, but also how victimhood, especially transformed by the phantom language of memory, can be a site for co-shared resistance. […] Weiss asks questions that many feminists or artists would often deem taboo. Her piece thus forms a thorough meditation upon trauma and pain [...] 

Her work is what Griselda Pollock terms “post-traumatic” in that it contends with events that remain within collective psychic consciousness but are unable to be fully or properly mourned because the extremity of the trauma defies speech.[...]

Weiss addresses the colonial past of the city of Delhi. […] The city acts as a second body, and second victim to a different type of violence. This city is also representative of a female body or perceived oriental or exotic zone that the West often fetishizes and thus, abjects. [...] In Weiss’ video, these two critiques go hand in hand. The demolition of the female form is akin with the destruction and framing of the east [….] By interweaving these two critical narratives, that of feminism and that of colonialism, Weiss is claiming that the violence perpetrated to women in sex crimes carries the same gravitas as the public violence in the city, and thus, should have the same visibility, the same critical language, and the same public reminders.

Vanessa Gravenor, Monika Weiss’ Two Laments, in: n.paradoxa – international feminist art journal, KT press, London, UK, vol. 37, 2016, pp. 83-88. The full text is available through n.paradoxa

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Monika Weiss in "Kentler Celebrates 25"
Nov
13
to Dec 13

Monika Weiss in "Kentler Celebrates 25"

  • Kentler International Drawing Space (map)
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Kentler International Drawing Space
353 Van Brunt Street (Red Hook)
Brooklyn, New York 11231
Gallery Hours: Thursday - Sunday, 12 - 5pm

Opening Reception: Friday, Nov. 13, 6 - 8pm
Curators’ Talk: Saturday, Dec. 5, 4pm

Monika Weiss, who had her solo exhibition at the Kentler International Drawing Space in 2006 (Limen II: Multi-media installation, drawing and performance), was invited by curator Charlotta Kotik to participate in the group show celebrating Kentler's 25th Anniversary. Weiss' work in the exhibition, Diptych 1 from Two Laments Drawing Series (2015) is part of her most recent project, Two Laments (19 Cantos) which discusses political forms of collective memory (monuments), commemorating victims of rapes in India. The political body is also referred here to the body of the city. It is comprised of 19 videos with sound and text by the artist, photographs, and drawings.  

A brochure with an essay by Rachel Nackman accompanies the exhibition.

Curators: Mariella Bisson, Camille Ann Brewer, Rafael Bueno, Beth Caspar, Karni Dorell, Gail Flanery, Susan Newmark Fleminger, Nene Humphrey, Charlotta Kotik, Nancy Manter, Meridith McNeal, Mercedes Vicente

Artists: Sunny Balzano, John Buchanan, Beth Caspar, Phillip Chen, Karni Dorell, Judith Egger, Anne Gilman, Tadashi Hashimoto, Molly Heron, Mary Judge, Tatana Kellner, Rejin Leys, Bettina Magi, Florence Neal, Margaret Neill, Janet Neuhauser, Bill Nogosek, Elizabeth O’Reilly, Beverly Ress, Martin Reyna, Viviane Rombaldi Seppey, Teri Slotkin, Jane South, Monika Weiss, Martin Zet

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