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RAPE, REPRESENTATION, AND RADICALITY / The Feminist Art Project Day of Panels at the Annual College Art Association Conference 2019
8:30 AM08:30

RAPE, REPRESENTATION, AND RADICALITY / The Feminist Art Project Day of Panels at the Annual College Art Association Conference 2019

  • New York Hilton Midtown, Trianon Ballroom (map)
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Free and open to the public

TFAP@CAA: The Feminist Art Project Day of Panels at the Annual College Art Association Conference 2019

Intersectional feminist art has long dealt with the oppressions and violations stemming from colonialism, slavery, and couverture. Rape, Representation, and Radicality is a full-day symposium that will explore sex, power, and justice through intersectional art and activism, academics, and healing. The forum brings academic study, intellectual discourse, and visceral candor together to create a shared space and to demand bodily autonomy.

Rape, Representation, and Radicality will address how sexual assault has affected feminist art practices, and who has power and why. What institutional changes are needed to work towards sexual justice, and how do race and gender impact the experiences and responses within the context of contemporary feminist discourse? The hidden legacy of Women of Color, within the conversation about sexual violence, sexual empowerment, artistic praxis, and art history, must be re-contextualized and revised to be included accurately. The current cultural narrative around sexual violence necessitates re-orientation to include those who are left out of the conversation. This forum will present strategies to understand, rectify, reclaim and move forward towards healing.

Symposium Chairs: Christen Clifford (Artist; The New School) and Jasmine Wahi (School of Visual Arts; Project for Empty Space)


8:30am - 10am
Welcome and Introductory remarks:
Connie Tell, The Feminist Art Project, Center for Women in the Arts and Humanities, Rutgers University
Christen Clifford, Independent Artist, and The New School; and Jasmine Wahi, School of Visual Arts, and Project for Empty Space

The Un-Heroic Act: Representations of Rape in Contemporary Women's Art in the U.S.
Presenter: Monika Fabijanska, (Independent Curator)

Sexing the Canvas: The Rape of the Black Female Body in Art
Presenter: Indira Bailey (Penn State School of Visual Arts)

10:30am - 12:00pm: Gender, Sexuality, and Power: Social Activist Art Practices
Panelists: Suzanne Lacy (University of Southern California Roski School of Art and Design), Emma Sulkowicz (Independent Artist; Resident Artist, Museum of Arts and Design), María Magdalena Campos-Pons (Vanderbilt University), Moderator: Vivien G. Fryd (Vanderbilt University)

12pm - 12:30pm LUNCH BREAK

12:30pm - 2:00pm: Taking Back the Narrative
Conversation between Jaishri Abichandani (Independent Artist) and Christen Clifford, (Independent Artist; The New School)

Bad Woman Katya Grokhovsky
Operation Catsuit Ayana Evans
Action IV Castellanos

2pm - 3:30pm: Rewriting Narratives in the #MeToo Moment
Panelists: Natalie Frank (Independent Artist), Carmen Hermo (Elizabeth A. Sackler Center for Feminist Art), Naima Ramos-Chapman (Random Acts of Flyness!)

4pm - 5:30pm: Looking for Sexual Justice - Representing Sexual Violence Across Film and Video Art
Presenters: Kalliopi Minioudaki (Independent Scholar) What Rape Has to Do with Nanas? Niki de Saint Phalle's "Daddy.", and Talia Lugacy (The New School) Silence in Descent

Visible Invisibility: WoC in the Context of the #MeToo Movement
Presenters: Maria Hupfield (Independent Artist), Viva Ruiz (Independent Artist), Scheherazade Tillet (A Long Walk Home), Jasmine Wahi (School of Visual Arts; Project for Empty Space)

Healing Exercise and Finale: Christen Clifford and Jasmine Wahi

Image: The exhibition catalog, The Un-Heroic Act: Representations of Rape in Contemporary Women’s Art in the U.S.

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to Nov 3


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

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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Dan Bainbridge performance @ TCC
7:30 PM19:30

Dan Bainbridge performance @ TCC

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
7:30 PM19:30

Monika Fabijanska: LET'S TALK ABOUT RAPE

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
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

Moderator: Bill Pangburn, ATOA board member, artist, curator, professor
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
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, 


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
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)


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
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


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

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"
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"
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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