BIM, Biennial of Moving Image, Museum MUNTREF, Centro de Arte Contemporáneo, Buenos Aires, curated by Gabriela Golder and Andrés Denegri, October 29th to December 20th, 2016
The question of fear is a gaudily well-trodden terrain. In the everyday we tend to relate it to our present condition and no doubt we say: we live in fear today. This is immediately followed by a consensus that fear is a phenomenon of our hyper-informed age. In this respect, the mass media plays a fundamental role at the service of power, for whom it is desirable to have a meek society, placated by a conspiracy of fears. It sounds coherent, but wasn’t fear widespread before the internet, before television, before radio and newspapers? It’s true that the presence of the media intimidates us, but what then can we think of the idea of God, dead today but nonetheless omnipresent? And what of that vast, overwhelming Nature before him? And as part of that, the Other, always lying in wait. MORE
Co-curated by Tim Korn of Dungeon Beach and MONO NO AWARE
A curated evening of selected shorts featuring artists and projects we have worked with. The night will include films from Celia Rowlson-Hall, Orit Ben-Shitrit, Fritz Donelly, Ted Wiggin, Jesse Flower-Ambroch, Sammy Davis Jr and Sam Kuhn.
Tuesday, November 15, 2016
Dungeon Beach 63 North 3rd Street Brooklyn, NY, 11249
The exhibition, comprised of 6 solo projects, is curated by Aya Lurie. It draws reference to Jonathan Crary‘s book 24/7: Late Capitalism and the Ends of Sleep.
Opening: January 16, 2016, through April 30th, 2016
Jonathan Crary depicts a contemporary world that is technological, virtual, global, intensely feverish, restless and inattentive, which pushes aside elementary human needs – particularly the need for sleep and relaxation time – so as to advance capitalism’s ceaseless production and consumerism. Therefore, although progress and technological developments were supposed to enhance the quality of our lives, in fact we are now required to be functional at all times and currently sleep, on average, less hours a day than ever before. The natural cycles of time, rooted in the Earth’s revolving on its axis and its rotation around the sun, are replaced by artificial light that has no time limits. We are connected nonstop, online, to our social and work life, ready at any given moment to instantly reach any point on the face of the planet, whether by plane or Skype, and are increasingly subject to different forms of control and surveillance. The time of our age, Crary claims, “is a time that no longer passes, beyond clock time.” The current display at the museum includes a number of one-person shows and individual projects, all of which are affined to this experience of the current age – some engaging with it directly and others touching on it obliquely.
“At the breast of history I sucked and pissed.”
—Jiang Qing, Nixon in China (John Adams, 1987)
House of Flying Boobs is a performance art cabaret interweaving four distinct acts and several visual and performing arts genres: opera, theatre, burlesque and contemporary dance that burrow into a bewildering range of topics: the force of capitalism in Europe’s financial and humanitarian crisis; the sexual and political agency of women from the age of myth and biblical tales to Surrealism and the Cultural Revolution; the fabrication of discourse in the artist interview format.
Featuring: Nadim Abbas, Orit Ben-Shitrit (video artist/choreographer), Rainer Ganahl, Mary Notari (activist/stage actress), Tuo Wang, Mo Zhou (theatre/opera director), among other musicians, designers, composers, and performers. Curated by Xin Wang.
Originally conceived and performed in 2012, AUCTIONING OFF THE GREEK DEBT negotiates the European debt crisis by creating a new financial tool—a commodity derivative—by the two most powerful entities in the EU: Germany and France. Three dancers: German, French and Greek enact an abstract financial scenario involving their respective languages. The qualities of the Greek dancer are bundled and sold as commodity derivatives by Germany and France. The performance, now re-staged with an uncanny sense of relevancy, is a set of actions that trigger a chain of responses and interweave/interfere with the cabaret’s various acts. All is told through choreographed movement, combined with language phrases spoken with an Economy of Consonants—a restricted form of communication. The performers punch a time clock to underscore the movement transactions. Dancers: Martina Potratz, Sandra Passirani and Dafni Mari.
Conceived, sound collaged and choreographed by Orit Ben-Shitrit.
Thursday, November 5th, 2015 7-10 pm Manhattan Bridge Anchorage
Decomposing Hierarchies is a Marble House Project publicly-presented video art exhibition on the Manhattan Bridge Anchorage. Works by Marble House Project 2015 Residents: Anne Katrine-Senstad, Catherine Page Harris, Orit Ben-Shitrit, Margeaux Walter, and Jeannette Ehlers. Curated by Sarah Walko, Director of Arts Programming. I’ll be showing ONOMONO, 2015 Some stills: ONOMONO is an experimental video projection that combines found archival footage composited with imagery shot by the artist. The original soundtrack was created by Ben-Shitrit in collaboration with Timothy Korn, using live-feed into a Kaleidoloop. The video was created in collaboration with editor Jeremy C. Hansen.
ONOMONO depicts a circle of destruction. The video captures the ailments of our society using archival footage ghosted over original footage of the Atlantic-ocean, Cappadocia, and a dilapidated British Colonialist-era post in the Arab-Israeli town of Abu-Ghosh. The archival material includes: gruesome animal experiments, depression-era economic graphics, as well as catatonic masked Schizophrenia and OCD patients. The word ONOMONO is a palindrome—it reads the same forward and back. The video begins and ends with the same visual note. The sound is created using live-feed into a Kaleidoloop—a digital recording device that can layer both live and pre-recorded sounds, while navigating and altering playback speed and direction. This work was inspired by the French Anarchist book the Coming Insurrection, which offers a vivid diagnosis of the capitalist decrepitude of our society.
“Presenting five dance films, commissioned or developed at EMPAC. Three of the works are supported by the DANCE MOViES Commission—experimental dance works for the screen, which vary widely in content and form, yet are united by the fact that they are crafted by a choreographer or movement-based artist.”
For more info: EMPAC DANCE MOViES Commission
I’m very excited to see WARD OF THE FERAL HORSES on the big screen tomorrow night at EMPAC. I spent the past month with sound collaborator and mixer Timothy Korn and Editor Jeremy aka the EnHancer to engage you sonically and visually. Tristan Kneschke helped us harmonize the color space, and many more people like DP Chapin Hall and choreographer Kate Corby, actors and dancers have been engaging participants. It’s been a beautiful ride. I recently realized this celebration is rooted in Tropicalia, of which I learned from an inspiring friend — Ju. Scroll all the way to the beginning of this blog and you will find her.
so here we are, working on the final composition and sound mix of WARD OF THE FERAL HORSES. the premiere is January 31st at EMPAC. using all original sounds, Tim and I are creating the structure and sonic voyage that builds into the eventual breakdown in the film.
i’m finally posting some production images from the new project. i spent almost two weeks in residence up in Troy, NY with the wonderful EMPAC team lead by Ash Bulayev, along with my dear friends choreographer Kate Corby, DP Chapin Hall, and Assistant director James Francis Cerretani. as always, the cast and crew are all fantastic people. lucky bastard. we had a ton to get done, and we did it all. wish you could have been there.
for a few months now, i’ve been editing with the Jerrrs C-hance and Anne-Laure, and making all original sounds with forever Tim Korn at the Dungeon. i’m even singing! we’ve been sculpting the cut and going back and forth between the edit and sound composition. our timeline is a mess, and they want to kill me. stay tuned.
a couple of weeks ago we received a grant from the Ostrovsky Family Fund to make a three channel iteration of the project. we shot with three cameras, so we are all set to make you go cray. thank you, Ostrovsky ladies. you rock and once again you make wrong be right. molto danke.
Max Cosmo Cramer in (new title,yes!) WARD OF THE FERAL HORSES
Max Cosmo Cramer and Doug Barron in WARD OF THE FERAL HORSES
L. and R. aka Max and Doug
Joanna Kotze, MCC, Brittany Engel-Adams, Or Reitman,
Cara Angela Liguori and Pascale Seigneurie (not pictured)
Please join Im_flieger in the former Stollwerck chocolate factory in Vienna’s 12th district for a screening of VIVE LE CAPITAL.
CROSSBREEDS 2014 is in search of time. Neoliberal politics has destroyed all forms of time standing in the way of the logic of efficiency and capital. Contemporary man faces the challenge of managing the number of possible situations and their varying time shapes. In order to do this, he continuously moves between internalized rhythms and routines, and the flexible and reflexive creation of individual time structures.
We’re addressing contemporaries and contemporary witnesses who guide or accompany us on historical paths. We attempt time jumps into the future and let ourselves be abducted into fictions of the present. We investigate the city’s body, we embody time. Together with time workers we surrender to sweet idleness and let the continuous bustle of everyday life come to a standstill.
Our stories are mixed with history. We keep claiming our place and at sunrise and sundown visit strange animals in Vienna’s first urban national park. Walking, we meet other cities and times, focusing the unnoticed, and in the walk-in archive we blend Yesterday with Today. We unfold to become an urban stage, let the flow change direction and appropriate Revolution 1934 playfully. Blind between glances, we are ready for the zombie’s slow pace, holding our breath for 5 minutes. Ceaselessly we caress the cheek and dissolve in whiteness or listen to the timeless transformation.
After a year long development of Shadows With Heat (working title) I’m excited to be an artist in residence at EMPAC. I’ll be working on an ambitious project with five dancers and two actors. more to come!
VIVE LE CAPITAL has been selected to screen at KINO DER KUNST—a first time event presenting films by visual artists who take cinema beyond its traditional boundaries and explore new narrative forms. I’m humbled to show alongside some of my favorite artists like: Rä di Martino, Guido van der Werve, Uriel Orlow and Omer Fast.
I’m very pleased to announce that VIVE was chosen for the 18th edition of Videobrasil. 90 works were selected from 2000 proposals from 34 countries. Videobrasil will take place in São Paulo later this year.
The SF Indie Film Fest: Showing under the shorts screening, Defying The Limits at the Roxie theater. Sun, 2/10 2:46 PM / Tue, 2/12 7:15 PM
MACRO Museum, Rome: Curated by Micol Di Veroli Through 17.03.2013
And in NYC with the non-for profit No Longer Empty in LIC: Through 03.13.2013
performance stills from an hour long durational performance at ISCP, May 13, 2012:
(TIME: MECHANISM) + WORK = AUCTIONING OFF THE GREEK DEBT in addition to being told by movement, the story is combined with language phrases spoken with an economy of consonants—in each of the three dancer’s respective languages. (L to R) Martina Potratz, Sandra Passirani and Savina Theodorou Sandra Passirani with the auction hammer above: Savina Theodorou
a special thank you to Kari Conte, ISCP Program Director
(TIME: MECHANISM) + WORK = AUCTIONING OFF THE GREEK DEBT
LIVE PERFORMANCE Sunday May 13th, 3:15pm
Commissioned by ISCP
International Studio & Curatorial Program
1040 Metropolitan Avenue
Brooklyn, NY 11211
Time, unlike space, only flows in one direction. We can experience space walking forward, sideways and back, but we only experience time as it moves toward the future. In addition, different cultures experience time at different speeds, which might be a source for conflict.
AUCTIONING OFF THE GREEK DEBT negotiates the European debt crisis by creating a new financial tool—a commodity derivative—by the two most powerful entities in the union: Germany and France.
Three dancers: German, French and Greek enact an abstract financial scenario involving language. The qualities of the Greek dancer are bundled and sold as commodity derivatives by Germany and France. All is told through movement, combined with language phrases spoken with an economy of consonants—in each of the three dancer’s respective languages.
The performance is a set of actions that trigger a chain of responses and activate the gallery space and hallways. The performers punch a time clock to underscore the movement transactions.
With Sandra Passirani, Martina Potratz and Savina Theodorou.
For more information and complete weekend lineup see the e-flux announcement.