Anthony Huberman, May 3rd, 8pm

Anthony Huberman is an independent curator and writer based in New York. He studied sociology and art history at Georgetown University, Washington. Huberman is currently the director of The Artist’s Institute, New York, and an adjunct professor at Hunter College, New York. Previously, he was chief curator at the Contemporary Art Museum St. Louis; education director at MOMA P.S.1, New York; and curator at Palais de Tokyo, Paris. He has contributed articles to magazines such as Artforum,BOMB, ArtReview, Modern Painters, Dot Dot Dot, and The Wire, as well as many exhibition catalogue essays. He has organized exhibitions and events with Larissa Harris under the name The Steins since 2007.

The Art of Giving (Paris Review)

January 27, 2011 | by Nana Asfour

Photograph courtesy of Anthony Huberman.

On a recent Friday night, lured by the promise of a secret performance, a throng of people piled into a small basement on Eldridge Street. By the time I had arrived, the place was densely packed, and in wading through the crowd I noticed that a foamy, doughy material covered the floor. Behind the front desk, an off-white painting by Lutz Bacher read, in bold black lettering, “Have you heard the one about the cow, the Frenchman, and the bottle of Budweiser?” Nearby, a smiling Justin Bieber stared out from a Chinese-like rectangular banner displayed on a coverless ironing board. It was hot and uncomfortable, and I pitied the blush-cheeked baby who was nestled in a BabyBjörn. The performance still hadn't started, but given that the exhibition on view featured artists Liam Gillick, Matt Keegan, and Amy Granat, I was willing to wait, sure that whatever lay ahead would be worthwhile.

Since it opened last September, the Artist’s Institute has hosted a number of intriguing short exhibitions, lasting only a day or a weekend. Conceived and run by thirty-five-year-old curator Anthony Huberman, whose résumé includes stints as education director of P. S. 1, curator at Palais de Tokyo, and chief curator at the Contemporary Art Museum St. Louis, the space is quickly becoming a standout in the gallery-dense Lower East Side. Funded by Hunter College, it operates year-round as an affiliate to the school’s graduate visual-arts program. Huberman, who conducts a weekly seminar at Hunter related to the Institute, says he wanted to “counter the conveyor-belt problem in art where, before we have time to think about what a show means, it gets swallowed by what's next.” Each season, the Institute chooses one artist, the “anchor,” around which Huberman and his crew of student “researchers” mount exhibitions and events. The entire fall season was dedicated to the relatively unknown Fluxus artist Robert Filliou, a Frenchman and a friend of George Brecht. He served as inspiration, in the loosest sense, to the shows, and his commands to “unlearn,” “disinvent,” and “misunderstand” were somewhat adopted as the Institute's dogma.

April 12th, Sharon Hayes

Born 1970 in Baltimore, Maryland
Lives and works in New York, New York

Through her performances, films, and installations, Sharon Hayes examines the intersection of history, politics, and speech, with a particular focus on the language of twentieth-century protest groups. Parole, the title of this installation, refers to the term used by Swiss linguist Ferdinand de Saussure to distinguish individual acts of speech (parole) from a larger system of language (langue). In this installation, several distinct scenes present examples of public speech in different contexts. In each of the settings, which include Hayes’s recent performances as well as fictive scenes without an audience, the same figure appears, recording sound but never speaking. Hayes draws on historical texts—such as early lesbian activist Anna Rüling’s 1904 speech What Interest Does the Women’s Movement Have in the Homosexual Question—that “re-speak” to new audiences. These historical speeches, and Hayes’s work in general, explore the construction of gender and sexuality and the articulations of political protest, revealing unexpected resonances across time periods. Parole encourages the viewer to think about how past forms of protest can inform the present and how the effects of public speech are altered in the process of documentation.

Visit Artist website to view more videos

SAM LEWITT: Tuesday March 29

LINKS
Miguel Abreu Gallery
Frieze
Times
Contemporary Art Daily
Galerie Daniel Buchholz

BIOGRAPHY
Born in Los Angeles, CA, 1981 Lives and works in New York
EDUCATION
2005
Whitney Museum of American Art, Independent Study Program, New York
2004
BFA, School of Visual Arts, New York


FROM:
SAM LEWITT, 'PRINTER, SCRIPTOR: FOLIOS'
To 30 Aug 2008
Galerie Daniel Buchholz


In fact, much of the source material for this work was acquired from such establishments. Portfolio cases are displayed on pedestals within the gallery. As framing and storage equipment, these objects suggest themselves to a collected content making a momentary appearance. Paper - its role as support, its propensity to effacement, to abstraction and inscription - provides the model for such a thing as will be written, and read, out of existence. What exists in the hold of the portfolio often includes a memory for which the pulp of an unstable pH commingles freely with the acid-free backing of a durable existence.

Document holding devices serve as an exemplary case for value's heteronomy: singular products potent with the prospect of accruing a speculative surplus value convene with industrially printed paper. The storage logic of the portfolio facilitates an equivalency of value for its contents. But this with the trait of holding for posterity those moments when paper returns to view as an unsettled support, one for which the efficacy of images is fossilized into a fetish. Bordering these open cases: The work in Monograms is cobbled together around two tools for alphabetic inscription derived respectively from the realms of material production and exchange. Ink drawings of an image of two pens, clipped from a newspaper advertisement and re-scaled to approximate actual size, are multiplied and composed into iterations of their physical spacing with regard to one another. These images are manually re-produced using the ink that they ostensibly contain, traced and filled-in, excluding only logos and corrections to coherently pictured depth. These find counterparts in a series of photograms made using reams of outmoded, industrial "Phototype": long film negatives which have entire font families printed on them. The receding graphic/alphabetic symbols that are piled here index a material support for language - one made visible on condition of the enervation of communicative signs.

Lewitt explains: 'In both of these image collections, I imagine the ambiguity of what purpose possesses these objects to be in direct correlation to the dispossession of their instrumental worth: out-stripped in efficacy by pixilated information and equipment far more interface directed. But if current fantasies of flexibility and connectedness have accelerated new means of rendering and displaying old goods, then I appreciate the reproduction of these images - sourced from forms of production and consumption oriented toward disappearance - as having emblazoned their foundational supports with instabilities that call ahead a reservation for their successors to the width of closing portfolio folds. The material of a written world left behind by shifts in economy and conditions of legibility has recently been the material for my own production as a collector. By force of what concerns the perception of social-relations as objects - which in turn are made to stand with regard to their collection - I've disassembled some holdings for this exhibition.

Ohad Meromi: March 22

LINKS
Harris Lieberman Gallery
Artforum 500
FlashArt Studio visit
Art in General

About the Artist
Born in Israel, Ohad Meromi currently lives and works in New York City. Meromi graduated from Bezalel Academy (1992) and went on to receive his MFA from Columbia University School of the Arts (2003). He has exhibited internationally and nationally at venues including The Israel Museum, Tel Aviv; Herzliya Museum of Contemporary Art, Israel; 2nd Moscow Biennale of Contemporary Art; Lyon Biennial, France; Martin Gropius Bau, Berlin; Magasin 3, Stockholm; De Appel Museum, Amsterdam; Sculpture Center, New York; and PS1 Contemporary Art Center, New York. Meromi has received numerous scholarships and awards including a Percent for Art commission (2009), the Fund for Video and Experimental film (2004), I.C. Excellence Foundation (2003), Nathan Gottesdiener Foundation Israeli Art Prize (1998). He was recently granted the Foundation for Contemporary Arts 2008 Grants to Artists Award.

------------------------------------------------------------------------------------------

The term "stage" as a locus of special dynamics is central to my practice in sculpture, installation and video. I'm drawn to the shift a space might undergo from a concrete site to a fictional one. Thought of in the context of the social sphere, I'm interested in this moment of agency, a moment of potent reflexivity where the subject changes its relationship to an oppressive matrix. Thinking of architecture as stage allows me to read modernist space as a fiction, and then to reenact some of its myths: clashes of futurism and primitivism, international style and ethnic folklore, totalitarianism and utopic positivism.

March 8th: Laura Mulvey and Zoe Beloff

Laura Mulvey

Laura Mulvey was born in Oxford on 15 August 1941. After studying history at St. Hilda's, Oxford University, she came to prominence in the early 1970s as a film theorist, writing for periodicals such as Spare Rib and Seven Days. Much of her early critical work investigated questions of spectatorial identification and its relationship to the male gaze, and her writings, particularly the 1975 essay Visual Pleasure and Narrative Cinema, helped establish feminist film theory as a legitimate field of study.

Between 1974 and 1982 Mulvey co-wrote and co-directed with her husband, Peter Wollen, six projects: theoretical films, dealing in the discourse of feminist theory, semiotics, psychoanalysis and leftist politics. These include: Penthesilea: Queen of the Amazons (1974), Riddles of the Sphinx (1977), AMY! (1980), Crystal Gazing (1982), Frida Kahlo and Tina Modotti (1982) and The Bad Sister (1982). After these, Mulvey did not return to film-making until 1991 when production began on her solo project Disgraced Monuments, an examination of the fate of revolutionary monuments in the Soviet Union after the fall of communism.

Mulvey is best known for her essay, "Visual Pleasure and Narrative Cinema", written in 1973 and published in 1975 in the influential British film theory journal Screen. It later appeared in a collection of her essays entitled Visual and Other Pleasures, and numerous other anthologies. Her article was one of the first major essays that helped shift the orientation of film theory towards a psychoanalytic framework, influenced by the theories of Sigmund Freud and Jacques Lacan. Prior to Mulvey, film theorists such as Jean-Louis Baudry and Christian Metz had attempted to use psychoanalytic ideas in their theoretical accounts of the cinema, but Mulvey's contribution was to inaugurate the intersection of film theory, psychoanalysis, and feminism.

Laura Mulvey is the Mary Cornille Distinguished Visiting Professor in the Humanities at Wellesley College. She is currently professor of film and media studies at Birkbeck, University of London.


Zoe Beloff

Zoe Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center in Paris. In 2009 she participated in the Athens Biennale, and has an upcoming project with MuHKA Museum in Antwerp. Her most recently completed work is the exhibition “The Coney Island Amateur Psychoanalytic Society and their Circle. She has been working with the Christine Burgin Gallery on a number of artist projects that include books and prints.

Zoe works with a wide range of media including film, stereoscopic projection performance, interactive media, installation and drawing.Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Sometimes she uses archaic apparatuses, sometimes, new analog/digital hybrids. Each project aims to connect the present with the past, to create new visual languages where modern media will once again be invested with the uncanny. She has collaborated with artists from other disciplines including composer John Cale, the Wooster Group Theater Company and composer, singer and performance artist Shelley Hirsch.

Zoe has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from foundations that include NYSCA, The Jerome Foundation and Experimental Television Center Finishing Funds Award. She has had residences at Harvestworks Digital Media Arts, Hallwalls in Buffalo and Tesla in Berlin.

Some links:

Dream Life of Technology was first published in a French cinema journal called "Trafic" in 1997 it was written to accompany my CD-ROM "Beyond".
"Beyond" is now online and can be accessed here:

http://www.zoebeloff.com/beyond/

"Staging the Unconscious" was also published in "Trafic" in 2008. A web version of the Somnambulists is online - the actual project is a gallery installation.

http://www.zoebeloff.com/somnambulistsWeb/


Check out the NyTimes review/slideshow of Amateur Psychoanalytic Society

March 1st, 8pm: Molly Nesbit and Paul Chan on Duchamp

Molly Nesbit teaches and writes on twentieth century art, film and photography and is currently faculty at Vassar college. Her two books, Atget's Seven Albums (1992) and Their Common Sense (2000) summarize a part of this work; it also involves a stream of essays on contemporary art. She is a contributing editor of Artforum, has taught at the University of California, Berkeley and Barnard College, Columbia University, and has received many awards, notably from the Guggenheim Foundation and the J. Paul Getty Trust.

Transcript from a lecture at Moscow Biennniale 2007, Symposium on Philosophy

Paul Chan lives and works in New York.

On Chan’s website, under the section ‘Free Baghdad’ snapshots, video clips and diary entries can be found. Visitors can also download Free MP3 files, while Chan can also be heard reading 16-hours’-worth of quotations from writers, artists and filmmakers.




New York Times Article on "Waiting for Godot"

Antek Walczak - February 22

LINKS:
Real Fine Arts
EAI
Bernadette Corporation
House of Gaga
Mexico City

Writes Walczak: "At some point during the writing of this EAI bio, Antek Walczak imagined grouping all his nouvelle-vague-grammar-crust videos under the title Old Life of a Sad Film Student. While other film students in 1990s New York were directing music videos for Pavement, starting youtube-before-youtube underground film fests, or going to real film festivals like Cannes with their real films, Walczak was working at his desk in the Bowery offices of a radical offshoot of downtown fashion called Bernadette Corporation. After several years devoted to reconsidering collective avant-garde legacies in terms of the contemporary media environment, change came in the form of an internal power struggle that ended the B-Corp fashion label and split up the collective into irreconcilable factions, leaving behind a pile of tapes from unfinished fashion spots that became material for Antek's solo video debut. It was during this hiatus of 1998-9, between incarnations of Bernadette Corporation, that Walczak developed the post-Godardian narrated essay style that bridges works as divergent as The BC Corporate Story and Get Rid of Yourself.

For fun, here are titles from the various fashion model segments of the aborted 1997 BC video shoot that would become 1998?s Dynasty: Animals in Your Neighborhood; Fresh Brats' Worst; The Robots are Ready; We never loved your body; Lady in a Jam. This is to point out the language that came out of the completely isolated self-authenticated context of early Bernadette Corporation and as well how Walczak's 'failed film school re-appropriation of an alternative cinema could only tenuously exist in a version of the downtown 90s scene that doesn't appear in any forgotten histories. Wanting nothing to do with whatever remained of East Village punk, no wave, or grunge subculture, it was an aesthetic that also happened outside of single-channel video art, operating under an illusion of a post-cinema that thought it was still possible to sit in darkened movie theaters instead of filling up the white empty spaces of galleries. It's worth noting that, in pursuit of such nostalgic resistance, Antek even went as far as moving to Paris to make films, write film criticism, and grow a beard at the start of the 00 decade. The Sad Film Student works fall under the early stages of what would became a full-blown condition at the start of the 21st century -- a passion for dead fictional substances and authentic forms, a haunted authorial voice speaking across grids of nonlinear layers, tracks, clips and timelines."

Antek Walczak was born in Grand Forks, North Dakota in 1968 and raised in Pittsburgh, Pennsylvania. He received a BFA at New York University's Tisch School of the Arts. His work has been shown at Cinematexas in Austin, the Pompidou Center, Fri-Art in Fribourg, Switzerland and the Museum Ludwig in Cologne. He is a core member of Bernadette Corporation since 1994. He has written for magazines/zines like Purple, Pacemaker, Pazmaker, Zehar, and Made in USA.

From 1995 to 1997, Bernadette Corporation constituted itself as an underground fashion label based in New York, complete with a head designer and four well-received runway shows. Drawing on the vernacular of local subcultures, from recent immigrant communities to the downtown fashion scene itself, the label's collections can be seen as a self-consciously critical examination of social codes and their expression through industrial nexuses of power and money. The shows themselves, which are documented on this video as "a condensed history of anti-fashion," send up the spectacular nature of the fashion industry, incorporating such trappings as bear-costumed mascots, troupes of high-school dancers, and jets of fire.