Performance Studies A Selection of Recent Performative Work Developed at The Watermill Center
December 10, 2009 – February 15, 2010 Watermill Brooklyn Gallery / Byrd Hoffman Watermill Foundation 111 Front Street, #216 Brooklyn, NY Curated by Dmitry Komis
Works by:
Maria José Arjona (Colombia) C. Ryder Cooley (USA) Robin Deacon (UK) GIRLMACHINE – Carlos Soto & Charles Chemin / Christian Wassmann / Luisa Gui (USA, France, Switzerland, Italy) H.E.R.D. Group (Ireland, South Korea) Implied Violence (USA) Klingon Terran Research Ensemble (Holland) Katharina D. Martin (Germany, Holland) Katherina Radeva (Bulgaria) Joshua Seidner (USA) Steven Vega (USA)
The Watermill Brooklyn Gallery is pleased to announce a group exhibition of performance work developed at the Watermill Center during the 2009 Spring and Fall Artist-in-Residence Programs. The exhibition highlights various stages in the residency process; from early workshops and open rehearsals at Watermill, to completed staging and performances at festivals and biennials. Many of these residencies have already gone on to perform in venues across the USA and Europe. NYC audiences may have recently seen GIRLMACHINE at Performa, four Watermill residencies at the New Island Festival (on Governor’s Island) in September, or artists Steven Vega and Joshua Seidner, who performed at the Esquire event at Soho House this October.
Highlights include: C. Ryder Cooley’s lyrical performances, which combine aerial movement with live music and projected visual accompaniment, are shown as performed at Watermill, and later as part of New Island Festival on Governor’s Island. Katherina Radeva’s open rehearsal of Native Birds is exhibited with a future staging at Toynbee Studios, London, alongside original drawings. Implied Violence’s work, developed at Watermill and exhibited as part of New Island Festival, will be presented at the Danube Festival outside of Vienna in the spring of 2010. Maria Jose Arjona’s work has since been exhibited in Columbia and Germany, and most recently at Pulse Miami. Joshua Seidner’s Powderburn , developed in its earliest phase at Watermill, is shown reinterpreted as part of an event at Esquire Soho in October. GIRLMACHINE, workshopped at Watermill, became one of the highlights of the recent Performa 09 biennial of performance art in November. These and other works in the exhibition exemplify the diverse performative strategies developed at Watermill, and the lives these projects have after.
About Watermill Brooklyn Gallery Watermill Brooklyn Gallery is an exhibition space in the DUMBO neighborhood of Brooklyn which brings the events and projects developed at the Watermill Center on Eastern Long Island to a larger audience in New York City. The gallery promotes Watermill’s artists-in-residence, the vast and eclectic Watermill Collection, as well as other events and collaborators at Watermill.
The gallery is operated by the The Byrd Hoffman Watermill Foundation, a not-for-profit, 501(c)3 tax-exempt organization chartered in 1969 in the State of New York. BHWMF, as operator of the Watermill Center, seeks to develop new approaches to the arts; to provide young people of diverse cultures with opportunities for artistic growth; and to document the work of its Artistic Director, Robert Wilson, and his contemporaries. In addition to the Watermill Center, the Foundation manages the Robert Wilson Archive and the Watermill Collection. The offices of BHWMF are located in Brooklyn, New York.
AMERICAN REALNESS A Festival of Contemporary Performance January 8-11, 2010
At a time when international perspectives of American dance hang onto Merce Cunningham and Trisha Brown, and too many American performing arts presenters are afraid of dance that traverses the heritage of lights and tights, AMERICAN REALNESS commands attention to the proliferation of choreographic practices transcending the traditions and expanding the definition of American dance and performance.
REALNESS: A slang term born from the LGBT community defined by the ability of a drag queen, transgender or other LGBT person to look like or pass as the opposite gender.
AMERICAN REALNESS: An expansion of REALNESS beyond gender roles into style, ways of life and art making.
AMERICAN REALNESS presents and highlights the work of eight contemporary choreographers during APAP 2010; the Annual Association of Performing Arts Presenters Conference, January 8-15, 2010, to debunk stilted perceptions of American dance and give way to a new notion of American contemporary performance.
“But virtually every great modern dance company was founded more than 40 years ago. Where is the current, not to mention next, generation of great modern dance companies to carry the torch?” – MICHAEL KAISER, THE HUFFINGTON POST
MIGUEL GUTIERREZ AND THE POWERFUL PEOPLE Last Meadow
Last Meadow is a new evening length work using original choreography and writing mixed with stuff from James Dean’s three movies to look at the myth of America the father, and confusion as a potentially transformative, sensory-enlivened state.
ABRONS ARTS CENTER 466 GRAND STREET TICKETS $15
ANN LIV YOUNG Ann Liv Young Does Sherry
Sherry, Ann Liv Young’s newest performance alter ego uses techniques from church, Alcoholics Anonymous and traditional psychology in her own brand of performative therapy. She is about fixing your issues, whether it’s marital trouble or a lack of creativity in the kitchen.
While you can’t get much whiter than Sherry she is sexually and racially progressive, working alongside two colored people. And her methods, though traditional in some sense, are more likely to involve pork chops, mayonnaise and chocolate sauce than a weekly visit to your therapist. Whatever Sherry does, Ann Liv Young says it works and she has proof.
ABRONS ARTS CENTER 466 GRAND STREET TICKETS $15
LUCIANA ACHUGAR, Franny and Zooey ZOE|JUNIPER, A Crack in Everything LAYARD THOMPSON, cUp—pUck…
LUCIANA ACHUGAR Franny and Zooey Franny and Zooey makes the audience hyper aware of their physical presence in the theatre and their role as voyeur by bringing to the foreground the space and time gap between the process and the moment of performance.
ZOE|JUNIPER A Crack in Everything For A Crack in Everything, Co-Artistic Director and Choreographer Zoe Scofield creates a feral ballet of aggression and catharsis inside a highly controlled, modular and crafted environment designed and built by Co-Artistic Director Juniper Shuey.
LAYARD THOMPSON cUp—pUck… Thompson’s clownish work seriously employs psychological movement and recycled materials to question the nature of gender, sexuality, materiality, consumption and the paradox of the self as a verb.
ABRONS ARTS CENTER 466 GRAND STREET TICKETS $15
JEREMY WADE I Offer My Self to Thee
A hallucinogenic play about the body’s relationship to the untenable, the great void, the grain of sand in the vastness of empty space, with a revelation that life is about moving towards love and not away from it.
ABRONS ARTS CENTER 466 GRAND STREET TICKETS $15
JACK FERVER A Movie Star Needs a Movie
Jack Ferver’s A Movie Star Needs a Movie isa darkly satirical new work about the relationship between shallow ambition and fame.
ABRONS ARTS CENTER 466 GRAND STREET TICKETS $15
TRAJAL HARRELL Twenty Looks or Paris is Burning at The Jusdon Church (S)
Twenty Looks or Paris is Burning at The Judson Church (S) takes a new critical position on postmodern dance aesthetics emanating from the Judson Church period. By developing his own work as an imaginary meeting between the aesthetics of Judson and those of a parallel historical tradition, that of Voguing, Trajal Harrell re-writes the minimalism and neutrality of postmodern dance with a new set of signs.
PRESENTED BY: THE NEW MUSEUM 235 BOWERY AT PRINCE STREET TICKETS $18
JEREMY WADE there is no end to more
In a bold and violent juxtaposition of movement, text, animation and video of manga (Japanese comics) drawing, Wade takes a playful and cynical look at Japanese kawaii (cute) culture— from the infantile fluff of Hello Kitty to teenage doe-eyed love portrayed in anime— exploring its ubiquitous influence on the world today.
PRESENTED BY: THE JAPAN SOCIETY 333 EAST 47TH ST (btwn 1st and 2nd Aves) TICKETS $20
See American Realness Website for dates and times.
Gob Squadis a group of UK and German artists, working collectively with performance, theatre, installation and video since 1994. Based in Nottingham and Berlin the group makes and presents its work in urban sites such as offices, houses, shops, railway stations and hotels as well as in galleries and theatres.
Using the language of film, TV and pop music to explore the complexities and absurdities of life today, Gob Squad’s work is a search for beauty, meaning and humanity amongst the glittering facades and dark corners of contemporary culture.
Gob Squad often place home-made magic and spectacle next to the banality of everyday life, setting theatre and the “real world” on a collision course and capturing the results on video. Sometimes improvised, sometimes strictly choreographed, the work is provocative, entertaining and emotionally charged.
Gob Squad’s permanent members are Johanna Freiburg, Sean Patten, Berit Stumpf, Sarah Thom, Bastian Trost and Simon Will. Other artists are invited to collaborate on particular projects. Current collaborators include Dariusz Kostyra, Ilia Papatheodorou, Erik Pold, Elyce Semenec, Sharon Smith, Nina Tecklenburg and Laura Tonke (performance), Sebastian Bark and Jeff McGrory (sound design) and Miles Chalcraft and Robert Shaw (video).
Works:
2012 Infinite Jest 2011 We are Gob Squad and so are you 2011 Are You With Us? 2011 Before Your Very Eyes 2010 Le Coup de Foudre 2010 Revolution Now! 2009 Live Long and Prosper 2008 Saving the World 2007 Gob Squad’s Kitchen (You’ve Never Had It So Good) 2006 Os Recrutas do Gob Squad Me The Monster 2005 King Kong Club 2004 Prater-Saga 3: In Diesem Kiez ist Der Teufel eine Goldmine 2004 Who Are You Wearing? 2003 Super Night Shot 2003 Room Service (Help Me Make It Through The Night) 2002 Welcome to our world… built with you in mind 2002 Neukölln sucht den Superstar 2001 The Great Outdoors 2001 Workshops and Lectures 2000 To@ster 2000 Where Do You Want To Go To Die? 2000 Say It Like You Mean It 1999 Safe 1998 What Are You Looking At? 1998 Stars And Their Pies 1998 Calling Laika 1998 I Can 1997 Close Enough To Kiss 1997 15 Minutes To Comply 1996 An Effortless Transaction 1995 Work 1994 House
REPLICA, a collaborative performance piece by Daniel Arsham, Jonah Bokaer, and Judith Sanchez Ruiz, examines memory loss, pattern recognition, and perceptual faculties as they apply to the human body. The piece employs built spaces, objects, lighting, and other media to create the illusion of an expanded space through the use of video and/or still images. REPLICA creates situations onstage that could not veritably exist in physical space. This happens through the use of creative geography in video and built spaces, transporting movement to different locations that appear to be just outside the audience’s sightline.
Photo by Michael Hart
REPLICA has been commissioned by the Cultural Programs of the National Academy of Sciences (CPNAS), Washington, DC, with support from the Harman Center. Additional presentation support is being provided by the New Museum, Carré d’Art de Nîmes, Institut Valenciá d’Art Modern, Lower Manhattan Cultural Council, and USArtists International, a program of Mid Atlantic Arts Foundation in partnership with the National Endowment for the Arts, The Andrew W. Mellon Foundation, and Trust for Mutual Understanding.
Originally from Ithaca, NY, Jonah Bokaer trained in dance at Cornell University, and subsequently graduated from North Carolina School of the Arts as a North Carolina Academic Scholar (Contemporary Dance/Performance, 2000). Recruited for the Merce Cunningham Dance Company at the unprecedented age of eighteen, Bokaer pursued a parallel degree in visual and media studies at The New School (2003-07), where he received the Joan Kirnsner Memorial Award. Additional studies in media and performance occurred at Parsons School of Design, NYU Performance Studies, and through self-taught explorations into digital media and 3D animation; this education led to the development of a rare, multidisciplinary approach to choreography, addressing the human body in relation to contemporary technologies. Bokaer has worked with Merce Cunningham (2000-07), John Jasperse (2004-05), David Gordon (2005-06), Deborah Hay (2005), Tino Sehgal (2008), and many others. He has also interpreted the choreography of George Balanchine as restaged by Melissa Hayden. Bokaer’s work has been presented widely throughout venues in the United States and abroad, including Cornell University, Dance Theatre Workshop, Danspace Project, Dixon Place, La Mama ETC, P.S. 122, Symphony Space, the ISB (Bangkok), Naxos Bobine, Studio Théâtre de Vitry, and La Générale (Paris), Les Subsistances (Lyon), La Compagnie (Marseille), La Ferme Du Buisson (Marne-la-Vallée), De Singel (Beligum), International Tanzmesse NRW (Germany), PSi (Copenhagen), Kunsthalle St. Gallen (Switzerland), and others. Upcoming engagements in 2009 include the Attakalari Performance Biennale (Bangalore), Salon Tudor (Santiago), and a new commission from the National Academy of Sciences (Washington, DC).
Daniel Arsham’s practice spans the fields of art, architecture, and stage design. Originally from Cleveland, Ohio and raised in Miami, Florida, Arsham was one of the founders of the seminal Miami artist-run spaces The House and Placemaker. Arsham attended the Cooper Union for the advancement of Science and Art and received the Gelman Trust Fellowship. His work has been shown at P.S.1 in New York (Greater New York 2005), the Museum of Contemporary Art in Miami, the Athens Biennial, Mills College Art Museum in Oakland California, and Carre d’art in Nîmes France. In 2006 legendary modern dance choreographer Merce Cunningham commissioned Arsham to design the set, lighting, and costumes for eyeSpace. The performance premiered in 2007 at the Adrienne Arsht Center for the Performing Arts in Miami, and now tours extensively as part of the Cunningham Dance Company’s repertoire. This began Arsham’s five-year collaboration with the late choreographer and established the basis of his collaborative work for the stage. Arsham interpreted Robert Rauschenberg’s 1960s in-situ set designs for the Cunningham Dance Company for their 2009 Paris tour. Informed by his initial collaboration with Cunningham, Arsham’s expanded practice has included collaborations with Hedi Slimane, Bob Wilson, Jonah Bokaer, Friends With You, and Snarkitecture. He is represented by Galerie Emmanuel Perrotin Paris/Miami, and Ron Mandos Gallery Amsterdam/Rotterdam. A monograph of Arsham’s work was published in 2008 by the French Centre National des arts plastiques and is available in the New Museum Store.
Born in Havana, Cuba, Judith Sanchez-Ruiz joined Danza Abierta Company, the major exponent of Cuban avant-garde dance with whom she toured extensively, teaching and performing in Latin America (1991-96). The choreographic works she has created and performed since that time include On Walcott, which was based on poetry by Caribbean-born Nobel Prize laureate Derek Walcott and featured the musical direction of Henry Threadgill at Aaron Davis Hall in 2001. Her work has been has presented in Cuba, Argentina, Spain, and the US. In New York her work has been shown at P.S. 122, Movement Research at Judson Church, P.S.1 (MoMA), Joyce SoHo, Aaron Davis Hall, The Kitchen, Queens Museum of Arts, New School University, Danspace Project St. Marks Church, and the Whitney Museum of American Art. Sanchez Ruiz currently resides in New York City and has been a member of the Trisha Brown Dance Company since 2006. She was recently awarded “Mujeres Destacadas 2008” by El diario, a Spanish-language newspaper in New York.
Alexis Georgopoulos is a composer and artist based in New York City. As ARP, he makes hypnogogic, minimal music, most often with analog synthesizers and, increasingly, classical stringed instruments. Since 2002, he has performed internationally and has been presented in such spaces as P.S.1, Deitch Projects, the San Francisco Museum of Modern Art, 303 Gallery, Luggage Store Gallery, Jack Hanley Gallery, New Langton Arts, Yerba Buena Center, and Frieze Art Fair. He has released work on DFA, Smalltown Supersound, Troubleman Unlimited, Rong, Eskimo, Lo, Root Strata, White Columns, and Deitch Projects labels. He has remixed Lawrence Wiener, Lindstrom, and Shocking Pinks, and has been remixed by Hot Chip, Munk, Optimo, and Soft Pink Truth. In late 2008, he composed and performed a live score with violinist Nicky Mao for Doug Aitken’s film Migration, a recording of which is forthcoming. More recently, a number of his pieces were used in the soundtrack to the documentary film Objectified (Gary Hurstwit, 2009). His forthcoming album The Soft Wave will be released by Smalltown Supersound in May 2010 and will be accompanied by remixes by Swedish group Studio (Information) and the American artist Keegan McHargue (Metro Pictures). His collaboration with British composer Anthony Moore (Slapp Happy) will be released on the RVNG imprint in early 2010. He is also a member of the groups Q&A (DFA), The ALPS (Type/Mexican Summer), and co-founded the group Tussle, which he departed in 2007.
A project of interdisciplinary artist and Emily Roydson, Ecstatic Resistanceis a project, practice, partial philosophy, set of strategies, and group exhibition(s)” beginning with a pair of ’sister shows’ here in New York at X Initiative and in Kansas City, MO at Grand Arts. According to Roydson, the project, aims to “think about all that is unthinkable and unspeakable in the Eurocentric, phallocentric world order.” (You can read Roydson’s Ecstatic Resistance essay on website.)
Friday, December 11 Roydson presents Matthew Lutz-Kinoy’s BACKSANDEDBYLUTZKINOY, a video, sculpture, and dance performed for and in response to a Fred Sandback sculpture.
Taking action from everyday life, with a disregard for nuance, the dance takes its movements from pantomime and everyday actions. These recognizable movements create a theatrical presence of the performer as well as a presence as a dancer. The Sandbank is installed along with a sculptural response. The performance is a translation of an emotional reaction towards an artwork. Engaging the sculpture, the dance creates an environment with multiple characters including architecture and objects.
The response is from life, specifically our relationship with electronic mediation (cell-phones, internet, digital music), and with these contemporary objects’ planned obsolescence. During the performance I transition through stages of embodiment, using pantomime, musical synchronicity and lip-syncing. These acts further the discussion of our relationship to mediated electronic experiences. Because of the way we relate to electronic mediation, physically responding to objects insights becoming: of one’s body being in transition towards a new state of communicating
BACKSANDEDBYLUTZKINOY plays for 2 performances on Friday, December 11 at 6:30 and 7:00 pm
X Initiative 548 West 22nd Street New York, NY 10011
The performances are free, seating is limited to 150 people on a first come, first served basis.
The tenth edition of the Netmage festival (Bologna, 21,22,23 January 2010) will present contemporary audiovisual research featuring live media, live cinema, concerts, performances, sound and visual installations in the historical castle of Palazzo Re Enzo,.
The Netmage festival’s focusis on multi-media design, electronic arts and cutting-edge work and is a meeting point for video-makers, multi-media and visual artists, musicians and performers from Europe, North America and Asia. In its ongoing investigation, Netmage presents some of the latest research in live media.
Netmage festival was conceived and created by Xing, a cultural network operating in Italy and abroad, with the purpose of planning, supporting and promoting products and events characterized by an interdisciplinary approach toward the issues of contemporary culture. Artistic direction: Daniele Gasparinetti, Andrea Lissoni. Performing Arts: Silvia Fanti. International Live-Media Floor: Lino Greco, Riccardo Benassi.
COIL Festival at PS 122 A winter festival of contemporary performance featuring work of the past, present, and future.
Richard Maxwell/NYC Players – Ads Upstairs at Performance Space 122 WORLD PREMIERE | THEATRE, VIDEO Co-presented with Under The Radar Festival
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Ads marks a new departure in the work of celebrated downtown auteur Richard Maxwell. In collaboration with photographer/cinematographer Michael Schmelling and Wooster Group technical director Bozkurt Karasu, Maxwell asks whether theatre is possible without a human presence.
Wed, Jan 6 at 10pm | Fri, Jan 8 at 7pm | Sun, Jan 10 at 10pm | Tues, Jan 12 at 10pm Thu, Jan 14 at 10:30pm | Fri, Jan 15 at 8pm | Sat, 16 at 10:30pm | Sun, Jan at 17 5:30pm
EXTENDED at PS122 Wed, Jan 20 – Sun, Jan 31 (Wed – Sat 8pm, Sun 6pm) ADDED LATE SHOWS: Sat, Jan 23 + Sat, Jan 30 at 10pm / NO SHOW: Thu, Jan 21
Gisèle Vienne/Jonathan Capdeville/Dennis Cooper – Jerk Downstairs at Performance Space 122 NY PREMIERE | GLOVE-PUPPET THEATRE Co-presented with Under The Radar Festival
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Jerk” is an imaginary reconstruction – strange, poetic, funny and somber – of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in the state of Texas during the mid-70s.
This show sees David Brooks serving his life sentence. In prison, he learns the art of puppets, which somehow enables him to face up to his responsibility as partner in the crimes. He has written a show that reconstructs the murders committed by Dean Corll, using puppets for all the roles. He performs his show in prison for a class of psychology students from a local university.
Due to the violence and humor of the text, there is an underlying fierceness to the performance. The glove puppet theater is in fact the traditional form used to enact violent illicit subjects. And “Jerk” unabashedly mingles sexuality and violence in the vein of gore aesthetics, thus harking back to the glove puppet repertory.
The text has been staged as a solo for puppeteer, who uses glove puppets and also acts the role of con artist. The story, however realist it may be, seems to border on unrealism. The play’s apparent realism stems from its linear narration, as well as from its basic true story and from the trickster-puppeteer’s total identification with the fictive character of David Brooks.
“Jerk” merges three plays that were produced in collaboration with the American writer Dennis Cooper: “I Apologize” (2004), “Une belle enfant blonde” (2005) and “Kindertotenlieder” (2007). In these three plays, the links between fantasy and reality are being constantly probed, thereby altering our perception of reality. The more realist “Jerk” puts forth a consistent linear narrative, generating the credibility that undeniably stems from this form. And it is this undeniability that is reexamined by way of our different formal experiences.
Performed by and created in collaboration with Jonathan Capdevielle
FOR MATURE AUDIENCES ONLY Thu, Jan 7 at 6:30pm | Sat, Jan 9 at 7pm | Sun, Jan 10 at 9:30pm | Mon, Jan 11 at 9:30pm | Thu, Jan 14 at 10pm | Fri, Jan 15 at 7:30pm | Sat, Jan 16 at 10pm | Sun, Jan at 17 6pm
Edgar Oliver – East 10th Street; Portrait with Empty House 50 Minutes Downstairs at Performance Space 122 SOLO PERFORMANCE
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Presented by Brian Barnhart, Axis Theatre and Richard Jordan Productions Ltd
Edgar Oliver weaves a fantastical and hilarious voyage through the dark and strange rooms of his East Village tenement building.
Wed, Jan 6 at 9:30pm | Thu, Jan 7 at 9:30pm | SPECIAL MIDNIGHT SHOW: Sat, Jan 9 | Sun, Jan 10 at 4:30pm |Mon, Jan 11 at 7pm | Tue, Jan 12 at 7pm | Thu, Jan 14 at 7:30pm | Fri, Jan 15 at 10pm | Sat, Jan 16 at 7:30pm | Sun, Jan 17 at 8:30pm
Reid Farrington – Gin & “It” Offsite* at 3LD Art & Technology Center THEATRE, CINEMA Co-presented with Under The Radar Festival in association with 3LD Art & Technology Center
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For his next work Gin & “It”, Reid Farrington’s principle source is a film from the Master of Suspense. Again Farrington collaborates with film historians and archivists to bring a classic film to the stage with his own boundary-pushing melding of projected imagery and live drama.
Thu, Jan 7- Sat, Jan 16 9pm OFFICIAL NY PREMIERE: Performance Space 122 April 2010 *Tickets available through 3LD Art & Technology Center
The National Theater of the United States of America – CHAUTAUQUA! Offsite* at The Public Theater THEATRE Co-presented with Under The Radar Festival
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Winners of PS 122’s 2007 Spalding Gray Award, NTUSA returns to NYC to channel the form and style of the original Chautauqua Lectures through their own inimitable aesthetic and theatrical rhythm.
*Offsite – Tickets available through The Public Theater as part of the Under The Radar Festival Thu, Jan 7 9:30pm | Sat, Jan 9 7pm | Tues, Jan 12 9:30pm | Thu, Jan 14 9:30pm | Fri, Jan 15 9:30pm | Sat, Jan 16 9:30pm | Sun, Jan 17 3pm
The full listings for COIL festival can be found at www.PS122.org
All applicants will be informed of their application status by January 29, 2010.
CONTEXT: Eyebeam is the leading not-for-profit art and technology center in the USA. Our unique collaborative environment fosters fellowships and residencies, research, education, public programming and a vital web space, eyebeam.org. We are located in the heart of NYC’s Chelsea art district in a resource rich 15,000 sq.ft. space. Please see the Fellows and Projects sections of our web site for information on current and previous work developed at Eyebeam.
OVERVIEW: You’ve got big ideas. You could use a little time and money, not to mention support and inspiration, to create a visionary project. Apply now for Eyebeam’s Winter/Spring 2010 Residency cycle. Residents are granted a $5,000 stipend and 24/7 access to Eyebeam’s state of the art digital design and fabrication studios at their Chelsea facility.
Up to five Residents will be selected for the upcoming 5-month cycle, which will run from March 1, 2010 to July 31, 2010.
SUPPORT: Eyebeam residencies support the creative research, production and presentation of initiatives querying art, technology and culture. The residency is a period of concentration and immersion in artistic investigation, research or production of visionary, experimental applications and projects. It is a chance to use the time, space and tools at Eyebeam to reach the next stage of your practice. Check out what our current and past residents have been doing on our website.
The ideal resident will both contribute to and benefit from the shared environment at Eyebeam, and will thrive in the group dedication to openness across the organization.
PARTICIPATION: Residents are expected to participate in public events including workshops, Open Office Hours (Tuesdays, 2 – 4), demonstrations of research in progress, panel discussions, and online releases, in addition to Open Studios (two-day events, held once in the residency period).
The program term is from beginning of March to the end of July. Residents will be selected from an open call, based on the quality of the work or research being proposed, the availability of the necessary tools and skills to support the work, and in consideration of the overarching research themes and activities of the organization.
Core to Eyebeam’s methodology is the brokering of relationships between artists, hackers, coders, engineers and other creative technologists in the context of an open and shared culture of investigation and critique. We foster and facilitate relationships whereby technologists and artists come together to germinate and incubate their ideas, develop new processes, and create new works through a period of immersion in a social and professional context which is rich in technology, expertise and ideas. Collaborative relationships at Eyebeam will be fostered though group critiques, discussions and projects; and between other Eyebeam Fellows, Residents, and Staff.
RESEARCH GROUPS: Residents will have the opportunity to collaborate within our Research Groups. Research Groups bring together creative practitioners working at Eyebeam as well as expert individual participants and external partners. Initiatives led by Eyebeam Research Groups have included public outcomes such as seminars, workshops, publications and exhibitions.
Current Research Initiatives: Eyebeam’s current Research Groups include Sustainability, Education, Open Culture, Project Blackbird (Humor and Code), and Urban Research. For more information on each of these Research Groups, including descriptions, related projects, and participants, please see the Research section of our web site. Within each of these Research Groups, Eyebeam is looking for applicants with specific interest in and crossover with their own work in the following inquiry threads:
Food in the City: Investigation into NYC as a locus for media artists to embrace technological innovation and environmental, sustainable, regenerative concerns in synch with green and open source initiatives. The intention is to gather biologists, environmentalists, food activsts and media artists to consider urban agriculture, bio-generative art and other strategies. (Sustainability)
Education in Practice: Engagement with artists working in community-based and collaborative projects with youth, peers, or other targeted audiences. (Education)
Design for Social Change: Investigation into collaborative design process and methodology as it relates to creative intervention, activism, and tactical media; expanding our perspectve on “open source” to include the built environment, urban development, and public policy. (Open Culture and Urban Research)
Open Source Ideologies: Expanding Eyebeam’s ongoing research in Open Culture with a particular focus on intellectual property, licensing issues, and law and its relation to artists and cultural innovators. (Open Culture)
Participation in these research initiatives will directly inform and shape future initiatives, education, and public programming at Eyebeam.
Application Requirements: Applications are only accepted via our online application system. Applications received after the deadline of 11:59 (EST) PM, December 14, 2009, will not be accepted. All applications and work samples must be submitted through the online form. No exceptions will be made. You can create a user/password during the application process and log back into the server to update your application before the final deadline.
Complete applications must include the following information:
Contact Information
Resume or CV (.rtf, .pdf, .doc)
Work samples in the form of URLs or uploaded media. Include a project description with your work sample that explains your contribution to the piece, how it is meant to be viewed and how it relates to your proposed project(s)/research.
Blast Theory is renowned internationally as one of the most adventurous artists’ groups using interactive media, creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting. Led by Matt Adams, Ju Row Farr and Nick Tandavanitj, the group’s work explores interactivity and the social and political aspects of technology. It confronts a media saturated world in which popular culture rules, using performance, installation, video, mobile and online technologies to ask questions about the ideologies present in the information that envelops us.
Their approach:
The group makes collaborative, interdisciplinary work that is highly innovative in its process and execution. To maintain this practice requires long rigorous periods of development followed by international showings over several years that are usually context specific. Innovation and risk is central to the artists work. Blast Theory has a strong track record of taking major artistic risks – in Kidnap (1998), for example – and has tackled themes of violence, pornography and politics. The group has made major innovations in its use of technology, in its working methods, and in its business model. The uses of locative media and mixed reality in works such as Can You See Me Now? (2001) and I Like Frank (2004) have had wide impact. The group recognises that true innovation requires significant risks and it continues to be agile and highly responsive to new ideas and opportunities. Its BAFTA nomination for Technological and Social Innovation is an example of the success of that model.
The group’s collaboration with the University of Nottingham has grown and deepened over ten years and, to our knowledge, is the longest and most productive partnership between a university and a group of artists anywhere in the world. It has yielded four BAFTA nominations, a Prix Ars Electronica and academic papers of international significance at world leading conferences in computer science, computer human interaction and ubiquitous computing. This dialogue between scientific and artistic research now forms a core thread of Blast Theory’s practice.
In recent years the group has been increasingly widely acknowledged as innovators in games, winning the Maverick Award at the Games Developers Conference in 2005 and being represented by Creative Artists Agency in Los Angeles for games design. The group’s recent game projects have probed the fundamental laws of games and of play, posing questions about the boundaries between games and the real world that also have important ramifications for art, performance and virtual worlds. The artists have contributed extensively to debates about the development of games as an artform and how games may be conceptually, intellectually and emotionally demanding while also engaging a wide audience.
Blast Theory’s early work was in the field of live art. From Desert Rain (1999) onwards the relationship with live art and performance became less apparent and it is perhaps notable that, for example, the group’s participation in Live Culture at Tate Modern was as curators of a video programme. In recent years however there has been a marked recognition of the importance of the group’s thinking about performativity, presence and site specificity which has led Matt Adams to become a Visiting Professor at the Central School of Speech and Drama and an Honorary Fellow at the University of Exeter. Books such as Virtual Theatres by Gabriella Giannachi and Digital Performance by Steve Dixon have highlighted the group’s groundbreaking intermingling of the real with the virtual, the ludic with the performative and the playful with the serious.
The artists remain fascinated with how technology, especially mobile devices, might be considered to create new cultural spaces in which the work is customised and personalised for each participant and what the implications of this shift might be for artistic practice. How are the economically and culturally disenfranchised engaged amid a culture of planned obsolescence and breathless futurism. The group’s expertise has led to frequent invitations from the television industry as creators (BBC Interactive Factual and Learning, Superfine Films), as mentors (Crossover Australia, Crossover UK) and as speakers (Picnic in Amsterdam, Broadcast Summit in Adelaide etc.) (2006), a 30 minute commission for Radio 3, was a dialogue between the artists and radio listeners on their mobile phones.
As the development of Blast Theory’s new building at Wellington Road in Brighton with four studios nears completion there is great potential for it to act as a node within regional, national and international networks of practitioners in games, locative media, mobile applications, experimental performance, interactive art and technological innovation. Given the group’s history of exploring the urban landscape and considering the city as a networked social space a permanent, dedicated building provides exciting new artistic opportunities.
Most particularly, Matt, Ju and Nick have systematically explored the role of the audience; from Can You See Me Now? (2001), which places the audience online alongside Blast Theory runners, to Day Of The Figurines (2006), where the audience themselves populate an imaginary town and guide its outcomes. Works such as Rider Spoke (2007) and Uncle Roy All Around You (2003) use the real city to invite new roles for the audience. Uncle Roy All Around You prompted transgressive actions by players as they were asked to explore the offices and back streets of the city while Rider Spoke embeds personal recordings made by the audience into it and gives the audience license to find any path through them. These projects have posed important questions about the meaning of interaction and, especially, its limitations. Who is invited to speak, under what conditions and what that is truly meaningful can be said?
Works:
2009 So, err… 2009 Urike and Eamon Compliant 2009 Flypad 2008 You Get Me 2007 Rider Spoke 2007 Prof Tanda’s Guess-A-Ware 2006 Soft Message 2006 Day Of The Figurines 2005 Single Story Building, Tate Online 2004 Energy Gallery, The Science Museum 2004 Light Square 2004 I Like Frank 2003 Uncle Roy All Around You 2001 Can You See Me Now? – Installation 2002 Stay Home Read 2002 Single Story Building 2002 TRUCOLD 2001 Viewfinder 2001 Can You See Me Now? 2001 An Explicit Volume 2000 Choreographic Cops In A Complicated World 2000 Sidetracks : Light Sleeper & Body Chemistry IV 1999 Desert Rain 1999 10 Backwards 1999 Route 12:36 1998 Kidnap 1998 Architecture Foundation 1998 Atomic Installation 1997 Safehouse 1997 Invisible Bullets (video) 1997 Atomic Performance 1997 Blipvert 1997 C’mon Baby, Fight! Fight! Fight! 1996 Something American 1996 Ultrapure 1996 Internal Ammunition 1995 The Gilt Remake 1994 Invisible Bullets 1994 Stampede 1992 Chemical Wedding 1991 Gunmen Kill Three
Featured Work:
Kidnap In 1998 Blast Theory launched a lottery in which the winners had the chance to be kidnapped. Ten finalists around England and Wales were chosen at random and put under surveillance. Two winners were then snatched in broad daylight and taken to a secret location where they were held for 48 hours.
The two winners were Debra Burgess, a 27 year old Australian working as a temp and Russell Ward, a 19 year old from Southend working in a 24 hour convenience store.The whole process was broadcast live onto the internet. Online visitors were able to control the video camera inside the safehouse and communicate live with the kidnappers.
During the run up to Kidnap, a 45 second video – the Kidnap Blipvert – was shown at cinemas around the UK. The Blipvert carried a freephone number, allowing people to register their interest.
“My view of the performance was clouded by the terror, frustration, boredom and fury that dominated my 24 hours in captivity. Then again, maybe that was the point of it all. Certainly, no other performance I have ever seen has brought about such intense extremes of emotion.” Journalist Stephen Armstrong, The Sunday Times, 5 July 1998, following his kidnapping.
Jeremy Wade there is no end to more Thursday, December 3, 7:30 PM Friday, December 4, 7:30 PM — Post-Performance Discussion Saturday, December 5, 7:30 PM
Japan Society presents the world premiere of its commission to Bessie Award- winning American choreographer Jeremy Wade. In a bold and violent juxtaposition of movement, text, animation and video of manga (Japanese comics) drawing, Wade takes a playful and cynical look at consumerism and Japanese kawaii (cute) culture- from the infantile fluff of Hello Kitty to teenage doe-eyed love portrayed in anime- exploring its ubiquitous influence on the world today. Wade, who is based in Berlin, directs there is no end to more, a solo actor/ dancer Jared Gradinger in collaboration with Brooklyn-based Japanese manga artist/ illustrator Hiroki Otsuka, Berlin-based video artist Veith Michel, musician Brendan Dougherty and architectsKatja Mitte and Henning Ströh with text cowritten by Wade and visual artist/ writer Marcos Rosales.
Artist Interview:
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Tickets
Thursday, December 3, 7:30 PM Friday, December 4, 7:30 PM — Post-Performance Discussion Saturday, December 5, 7:30 PM$20/$15 Japan society members Buy Tickets Online or call the Japan Society Box Office at (212) 715-1258, Mon. – Fri. 11 am – 6 pm, Weekends 11 am – 5 pm. Part of the Fall 2009 Performing Arts Season: Japan Transatlantic: Tokio-Berlin.
(from the website)We have created an Artist-in-residence program (furnished with complimentary continental breakfast) to keep the artist alive so that art may live. As we believe that art goes with heart we want our laureates to welcome in their heart a place for the other endangered species: the children. We have included a children clause in the entry form.
We believe that your art will communicate its energy to the house and will affect people that will be surrounded by it.
PROGRAM PRIZES There are no cash prizes for this event. All the laureates gain international exposure by being sponsored by us. Many PR efforts enable visibility and communication on the New York level as well as the international scene. Selection of the winners is by the vote from the jury (individuals actually involved in the arts!). The prizes consist of an offer of a room and a creative space that is shared with other creative persons for a specific amount of time (two weeks to three months). Services that are fundamental to the diffusion of creation are provided: a continental breakfast, fax and e-mail, exhibition space and vernissage and an occasional bottle of wine!
ENTRY TERMS AND CONDITIONS The aim of the program is to provide an introduction to active artists, create interaction between artists worldwide, and offer a window to capture the vibrant energy of New York. The program is open to all artists international from the following categories:
The choice of subject is unrestricted but in essence must be a creative piece in that the majority of the composition is created by the artist. The finalists’ entries will be on display on-line. The announcement of the winner or winners will be made twice a year (October 15th, February 15th). The winner or winners will have their project summary online.
One entry is allowed per artist. The entered project must be realized during the tenure. Each application is to include: 1. Completed entry form 2. Signed pledge to the children clause 3. A project definition with scope of work, time and length of desired stay 4. A picture 5. A personal biography
Copyright of entered artworks remains with the artist who agree to grant permission to the Artist-in-residence Program to use the submitted material in exhibits on the web sites or in the Gershwin Hotel. The artist permission to display the entry for the program cannot be reserved and its removal is entirely at the discretion of the Program Director. During its tenure the artist will have the obligation to create and communicate its process.
The artists represent and warrant that their material is owned by them and that they are free and clear of any liens or claims by a third party. Your information and art will not be sold or used anywhere outside the scope of the program.
No entries can be submitted unless the artist is in full agreement with the terms and conditions of the program.
L’EFFET DE SERGE Philippe Quesne/Vivarium Studio (France)
Sunday Afternoons, in his living room and for a limited audience, a character named Serge performs 1-3 minutes numbers based on special effects. Low-key humor and homespun magic always merge in Quesne’s work.
CHAUTAUQUA! Created by The National Theater of the USA
Inspired by the popular lecture circuits of the 19th century, Chautauqua! Weaves lectures on history, culture, capitalism with live music, slapstick, magic, dance and melodrama. Chautauqua! Features guest lecturers, performers, and surprises in a celebration of the culture we all share and the moment in which we share it.
JERK Directed by Gisèle Vienne, text and dramaturgy by Dennis Cooper (France)
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Performed by and created in collaboration with Jonathan Capdevielle Jerk is an imaginary reconstruction, with puppets, of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in Texas during the mid-70s.
ADS NYC Players/Richard Maxwell
Ads marks a departure in the work of celebrated downtown auteur Richard Maxwell and NYC Players. Moving beyond the traditional video screening into the realm of live performance, Ads stages three-dimensional video recordings in the theater. Recorded speeches make the appeal for independence, displaying ideas and beliefs held up to be essential. Are we humble? Are we great? Can we begin to claim back space?
![Matthew Lutz-Kinoy Studio Danse 2006 video [large detail of still from video installation]](https://i0.wp.com/contemporaryperformance.com/wp-content/uploads/2009/12/Lutz-Kinoy_Studio_Danse.jpg?ssl=1 "Lutz-Kinoy_Studio_Danse")
