tag:blogger.com,1999:blog-74638782672343154062024-03-19T12:42:44.045-07:00alLuPiNiTthe new york city environ mental magazineAnonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comBlogger387125tag:blogger.com,1999:blog-7463878267234315406.post-40056091833149235582018-09-05T11:36:00.001-07:002018-09-22T07:42:42.058-07:00Tarro de albañil con ligas rojas encontradas y un bombillo ...<div style="text-align: left;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0bS-C7Wy17Xj_phQ3qGmxISgqzfDvMPgoaszEYUXYNhAAvWbyjZDfKQq0yuV9rrrxDDWxn5J_YZ23pUjusEJZOVjWoFnJP3Xq_K-R1f0JTkLjF_MDnIth4FwW9v59Vz1byaKrMKmXypQ/s1600/1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="858" data-original-width="684" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0bS-C7Wy17Xj_phQ3qGmxISgqzfDvMPgoaszEYUXYNhAAvWbyjZDfKQq0yuV9rrrxDDWxn5J_YZ23pUjusEJZOVjWoFnJP3Xq_K-R1f0JTkLjF_MDnIth4FwW9v59Vz1byaKrMKmXypQ/s640/1.jpg" width="499" /></a></div>
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<span style="background-color: black; color: #999999; font-size: large;">Rafael Sánchez, </span><br />
<span style="background-color: black; font-size: large;"><span style="color: #999999; font-family: inherit; white-space: pre-wrap;">2014-2018</span></span></div>
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<span style="background-color: black; white-space: pre-wrap;"><span style="color: #999999; font-size: large;">mason jar, found rubber bands, light bulb; 9.25" x 3.5" x 3.5"</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXR4gFb0KPEsDOYxY_Uh52frknaN4rCBsScachNj5twHCV5E5aM7vbjRLKEfVNEYaDeZK9vwQhaYN40gmqXruUFkjs26wERjraJ_ThqObI-N3Ihy-xCY2ntU1fnaaeiix5nNJnh0y8WMI/s1600/IMG-4530+%25281%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1295" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXR4gFb0KPEsDOYxY_Uh52frknaN4rCBsScachNj5twHCV5E5aM7vbjRLKEfVNEYaDeZK9vwQhaYN40gmqXruUFkjs26wERjraJ_ThqObI-N3Ihy-xCY2ntU1fnaaeiix5nNJnh0y8WMI/s640/IMG-4530+%25281%2529.jpg" width="516" /></a></div>
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<span style="background-color: black; white-space: pre-wrap;"><span style="color: #999999; font-size: large;">Jorge Clar, 2018</span></span></div>
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<span style="background-color: black; color: #999999; font-size: large;"><span style="white-space: pre-wrap;">Montblanc PIX Rollerball fine tip in blue </span><span style="white-space: pre-wrap;">on ruled composition paper; </span></span><br />
<span style="background-color: black;"><span style="color: #999999; font-size: large; white-space: pre-wrap;">(spiral note book): 11" x 9"</span></span><br />
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<span style="font-size: large; white-space: pre-wrap;"><span style="color: #999999; font-size: large;"><span style="background-color: black;">Dusk to dawn bookstand, </span></span></span><br />
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<span style="background-color: black;"><span style="color: #cccccc; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMGZrByYh1hw_NXNWbybdb5qnpN6J_hnizaGjL2dTUpup0fh3CuXWqrVS9Q6D_AilZ8tPuiBjCMxIAafynIR8u36n_3-z9hfC4geAPAnxCz0f36vWdkJBc9ceWgRb5TitHTK5M0BmMkww/s1600/IMG-4084.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMGZrByYh1hw_NXNWbybdb5qnpN6J_hnizaGjL2dTUpup0fh3CuXWqrVS9Q6D_AilZ8tPuiBjCMxIAafynIR8u36n_3-z9hfC4geAPAnxCz0f36vWdkJBc9ceWgRb5TitHTK5M0BmMkww/s640/IMG-4084.JPG" width="480" /></a></span></span></div>
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<span style="color: #999999; font-size: large; white-space: pre-wrap;">579 Hudson St. </span><span style="color: #999999; font-size: large; white-space: pre-wrap;">NYC. </span><span style="color: #999999; font-size: large; white-space: pre-wrap;">August 29, 2018</span></div>
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-6791733058387403132018-03-02T15:17:00.002-08:002018-03-03T08:07:47.448-08:00Monuments<h1 style="font-family: Arial, Helvetica, sans-serif; font-weight: normal; line-height: 32px; margin: 20px 0px; padding: 0px;">
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<span style="background-color: black; color: #cccccc; font-size: large;">"What I did was, go out to the fringes. I picked a point in the fringes and collected some raw material. The making of the piece is really about collecting. The container is the limit it exists (in) within the room after I return from the outer fringes." -Robert Smithson</span></h1>
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<span style="color: #999999; font-size: xx-small;">© Holt-Smithson Foundation</span></div>
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<span style="background-color: black; color: #cccccc; font-size: x-large;"><a href="http://www.artingeneral.org/exhibitions/490" style="background-color: black;" target="_blank">Double Bill</a></span></h1>
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<span style="color: #cccccc; font-size: large;">Curated by Redmond Entwistle</span></h1>
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<span style="color: #cccccc; font-size: large;">Art in General, January 22 - March 20, 2010</span></h1>
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<span style="font-size: xx-small;"><span style="color: #666666;">Redmond Entwistle</span></span></div>
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<tr><td class="tr-caption" style="text-align: right;"><span style="color: #666666; font-size: xx-small;">Sánchez-White Archives</span></td></tr>
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<span style="color: #cccccc; font-size: large;"><a href="https://vimeo.com/42922707" style="font-size: xx-large;" target="_blank">Monuments</a><span style="font-size: x-large;"> </span></span><br />
<span style="color: #cccccc; font-size: large;">a film by Redmond Entwistle</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBcNKgq8QfKSjOjZEjHKKsky8diQAktkC3971EFYvh9-CcPaZke4VVc5AY99RzZNJ6oSp9wJAqIc2F7PzKzFTyNe9WoxB7gEBTjmCPHQXCCYcNccmK7gY2ykYgzrJtJe0lodklb46hM3A/s1600/Screen+Shot+2018-03-02+at+7.53.16+PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBcNKgq8QfKSjOjZEjHKKsky8diQAktkC3971EFYvh9-CcPaZke4VVc5AY99RzZNJ6oSp9wJAqIc2F7PzKzFTyNe9WoxB7gEBTjmCPHQXCCYcNccmK7gY2ykYgzrJtJe0lodklb46hM3A/s640/Screen+Shot+2018-03-02+at+7.53.16+PM.png" width="640" /></a></div>
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<span style="color: #cccccc; font-size: large;"><span class="s1">By David Freedlander on </span><span class="s1">Feb 23, 2010</span></span></div>
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<span class="s1"><span style="color: #cccccc; font-size: large;">It has been 42 years since Robert Smithson took an Inter-City Transportation Company Bus at the Port Authority to Passaic, N.J.</span></span><br />
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<span class="s1"><span style="color: #cccccc; font-size: large;">In his ambulatory meditations, Smithson cheekily compared the wrecked landscape to ancient Rome. His vision was cinematic, it delineated a new way of artistic interaction with the urban environment in tension with the suburban one, and it became a founding document of minimalism.</span></span><br />
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<span class="s1"><span style="color: #cccccc; font-size: large;">Through Mar. 20, Smithson’s work, and that of his contemporaries Dan Graham and Gordon Matta-Clark, gets a reworking at Double-Bill, an enlivening show at Art in General.</span></span><br />
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<span class="s1"><span style="color: #cccccc; font-size: large;">The centerpiece of the show is a movie about the journey the three of them take back to New Jersey. The old sites of their Monuments have grown derelict, wrecked by industrial decline in a way unforeseen to the artists when they began their careers five decades ago. The house that Matta-Clark once sawed in two has become an office park. Skateboarders zoom by. When one falls and cuts himself, Matta-Clark comically explores the “rupture.” “Surfaces,” he says, looking at the wound, “are too easily accepted as limits.”</span></span><br />
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<span class="s1"><span style="color: #cccccc; font-size: large;">Minimalism and post-minimalism have had a longer life in the seminar room than in the gallery, and the characters in Monuments are as much theories as artists; they travel through the area staring impassively at places where once they projected their art and reveling in their theories of art and urbanism.</span></span><br />
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<span class="s1"><span style="color: #cccccc; font-size: large;">“The museum and the city and the same,” intones Dan Graham. “My work has always been about the relationship between the city and the suburb.”</span></span><br />
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<span style="font-size: large;"><span style="color: #cccccc; letter-spacing: 0px;">The show also features </span><span style="color: #cccccc; letter-spacing: 0px;">Rafael Sánchez and Kathleen White’s “BOOKS RECORDS TAPES.” It is a long table featuring stacks of for-sale books, sheet music, chapbooks and magazines of the kind found all over the city where vendors are still given reign. The ventures of Smithson et al matter because they expanded the definition of art and pointed out new ways of se</span><span style="color: #cccccc; letter-spacing: 0px;">eing, Sánchez and White’s seemingly dashed together collections of materials re-realizes that vision.</span></span></div>
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<span class="s1"><span style="color: #999999; font-size: large;"><b><i><a href="http://www.artingeneral.org/exhibitions/490" target="_blank">Art in General</a></i></b></span></span></div>
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<span style="background-color: black; color: #7f6000; font-family: "arial" , "helvetica" , sans-serif; font-size: large; font-weight: 400;"><a href="https://www.blogger.com/goog_1502573050">Monuments on vimeo:</a></span><br />
<span style="background-color: black; color: #7f6000; font-family: "arial" , "helvetica" , sans-serif; font-size: large; font-weight: 400;"><a href="https://vimeo.com/42922707">https://vimeo.com/42922707</a></span></div>
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<a href="http://www.ubu.com/film/smithson_east.html" target="_blank"><span style="color: #7f6000;"><span style="font-size: small;">Robert Smithson, Nancy Holt, </span><span style="font-size: small;"><i>East Coast, West Coast</i></span></span></a></div>
<span style="color: #7f6000; font-family: arial, helvetica, sans-serif; font-size: small;"><a href="http://www.ubu.com/film/smithson_east.html">http://www.ubu.com/film/smithson_east.html</a></span><br />
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</style>Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-55899969267174491352017-06-11T09:46:00.003-07:002018-03-03T21:59:01.690-08:00Jezus' Zoon<div style="font-family: Arial; line-height: normal; text-align: right;">
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<span style="letter-spacing: 0px;"><span style="color: #999999;"><i>I knew every raindrop by its name. </i></span></span><br />
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<span style="color: #999999; letter-spacing: 0px;">-Denis Johnson,</span><br />
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<span style="letter-spacing: 0.0px;"><span style="color: #999999;">Denis Johnson, Jesus' Son </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="color: #999999;">translated to Dutch by </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="color: #999999;">Rob van Erkelens </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="color: #999999;">In Deknipscheer,</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="color: #999999;">©1995</span></span><br />
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<span style="letter-spacing: 0px;"><span style="color: #999999;">book design, </span></span></div>
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<span style="letter-spacing: 0px;"><span style="color: #999999;">J. -M. van Daalen </span></span><br />
<span style="letter-spacing: 0px;"><span style="color: #999999;">Buissant des Amorie</span></span><br />
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<span style="letter-spacing: 0px;"><span style="color: #999999;"><span style="color: black; letter-spacing: 0px;"><span style="color: #999999;">Performance photo of </span></span></span></span><br />
<span style="letter-spacing: 0px;"><span style="color: #999999;"><span style="letter-spacing: 0px;">Rafael Sánchez by Erik Odijk </span></span></span><br />
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<span style="color: #999999;"><i>When I'm rushing on my run</i></span></div>
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<span style="letter-spacing: 0px;"><span style="color: #999999;"><i>And I feel just like Jesus' Son.</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="color: #999999;">-Lou Reed, Heroin</span></span></div>
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-32030933142146287412017-06-11T09:40:00.000-07:002018-03-03T21:38:04.176-08:00Wig Suitcase<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #999999; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Familiar Feelings (On the Boston Group)</span><br />
<span style="color: #999999; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Curated by Manuel Segade</span><br />
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<span style="color: #999999; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Centro Galego de Arte Contemporánea, </span><br />
<span style="color: #999999; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Santiago de Compostela, Spain, 2009</span><br />
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<span style="color: #999999; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">more:</span><br />
<span style="color: #999999; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://www.mememoi.net/Curating/familiar-feelings/index.html">http://www.mememoi.net/Curating/familiar-feelings/index.html</a></span><br />
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-73754260747709557272017-03-22T20:03:00.004-07:002017-07-02T19:00:17.466-07:00Santiago de Compostella<br />
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<span style="color: #999999;">Kathleen and Gail</span><br />
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<span style="color: #999999;">Santiago de Compostela, Spain, 2009</span><br />
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<a href="http://www.mememoi.net/Curating/familiar-feelings/index.html">http://www.mememoi.net/Curating/familiar-feelings/index.html</a>Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-29088186574465801722017-02-11T19:50:00.000-08:002017-07-02T19:12:53.556-07:00REVOLVER<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrKuqJNIVe7-mGI4S5tcQA0vtRsJqb5-X0YHE3pK56mOt-EgVEBAoB6yh7h8nzOjl570YzNfTgxRUgwx3ARLIOWMnj8WBLBD5bCghfoAMgCDeg2Ka6Fu5wFSqFZmw1bTMmSjYM7zE6tKw/s1600/Rafael_Sanchez-05_REVOLVER_2004_performance.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrKuqJNIVe7-mGI4S5tcQA0vtRsJqb5-X0YHE3pK56mOt-EgVEBAoB6yh7h8nzOjl570YzNfTgxRUgwx3ARLIOWMnj8WBLBD5bCghfoAMgCDeg2Ka6Fu5wFSqFZmw1bTMmSjYM7zE6tKw/s1600/Rafael_Sanchez-05_REVOLVER_2004_performance.jpg" /></a></div>
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<span style="color: #999999; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>REVOLVER</i>, </span><br />
<span style="color: #999999; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Rafael Sánchez</span><br />
<span style="color: #999999; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Participant Inc, 2004 </span><br />
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<span style="color: #999999; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">(performance video still)</span><br />
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<span style="color: #999999; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">see video here:</span><br />
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<a href="https://vimeo.com/108204884">https://vimeo.com/108204884</a></div>
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<br />Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-34569092545333592672017-01-26T20:00:00.000-08:002018-03-03T21:41:34.456-08:00Ishtar<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIXvmHk7oH_OI5aH4Y3nPDcugbTSCNbwQ7vp10S_0zkQ6kXd8m_T4_gHpCKxc3oTc82aNmNhDxqGQSSzMgFv9S2cD2R5lHfN7rvgirmP-hAyN_ABoEpK_ABwApAbFL3PIItlxYPMoFpTE/s1600/64b5a2a68a26cfe15575f48f126c6ef3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIXvmHk7oH_OI5aH4Y3nPDcugbTSCNbwQ7vp10S_0zkQ6kXd8m_T4_gHpCKxc3oTc82aNmNhDxqGQSSzMgFv9S2cD2R5lHfN7rvgirmP-hAyN_ABoEpK_ABwApAbFL3PIItlxYPMoFpTE/s640/64b5a2a68a26cfe15575f48f126c6ef3.jpg" width="478" /></a></div>
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<span style="background-color: black; color: #999999; font-size: large; letter-spacing: 0px;">This large plaque was made of baked straw-tempered clay, modeled in high relief. The figure of the curvaceous naked woman was originally painted red; note the trace of the red color on her left wrist. She wears the horned headdress characteristic of a Mesopotamian deity and holds a rod and ring of justice, also symbols of her divinity. Her long multi-colored wings hang downwards, indicating that she is a goddess of the Underworld. The background was originally painted black, suggesting that she was associated with the night.</span></div>
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<span style="letter-spacing: 0px;">The figure could be an aspect of the goddess Ishtar , Mesopotamian goddess of sexual love and war, or Ishtar's sister and rival, the goddess Ereshkigal who ruled over the Underworld, or the demoness Lilitu, known in the Bible as Lilith. The plaque probably stood in a shrine.</span></div>
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<span style="letter-spacing: 0px;">Old Babylonian period, 1800-1750 BCE, from southern Iraq (place of excavation is unknown), Mesopotamia. (The British Museum, London).</span></div>
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<span style="background-color: black; color: #999999; letter-spacing: 0px;">Originally published on 18 September 2014 in Ancient History Encyclopedia under the following license: Creative Commons : Attribution-Non-Commercial-Share-Alike. This license lets others remix, tweak, and build upon this content non-commercially, as long as they credit the author and license their new creations under the identical terms<span style="font-size: xx-small;">.</span></span></div>
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<span style="background-color: black; color: #eeeeee; letter-spacing: 0px;"><a href="https://www.ancient.eu/">https://www.ancient.eu</a></span></div>
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-41887848460701988672016-10-29T10:39:00.002-07:002018-03-03T21:30:47.063-08:00fall diptich<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixxZOFb6hFzOqb5tawirJJ3ypw_Z3aMvn8vICdFNJXlximUqs5Ez_7R9GH0R-XLdSvN-83ML80cNflf8LX_c5JEyHU_akaFpV7br0W5aYUBIzZxcX09Bcy3nml-oZnt_hZSukQQsHVV2I/s1600/tables.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixxZOFb6hFzOqb5tawirJJ3ypw_Z3aMvn8vICdFNJXlximUqs5Ez_7R9GH0R-XLdSvN-83ML80cNflf8LX_c5JEyHU_akaFpV7br0W5aYUBIzZxcX09Bcy3nml-oZnt_hZSukQQsHVV2I/s1600/tables.jpg" /></a><br />
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<br />Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-87196292235684551342016-08-28T21:10:00.001-07:002018-03-03T21:59:50.205-08:00 Spirits of Manhattan ...<div style="text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA5FPgO9k1NyZQNlVSBvzWgu-Qz1ENqXJyW7Glv2_ZPfpAjc7ezu6yB9809wVFdXnRos4WzvExYYho-HejIyzB5EE-z1clKuXS0tO8yqUHAJgZXmiGGjaITlCT-Sjv3ps4JTc3iPtBM1s/s1600/Joe_gene_kathleen2012.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA5FPgO9k1NyZQNlVSBvzWgu-Qz1ENqXJyW7Glv2_ZPfpAjc7ezu6yB9809wVFdXnRos4WzvExYYho-HejIyzB5EE-z1clKuXS0tO8yqUHAJgZXmiGGjaITlCT-Sjv3ps4JTc3iPtBM1s/s640/Joe_gene_kathleen2012.jpg" width="640" /></a></td></tr>
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Kathleen White, Eugene Fedorko, Gypsy Joe<br />
alLuPiNiT NYC, 2011<br />
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<a href="http://www.actuporalhistory.org/interviews/images/fedorko.pdf">http://www.actuporalhistory.org/interviews/images/fedorko.pdf</a></div>
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<span style="font-size: xx-small;">photos by Rafael © 2016 / </span><span style="font-size: xx-small;">alLuPiNiT NYC & The Estate of Kathleen White</span></div>
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Kathleen White, 1991<br />
watercolor, gauche on phone book page<br />
Collection Eugene Fedorko, NYC<br />
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-33734063819191973952016-07-26T16:11:00.001-07:002018-03-03T21:28:25.727-08:00IV Embrace: On Caregiving and Creativity<h2 style="border: 0px; box-sizing: border-box; font-family: 'open sans', 'helvetica neue', arial, helvetica, sans-serif; line-height: 1.3; margin: 0px; outline: 0px; padding: 0px 0px 1px; position: relative; vertical-align: baseline;">
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<span style="background-color: black;"><span style="color: #999999; font-size: 16px; letter-spacing: 0px;"><span style="font-size: small; letter-spacing: 0px;">In The Power of Your Care </span></span></span></div>
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<span style="background-color: black; color: #999999; font-size: small; letter-spacing: 0px;">The 8th Floor</span></div>
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<span style="background-color: black; color: #999999; font-size: small; letter-spacing: 0px;">17 West 17th Street, NYC</span></div>
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<span style="color: #999999; font-size: small; letter-spacing: 0.0px;"><b><i style="background-color: black;">IV Embrace: On Caregiving & Creativity –</i></b></span></div>
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<span style="background-color: black; color: #999999; font-size: small; letter-spacing: 0px;">Thursday, July 14, 2016</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLKACANp-NCn0mw2Xh2sUYCpBsw0Y_hKx2GkECPguhQwq1tooTjzAQhcWCXzYL6Rb07UYJMBSU94M0WSwDe3Cqle_WiLKEx-OliOrqTWWVkQQPeq92sCNufSiQTBjrqxTaj6aD-L5ZIK8/s1600/5.+Participant+2004.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLKACANp-NCn0mw2Xh2sUYCpBsw0Y_hKx2GkECPguhQwq1tooTjzAQhcWCXzYL6Rb07UYJMBSU94M0WSwDe3Cqle_WiLKEx-OliOrqTWWVkQQPeq92sCNufSiQTBjrqxTaj6aD-L5ZIK8/s640/5.+Participant+2004.jpg" width="640" /></a></td></tr>
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<span style="color: #999999; font-size: small;">Kathleen White</span><br />
<span style="color: #999999; font-size: small;"><i>Love Letter, </i>oil on canvas, 2002</span><br />
<span style="color: #999999; font-size: small;"><i><br /></i></span>
<span style="color: #999999; font-size: small;"><i>Kathleen White, Devotion</i>, Participant Inc, Jan. 2004</span><br />
<span style="color: #999999; font-size: small;"><br /></span>
<span style="color: #999999; font-size: small;">Rafael Sánchez, <i>REVOLVER</i></span><br />
<span style="color: #999999; font-size: small;">Participant Inc, Oct. 2004</span><br />
<span style="color: #999999; font-size: small;"><br /></span>
<span style="color: #999999; font-size: small;">pictured Robert Appleton and Kathleen White</span><br />
<span style="color: #999999; font-size: small;"><br /></span>
<span style="color: #999999; font-size: x-small;"><a href="https://vimeo.com/108204884">https://vimeo.com/108204884</a></span><br />
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<span style="background-color: black; color: #999999; font-size: small;">Sánchez / White, </span><br />
<span style="background-color: black; color: #999999; font-size: small;"><br /></span>
<span style="background-color: black; color: #999999; font-size: small;"><i>Unifesto</i>, 2006; stencil-action, 2013</span><br />
<span style="background-color: black; color: #999999; font-size: x-small;"><a href="https://www.blogger.com/goog_1179634019"><br /></a></span>
<span style="background-color: black; color: #999999; font-size: x-small;"><a href="http://cityandstateny.com/articles/policy/healthcare/the-bargain-that-closed-st.-vincent%E2%80%99s.html#.V5gyaDfgt5g">http://cityandstateny.com/articles/policy/healthcare/the-bargain-that-closed-st.-vincent’s.html#.V5gyaDfgt5g</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhSAL4G0hWjbe9gpInlyKUL5SQQKlZ7xnzw85r1qR4Hn-ZJ_2keKkw_6-_r1WOcP36llxT56mn5k4znuIueuWdYEqK6Mke3PeuViXSQ0hpez4pmhhcbK4DGjhsyMSxGIsMh3AlDuPJZRw/s1600/8.+Bookstand.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhSAL4G0hWjbe9gpInlyKUL5SQQKlZ7xnzw85r1qR4Hn-ZJ_2keKkw_6-_r1WOcP36llxT56mn5k4znuIueuWdYEqK6Mke3PeuViXSQ0hpez4pmhhcbK4DGjhsyMSxGIsMh3AlDuPJZRw/s640/8.+Bookstand.jpg" width="640" /></a></td></tr>
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<span style="color: #999999; font-size: small;"><br /></span><span style="color: #999999; font-size: small;">Sánchez / White, Bookstand</span></div>
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<span style="color: #999999; font-size: small;"><br /></span><span style="color: #999999; font-size: small;">2004 -ongoing; Art in General, 2010</span></div>
<span style="color: #999999; font-size: small;"><br /></span><span style="color: #999999; font-size: x-small;"><span style="color: #555555; font-size: x-small;"><a href="http://allupinit-nyc.blogspot.com/2010/02/gotham-art-theater-by-elisabeth-kley.html" target="_blank">http://allupinit-nyc.blogspot.com/2010/02/gotham-art-theater-by-elisabeth-kley.html </a></span></span><br />
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<span style="color: #999999; font-size: small;">Somewhat Portable Dolmen<br /><br />Sánchez / White, 2007 -ongoing</span><br />
<span style="color: #999999; font-size: small;"><br /></span><a href="https://vimeo.com/32184265">https://vimeo.com/32184265</a></td></tr>
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<span style="color: #555555; font-family: "times" , "times new roman" , serif; font-weight: normal; text-align: center;"><span style="color: black; font-family: -webkit-standard; font-size: large; text-align: start;"><a href="http://the8thfloor.org/iv-embrace-on-caregiving-creativity/">http://the8thfloor.org/iv-embrace-on-caregiving-creativity/</a></span></span><br />
<span style="color: #555555; font-family: "times" , "times new roman" , serif; font-weight: normal; text-align: center;"><br /></span>
<span style="color: #555555; font-family: "times" , "times new roman" , serif; font-weight: normal; text-align: center;"><br /></span>
<span style="color: #555555; font-family: "times" , "times new roman" , serif; font-weight: normal; text-align: center;"><br /></span><span style="color: #555555; font-family: "times" , "times new roman" , serif; font-size: large; font-weight: normal; text-align: center;"><a href="http://the8thfloor.org/#home" target="_blank">The 8th Floor</a></span><br />
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-82169014024904769562016-07-07T12:40:00.004-07:002018-03-03T22:58:34.386-08:00crater<br />
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<span style="color: #999999; font-size: x-small;">crater</span><br />
<span style="color: #999999; font-size: x-small;">fire island</span><br />
<span style="color: #999999; font-size: x-small;">© R. Sánchez 2014</span>Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-4627276391380065262016-05-18T22:24:00.002-07:002018-03-03T21:53:07.998-08:00Not Over, 2013 / Tracings<div class="separator" style="clear: both; text-align: center;">
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-6585037996624819472016-05-08T20:46:00.001-07:002018-03-04T00:42:21.510-08:00cute cart disappeared<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #999999; font-size: large;">for the first time in 15 years</span><br />
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<span style="color: #999999; font-size: large;">on April 6th, 2016</span><br />
<span style="color: #999999; font-size: large;"><br /></span>
<span style="color: #999999; font-size: large;">the cute cart </span><br />
<span style="color: #999999; font-size: large;">disappears</span><br />
<span style="color: #999999; font-size: large;"><br /></span>
<span style="color: #999999; font-size: large;">who did it ?!</span><br />
<span style="color: #999999; font-size: large;"><br /></span>
<span style="color: #999999; font-size: large;">last photo</span><br />
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<span style="color: #999999; font-size: large;">r.i.p.</span><br />
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-78507852543614109912016-05-04T04:25:00.001-07:002016-05-04T04:34:59.249-07:00André Gide<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-51847899267375056032016-05-04T04:16:00.001-07:002016-05-04T04:41:44.630-07:00Post title<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-83374011956909767912016-05-01T22:53:00.001-07:002018-03-03T22:55:45.675-08:00Mail from Gypsy Joe<div class="separator" style="clear: both; text-align: center;">
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-16665610864499665362016-02-22T16:45:00.002-08:002018-03-04T00:47:11.864-08:00Vol. Vl : Gypsy Joe, USA<div class="text-intro-area" style="font-family: sans-serif; line-height: 22px;">
<h1 style="font-family: antiqueolive; font-weight: 400; line-height: 35.20000076293945px; margin: 28px 0px; text-transform: uppercase;">
<span class="pre-title" style="color: #222222; display: block; line-height: 19.2px;"><span style="font-size: small;">Link:</span></span><span class="pre-title" style="color: #222222; display: block; line-height: 19.2px;"><br /></span><span class="pre-title" style="color: #222222; display: block; line-height: 19.2px;"><span style="font-size: large;"><a href="http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/">http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/</a></span></span><span class="pre-title" style="color: #222222; display: block; font-size: 16px; line-height: 19.200000762939453px;"><br /></span><span class="pre-title" style="color: #222222; display: block; font-size: 16px; line-height: 19.200000762939453px;"><br /></span><span class="pre-title" style="display: block; line-height: 19.200000762939453px;"><span style="color: #cccccc; font-size: large;">Dixon Place</span></span><span class="pre-title" style="display: block; line-height: 19.200000762939453px;"><span style="color: #cccccc;"><span style="font-size: x-small;">163 </span><span style="font-size: x-small;">Chrystie St.</span></span></span><span class="pre-title" style="color: #222222; display: block; font-size: 16px; line-height: 19.200000762939453px;"><br /></span><span class="pre-title" style="display: block; font-size: 16px; line-height: 19.200000762939453px;"><span style="color: #cccccc;">Feb. 25, 7pm</span></span><span class="pre-title" style="display: block; font-size: 16px; line-height: 19.200000762939453px;"><span style="color: #cccccc;">$10</span></span><span class="pre-title" style="color: #222222; display: block; font-size: 16px; line-height: 19.200000762939453px;"><br /></span><span class="pre-title" style="display: block; font-size: 16px; line-height: 19.200000762939453px;"><span style="color: #cccccc;">IN THE LOUNGE</span></span><span class="pre-title" style="display: block; font-size: 16px; line-height: 19.200000762939453px;"><span style="color: #cccccc;"><br /></span></span><span style="color: #cccccc; font-size: 32px;">GERSHWIN LIVE: ALLUPINIT VOL. VL – THE POEMS OF GYPSY JOE </span></h1>
<h1 style="font-family: antiqueolive; font-weight: 400; line-height: 35.20000076293945px; margin: 28px 0px; text-transform: uppercase;">
<br /><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc;">Edited by Rafael Sánchez & Kathleen White</span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc;"><br /></span></span><div class="separator" style="clear: both; text-align: center;">
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<span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; 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font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;">ABOUT THIS SHOW</span></span><span class="sub-title" style="display: block; font-family: "ampersand"; font-size: 20px; line-height: 20px; text-transform: none;"><span style="color: #cccccc; font-family: "antiqueolive"; font-size: 27px; text-transform: uppercase;"><br /></span></span></h1>
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<span style="color: #cccccc;"><i>Gershwin Live </i>is an evolving 21st century salon, artists with fearless & distinctive voices are given free rein to present theater, dance, film, cabaret, ghost stories, music & uncategorizable hybrids. Curated by Michael Wiener & Neke Carson.</span></div>
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ABOUT THE ARTISTS</span></h3>
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<span style="color: #cccccc;"><span style="font-family: "antiqueolive";">Gypsy Joseph Cvetetic</span> hails from Montgomery, Alabama. His poems & rhyme stories have flowed like a river though his travels around the globe. He met future <span style="font-family: "antiqueolive";">alLuPiNiT </span>cofounder & editor Kathleen White in the East Village performance scene of the 1980’s. Production of <i>alLuPiNiT Vol. Vl</i> was interrupted when Kathleen White was diagnosed with stage 4 lung cancer in the summer of 2013. It was Kathleen’s wish that the magazine continue. This event celebrates the first alLuPiNT release since Kathleen’s passing in the fall of 2014.</span></div>
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<span style="color: #cccccc;"><span style="font-family: "antiqueolive";">alLuPiNiT</span> grew out of the collaborative energies of artists Rafael Sánchez & Kathleen White. The team stewarded an outdoor bookstand on Hudson Street in post 9/11 NYC. That project blossomed into a situational confluence of art, citizenry & conversation. alLuPiNiT, NYC was formed as a 501(c)3 in 2008 as a forum for extended collaboration with a family of artists working in every imaginable medium & discipline. The stand, magazine, readings & other works have been presented with Art in General, El Museo del Barrio & in MoMA’s 2012 exhibition <i>Millennial Magazines</i>.</span><br />
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<a href="http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/">http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/</a></div>
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<br />Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-81170592755457741152016-02-22T16:30:00.001-08:002018-03-03T22:54:05.647-08:00Sound Texts @ Wild Project, Feb. 16 - March 5, 2016<br />
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<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTqyxjR3wQJHi9mVGoZxFgVeCQhpBK4-YI3HN59-Ce1162MAFTddgkasmO1S1qt3Hu0yE7EAAqChVH13o4iwi-MX-czvaHL8YYSt7p7N15ZJxxpkTrlHpXzsHTlnav9yA8C_pS_ezldxg/s1600/12744222_1002844906455795_6976401625919854778_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="849" data-original-width="960" height="564" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTqyxjR3wQJHi9mVGoZxFgVeCQhpBK4-YI3HN59-Ce1162MAFTddgkasmO1S1qt3Hu0yE7EAAqChVH13o4iwi-MX-czvaHL8YYSt7p7N15ZJxxpkTrlHpXzsHTlnav9yA8C_pS_ezldxg/s640/12744222_1002844906455795_6976401625919854778_n.jpg" width="640" /></a></div>
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<span style="color: #999999;">Curated by Conrad Ventur in conversation with Rafael Sánchez and</span></div>
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<span style="color: #999999;">in conjunction with Randy Gibson for the Avant Media Festival, 2016</span></div>
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<span style="color: #999999;">at The Wild Project, NYC; February 16 - March 5, 2016</span></div>
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<span style="color: #999999;">( page under construction )</span></div>
<br />Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-43879625603980975732016-02-08T06:20:00.002-08:002018-03-03T23:19:06.246-08:00¡ 新年快乐 !<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-71255677420544851062016-02-04T10:02:00.001-08:002018-03-03T23:14:52.447-08:00St. Francis in Ecstasy<div style="text-align: center;">
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<span style="background-color: black; background-image: none; color: #999999;"><a href="https://en.wikipedia.org/wiki/Giovanni_Bellini" style="background-image: none;" title="Giovanni Bellini">Giovanni Bellini</a></span></div>
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<span style="background-color: black; color: #999999;">c. 1480</span></div>
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<a href="https://en.wikipedia.org/wiki/Oil_painting" style="background-image: none; text-decoration-line: none;" title="Oil painting"><span style="background-color: black; color: #999999;">Oil on panel</span></a></div>
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<span style="background-color: black; color: #999999;">124.6 cm × 142 cm (49.1 in × 56 in)</span></div>
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<span style="background-color: black; color: #999999;"><a href="https://en.wikipedia.org/wiki/Frick_Collection" style="background-image: none; text-decoration-line: none;" title="Frick Collection">Frick Collection</a>, <a href="https://en.wikipedia.org/wiki/New_York" style="background-image: none; text-decoration-line: none;" title="New York">New York</a></span></div>
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<span style="color: #999999;"> One of the greatest paintings ever created is housed quietly in the heart of our city.</span><br />
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<span style="color: #999999;"> <a href="http://www.frick.org/interact/bellini_discussion" target="_blank"> http://www.frick.org/interact/bellini_discussion</a></span></div>
Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-33645786034006274702016-01-31T22:33:00.001-08:002018-03-03T23:23:06.329-08:0020,000 Leagues Beyond the Valley of the Dolls<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #999999; font-size: large;">Article originally published June, 2011</span></div>
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<span style="color: #999999; font-size: large;">alLuPiNiT Vol V Hunter Reynolds Survival <span style="color: red; font-size: medium;">+ </span>AIDS</span></div>
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<br />Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-58202991268744846622016-01-24T20:54:00.001-08:002018-03-04T00:48:48.454-08:00questions<div class="separator" style="clear: both; text-align: left;">
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Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-46123893103617672222016-01-13T19:17:00.000-08:002018-03-03T23:24:30.533-08:00The Sun Remained'<div class="MsoNormal" style="text-align: justify;">
<span style="color: #999999; text-align: left;">Originally published in Siglit Landau, Gabriele Horn, Ruth Ronen (Hrsg. / Eds.), HATJE CANTZ, KW Institute for Contemporary Art, Kunste-Werke, Berlin, e. V., 2008</span><br />
<span style="color: #999999;"><span style="text-align: left;"><br /></span>
<span style="text-align: left;">alLuPiNiT, Vol. V</span></span><br />
<span style="color: #999999; text-align: left;">Hunter Reynolds / Survival AIDS 2011</span></div>
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<span style="color: #999999; font-size: large; text-align: justify;">Lia Gangitano</span></div>
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<span style="color: #999999;">The occasion to return to Siglit Landau's 2001 untitled installation for
New York's Thread Waxing Space coincides with the origin of our meeting, which
for me began exactly one decade ago. Visiting Berlin en route to Kassel and
Venice, it was Landau's 1997 solo exhibition at Berlin's Contemporary Fine Arts
that served as guide to the outskirts of the monolithic exhibitions taking
place in these cities, seeking further ruptures instigated by Landau. Although
it h would take subsequent years of correspondence to arrive at the realization
of our project, Landau's resolution aptly said bittersweet farewell to a
decade-old alternative space, and to certain dreams that would also soon
collapse.</span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #999999; mso-ansi-language: EN-US;">What I experienced in Berlin in 1997 was a constellation of sculptures
in which spaces of safeness-home, nest, tent, bed-turned rancid, damaged by
accumulation, by excesses, for example of heat (charring, burning), dampness
(mold, Fluids), or rubbing (gnawed holes or scratching). These early works
posited monstrous heaps, charred tents, scratched doors, and other unsettling
items amid typically austere architectural surroundings, corrupting their
boundaries with her bold entries at the Venice Biennale and documenta X that
endeavored to place topographically transformed cargo containers on exhibition
grounds, Landau further established her status as disturbance. Resident Alien I
was situated on the wrong side of the tracks, an obscure participant in the
public sphere of the documenta exhibition. Excluded from the Biennale Garden,
her Resident Alien II also resided on the periphery, an excursion from the
ordered path of geographically delineated pavilions. Landau's detachedteritory
was also a container, "its social content imprinted into the formal
structure, emerging from the violent confrontation of ready-made
sculpture." "A Bataille-like encounter with the real" was evoked
by the excessive labor of the artist within the too-close limits of the
hermetic container. 2<o:p></o:p></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #999999; mso-ansi-language: EN-US;">Written prior to the realization of Landau's project, "Rotten
Sun," a text produced for her 2001 Thread Waxing Space exhibition, perhaps
can now be seen as a prequel. 3 Drawing from Bataille and Julia Kristeva and
their prescient thoughts on abjection and melancholy seemed adequate, in an
immediate sense, to delineate the theoretical and aesthetic boundaries Landau
sought to address. But with time and evolving context, it is disquieting to
look closely, again, at the decomposition of latent meanings that Landau
inscribed into this unprecedented work. What was perhaps veiled by
sentimentality (regarding the intense collaboration whose realization would be
a culminating project) and spectacle (of total reconfiguration and relative
obliteration of a previously experienced space) was, in fact, just the place
where we were heading.<o:p></o:p></span></div>
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<span style="color: #999999; mso-ansi-language: EN-US;">An activated scale arena of pouring sugar make a crater of cotton candy.
Soft floss melts into a rigid structure, still upside down. The mirror image
position in which the structure evolves is the prologue for the eventual
outdoor decline, flipped over into an urban puddle that mirrors itself, the
city, with the first rain. 4<o:p></o:p></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #999999; mso-ansi-language: EN-US;">Initial readings of Landau's prior work described a conceptual
engagement with specific issues of conflict, territory, occupation-insinuating
maps. However, what becomes apparent, over time, is the emergence of<span style="mso-spacerun: yes;"> </span>expanded processes of
deterritorialization and reterritorialization, or Landau's invocation of
"a map and not a tracing," as described by Gilles Deleuze and Felix
Guttari as a continuum of dissipation and maintenance, action and restraint.
"what distinguishes the map from the tracing is that it is entirely
oriented toward an experimentation in contact with the real…. It fosters
connections between fields, the removal of blockages on bodies without organs,
the maximum opening of bodies without organs onto a plane of consistency."
5 Borrowing a phrase from Antonin Artaud's radio play, to have Done with the <i style="mso-bidi-font-style: normal;">Judgment of God</i>, Deleuze and Guattari at
times describe "the body without organs" as an unconstrained limit,
whereby systems of regulation and control become indistinct, unrestricted, and
a plane of consistency could suggest complete freedom, or sheer loss.<o:p></o:p></span></div>
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<span style="color: #999999; mso-ansi-language: EN-US;">Now, from the midst of what Slajov Zizek would describe as a condition
of endless war or prolonged state of emergency, to reflect on Landau's smudging
of boundaries, her figuration of futile labor, un-nourishing food, and
meaningless shelter, looks like the end result of many decades of surfeit,
taking the shape of escalating violence and spiraling de-evolution due to
habitual war, rapid climate change, and the increasingly de-contextualized
events that occurred shortly after the sticky sweet summer of 2001. In
retrospect, Bataille's rotten sun takes on other meaning, as chronic processes
of expenditure, retrogression (bothered with an incessant energy that "<i style="mso-bidi-font-style: normal;">sees</i> the light of night" 6), rather
than being cyclical, seem stuck in a holding pattern, in which "the summit
of elevation is in practice confused with a sudden fall of unheard-of-violence."
7 Seeking to break this inert cycle, Landau stages intimate ordeals,
ruminations in reverse, centripetal archaeologies, spaces in which hostile
vomiting can also be a sign of love. (<i style="mso-bidi-font-style: normal;">I
love you so much I think I [h]ate you.</i> 8)<o:p></o:p></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #999999;"><span style="mso-ansi-language: EN-US;">The planetary systems that turn in space like rapid disks, and whose
centers also move, describing an infinitely l</span>arger circle, only move away continuously from their own position in
order to return to it, completing their rotation. Movement is the figure of
love, incapable of stopping at a particular being, and rapidly passing from one
to another. But the forgetting that determines it in this way is only a
subterfuge of memory. 9</span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #999999;"><span style="mso-ansi-language: EN-US;">Preparations for Landau's installation at Thread Waxing Space were
perhaps not unusual. Drawings and diagrams flowed from the fax machine,
outlining plans. Research was directed, and excursions in search of materials,
specifically air cargo containers, were exacted according to long distance
instruction. That all preliminary planning would be abandoned upon Landau's
arrival in New York, yielding an altogether different outcome, was yet unknown.
Looking through the files, drawings of alien fruit, mutating vines, and
congested containers bear a striking resemblance to the project that would
inevitably follow; and unbeknownst to Landau, t</span>he material that would ultimately comprise this work was piling up in
her studio in Tel Aviv during her absence. The Country, an installation at Alon
Segev Gallery in 2002, would be populated by works made of paper and pulp from
two years of the daily newspaper <i>Haaretz</i>,
beginning with the outbreak of El-Aqsa Intifada in late September 2000, through
early September 2002 when the exhibition opened.</span></div>
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<span style="color: #999999;">Research for Thread Waxing Space involved a proliferation of cyclical diagrams,
evolution ay miscellaneous speeds, and inscrutable wordplay, which preceded
Landau's uncharted venture toward large-scale aggregation and imminent
breakdown. She invoked the notion of centrifuge: any of various rotating
machines that separate liquids from solids; any of various rotating devices for
subjecting human beings or animal to varying acceleration. Occupying a second
floor loft space above Broadway in SoHo, she described the proposed work as a
spectacle of animal-like labor occurring in a space transformed into a runway
that spirals into a large hemispheric negative - an immoderate cycle of
production and consumption inaugurated by degraded processes of eating,
expulsion. Remedial cannibalism, inordinate futile labor, the valuing of dead
(unusable) matter, and a large-scale binge of sugar would announce that someone
is hungry, but isn't being fed.</span></div>
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<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999; mso-ansi-language: EN-US;">With the Thread Waxing Space installation, as with other works that
would follow, Landau visualized the soon-to-disappear "jettisoned
object" 10 as a corpse of her own production. In forms ranging from images
in the video work Arab Snow to performances taking place inside the vast volume
of sugar, Landau' mummification proved that too much sweetness produces
well-spun remains. Surplus clogged the workers' shower and encrusted the
artist's living quarters with unwholesome residue. A spectral video projection,
slowed down, revealed images of sugar dispersed in all directions, a hanging
body spun in floss, spider-like fibers being removed in reverse: vomited and
licked. And perhaps what was not known, and what is retained most vividly as
physical memory, is conjectured by the smell of burning sugar.<o:p></o:p></span></div>
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<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999; mso-ansi-language: EN-US;">The ascendance of<span style="mso-spacerun: yes;"> </span>sight …
is paralleled by the disqualification of smel. We find one repercussion of its primacy
elaborated y the philosophy of Emmmanuel Kan: The beautiful does not smel ….
Nenetheless, the primacy of the visible still requires the kitchen as its
backdrop. That which smells muddles vision. But when withdrawn from vision,
assingned to the register of the hidden, relegated to the junk room, far from
simply disappearing, odor remains affirmatively inscribed in an economy of the
visible. 11<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="color: #999999; mso-ansi-language: EN-US;">Landau's visibility re-oriented spaces, along with their evocation of
persistent odors, suggest mappings of territory's edges, "roofless
situations," multiple entryways, belonging ad expulsion, and the flexible
membranes that delineate such thresholds. Their actualization is deliberately
misregistered: branching, spiraling, reversed, turned upside down. Her 2004
exhibition The Endless Solution (at the Tel Aviv Museum of Art) while
addressing "abundance as the antithesis of Modernist and Minimalist
idioms," 12 as well, caused visitors to enter through a cast cement
structure modeled on the sewer pipes that filter into the Dead Sea. Entering
the museum-as-sewer, one is consumed by procedures such as entries and exits,
trash and waste removal systems, and then into a place replete with the refuse
produced by a hostile atmosphere, in this case, objects crystallized by
submersion in the Dead Sea.<o:p></o:p></span></div>
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<span style="color: #999999;"><br /></span></div>
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<span style="color: #999999; mso-ansi-language: EN-US;">Characteristic of her continued work, Landau stages such archaeological
sites - halted in time for the examination of material remains. What she refers
to as "speed archaeology" in terms of<span style="mso-spacerun: yes;"> </span>her own production was manifested at Thread Waxing Space in
the form of the relics of petrifaction by sugar: and more recently, in The
Endless Solution, with remains caused by petrifaction by salt. With The Dining
Hall, unappeasable cravings are met with watermelon flesh served on a tablecloth
of salt. Viewing Landau's work as a cyclic pattern, east to west, sweet to
salty, instead of<span style="mso-spacerun: yes;"> </span>halting or
repeating, discloses discontinuous points external to such binaries,<span style="mso-spacerun: yes;"> </span>indicating a necessary multiplicity,
described in terms ofart as "a book all the more total for being
fragmented" by Deleuze and Guattari: "The world has lost its pivot;
the subject can no longer even dichotomize, but accedes to a higher unity. The
world has become chaos, but the book remains the image of the world." 13<o:p></o:p></span><br />
<span style="color: #999999; mso-ansi-language: EN-US;"><br /></span>
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<span style="color: #999999; mso-ansi-language: EN-US;">Notes /<o:p></o:p></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">1. The title comes
from the final inter-title in <i style="mso-bidi-font-style: normal;">The Deadman</i>,
directed by Peggy Awesh and Keith Sanborn (1990), 40 min., 16 mm.<o:p></o:p></span></div>
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<span style="color: #999999; mso-ansi-language: EN-US;">2. Sarah
Breitberg-Semel, <i style="mso-bidi-font-style: normal;">Friction</i>, exh. cat.
Israeli Pavilion, Venice Biennale (Venice, 1997).<o:p></o:p></span></div>
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<span style="color: #999999; mso-ansi-language: EN-US;">3. "If … one
obstinately focuses on it, a certain madness is implied, and the notion changes
meaning because it is no longer production that appears in light, but refuse or
combustion, adequately expressed by the horror emanating from a brilliant arc
lamp….<span style="mso-spacerun: yes;"> </span>In the same way that the
preceding sun (the one not looked at) is perfectly beautiful, the one that is
scrutinized can be considered horribly ugly." George Bataille,
"Rotten Sun," in <i style="mso-bidi-font-style: normal;">Visions of
Excess: Selected Writings, 1927-1939</i>, trans. Alan Stoeckl (Minneapolis:
University of Minnesota Press, 1985) pp. 57-58.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">4. This quotation is
from Siglit Landau's project descriptions in "Rotten Sun," in ex.
cat. Thread Waxing Space, (New York, 2001).<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">5. Gilles Deleuze and
Felix Guttari, "Introduction: Rhizome," in <i style="mso-bidi-font-style: normal;">A Thousand Plateaus</i>, trans. Brian Massumi (Minneapolis: University
of Minnesota Press, 1987), p.12.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">6. Alan Stoeckl,
"Introduction," in <i style="mso-bidi-font-style: normal;">Visions of
Excess </i>(see note 3) p. xiii.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">7. Georges Bataille,
:Rotten Sun," in <i style="mso-bidi-font-style: normal;">Visions of Excess</i>
(see note 3), p. 58.<o:p></o:p></span></div>
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<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">8. See note 4.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">9. Georges Batalle,
"The Solar Anus," in Visions of Exces (see note 3), pp. 6-7.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">10. "The abject
has only one quality of the object - that of being opposed to <i style="mso-bidi-font-style: normal;">I</i>. If the object, howver, through its
opposition, settles me within the fragile texture of desire for meaning, which,
as a matter of fact, makes me ceaselessly and infinitely homologous to it, what
is <i style="mso-bidi-font-style: normal;">abject</i>, on the contrary, the
jettisoned object, is radically excluded ans draws me toward the place where
meaning collapses." Julia Kristeva, " Approaching Abjection," in
<i style="mso-bidi-font-style: normal;">Powers of Horror: An Essay on Abjection</i>,
trans. Leon S. Roudiez (New York: Columbia Univerity Press, 1982), pp 1-2.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">11. Dominique Laporte,
"the colonial thing," in History of Shit, trans. Nadia Benabid and
Rodolphe el-Khoury (Cambridge, Massachusetts: The MIT Press, 2000), p. 38.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">12. Mordechi Omer,
"The Endless Solution," in exh. Cat. Siglit Landau: The Endless
Solution, Tel Aviv Museum of Art (Tel Aviv, 2005) p. 40.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #999999;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #999999; mso-ansi-language: EN-US;">13. Gilles Deleuze and
Felix Guttari, "Introduction: Rhizome," in A Thousand Plateaus (see
note 5) p. 6.</span></div>
Anonymoushttp://www.blogger.com/profile/06396059298279287020noreply@blogger.comtag:blogger.com,1999:blog-7463878267234315406.post-79921237562534402352016-01-01T20:57:00.001-08:002018-03-03T23:48:53.621-08:00Dolmen <div style="font-family: Helvetica;">
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<span style="color: #999999;">Jan. 2, 6-8pm</span><br />
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<span style="color: #999999;">Philly Abe, Gypsy Joe, Hannah Buonguraro</span><br />
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<span style="color: #999999;">Conrad, Gail, Rafael, Gene Frankel Theatre, 24 Bond Street, NYC</span></div>
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