Thomas Buckner in Robert Ashley’s Dust.

Thomas Buckner performs Robert Ashley, Annea Lockwood, Alvin Lucier,
Anne Guthrie, Narong Prangcharoen, & Kit Young

Thursday, February 9, 2012
8PM at Roulette, in Downtown Brooklyn!
509 Atlantic Ave (corner of Atlantic and 3rd Ave)
 
Thomas Buckner’s 24th annual concert of commissioned works for baritone voice! Composers featured on this evening include his long-time collaborators, esteemed composers Robert Ashley, Annea Lockwood, and Alvin Lucier, along with New York premieres byAnne Guthrie, Narong Prangcharoen, and Kit Young. Featuring, Thomas Buckner (voice) Theodore Mook (cello), Chris Nappi(percussion), Jill Van Nostrand (french horn), Sun Ying (guqin), and Kit Young (piano).

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From voice and piano to 4-channel sound, from Kit Young’s work incorporating poetry from Burmese performance artist U San Oo to Lockwood’s texts from Guantanamo detainees to Ashley’s work World War III (Just The Highlights), the evening’s subject matter, imagery, and soundscapes are diverse and transformative. The wide variety of styles and sounds ensures that no piece on this program is remotely like any of the others.

“[Buckner] has long been associated with Mr. Ashley’s special kind of
iconoclastic wit… Mr. Buckner’s assets on stage include an amiable,
mostly quiet personality and a voice that works smoothly”.

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 -Bernard Holland, New York Times

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For more than 40 years baritone Thomas Buckner has dedicated himself to the world of new and improvised music. In collaboration with a host of prominent composers and improvisers, Buckner continues to commission and perform numerous chamber works, orchestral pieces and song cycles, as well as improvisations, electronic constructions, and multi-media theater pieces.

 “Buckner has created a new repertoire, of which he’ll
 doubtless reveal yet another string of exciting premieres.”

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-Village Voice

January 20 – February 25, 2012

Opening Reception, Friday January 20, 6-9pm

INTERSTATE PROJECTS is pleased to present a two person exhibition of Kevin Lips’ sculptures and Mason Saltarrelli’s works on paper. Both artist’s source their work from the found, either in materials, shapes, or forms. Through this process they both create narrative triggers that remain undetermined by the artist and the naturalistic abstract forms of both artist’s works.

Kevin Lips’ sculptures are amorphous shapes that interact with each other and build off themselves. Trained classically as a potter and ceramicist, he takes everyday materials and hardware store basics and combines them to form surfaces and textures that bind and condense into outer shells and surfaces. This ever evolving series of simple but universal forms are now focusing on textiles. By combining strips of various colors, textures and densities of basic materials, Lips sculptures become off the wall three dimensional paintings. These new works are not about painting though, or any emulation of but more about the idea of form, color, space and materiality.

Mason Saltarrelli’s work is an open-ended narrative that he creates by using a mixture of images that are found and imagined. Over time he has developed a cast of characters, some recognizable, some not, who invite the viewer to map for themselves new relationships and interactions. Identifiable borrowings, such as the Hopi figure of Kachina or specific Catholic saints with their attributes, are removed from their original context not to negate or deny their stories, but to add to them. Saltarrelli is inspired by the manners and functions of the fable or folk-tale and by jazz, whose improvisational template he applies in his own process. The intention is to invite anyone looking at the images to open a stream of consciousness that runs in parallel to his own.

Kevin Lips (b. 1978) New York, currently working in Brooklyn, New York. He studied art at the University of Iowa and received a BFA with honors in Ceramics. His work has been exhibited internationally in France at La Centre Ceramique Contemporain, L’Abbay de Artous, Atelier Bambagioni, and Place St. Sulpice for the Journee de la Ceramique, in Germany at Galerie Metzger and in the U.S. at PPOW gallery in New York.

Mason Saltarrelli (b. 1979) New Orleans, Louisiana, currently based in Brooklyn, New York. He is a visual artist working in a variety of media, including painting, works on paper, and reliefs made with paint. His work has been exhibited at Riviera Gallery, the Brucennial, Old Stone House, DUB Art, The Invisible Dog, the juried Small Works Show at NYU’s 80 Washington Square East Gallery, IIeana Tounta Contemporary Art Center, Coup d’oeil Art Consortium.

Veneer. No. 05. (Portland, OR: MPH, 2008). Photograph by Flint Jamison

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White Fungus will be part of the exhibition Millennium Magazines at the Museum of Modern Art.

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Millennium Magazines, a survey of artists’ magazines published since 2000, explores the various ways in which contemporary artists utilize the magazine format as an experimental space for the presentation of works and text. Throughout the 20th century, the activities of groups and collectives were often codified first in the informal context of a magazine or journal; this exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century. The works on view range from community-building newspapers to image-only photography magazines to conceptual projects. Methods of design, image-making, editing, printing, and distribution are examined, and there are obvious connections to the past lineage of artists’ magazines and smaller architecture and design magazines. This brief tour of contemporary artists’ magazines provides a view into these practices and represents MoMA Library’s effort to document and collect this medium.

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Organized by Rachael Morrison and David Senior, MoMA Library

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White Fungus editor Ron Hanson has contributed an article critiquing artist-run spaces for the first issue of livedspace.

Download the publication for free here: http://livedspace.files.wordpress.com/2011/12/livedspace0-web-final.pdf

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SP12 COMPOUND EYE – Origin of Silence
In an edition of 250 on 200 gram virgin clear vinyl

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The Spring Press is pleased to announce Origin of Silence the first release by Compound Eye, a long-standing collaboration between Drew McDowall (ex-Coil and Psychic TV) and Tres Warren (of Messages and Psychic Ills). These electronic based experimentations employ automatic composition, drone and concréte music to create subterranean explorations on the nature of signals and time.

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NEW LETTING SPACE SERIES ANNOUNCED: COMMUNITY SERVICE

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From Mark Amery and Sophie Jeram at Letting Space

Community Service is a new series of public artworks commissioned by Letting Space, occurring over New Zealand arts festival platforms from 2012.  Our first projects are Free of Charge by Julian Priest at Splore Festival, (Auckland) in February and Productive Bodies by Mark Harvey, (see below) performed in association with City Gallery Wellington during the New Zealand International Festival of the Arts in Wellington in March.

The series features artists working with people and communities to engender social change. This work also increases the space we call commons – whether it’s an under-utilised private or commercial site, or a public site that has fallen out of public utility or occupation.

Much like a rolling snowball or progressive dinner, we’d like for the Community Service projects to move from one festival environment to the next, gathering a momentum as they move through the country.

We’ve been talking to artists about developing ideas for this project over the last six months, and with some funding from Creative New Zealand we are able to launch the first four projects. News on the other two in the new year.  We will be enlisting financial supporters and partners to enable these projects to happen.

PRODUCTIVE BODIES WANTED

Letting Space is seeking to talk to anyone who is in (or has recently been in) the public sector in Wellington, who has friends and colleagues who have recently (or are anticipating being) laid off.  We know there is an awful lot of it about.  With artist Mark Harvey we are looking to work with a community of such people to create an artwork during the upcoming New Zealand International Festival of the Arts. This will be a fun, uplifting and thought provoking experience for participants and viewers alike. The work will use movement and humour to raise awareness of some issues for Wellington in terms of its treatment of unemployment. Contact us directly ASAP this month or in January at sophiejerramandmarkamery@gmail.com.

RICHARD MEROS ON PIONEER-CITY.COM

You can read the latest of our essay series: Richard Meros’s beautiful response to Bronwyn Holloway-Smith’s Letting Space project, Pioneer-City.com.

Meros introduces us to a mother and a daughter considering their options on Earth and on the red planet, after being introduced to the allure of the pioneering life by Helen McCarroll at the Taranaki Street showroom.

TEZA

We are also working with a collective of artists towards presenting the Temporary Economic Zone of Aotearoa (TEZA) at ISEA 2012 in New Mexico. This is stage one of a mobile temporary community project, exploring the best way to inhabit and exchange site as a visitor to a new land. Unlike other Special Economic Zones which exploit local resources, the TEZA comes with the intention of looking to bridge cultures and work in conjunction with the local people of an area in order to build renewal and connectedness.

REIMAGING

Letting Space have also been in the business of getting our front of house in order, ahead of the new year. You’ll note a new look for our website, taking advantage of documentation of the last two years’ projects, and also a new About Letting Space section which reflects the mission statement we have developed for Letting Space over seven projects and several fora in 2010 and 2011.

Recently we were given the chance to discuss the future at the symposium Where Art Belongs at Massey’s College of Creative Arts. Read our blog the first part of our address at the symposium. You can also see video of Tao Wells in conversation with Chris Kraus at the symposium about his Letting Space project The Beneficiary’s Office, amongst other things.

The mightily observant will also notice that our logo has become more formalised. Our huge thanks to the Massey Open Lab design team and in particular Michael Peters, Catherine Adam and Anna Brown who have been working with us on brushing up the visual identity.

PROSPECT

Congratulations to City Gallery curator Kate Montgomery’s version of Prospect: New Zealand Art Now.  Featured in the show is a reworking of Eve’s Letting Space project Taking Stock (which you can read more about in the Dominion Post here).

Eve has also been busy presenting brand new work in conjunction with the work of painter Gretchen Albrecht at Michael Lett Gallery in Auckland. See images and read a review on Eyecontact here.

HARASSMENT

If you’d prefer not to hear from us do let us know. Click reply and put ‘unsubscribe’ in the subject line. If you think others would like to hear from us do forward this email on and they can flick us a subscribe email.

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White Fungus Issue 12 (including live CD from P.P.O.W. release event):  US$15

JORGE RODRÍGUEZ-GERADA
SOLO EXHIBITION AT GALERÍA IGNACIO DE LASSALETTA

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APPEAL FOR A WORLDWIDE READING ON MARCH 20 FOR LIU XIAOBO

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The international literature festival Berlin (ilb) calls on cultural institutions, schools, radio stations and interested parties to participate in a worldwide reading of prose and poems by the Chinese author and 2010 Nobel Peace prize laureate Liu Xiaobo on March 20^th 2012.

Three years ago, Liu was taken from his Beijing home and arrested. He waited more than 12 months to receive a formal sentence – 11 years of imprisonment for “inciting subversion of state power.” After the announcement of Liu’s receipt of the Nobel Peace Prize last year, the Chinese authorities put his wife, Liu Xia, a poet and photographer, under strict house arrest. She vanished from the private and public sphere on October 18, 2010, and to this day no one can reach her, either through phone, cell or internet.

Liu Xiaobo was imprisoned three times before his last arrest in 2008. While serving his three years of “Reeducation through labor” between 1996 and 1999, he wrote many poems in prison, all dedicated to his wife Liu Xia. As a young man, Liu devoured books on western and Chinese philosophy and literature, and this experience is strongly reflected in his lyrical writing. From Confucius to Kant, from Sima Qian to Van Gogh or Jesus, for young Liu Xiaobo, knowledge had no borders. As a proliferate writer, his writing has influenced generations of young people in China since the 1980s. When his articles and books were banned and censored in mainland China, he began submitting his writings to overseas Chinese websites. His books have been published in Hong Kong, Taiwan and the USA. Liu’s explosive and lyrical style, marked by its razor sharp criticisms and pervasive irony, has cooled down in recent years and transformed into more thoughtful and objective prose. He changed his role from an agitated activist to an observer and analyst.

Mimicking the form of Czechoslovakia’s Charter 77, Liu Xiaobo and his Chinese colleagues selected a rational and peaceful way to express their concern for China’s future development through their own manifesto, Charter 08. Freedom, equality, justice and human rights are universal values, standard in a modern society, and not inconsistent with the official rhetoric of the Chinese government, which touts China’s rule of law. Both within the Chinese Constitution and within the international treaties the Chinese government has signed, there is a guarantee of the freedoms of expression, assembly and publication. Thus, the accusation that Liu was “inciting subversion of state power” is a joke and a slap to China’s own face.

In fact, the more than 800 articles authored by Liu in the past ten years indicate exactly the opposite. In his book, Civil Awakening, The Dawn of a Free China, published in 2005, Liu explained that the reform in China is bottom-up and not top-down; that is, it does not start with the government, but rather, the real momentum of reform is generated by civil society, among the people at the grassroots level. The constant confrontation between common citizens, peasants, workers and official forces has awakened the consciousness of the Chinese people, so that they now are aware of their basic rights. As Liu said: “The slow but progressive process of changes cannot be achieved through radical demands of the government to remodel the whole society. The present tendency is that the self-generated changes in the society will slowly push the regime to move toward change.”

Liu Xiaobo is not only a fighter for democracy and freedom of expression, but also a humble humanist. That’s why the Chinese regime cannot tolerate him, because he does not only demand reform and a democratic future for China, he also demands a re-examination of Chinese history and an end to China’s one party dictatorship. He truly touches on the root of the problem, which is why the CCP is afraid of him and prefers to keep this agitator behind bars.

The goal of the worldwide reading is to share Liu Xiaobo’s works with a broader readership, to remind the world that a humanist, a freedom fighter, an outstanding writer and Nobel Peace Prize winner is still in a Chinese prison and to express the protest against it.

The international literature festival Berlin called for a worldwide reading on March 20^th 2012, the anniversary of the political lie, with a reading of Liu Xiaobo’s Prose and lyrics. As many as 100 institutions, including radio and television stations, either participated in or reported on the worldwide readings across all continents.

The texts intended to be read on this worldwide reading are available in Chinese, Japanese, Korean, English, French, German, Italian  and Spanish. Institutions and persons who would like to participate in the reading are asked to inform us of their wish to be involved. The email address is: worldwidereading@literaturfestival.com

INTAR NEWMUSIC TUESDAYS

Singlish Punk performance at ‘Situation:Collaboration, Collectives and Artist Networks from Sydney, Singapore and Berlin” Museum of Contemporary Art, Sydney, Australia 2005

DIALOGUE - with Artists Kai Lam and Yuzuru Maeda

有偈傾 – 藝術家林凱烈及前田穰

1.11.2011 (Tuesday) | 7 – 9.30pm

@ Room 7, 1/F, The Hong Kong Academy for Performing Arts, 1 Gloucester Road, Wanchai, Hong Kong

@ 香港演藝學院一樓7號室 ，地址： 香港灣仔告士打道一號

In contemporary art, the impact of artists’ life experiences on their works is either taken for granted (for their ordinariness), exaggerated (as a response to pressure for individuality), or misunderstood (for inadequately articulated as relating to and constituting the artists’ works). Singapore based artists Kai Lam and Yuzuru Maeda are in Hong Kong to address these issues.

In this DIALOGUE, they examine how their life experiences and their living environment impact on their creative expression, and the way sounds contribute to their exploration of them. While they share a common interest in working with sound, they approach the idea of sound differently. The two artists are going to walk us through some of the performances they participated in and the artwork they made – Kai Lam focuses on his exploration of sound in performance in the context of Singlish Punk; Maeda introduces the ongoing Zentai Art Project , which she has been working on since November 2010.

DIALOGUE allows the viewer to hear, from the artist, the creative process behind making each work, which helps the participants to gain a better understanding about the artwork and the artist in general.

在當代藝術世界裡，藝術家的生活經驗對他們創作上的影響往往被視為理所當然（視為尋常普通）、被誇大（視為藝術家「自我審查」作品獨特性的結果）、甚或被曲解（未能充分理解作品的相關及構成部分）。

來自新加坡的藝術家林凱烈及前田穰雖然同樣對聲音藝術創作感興趣，並同樣喜歡運用聲音探討各種各樣跟生活經驗及環境有關的命題，卻分別以不同的形式進行創作。究竟兩位藝術家是如何對自身的生活經驗有感而發？他們又是如何「發聲」抒發所想所感呢？除了解答以上問題外，林凱烈將介紹他參與過的行為藝術項目，並講述他如何在行為藝術中對聲音進行的探索；前田則會介紹她從2010年11月起一直在創作及發展的個人藝術項目「Zentai Art Project」。

「有偈傾」邀請海外藝術家跟觀眾面對面偈傾，鼓勵大家用最直接親切的溝通方式互相了解、分享、交流，希望藉此加深觀眾對參與藝術家及其藝術作品的認識。

FREE ADMISSION 費用全免

The event is conducted in English

活動以英語進行

The new ʻlive bandʼ studio album from Upper Hutt Posse

DECLARATION OF RESISTANCE is a musical realisation of the fervour and bold

sentiments expressed forcefully in recent uprisings of dissent in faraway (and now near) locations – the Arab Spring, the London Riots, Occupy Wall Street and now Occupy Wellington etc are reflections of the activism and keen denunciation of bigotry, plutocracy and tyranny affirmed in this new work.

This is no mere collection of songs but an alliance, thirteen songs intrinsically associated, created to rebuke the status quo on one hand and rouse determination for a concerted effort to dismantle and then rebuild a more enlightened society on the other.

“INSPIRATION”  “UHP TO THE PEOPLE”  “KA WHAWHAI TONU MĀTOU”

“GOVERNMENT DEPARTURE”  “CANʼT LET IT BE”

“WE A WARRIOR”  “REVOLUTIONARY”

“RESISTANCE”  “LIBERATION”  “SHITSTEM”  “FREEDOM”

“MAINTAIN”  “KNOW”

Produced and arranged by Te Kupu the cover art is a collage from his ʻRap-u-mentaryʼ series Ngātahi – Know The Links. Mixed by Mike Gibson, and Jason Erskine, recorded at Munki Studios (ex Trident) and Matakahi Studios.

Te Kupu, transformed as rhythm guitarist/keyboardist-vocalist, MC Wiya on bass and vocals, and Gnrl Blue Ngāti Dredd I on percussion and vocals are the three core
members joined by newcomers Des Mallon (drums) and Jeff Henderson (alto saxophone), additional musicians play on the album and in live performances.

Album Launch is October 22nd at Frederick Street Sound and Light Exploration Society, Wgtn, and a North Island Tour (x9 dates) starts November 25th in Auckland with a South Island Tour and more North Island gigs scheduled for 2012.

Online UHP are the first in Aotearoa to partner with CHNL – An Internet technology innovator that empowers publishers to efficiently consolidate and distribute all types of content. The entire album can be heard for free at http://upperhuttposse.chnl.pro/

Music videoʼs are in pre-production and the video for Ka Whawhai Tonu Mātou is online at http://www.youtube.com/user/tekupu#p/u/6/lm7yTojBEYI

Record label: Kia Kaha Productions, Album catalogue # KAHACD2011007
Distribution: Rhythmethod, Instore date October 25th

Tomorrow, Saturday October 15 @ Motto Berlin
Start 7pm

Collage Culture: Examining the 21st Century’s Identity Crisis is a new nonfiction book written by Aaron Rose and Mandy Kahn
and designed by Brian Roettinger.

In an essay called “The Death of Subculture,” Aaron Rose (director of Beautiful Losers and co-curator of MoCA’s record-smashing exhibit Art in the Streets) makes an impassioned call to arms, urging the next generation of artists to end the collage era by adopting a philosophy of creative innovation. And in her essay “Living in the Mess,” Mandy Kahn (columnist, Foam magazine) considers whether the collage of references that surrounds us might negatively affect the way we feel.
A companion recording combines audio excerpts from the book’s text with an original musical score by No Age.

English
ISBN: 978-3-03764-119-4
Softcover, 159 x 229 mm
96 pages
Images 16 color
CHF 30 / EUR 23 / £ 19 / US 29.95

http://www.jrp-ringier.com/
http://collageculture.com/