December 2, 2009

The Laundromat Project Auction















In the holy trinity of art spaces, there are major museums, private galleries, and alternative art spaces. The finicky alternative space keeps defying definition: if it seemed they had lost their underground cache and defiant cool as the spawns of emerging forms, wacky performance artists and fiery art activists, they are making a major comeback. If the predictions are correct, it’s because the current lack of funding for artists plus mass storefront evictions have coalesced into the perfect climate for the artist run gallery, the budget-friendly pop up space, and the work/squat haven.

The difference this time around is that the new alternative spaces seem only occasionally concerned with creating an alternative model to the museum and gallery structure. Many of them seem merely opportunistic – “a line is a crack,” -- an eviction notice is a new lease – but some spaces are brave new ventures that could seriously resuscitate the sleepy formula of funding and art presentation that has become the crutch of the alternative art space. The Laundromat Project is the current golden child. They are raising money to buy a neighborhood Laundromat that will both wash clothes and present art . (LP's Founder Risë Wilson's neighborhood will likely be the lucky spot.) They host a residency of artists who engage with their neighborhood Laundromat. They offer professional development and moral support to their artists. It is a brilliant idea. It is a reinvention of the coffee shop-cum-art gallery. It is the new wheel! I donated $25 at their auction and bid on a photograph by an artist who recently participated in The Laundromat Project’s Create Change Public Artist’s Residency. I was quickly outbid.

*pic from idealistnyc.files

November 12, 2009

Fast Food Art World Roundup




I've been accidentally taking the "slow foods" approach to blogging; which is fine, once in a while, but I think we need a dosage of fast food to get us through the rest of the week. So, over the course of the next few hours and days, I'm going to slam you with some two-all-beef-patty-special-sauce-lettuce-cheese-onion-pickle-on-a-sesame-seed-bun quickies on the following haunts I have crashed over the last couple of weeks.

Table of Contents:

3 November
-The Laundromat Project Auction at Envoy Galleries (LES)

4 November
-No Longer Empty talk "Public Art/Alternative Spaces: Local Grass-Roots Iniatives in the Community"(Brooklyn)

5 November
-Whit Stillman's Metropolitan versus Gossip Girl
6 November
-Visit to the Brooklyn Rail (Greenpoint)

7 November
-First Committee of Independents Meeting at Pioneer Pier (Downtown)

10 November
-Dress Codes Conversations, a dialogue between ICP Associate Curator Kristen Lubben, Triennial artist Milagros de la Torre, and NYU Assistant Professor of Art History & Museum Studies Miriam Basilioat at King Juan Carlos II Center (NoHo)

12 November
-"In Stitches" at Leila Taghinia-Milani Heller Gallery (Uptown)

13 November
-Kurt Hentschlaeger's ZEE at Three Legged Dog (Financial District)

14 November
-Blithe Riley's teeth benefit dance party (Greenpoint)

October 30, 2009

Twisty Cat

















Twisty Cat, the musical iteration of artists Lea Bertucci and Ed Bear, made its way to the ((audience)) Headquarters on 125 Maiden Lane in Downtown NYC on Wednesday night. Nastya Osipova supplied live projections in the ((audience)) listening room throughout much of the performance -- and she wore a pleather skirt. Thanks to Alexis Bhagat + Lauren Rosati for showing us a good time -- look forward to ((audience))'s traveling festival of experimental sound art.

Check out Tarikh's footage of Twisty Cat.


*Lea Bertucci's experiments with projection + space (pictured left) are currently being advanced at her Smack Mellon residency program.

September 15, 2009

David Kennedy Cutler: No More Right Now Forever

“Ghosts are the successful dead.” -Luc Sante

The willful persistence in David Kennedy Cutler’s sculptures is incredible. Facing an uncertain future, teetering upon or sitting squarely within absolute obsolescence, they stand resolute, if slightly shabby. Kennedy Cutler creates sophisticated sculptures crossing simple materials, from tree branches and bubble gum, soap and ash, to wood and flannel. He creates forms that mimic great monuments, while questioning their stability, their endurance, and their limits. And in his recent solo exhibition at Derek Eller Gallery, “No More Right Now Forever,” he conjures his own ghost.

In the past couple of years, Kennedy Cutler has amassed a unique body of works, using simple materials to create elegant forms that are packed with complexity. For a solo exhibit at Nice & Fit Gallery in Berlin (2006), he submerged transparencies of self-immolators within iceberg-shaped casts of translucent soap. The self-immolators, their bodies rapidly decomposing in defiance, lie within the soapy tundra, suspended at the pinnacle of their self-defeating protest. The sculptures become arbiters of life and death: their soap bodies poised either to wash away the ashy residue or keep them suspended eternally for prosperity. Kennedy Cutler’s work teases death’s certainty.

In a group show at D’Amelio Terras in 2008, Kennedy Cutler presented “The Greatest,” a cluster of slumped flannel shirts, rising like zombies from a pile of ash, dirt, and boards, circling a mother flannel, hanging suspended in mid-air. There is something oozing and sad about them, their outsides formed from cross sections of bandaids, their innards from chewed up bubblegum. Kennedy Cutler says

"The scene stutters through various representations of historical drama: an echo of the Baroque's counter-reformation, the break-up of the raft of Romanticism, and the propagandized poses of Nationalism." (D’Amelio Terras, 3 Rooms Press Release)

He also compares it to the 1990s grunge movement, “perhaps the last localized and unadulterated alternative scene of the 20th century,” he says. The flannels, caught in an earthen heap of decomposition, are in denial of their own obsolescence. Like a freshly painted Pantera tag. Like a confederate flag wagging in the wind (see Kennedy Cutler’s Dying from Not Dying, 2003). They rise tall, but tattered, in the face of certain defeat.

Kennedy Cutler’s new work, in “No More Right Now Forever” is a visual departure. He uses only a single, factory cut 8’x4’foot sheet of plexiglass to create each work. They sculptures spike the gallery like transparent bodies, gyrating and glistening in the light. They are not posed, but retain a humanesque form, molded by Kennedy Cutler’s body as he wrestled and shaped the material using two heat guns, hands, knees, legs. In both their lack of body and their bodily presence, they tease Michael Fried and invoke minimalism; they are present, durational; they are phantasms we see, don’t see; they are there with us, and yet they are not. As the title of the exhibit insinuates, like a Hurculaneum artifact, he petrifies the right now in his new sculptures, freezes their obsolescence, their present moment, their and his and our right now that can never endure, no matter how hard we try.







David Kennedy Cutler
No More Right Now Forever
September 10-October 24, 2009
Derek Eller Gallery
615 W.27th Street
New York City

September 4, 2009

On Vacation


I'll be back before autumn leaves begin droppin...

July 23, 2009

Beirut 6db Underground - Saturday, July 25th

On Saturday night at Kleio Projects, Lex and I will be screening a really great documentary-in-progress by Montreal-based filmmakers Serge Abiaad and Philippe Tremblay-Berberi called Beirut 6db Underground. Underground music scenes from the Middle East can be a bit of a hot topic, and we hope this will be an opportunity to get a non-journalist perspective, ask questions of the filmmakers, and basically help them decide what to include in the final cut of their film. Here's the basic story:

In the Autumn of 2007, Serge Abiaad and Philippe Tremblay-Berberi traveled to Beirut, Lebanon to take the pulse of the underground music scene; what they saw, heard, and felt is the heart of their film, Beyrouth, 6db Underground. Abiaad and Tremblay-Berberi first met in Montreal, Canada in 2006 where they were graduate students in Film Theory and Philosophy at Université de Montréal. After teaching college for one semester, Tremblay-Berberi split his academic ties, bought a camera, and began traveling through Europe with the band Aids Wolf. After working abroad with the National Film Board of Canada, Tremblay-Berberi re-joined Abiaad and took off for Beirut.

Abiaad, born and raised in Lebanon, immediately began re-connecting with musicians and friends he knew from working at La CD'THÈQUE, a record store in downtown Beirut. These contacts grew into 27 interviews with musicians from Beirut’s diverse underground. Abiaad and Tremblay-Berberi, wary of the mis-attention given to the scene by journalists following the July 2006 war, never pushed the issue of Beirut’s precarious situation during their interviews. What emerges in the six portraits of this working version of Beyrouth, 6db Underground is a genuine commentary on the state of music, community and, yes, the backdrop of the war.

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Beyrouth, 6db Underground includes music by Zeid Hamdan, Mazen Kerbaj, Katibe 5, Siska, Charbel Haber, and Radwan Moumneh. It is in French, English, and Arabic, with English subtitles added for this screening. Running time: 43 mins.

Serge Abiaad was born in Lebanon and works in Montreal, Canada. He is currently a PhD student in Film Studies and a teacher assistant at Université de Montréal. Most recently, he has published his film theories in Cadrage and Politique & Cinema, and created the score for the documentary Le Voyage d’Ullyse. He is a resident DJ at Laika in Montreal since 2005.

Philippe Tremblay-Berberi is a Montreal-based filmmaker. He has a BA in French Literature from Université Laval and a BA and MA in Film Theory from Université de Montréal. Tremblay-Berberi has most recently produced films for NFB Canada, Current TV, VBS TV and SpinEarthTV and still tours with bands. He dearly wishes for a Vegan World Order.

June 29, 2009

Beirut Underground Represent!

If you are in New York City on Wednesday, July 18th, you must come and say 'hi' at the exhibition
"Music is Life: Lebanese Sound Stills." I will be there with Christine O'Heron, the curator and one-woman operation behind Kleio Projects, a pop-up exhibition space at 206 East 7th St., where this totally gorgeous set of photographs by Tanya Traboulsi documenting Beirut's underground music scene will be on view. Or drop by on Friday, July 17th, when Alexis Bhagat and I will premiere Philippe Tremblay & Serge Abiaad's exciting documentary of the scene, called "Beirut, 6db Underground" alongside new work by Nayef Homsi and Youmna Chlala. Ladies, when else will you get a little taste of this underground!?

Facebook Music is Life: Lebanese Sound Stills
Facebook Beirut, 6db Underground

Read more about the exhibit at musicislifeexhibit.wordpress.com

*pictured: Lebanese rappers Kabbani + Kabbani of Ashekman during shooting of Beirut, 6db Underground