This Red Door

 

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—–>     Tuesday, January 29th, @ 8pm

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Loss and Translation

A Live Storytelling Event

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Stories by:

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Gavin Starr Kendall

Hollis Witherspoon

Asa Gauen and The Story Band

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—–>     Sunday, January 27th, @ 8pm

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Auralingus 

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—–>     Sunday, January 27th, @ 4-7pm

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This Red Ear: an afternoon of music at This Red Door

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—–>     Saturday, January 26th, @ 2pm

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Transcription of Piero Manzoni’s Infinite line with Sewing Machine with Elena Berriolo

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New York-based artist Elena Berriolo will perform her Transcription of Piero Manzoni’s Infinite line

with Sewing Machine at This Red Door.  This performance continues her project of reinterpreting

canonical works of postwar art, as in her July/August 2012 Brooklyn Rail article “Why didn’t Lucio

Fontana use my sewing machine?” It’s also significant that this year marks the 50^th anniversary of

Manzoni’s death and the 80^th of his birth.

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In 1959, Manzoni started a project titled The Infinite Line, which represented his desire to appropriate space and time. His long-term project was to produce a line as long as the Prime Meridian, the geographic line on which Greenwich Mean Time is based. Since one of his greatest challenges was finding a way to produce an uninterrupted line of a great length, he used a newspaper printer and other mechanical devices. Berriolo asks: “Why did he not think about the sewing machine? This simple and economical instrument allows you to produce an uninterrupted line while joining together an infinite number of sections.”

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Berriolo’s Infinite Line will be stitched onto a cloth ribbon as it passes through her sewing machine. At regular intervals, helium-filled balloons will be sewn onto the ribbon without ever interrupting the line.  Once the floating line has stretched across the length of the exhibition space, it will be cut and members of the audience will be invited to hold the line in their hands, carry it outside, and release it to the elements, and let it draw itself up into the infinite.

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Using and performing with her sewing machine, since 2009 Berriolo has been committed to making unique, “unpublishable” books. As she says, “only with the sewing machine is it possible to produce a true three-dimensional line with a top and a bottom that can be moved through space.” Just as with Manzoni’s Prime Meridian project, the book includes, within its folds, time and space.

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Elena Berriolo’s books were shown last year at Bravin Lee Programs, New York. In September 2013, she will perform Transcription of Piero Manzoni’s Infinite line with Sewing Machine at Museo Civico, Prato, Italy. Her work is in the collections of the Bibliothèque Nationale de France, Paris; William Allan Neilson Library, Smith College, Northampton, Mass.; Herzog August Bibliothek, Wolfenbüttel, Germany; and the Centro Arte Contemporanea Luigi Pecci, Prato, Italy.

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—–>     Monday, January 21st, @ 8pm

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After Saturn Returns

Astrology as Analogy for the Genesis of an Art Object…and Panel as a Fast Speculative Exhibition Template

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A friend once told me: “you have to let people know what you want if you expect to get it.”

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Personal Desire Propaganda, an exhibition of posters all printed in an edition of 100 will be presented along with the snow-balled recent past of the TRD Kunsthalle Galapagos. It will aim to interrogate each of the artist’s personal desires with the hope of disseminating these ideas through the sale of posters sold at material production cost.Please come Sunday night to pick up some posters and participate in a conversation between some of the artists and other interested parties around a projector full of conversation starting images.

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Bernie Sanders, US Senator from Vermont. (This is a photo he has OK’d for PR)

 

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—–>     Saturday, January 19th, @ 4pm

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Work & Discussion

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Peter Acheson

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Media:  Mixed, Painting

Presentation Format: Open group and visitor round table discussion, no lecture

Moderators:  Jomar Statkun, Christopher Stackhouse & Jared Friedman

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Work & Discussion is a series of conversations between creators, thinkers, and good talkers about subjects ranging from art, literature, performance, utilitarian labor, education and teaching, scholarship, and ways of living.

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Dedicated to Sigmar Polke , 2012, 48″ x 40′,  acrylic/spray paint on canvas

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—–>     Friday, January 18th, @ 7pm

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—–>     Wednesday, January 16th @ 8pm

 

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Empty Vestibules: Pictures, Pictures, Pictures, and Spaces

Organized by Chris Domenick

 

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How does our theoretical understanding of space influence the way we walk through it?

Projecting our desire onto/into space, we rely on ‘image’ to physically and conceptually locate ourselves.  Our subjective orientation depends on an idiosyncratic combination of phenomenological, theoretical, historical, and physical experience of interior space.  When the realm of ‘the physical’ originates in the textual or the virtual, what dependable source can we look towards to find grounds for understanding our current location?  In this series of presentations, we will hear three diverse perspectives on some of these questions as they relate (and do not relate) to each presenter’s discipline:

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1.  Becky Brown will present her project “Walls, Signs, and Furniture.” Is it that “there are pictures because there are walls” (Perec)?  Or that “independent of signs, space didn’t exist and perhaps never had existed” (Calvino)?  “Walls, Signs and Furniture” assembles a set of images to illustrate fragments of text from Georges Perec’s Species of Spaces.  It considers dynamics between pictures, walls, signs and the eclectic and shifting powers of image and space to determine each other.  How much does the wall or room inform the picture on or inside it?  How much does the picture inform the wall or room inside or within it?

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Becky Brown makes painting, collage, sculpture and installation out of existing images, objects and texts.  She collects, takes apart, reassembles, adds, subtracts and manipulates in the interest of producing growth, decay, layering, juxtaposition and sedimentation.  She received a Master of Fine Arts from Hunter College in 2012 and has recently exhibited in New York City; Delhi, India; Tegucigalpa, Honduras; Vienna, Austria; Berlin, Germany and Lodz, Poland.  She was born in Manhattan, moved to Brooklyn and currently lives in the Bronx.

 

2.  Gaston Bacehlard’s seminal work The Poetics of Space was the first attempt at a phenomenology of the poetic image and is also considered a classic work of architectural theory. It has been continuously in print since 1958. It’s English translation (1964) has sold over 80,000 copies. It is also a reactionary, bourgeois piece of shit. In a short talk, R.H. Lossin will explain why the book is still on everyone’s shelf and why it shouldn’t be; why the cultural past does count; why the image is never isolated; and why an anti-Bachelardian conception of space is particularly important now.

 

R.H. Lossin is a librarian and writer living in Brooklyn, NY. Her work has appeared in The Nation, New York Arts Magazine, and The Huffington Post and she is a regular contributor to The Brooklyn Rail.

 

3.  Gideon Fink Shapiro will explore the spaces conceived by the French architect Claude Parent (b. 1923) as would-be landscapes. Defined by sloping floors and oblique surfaces, Parent’s built and unbuilt interiors of the 1960s-70s evoke mountains, caverns, and other topographical forms. Landscape desire appears in architectural space through the insistence on continual movement—of the ground, of the body, of the senses. Parent makes neutrality and passivity impossible. In his architecture you cannot stand still. The impetus of constant, self-directed movement urges the subject toward a higher level of self-awareness—or is it just to a state of disorientation? But disorientation and even repulsion, for Parent, are the necessary precursors to opening new possibilities of participation in the shaping of the environment.

 

Gideon Fink Shapiro is an architectural researcher, writer, and designer. His work has been published by Domus, Abitare, Architect, Clog, the Guggenheim Lab|log, Recess Activities, and the Journal of Architectural Historians. He worked for four years in the design office of Gabellini Sheppard Associates, and has collaborated on public art installations with composers Peter Adams and Simon Fink as well as Brooklyn-based Amorphic Robot Works. He is currently working on a Ph.D. dissertation at the School of Design, University of Pennsylvania, on the French engineer and landscape architect Alphand. He has received awards and fellowships from the Mellon Foundation, the Montalvo Arts Center, the Buell Center for the Study of American Architecture, the Pennsylvania Council on the Arts, and University of Pennsylvania.

 

Chris Domenick is an artist living in Queens, NY.  He has attended residencies including The Vermont Studio Center, Virginia Center for the Creative Arts, Millay Colony,  and attended Skowhegan School of Painting and Sculpture in 2012.  He is an 2013 MFA candidate at Hunter College.

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Film still from Jean-Luc Godard’s Pierrot le Fou (1965)

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*Images from Becky Brown’s “Walls, Signs and Furniture”

 

 

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—–>     Tuesday, January 15th @ 7pm

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Strong Hand That Nonetheless Gets You Nowhere  by Blake Carrington

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For more information on the artist:

http://www.blakecarrington.com/

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—–>     Sunday, January 13th @ 4pm

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Book Launch Party and Reading for Plural a volume of poetry by Christopher Stackhouse

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—–>     Thursday, January 10th @ 8pm

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Morgan O’Hara and Nora Stephens

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—–>     Tuesday, January 8th @ 8pm

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Vincent Katz presents Current Projects, including “Assay : Fort”

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Vincent Katz discusses and reads from current work in translation, collaboration, prose, and poetry, including the first presentation of a collaborative piece by Vivien Bittencourt and Vincent Katz, based on their residency in July, 2012, at Gloucester Writer’s Center.

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Vincent Katz is a poet, translator, and teacher. He is the author of eleven books of poetry, two books of translation, and his criticism has been published in numerous books, catalogues, and journals.  He curated an exhibition on Black Mountain College for the Reina Sofia Museum in Madrid and was the editor of Black Mountain College: Experiment In Art, published by MIT Press in 2002, with a second printing scheduled for Spring, 2013. He is the translator of The Complete Elegies Of Sextus Propertius (Princeton, 2004) and the author of Alcuni Telefonini, a book of poems in collaboration with painter Francesco Clemente, published by Granary Books in 2008. Katz is the publisher of the poetry and arts journal VANITAS and of Libellum books. He teaches in the MFA Program in Art Criticism and Writing at the School of Visual Arts in New York, where he recently taught a course entitled “Investigating Interdisciplinarity.”

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Vivien Bittencourt grew up in São Paulo, Brazil, and moved to New York City in 1986.  She has photographed extensively, making portraits of poets, musicians, and artists. She has made various short video documentaries on artists, including Red Grooms, Alex Katz, and Rudy Burckhardt. She has made poetry-related videos featuring Allen Ginsberg, Kenneth Koch, Gregory Corso, Rene Ricard among others. Her documentary, “Kiki Smith: Squatting The Palace,” co-directed by Vincent Katz and edited by Tom Piper, was shown for two weeks at Film Forum in New York in January, 2007. It was also screened at the 25th Montreal International Festival of Films on Art, 2007, as well as festivals in Milan, Naples and Florence.  Bittencourt and Katz’ documentary, “Man in the Woods: The Art of Rudy Burckhardt,” featuring interviews with Burckhardt, Robert Storr, and Brian Wallis, was screened at the 22nd Montreal International Festival of Films on Art, 2004, and was awarded the “Best of Festival” prize in the Arts category at the Berkeley Film and Video Festival, 2004.

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The Fort, Gloucester, Massachusetts, 2012, by Vivien Bittencourt

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—–>     Sunday, January 6th @ 4pm

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Gorky and the Glass House Revisited – A Guided Tour with Aram Jibilian

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Jibilian will discuss his experience in trying to capture the ghost of Arshile Gorky, grandfather of Abstract Expressionism, who was rumored to be haunting a house in Sherman, CT. In a New York Times article published in 2003, the current owner and resident, Martha Clarke, a New York based choreographer, discussed how the ghost of Gorky continued to live with her.  A “pilgrimage” to the house lead to a meeting between Jibilian and Ms. Clarke, who eventually allowed him and his collaborators access to her home. Her ghost stories and the house itself serve as a point of departure for the photographs.

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—–>     Monday, December 17th @ 7:30pm

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Crying Forever: How Disney Conditions Us for Tragedy

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Panel Discussion with:  Zefrey Throwell, Lucia Love and Lorelei Ramirez

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For more information on the artists:

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—–>     Saturday, December 15th @ 6:30pm

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Work & Discussion

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Joan Waltemath

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“Forays: a metaphysical mapping”

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Joan Waltemath presents a series of new drawings in conte, tempera and graphite on Khadi paper.  Waltemath will also project images of these studies for her Treaty of 1868 project, funded by Creative Capital in 2012, and guide audience members through the various aspects of her non-linear journey.  In 1987 Lakota educator, writer, political activist, Vine Deloria, Jr. issued a challenge to create “new ceremonies” involving Dakota, non-Dakota and the land.  Such ceremonies are seen as essential to begin the building of a new shared-history.”  The Treaty of 1868 project takes up Deloria’s challenge.

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www.joanwaltemath.net/treaty-of-1868-/grid-wrap/grid-wrap for detailed information.

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Joan Waltemath grew up on the Great Plains.  Her abstract paintings focus on constructing spatial voids using harmonic progressions and non-traditional, reflective pigments in oils as well as drawings in diverse materials.  Shown in New York, Chicago, Los Angeles, London, Basel, and Cologne, her work is in the collections of the Museum of Modern Art, the National Gallery of Art and the Harvard University Art Museum.  She has written extensively on art and served as an Editor-at-large of the Brooklyn Rail since 2001 and Contributing Editor of artcritical.com since 2010.  She is currently Director of the Hoffberger School of Painting, the Maryland Institute College of Art’s graduate painting program.

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Work & Discussion is a series of conversations between creators, thinkers, and good talkers about subjects ranging from art, literature, performance, utilitarian labor, education and teaching, scholarship, and ways of living.

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Media:  Various media

Presentation Format: Open group and visitor round table discussion, no lecture

Moderators:  Jomar Statkun, Christopher Stackhouse & Jared Friedman

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—–>     Sunday, December 16th @ 4pm

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My Geniza: A Piled-Up Poem

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Raphael Rubinstein will read his fragment-poem “A Geniza,” which uses numerous quotations and translations to evoke the 20^thcentury Cairo of poet Edmond Jabès, singers and actresses Umm Kalthoum, Asmahan and Leila Mourad, and various other historical figures, with glances at the reality of present-day post-revolution Egypt. Inspired by Peter Cole and Adina Hoffman’s book Sacred Trash: the Lost and Found World of the Cairo Geniza, the poem takes its form from the chaotic archive of manuscripts accumulated over centuries in a storeroom of an ancient Cairo synagogue. The poem also concerns itself with the idea of the fragment chez Walter Benjamin, Maurice Blanchot and Jabès, with what happens to architecture and neighborhoods as the society around them is transformed, and with Jewish-Arab history. This reading/performance of “A Geniza” will occur in a random, never-to-be-repeated sequence.

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Raphael Rubinstein is a poet and art critic whose poetry collections include The Basement of the Café Rilke (Hard Press) and The Afterglow of Minor Pop Masterpieces (Make Now). The Song Cave will shortly publish his chapbook The Cry of Unbalance, with drawings by Trevor Winkfield. He is a Professor of Critical Studies at the University of Houston and lives in New York City.

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—–>     Wednesday, December 12th @ 7:30pm

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Keynotes

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We set the criteria to match the fit, the speed, the charisma,

the performance and the velocity of style as unsurpassed elegance – a mirror

of our time.  From this vantage point, you can experience a lifestyle, a kind of

joie de vivre, a j’ne sais pas or a j’ne sais quoi.

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—->   Friday, September 16th, 2011 @ 8:30pm

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“Six Non Lectures”

 

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“Six Non Lectures” will feature six contemporary poets lecturing on topics they have arbitrarily selected for each other and are non-experts in; each lecturer will have only 48 hours prior to the event to receive and prepare their assigned topic.

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Presenting Lecturers:

Adam Fitzgerald

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—–>     Monday, October 24th, 2011 @ 9pm

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Samita Sinha & Julia Uleha

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On the evenings of October 24th and November 9th, Julia Ulehla and
Samita Sinha inhabit This Red Door in order to explore and excavate
the unseen worlds within song and raga. These two artists steeped in
very different musical traditions–Samita draws from deep grounding in
North Indian classical music, folk and ritual music, with songs and
texts in several languages; while Julia spent the last 4 years with
Workcenter of Jerzy Grotowski and Thomas Richards working with the
sonic and performative possibilities of the poetic word, as well as
songs from West Africa, Haiti and the American South–though her
training and early career lie in Western classical music, opera,
oratorio, and cabaret.

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Presenting three works-in-progress, they will explore voice and body
in space, and potential sonic energy found in the respective musical
material and traditions from which they draw. Since they work deeply
with sound, they have invited visual artists– Niki Ulehla on October
24th and Aram Jibilian on November 9th– to design their spatial
environment, adding visual details, costumes, and set pieces to
construct concrete physical worlds in which their sound experiments
can live.

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—–>     Sunday, October 30th, 2011 @ 7:30pm

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Work & Discussion

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Kara Walker

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“occupy Kara Walker”

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With the 2008 publication of “Kara Walker Yes/No/? ” by Howardina Pindell et. al. an ever relevant discussion resurfaced regarding the artist’s responsibility to her community.  The Occupy Wall St. movements have brought to the forefront a disconnect between individualism in the powerful worlds of finance and politics and the collectivist power of the people in the disenfranchised majority.  If diversity, education and not-for-profit art spaces represent (some of) the expressions of progressive art movements, in such movements what is the place of the “rampant individualist” model of artist? What of the “genius” model that only recently has become a site of gender, racial, ethnic inclusion?  By what mechanisms does a practicing artist become an “art star” (as individualist); what are the limits, goals or responsibilities of this appellation?  Sunday, Oct. 30th Kara Walker will offer that part of her identity (“art star”) up for inquiry about the contradictory role of the artist within the Occupy movement.

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This Red Door presents:

—–>     George Positive freestyling during meeting for “MICES” weekend event

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—–>     This Red Door presents: “MICES”

(one minute spot & thank you!) video:

 

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