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LAITH KARMO AT PAUL KOTULA PROJECTS - 11/8-12/20

10/31/2014

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http://www.paulkotula.com/upcoming-exhibitions/

http://laithkarmo.com
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MADE UP WITH DANNY VOLK

10/30/2014

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I had the privilege to meet Danny Volk during a 6 week artist residency at Banff Centre that just concluded last week. I was honored to be a participant in Danny's on-going series of artist interviews called "Made Up with Danny Volk." Danny has interviewed some very influential artists, mostly Chicago based and I am looking forward to the new season. I assume that the shows will feature many of the resident artists from the Banff Centre. 

While at Banff Centre, Danny participated in a thematic residency called "Confuse the Cat" coordinated by Michael Portnoy and 
Ieva Misevičiūtė. 

In the season finale of "Made Up with Danny Volk" Danny interviews Theaster Gates. Other guests: Amber Ginsberg, Casey Smallwood, Zachary Cahill, Catherine Sullivan, Jessica Stockholder, Tucker Rae-Grant, Pope L, Laura Letinsky, Anais Daly, Scott Wolniak, Paul Mgapi Sepuya, Zachary Harvey, Richard Williamson, and Dado

Below is an audio recording of Danny's Artist Statement:
http://www.dannyvolk.com/artiststatement.html

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Ieva Misevičiūtė: Lord of Beef & I will Rip your arms off

10/23/2014

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Ieva Misevičiūtė is a New-York based performance artist, working in both visual arts and theater. Her practice combines physical theatre, dance, stand-up, Butoh, and sculptural work. She has performed in such venues as (selected): The Kitchen, New York; Time-Based Art Festival, Portland; Beursschouwburg theater, Brussels; dOCUMENTA (13), Kassel; de Appel art center, Amsterdam; Center Pompidou, Paris; Western Front, Vancouver; Contemporary Art Center, Vilnius; Performa 09 at Swiss Institute, New York.

Misevičiūtė’s recent curated projects include the 11th International Baltic Triennial (retitled Mindaugas Triennial), CAC, Vilnius (co-curator); a night of performances Alligators! at de Appel art center, Amsterdam. She has devised and lead Action Workshops (a technique uniting Action Theater, Butoh and action films) at a variety of institutions.

Misevičiūtė worked as a clown in the circus throughout her youth, has backgrounds in various movement and improvisation techniques; holds a research MA in Cultural Analysis and MA in Political Studies from the University of Amsterdam; currently trains and works closely with Butoh master Vangeline. Miseviciute is a visiting movement and performance trainer at the Malmö Art Academy.

LORD OF BEEF: http://vimeo.com/96439228
In this performance Misevičiūtė presents a series of impersonations--dance and speech acts depicting objects, people, phenomena, and philosophical concepts. LORD OF BEEF goes back to the primal mimetic act that lies at the very basis of theater and comedy. Enactment and impersonation -- is where theater begins, but also this is the point where theater is accused of its artificiality and inauthenticity. However, maybe the failure of the "realness" of theater is precisely its attempt to depict reality. Maybe the place where dance and language meet each other is the compromise of logic.

In this performance impersonations go beyond the imitation of human qualities to concepts such as radical hospitality, soft knowledge, small face behind you, I don't care about friends I'd like some parents, and there is no stopping this institution. The last impersonation of the show is based on the Butoh tongue dance technique, where the performer's body gradually surrenders to the movement itself, inverting the mechanism of impersonation and thus the theatrical act finds its border with ritual.

I WILL RIP YOUR ARMS OFF: http://vimeo.com/81894454
...my favorite grab from this mixed bag [TBA:Works] was Ieva Misevičiūtė, whose difficult “I will rip your arms off” exists somewhere between theatre, dance and sketch comedy minus the easy laughs. Samuel Hanson, Slug Magazine

Billing herself as a "former Lithuanian clown, academic, and practioner of unproductive gymnastics," she gleefully pokes fun at the heady conceptual nature of performance art, asking the questions we all wish we could ask but general don’t, because we fear they’ll make us look dumb. Really, why is there a box? What does that movement sequence mean? She’s joyfully satirical, she’s critical, she's a beautiful mover (her reed-thin body makes her seem almost a Pixar character), and at least in the first half of I Will Rip Your Arms Off, she’s taking some of the hot air out of the rest of the festival. Kate Holly, Portland Monthly Mag

I WILL RIP YOUR ARMS OFF is a take on sketch comedy that lost its punch line and has been abstracted through dance and free-floating characters. This solo performance knits Misevičiūtė's former stand-up routines into a journey in which mood swings can replace a personage, where objects dictate what must be done to them, and where people leave behind their peoplehood for a single idiosyncrasy.

from: http://www.ieva.co






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MICHAEL PORTNOY: 100 BEAUTIFUL JOKES & THRILLOCHROMES

10/15/2014

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100 Beautiful Jokes
Stedelijk Museum, Amsterdam, 2014

In the performance 100 Beautiful Jokes, Michael Portnoy proposes a new breed of joke. Rather than simply a means to laughter, the artist imagines the joke to be a thing of rare, complicated beauty to linger over and be emotionally transported by; something that makes you shudder for reasons slightly beyond reach. 

Portnoy performs one beautiful joke every three minutes for five hours, accompanied by a lush cinematic soundtrack. The material for these highly abstract jokes is derived from a collection of his original texts, scores and lexicons, transmitted to him throughout the show. Both verbally and physically, Portnoy navigates through a landscape of prompts and source information, and uses that to channel and compose the script on the spot. 

This project continues Portnoy's long-term exploration of the poetic potential of jokes, which he has explored in many media, from the written word, to installation, pedagogy, dance and conferences with humor theorists.

Curated By Hendrik Folkerts
All images by Ernst van Deursen
from: http://www.strangergames.com/Michael_Portnoy.html
for trailer: http://vimeo.com/99394103
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THRILLOCHROMES
6 trench coats on canvas, 6 short films
Nuit Blanche, Paris
Wilfried Lentz Rotterdam

What are the war cries of Neo-Formalism? Are there any? Or are its fighters and agents doggedly anti-dogmatic?

THRILLOCHROMES imagines a subterranean world where such overblown directives (Dismantle... ! Infiltrate... !) are the scores for a collection of trench-coated operatives in a series of abstract thriller films which lead to the creation of excruciatingly beige monochromes.

The show consists of six monochromes and six corresponding short films playing on tropes of TV procedurals and espionage films. Accompanying the show is an artist publication with texts by Tirdad Zolghadr and Diane Bent commenting on the phenomena of the contemporary monochrome and the blood battle between hermeneutics and hermeticism.

The six short films, commissioned by Ville de Paris for Nuit Blanches 2013, were shot in the WWII bunkers beneath Gare de l'Est. The series continues Portnoy's recent interest in "improving", in the manner of an engineer/futurologist, recent dead-ends of contemporary art making. In this case the metastasis of textural abstraction and quasi-monochromes.

for trailer: ttp://vimeo.com/76771102
from: http://www.strangergames.com/Michael_Portnoy.html
Review in Artforum, Feb 2014
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DAN FOX: A SERIOUS BUSINESS - WHAT DOES IT MEAN TO BE A PROFESSIONAL ARTIST 

10/8/2014

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‘Where’s the fucking stipend?’ read the postcard delivered to the artists Edward and Fanny Wadsworth.1 They had been supporting Wyndham Lewis with a monthly allowance throughout 1924, and the money had not turned up. Spiteful gestures were the quarrelsome Vorticist’s stock-in-trade: he was ungrateful, uncouth – jump ahead four decades and you might even say ‘unprofessional’. According to the rubric laid down in 1969 by Gilbert and George in ‘The Laws of the Sculptors’, artists should ‘always be smartly dressed, well-groomed, relaxed, friendly, polite and in complete control’.

Leap forward in time again to north-east London, 2009. Forty years on from provoking the flower children with their smartly tailored suits, metallic faces and lost nights with a bottle of mother’s ruin, every evening Gilbert and George walk past the end of my street, marching the three miles between their home in Spitalfields and the Mangal II Turkish restaurant in Dalston, where they sit at the same table for their dinner. Whenever I catch a glimpse of them, I can’t help thinking that their look – that of respectable English gentlemen, commonly taken to be an ironic counterpoint to the sexual and scatological themes of their work – appears to communicate a sincere statement of intent: of always being ‘on’, still 100 percent committed to a total life project begun in the 1960s. I wonder what they make of today’s contemporary art scene compared with that of their art school days. Despite the astronomical price of property, the east London they inhabit is reportedly home to the highest density of artists in Europe: there are some 54 galleries in this part of the city alone (for the last ten years, a sign painted by students in the style of Bob and Roberta Smith and affixed to a house on east London’s Hackney Road has declared that ‘EAST IS THE NEW WEST’). London is also, of course, home to Tate Modern, one of the country’s biggest tourist attractions, and every autumn the city hosts a number of high-profile art fairs: Frieze, Zoo, Scope. This year may turn out to be the year in which gallery closings are the new openings and ‘told you so’ schadenfreude is the new market optimism. But could Gilbert and George, as young men at St Martin’s School of Art in the late 1960s, have imagined a time such as now, when the word ‘creative’ is used more as a job title than as an adjective?
-READ MORE: http://www.frieze.com/issue/article/a_serious_business/



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