Sara Magenheimer


Talk at Harvard’s Carpenter Center

Curator and Artist Talk

May 7, 2019, 6 – 8 pm

Level 3, Bookshop

 More info here

Vic Brooks, Senior Curator of Time-Based Visual Art at EMPAC, and Lumi Tan, Curator at The Kitchen, discuss their curatorial practices in conversation with artist Sara Magenheimer. Tan organized Magenheimer’s I Collected Neglected Venoms at The Kitchen (2019) and Brooks organized Bloopers #1 at EMPAC (2014).

Touching at The Hand

Saturday, May 4th, 7-10 pm
Curated by Saki Sato and Morgan Vo
601 Wilson Ave, Brooklyn NY
Here, Barney’s an ordinary terrier with hair over his eyes; “First, I lull you into complacent stillness.
I lie down beside you, you think I’m asleep.
Then with my touch or glance, you hear thought.
I evoke potential, the way honey evokes its energy grid in bees, a morphic field evolving with willows.”

– from Animal Voices, Mei-mei Berssenbrugge

Touching is a poetry reading and video screening that will take place at The Hand on Saturday, May 4th, 2019. Tactile videos and redolent words will be provided by Adjua Greaves, Sara Magenheimer, Saki Sato, Megan Snowe, Morgan Vo and Asiya Wadud.

Sara Magenheimer and Peter Rose in Conversation

TUESDAY, FEBRUARY 26, 2019 — 7:00 PM



NEW YORK, NY 10003

(212) – 505 – 5181

this screening is part of: FLAHERTY NYC: PUZZLING

Sara Magenheimer will be in conversation with Peter Rose after the screening.

The work of Philadelphia filmmaker Peter Rose concisely embodies the concerns of the “Puzzling” series: the navigation and unraveling of semiotic systems, collisions of sense and non-sense, and the implications of the act of looking. Two major works from the early 1980s, THE MAN WHO COULD NOT SEE FAR ENOUGH and THE PRESSURES OF THE TEXT, frame these ideas with Rose’s signature combination of intellectual rigor, technical facility, and sense of play. Representing Rose’s work with computers in the 1990s, his short video GENESIS highlights the contradictory and simultaneous experiences of distance and intimacy afforded by technology. A Guggenheim and NEA Fellow, Rose has exhibited his work at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society of Lincoln Center, and Anthology Film Archives.

New Language Acquisition

TUESDAY, FEBRUARY 12, 2019 — 7:00 PM



NEW YORK, NY 10003


this screening is part of: FLAHERTY NYC: PUZZLING

Sara Magenheimer in person for a discussion moderated by Sukhdev Sandhu Associate Professor in the Department of English at NYU and founder of the Colloquium For Unpopular Culture.

The experience of encountering a language you do not understand, with its opacities, surface poetics, and implications of meaning, is central to this program. “New Language Acquisition” begins by exploring possibilities for linguistic, nonverbal, and spatial communication. Conversely, techniques of deconstruction serve as a means to decode or untether the semiological. What can an image and sound sign? What is deemed legible or illegible? In the words of writer and artist Mel Baggs: “I find it very interesting…that failure to learn your language is seen as a deficit, but failure to learn my language is so natural that people like me are officially described as ‘mysterious’ and ‘puzzling,’ rather than anyone admitting that it is themselves who are confused.”

language and abstraction / form in the realm

TUESDAY, NOVEMBER 13, 2018 — 6:30 PM




415 355 9670

presented in association with the CCA Wattis Institute and Untitled Art, San Francisco

This screening is presented in the context of Léonie Guyer: form in the realm of, presented at CCA Wattis Institute October 18–December 15, 2018, in association with Untitled Art, San Francisco
Drawing inspiration from the Wattis Institute’s exhibition Léonie Guyer: form in the realm of, this program presents film and video works which explore personal symbologies, the nature of mark-making, the limits of verbal enunciation and assertive and non-assertive abstractions at the thresholds of the visible. Cryptic questions—verbal, post-verbal or visual—are presented; the answers provided are not as expected. Screening to include ascensions(2017) by arc, a 16mm “window onto eternity” composed of conflicting images and afterimages, both abstract and concrete; A Minimal Difference (2012), Jean-Paul Kelly’s 2012 fusion of modernist abstraction with contemporary news images suggesting disaster; Victoria Fu’s Bubble Over Green 1 (2015), a densely layering of gestural and mechanical art-making gestures; and two works by Sara MagenheimerNothing Comes from Talking (But Sound) (2012) and Seven Signs that Mean Silence (2013) which celebrate both the grace and absurdity of western linguistic symbolism while “meditating on the in-between places and negative space where meaning hides out.” Screening is bookended by two more 16mm works—Hollis Frampton’s Palindrome (1969), a compendium of organic abstractions “metamorphosed from the chemically mutilated flesh of color film itself” and Chinese Series(2013), Stan Brakhage’s final film, literally scratched onto “spit-softened emulsion with bare fingernails” several months before the filmmaker’s death.

Clay Club at SculptureCenter

Clay Club at SculptureCenter
Saturday August 18, 2018 10am-2pm
With artists:

Alisa Baremboym, ektor garcia, Ficus Interfaith, Steffani Jemison, Sara Magenheimer, and Jesse Wine

SculptureCenter was founded as Clay Club in 1928 by sculptor Dorothea Denslow. While Clay Club’s art courses and exhibitions generally took place in Denslow’s Brooklyn studio, or, slightly later, in a carriage house on West 8th Street, the organization’s artists and students gathered on Staten Island every summer from 1928 to 1939 to picnic and collectively build temporary monumental sculptures out of natural clay.

On Saturday August 18, SculptureCenter will revive its founding summer tradition by inviting six artists to reconsider the idea of group sculpture that motivated the original Clay Club parties.

SculptureCenter’s Long Island City exhibition space will open to the public with more than two thousand pounds of clay available for participation in artist-led projects or for free use.

Join us from 10am to 2pm, for music, food and drinks by local vendors, and drop-in art projects. This program is free, open to the public, and for all ages. No RSVP is required.

Frame Structures at Magenta Plains

Keren Cytter, ‘Siren,’ 2014, 14’39”, digital HD video, color & sound, Ed. 5 + 2 A.P., still.
Keren Cytter, Linnea Kniaz, Sara Magenheimer, Steel Stillman
1 April – 6 May, 2018
Opening Reception: Sunday, 1 April 6

8pmMagenta Plains is pleased to present Frame Structures, a group exhibition featuring works by Keren Cytter, Linnea Kniaz, Sara Magenheimer and Steel Stillman. The exhibition takes its title from the acclaimed book of visual poetry by Susan Howe, whose deconstructionist attitude toward language and fragmented process shatters narrative while forming manifold meanings anew.

Similar to Howe’s collagist and layered approach, the four artists in this exhibition use structures such as the camera frame, cropping, overlays, montage, repetition, voiceover, subtitling, rephrasing, inversions, assemblage and isolation of image to contain, expound on, exploit, and defamiliarize text and image—creating endless linkages and meditations on the poetry and fragility of the everyday, of existence, and of memory.


Magenta Plains
94 Allen Street
New York, NY 10002