From the Movie of the Same Name and Best is Man’s Breath Quality will be screening at the High Line in a program with two videos by Hannah Black
March 9 – April 26, 2017 Daily beginning at 5 PM
On the High Line at 14th Street
Body Language is a group exhibition in video format that focuses on two emerging artists whose video works explore the ways in which language determines and is eluded by our relationships to our bodies. While speech is inherently bodily – sculpted by our hand gestures, larynx, vocal chords, and breath emanating from the lungs – it also divides our understanding of our bodies in the world, creating distinctions that we would not necessarily otherwise perceive. – See more at: http://art.thehighline.org/project/body-language/#sthash.yYqwYdSP.dpuf
An excerpt from the video can be viewed here.
As part of an installation in The Kitchen’s theater, Sara Magenheimer presents her new video, Best is Man’s Breath Quality, in which an ancient jellyfish suggests how new positions can inform our capabilities to heal. His deep-ocean vantage allows him to comment (through an authoritative voice-over) on a truer spectrum of human behavior seen up above; and his capacity for inflicting pain on human bodies finds parallels in our capacity to embody the more nebulous and unruly forces in life. With performances featuring singing and narration, Magenheimer explores how language mutates and reproduces itself in culture. Creating abstract narratives through vernacular associations, she proposes linguistic turns more empathic than expository. The human voice and sound operate as floating signifiers, addressing the body through the disembodied.
Curated by Lumi Tan and Tim Griffin.
Saturda, February 25, 6–8pm
Saturday, February 25, 7pm
Saturday, March 4, 5pm
Installation hours are Tuesday through Saturday, 11am–6pm.
Sara Magenheimer: “I Collect Neglected Venoms” is made possible with commissioning support from Jerome Foundation; annual program grants from Lambent Foundation Fund of Tides Foundation, The Andy Warhol Foundation for the Visual Arts, and Marta Heflin Foundation; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
The Renaissance Society
A reading of texts around the theme of ambiguity. Concurrent with Sadie Benning’s show Shared Eye.
JAN 14, 2017, 3PM
In both form and content, Sadie Benning’s works often suggest how indeterminacy or ambiguity can take on a political dimension or an active quality. More generally, in many different contexts, ambiguity becomes a concept to contend with, whether as something to embrace, challenge, or question. A number of artists and writers have been invited to send in short written responses to these ideas. Their replies are also joined by selected excerpts from other books, essays, and poems. A performative reading of these varied texts in the gallery space stages a polyphony of sorts, with different voices rising up within the exhibition.
Featuring new contributions by Alex Chitty, Mashinka Firunts, David Getsy, Matthew Goulish, Sara Magenheimer, Jesse Malmed, Jennifer Reeder, and Steve Reinke.
Nicholson Baker, “Changes of Mind,” in The Size of Thoughts: Essays and Other Lumber, 1997.
James Baldwin, excerpt from “The Artist’s Struggle for Integrity,” speech recorded at the Community Church, New York, 1962.
Jorge Luis Borges, “Argumentum Ornithologicum,” in Collected Fictions, 1999.
Hayan Charara, excerpt from “Usage,” in Something Sinister, 2016.
Lydia Davis, “Agreement,” in The Collected Stories of Lydia Davis, 2010.
Simone de Beauvoir, excerpt from The Ethics of Ambiguity, 1948.
William Empson, excerpt from Seven Types of Ambiguity, 1930.
Jamie Holmes, excerpt from Nonsense: The Power of Not Knowing, 2015.
Clarice Lispector, “Fifth Story,” in The Complete Stories, 2015.
Claudia Rankine, excerpt from Citizen, 2014.
David Shields, excerpt from Reality Hunger: A Manifesto, 2010.
Ludwig Wittengenstein, excerpt from On Certainty, 1969.
Additional excerpts and selections read by Elizabeth Allen-Cannon, Brit Barton, Jessica Cochran, Max Guy, Michael Harrison, Karsten Lund, Karen Reimer, Angela Zhang, and Zsofia Valyi-Nagy.
FEELS EVERYTHING LIKE SHOPPING
Thursday, December 8, 6pm-8pm
December 9, 2016 – January 15, 2017
Art in General presents a solo exhibition of newly commissioned work by Sara Magenheimer in partnership with kim? Contemporary Art Centre in Riga, Latvia.
Thursday, October 20, 6:00 p.m.
Gene Siskel Film Center, 164 N. State St.
In her arresting videos, Sara Magenheimer mixes humor and playfulness with a sophisticated inquiry into language and meaning-making. Using visual puns, graphics, and text-to-voice computer programs, her work explores the slippery dimensions of communication. In Seven Signs That Mean Silence (2013), two disembodied computer voices describe in-between places where meaning hides. InSlow Zoom Long Pause (2015), characters meditate on the many ways language fails.
2011–16, USA, multiple formats, ca 60 min + discussion
Presented in collaboration with Video Data Bank (VDB) as part of the organization’s 40th Anniversary Year.
Saturday, September 10, 8:00–11:00 p.m.
- Zach Gage: game designer and artist
- Alina Tenser and Chris Domenick
- Allison Janae Hamilton
- Am Schmidt
- Andrew Lampert/Public Opinion Laboratory
- Black Chalk (Nontsikelelo Mutiti and Tinashe Mushakavanhu)
- Brendan Fernandes
- Institute for New Feeling
- Jacolby Satterwhite
- Jonah Groeneboer
- Lauren Halsey
- Sable Elyse Smith
- Sara Magenheimer
- Željka Blakšić (aka Gita Blak) and Brujas
Anthology Film Archives
Programmed by Chris Stults and Genevieve Yue
OPENING NIGHT Monday, October 3, 7pm
In film, the voices of men speak, allied with reason and language. Women’s voices, meanwhile, tend to only sound, though they do so across a variety of registers: from music and song, disembodied and relocated voice of technological devices, the learning and mimicry of social linguistic norms, and the politicized voices that shape constituencies and speak truth to power. As the technical term “wild sound” connotes a sound recorded independent of the image, the wild sounds organized in this series challenge social and filmic convention. More than mere speech or sound, the woman’s voice creates an alternative space where meaning is negotiated and generated anew.
Monday, October 3, 2016, 7pm
VOICES FROM BEYOND
Carolyn Lazard, Sara Magenheimer, and Aura Satz in person
Aura Satz, IN AND OUT OF SYNC (2012, 20 min, digital)
Martine Symes, A PILOT FOR A SHOW ABOUT NOWHERE (2015, 24 min, digital)
Courtney Stephens, IDA WESTERN EXILE (2014, 7 min, digital)
Sara Magenheimer, SEVEN SIGNS THAT MEAN SILENCE (2013, 11 min, digital)
Carolyn Lazard, GET WELL SOON (2015, 13.5 min, digital)
Gunvor Nelson, MY NAME IS OONA (1969, 13 min, 16mm)
THURSDAY, JUL 21, 8PM
An Evening with Sara Magenheimer and Martine Syms
Magenheimer and Syms will each present video lectures which will be followed by a discussion with the two artists.
6PM Pre-movie Dinner! A one-plate meal will be available from 6-8pm provided by Lil’ Deb’s Oasis (while supplies last).
Hearing voices = you’re crazy / Not hearing voices = you’re crazy
Sara Magenheimer will give a talk cataloging the variety of modes of voice she uses in her work and observes in the world, interweaving her relationship to her own voice with cinematic uses of the voice in disembodied voiceover.
Martine Syms will present MISDIRECTED KISS, a performative lecture that tells a story about language, movement, and performance as observed in black female entertainers.
Sara Magenheimer is an artist based in New York. Recent exhibitions and screenings include White Columns, Foxy Production, Chapter, Interstate Projects, 247365 Gallery, Cleopatra’s, The Kitchen, and Brooklyn Academy of Music. She has performed at Recess, MOMA P.S.1, Issue Project Room, Canada Gallery, the Performa 13 Biennial, and C.off in Stockholm, Sweden. She was the recipient of a 2014 Rema Hort Mann Foundation Grant, 2015 Artadia Grant, and winner of the Prix De Varti at the 2015 Ann Arbor Film Festival.
Martine Syms (b. 1988) is an artist based in Los Angeles. Her artwork has been exhibited and screened extensively, including recent presentations at Karma International, Bridget Donahue Gallery, the New Museum, Kunsthalle Bern, The Studio Museum in Harlem, Index Stockholm, MOCA Los Angeles and MCA Chicago. She’s lectured at Yale University, SXSW, California Institute of the Arts, University of Chicago, Johns Hopkins University and MoMA PS1, among other venues. Upcoming exhibitions include Made in LA at the Hammer Museum, Los Angeles, and Manifesta 11 in Zurich, Switzerland.
For more information visit http://basilicahudson.org/