2 EAST BROADWAY, 200
NEW YORK, NY 10038, USA
SUNDAY, 13 MARCH, 3-6 PM
13 MARCH 2016 TO 24 APRIL 2016
Opening February 26th 6-8pm
From February 8-22, all TV sets in Iceland will transform into art venues. Video art will be screened every night from approximately 1:30 am GMT until morning.
The videos chosen for the program showcase a diversity of approaches to investigating the intimate physical relationship between the television broadcast and the viewer. Accentuated by the context of viewing the works within the comfort of one’s own home, and during the wee hours of the night, these works pull viewers into close proximity with images on screen.
Works will be available for international free streaming on http://www.ruv.is/ruv
Catchup service: http://www.ruv.is/sarpurinn
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Participating Artists: Dagrún Aðalsteinsdóttir; Helena Aðalsteinsdóttir; Rosa Aiello; Uri Aran; Peggy Ahwesh; Sadie Benning; Chris Burden; Xavier Cha; Keren Cytter; Zackary Drucker; Mariah Garnett; Ásdís Sif Gunnarsdóttir; Steinunn Gunnlaugsdóttir; Elín Hansdóttir; Camille Henrot; Emma Heiðarsdóttir; Katrín Inga Jónsdóttir Hjördísardóttir; Kolbeinn Hugi Höskuldsson; Loji Höskuldsson; Selma Hreggviðsdóttir; Stanya Kahn; Anna K.E.; Ragnar Kjartansson; Kristján Loðmfjörð; Sara Magenheimer; Florian Meisenberg; Nicole Miller; Rosalind Nashashibi; Habby Osk; Agnieska Polska; Elizabeth Price; Laure Prouvost; Rachel Rose; Aïda Ruilova; Carolee Schneemann; Mary Simpson; Cally Spooner; and Erika Vogt.
Curated by Margot Norton,
Associate Curator, New Museum, New York.
Tony Cokes / Alexander Kluge / Sara Magenheimer / Laure Prouvost
The 11th episode of the On Screen/Sound series presents a selection of films and videos that play with the relationship between textual and spoken language. Laure Prouvost, Sara Magenheimer, Tony Cokes, and Alexander Kluge all make videos that combine spoken and written language, focusing on the slippage of meaning and description as material and subject matter.
Prouvost’s It Heat Hit is a speedy cascade of images and words, featuring a seemingly autobiographical voice-over by the artist that is characteristic of the misuse and appropriation of English as her second language. Magenheimer’s Slow Zoom Long Pause meanwhile analyzes language as a patriarchal structure and explores how gender roles are embedded and articulated, encouraging the audience to listen rather than simply observe. Tony Cokes’3# Manifesto A Track #1 eschews both voice and realistic images. The animation uses a series of text and graphic transitions, edited to an upbeat electronic song by Seth Price. Through quotations, philosophical statements, and Morrisey lyrics, Cokes mocks the pop industry’s reliance on marketing to expose the underlying ideologies of representation in the media.
Inspired by early silent cinema, Alexander Kluge is well known for his regular use of the intertitle, and his 1971 sci-fi feature Der Grosse Verhau (The Big Mess) is a case in point. Engaging and humorous, but often deliberately fractured and poetic, Kluge’s film bombards us with loose, collagist associations of words and images in the story of two astronauts trying to make a living in a solar system controlled by corporate interest in 2035.
- It Heat Hit (2010)
- 3# Manifesto A Track #1 (2001)
- Slow Zoom Long Pause (2015)
- Der Grosse Verhau (The Big Mess) (1971)
- Approximate runtime: 110 minutes
CCCC: Ceramics Club Cash and Carry
Nov 6- Dec 19 2015
White Columns is pleased to present CCCC (Ceramics Club Cash and Carry).
This project is a fundraiser with 100% of all profits going to Planned Parenthood, White Helmets, and Critical Resistance. The exhibition will empty as the ceramics are purchased… (cash and carry).
JOAN presents Slow Zoom Long Pause, a video by Sara Magenheimer.
September 12 – October 11, 2015
In Slow Zoom Long Pause, 2015, her most recent video, Magenheimer asks; What would it mean for form to have rhythm? It’s a question of physicality; an idea chafing against its embodiment. This work hovers in that space of friction between concept and material limitation; considering a human vessel – the “content” being somewhat begrudgingly resigned to it’s physical form. Color, too, possess a certain rhythm as wavelengths of the visible spectrum, but in this work the voice is central. The script traverses various modes of speech; hyperbolic, melodramatic, inquisitive, authoritative, sentimental – as it questions the rhythm of objects, the body as an object, the meaning of imaginary and “real” things, and what we can see versus only hear or feel. By the end it’s clear that the narrator’s voice is actually an embodied multiplicity of voices. She’s even doing a Q and A with herself.
Concurrent with this exhibition Slow Zoom Long Pause will also premiere theatrically at the New York Film Festival at Lincoln Center.