Sara Magenheimer

NEW YORK FILM FESTIVAL at Lincoln Center

Slow Zoom Long Pause will screen as part of the Projections program at the New York Film Festival

Program #9
Sunday, October 4, 3:30pm
Sunday, October 4, 7:00pm
TRT: 76m

Life in the Cloud: What are the material and emotional consequences of a digital world that has altered our bodily existence?

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCED TODAY
THE COMPLETE LINEUP FOR PROJECTIONS AT THE
53RD NEW YORK FILM FESTIVAL

THIS SENTENCE at China Art Objects

Curated by Lauren Mackler of Public Fiction

China Art Objects, Los Angeles

6 June – 22 August 2015

Screening July 2nd

Sascha Braunig, Becket Flannery, Ryan Gander, Tamara Henderson, Jibade-Khalil Huffman, Greg Kalliche, Helen Marten, Emily Mast, and Pascual Sisto

A concurrent program of videos, performances and screenings will showcase the work of: Sophia Al-Maria, Charles Atlas, Ericka Beckman, Derek Boshier, Merce Cunningham, Sara Magenheimer, Babette Mangolte, John Smith, Martine Syms, and Yvonne Rainer

Artadia Award

ANNOUNCING THE 2015 NEW YORK ARTADIA AWARD

NEW YORK, NY – Artadia: The Fund for Art and Dialogue is pleased to announce the 2015 New York Artadia Awardees. Park McArthur and Georgia Sagri will each receive $10,000 unrestricted funds. Yevgeniya Baras, Joe Fyfe, Donna Huanca, Bill Jenkins, Jennie Jieun Lee, Eric Mack, Sara Magenheimer and Kameelah Rasheed will each be awarded $5,000 in unrestricted funds. All ten artists will receive the lifetime benefits of the Artadia Award program including access to our New York Residency, Awardee exhibitions, connections with curators, and participation in Artadia projects at art fairs across the country.

Recess Session

Sara Magenheimer: False Alphabets

In Session: March 19 – April 25, 2015

Film Screenings: March 26, 6-8pm
Free Paint performs: April 3, 6-8pm
Film Screenings: April 9, 6-8pm
Eleanor Friedberger performs: April 18, 6-8pm

On March 19, Sara Magenheimer will begin work on False Alphabets, as part of Recess’s signature program, Session. Session invites artists to use Recess’s public space as studio, exhibition venue and grounds for experimentation.
Over the course of her Session, Magenheimer will construct sculptural sets composed of photographs, objects, and film equipment that will become the backdrop for a new video. The script for the video, written by Magenheimer, continues the artist’s interest in voice, and employs cinematic tropes that conflate embodied language and location.
The script will evoke the role of “The Radio DJ” epitomized by characters like Mister Señor Love Daddy in Do The Right Thing and DJ Stevie Wayne in The Fog. These figures act as the omnipotent narrators of their films as well as create diegetic soundtracks to their cinematic worlds. Simultaneously addressing the movie going audience, the other characters, and their communities, their music is embodied rather than a superficial add-on for the viewer’s emotional manipulation.

Collaborating artists Eleanor Friedberger (Fiery Furnaces), Greg Saunier (Deerhoof), Free Paint (Magenheimer and Saunier) and more will perform the music for and act as narrators in this video. Performers will make mixes that involve narration and music. These mixes will function as a soundtrack for the video. Recess audience may stream these mixes online and will be invited to participate as “the listening public” on open-set days of filming.

The video and performances explore the limit of the necessary, functional dislocation between speech and physical body, attempting to bring language back to the body through techniques drawn from punk/Dada humor, absurdity, music and participation.
Films featuring radio DJs will be screened throughout False Alphabets.

ArtForum Best Of 2014: Corrine Fitzpatrick

View of “Dear Nemesis, Nicole Eisenman 1993–2013,” 2014–15.

12.11.14

LAST APRIL, Cleopatra’s housed “Which arbitrary thing are you,” (April 6 to May 4, 2014) a two-person exhibition of sculpture and video by Sara Magenheimer and paintings by Sadie Laska. All of the works were from 2014, with the exception of Magenheimer’s seven-minute video, One Vast Focus, 2011, in which footage of a woman playing tuba before a grove of trees opens onto a quaalude-paced concert scene overlaid with text from Ada Lovelace’s megalomaniacal-Romantic musings to her mother—“I can throw rays from every corner of the universe into one vast focus”—which is then read aloud by the artist in a droll digitized voice reminiscent of Robert Ashley’s in “Perfect Lives.” Early video art is also evoked in Magenheimer’s pigment print on wallpaper panel composites, Sun Room 1 and Sun Room 2. Both pieces layer a print of an isolated basketball net atop images of houseplants in wicker baskets. The signifiers evoke movement (“swoosh”), rhyme, and pun in a video-like layering of effects. Laska’s thirteen mixed-media paintings are discrete Rauschenbergian assemblages; the artist’s sense of humor and experimentation breeze across bricolage surfaces (a shirt, a sandal, a comb, a paper plate, to name a few) that, although three-dimensional, strongly convey a painterly plane. Laska does not appear to be preoccupied with the de- or re- or neo-construction of painting, rather, these works read as a genuinely capacious celebration of the action and the form.