<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2008/0088" href="http://www.nyartbeat.com/event/2008/0088">
  <Name>&quot;Action: Sex and the Moving Image&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/93172088">
    <Name>The Museum of Sex</Name>
    <Type>Museum</Type>
    <Address>233 5th Ave., New York, NY 10016</Address>
    <Phone>212-689-6337 ×113</Phone>
    <Fax></Fax>
    <Access>Corner of 27th St., Subway: R/W 28th Street</Access>
    <Area areaId="flatiron_gramercy">Flatiron, Gramercy</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[We live in a visual culture. Everywhere we look we are bombarded with images often to the point of sensory overload. Images shape our desires, the way we think and the manner in which we connect and interact with the world around us. Images serve as the driving force behind decisions about what to buy, what to believe, what to value, where to go and which people and relationships are worth our time and energy. These images come flying at us in commercials, music videos, television shows, mainstream film and in Internet spam. It is impossible to ignore the sensuality and sexuality of these images…and why should we?

Action: Sex and the Moving Image opening at the Museum of Sex in March 2007, traces the way sex and sexual imagery have impacted film, television, advertising and more contemporary outlets like the internet while simultaneously creating the multi- billion dollar porn industry and influencing popular art such as film, social standards, mores and behaviors.

Sex on film propelled the development of video technologies such as beta players, VCRS, and DVD players that have brought movies of all types into our homes. The Internet, the latest of this stream of technologies, has made sexual imagery more accessible than ever. No matter how much it is discussed, denounced, and demonized sex on film, sex on our televisions, sex on our computer screens and now sex on our mobile devices is here to stay.

Sex, nudity, and innuendo have always been a source of controversy and topics of public discourse and debate. Throughout the history of moving images legislation has affected not only what filmmakers could create, but also what people were “allowed” to see. Sex on film has been banned, censored, edited, and destroyed by those deeming the content to be obscene or immoral. Action: Sex and the Moving Image surveys the history of sex and the moving image over more than 150 years, featuring everything from sex symbols to “sexploitation” films of the 1950s to “porn chic” to contemporary celebrity “home-made” porn. The exhibition aims at providing the tools to become literate in the barrage of sexual driven images in our society.

]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/0088-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/0088-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/0088-170" width="170" />
  <Karma>1.59926</Karma>
  <Price free="0">Adults $14.50, Students and Seniors $13.50</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744086</Latitude>
  <Longitude>-73.987708</Longitude>
 </Event>

 <Event xml:lang="en" id="2009/A104" href="http://www.nyartbeat.com/event/2009/A104">
  <Name>&quot;Chinatown Film Project: How Do You See Chinatown?&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/556D6C14">
    <Name>The Museum of Chinese in America</Name>
    <Type>Museum</Type>
    <Address>215 Centre St., New York, NY 10013</Address>
    <Phone>212-619-4785</Phone>
    <Fax>212-619-4720</Fax>
    <Access>Between Howard &amp; Grand Sts. Subway: N/R/Q/W/J/M/Z/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 21:00, saturdays openinghour 10:00, sundays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[The Chinatown Film Project (CFP), MOCA's inaugural film exhibition features ten original short films by ten of New York's most exciting filmmakers. 

The Guy with the Cigarette directed by Miguel Arteta; Church Basement Bomb Shelter directed by Patty Chang; New York Night Scene directed by Jem Cohen; Kiwi Lotion directed by Cary Fukunaga; I Can’t Wait directed by So Yong Kim &amp; Bradley Rust Gray; Fortune Cookie directed by Amir Naderi; Chinatown: In Their Own Words directed by Sam Pollard; Five Lessons and Nine Questions directed by Shelly Silver; Sunday at 6 directed by Rose Troche; Tuesday directed by Wayne Wang &amp; Richard Wong with Lonely Alone, a special opening trailer directed by Richard Wong.

The Chinatown Film Project (CFP) tackles Chinatown's elusiveness and its stereotyped representations by constructing new images for the viewer.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2009/A104-170" width="170" />
  <Karma>1.79567</Karma>
  <Price free="0">Adults $7, Seniors and Students $4, Children under 12 in groups less than 8 and MOCA Members and on Thursdays Free. </Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote>On view this summer(2009) during Target Free Thursdays. Effective September 22, on view during regular museum hours. </ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719194</Latitude>
  <Longitude>-73.999008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/4FE6" href="http://www.nyartbeat.com/event/2011/4FE6">
  <Name>&quot;Three Landscapes: A Film Installation by Roy Lichtenstein&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/04C0543A">
    <Name>The Whitney Museum of American Art</Name>
    <Type>Museum</Type>
    <Address>945 Madison Ave., New York, NY 10021</Address>
    <Phone>212-570-3600</Phone>
    <Fax></Fax>
    <Access>Corner of 75th St. Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays openinghour 13:00, fridays closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[This exhibition presents Three Landscapes, a little-known triple screen film installation by Roy Lichtenstein, unseen since its showing at the Los Angeles County Museum in 1971 as part of the groundbreaking exhibition Art and Technology. The result of a short residency at Universal Studios in Hollywood, the films, newly restored by the Whitney on their original 35mm format, are testimony to Lichtenstein’s experimentation with form and his fascination with cinema.

[Image: Roy Lichtenstein (1923–1997) &quot;Detail from Three Landscapes&quot; (1970–71) Three-screen 35mm-film installation, color, silent; one minute (looped).]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/4FE6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4FE6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4FE6-170" width="170" />
  <Karma>0.785396</Karma>
  <Price free="0">General admission: $18; Ages 19-25, 62+, and students: $12; Ages 18 &amp; under: FREE; Fridays 6-9pm are pay what you wish.</Price>
  <DateStart>2011-10-06</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.773411</Latitude>
  <Longitude>-73.964222</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/F4BF" href="http://www.nyartbeat.com/event/2011/F4BF">
  <Name>Rania Stephan Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA14E641">
    <Name>MOMA PS1</Name>
    <Type>Museum</Type>
    <Address>22-25 Jackson Ave., Long Island City, NY 11101</Address>
    <Phone>718-784-2084</Phone>
    <Fax>718-482-9454</Fax>
    <Access>Corner of 46th Ave.  Subway: E/V to 23rd St./Ely Avenue, 7 to 45th Road, G to 21st Street</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Rania Stephan (Lebanese, b. 1960) has been working with film for the last two decades. Stephan's body of work may at first appear perplexingly heterogeneous—ranging from video art to raw documentary—yet its underlying coherence stems from her country of origin, Lebanon, which stands at a crossroads of cultures and influences, East and West, and remains a place of both exile and return. Stephan focuses on what she calls &quot;the archaeology of images, identity, and memory.&quot; 

This presentation of Stephan's most recent work, The Three Disappearances of Soad Hosni (2011), is the first in a New York institution, following its premier at the 10th Sharjah Biennial (2011), where it won The Artist Prize. It is an elegiac installation about the career and mythology of the renowned Egyptian actress and star Soad Hosni (1943-2001)—who, in 2001, allegedly committed suicide in London. Structured like a three-act classical tragedy, The Three Disappearances of Soad Hosni appropriates footage from more than sixty VHS copies of the feature films in which Hosni starred between 1959 and 1991. By montaging scenes from the format in which most of Hosni's fans experienced her films, Stephan proposes a singular and poetic rewriting of a lost golden age of Egyptian cinema. Irreverent, playful, and serious, Stephan's work reexamines the legacy of complex representations of the modern Arab woman.    ]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/F4BF-170" width="170" />
  <Karma>0.255924</Karma>
  <Price free="0">Suggested donations: Adults $10, Students and Seniors $5, MoMA members and with MoMA admission tickets Free</Price>
  <DateStart>2011-10-15</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74565</Latitude>
  <Longitude>-73.946178</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0210" href="http://www.nyartbeat.com/event/2012/0210">
  <Name>&quot;happenings&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/510B609E">
    <Name>The Pace Gallery (534 W 25th St)</Name>
    <Type>Gallery</Type>
    <Address>534 W 25th St., New York, NY 10001</Address>
    <Phone>212-929-7000</Phone>
    <Fax>212-929-7001</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Film</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[The first exhibition to document the origins and historical development of the transient, yet pivotal “Happenings” movement from its inception in 1958 through 1963. The experimental performances forever changed the definition of art and the possibilities for what it could be. The show captures more than thirty of the original Happenings and the contributions of the main participants—Jim Dine, Simone Forti, Red Grooms, Allan Kaprow, Claes Oldenburg, Lucas Samaras, Carolee Schneemann, and Robert Whitman. It brings together for the first time more than 300 photographs by five photographers who witnessed and documented the performances, as well as artworks, rare film footage, and original ephemera. The exhibition is accompanied by a book published by The Monacelli Press and authored by Milly Glimcher.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0210-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/0210-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749383</Latitude>
  <Longitude>-74.004239</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/17D5" href="http://www.nyartbeat.com/event/2012/17D5">
  <Name>&quot;one and the other are another&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8AE19062">
    <Name>Ludlow 38 / The Goethe-Institut New York</Name>
    <Type>Gallery</Type>
    <Address>38 Ludlow St., New York, NY 10002</Address>
    <Phone>212-228-6848</Phone>
    <Fax></Fax>
    <Access>Between Grand and Hester Sts. Subway: F to East Broadway or B/D to Grand</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[The Goethe-Institut New York presents the first exhibition by Clara Meister, the 2012 Curatorial Resident at the contemporary art space Ludlow 38.

one and the other are another  includes new and recent works by five mostly Berlin-based artists. It deals with language and translation  in a reflection about the emergence of new meaning in communication – in text and speech as well as in well-known images and shared concepts.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/17D5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>38</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715789</Latitude>
  <Longitude>-73.990583</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1D6C" href="http://www.nyartbeat.com/event/2012/1D6C">
  <Name>Catherine Yass &quot;Lighthouse&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F6303922">
    <Name>Galerie Lelong</Name>
    <Type>Gallery</Type>
    <Address>528 W 26th St., New York, NY 10001</Address>
    <Phone>212-315-0470</Phone>
    <Fax>212-262-0624</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Galerie Lelong presents the U.S. debut of British artist Catherine Yass's new film &quot;Lighthouse&quot; (2011), a dynamic portrait of the Royal Sovereign lighthouse located off the coast of East Sussex, England. The single large-scale projection offsets the sense of equilibrium as the camera circles, soars, plunges, and hovers over the anomalous structure set in the vast expanse of sea and endless horizon. Complementing the film are a series of atmospheric lightboxes depicting the lighthouse and its surroundings. Lighthouse is Yass's second solo exhibition at Galerie Lelong and will open to the public on Friday, February 3rd from 6 to 8pm. The artist will be present.
 
Five miles out to sea, the Royal Sovereign lighthouse perches at the edge of a massive square platform balanced over a 108-foot concrete column. Yass describes it as &quot;a magnet or siren attracting you in, but also signaling dangerous waters.&quot; The film begins at water level, moving out to sea with the waves, then slowly soaring up and falling down each side of the lighthouse, and finally circling the platform. Eventually, the camera dives down into the sea through the dark, hazardous waters, inducing a sense of drowning. Yass disorientates the viewer and captures these different perspectives by filming from boat, helicopter and underwater. The muted sound and slowed pace also contribute to Yass's aim of displacing the viewer to &quot;somewhere slightly different, either physically or somewhere in their mind.&quot;
 
Equally captivating and alluring, Yass's series of surreal lightboxes draw the viewer into abstracted images of the structure. In this new lightbox series, Yass continues her signature technique of laying a photographic color transparency over a blue negative transparency, taken about 5 seconds apart. As a result, the areas that reflect light come out in vivid blue and the intensity of the sun is shifted to black, as seen in Lighthouse (East), 2011. The line between reality and illusion is blurred, giving the works a disturbingly calm and powerful presence.  
 
Lighthouse is Yass's first major film since High Wire (2008) and joins the ranks of her other critically-acclaimed films, Lock (2006) and Descent (2002). In each of these works, Yass's focuses on a well-known structure and explores both the physical and psychological effects of architectural space. Yass first became fascinated with the Royal Sovereign lighthouse while visiting the De La Warr Pavilion, and thus, chose it as the subject of the film commissioned in conjunction with her mid-career retrospective there in 2011.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/1D6C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749925</Latitude>
  <Longitude>-74.003667</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3B4B" href="http://www.nyartbeat.com/event/2012/3B4B">
  <Name>Chim↑Pom Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA14E641">
    <Name>MOMA PS1</Name>
    <Type>Museum</Type>
    <Address>22-25 Jackson Ave., Long Island City, NY 11101</Address>
    <Phone>718-784-2084</Phone>
    <Fax>718-482-9454</Fax>
    <Access>Corner of 46th Ave.  Subway: E/V to 23rd St./Ely Avenue, 7 to 45th Road, G to 21st Street</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Following the March 11, 2011 earthquake, the artist collective Chim↑Pom traveled to Soma City, Fukushima where they made friends with local youths—many of whom had lost their homes and loved ones, and were living among the destruction and radiation that accompanied the earthquake and subsequent destabilization of the nearby nuclear reactor. In response to the disaster they conducted a sequence of one hundred KI-AI. KI-AI is martial arts term describing a way to collect and direct one’s inner energy through exhalation or vocalization before attacking. Chim↑Pom plays on the idea by focusing the group’s energy through collective action which was video recorded. MoMA PS1 presents the resulting two-channel work KI-AI 100 (100 Cheers).

Unlike other areas that featured in many media reports, Soma City suffered from a shortage of volunteers, exacerbating the radiation-related problems and delaying the cleanup. The local youths, themselves victims of the quake, provided relief and aid towards reconstruction. Chim↑Pom explains, “This is the KI-AI shouted from the bottom of their hearts, in the midst of sorrow and delight, by those who live simultaneously as victim and aid worker. This is their reality!!”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3B4B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3B4B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3B4B-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested donations: Adults $10, Students and Seniors $5, MoMA members and with MoMA admission tickets Free</Price>
  <DateStart>2011-11-20</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74565</Latitude>
  <Longitude>-73.946178</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/720D" href="http://www.nyartbeat.com/event/2012/720D">
  <Name>Charles Atlas &quot;The Illusion of Democracy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2AD54D35">
    <Name>Luhring Augustine Bushwick</Name>
    <Type>Gallery</Type>
    <Address>25 Knickerbocker Avenue, Brooklyn, NY 11237</Address>
    <Phone>718-386-2747</Phone>
    <Fax></Fax>
    <Access>Between Johnson Ave and Ingraham st., Subway: L to Morgan Ave.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Luhring Augustine presents The Illusion of Democracy, a solo exhibition of the American film and video artist Charles Atlas. This will be the inaugural exhibition at Luhring Augustine’s new space in Bushwick, Brooklyn.

Atlas is a pioneering figure in film and video; for over four decades he has stretched the limits of his medium, forging new territory in a far-reaching range of genres, stylistic approaches, and techniques. Throughout his production, Atlas has consistently been deeply involved in fostering collaborative relationships, working intimately with such significant artists and performers as Leigh Bowery, Michael Clark, Douglas Dunn, Marina Abramovic, Yvonne Rainer, Mika Tajima and the New Humans, Antony and the Johnsons, and most notably Merce Cunningham, with whom he worked closely for a decade from the early 1970s through 1983.

The Illusion of Democracy will include two video installations never before seen in New York, Painting by Numbers, 2008 and Plato’s Alley, 2009. Atlas will also exhibit a new large-scale video work made specifically for this exhibition. 

Charles Atlas was born in St. Louis, MO in 1949; he has lived and worked in New York City since the early 1970s. His work has been exhibited domestically and internationally in such institutions as Tate Modern, London; the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Institute of Contemporary Art, Boston; Hamburger Bahnhof – Museum für Gegenwart, Berlin; and the Whitney Museum of American Art, New York. In Summer 2011, the New Museum, New York held a solo exhibition of Atlas’ film, Joints Array. In March 2012, Atlas will have a solo exhibition at the De Hallen, Haarlem and will be included in the 2012 Whitney Biennial. In late 2012, Regency Arts Press Ltd. will publish the first major publication of Atlas’ work.

[Image: Charles Atlas &quot;Painting By Numbers&quot; (2008) (installation view)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/720D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/720D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/720D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-18</DateStart>
  <DateEnd>2012-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>40</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.707359</Latitude>
  <Longitude>-73.93129</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9557" href="http://www.nyartbeat.com/event/2012/9557">
  <Name>Adam Curtis &quot;The Desperate Edge of Now&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/355E9211">
    <Name>e-flux</Name>
    <Type>Gallery</Type>
    <Address>41 Essex St., New York, NY 10013</Address>
    <Phone>212-619-3356</Phone>
    <Fax></Fax>
    <Access>Between Hester and Grand Sts.  Subway: B/D to Grand Street, F to East Broadway, J/M/Z to Essex</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Adam Curtis is not an artist, but a television journalist. Over the last decade, many artists have become interested in his work. Because of this, e-flux and Hans Ulrich Obrist have decided to create a solo show of Adam Curtis’ films that will include most of his work from 1989 to the present day.

In our current age of uncertainty, both art and journalism are struggling in their different ways to make sense of the present time. This exhibition of Adam Curtis’ works aims to try and break down the divide between art and modern political reportage, to open up a dialogue between the two.

Since the early 1990s Adam Curtis has made a number of serial documentaries and films for the BBC. They are linked through their interest in using the fragments of the past—recorded on film and video―and reassembling them to try and make sense of the chaotic events of the present.

The last twenty years has seen the collapse of many of the grand narratives that drove the world since the Second World War. TV journalism has changed as well, with reporting on events around the world now arriving to us as avalanches of recorded moments, yet carrying little comprehension of what the events mean. Reality slips in and out of focus, much as a fever grips the human mind.

In response to that, Adam Curtis’ films go back into the recent past to tell dramatic stories that lead the viewer to look again at the present day, to help make sense of it. The films are playful with images from the past, mixing journalism with a wide range of avant-garde filmmaking techniques. They also borrow from trash pop and are sometimes silly―but they are also deadly serious in their desire to break through some of the dangerous myths that today’s “avalanche journalism” has created in the modern sensibility. These are myths that those in power attempt to exploit in order to maintain their status at a time when their influence is in decline.

The old idea was that the heart of power was primarily located in the realm of politics. Adam Curtis’ films challenge that notion head-on by demonstrating how power really works in today’s complex society, how it also flows through all sorts of other areas: through science, public relations and advertising, psychology, computer networks, and finance and business.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9557-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/9557-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-04-14</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>65</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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 </Event>

 <Event xml:lang="en" id="2012/A440" href="http://www.nyartbeat.com/event/2012/A440">
  <Name>Jeff Keen &quot;Works from the 1960s + 1970s&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7CB74E3E">
    <Name>Elizabeth Dee</Name>
    <Type>Gallery</Type>
    <Address>545 W 20th St., New York, NY 10011</Address>
    <Phone>212-924-7545</Phone>
    <Fax>212-924-7671</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Elizabeth Dee Gallery presents the first solo exhibition at the gallery and United States debut of paintings and films by Jeff Keen [b. 1923, UK]. This important first exhibition in New York will explore in depth Keen's most influential and fundamental period of work, the 1960s and 1970s, during which he established a prolific visual practice extending to five decades of drawing, painting, experimental film, concrete poetry and performance.

Keen is primarily known as a legendary underground filmmaker whose work and activities coincided with the emergence of expanded cinema. He was one of the original participants in the 60s at the London Filmmakers Co-op. The BFI and later the British Arts Council supported and enabled Keen to make films and devise a multitude of drawings and paintings. During this period, Keen maintained jobs as a landscaper in the Parks and Recreation department of his hometown, Brighton, and sometimes as a postal worker delivering mail. The artist made movies primarily on weekends with his family and friends in an ensemble cast and his painting and drawing studio was for 40 years a repository of props and art that accumulated to extraordinary effect that has been fully documented.

Embracing the increasingly available technology of 8mm, 16mm and prevelance of American Pop imagery and Comics [and later Punk], Keen employed modes of popular media, technology and music in painting, drawing and collage using a stop frame animation process and in camera editing, resulting in active and evocative films. Utilizing a frequency of speed not found in work of the period, Keen, through the possibilities of the medium, brought new life to the significance of radical visual media.

Keen was able to merge Surrealist and Dadaist ideology with a social-political critique of American consumerism with the spontaneity of the Beat and 60s era. These works are avid responses to an overwhelming sense of increasingly proliferating media and commodification during the decade. He often explored his experiences surviving World War II in this material, focusing on monuments of power and the ever-present war within the artist as individual. This took the form of invented characters or corporations [i.e. Rayday Films] with brands, personas or protagonists in a fractured narrative style. Performative and reminiscent of Surrealism's influence on his formative period in the 1950s, Keen additionally drew from English Romanticism and his love of language to devise a novel method of working in a newly evolving medium. 

Keen's work can be viewed today as prescient to modes of film and video that began to take cultural references into an exploration of our own larger social portraiture. His enthusiastic embrace of alternative modes of discourse in a pre-internet age is astoundingly fresh today, and the diversity of his practice calls to mind both painters, film and video artists who succeeded him, from such figures as Derek Jarman, Richard Hamilton and Linder, to American artists such as Jack Smith, Ryan Trecartin and Peter Saul. 

Jeff Keen very rarely exhibited his drawings and paintings. He first showed Rayday Film [1968 - 1970] in the First International Underground Film Festival at the National Film Theatre in 1970. Upcoming 2012 exhibitions include a retrospective at the Brighton and Hove Museum, the National Portrait Gallery, London and Tate Modern, London.

[Image: Jeff Keen &quot;Rayday Film&quot; (1968 - 70 +1976) 16mm, 13 mins]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A440-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A440-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A440-170" width="170" />
  <Karma>1.89383</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.746275</Latitude>
  <Longitude>-74.006578</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B973" href="http://www.nyartbeat.com/event/2012/B973">
  <Name>Frances Stark &quot;My Best Thing&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA14E641">
    <Name>MOMA PS1</Name>
    <Type>Museum</Type>
    <Address>22-25 Jackson Ave., Long Island City, NY 11101</Address>
    <Phone>718-784-2084</Phone>
    <Fax>718-482-9454</Fax>
    <Access>Corner of 46th Ave.  Subway: E/V to 23rd St./Ely Avenue, 7 to 45th Road, G to 21st Street</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Frances Stark (American, b. 1967) is a Los Angeles-based artist and writer whose work explores image-making and the written word. Known for her works on paper that often reference the acts of drawing and writing, Stark also makes videos, sculptures, and live performances that are suffused with self-doubt, speculation, and vulnerability. She regularly draws from popular culture, literature, and her own personal life, often exploring expectations and assumptions about gender that inflect her identity as a woman, artist, teacher, and mother.

First presented at the 54th Venice Biennale, Stark's My Best Thing is a feature-length animation in the form of a serialized soap opera, constructed from interactions in online video chatrooms. The female protagonist's flirtatious discussions with random participants soon expand beyond sex into broader topics including film history, politics, and protest, and she gradually grows fond of some of her interlocutors, who transform from strangers into confidants and collaborators. Produced using a text-to-speech animation program from the scripts of virtual encounters, My Best Thing highlights the manner in which current communication technologies allow for both greater intimacy and anonymity, giving rise to new kinds of behaviors and relationships.    ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B973-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B973-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B973-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested donations: Adults $10, Students and Seniors $5, MoMA members and with MoMA admission tickets Free</Price>
  <DateStart>2011-10-14</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74565</Latitude>
  <Longitude>-73.946178</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C1A2" href="http://www.nyartbeat.com/event/2012/C1A2">
  <Name>James Nares &quot;1976: Movies, Photographs and Related Works on Paper&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D2A39B09">
    <Name>Paul Kasmin Gallery (515 W 27th)</Name>
    <Type>Gallery</Type>
    <Address>515 W. 27th St., New York, NY 10001</Address>
    <Phone>212-563-4474</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[“Lower Manhattan in 1976 was a beautiful ruin. The crumbling wasteland proved fertile ground for artists though, nurturing the talent of a generation inspired by its vast emptiness.” James Nares

Paul Kasmin Gallery presents 1976: Movies, Photographs and Related Works on Paper, a new exhibition by James Nares. Before he was painting large, single movement brush strokes, Nares’s kinetic investigations took other forms and directions. His preoccupation with movement and bodies in motion was well provided for in what amounted to an enormous, open air, common studio. The post-industrial landscape became the backdrop, subject and the medium during his prolific early career.

The exhibition will feature five films including his 1976 Pendulum, which clocks a large spherical mass as it swings on a wire, strung up high from the footbridge, since dismantled, crossing Staple Street in downtown Manhattan. The exhibition will also feature a series of black and white chronophotographs that reveal the temporal structure of a pendulum’s swing, invisible to the naked eye, along with drawings, diagrams, objects, photos and other related material.

Of Nares’s films, Amy Taubin writes, “Pendulum, like several other of Nares's mid-'70s movies—Hand Notes #2 (1975) and Ramp, Steel Rod, and Poles (all 1976)—was influenced by the films Richard Serra made in the late '60s, primarily Hand Catching Lead (1968). Both films depict a single, repeated action involving the effect of gravity on a heavy metal object. But the comparison stops there. Pendulum has a haunted lyricism, which has nothing to do with Serra's interests. The film evokes an anxiety dream: The entropic movement of the groaning pendulum, the claustrophobic effect of the industrial buildings lining the site on three sides, the slivers of sunlight penetrating the dust-laden air, even the occasionally glimpsed shadow of the filmmaker, suggest that something terrible has taken or is about to take place on this desolate street.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C1A2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1A2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1A2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750482</Latitude>
  <Longitude>-74.002948</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D1DB" href="http://www.nyartbeat.com/event/2012/D1DB">
  <Name>Yinka Shonibare MBE &quot;Addio del Passato&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/145CEA21">
    <Name>James Cohan Gallery</Name>
    <Type>Gallery</Type>
    <Address>533 W 26th St., New York, NY 10001</Address>
    <Phone>212-714-9500</Phone>
    <Fax>212-714-9510</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[James Cohan Gallery presents an exhibition of new works by British born, Nigerian artist Yinka Shonibare MBE. In this multi-part exhibition of new sculptures, photoworks and the premiere of a new film, Shonibare explores the concept of destiny as it relates to themes of desire, yearning, love, power and sexual repression.

Yinka Shonibare, well known for creating multi-faceted, conceptual art work, continues to draw our attention to patterns of history and how they are repeated in our own time. Following the installation of the artist’s widely-acclaimed work Nelson’s Ship in a Bottle, on the Fourth Plinth in Trafalgar Square, London, Shonibare continues his explorations of Lord Nelson, the figurehead of the British Empire at its apotheosis. Nelson’s destiny was to fall a hero at the Battle of Trafalgar just as the British Empire’s ultimate destiny was its inevitable demise. Shonibare sees a similar fate reflected on the front pages of today’s newspapers, “The Imperial West is in decline at a time of great economic challenges as we see the rise of the East. The old world is in decline and new worlds are emerging through the economic successes of China and India and the revolutions in the Arab world. We are re-experiencing a new Age of the 'Decline and Fall of the Roman Empire'.”

The main gallery will feature a series of five new photoworks entitled Fake Death Pictures. The artist refers to this series as “a re-enactment of suicide through the history of death in Painting.” Shonibare imagines a dramatized vision of the tragic event of Nelson’s death as played out over a series of five photographic allegories based on classic scenes in painting. The series brings together painting, stage design and photography to create works in the manner of The Suicide by Leonardo Alenza y Nieto (1839) and Edward Manet, (1877) and The Death of Chatterton by Henry Wallis (1856), Death of St. Frances by Bartolomé Carducho (1593) and Death of Leonardo da Vinci by François-Guillaume Ménageot (1781).

Two sculptural installations of costumes constructed in period details with Shonibare’s signature fabric will be displayed in the main gallery space. These costumes were worn by the actors in the film projected in the back gallery. Although the fabric has become a signifier of “Africaness” it is in fact a textile produced by the Dutch with patterns influenced by Indonesian batiks. And therein lays the irony: despite the misunderstanding surrounding the fabric’s cultural origins, it has come to represent a true African identity. The significance of the fabric has provided a conceptual underpinning in Shonibare’s work since his early work.

In the back gallery on view is the film Addio Del Passato (so closes my sad story) in which the character of Frances Nisbet, Lord Nelson’s estranged wife sings the eponymous aria from the last act of Verdi’s opera La Traviata. Shonibare finds a parallel in the story of Nelson’s betrayal of his wife and his passionate love affair with Lady Hamilton to the feelings of loss and yearning as expressed by the opera’s heroine Violetta, on the eve of her impending death. 

On display in the front gallery will be three sculptures of fetish objects and sex aids from bygone eras. With characteristic wit, Shonibare presents his audience with two reproductions of anti-masturbation devices—one for women and one for men—fascinating objects of beauty and horror. Complimenting the array will be a pair of fetish boots whose improbable proportions connote both domination and submission.

Yinka Shonibare, MBE (b.1962) lives and works in London, UK. Shonibare received the prestigious Fourth Plinth Commission in Trafalgar Square from the mayor of London in 2009.

[Image: Yinka Shonibare MBE &quot;Fake Death Picture&quot; (The Death of Chatterton - Henry Wallis), (2011) digital chromogenic print 50 X 62 5/8 inches, Edition of 5]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-02-16" start="18:00:00" end="20:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.75</Latitude>
  <Longitude>-74.003711</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D2E1" href="http://www.nyartbeat.com/event/2012/D2E1">
  <Name>André Saraiva &quot;Love Letters”</Name>
  <Venue href="http://www.nyartbeat.com/venue/796DDFEA">
    <Name>Half Gallery</Name>
    <Type>Gallery</Type>
    <Address>208 Forsyth St., New York, NY 10002</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Houston and Stanton St. Subway: F/V to 2nd Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 16:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Painting</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Street artist André Saraiva is perhaps best known for the creation of his &quot;Mr. A&quot; character which was featured last year in the award winning documentary Exit Through the Gift Shop. He made his own directorial debut in 2011 with his short film, &quot;The Shoe,&quot; co-starring Leo Fitzpatrick and Annabelle Dexter-Jones. Saraiva has exhibited all over the world including shows at Colette, Palais de Tokyo and Air de Paris where he showed his love graffiti for the first time. For MOCA's landmark &quot;Art in the Streets&quot; show, he tagged up the museum's bathrooms with his colorful graffiti. Andre's show Love Letters at half gallery -- his first solo exhibition in New York -- will include paintings on french letter boxes which he used to paint all over Paris and love notes on stationery, a somewhat anachronistic celebration of communication so closely tied to the romantic. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D2E1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D2E1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D2E1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>21</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722383</Latitude>
  <Longitude>-73.990614</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D783" href="http://www.nyartbeat.com/event/2012/D783">
  <Name>The Herd Remorse</Name>
  <Venue href="http://www.nyartbeat.com/venue/03242706">
    <Name>Lesley Heller Workspace </Name>
    <Type>Gallery</Type>
    <Address>54 Orchard St., New York, NY 10002</Address>
    <Phone>212-410-6120</Phone>
    <Fax>212-410-5340</Fax>
    <Access>Between Grand and Hester. Subway: B/D to Grand Street or F/J/M/Z to Essex Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D783-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D783-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D783-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716594</Latitude>
  <Longitude>-73.990822</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DB92" href="http://www.nyartbeat.com/event/2012/DB92">
  <Name>PS3* Pedro Sanchez3 &quot;On the Outer Edge&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6EDA133D">
    <Name>Abrons Arts Center </Name>
    <Type>Cultural Center</Type>
    <Address>466 Grand St., New York, NY 10002</Address>
    <Phone>212-598-0400</Phone>
    <Fax></Fax>
    <Access>Corner of Pitt St.  Subway: F to East Broadway or Delancey, D/B to Grand Street, J/M to Essex Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>22:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 11:00, sundays closinghour 18:00, saturdays openinghour 09:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The Abrons Arts Center announces On the Outer Edge, an exhibition by Spanish-born New York based artist PS3* Pedro Sanchez3 in the Upper Main Gallery. The artist presents a new video work in his full-scale model home designed for a life of deliberate deprivation. Based on Brazilian favelas and built from materials found in and around the Lower East Side, this continually adaptable structure participates in an international language of habitation. Dwellings like the one presented in this exhibition are a global response to poverty — usually inhabited by immigrants or slave workers in the suburbs of large cities in Brazil, Mexico, the Philippines, Morocco, and many other African and Asian countries. 

This (anti-)utopian dwelling uses the leftovers of capitalist production to re-negotiate contemporary living spaces. Rather than looking to state-of-the-art materials and advanced construction technologies PS3* poses bricolage as a solution to the need for an affordable, easily transportable and environmentally efficient house. We are presented with a porous and ephemeral structure that challenges the notion of the self-enclosed, permanent home and puts in its place a model of community living sustained by creative reconstruction, mobility and change. 

Installed in the favela is a video of schizoid scenes from dance clubs, street bazaars, and arcades, cropped and blurred to the brink of abstraction. The video suggests a passage through temporary spaces filled with life, music, metallic surfaces, and darkened shadows. It conjures a dream experience of so many not-quite-recognizable cities floating by in disjointed stop light animation that barrels toward, but never reaches, total saturation and exhaustion. 

In this moment of worldwide occupations On the Outer Edge redirects the gaze of the revolutionary spirit away from central urban spaces and towards the incongruous fringes of the social. The dialogue between the video and dwelling structure embraces transience, for better or worse, as a mode of living. Eschewing the notion of a linear timeline that moves forward in the name of progress, PS3* deploys a circular temporality of reuse and revision. The ambiguous locations of the video and transient space of the favela appear not simply as the dysphoric remains of global capitalism but as permeable laboratories for rethinking the future.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DB92-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DB92-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DB92-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-02-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-24" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>8</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715256</Latitude>
  <Longitude>-73.984058</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EA52" href="http://www.nyartbeat.com/event/2012/EA52">
  <Name>Breyer P-Orridge &quot;I'm Mortality&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/946E5141">
    <Name>INVISIBLE-EXPORTS</Name>
    <Type>Gallery</Type>
    <Address>14A Orchard Street, New York, NY 10002</Address>
    <Phone>212-226-5447</Phone>
    <Fax></Fax>
    <Access>Between Hester and Canal Sts.  Subway: F to East Broadway</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment. </ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EA52-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EA52-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EA52-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>45</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715058</Latitude>
  <Longitude>-73.991617</Longitude>
 </Event>

</Events>
