<?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>
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  <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="2008/DF1C" href="http://www.nyartbeat.com/event/2008/DF1C">
  <Name>&quot;Culture and Continuity: The Jewish Journey&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/17E1F92A">
    <Name>The Jewish Museum</Name>
    <Type>Museum</Type>
    <Address>1109 5th Ave., New York,NY 10128</Address>
    <Phone>212-423-3271</Phone>
    <Fax></Fax>
    <Access>Corner of 92nd St.  Subway: 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:45:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="1" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 16:00, thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>New Year’s Day, Martin Luther King Jr. Day, Thanksgiving and major Jewish holidays. Note new Thursday hours from November 19, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Other</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[At the heart of The Jewish Museum is its permanent exhibition, Culture and Continuity: The Jewish Journey, representing one of the world's great opportunities to explore Jewish culture and history through art. This vibrant two-floor exhibition features 800 works from the Museum's remarkably diverse collection of art, archaeology, ceremonial objects, video, photographs, interactive media and television excerpts. It examines the Jewish experience as it has evolved from antiquity to the present, over 4,000 years, and asks two vital questions: How has Judaism been able to thrive for thousands of years across the globe, often in difficult and even tragic circumstances? What constitutes the essence of Jewish identity?

The exhibition traces the dynamic interaction among three catalysts that have shaped the Jewish experience: the constant questioning and reinterpretation of Jewish traditions, the interaction of Jews and Judaism with other cultures, and the impact of historical events that have transformed Jewish life. Culture and Continuity: The Jewish Journey proposes that Jews have been able to sustain their identity, despite wide dispersion and sometimes tragic circumstances, by evolving a culture that can adapt to life in many countries and under various conditions. Survival as a people has depended upon both the continuity of Jewish ideas and values and the flexibility to adapt to changing circumstances.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2008/DF1C-170" width="170" />
  <Karma>1.03387</Karma>
  <Price free="0">Adults $12, Seniors $10, Students $7.50, Free for Members and Children under 12 and on Saturday</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>40.785383</Latitude>
  <Longitude>-73.957622</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/2276" href="http://www.nyartbeat.com/event/2011/2276">
  <Name>Sanja Iveković &quot;Sweet Violence&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE192502">
    <Name>The Museum of Modern Art</Name>
    <Type>Museum</Type>
    <Address>11 W 53rd St., New York, NY 10019</Address>
    <Phone>212-708-9400</Phone>
    <Fax></Fax>
    <Access>Between 5th Ave. and 6th Ave.  Subway: V/E to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Summer Hours through Sept. 3: Sunday through Wednesday, 10:30 a.m.–5:30 p.m. Thursday through Saturday, 10:30 a.m.–8:30 p.m.</ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[The first museum exhibition in the United States of the work of Sanja Iveković (b. 1949, Zagreb) covers four decades of the artist's remarkable career. A feminist, activist, and video pioneer, Iveković came of age in the early 1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings, laying the ground for a form of praxis antipodal to official art. Part of the generation known as the Nova Umjetnička Praska (New Art Practice), Iveković produced works of cross-cultural resonance that range from conceptual photomontages to video and performance. 

This exhibition brings together a historic group of single-channel videos and media installations, including Sweet Violence (1974), Personal Cuts (1982), Practice Makes a Master (1982/2009), General Alert (Soap Opera) (1995), and Rohrbach Living Memorial (2005). Among the 100 photomontages featured in the exhibition is Iveković's celebrated series Double Life (1975–76), for which the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of women's magazines. 

While in the 1970s Iveković probed the persuasive qualities of mass media and its identity-forging potential, after 1990—following the fall of the Berlin Wall, the disintegration of Yugoslavia, and the birth of a new nation—she focused on the transformation of reality from socialist to post-socialist political systems. Iveković offers a fascinating view into the official politics of power, gender roles, and the paradoxes inherent in society's collective memory. The exhibition will be accompanied by a major publication.

[Image: Sanja Iveković &quot;Personal Cuts&quot; (1982) Video (black and white and color, sound), 3:40 min. Courtesy the artist. © 2011 Sanja Iveković]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/2276-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $25, Seniors $18, Students $14, Children and Members and on Friday 4pm–8pm Free. Film Admission as of September 1, 2011: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full-time students with current I.D. (for admittance to film program</Price>
  <DateStart>2011-12-18</DateStart>
  <DateEnd>2012-03-26</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>46</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/39C1" href="http://www.nyartbeat.com/event/2011/39C1">
  <Name>Michael Snow &quot;In the Way&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C5DBB9C9">
    <Name>Jack Shainman Gallery</Name>
    <Type>Gallery</Type>
    <Address>513 W 20th St., New York, NY 10011</Address>
    <Phone>212-645-1701</Phone>
    <Fax>212-645-8316</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, 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: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Jack Shainman Gallery presents a solo exhibition of new work by Michael Snow. The show will examine the act of looking and the process of viewing though projections, holography and photo-based works.

The Viewing of Six New Works is a new seven-part projection which draws on Snow's oeuvre to examine the nature of perception and the physical relationship of the artwork to the viewer. The light projections simulate the varying ways a person might look at a rectangular wall-mounted artwork by digitally mimicking and essentializing the movement of the eyes. The gestures of viewing are revealed as the shifting focus of the spectator's gaze becomes fleetingly tangible and physically manifested through the piece. &quot;The work is an attempt to present only the movements of perception, not perception itself,&quot; explains Snow, &quot;the art of looking at art.&quot;

A second new work, In the Way, is a floor-projection of a trucking pan shot directly above varying terrains of Northern Canada. The work relates to Snow's seminal La Region Central (1971) and &lt;―&gt; (1969) in its pendulum motion and the use of the cinematic apparatus of both camera and projector as a stand-in for the artist and viewer's gaze. The work becomes a virtual extension that the observer is able to get &quot;in the way of&quot; by standing in the image and altering the piece. The ambiguity of the illusionary plane, which simultaneously contains and breaches the demarcated space, creates an opposition unsettling the viewer's own presence. 

Additionally, the show will feature earlier works which explore the act of seeing &quot;as framing and containment&quot; and draw out the continuous themes of conceptual play and self-referentiality which permeate Snow's body of work. Exchange, a hologram from 1985, confronts the observer through a staring spectral face. La Ferme (1998), a photo-based work spanning 23 feet is derived from 16mm film of a pastoral scene whose subject, grazing cows, observes the viewer and blurs the boundary of motion and stillness. Both of these works are a testament to Snow's ability to use a cross-section of media to investigate the tension between the &quot;here&quot; and &quot;there&quot; through technological displacement.

Michael Snow is a visual artist, filmmaker and musician. He first exhibited in New York in the 1960s and became internationally recognized for pioneering avant-garde cinema with the film Wavelength (1967). His work is represented in private and public collections worldwide including the Museum of Modern Art, New York; the Hirshhorn Museum, Washington, DC; the National Gallery of Canada, Ottawa; the Art Gallery of Ontario, Toronto; Museum Ludwig, Cologne; Centre Georges-Pompidou, Paris, and both the Montréal Museum of Fine Arts and the Musée d'Art Contemporain in Montréal. Michael Snow has represented Canada at the Venice Biennale and is a member of the Order of Canada and a Knight of the Order of Arts and Letters in France.

Snow recently had an exhibition Solo Snow at Le Fresnoy, France curated by Louise Déry. In 2012, he will have solo exhibitions at The Vienna Secession, a sculpture retrospective at the Art Gallery of Ontario and a solo show at the Philadelphia Museum of Art.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/39C1-170" width="170" />
  <Karma>1.52654</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745961</Latitude>
  <Longitude>-74.005825</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/4539" href="http://www.nyartbeat.com/event/2011/4539">
  <Name>&quot;Shifting Communities&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/050FFC94">
    <Name>Bronx Art Space</Name>
    <Type>Event Space</Type>
    <Address>305 E 140th St., #1A, Bronx, NY 10454</Address>
    <Phone>718-772-4961 </Phone>
    <Fax></Fax>
    <Access>Between 3rd and Alexander Aves. Subway: 6 to 138th Street </Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</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>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Shifting Communities highlights dynamic initiatives in culture and the arts currently at work in the margins of the art world and American society. The goal of this project is to create a paradigm where community-centric contemporary art and artist think-tanks can be a tool for public service; a language for the exploration and investigation of the broader aspects of culture and society; and a magnet that can bring different cultures and ideologies together in order to strengthen a more inclusive definition of community.


Exhibition Schedule:
Shifting: J+J, BroLab, and Nicky Enright
September 9th through October 8th 2011

Shifting: SP Weather Station, Laura Napier, and Christy Speakman
October 21st through November 18th 2011

Shifting: Action Club and Hatuey Ramos-Fermin
December 2nd 2011 through January 6th 2012

Shifiting: T.W.O., P.w.O., and W.P.C.
January 20th through February 18th 2012


Bronx artists: Laura Napier (Social Practice/Video), Nicky Enright (Video/Painting/DJ), Hatuey Ramos-Fermin (Installation/Performance), and Christy Speakman (Photography/Sculpture/Video)


Artist Collective Members: Jason Balicki and Jason Eisner (J+J Collective); Ryan Roa, Travis LeRoy Southworth, Robert Amesbury, Adam Brent, Ken Madore, Jonathan Brand, Rahul Alexander, and Edward Lee Bullock (BroLab); Douglas Paulson, Kerry Downey, Christopher Domenick, Christopher Robbins, Justin Rancourt, Chuck Yatsuk, and Jo Q Nelson (Action Club); Heidi Neilson and Natalie Campbell (SP Weather Station); Katarina Jerinic and Naomi Miller (The Work Office); Erica Leone, Heather M. O'Brien, and Felisia Tandiono (Works Progress Collective); Alexandra Woolsey-Puffer and Jeff Maki (Publicworks Office)

Shifting Communities operates multifold: as a roundtable brainstorming series for students, artists, and local residents; as a curatorial/exhibition initiative; and as Bronx-centric social sculpture.

Roundtable Brainstorming Series: An artist built installation in our exhibition facility will serve as the physical infrastructure for a series of roundtable discussions. Featuring the Bronx as a hub, the roundtable installation will host a yearlong series of discussions based on the changing socio-demographics, community development, and non-profit exhibition strategies (to name a few) across the boroughs of New York City. Each roundtable will feature a Bronx artist alongside an artist collective from outside the Bronx. In addition to the roundtable, the artists are charged with creating an exhibit of art inclusive of the discussion and informed by the Bronx community. The roundtable will also be made available to other artists and community members outside the program to schedule events and activities of their own.

Curatorial/Exhibition Initiative: This series was created in response to the current economic, environmental, and political stress across the country and the grassroots initiatives and local communities of artists that have spawned from it to create innovative and effective interpretations of development and progress. Through four separate exhibitions, this initiative changes the gallery from a space of passive art viewing into one of active art creating. The audience is as integral to the creation of the program as the artists. The artwork stems from discussion and consideration for the community it is created in.

Bronx-centric Social Sculpture: Taken as a whole, this program can be seen as one large artwork. The accumulation of sketches, notes, photographs, and other ephemera from the roundtable presentations, along with the artworks created and exhibited will be archived in a published catalog and video series of documentation and critical dialogue. As the series progresses, the roundtable installation will act as a visual timeline of the work and ideas presented culminating in an archive of the entire program at the close of our season.]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-09-09</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.811828</Latitude>
  <Longitude>-73.924936</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/CA58" href="http://www.nyartbeat.com/event/2011/CA58">
  <Name>&quot;Looking Back / The 6th White Columns Annual&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB499DDF">
    <Name>White Columns</Name>
    <Type>Gallery</Type>
    <Address>320 W 13th St., New York, NY 10014</Address>
    <Phone>212-924-4212</Phone>
    <Fax>212-645-4764</Fax>
    <Access>Between 8th Ave. and Hudson St. Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="villages">Villages</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>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Selected by Nick Mauss and Ken Okiishi

‘Looking Back’ is the sixth installment of the White Columns Annual. The exhibition is now an annual fixture on White Columns’ calendar. Each year, an individual or a collaborative team (e.g. an artist, a curator, a writer, etc.) is invited to make an exhibition at White Columns based on their personal experience of looking at art in New York in the previous year. For the sixth ‘Annual’ exhibition, White Columns has invited the New York-based artists Ken Okiishi and Nick Mauss to make the selection. 

In a very straightforward sense, the ‘Annual’ exhibition hopes to reveal something of the complexities involved in trying to negotiate - and engage with - New York’s constantly shifting cultural landscape. The format of the exhibition inevitably encourages highly subjective and deeply personal responses to the realities of viewing art in New York. The ‘Annual’ exhibition series hopes to illuminate aspects of the specific, yet highly idiosyncratic routes – geographical, intellectual, historical, social, etc. – that individuals follow in an increasingly expansive and fragmented cultural environment.
Through the re-contextualization of artworks encountered in other circumstances and contexts, the exhibition hopes to establish – albeit temporarily – a new ‘narrative’, a conversation, of sorts, amongst artists and artworks, that seeks to illuminate and/or explore certain underlying tendencies, conditions, or connections that perhaps might otherwise have remained elusive or obscured. In re-thinking the (fairly) recent past the exhibition hopes to provoke something akin to a sense of deja-vu, establishing a scenario that is at once both reflective and forward thinking. 

There are no restrictions as to what type of work can be included. ‘Looking Back’ seeks to eliminate any categorical or hierarchical distinctions we might place upon artworks (e.g. based upon the circumstances in which they were originally seen, or the seniority of an individual artist, etc.) These works might have been originally encountered in exhibitions at institutions, galleries, and not-for-profit spaces, or at performances, readings, during visits to artists’ studios, or online, etc.
]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-10</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.739583</Latitude>
  <Longitude>-74.003986</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/D045" href="http://www.nyartbeat.com/event/2011/D045">
  <Name>Aleksandra Mir &quot;The Seduction of Galileo Galilei&quot;</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: Video installation</Media>
  <Description><![CDATA[Aleksandra Mir (b. 1967) develops projects that take her around the world to examine the dynamics of popular cultural myths and historical events. In The Seduction of Galileo Galilei (2011), Mir engages in a dialogue with the seventeenth-century Italian “father of modern science,” in a new video work that documents a collaborative, Galileo-inspired gravitational experiment. A selection of collages from Mir’s series The Dream and the Promise (2008–2009) will accompany the video installation. These works, which combine religious iconography with images and symbols of space travel, allude to the complicated, and not always contentious, relationship between science and faith.

Aleksandra Mir was born in Lublin, Poland, in 1967, and is a dual citizen of Sweden and the United States. She received her BFA at the School for Visual Arts, New York in 1992, and from 1994 to 1996 studied Cultural Anthropology at the New School for Social Research, New York. Mir currently lives and works in London, England.

[Image: Aleksandra Mir (b. 1967), still from &quot;The Seduction of Galileo Galilei&quot; (2011) Video, color, sound; 16:33 min. Commissioned by Mercer Union, Toronto. Collection of the artist, Mary Boone Gallery, New York, and Galeria Joan Prats, Barcelona]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/D045-170" width="170" />
  <Karma>0.26051</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>2011-10-20</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>10</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/E0A0" href="http://www.nyartbeat.com/event/2011/E0A0">
  <Name>Clifford Owens &quot;Anthology&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>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[For his first exhibition at a New York museum, Clifford Owens (American, b. 1971) presents a new project Anthology, which is comprised of photography, video, and live performance.

Anthology features performances scores—written or graphical instructions for actions—that Owens solicited from a multigenerational group of African-American artists. Twenty-six major artists have contributed scores, nearly all of whom composed new works specifically for Owens and his project.

Owens has long known that African-American performance art has been under-recognized and that its history remains largely unwritten. Rather than producing scholarly research on the topic, Owens has created an unprecedented compendium of African-American performance that is both highly personal and historical in nature.

During the summer of 2011, Owens had studio space at MoMA PS1 and made use of the entire building to enact the performance scores, which range from vague commands to highly choreographed movements and actions. On a weekly basis, Owens performed in various locations including the basement boiler room, rooftop, and attic. Through Owens' subjective reading of each score, he underscores the mutability and elastic nature of the sets of instructions.  The resulting photographs, videos, and objects will be presented in the exhibition. The artist will also perform selected scores live throughout the course of the show.

Anthology scores have been contributed by artists including Derrick Adams, Terry Adkins, Sanford Biggers, Aisha Cousins, Sherman Fleming, Coco Fusco, Charles Gaines, Malik Gaines, Rico Gatson, Rashawn Griffin, Lyle Ashton Harris, Maren Hassinger, Steffani Jemison, Jennie C. Jones, Nsenga A. Knight, Glenn Ligon, Dave McKenzie, Senga Nengudi, Lorraine O'Grady, Benjamin Patterson, William Pope.L, Jacolby Satterwhite, Xaviera Simmons, Shinique Smith, Kara Walker, and Saya Woolfalk.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/E0A0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/E0A0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/E0A0-170" width="170" />
  <Karma>0.261235</Karma>
  <Price free="0">Suggested donations: Adults $10, Students and Seniors $5, MoMA members and with MoMA admission tickets Free</Price>
  <DateStart>2011-11-13</DateStart>
  <DateEnd>2012-03-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>32</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74565</Latitude>
  <Longitude>-73.946178</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/EBFC" href="http://www.nyartbeat.com/event/2011/EBFC">
  <Name>&quot;Projects 96: Haris Epaminonda&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE192502">
    <Name>The Museum of Modern Art</Name>
    <Type>Museum</Type>
    <Address>11 W 53rd St., New York, NY 10019</Address>
    <Phone>212-708-9400</Phone>
    <Fax></Fax>
    <Access>Between 5th Ave. and 6th Ave.  Subway: V/E to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Summer Hours through Sept. 3: Sunday through Wednesday, 10:30 a.m.–5:30 p.m. Thursday through Saturday, 10:30 a.m.–8:30 p.m.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The museum presents the first solo exhibition in the United States of Berlin-based artist Haris Epaminonda.

Epaminonda is internationally known for her photographic assemblages constructed from found books and magazines of the 1960s, and for her video installations, in which television footage culled from Greek soap operas that she used to watch as a child on Sunday afternoons in Cyprus, are reshot and re–edited in new sequences, creating a web of elusive associations. This exhibition presents Epaminonda's three–channel video installation &quot;Tarahi IIII, V, VI&quot; (2007), part of an ongoing series that enlists the use of reverse shooting, montage, cuts, superimposition, and repetition of motifs to address the permeability of memory.

[Image: Haris Epaminonda. Video still from Tarahi V from Tarahi IIII, V, VI. 2007. Three-channel video installation, color, sound, 7:36 mins. Courtesy the artist &amp; Rodeo, Istanbul. © 2011 Haris Epaminonda]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/EBFC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EBFC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EBFC-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $25, Seniors $18, Students $14, Children and Members and on Friday 4pm–8pm Free. Film Admission as of September 1, 2011: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full-time students with current I.D. (for admittance to film program</Price>
  <DateStart>2011-11-17</DateStart>
  <DateEnd>2012-02-20</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>11</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/EDEB" href="http://www.nyartbeat.com/event/2011/EDEB">
  <Name>Jayson Keeling &quot;See Jungle! See Jungle! Go Join Your Gang, Yeah. City All Over! Go Ape Crazy.&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E69EA51F">
    <Name>Third Streaming</Name>
    <Type>Event Space</Type>
    <Address>10 Greene St., 2nd fl., New York, NY 10013</Address>
    <Phone>646-370-3877</Phone>
    <Fax></Fax>
    <Access>Between Canal and Grand St. Subway: 6/N/Q/R to Canal Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Third Streaming presents an exhibition by Jayson Keeling. See Jungle! See Jungle! Go Join Your Gang, Yeah. City All Over! Go Ape Crazy., marks Keeling’s first one-person show at the gallery. The exhibition features a selection of rarely seen photographs shown alongside a new series of paintings and videos.
 
Taking its cue from a 1981 Bow Wow Wow album, See Jungle! highlights the strong influence of music on the artist’s practice and his fascination with popular and street culture. Drawing from hip-hop, punk, jazz, the 1980‘s New Wave movement as well as from film, and modern and pop art, the work blends visual imagery and text - often appropriated from music lyrics and film narratives -  into unexpected outcomes. In addition, Keeling’s bi-cultural upbringing between Jamaica and the Bronx, New York comes into play in subtle ways.
 
The exhibition title provides a direct example of the cultural-recycling that saturates Keeling’s work. The Bow Wow Wow album cover features a photograph of the band posed as a tableau vivant of Manet’s Luncheon on the Grass, making Keeling’s appropriation of the title a playful commentary on cultural fluidity, the urban jungle, and the power of reinterpretation.
 
Several of the works on display straddle the gritty physicality of punk and hip-hop and the high-gloss aesthetic of fashion photography. The dialogue between these seemingly disparate outlooks creates a raw energy that Keeling takes advantage of to highlight themes of gender, race and sexuality as well as to provide a critique on commercialism and socio-political issues. In Vampire, 2004/printed 2011 and Mathias, 2002/printed 2011, the careful composition mixes with the interplay of textures to emphasize the strength and sensuality of the human body, as well as, provides a commentary on the dominance of advertising and branding in contemporary culture.
 
Jayson Keeling was born in New York and raised between Jamaica and the Bronx. He currently lives and works in Brooklyn. His work has been included in exhibitions at El Museo del Barrio (New York), The Andy Warhol Museum (Pittsburgh, PA), Queens Museum of Art, The Bronx Museum, and The Studio Museum in Harlem, among others. Keeling has been awarded residencies from the Lower Manhattan Cultural Council as well as the Apex Outbound Residency in Ethiopia.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/EDEB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EDEB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EDEB-170" width="170" />
  <Karma>1.00129</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-10-28</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote>Hours: Wednesday to Friday, noon to 6 pm and Saturday, 1 pm to 6 pm or by appointment.</ScheduleNote>
 <Party type="1" date="2011-10-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720678</Latitude>
  <Longitude>-74.002944</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/EED5" href="http://www.nyartbeat.com/event/2011/EED5">
  <Name>Brian Bress &quot;Status Report&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B16209D5">
    <Name>The New Museum of Contemporary Art</Name>
    <Type>Museum</Type>
    <Address>235 Bowery, New York, NY 10002</Address>
    <Phone>212-219-1222</Phone>
    <Fax></Fax>
    <Access>On the corner  of Prince St. Subway: 6 to Spring Street or N/R to Prince Street. Bus: M103 to Prince and Bowery or M6 to Broadway and Prince.</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>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[This exhibition, the latest presentation in the New Museum's ‘Stowaways’ series, will be the New York premier of Brian Bress’s Status Report (2009). In Bress’s low-tech video, humorous characters, all played by the artist, struggle with interpersonal relationships, the pursuit of intended goals, and the desire to communicate. Manipulating pictorial and sculptural conventions through fantastically hand-crafted sets and costumes that combine drawing, painting, and collage, Bress creates a disjunctive world where spaces of imagination and representation compete for equal footing. Brian Bress (b. 1975) lives and works in Los Angeles. His videos have been shown at ICA, Philadelphia; LAX Art, Los Angeles; Diverse Works, Houston; University of South Florida Contemporary Art Museum, Tampa; and Parrish Art Museum, South Hampton. His work was included in the comprehensive survey exhibition “California Video: Artists and Histories” presented at the Getty Museum in 2008. This is Bress’s first New York museum presentation.

“Brian Bress: Status Report” is organized by Jenny Moore, Assistant Curator.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/EED5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EED5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EED5-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">General Admission $12, Seniors $10, Students $8, 18 and under Free, Members Free, Thursday Evenings (from 7pm) Free.</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-03-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>45</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722383</Latitude>
  <Longitude>-73.99305</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/F43D" href="http://www.nyartbeat.com/event/2011/F43D">
  <Name>Jacco Olivier &quot;Outdoor Exhibition of Six Painterly Animations&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1A8017B1">
    <Name>Mad. Sq. Art</Name>
    <Type>Other</Type>
    <Address>1 W 23rd St., New York, NY, 10010</Address>
    <Phone>212-538-6667</Phone>
    <Fax>212-538-3970</Fax>
    <Access>Between 5th and 6th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="flatiron_gramercy">Flatiron, Gramercy</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: Video installation</Media>
  <Description><![CDATA[Mad. Sq. Art announces an outdoor exhibition of six painterly animations by acclaimed Dutch artist Jacco Olivier as the final presentation of its 2011 season. Mad. Sq. Art celebrates the artist’s first public art commission in New York City, which will feature both new, site-specific and existing works displayed throughout the Park. Olivier's series of stop-motion animations will brighten New York's winter landscape with moving images exemplary of the artist's characteristically rich color palette and lavishly textured style. The exhibition will remain on view daily in Madison Square Park from December 15, 2011 through March 12, 2012.

Beginning with a single image, Olivier introduces subtle alterations with each additional layer through his process of over-painting. After he paints and re-paints his images, Olivier photographs each stage of the process as stop-motion animation until an original no longer exists. The resulting work reveals a history of the painting process that captures scraps of narrative and visual iconography brought to light as a moving painting.

According to the artist, Jacco Olivier, exhibiting in Madison Square Park provides &quot;an opportunity to go totally abstract and see things on a molecular level, to change perspective[…] to show an animation in the ground, you really have to look down to see it, which creates a little private moment for the viewer that is free of narrative, subject or meaning.&quot;

President of the Madison Square Park Conservancy, Debbie Landau comments, &quot;Mad. Sq. Art is pleased to bring Jacco Olivier and his richly colorful work to Madison Square Park. The subtle yet engaging quality of his animations will infuse an appreciated energy into the Park during the winter months ahead, drawing connections between scenes of natural landscape in his beautiful, painterly animations and the natural life of the Park that so commonly lays hidden beneath the snow each winter.&quot;

Olivier's exhibition for Madison Square Park will feature a combination of his larger and more intimate works including: Stumble (2009); Hide (2004); Rabbit Hole (2011); Bird (2011); Deer (2011); and Home (2004). Animations will be displayed on screens imbedded in and suspended throughout the Park’s existing landscape, equally animating life in the Park's heavily trafficked and quieter spaces. Olivier's moving images of flora and fauna are set to artfully draw parallels to their natural accompaniments in Madison Square Park for its 50,000 daily visitors.

In connection with the exhibition, Mad. Sq. Art will publish a limited-edition exhibition catalogue designed by Pentagram, featuring a scholarly essay about Olivier’s new work along with full-color photographs by acclaimed photographer James Ewing. The publication will mark the first time Mad. Sq. Art has documented a moving-image project with a printed catalogue.

About the Artist:

Dutch artist Jacco Olivier (b. 1972) studied at the Rijksakademie, and lives and works in Amsterdam. In 2010 he had solo exhibitions at the Centro de Arte de Caja de Burgos, Spain, and at the Blaffer Gallery at the University of Houston, Texas. He was included in exhibitions at the MCA Denver (2006), ZKM, Museum fur Neue Kunst &amp; Medienmuseum, Karlsruhe (2007) and in the 8th SITE Santa Fe Biennial: The Dissolve, curated by Daniel Belasco and Sarah Lewis (2010). In 2012, Olivier will participate in a residency program at Artspace in San Antonio, Texas. Jacco Olivier is represented by Marianne Boesky Gallery, New York; Victoria Miro Gallery, London; Galerie Thomas Schulte, Berlin; and Parra &amp; Romero Galeria de Arte, Madrid; and Ron Mandos Gallery in Amsterdam. His exhibition in Madison Square Park is Olivier's New York public art debut.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/F43D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F43D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F43D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-15</DateStart>
  <DateEnd>2012-03-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>32</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.741569</Latitude>
  <Longitude>-73.989592</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>
  <Image src="http://www.nyartbeat.com/media/event/2011/F4BF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F4BF-80" width="80" />
  <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="2011/F5E9" href="http://www.nyartbeat.com/event/2011/F5E9">
  <Name>&quot;Projects 96: Haris Epaminonda&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE192502">
    <Name>The Museum of Modern Art</Name>
    <Type>Museum</Type>
    <Address>11 W 53rd St., New York, NY 10019</Address>
    <Phone>212-708-9400</Phone>
    <Fax></Fax>
    <Access>Between 5th Ave. and 6th Ave.  Subway: V/E to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Summer Hours through Sept. 3: Sunday through Wednesday, 10:30 a.m.–5:30 p.m. Thursday through Saturday, 10:30 a.m.–8:30 p.m.</ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Berlin-based artist Haris Epaminonda (b. 1980, Nicosia, Cyprus) is internationally known for her photo-collages and assemblages constructed from books and magazines from the 1950s and 1960s, and for her video installations, in which film and television footage culled from Greek soap operas from the artist's childhood are reshot or re-edited in new sequences. This exhibition presents Epaminonda's three-channel video installation Tarahi IV, V, VI (2007), part of an ongoing series of short films that enlist the use of montage, cuts, and repetition to address the permeability of memory. Favoring a slowed-down, filmic flow and the lush colors one associates with the saturated hues of Douglas Sirk melodramas, these enigmatic videos are presented in a new installation specifically conceived for MoMA.

[Image: Haris Epaminonda. Still from Tahari V, from Tahari IV, V, VI. (2007) Three-channel video installation (color, sound), 7:36 min. Courtesy the artist and Rodeo, Istanbul. © 2011 Haris Epaminonda]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/F5E9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F5E9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F5E9-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $25, Seniors $18, Students $14, Children and Members and on Friday 4pm–8pm Free. Film Admission as of September 1, 2011: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full-time students with current I.D. (for admittance to film program</Price>
  <DateStart>2011-11-23</DateStart>
  <DateEnd>2012-02-20</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>11</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/FEEE" href="http://www.nyartbeat.com/event/2011/FEEE">
  <Name>&quot;Korean Eye: Energy and Matter&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The exhibition, which brings together 21 emerging and established Korean artists working in photography, painting, video, and mixed media. &quot;Korean Eye&quot; reflects a new era of diversity in Korean life, politics, and culture, and offers a unique opportunity for education and appreciation of Korea's rapidly developing art scene, which until recently has seen little global exposure. The exhibition offers an illuminating commentary on the philosophical and aesthetic conditions of modern Korean culture, from virtual reality and the pervasive influence of fantasy and pop culture to the dehumanization inherent in a post-industrial society. By turns ironic, satirical, and metaphorical, the exhibition includes photo-sculptures by Seung Hyo Jang; embroidery and acrylic paintings by Young In Hong; a large, imposing shark fabricated from reclaimed and repurposed automobile tires by Yong Ho Ji; and Meekyoung Shin's astonishing &quot;antique&quot; porcelain vases, rendered in soap.

[Image: Hong Young In &quot;Procession (detail)&quot; (2010) embroidery, acrylic, scenic cotton fabric, 78 3/4 x 126 in. Courtesy of the artist.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/FEEE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/FEEE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/FEEE-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2011-11-01</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/024F" href="http://www.nyartbeat.com/event/2012/024F">
  <Name>&quot;Méré Humd(r)um&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F86F2FF2">
    <Name>Aicon Gallery</Name>
    <Type>Gallery</Type>
    <Address>35 Great Jones St., New York, NY 10012</Address>
    <Phone>212-725-6092</Phone>
    <Fax></Fax>
    <Access>Between Lafayette St. and Bowery. Subway: 6 to Bleecker Street or to Astor Place.</Access>
    <Area areaId="villages">Villages</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: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Aicon Gallery New York presents Méré Humd(r)um, a group exhibition of Contemporary art from a new wave of young Pakistani artists. The Urdu word Humdum, one syllable removed from its mundane English cousin, means someone who is so close that their breath and yours are one. The word Méré, with even less separating it from the minimal, almost pejorative, “mere” of the English language, is infused with belonging - it means mine. Together, Méré Humdum becomes a term of endearment for a mentor, a friend or a lover. But in a linguistic coincidence it is just a syllable away from the English “mere humdrum.” Today, more than sixty years after Pakistan’s independence, the ordinary, the everyday, the humdrum, remains an object of longing for most Pakistanis - the type of longing one might reserve for a lover. A day when there is no bombing, no violence on the streets - a day when the school bus is delayed only by traffic is a day of thanksgiving and celebration. The twelve artists in this exhibition have created work in direct response to the chaos and violence surrounding them, yet much of this work is imbued with an intrinsic and eternal optimism that stands in defiant contrast to the instability and uncertainty from which it has emerged.

Much like Germany’s Weimar Republic of the 1930s, an odd dichotomy is in place with today’s generation of young Pakistani artists. While on the one hand, their political, economic and social situations are spinning out of control, the visual arts, in this landscape of circumscribed opportunities, is undergoing a transformation and creative flowering never before seen. This younger generation largely departs from the more traditional methods of their artistic heritage, such as miniature painting, and combines local materials and themes with progressive modes of post-colonial art practice, offering new interpretations and posing new questions for a society mired in political turmoil, social upheaval and violence both foreign and domestic.

Abdullah M. I. Syed’s Flying Rug works arise from Oriental myths and legends of the flying carpet and our desire for instant gratification. Made of folded U.S. dollar bills and box-cutter blades assembled into squadrons of drone-like airplanes, the rugs reference the dark and multilayered political implications of terrorism, capitalism and American hegemony, yet are intertwined with a poetic counterpoint that transmutes them and charges the works with the phenomenal capability of a magic carpet or the sublime stillness of a prayer rug. The works question not only the roots and consequences of 9/11 and the ongoing War on Terror through the prism of oversimplified Eastern and Western perceptions of one another, but also the complex relationship between capital and Contemporary art.

Cyra Ali’s haunting sculptures of disembodied intertwined limbs adorned in bright fabrics obtained from Karachi bazaars are a daring subversion of the overtly clad female body of Islamic tradition. The work stems from her desire to overturn the conventional trappings of femininity in Pakistani society and combat longstanding patriarchal desires to repress female sexuality. Ali’s bizarre doll-sized mash-ups of female legs blur the line between the most ordinary of body parts and the sinister and monstrous proportions they are capable of taking on when continually contextualized as taboo objects of desire to be both coveted and suppressed. More straightforwardly, Sarah Khan’s art is born from her resolute devotion to Pakistan, her beloved State, and her desire to see its artistic traditions, mainly miniature painting, evolve to address the socio-political complexities of its contemporary reality. She addresses her humdum (her Pakistan) for its charm and fading glory as she fortifies her wish for its resurrection from a negative entity to a positive one. 

Ehsan Ul Haq creates Duchampian assemblages of found everyday objects in which the individual components, though ordinary enough, are re-contextualized as dysfunctional or symbolic elements in what he calls “flawed systems.” Ul Haq sees his installations as operating “on a plane where art and life exist as parallels within ambiguous forms.” Through installations such as Fan and Water, man-made objects are stripped of their utility and repurposed in creations demonstrating both man’s god-like ambition to create new systems of life and the resulting absurdities brought into being when such attempts misfire.

Ultimately, this exhibition presents an examination of how a new generation of Contemporary Pakistani artists, through a range of disparate media and practices, continue to develop new methods of questioning the space between art and life in the often violent and chaotic reality they are faced with every day. Their work addresses not only the chasm and interstices between the two, but the extraordinary possibilities of art created in extraordinary surroundings.

[Image: Seher Naveed &quot;EVENING CONVERSATIONS&quot; (2011) Paper cuts, 15 x 18 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726919</Latitude>
  <Longitude>-73.993233</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/043F" href="http://www.nyartbeat.com/event/2012/043F">
  <Name>Monica Cook “Volley”</Name>
  <Venue href="http://www.nyartbeat.com/venue/10EF30FF">
    <Name>Postmasters Gallery</Name>
    <Type>Gallery</Type>
    <Address>459 W 19th St., New York, NY 10011</Address>
    <Phone>212-727-3323</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th Ave., Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>11:00:00</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>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[In her first solo show with Postmasters Monica Cook presents “Volley,” a stop-animation video, and a group of moveable sculptures and photographs. In “Volley” a series of intimate narrative vignettes takes place in a world of human-like cave dwelling monkeys. Tender, expressive, attractive and repulsive all at once they live, love, dream, and die. The video is hard to watch and at the same time impossible to stop watching.
 
Animation is a form of magic because movement is a sign of life. To endow a creature with the power of motion is to bring it, partially, imperfectly, to life. Monica Cook’s monkey-creatures are animated by some very wild magic. Cursed by their creator with deeply corrupted bodies, with scarred skin and secret interiors, with pustules and orifices and inconvenient fluids, these creatures are uncomfortably, undeniably alive. And in their imperfection, they are not only individual, they are beautiful. Volley is a love story, in a sense it is the Love Story, that grand tale which we never cease to applaud: The brutality of biological lust tempered by the delicate delusions of adoration. Cook’s beast-beings inhabit a world the colors of spun sugar and wedding mints,  where rutting lust and infinite tenderness are indivisible. A mutant monkey with too-human eyes strokes a contented wolf-puppy who dreams of devouring entrails. A perfect luminous monkey-goddess hovers unapproachably, bedecked in lewd sequins.  Idealized passions fuse with the violence of birth. Cook renders the sufferings and storms of biological life with loving, unflinching regard, inviting the viewer to both voyeurism and self-reflection.
 
“It's tempting to call the film sweet and captivating, except that it is simultaneously repulsive and disturbing. The monkeys are pockmarked with surreal, iridescent growths. We are confronted with bodily functions of fluid and flesh that accompany the typically romanticized themes of love and animal connection. Even more disconcerting is that these terrifying-looking monkeys move and act in a way that reminds us of ourselves. It's unsettling to think that our bodies have anything in common with these bodies”.
-Wyatt Williams
 
 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-170" width="170" />
  <Karma>1.21557</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744756</Latitude>
  <Longitude>-74.004783</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0DE6" href="http://www.nyartbeat.com/event/2012/0DE6">
  <Name>Slater Bradley &quot;Don't Let Me Disappear&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5AC9BC2D">
    <Name>Team Gallery</Name>
    <Type>Gallery</Type>
    <Address>83 Grand St., New York, NY 10013</Address>
    <Phone>212-279-9219</Phone>
    <Fax>212-279-9219</Fax>
    <Access>Between Greene St. and Wooster St. Subway: A/C/E or N/Q/R/W to Canal St</Access>
    <Area areaId="soho">Soho</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: Video installation</Media>
  <Description><![CDATA[Don’t Let Me Disappear consists of a single video from which the exhibition takes its name. While he has worked in a variety of media, Bradley is best known for his work in film. This highly literate work, an update on his previously shown Boulevard of Broken Dreams, follows Bradley’s Doppelgänger, model and actor Benjamin Brock, as he wanders alone through New York City. Brock, who distinctly resembles Bradley, has been a consistent subject of the artist’s work over the past decade. While he acts in part as a stand-in for the artist, he does not neccesarily portray him directly, instead representing a variety of figures, a kind of everyman. 

The work strongly alludes to perhaps the best-known wanderer of New York City, The Catcher in the Rye’s Holden Caulfield. Like the Doppelgänger, Salinger’s iconically alienated character walks aimlessly through New York’s streets, critical of and emotionally removed from his surroundings. The Doppelgänger perceives an artificiality as he examines the city; his anguished expression as he absorbs the city recalls Holden’s condemnation of its “phonies.” At the end of Bradley’s film, the Doppelgänger finds and puts on a red hunting hat, identical to the one described in the novel, and in doing so transforms into Holden. 

The film depicts the New York City of E.B. White’s famous essay Here is New York. White divides New York into three separate cities: that of the native New Yorker, that of the commuter, and, the most significant of the three, that of the transplant, for whom New York is a final destination. The inhabitant of this third New York, paradoxically, is surrounded by people but perpetually alone. Though he has long resided in New York, Bradley originates from San Francisco, and the film shows his delicate relationship with the City.  It is one of intimacy and distance, awe and terror, adoration and distrust. 

The Doppelgänger observes and touches the built environment and crowds of the city, all without actually engaging any person or thing. Bradley continually draws attention to the act of walking: the video opens with a shot of legs waiting at a crosswalk, then follows the walking feet of its subject, waiting two and half minutes before showing the rest of his person. Here, Bradley refers to to Walter Benjamin’s conception of the flâneur, Flaubert’s archetypal figure who strolls through the modern city. Benjamin’s flâneur perceptively observes his surroundings but remains wholly uninvolved with them. Department store window displays, like the ones the Doppelgänger desparately examines, are a product of the flâneur’s prevalence in the post-industrial citiy. 

Throughout the video, the Doppelgänger’s disembodied voice mumbles brief passages from little-known Russian author Mark Levi’s mysterious 1934 Novel with Cocaine, which chronicles an adolescent male’s descent into hedonism and drug addiction during Russia’s tumultuous years 1916 through 1919. Like the novel, Don’t Let Me Disappear examines the depravity of a young man’s existance during a period of national strife. 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0DE6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0DE6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0DE6-170" width="170" />
  <Karma>0.804878</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721708</Latitude>
  <Longitude>-74.002433</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/11CB" href="http://www.nyartbeat.com/event/2012/11CB">
  <Name>Katrin Sigurdardottir &quot;Stage&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53EAC23D">
    <Name>Art in General</Name>
    <Type>Cultural Center</Type>
    <Address>79 Walker St., New York, NY 10013</Address>
    <Phone>212-219-0473</Phone>
    <Fax>212-219-0511</Fax>
    <Access>Between Broadway and Lafayette St.. Subway: 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</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: Video installation</Media>
  <Description><![CDATA[Art in General presents Katrin Siggurdardottir’s Stage, a New Commissions installation in the storefront Project Space.

A miniature theater hangs from the ceiling of an empty, unlit storefront space. A single spotlight illuminates the theater’s stage, casting wild shadows that permeate the space and break through onto the street. The stage hangs precariously, a suspended moment of tension irradiating from within. As the day unfolds and the sun sets, the shadows grow stronger, marking time with their formidable presence. Though lit the stage is empty, the theatrics of such architecture being transposed to the shadow play within the space.

Real and imagined, miniature yet enormous, Katrin Sigurdardóttir’s site-specific installation, Stage, pushes beyond the physical boundaries of the storefront, compelling an immediate, direct, and intimate encounter for the passer-by. Emphasizing the relationship between inside-outside and passage-enclosure, Stage causes viewers to rethink their own perception of space, assuming an unexpected mise-en-scène that blurs what “is”, and what is imagined.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/11CB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11CB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11CB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718186</Latitude>
  <Longitude>-74.001742</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1D89" href="http://www.nyartbeat.com/event/2012/1D89">
  <Name>Tian Xiaolei &quot;Song of Joy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5AC235AC">
    <Name>Meulensteen</Name>
    <Type>Gallery</Type>
    <Address>511 W 22nd St., New York, NY 10011</Address>
    <Phone>212-633-6999</Phone>
    <Fax>212-691-4342</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>July &amp; August,  Monday – Friday, 10:00 – 18:00</ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Meulensteen presents the first solo exhibition in the United States of Tian Xiaolei. Born and based in Beijing, he creates surreal animated videos and images that engage with the history of Chinese art and the rapidly evolving social, economic, and political realities of contemporary China. The exhibition feautres “Song of Joy,” an ambitious computer-animated film through which Tian talks about the relationship between pretended joy and real pain, and discusses the truth regarding the era of consumption and desire. This boisterous and ironic celebration of the new China features hundreds of identically outfitted businessmen frolicing in a chaotic amusement park and participating in choreographed dances and marches to the tune of Mozart's Requiem. Also on view is Tian’s print series of “Chinese Contemporary Paintings.” Employing modern techniques to re-present Chinese traditional landscape painting, Tian digitally creates nature-centered images of dramatic topographies that become dwarfed by fantastic animal figures. In the artist’s own words: I used to be more inclined to accept the conception of Daoism, which praises highly the integration of nature and human. With the fast development of technology, we are now experiencing a transition from being in awe of Mother Nature to conquering and changing it. This seems to be a sign of the great progress of human civilization, but behind that progress there is a breaking down of something about which most of us cannot become aware. Our inherent spiritualism and our integrated relationship with nature are degenerating as technology is making progress faster and faster. Tian Xiaolei graduated from the Digital Media Department of the Central Academy of Fine Arts (CAFA) in Beijing in 2007. His work has been featured in exhibitions in Beijing, Meulensteen's group show “In a Perfect World…”, curated by James Elaine in 2011, and the Milwaukee Art Museum. Tian was recently selected by the Martell Art Fund and the Today Art Museum for the “Focus on Talent Project.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1D89-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D89-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D89-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747172</Latitude>
  <Longitude>-74.00495</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/22BE" href="http://www.nyartbeat.com/event/2012/22BE">
  <Name>Miao Xiaochun and Cui Xiuwen &quot;Restart, Spiritual Realm, Disillusion&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F5F95143">
    <Name>Eli Klein Fine Art</Name>
    <Type>Gallery</Type>
    <Address>462 W Broadway, New York, NY 10012</Address>
    <Phone>212-255-4388</Phone>
    <Fax>212-255-4316</Fax>
    <Access>Between Houston and Prince St.  Subway: 1 to Houston Street, C/E to Spring Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/22BE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/22BE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/22BE-170" width="170" />
  <Karma>1.21212</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726333</Latitude>
  <Longitude>-74.000636</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/285C" href="http://www.nyartbeat.com/event/2012/285C">
  <Name>Doug Ischar &quot;Sleepless&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/67886F6B">
    <Name>Golden Gallery</Name>
    <Type>Gallery</Type>
    <Address>120 Elizabeth, New York, NY 10013</Address>
    <Phone>773-209-8889</Phone>
    <Fax></Fax>
    <Access>Between Grand and Broome Sts. Subway:  J/M/Z to Bowery</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[This is Ischar’s third exhibition at Golden Gallery. The first, Marginal Waters, featured a body of photographs from 1985 never before seen in its entirety. Taken on Chicago’s now defunct Belmont Rocks – then one of the most visible urban gay beaches in North America – and during the height of the AIDS crisis – the photographs were presented alongside a new single-channel video work, forget him, serving as counterpoint to the twenty-five year old documents.

Ischar’s second exhibition with the gallery, Honor Among, featured multiple photographs taken during 1987 at a San Francisco leather bar, The Eagle, alongside a 2007 single-channel video, back the way he came, together addressing key themes from Ischar's practice during the past twenty years: pleasure in looking, the position of the spectator, public sexuality, and representations of masculinity.  Both photographic series, Marginal Waters and Honor Among, were presented for the first time in their 2009 and 2011 exhibitions.

Sleepless is an exhibition drawn from Ischar’s institutional exhibition history from 1993 - 1995. Two large bodies of work, Orderly and Wake - presented at The List Visual Arts Center, Cambridge; Museo de Arte Moderna, São Paulo; Mercer Union, Toronto; and SITE Santa Fe, among others – emerged at a moment when the exploration of media, and cross-disciplinary practices, were critical actions further complicating the then-peculiar state of semiotics.

The current exhibition presents the opportunity for the artist, and the public, to re-approach selected components from those early 90s installations, nearly two decades from their original conception and exhibition. 

Ischar’s editing of moving image and static objects continues to address the practical and visual boundaries for definitions of masculinity, sexuality, violence and secrecy. Sentry, consisting of two surveillance monitors on a wall-mounted shelf, depicts appropriated Hollywood periscope footage alongside a panning fluoroscope scanning a lock box concealing sexual paraphernalia that, per his dying friend’s request, Ischar retrieved.  

The hypnagogic image is that which stays with us, often repeating, both dwelling in and constituting the state between wakefulness and sleep. Sleepless is both a state and a mood: here, the exhibition emphasizes the elegance of retrospection and the reminiscence of darkness.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/285C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/285C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/285C-170" width="170" />
  <Karma>1.06349</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719351</Latitude>
  <Longitude>-73.995283</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2A4E" href="http://www.nyartbeat.com/event/2012/2A4E">
  <Name>Kakyoung Lee &quot;Dance, Dance, Dance,&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/56604917">
    <Name>Mary Ryan Gallery</Name>
    <Type>Gallery</Type>
    <Address>527 W 26th St., New York, NY 10001</Address>
    <Phone>212-397-0669</Phone>
    <Fax>212-397-0766</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or 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: Video installation</Media>
  <Description><![CDATA[Mary Ryan Gallery presents &quot;Dance, Dance, Dance,&quot; an exhibition of video installations based on drawings and prints by Kakyoung Lee.  This will be Lee's first solo show in New York City, and at Mary Ryan Gallery. Dance, Dance, Dance, is her most ambitious project to date.  Lee's methods are intentionally time-consuming.  She employs repetitive, meticulous techniques, often making more than 100 prints or drawings per project, to translate her repetitious daily routine, what she calls &quot;the monotonous daily ritual.&quot;  Through the exploration of these most basic aspects of her life Lee articulates her own identity.

Like much of Lee's recent work, Dance, Dance, Dance, began as a performance of a mundane or everyday action. Lee documents this initial performance by filming herself with a video camera, and then using drypoint, she deconstructs her performance into single moments.  These individual elements are then put back together using animation and the initial action is reconstructed.  Through this process of deconstruction and reconstruction, new imagery emerges and Lee is able to subtly add to the history of her actions. Dance, Dance, Dance, depicts the artist dancing alone, as one might in their bedroom when they think no one is looking.  The soundtrack was composed for this particular piece by Natacha Diels and the title was inspired by Haruki Murakami's 1994 novel, also called Dance Dance Dance. The video will be shown along with 323 of 342 the prints used to create it.

Brown Circle, a two-channel video of a drawing made using leftover coffee, will also be on view. Lee used the discarded coffee, which darkens over time, to create a circular drawing directly on a wall, which she then photographed to translate into a moving image. The two-channel production allows the viewer to see a detail of each individual figure on a separate smaller screen as it moves through the larger projection on the wall.  Each figure in Brown Circle is slightly different, and the work deals with the cyclical nature of life.  

[Image: Kakyoung Lee video still from &quot;Dance, Dance, Dance,&quot; (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2A4E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2A4E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2A4E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="16:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749928</Latitude>
  <Longitude>-74.003539</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2AE0" href="http://www.nyartbeat.com/event/2012/2AE0">
  <Name>Rey Akdogan &quot;Silent Partner&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C90F5CC3">
    <Name>Andrew Roth</Name>
    <Type>Gallery</Type>
    <Address>160A E 70th St., New York, NY 10021</Address>
    <Phone>212-717-9067</Phone>
    <Fax>212-717-9575</Fax>
    <Access>Between Lexington and 3rd Ave. Subway: 6 to 68th St./ Hunter College</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Andrew Roth presents Silent Partner, a one-person exhibition by Rey Akdogan. The exhibition presents a new projection work, and includes a series of subtle alterations to the gallery’s light sources. 

Central to the exhibition is a carousel of 80 glass slides projected through a standard Kodak projector. Akdogan constructs each slide from parts that are cut out from cinematic gels, as well as common wrappers and transparent packaging, finessing them into unique minimal assemblages. The only support structure for the layers are the glass slide mounts that hold them together. The carousel is comprised of a series of short sequences structured around variations in the materials. Their viewing parallels the experience of turning the pages of a book. Several other works in the exhibition incorporate “offcuts” from the materials used in the creation of the slides: they make tangible the ephemeral. 

Akdogan states: “Hundreds of different lighting gels exist for theatrical, architectural, and cinematographic lighting. Every single gel is coded so that it can be used to create particular atmospheres or light conditions. Over the years many different techniques have been developed. Currently, several methods are employed to integrate dyes with polymer bases to create color filters, using technical chemistry to design various atmospheres in light. Much of the everyday packaging around us also includes similar techniques to subtly filter the things it contains. The area between the coding and serialization of an immaterial, psychological concept such as atmosphere and the physical qualities of gels and packaging fascinates me. Gels are treated not as theatrical lighting but materials whose interrelation carry their own logics, and can be arranged and rearranged almost like objects.”

To coincide with the exhibition PPP Editions has published Akdogan’s #46. The book’s title points to the code in the classification system of Rosco lighting gels for magenta, a color first engineered synthetically from coal-tar dyes in the late 1850s. Limited to 200 copies, the book unfolds as a hand-held slide projection, and was conceived as an extended footnote to the carousel and the exhibition’s lighting alterations.

Rey Akdogan was born in Germany and lives and works in New York. She studied at Central Saint Martins College of Art and Design in London.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2AE0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2AE0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2AE0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-09</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>29</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.769111</Latitude>
  <Longitude>-73.962661</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2EE4" href="http://www.nyartbeat.com/event/2012/2EE4">
  <Name>Katayoun Vaziri &quot;Yeki Bud, Yeki Nabud&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5AC235AC">
    <Name>Meulensteen</Name>
    <Type>Gallery</Type>
    <Address>511 W 22nd St., New York, NY 10011</Address>
    <Phone>212-633-6999</Phone>
    <Fax>212-691-4342</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>July &amp; August,  Monday – Friday, 10:00 – 18:00</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Meulensteen presents Yeki Bud, Yeki Nabud, an exhibition of new work by Katayoun Vaziri. Featuring drawings, paintings, prints and video work, this exhibition marks the artist’s second show with the gallery. Born and raised in Iran and based in New York, Vaziri draws on a wide range of cultural references to question the linearity of political and social narratives. In her most recent body of work, Vaziri critiques the arbitrariness she perceives in contemporary politics. She begins by making drawings that combine elements from various sources, including news media, advertisement, Iranian nationalist posters, photographs by others taken of her, and references to modern painting (particularly the work of Frank Stella and David Salle). After scanning the drawings, the artist manipulates them digitally, sometimes inviting friends to collaborate at this stage. Vaziri subjects her original source material to a series of actions and changes in medium in order to blur the distinctions between the private and public realms and to question the originality of ideas and the political currency of images. For the video piece “Yeki Bud Yeki Nabud,” Vaziri filmed one of her drawings in a single static shot. The words of the title (Farsi for “One was, one was not,” the traditional opening of Persian fairytales) repeat while a blank square moves across the screen, pulsating on and off. The drawing illustrates an imagined encounter between the artist and Barack Obama, in which she is poised to apply lipstick to the President’s mouth. The juxtaposition of her gleeful expression with his pensive one heightens the sense of absurdity, stressing the nebulous nature of socio-political discourse. Vaziri received an MFA from Yale University in 2009 and a BFA from Tehran University in 2005. Her work has been featured in exhibitions in San Francisco, London, and Dubai. She has held residencies at the Skowhegan School of Painting and Sculpture in Maine in 2010 and the Constance Saltonstall Foundation for the Arts in Ithaca, New York in 2011. She has co-curated a number of exhibitions and screenings, including “Handheld History” at the Queens Museum of Art in 2010. In addition to her artistic practice, Vaziri reports on the arts in New York for BBC Farsi.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2EE4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2EE4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2EE4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747172</Latitude>
  <Longitude>-74.00495</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3098" href="http://www.nyartbeat.com/event/2012/3098">
  <Name>Winn Rea “TOPO 3: Displacement/Flow”</Name>
  <Venue href="http://www.nyartbeat.com/venue/8402CDDA">
    <Name>Phoenix Gallery</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave., Suite 902, New York, NY 10001</Address>
    <Phone>212-226-8711</Phone>
    <Fax>212-343-7303</Fax>
    <Access>Between W 24th and W 25th St. Subway: C/E to 23rd Street.　</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:30:00</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>Screen: Video installation</Media>
  <Description><![CDATA[1 hr. 15 min. projected video loop compressing observation of stream over 24 hours, overhead projection of topo map, prism, sound of stream. 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3098-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3098-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3098-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749922</Latitude>
  <Longitude>-74.005956</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/34B7" href="http://www.nyartbeat.com/event/2012/34B7">
  <Name>&quot;Question Bridge: Black Males&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Question Bridge: Black Males is an innovative video installation created by artists Hank Willis Thomas and Chris Johnson in collaboration with Bayeté Ross Smith and Kamal Sinclair. The four collaborators spent several years traveling throughout the United States, speaking with 150 Black men living in 12 American cities and towns, including New York, Chicago, Oakland, Birmingham, and New Orleans. From these interviews they created 1,500 video exchanges in which the subjects, representing a range of geographic, generational, economic, and educational strata, serve as both interviewers and interviewees. Their words were woven together to simulate a stream-of-consciousness dialogue, through which important themes and issues emerge, including family, love, interracial relationships, community, education, violence, and the past, present, and future of Black men in American society.

The exhibition includes multiple screens playing videos of the interviews, edited so that it appears as if the men are having a conversation. The artists hope that the Question Bridge project will be a catalyst for constructive dialogue that will help deconstruct stereotypes about Black male identity in our collective consciousness. Museum visitors are also invited to visit the user-generated Question Bridge website, accessible on iPads throughout the gallery, which offers a platform to represent and redefine Black male identity in America.

[Image: Hank Willis Thomas, Chris Johnson, Bayeté Ross Smith, Kamal Sinclair &quot;Still from 'Question Bridge B-Roll 3'&quot; (2011) Courtesy of the artists and Jack Shainman Gallery, New York]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/34B7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/34B7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/34B7-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-06-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>115</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3900" href="http://www.nyartbeat.com/event/2012/3900">
  <Name>Taylor Mead Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/25FECD23">
    <Name>Churner and Churner</Name>
    <Type>Gallery</Type>
    <Address>205 10th Ave., New York, NY 10011</Address>
    <Phone>212-675-2750</Phone>
    <Fax></Fax>
    <Access>Between 22nd and 23rd Sts., Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</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>Screen: Video installation</Media>
  <Description><![CDATA[&quot;I don't do anything. I just spontaneously happen into strange situations... I'm a renaissance person.&quot; 

- Taylor Mead

Churner and Churner presents an exhibition of works by Taylor Mead, magister ludi of the American underground in film, poetry, and painting. The exhibition focuses on works from the 1980s--many never before seen--and a new set of drawings based on Mead's &quot;Fairy Tale Poem.&quot; The exhibition opens on January 12 with a poetry reading by the artist.

On Saturday, January 14, the gallery will show Andy Warhol's Lonseome Cowboys and the rarely screened Taylor Mead's Ass, along with a collection of home-movies by Mead. A question-and-answer with the artist will follow. 

Mead's exhibition showcases his &quot;Fairy Tale Poem,&quot; a wry, illustrated tale of a castle in the woods (starring none other than Andy Warhol himself), which features prominently in the artist's regular performances at the Bowery Poetry Club and was shown in the 2006 Whitney Biennial. For his show at Churner and Churner, Mead has created a new series of drawings for the ever-evolving poem. Also on display are a group of paintings, some retrieved from Mead's apartment in the Lower East Side where he has resided for thirty-two years, and others from the collections of his friends in the neighborhood. Testimonies to the bohemian lifestyle of New York in the 1980s, the paintings have survived cockroach infestation, subsequent fumigation, and a collapsed ceiling. Mead's work supplanted everyday considerations long ago; in the artist's own words, &quot;I've painted myself out of my apartment.&quot;

These paintings take their gestures and color palettes fom Neo-Expressionism but retain a purposeful naiveté. Many are portraits, including images of Garbo and Warhol; others depict wild animals and exotic scenes. Like all of Mead's artistic practice, these paintings are invigorated by a combination of irony, innocence, and a roguish sense of humor.
 

ABOUT THE ARTIST:
Taylor Mead was born in 1924 in Grosse Point, Michigan. He was an influential member of the Beat scene in San Francsico's North Beach and New York's Lower East Side, crafting witty, ironic and occasionally dirty poetry. His first venture into film stardom was in Ron Rice's The Flower Thief in 1960. Soon after Mead relocated to New York, where he was introduced to Andy Warhol, with whom he made numerous films, including a starring turn in Warhol's Tarzan and Jane Regained... Sort of. J. Hoberman once called Mead &quot;the first underground movie star.&quot; He recently appeared in Jim Jarmusch's Coffee and Cigarettes, and continues to perform at the Bowery Poetry Club every Monday night.

  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3900-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3900-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3900-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote>See description</ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747239</Latitude>
  <Longitude>-74.004697</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3EFC" href="http://www.nyartbeat.com/event/2012/3EFC">
  <Name>Theresa Himmer &quot;All State&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53EAC23D">
    <Name>Art in General</Name>
    <Type>Cultural Center</Type>
    <Address>79 Walker St., New York, NY 10013</Address>
    <Phone>212-219-0473</Phone>
    <Fax>212-219-0511</Fax>
    <Access>Between Broadway and Lafayette St.. Subway: 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</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: Video installation</Media>
  <Description><![CDATA[Art in General presents the opening of Theresa Himmer’s site-specific audio installation All State, realized in collaboration with Kristján Eggertsson. Responding to the physical and psychological parameters of the elevator, Himmer’s original score toys with our perception of movement, expectation and entrapment. Using the repetitive motion and existing sounds of the Art in General elevator as her starting points, All State amplifies an environment already attuned to heightened sensitivity, positioning viewers somewhere between real and imagined space.

In the compact interior of the elevator, Himmer’s uncanny score of recorded sounds disrupts our notion of cause and effect. Through repetition, duplication and overlap, All State mimics reality and belies function. At once, signifiers of both visible and invisible operations (the passing of floors, the machine room switchboard, the opening of doors) become hollow, irrational and destabilizing.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3EFC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3EFC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3EFC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718186</Latitude>
  <Longitude>-74.001742</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/43E4" href="http://www.nyartbeat.com/event/2012/43E4">
  <Name>Adriana Farmiga “Versus”</Name>
  <Venue href="http://www.nyartbeat.com/venue/E8ACAAF5">
    <Name>La MaMa Gallery</Name>
    <Type>Gallery</Type>
    <Address>6 E 1st St., New York, NY 10003</Address>
    <Phone>212-505-2476</Phone>
    <Fax></Fax>
    <Access>Between Bowery &amp; 2nd Ave. Subway: 6 to Bleecker Street or F/V to 2nd Avenue</Access>
    <Area areaId="villages">Villages</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>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[La Mama presents Adriana Farmiga’s second solo exhibition with the gallery. In Farmiga’s upcoming exhibition “versus.” she will be presenting a group of new works ranging in media, that function in a series of comparative relationships. Using the structural framework of the preposition “versus”, Farmiga posits observations within the full range of this analogous scenario – from the personal and geographical, to the art historical and ideological. Included in the exhibition, will be a encore presentation of her collaborative video work with actress Vera Farmiga, titled Suite for Pong.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/43E4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/43E4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/43E4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.724619</Latitude>
  <Longitude>-73.991439</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4522" href="http://www.nyartbeat.com/event/2012/4522">
  <Name>&quot;150th Anniversary Archive&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A10932DB">
    <Name>BAM</Name>
    <Type>Cultural Center</Type>
    <Address>30 Lafayette Ave., Brooklyn, New York 11217</Address>
    <Phone>718-636-4101</Phone>
    <Fax></Fax>
    <Access>Between Flatbush Ave. and Fulton St. Subway: 2/3/4/5/B/Q/ N/R/D/M to Atlantic Avenue/ Pacific Street or C to Lafeyette Avenue or G to Fulton Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>Depends on each event.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[BAM presents a special archival exhibition delving into the rich history of an institution a century and a half in the making. Original documents, archival video, photographs, and more—many dating from the earliest days of BAM—illuminate the moments, memories, and cultural happenings that have transpired both on and off its stages. BAMart curator David Harper and archivist Sharon Lehner co-curate this free exhibition, open to the public in the lobby of the BAM Peter Jay Sharp Building during normal business hours.

Curated by David Harper and Sharon Lehner]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4522-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4522-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4522-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Depends on each event.</Price>
  <DateStart>2012-01-16</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.686742</Latitude>
  <Longitude>-73.977719</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5A98" href="http://www.nyartbeat.com/event/2012/5A98">
  <Name>Jordan Wolfson Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8DCA0B3E">
    <Name>Alex Zachary</Name>
    <Type>Gallery</Type>
    <Address>16 E 77th St., New York, NY 10075 </Address>
    <Phone>212-628-0189 </Phone>
    <Fax></Fax>
    <Access>Between Madison and 5th Ave.  Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</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: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5A98-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5A98-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5A98-170" width="170" />
  <Karma>0.975232</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.775325</Latitude>
  <Longitude>-73.964216</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5BB8" href="http://www.nyartbeat.com/event/2012/5BB8">
  <Name>Daniel Phillips &quot;River Street&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E01C2AA1">
    <Name>DODGEgallery</Name>
    <Type>Gallery</Type>
    <Address>15 Rivington St., New York, NY 10002</Address>
    <Phone>212-228-5122</Phone>
    <Fax>212-228-5211</Fax>
    <Access>Between Bowery and Chrystie St. Subway:  J/M to Bowery, 6 to Spring Street, B/D to Grand Street,  F/V to 2nd Avenue. </Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Dodge gallery presents &quot;River Street&quot;, an exhibition of new video work by Daniel Phillips. This is the artist’s first solo exhibition at the gallery and his New York debut.

For nearly two years Phillips made an historic, abandoned elevator tower in a former paper mill his outdoor studio space. His practice, characterized by consistent documentation of site via still images captured from varying vantage points, produces video installations of these edited images projected onto the site's terrain. Phillips projects onto irregular surfaces, the flowing Neponset river behind the tower, hanging fabric in the windowless voids of buildings, and dripping sheets of winter ice, documenting his attempts to recreate a sense of life in the abandoned space. While the tower was his studio, it was also a dangerous structure he attempted to rehabilitate and bring back to life amidst the construction of a new shopping center. Phillips writes,

There is so much labor and industry soiling everything here. Anything I do seems laughably insignificant, but maybe to reflect on what has happened here is most important now. I see myself in opposition to the development going on, the Price Rite and its corn-syrup filled aisles, the parking lots, the mind numbingly generic retail chains that march toward my tower. Yet the industry of the paper mill erased some other thing, a house, a tree, a pond, a store, a family history, made the river poisonous, and many of its infinite bricks laid by slave hands, all this driven by the same mad force that erases our memory and curiosity with the parking lot malls of our time. I think as much as I try, the most interesting thing I can do here is observe and observe and observe. All my attempts at building fail, it is not to be done here. The tower is perfect how it is.

Phillips' exhibition, River Street, is a reflection on his time at the tower through a series of video projections onto objects and detritus excavated from the site. Once unearthed, Phillips stacks and arranges the debris onto topographical “screens” which host moving projections of the tower and its surroundings. Contrasting the staid materials of rock, concrete, steel, and brick with dynamic and active images, Phillips creates tension between the object and video as a painting. Vertical and horizontal piles lean against the wall, featuring colorful, painterly imagery that highlights specific spaces, buildings, and views of the landscape. Throughout, Phillips tries to encapsulate the awe and marvel of encountering an historic space once a major center of human activity and now in ruins.

Phillips' repurposing of the abandoned tower and use of the found landscape as canvas recalls the work of earlier artists Gordon Matta-Clark and Robert Smithson. Yet while Matta-Clark and Smithson physically reshaped architecture and lanscape, Phillips' practice emphasizes observation and reflection, using the tower as an intermediary between past and present. The glowing apertures of the abandoned building display images which portray River Street's multiple identities, awakening a distant spatial memory of previous histories. A struggle to physically connect his practice with the rituals of daily labor and human activity that for centuries defined River Street pervades Phillips' work. While the projections offer a sense of activity and renewal, they pass ghost-like over fossilized, unmoving ground.

Daniel Phillips received his BA from Williams College and studied at the School of the Museum of Fine Arts, Boston. His MFA thesis exhibition was held at Tufts University in 2009. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5BB8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5BB8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5BB8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721247</Latitude>
  <Longitude>-73.9926</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6133" href="http://www.nyartbeat.com/event/2012/6133">
  <Name>Simone Leigh &quot;You Don’t Know Where Her Mouth Has Been&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1D3ACD3B">
    <Name>The Kitchen</Name>
    <Type>Other</Type>
    <Address>512 W 19th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-255-5793</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: A/C/E to 14th Street or C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The Kitchen presents the New York premiere of You Don’t Know Where Her Mouth Has Been, a solo exhibition by sculptor and video-maker Simone Leigh. The exhibition, curated by Rashida Bumbray, features Leigh’s most recent explorations of materiality, women’s work, and Afro-futurism in sculpture, video, and site-specific installation.

Known for her archaic anthropomorphic sculptural forms in porcelain, terracotta, tobacco, glass, and steel, in addition to video and media-based works, Leigh’s practice often interrogates the notion of art—especially craftwork and sculpture—as merely decorative. She investigates the processes and cultural histories of constructing objects, bringing handmade ceramic vessels together with re-purposed found objects in order to put forth a dialogue between the aesthetically beautiful and brutally utilitarian. 
Leigh’s practice employs early African ceramic techniques to evoke contemporary parallels and underlying social and economic conditions. For You Don’t Know Where Her Mouth Has Been, the artist draws from the symbolic and political traditions of a diversity of influences—from early African-American face jugs and the manifesto of Africobra to Star Trek and Gilbert and Sullivan—in order to explore the slippages among multifarious cultural, political, and colonial histories that have laid claim to marginalized bodies. You Don’t Know Where Her Mouth Has Been will include three new bodies of work: sculptural chandelier installations, bust sculptures, and a video collaboration with artist Chitra Ganesh, featuring a musical score created and performed by Kaoru Watanabe. Leigh’s work was previously exhibited at The Kitchen as part of The Future As Disruption, a group exhibition that took place in Summer 2008. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6133-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6133-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6133-170" width="170" />
  <Karma>1.25095</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote>A free performance event on Monday, February 13, 7:00 P.M.</ScheduleNote>
 <Party type="1" date="2012-01-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745308</Latitude>
  <Longitude>-74.006186</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6B15" href="http://www.nyartbeat.com/event/2012/6B15">
  <Name>&quot;Glass Ceiling&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E3F1B1A">
    <Name>Kate Werble Gallery</Name>
    <Type>Gallery</Type>
    <Address>83 Vandam St., New York, New York 10013</Address>
    <Phone>212-352-9700</Phone>
    <Fax></Fax>
    <Access>Between Hudson and Greenwich St.  Subway: C/E to Spring Street or 1 to Houston Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</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>Screen: Video installation</Media>
  <Description><![CDATA[Kate Werble Gallery presents the work of four artists—Tony Cox, William Lamson, Ken Tisa, and Steven Thompson—in Glass Ceiling, an exhibition that investigates art making process grounded in repetition. Encompassing a range of media from Lamson’s hypnotic video to Tisa’s precisely rendered watercolors, each work stands as the result of contemplative and repetitive processes that verge on ritualistic. In each piece “losing” oneself becomes a manner of attempting to control form, pointing to the slippages between mental shifts and an alchemic transformation of material.

Tony Cox uses thread and small plastic objects to create densely woven compositions on top of canvas. In Meditative Rave, ritualistic imagery is abstracted and simultaneously made highly personal through the materials, as his process transforms a traditionally painstaking domestic activity into contemporary meditation.

In William Lamson’s Levitation Exercise a glowing, white balloon is pushed by the artist over and over into the air. As the balloon recedes, Lamson disappears into the dark. Slowly this mundane gesture transforms into a hypnotic representation. It invites the viewer to consciously know what something is and simultaneously indulge in accepting the illusion, as they are absorbed into its Sisyphean repetition.

Abstract forms are layered across Ken Tisa’s watercolors, creating dizzying visual spaces. The contrast between a Bacchanalian energy and the meticulous rendering of each element builds a tenuous balance between chaos and precision. The repetition of forms invites a state of contemplation that is constantly under siege. 

Steven Thompson creates installations of seemingly precious objects, assembled in elaborate arrangements evocative of renaissance Wunderkammer, scientific displays and religious relics. Nomadic Desk is composed of an array of oddities: found objects and semiprecious stones, mixed with his carefully rendered approximations of them. The piece designates psychological space in which nothing is what it seems.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6B15-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B15-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B15-170" width="170" />
  <Karma>1.31783</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726636</Latitude>
  <Longitude>-74.007636</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6B38" href="http://www.nyartbeat.com/event/2012/6B38">
  <Name>&quot;9 Scripts from a Nation at War&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE192502">
    <Name>The Museum of Modern Art</Name>
    <Type>Museum</Type>
    <Address>11 W 53rd St., New York, NY 10019</Address>
    <Phone>212-708-9400</Phone>
    <Fax></Fax>
    <Access>Between 5th Ave. and 6th Ave.  Subway: V/E to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Summer Hours through Sept. 3: Sunday through Wednesday, 10:30 a.m.–5:30 p.m. Thursday through Saturday, 10:30 a.m.–8:30 p.m.</ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[&quot;9 Scripts from a Nation at War&quot; (2007), a 10-channel video installation recently acquired by MoMA, marks the first work for which artists Andrea Geyer, Sharon Hayes, Ashley Hunt, Katya Sander, and David Thorne have collaborated. The work responds to knowledge production and communication in the context of the Iraq war since the initial invasion by U.S. military forces in March 2003. The 10 videos comprising the large-scale, spatial installation cast inquiry into the position of the individual amidst roles constructed by war. Each video stages the speaking of a script from the following perspectives: citizen, blogger, correspondent, veteran, student, actor, interviewer, lawyer, detainee, and source. The scripts are enacted by both actors and non-actors, some speaking their own words, some reciting the words of others. Displayed as projections and seated viewing stations in a circuitous, non-narrative structure, the performative videos create a charged environment questioning the implications of war on individual and collective subjectivity.

[Image: Andrea Geyer, Sharon Hayes, Ashley Hunt, Katya Sander, David Thorne &quot;9 Scripts from a Nation at War&quot; (2007) Ten-channel video installation (color, sound). The Museum of Modern Art, New York. Committee on Media and Performance Art Funds. © 2011 the artists. Photograph by Scott Groller.]
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6B38-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B38-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B38-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $25, Seniors $18, Students $14, Children and Members and on Friday 4pm–8pm Free. Film Admission as of September 1, 2011: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full-time students with current I.D. (for admittance to film program</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-08-06</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>179</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6C96" href="http://www.nyartbeat.com/event/2012/6C96">
  <Name>&quot;Videorover: Season 3&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/364B519D">
    <Name>NURTUREart</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart St., Brooklyn, NY 11206</Address>
    <Phone>718-782-7755</Phone>
    <Fax></Fax>
    <Access>Between Grattan St. and Harrison Pl. Subway: L to Morgan Street.</Access>
    <Area areaId="williamsburg">Williamsburg</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="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[NURTUREart’s semi-annual video series, Videorover, is an ever-expanding forum for new and emerging video artists. While producing and sharing video is becoming increasingly easier, we believe that truly exceptional video works still deserve to be presented and appreciated in the best possible way. To this purpose, Videorover aims to present a wide range of videos from local and international artists who are willing to question and extend the perceptual limitations of this medium.

Videorover’s Program #1 will present a group of videos that explore the possibilities of a time-based medium. These works do not intend to overwhelm, but derive their power from small moments of refracted realism. Opening on Sunday, December 18 for a week-long presentation at NURTUREart, the videos will be displayed simultaneously in the main gallery space. After the winter break, these videos will move to NURTUREart’s screening area and play on rotation, running concurrently with the regular exhibition schedule. Program #2 features works which show a hightened sense of spectacle by dissecting various elements of filmic tradition. This group, pulling between intimacy and expansiveness, will premier on Friday, January 6, 2012 at Indiescreen Cine Club in Williamsburg Brooklyn. This selection will also be presented at other locations as an itinerant program.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6C96-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C96-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C96-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-18</DateStart>
  <DateEnd>2012-05-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-18" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>98</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705589</Latitude>
  <Longitude>-73.933197</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6F35" href="http://www.nyartbeat.com/event/2012/6F35">
  <Name>Pia Myrvold  &quot;FLOW&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FF21D842">
    <Name>.No Gallery</Name>
    <Type>Gallery</Type>
    <Address>251 East Houston St., NY, NY 10002</Address>
    <Phone>646-580-6535</Phone>
    <Fax></Fax>
    <Access>Between Norfolk and Suffolk Sts., Subway: F to 1st Avenue.</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="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 13:00, sundays openinghour 13:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Screen: Digital</Media>
  <Description><![CDATA[.NO – a nonprofit gallery on the Lower East Side presents Pia MYrvoLD: FLOW,  the third incarnation of a multidisciplinary concept that debuted in Venice during last year’s Biennale and is currently on view at the Los Angeles Center for Digital Art through February 24.  
Pia MYrvoLD: FLOW &quot;While engaging with Flow the immersive experience of emergent technologies is carefully guided by the artist. The ever-changing abstract images, rhythmic textures and chromatic structures of light are inspired by higherminded aspirations. Myrvold’s ongoing research in 3D virtual space engenders a unique mental and aesthetic awareness, as the artist plays with virtual space alongside actual physical space to illuminate what we have not been able to see in traditional media. We are not put in front of a console as is common in many interactive works; rather Flow builds parallel or tangent references between the realms of physical and imaginative presence. 

Stemming from her lifelong work as a painter, Norwegian artist Pia Myrvold creates new work that branches out into a formidable interdisciplinary undertaking using electronic media as a springboard for the intermingling of forms. The pulsing, looping animations and sound are unmistakable in their musical quality, the structure of the installation utilizes large scale sculptural form and there is an architectural aspect as the viewer engages the work by walking through it. The end result is an immersive and interactive environment where the viewer encounters a multi-dimensional interface that is a product of emergent technology.” Rex Bruce, Artweek.LA, Jan 9 2012

Professionally active as a visual artist since her teens, the Paris-based Pia Myrvold has shown extensively all over the world. Her work in a wide range of media has been exhibited at Sotheby London, London; Centre Pompidou, Paris; The Center of Architecture, New York; The Henie/Onstad Art Center; Oslo; Sala 1, Rome, just to name a few. During the Venice Biennale 2011, Myrvold staged Flow as a parallel to the Biennale on the Zattere in Venice. Caroline Langill, Associate Dean of OCAD University, Toronto, said the following of the exhibit: &quot; (…) this body of work was a rare new media offering in what one expects to be a festival that highlights art at the vanguard of contemporary practice. At a time when institutions are grappling with the almost weekly emergence of new digital platforms, MYrvoLD points to the necessity of bridging the analogue/digital divide by producing highly technical work that is both rearward and forward looking. The potentially immersive installation evidences the breadth of her practice as well as her situatedness within contemporary art. Not a technologist, MYrvoLD adopts the digital in order to dispel preconceptions about what art is and can be.  Clearly, she is a pioneer and will continue to shape the future of art&quot;.]]></Description>
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  <Karma>1.35198</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-03</DateEnd>
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 <Event xml:lang="en" id="2012/6FE7" href="http://www.nyartbeat.com/event/2012/6FE7">
  <Name>&quot;Video&lt;&gt;Object&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/56788E83">
    <Name>Dorsky Gallery Curatorial Programs</Name>
    <Type>Gallery</Type>
    <Address>11-03 45th Ave., Long Island City, NY 11101</Address>
    <Phone>718-937-6317</Phone>
    <Fax>718-937-7469</Fax>
    <Access>Corner of 11th St.  Subway: E/V to 23rd St./Ely Avenue or 7 to 45th Road/Courthouse Square</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Temporarily closed.</ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Video&lt;&gt;Object  explores the relationships between Video Art and narcissism; Hegarty cites Rosalind Kraus's essay as expressing the thought that gave rise to the present exhibition:  &quot;[Video's] real medium is a psychological situation, the very terms of which are to withdraw attention from an external object -an Other- and invest it in the Self.&quot;  He further explains that the 'psychological situation' Kraus refers to is one of near pathology - narcissism as the characteristic condition of video art.

Yet, the artists in Video&lt;&gt;Object - Nancy Davidson, Yasue Maetake, Halsey Rodman, Jeanne Silverthorne, and Moira Williams - expand the defining narcissism of video art by reframing it. Narcissism, in a torqued return of the look, is scrutinized by these artists through oblique glances, fluidly drifting back and forth across the porous boundaries of Self and Other. They are engaged in a duel between the giddy pleasure in the self and the impossibility of saying &quot;this is not me.&quot;

About the Curator:  Originally from London, Laurence  Hegarty has lived in New York for more than two decades. Though initially trained as an artist, Hegarty's interests have wandered over the years leading him to pursue film studies and  psychoanalysis as partners in the conversation that shapes his writing, curatorial work and studio practice.  Trained as a psychotherapist, Hegarty now maintains a private practice in  New York City.  Though  the disciplines -studio art, writing, curating and psychoanalysis- are not integrated in  any way,  it is the  overlaps and collisions between them that  shape Hegarty's  art- making, writing and curatorial practice.
]]></Description>
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  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-03-08</DateEnd>
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 <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>
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  <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>
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 <Event xml:lang="en" id="2012/79C5" href="http://www.nyartbeat.com/event/2012/79C5">
  <Name>&quot;In Their Own World&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F9D0DBB0">
    <Name>Tache Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., No. 602, New York, NY 10001</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</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>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Curator: D. Dominick Lombardi]]></Description>
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  <Karma>0</Karma>
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  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
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 <Event xml:lang="en" id="2012/8C69" href="http://www.nyartbeat.com/event/2012/8C69">
  <Name>&quot;Synchronous Objects: Degrees of Unison&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F3D614E">
    <Name>Goethe-Institut Wyoming Building</Name>
    <Type>Cultural Center</Type>
    <Address>5 E 3rd St., New York, NY 10003</Address>
    <Phone>212-439-8700</Phone>
    <Fax></Fax>
    <Access>Between 2nd Ave. and Bowery.  Subway: F to 2nd Avenue, 6 to Brodway-Lafayette Street</Access>
    <Area areaId="villages">Villages</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>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Synchronous Objects: Degrees of Unison is a multipart sound and video installation focusing on One Flat Thing, reproduced an ensemble dance by William Forsythe. 

Focusing on the choreographic visualization online project Synchronous Objects created by Norah Zuniga Shaw, Maria Palazzi and William Forsythe, the installation brings viewers into an encounter with the deep structures of a dance and the generative ideas contained within. A series of visual objects – animations, computer graphics, interactive tools – enact a parallel performance of Forsythe's choreographic ideas. The work was first launched online in 2009 and is still available in this form. 

In the installation, Norah Zuniga Shaw stays close to the conceptual foundations of the online original while extending them into the architectural and experiential possibilities of the Goethe-Institut Wyoming Building. In addition to interacting with the site and viewing HD animations from the project, visitors can spend time within a circle of synchronized visualizations unfolding from dance to data to objects over the 15 – minute time span of the piece. William Forsythe's voice calls out timing to the dancers and the sounds of the dancers' actions move in multi-channel choreography around the space. Finally, a paper proliferation of creative processes can be found to read, leave behind, sort, or carry home. 

Synchronous Objects: Degrees of Unison (2010) 
A video installation by Norah Zuniga Shaw based on original material from 
Synchronous Objects for One Flat Thing, reproduced (2009) 
By William Forsythe, Norah Zuniga Shaw, Maria Palazzi 
Creative director: Norah Zuniga Shaw 
Choreographer: William Forsythe, One Flat Thing, reproduced (2000) 
Video source director: Thierry de Mey (2006) 
Video and software engineer: Benjamin Schroeder 
Sound designer: Marc Ainger 
Producers: Julian Richter, Shawn Hove, Oded Huberman, and Petra Roggel/Goethe-Institut
Sound resources: ambient sound of dancers performing the piece and William Forsythe's voice 
Runing time: 15:30 min.]]></Description>
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  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
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 <Event xml:lang="en" id="2012/9542" href="http://www.nyartbeat.com/event/2012/9542">
  <Name>&quot;The Bricoleurs&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8887592D">
    <Name>BRIC Rotunda Gallery</Name>
    <Type>Gallery</Type>
    <Address>33 Clinton St., Brooklyn, NY 11201</Address>
    <Phone>718-683-5621</Phone>
    <Fax>718-488-0609</Fax>
    <Access>Between Tillary and Pierrepont St. Subway: A/C at High Street, 2/3/4/5/M/R trains at Court Street/Borough Hall</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>Hours during exhibition only</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[BRIC Arts | Media | Bklyn presents The Bricoleurs, an exhibition at BRIC Rotunda Gallery featuring a range of Brooklyn artists who embrace the practice of bricolage and construct visual works from discrepant elements, creating new forms and imagery. Curated by Christian Fuller and Risa Shoup.

All artists in the show were selected from BRIC’s Contemporary Artists Registry, the oldest registry of visual artists in Brooklyn with more than 16,000 digital submissions from 800 artists. Founded in 1983, the Registry is open to artists living or working in Brooklyn; visit registry.bricartsmedia.org to view a range of artists’ work.

Bricolage is a term used in several disciplines to refer to the construction or creation of a work from a diverse range of sometimes seemingly disparate  things; a person who engages in bricolage is called a bricoleur. The range of work in this show includes: video, painting, collage, assemblage, sculpture and digital printing.

According to the curators: “We have chosen artists for the exhibition who pull together styles and materials that might otherwise appear disparate and unattractive save for the artist’s ability to combine them into one cogent, integral whole… With The Bricoleurs, we turn our analytical gaze more to the practice of creating bricolage less than the product, the bricolage itself.”]]></Description>
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  <Price free="1">Free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-03-03</DateEnd>
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 <Party type="1" date="2012-01-25" start="19:00:00" end="21:00:00">Opening Reception</Party>
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 <Event xml:lang="en" id="2012/9A7B" href="http://www.nyartbeat.com/event/2012/9A7B">
  <Name>&quot;New Selections: South Asia&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1C82646F">
    <Name>Thomas Erben Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., 4 Fl., New York, NY 10001</Address>
    <Phone>212-645-8701</Phone>
    <Fax>212-645-9630</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 34th 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" />
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  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Thomas Erben Gallery presents work by a selection of artists related to the larger South Asian field, whose wide variety of concerns, media, and practices have recently garnered our attention.

Ehsan ul Haq’s (b. 1983, Lahore, Pakistan) sculptures, installations and videos are carefully considered arrangements of simple elements like rubble, cinderblocks, furniture, houseplants, light bulbs and, occasionally, live animals. His work transcends the symbolic and avoids flippancy, creating empathic poetry from everyday objects, which he organizes into flawed systems. The photographs included in the show document studio installations. One features a donkey, whose ability to roam is hampered by a tethered weight; the other, a rooster tied by the ankle to a feed-covered floor, resulting in a perfect circle of empty floor space over time. 

Ul Haq received his BFA from the Beacon House National University, Lahore (2008). Most notably, his work was included in Resemble/Reassemble, Devi Art Foundation, New Delhi (2010) curated by Rashid Rana. He had solo shows with Rohtas (2009) and the National College of Art Gallery (2010), both in Lahore, and has been included in exhibitions in the UK, Pakistan, and Germany.

The primary concern of interdisciplinary artist Sreshta Rit Premnath (b. 1979, Bangalore, India) is how “political and economic power produces [an] unequal distribution of knowledge” and “how paradigms of power produce and constitute our relationship to objects and events in the world.” Rhizome – a photo series of manipulated roots, linked together with crimped metal inserts - focuses on the ginger rhizome, a household cooking ingredient with locally well know medicinal uses in India and China, whose genes have been patented by pharmaceutical corporations for commercial use. The ways in which systems of knowledge have been, and continue to be colonized is an underlying theme.

Premnath, founder and editor of Shifter Magazine, is based in New York. He completed his BFA at The Cleveland Institute of Art (2003), his MFA at Bard College (2006), and attended the Whitney Independent Study Program (2008). Solo shows include: Galerie Nordenhake, Berlin (2011) and Gallery SKE, Bangalore (2004, 2008, 2010), which also presented his work at Statements, Art Basel (2010).

Schandra Singh’s (b. 1977, Suffern, NY) saturated, large-scale oil paintings executed on linen, feature lounging tourists enclosed in their own watery paradise. Built of faceted shapes as if their muscles and fascia were exposed, her figures threaten to disintegrate into the surrounding, equally fractured pool water. Singh’s work, incongruously full of buzz and anxiety, exposes an agitation resulting from the psychological, and subsequently political, implications of leisure in an era of global crisis.

Singh completed her BFA (1999) at the Rhode Island School of Design and went on to receive her MFA in Painting (2006) at Yale. She had solo exhibitions at Nature Morte, Berlin (2011), Bose Pacia, New York (2010), Galerie Bertrand &amp; Gruner, Geneva (2008) and has shown internationally, most notably in The Empire Strikes Back, Saatchi Gallery, London (2010).

Vinod Balak (b. 1982, Kerala, India) are excessive in terms of aesthetics as well as social norms. Constructing his social allegories in the tilted, flattened space of miniature painting, Balak’s human and/or animal protagonists are rendered in - and surrounded by - a brash, synthetic palette and jarring patterns. Loud yet static, the classical compositions allow for the hedonist impulse of contemporary consumerism to be perceived on a more reflective level.

Balak received his BFA from The Government College of Fine Arts, Thrissur, Kerala (2007) and his MFA from the S.N. School of Fine Arts, Hyderabad (2009). His work was included in Roots in the Air, San Jose Museum of Art, CA (2011) and a solo-exhibition was held at Galerie Mirchandani + Steinruecke, Mumbai (2010). He currently lives and works in Hyderabad.

Koshal Hamal’s (b. 1988, Mugu, Nepal) works are engaged in a synthesis of appropriation, combining Western art with the historical format of miniature painting. Working in oil, he copies Western art historical works (and their gilded frames), in diminutive size, onto larger scale primed canvases. He grants these works the specialness of singularity, while simultaneously reevaluating and taking ownership – conceptually as well as culturally – through the act of appropriation and miniaturization.

Hamal received his BFA from Beaconhouse National University, Lahore (2011) on a South Asia Foundation Scholarship. His graduating exhibition was reviewed by Atteqa Ali: “The star of the show is a Nepalese artist Koshal Hamal. […] His paintings examine complicated concepts; however, Koshal does not reduce the significance of the form. Instead, his visually compelling technique is a kind of foil for heavy ideas. It’s a powerful trait found in the most interesting art made in Pakistan.” Hamal lives and works in Kathmandu, Nepal.

Faiza Butt (b. 1973, Lahore, Pakistan) composes her midsize drawings from collages of journalistic, personal and advertising images, touching on issues of cross-cultural integration, including sex/gender, religion, and aesthetics. She works slowly, incrementally growing imagery through innumerable colored felt-tip-pen dots on Mylar, which are then exhibited backlit, akin to advertisements. At the core of her practice is the hybridization of media – for example, a meticulous handmade drawing resembles a coarse offset print of a photographic image, glowing in a public ad display.

Faiza Butt received her BFA from the National College of Arts (1993) and her MFA from the Slade School of Art (1999), both in London. Her work was exhibited in Hanging Fire: Contemporary Art from Pakistan, Asia Society, New York (2009) as well as at venues in the UK, France, Hong Kong, Dubai, Pakistan, and India. Solo exhibitions include: Grosvenor Vadhera Gallery, in London (2010) and at Art Dubai (2011); Rohtas Gallery, Lahore (2009, 2008, 1996); Green Cardamom, London (2008). She lives and works in London.

The densely patterned, abstract paintings of Anoka Faruqee (b. 1972, Ann Arbor, MI) are composed of tripods and asterisks. Her chromatically gradated, hand painted surfaces recall warped pixelated spaces, Islamic tile geometry, and abstract color-fields. Adhering to a diligently methodical process, Faruqee has supplanted spontaneity and dramatic gesture through controlled repetition, thus finding self-expression within the potential of geometric space.

Faruqee received her BA from Yale (1994) and her MFA from Tyler School of Art (1997). She attended the Whitney Independent Study Program, the Skowhegan School of Art, and the PS1 National Studio Program. Her work has been exhibited at Hosfelt Gallery, PS1, Max Protetch and Apexart, among others.

Hasan Elahi (b. 1972, Bangladesh) is perhaps best known for his ongoing FBI tracking project. Ten years ago, Elahi was detained by the FBI for suspicion of housing explosives in a Florida storage unit. After an exhaustive investigation, the agents were convinced of their error. To avoid future “complications,” Elahi has since documented every detail of his life by providing a real time map with financial data, communication records and transportation logs. In our exhibition, a photograph of airplane meals demonstrates his interest in the public and investigative value of an overwhelming amount of personal information.

Elahi is currently Associate Professor of Art at the University of Maryland as Director of Digital Cultures and Creativity. Over the past years, his work has been included in exhibitions at venues such as SITE Santa Fe, Centre Georges Pompidou, Sundance Film Festival, Kassel Kulturbahnhof, The Hermitage, and at the Venice Biennale.

[Image: Ehsan ul Haq]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-10</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-10" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749853</Latitude>
  <Longitude>-74.003767</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9EB1" href="http://www.nyartbeat.com/event/2012/9EB1">
  <Name>Mounira Al Solh &quot;Dinosaurs&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53EAC23D">
    <Name>Art in General</Name>
    <Type>Cultural Center</Type>
    <Address>79 Walker St., New York, NY 10013</Address>
    <Phone>212-219-0473</Phone>
    <Fax>212-219-0511</Fax>
    <Access>Between Broadway and Lafayette St.. Subway: 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</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: Video installation</Media>
  <Description><![CDATA[Art in General presents its first international New Commission, a new film installation by Lebanese artist Mounira Al Solh.

A series of scenes that seem both familiar yet brand new. A grouping of characters that seem to live in an eternal present conditioned by everlasting chaos and unrest. A set of locations marked by darkness and yet illuminated by the intensity of those that inhabit them. A narrative that instead of answering a specific question, is in itself a search for answers.

Mounira Al Solh’s new film installation, Dinosaurs, takes its inspiration from four different films by John Cassavetes. Culling vignettes from Opening Night, Faces, Husbands, and The Killing of A Chinese Bookie, Al Solh directs her friends to reenact specific scenes wherein the act of drinking reveals moments of intimacy, aggression, and loneliness. Invoking Cassavetes as both a means of study and a lens, Al Solh reflects on the relationship between substance and evaporation, exploring how alcohol can become instrumental in confronting fate. Dinosaurs’ fragmented scenes build a fragile portrait of a place in flux, a loose narrative that continues to unravel and unhinge with each drink. At once claustrophobic, circular and tense, Al Solh’s reinterpretation of Cassavetes creates a space of suspended chaos.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9EB1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EB1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EB1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718186</Latitude>
  <Longitude>-74.001742</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9F64" href="http://www.nyartbeat.com/event/2012/9F64">
  <Name>&quot;Celestial&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/50099AFD">
    <Name>The Camera Club of New York </Name>
    <Type>Cultural Center</Type>
    <Address>336 W 37th St., Suite 206, New York, NY 10018</Address>
    <Phone> 212-260-9927</Phone>
    <Fax></Fax>
    <Access>Between 8th and 9th Aves.  Subway: A/E/C/ 1/ 2/ 3 trains to 34th Street Penn Station and B/D/F/V/N/R to 34th Street Herald Square</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[For nearly twenty years the Hubble Telescope has astonished us with its images of faraway cosmic objects and phenomena, bringing a revolution in universal perspective. The Hubble has produced a seemingly unending portfolio of a starry sublime – evoking mystical reveries and existential gasps. The infinite majesty of the universe is impossible to fully picture adequately in spite of the technological complexity of such a device. Paradoxically, for artists with far fewer resources but with an embracing imagination, evoking the cosmos can be as simple as drawing a line with a hovering star or sprinkling salt and pepper on photographic paper to conjure a photogram rendition of the Milky Way. In such images we intuitively understand the relationship suggested of a knowable and measurable world and the infinite space above. 

&quot;Celestial' is a show of five photographic artists whose work charms and prods our sense of wonder with astounding economy. Each artist approaches the impossible task of taking on the celestial infinite with very different sensibilities and materials: black and white analog photographs, muted but richly saturated color, collage, charcoal drawings based on negatives and video/performance.

[Image: Brea Souders &quot;Modern Day Halo #3&quot;]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9F64-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F64-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F64-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.754472</Latitude>
  <Longitude>-73.993289</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A1BC" href="http://www.nyartbeat.com/event/2012/A1BC">
  <Name>Alec Soth &quot;Broken Manual&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EEDD4AC1">
    <Name>Sean Kelly Gallery</Name>
    <Type>Gallery</Type>
    <Address>528 W 29th St., New York, NY 10001</Address>
    <Phone>212-239-1181</Phone>
    <Fax>212-239-2467</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to Penn Station 34th Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</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>saturdays openinghour 10:00, saturdays closinghour 18:00</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Sean Kelly Gallery presents Alec Soth’s new exhibition, Broken Manual. 

Broken Manual will be Soth’s premiere exhibition with the gallery and the first opportunity to view such a large selection of this important body of work in New York. The majority of photographs that comprise this compelling series were taken over a four-year period, from 2006-2010. They reflect Soth’s increasing interest in the mounting anger and frustration that some—specifically male—Americans feel with societal constraints and their subsequent desire to remove themselves from civilization. The resultant work is a group of portraits of men and the landscapes they inhabit that are poignant, disturbing and mysterious. Soth’s uncanny ability to gain the trust of those whom he photographs gave him unprecedented access to these notoriously elusive individuals, in moments, variously, of brooding, deep reflection or vulnerability. 

The genesis of the work is Soth’s fascination with the life of Thomas Merton, the Trappist monk who, prior to his death in 1968, lived for almost three decades at the remote Abbey of Gethsemani in Kentucky. Additionally, Soth studied the years that Olympic Park bomber Eric Rudolph spent evading the authorities in the Appalachian Mountains of North Carolina. In visits to these two locations, Soth realized that both these men’s stories ignited “a fantasy of retreat”. 

Soth’s alter ego, Lester B. Morrison, was borne out of his research on this topic. Morrison created a text—the eponymously titled manual that accompanies the exhibition—written to aid others who, like him, choose to retreat from society and live off the grid in a remote area of the country. In it, he offers helpful hints on everything from disguising one’s appearance to creating a pseudonym. Soth, in turn inspired by Morrison’s manual, traveled the country taking photographs that illustrated Morrison’s ideas. Morrison proclaims: “Let this book be your guide. Over the last few years I’ve studied the experts of escape. Let us now praise these lonely men: hermits and hippies, monks and survivalists.” He goes on to explain, “I’ve included a number of photos by my comrade Alec Soth. When you look at these scenes, try to put yourself in the picture. Visualize your new life on the lam. Before you know it, you just might make the break.” 

In addition to the photographs in the main gallery, gallery two will include a site-specific installation of the special edition of the Broken Manual book. This highly sought-after, signed and numbered edition is placed inside larger found books, the interiors of which have been carved out to create a secret repository for the manual, an action that mimics the concealment of covert material by someone living a double-life, who must hide evidence of their alternative existence from those around them. A very limited number of the special edition books will be available for sale from the gallery. 

Gallery one will feature the 2011 full-length documentary, Somewhere to Disappear (running time: 57 minutes). Directed by Laure Flammarion and Arnaud Uyttenhove, and produced by Mas Films, the film follows Soth as he travels across America in search of the subjects for Broken Manual. The screening schedule for Somewhere to Disappear will be posted in the gallery and on our website. For more information about the film, please visit the Somewhere to Disappear website. 

Soth has been featured in numerous solo and group exhibitions. In 2008, a large survey exhibition of Soth's work was exhibited at the Jeu de Paume in Paris and the Fotomuseum Winterthur in Switzerland. In 2010, the Walker Art Center mounted a comprehensive exhibition with an accompanying catalogue entitled From Here To There, Alec Soth’s America. His first monograph, Sleeping by the Mississippi, was published by Steidl in 2004 to great critical acclaim. Since then, Soth has published NIAGARA (2006), Fashion Magazine (2007), Dog Days, Bogotá (2007), The Last Days of W (2008) and Broken Manual (2010). Steidl will release the trade publication of Broken Manual in early 2012. In 2008, Soth started his own highly-regarded publishing company, Little Brown Mushroom. His work is in the permanent collections of numerous museums, including the Museum of Modern Art, New York; the Brooklyn Museum of Art; the Los Angeles County Museum of Art; the Museum of Contemporary Art, Chicago; the Museum of Fine Arts, Houston; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, amongst others. Soth became a nominee of Magnum Photos in 2004 and a full member in 2008.

[Image: ALEC SOTH &quot;2008_08zl0215&quot; (2008) framed archival pigment print mounted to 4 ply museum board, 50 x 40 inches (127 x 101.6 cm), edition of 7 with 3 APs.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A1BC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A1BC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A1BC-170" width="170" />
  <Karma>7.72683</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751781</Latitude>
  <Longitude>-74.002267</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A856" href="http://www.nyartbeat.com/event/2012/A856">
  <Name>Zimoun &quot;Volume&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C2CAA62C">
    <Name>Bitforms Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-366-6939</Phone>
    <Fax>212-366-6959</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</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>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[bitforms gallery presents Volume, the first solo exhibition in New York by Swiss artist Zimoun. On view will be an immersive, site-specific sound installation based on prepared dc-motors and cardboard boxes. 

Part of a series that received its U.S. debut in a solo exhibition at the Ringling Museum of Art this Fall, the installation emphasizes the grid as a method of visual organization. Precariously balanced rows of cardboard boxes form an architectural space containing a rumbling din produced by mechanical motors humming in unison. 

Pulsing rhythmically, each unit in the system reverberates with its own sense of purpose and timing. Temporal microstructures emerge and shift, made visible by collective behavior. With minimalist and low-tech means, Zimoun constructs a blank zone of play utilizing repetition and the physical pressure of vibration.

As an author, Zimoun uses scale and tools of amplification to transform our associations with commonplace industrial objects. Tuned into kinetic and acoustic detail, his obsessive displays of collected materials unlock emotional potential in otherwise banal and chaotic gestures. In his work static volume permeates a space, yielding reductive clocklike operas of the everyday.

For the duration of the show, the gallery’s project room on the 6th floor will also feature four mechanical works by the artist and a video.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A856-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A856-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A856-170" width="170" />
  <Karma>4.02439</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746908</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AB31" href="http://www.nyartbeat.com/event/2012/AB31">
  <Name>&quot;It's the Political Economy, Stupid&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5EE3D565">
    <Name>Austrian Cultural Forum NYC</Name>
    <Type>Cultural Center</Type>
    <Address>11 E 52nd St., New York, NY 10022</Address>
    <Phone>212-319-5300</Phone>
    <Fax>212-644-8660</Fax>
    <Access>Between 5th and Madison Ave. Subway: E/V to 53rd Street</Access>
    <Area areaId="midtown">Midtown</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="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The Austrian Cultural Forum New York is pleased to present this international group exhibition, curated by the Austrian-American team of Oliver Ressler and Gregory Sholette. The title derives from the slogan which in the early 1990s came to define then presidential candidate Bill Clinton’s campaign, “It’s the economy, stupid”.

The impending economic crisis that we face today has also become a major crisis for representative democracy. It’s the Political Economy, Stupid brings together an international group of artists who focus on the current crisis in a sustained and critical manner. Rather than acquiesce to the current calamity, the artworks, which include videos, photographs, installations, and a commissioned site-specific wall mural, ask whether it is time to push back against the disciplinary dictates of the capitalist logic and, by use of artistic means, launch a rescue of the very notion of the social itself.

[Image: Dread Scott, Still from &quot;Money to Burn&quot; (2010) video. Courtesy of the artist]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AB31-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AB31-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AB31-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Free (Reservations may be required for seated events)</Price>
  <DateStart>2012-01-24</DateStart>
  <DateEnd>2012-04-22</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>73</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.759533</Latitude>
  <Longitude>-73.975694</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ACCD" href="http://www.nyartbeat.com/event/2012/ACCD">
  <Name>&quot;Material Magic&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3E7FD89E">
    <Name>Visual Arts Gallery</Name>
    <Type>Gallery</Type>
    <Address>601 W 26th St.,15th Fl, New York, NY 10010</Address>
    <Phone>212-592-2145</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or 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="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[An exhibition of work presented by the BFA Fine Arts Department. Curated by Department Chair Suzanne Anker and faculty member Gunars Prande. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751008</Latitude>
  <Longitude>-74.005783</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B920" href="http://www.nyartbeat.com/event/2012/B920">
  <Name>&quot;Printin'&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE192502">
    <Name>The Museum of Modern Art</Name>
    <Type>Museum</Type>
    <Address>11 W 53rd St., New York, NY 10019</Address>
    <Phone>212-708-9400</Phone>
    <Fax></Fax>
    <Access>Between 5th Ave. and 6th Ave.  Subway: V/E to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Summer Hours through Sept. 3: Sunday through Wednesday, 10:30 a.m.–5:30 p.m. Thursday through Saturday, 10:30 a.m.–8:30 p.m.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Organized in conjunction with the exhibition &quot;Print/Out,&quot; &quot;Printin’&quot; takes as its starting point &quot;DeLuxe&quot; (2005), a tour de force portfolio of 60 works by Ellen Gallagher (American, b. 1965) that challenged traditional ideas of what a print could be. This technically complex work employs a veritable riot of mediums, unorthodox tools, and elements, from slicks of greasy pomade to plastic ice cubes. DeLuxe also offers a multivalent constellation of ideas, touching on such issues as portraiture, identity, history, advertising, commodity, and the disruption, translation, and recasting of space. Proposing a kind of technical dissection and conceptual unpacking of this portfolio, Printin’ brings together work by more than 50 artists from multiple disciplines in a sweeping chronology that extends from the 17th century to the present day, to propose a free-flowing yet incisive web of associations that are reflected in DeLuxe. Encompassing prints, drawings, films, books, photographs, sculptures, videos, and comic strips, the exhibition features such artists as Vija Celmins, David Hammons, George Herriman, Robert Rauschenberg, Martha Rosler, and many others, forming a dense network of formal, technical, and conceptual connections and intersections.

[Image: Ellen Gallagher &quot;Black Combs from 'DeLuxe' (detail)&quot; (2004–05) photogravure, chine collé, oil, laser cutting, plasticine, and toy eyeballs, from a portfolio of 60 mixed media works, composition and sheet 13 x 10 in. Publisher and printer: Two Palms Press, New York. Edition: 20. Acquired through the generosity of The Friends of Education of The Museum of Modern Art and The Speyer Family Foundation, Inc., with additional support from the General Print Fund. © 2012 Ellen Gallagher and Two Palms Press]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B920-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B920-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B920-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $25, Seniors $18, Students $14, Children and Members and on Friday 4pm–8pm Free. Film Admission as of September 1, 2011: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full-time students with current I.D. (for admittance to film program</Price>
  <DateStart>2012-02-19</DateStart>
  <DateEnd>2012-05-14</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>95</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</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/BC7A" href="http://www.nyartbeat.com/event/2012/BC7A">
  <Name>&quot;Opulent Vision&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F7F43F4">
    <Name>fordPROJECT</Name>
    <Type>Gallery</Type>
    <Address>57 W 57th St., Penthouse Fl.19 &amp; 20, New York, NY 10019 </Address>
    <Phone>212-219-6557</Phone>
    <Fax></Fax>
    <Access>Between 5th and 6th Aves. Subway: F to 57th Street or N/Q/R to 59th Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[“Opulent Vision” includes a collection of works that highlight many parallels of the contemporary cultural landscape.  Spanning across disciplines from painting to sculpture to conceptual works on paper, the exhibition provides a look at a selection of fordPROJECT's inaugural roster of artists, with the debut of new voices. “Opulent Vision” presents unique perspectives that reflect historical ceremonies, mythical lands, and unique architectural environments.  The exhibition will fill the gallery’s penthouse space with vivid colors, rich wallpaper, paintings of inspired interiors, and a site-specific installation. 

Also on view is the video program “What One Sees Is Not Seen,” curated by Alfredo Hertzog. In the presentation, Hertzog brings together a selection of videos to exemplify the ways in which contemporary artists approach various forms of presentation.  Works range from the dream-like imagery of Pipilotti Rist, to the politically fueled films of Mateo Maté and Hans Op de Beeck.  Other artists include Mauricio Alejo, Adriana Bustos, Cabello/Carcelle, Filipa César, Goldiechiari, Cao Guimarães, Kaoru Katayama, Jorge Macchi, Antoni Muntadas, and Kamen Stoyanov.

The opening of “Opulent Vision” also marks the second installment of the ongoing collaboration between fordPROJECT and BLACKLOTS.  A selection of artworks from BLACKLOTS’ inventory will be on view to enhance and complement fordPROJECT’s exhibition program.

[Image: Kristen Schiele &quot;Cabin Yule-Tide&quot; (2011) oil on canvas 48 x 46 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BC7A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC7A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC7A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-24</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>15</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7638</Latitude>
  <Longitude>-73.975564</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BEB4" href="http://www.nyartbeat.com/event/2012/BEB4">
  <Name>&quot;Gym Lessons The Youngest Art from the Czech post-industrial Periphery&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/13B4527A">
    <Name>Czech Center New York</Name>
    <Type>Cultural Center</Type>
    <Address>321 E 73rd St. New York, NY 10021</Address>
    <Phone>646-422-3399</Phone>
    <Fax></Fax>
    <Access>Between 1st and 2nd Aves. Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 19:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The exhibition Gym Lessons  presents a selection of the latest works by students from the Faculty of Art and Design at the J. E. Purkyne University in Usti nad Labem. Exercise in its very real form is the main theme of the exhibition and as such is manifested in the presented works.  However, the title Gym Lessons also refers to the fact that all of the exhibited works came to life during the university studies as a school exercise of some sort. All of the works incorporate an apparent attempt to interpret physicality as an intimate individual expression as well as a socializing process referring to the phenomenon of learning or social skills acquisition. 
The artworks will be presented in the form of video installations (Miroslav Hašek, Adéla Marková, Libor Ptáčník), wall installations (Blanka Kirchner, Karel Konopka) and photography (Margareta Turčínová).

The Faculty of Art and Design at the J. E. Purkyne University was established in 1993 in the city of Ústí nad Labem, which is located in the northwestern region of Bohemia (the former Sudetenland).  The Faculty of Art and Design at the J. E. Purkyne University is a dynamic and growing institution focused on education in the area of contemporary art, new media and design.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BEB4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BEB4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BEB4-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Depends on each event.</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-23</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:30:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>14</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.769331</Latitude>
  <Longitude>-73.957147</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C196" href="http://www.nyartbeat.com/event/2012/C196">
  <Name>&quot;Back From L.A.&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/70D6AF7A">
    <Name>Zürcher Studio</Name>
    <Type>Gallery</Type>
    <Address>33 Bleecker St., New York, NY 10012</Address>
    <Phone>212-777-0790</Phone>
    <Fax>212-777-0784</Fax>
    <Access>Between Mott and Elizabeth Sts. Subway: D/B/F/V to Broadway Lafayette, 6 to Bleecker Street</Access>
    <Area areaId="villages">Villages</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="0" hol="0" />
    <ScheduleDetails>sundays openinghour 14:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C196-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C196-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C196-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725683</Latitude>
  <Longitude>-73.993778</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/CF2D" href="http://www.nyartbeat.com/event/2012/CF2D">
  <Name>&quot;Storm Watch: A Photographic Journal of Tornado Alley&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0F750B8D">
    <Name>Gallery at New World Stages</Name>
    <Type>Gallery</Type>
    <Address>343 W 49th St., New York, NY 10019</Address>
    <Phone>212-399-4401</Phone>
    <Fax></Fax>
    <Access>Between 8th and 9th Ave., Subway: C/E to 50th Street.</Access>
    <Area areaId="midtown">Midtown</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="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The images on exhibit are a digital record from 2008 – 2011. The four storm chasers met on their travels with Tempest Tours in the area known as Tornado Alley-- an informal and popular media term that refers to where tornadoes are most common in the United States. The area between the Rocky Mountains and Appalachian Mountains is usually associated with this terminology.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/CF2D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CF2D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CF2D-170" width="170" />
  <Karma>0.969551</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-04-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>80</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762248</Latitude>
  <Longitude>-73.987731</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D14D" href="http://www.nyartbeat.com/event/2012/D14D">
  <Name>&quot;Where Do We Migrate To?&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/9ECEFFA7">
    <Name>The Sheila C. Johnson Design Center at Parsons The New School for Design</Name>
    <Type>University or School</Type>
    <Address>66 5th Ave., New York, NY 10011</Address>
    <Phone>212-229-8919</Phone>
    <Fax></Fax>
    <Access>On the corner of 13th St. Subway: 4/5/6/l/N/Q/R/W to Union Sq. or F to 14th Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 18:00, sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Where Do We Migrate To? explores contemporary issues of migration as well as experiences of displacement and exile.

Where Do We Migrate To? features the work of nineteen internationally recognized artists and collectives.

Where Do We Migrate To? is curated by Niels Van Tomme, Director of Arts and Media at Provisions Learning Project, Washington, DC.  The nationally touring exhibition is organized by the Center for Art, Design and Visual Culture at the University of Maryland, Baltimore County, which also published the exhibition catalogue by the same title.  The exhibition and catalogue are made possible, in part, with the support of the Flemish Government through Flanders House New York.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D14D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D14D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D14D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-04-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>66</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7351</Latitude>
  <Longitude>-73.994472</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D383" href="http://www.nyartbeat.com/event/2012/D383">
  <Name>&quot;Video 2012&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4A464AB7">
    <Name>Momenta Art</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart St., Brooklyn, NY 11237</Address>
    <Phone>718-218-8058</Phone>
    <Fax></Fax>
    <Access>Corner of Grattan St. Subway: L to Morgan Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</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="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D383-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D383-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D383-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>52</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705575</Latitude>
  <Longitude>-73.933216</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/D8EF" href="http://www.nyartbeat.com/event/2012/D8EF">
  <Name>Araya Rasdjarmrearnsook &quot;Two Planets / Village and Elsewhere&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6714DCF2">
    <Name>Tyler Rollins Fine Art</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10001</Address>
    <Phone>212-229-9100</Phone>
    <Fax>212-229-9104</Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: C/E to 23rd Street</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>Screen: Video installation</Media>
  <Description><![CDATA[Araya Rasdjarmrearnsook is universally recognized as one of the leading video artists from Southeast Asia. For the past 25 years, her video, installation, and graphic works have been regularly shown in institutions in her native Thailand and throughout the world. Tyler Rollins Fine Art presents Two Planets / Village and Elsewhere, the first solo show of her work in the United States. The exhibition features the world premiere of her latest video, Village and Elsewhere: Jeff Koons’ Wolfman in Pakoitai Market and Sunday Market, as well as the first US showing of three other recent videos from her Village and Elsewhere and Two Planets series (Village and Elsewhere: Artemisia Gentileschi’s Judith Beheading Holofernes, Jeff Koons’ Untitled, and Thai Villagers; Two Planets: Millet’s The Gleaners and Thai Farmers; and Two Planets: Manet’s Luncheon on the Grass and the Thai Villagers). The videos are installed with a group of related photographs.

Araya’s video works have a meditative, ritualistic quality, and, like many of humanity’s important rituals, they are often focused on the idea of communication between different realms. Her earlier works, for example, have explored the connection between the living and the dead, between the insane and “normal” people, and between humans and animals. Over the past few years, Araya has focused on art itself and the way the viewer interacts with a work of art. In the videos she presents in this exhibition, Araya has placed framed reproductions of iconic Western artworks in settings that are radically different from the art museum, specifically in rural villages, markets, and Buddhist temples in Thailand, where she films groups of farmers or working class people discussing the artworks. The scenes are shot from the perspective of a member of the crowd, thereby incorporating the viewer into the flow of conversation. With the four videos screening simultaneously in the gallery, the various soundtracks seem to meld together as a constant barrage of different voices buzzes in the air, with English subtitles providing a selective translation of the Thai dialogue, suggestive of the artist’s own attempt to manage, organize, and make sense of the unfolding events. These videos show the meeting of two different worlds: “high art” and everyday life; the personal and private spheres; elite vs. mass culture; art and commerce; East and West. While issues of class and cultural differences, exoticization of the “other,” etc., are invoked, these videos also convey a sense of curiosity, humor, and joy that emphasize a common humanity.

Videos from Two Planets will be shown later this year at the Walters Art Museum in Baltimore, which will present Araya’s first solo show at a US museum. Her works have been shown in numerous international museum exhibitions on five continents, including the groundbreaking exhibition, Traditions/Tensions: Contemporary Art in Asia, organized by the Asia Society, New York, in 1996. In 2011 alone, her work was featured in group exhibitions at the National Museum of Art, Osaka, Japan; the Musée de l’Objet, Blois, France; the Zentrum für Kunst, Karlsruhe, Germany; the Sørlandets Kunstmuseum, Kristiansand, Norway; the Palazzo Fortuny, Venice, Italy; MDE11 (Encuentro Internacional de Medellin), Medellin, Colombia; the Changwon Asian Art Festival, Gyeongnam, South Korea; and the Singapore Art Museum.

Araya’s work has been regularly featured in international biennials; she represented Thailand at the Venice Biennale (2005) and was featured in the Sydney Biennale (2010 and 1996), the Nanjing Biennale (2010), the International Video Art Biennial in Tel Aviv (2010), the Ural Industrial Biennale of Contemporary Art (2010), the Incheon Women Artists Biennale (2009), the Taipei Biennial (2006), the Gwangju Biennale (2006), the Carnegie International (2005), the Istanbul Biennial (2003), the Johannesburg Biennial (1995), and the Asia Pacific Triennial (1993). She was also an artist in residence at Artpace, San Antonio (1998-1999). We are pleased to welcome her back to the US.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D8EF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D8EF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D8EF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746263</Latitude>
  <Longitude>-74.006224</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/DDD2" href="http://www.nyartbeat.com/event/2012/DDD2">
  <Name>&quot;One And Many&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F230DB3">
    <Name>Location One</Name>
    <Type>Cultural Center</Type>
    <Address>26 Greene St., New York, NY 10013</Address>
    <Phone>212-334-3347</Phone>
    <Fax></Fax>
    <Access>Between Canal and Grand St. Subway: A/C/E to Canal Street or N/Q/R/W to Canal St.</Access>
    <Area areaId="soho">Soho</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>2D: Painting</Media>
  <Media>2D: Other</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Location One is proud to present One and Many, a group show featuring works by Monica Baptista, Jacob Dahl Jürgensen, Atsushi Kaga, Agnieszka Kurant, David Molander, and Hiraku Suzuki. These artists engage a variety of mediums, from digital film and photography to the traditional art of sewing, transforming one piece into many as they channel possible meta-narratives in their work. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DDD2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DDD2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DDD2-170" width="170" />
  <Karma>1.36752</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-11</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721233</Latitude>
  <Longitude>-74.002639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E3CC" href="http://www.nyartbeat.com/event/2012/E3CC">
  <Name>&quot;The Family Jewels&quot; and &quot;Dorian, the Wallpaper Collection&quot; Exhibitions</Name>
  <Venue href="http://www.nyartbeat.com/venue/00038288">
    <Name>Stephan Stoyanov Gallery</Name>
    <Type>Gallery</Type>
    <Address>29 Orchard St., New York, NY 10002</Address>
    <Phone>212-582-4425</Phone>
    <Fax>212-582-2366</Fax>
    <Access>Between Hester &amp; Canal Sts.  Subway: F to East Broadway, B/D to Grand 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>2D: Painting</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Stephan Stoyanov Gallery presents &quot;The Family Jewels&quot;, Hannah Barrett's series of paintings and drawings depicting a hermaphrodite master race; and &quot;Dorian, the Wallpaper Collection&quot;, Michelle Handelman's selection of ambient video loops from Dorian, a Cinematic Perfume, a project based on Oscar Wilde's The Picture of Dorian Gray.
 
In The Family Jewels, small Cranach-like icons portray an omnisexual elite enjoying their leisure in a fantasy realm reminiscent of William S. Burroughs'. Barrett creates an alternative pantheon by fusing the bodies of Hitler and Queen Elizabeth, ultimate symbols of blood-based superiority, and placing them in understated, highly charged settings. To accompany her first solo New York show, Barrett invites 2011 Guggenheim Fellow Michelle Handelman to exhibit photographs and videos from her acclaimed parable of decadence and narcissism, Dorian, a Cinematic Perfume. In this video installation characters and musicians of the underground '80s club scene act out the extremes of youthful beauty and aging decomposition as symbolized by Dorian Gray's secretly blistering portrait. Dorian exists as a contemporary celebrity, destroyed by a vacant ambition.
 
While Barrett paints in oil and gold leaf on panel, and Handelman shoots in high definition video, both create a cast of morally and sexually ambiguous characters engaged in exclusive and rarified power games and rituals. Handelman's lush glamour and Barrett's meticulous craftsmanship conspire to reveal pristine surfaces that are shattered by conflicted emotions and dark history.

[Image: &quot;Dead Dorian&quot; from Dorian by Michelle Handelman / &quot;The Bread of Future Generations&quot; by Hannah Barrett]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E3CC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E3CC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E3CC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote>Artists Talk: Sunday, February 12, 4-5pm</ScheduleNote>
 <Party type="1" date="2012-01-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715628</Latitude>
  <Longitude>-73.991703</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E632" href="http://www.nyartbeat.com/event/2012/E632">
  <Name>&quot;Sound of Silence: Art During Dictatorship&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/17610F30">
    <Name>EFA Project Space</Name>
    <Type>Gallery</Type>
    <Address>323 W 39th St., 11 Fl., New York, NY 10018</Address>
    <Phone>212-563-5855</Phone>
    <Fax>212-563-1875</Fax>
    <Access>Between 8th and 9th Ave. Subway: A/C/E to 42th Street or A/C/E to 34th Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Curated by Belarus-born Olga Kopenkina, this exhibition brings together nine of the most active young artists from Belarus, and their videos, posters, paintings and installations created in solidarity with popular protests against the December 2010 rigged election and state-sanctioned crime that unfolded in its aftermath. Belarus President Lukashenka usurped governmental control seventeen years ago, and proceeded to turn Belarus, a once culturally vibrant country re-establishing its identity after the fall of the Soviet Union, into a repressed and stagnant dictatorship. In December 2010, accusations against falsified presidential elections brought rise to a wave of peaceful protests throughout the country, which were reacted strongly against by the police and the government through violence, mass arrests, unlawful trials for the oppositional leaders and activists, and long jail terms. 
 
Young artists in Belarus responded strongly to the fast growing protest movement with new and bold expression-actions that have been gaining visibility throughout Europe despite the governments efforts to silence them. This is the generation of artists who grew up under the dictatorship of Lukashenka and now many of them have found brazen voices that enable them to take giant risks, challenging the status quo while faced with the constant threat of arrest and the fate of political exile. &quot;Sound of Silence&quot; is the first exhibition in New York City that surveys the recent and powerful activities coming from this generation of Belarusian artists. It presents a range of installation, documentation and objects: from the work generated by the collective www.antibrainwash.net, an artists-run activist website, which features radical protest posters and materials that can be downloaded, printed and distributed; to Marina Naprushkina's constantly morphing installation &quot;The Office of Anti-Propaganda,&quot; that presents images, objects, slogans and video footage exploring the illusory reality the Belarus government created through public campaign; to documentation of Ales Pushkin's outlandish staged performance protests delivered to the President, police, and other officials that led him to immediate and constant arrest; to the Minsk-based group FAU's &quot;Monopoly: The Belarusian Edition&quot;  that addresses the dominance of economics over politics and culture, when the players assume the roles of government officials and winning depends upon being the most corrupt; to Yauheni Shadko's expressionistic narrative paintings of recent political events.

[Image: antibrainwash.net &quot;Tortures #3 and #6&quot; (2011) (from series of 9 downloadable posters]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E632-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E632-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E632-170" width="170" />
  <Karma>4.3769</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.755619</Latitude>
  <Longitude>-73.991822</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ED55" href="http://www.nyartbeat.com/event/2012/ED55">
  <Name>Jon Kessler &quot;The Blue Period&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/17DDAC1C">
    <Name>Salon 94 Bowery</Name>
    <Type>Gallery</Type>
    <Address>243 Bowery, New York, NY 10002</Address>
    <Phone>646-672-9212</Phone>
    <Fax></Fax>
    <Access>Corner of Stanton St.  Subway: F/V to 2nd Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>tuesdays openinghour 13:00 </ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Salon 94 Bowery presents Jon Kessler’s The Blue Period (2007/2011), an immersive installation featuring kinetic machines, surveillance cameras, video monitors and life-size cardboard figures. This video-drenched panopticon is the culmination of Kessler’s longtime interest in surveillance, alienation and spectacle. First shown in Berlin in 2007, this is the work’s first installation in the US.  The Blue Period is a spiritual descendant of Society as Spectacle, Guy Debord’s seminal 1967 critique of the ascendant consumer culture, and the general passivity and isolation it engenders. Riffing on Debord and his fellow Situationists, Kessler has constructed a controlled environment in which social relations are mediated through images of a fabricated, inaccessible reality. Cameras capture real and fake spectators in a maze of monitors against blue splattered walls creating a fleeting sense of community and interconnection. Processors displace this blue with wave after wave of smiling catalog faces, setting the viewer adrift in a sea of the real and the imagined: a constant feedback loop that has a paradoxically liberating effect. This feeling is fleeting as the viewer becomes trapped in the immense accumulation of images, locked in an endless cycle of passivity and voyeurism.   
At the installation’s center an inverted model–a gallery within a gallery–is surveyed with a miniature camera. Large collaged portraits from Kessler’s residency at Dieu Donné hang on the walls, supporting Kessler’s idea of the portrait as a metaphor for captivity. A bank of box monitors imprisons familiar actors in blue-face such as Jean-Luc Godard’s Pierrot le Fou, Mel Gibson’s Apocalypto and sequences from the Blue Man Group. Like the viewer, these characters unwittingly become part of the work, and the act of looking and being seen becomes the de facto subject. The upstairs gallery exhibits four recent small-scale sculptures, each featuring a different human organ and its prosthesis: Hands (2012), Ear (2012), Foot (2012), and Eye (2012).  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ED55-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED55-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED55-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722631</Latitude>
  <Longitude>-73.992975</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F06B" href="http://www.nyartbeat.com/event/2012/F06B">
  <Name>Gran Fury &quot;Read My Lips&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3C36F95D">
    <Name>80 Washington Square East</Name>
    <Type>University or School</Type>
    <Address>80 Washington Sq. East, New York, NY 10003</Address>
    <Phone>212-998-5747</Phone>
    <Fax>212-998-5752</Fax>
    <Access>Between W 4th St. and Washington Pl. Subway: R/W to 8th Street or 6 to Astor Place</Access>
    <Area areaId="villages">Villages</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>tuesdays closinghour 19:00, fridays closinghour 17:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[80WSE presents &quot;Gran Fury: Read My Lips,&quot; the first comprehensive survey documenting the important AIDS activist art collective's work from 1987-1995.

Naming itself after the model of Plymouth automobile used by the New York City Police Department, Gran Fury made public projects that were simultaneously scathing, provocative, stylish and often quite funny. This exhibition conveys the collective's unique voice across a wide variety of media including billboards, postcards, video, posters and painting.	Photographs and records from the period help convey the urgency of the early AIDS crisis that lead many into the streets to demand reforms that changed public policy and saved lives.

Gran Fury's work raised public awareness of AIDS and put pressure on politicians, while sparking debate in sites ranging from the Illinois Senate to the tabloid press of Italy.	Bridging the gap between Situationist site-specific art strategies, post-modern appropriation and the Queer activist movement, Gran Fury has been influential to later practitioners. Their work opens up a broader spectrum of understanding about the political and collective art practices that flourished in downtown New York during the Eighties and Nineties.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F06B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F06B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F06B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.730056</Latitude>
  <Longitude>-73.995983</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F35B" href="http://www.nyartbeat.com/event/2012/F35B">
  <Name>Shirin Neshat Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3A325A19">
    <Name>Gladstone Gallery (Chelsea 24th Street)</Name>
    <Type>Gallery</Type>
    <Address>515 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9300</Phone>
    <Fax>212-206-9301</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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>Screen: Video installation</Media>
  <Description><![CDATA[Gladstone Gallery presents our fifth exhibition with Shirin Neshat. In her upcoming project, Neshat will present a new series of photographs and a video installation, both of which explore the underlying conditions of power within socio-cultural structures.  Inspired by the sweeping momentum of recent political uprisings in the Arab world, Neshat turned to both historical and contemporary sources to generate richly provocative metaphors for the network of relations that comprise a society.

The new photographic series, titled The Book of Kings, is named after the ancient book Shahnameh (The Book of Kings), a long poem of epic tragedies written by the Persian poet Ferdowsi between c. 977 and 1010 AD. Shahnameh retells the mythical and historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th Century. Divided into three groups—the Masses, the Patriots, and the Villains—Neshat’s portraits of Arab youth comprise black and white photographs with meticulously executed calligraphic texts and drawings inscribed over each subject’s face and body. These texts and illustrations—drawn from Shahnameh as well as from contemporary poetry by Iranian writers and prisoners—both obscure and illuminate the subjects’ facial expressions and emotive intensity, intimately linking the current energy of contemporary Iran with its mythical and historical past.  In this arresting body of work, Neshat returns to the confrontational nature of her iconic Women of Allah series, while refocusing on themes of revolution and the bold-faced defiance of youth. 

In her new three-channel video installation, Neshat draws upon themes of justice and the struggle of the artist against the constraints of authoritarian rule. Creating a space where moral judgment is questioned and the viewer’s allegiances oscillate between identifying with the victim and being accomplice to power, Neshat investigates the repressed and unspoken elements of social and cultural consensus through this bold new work.

Shirin Neshat was born in Qazvin, Iran and moved to the United States in 1974. She has had solo exhibitions at the Museo de Arte Moderno, Mexico City; Contemporary Arts Museum, Houston; Walker Art Center, Minneapolis; Castello di Rivoli, Turin; Wexner Center for the Arts, Columbus; the Art Institute of Chicago; the Serpentine Gallery, London; Museo de Arte Contemporaneo, León, Spain, and the the Hamburger Bahnhof, Berlin. Neshat was included in Prospect.1, the 2008 New Orleans Biennial, Documenta XI, the 2000 Whitney Biennial, and the 1999 Venice Biennale. Neshat was awarded the Silver Lion at the 66th International Venice Film Festival (2009), the Lillian Gish Prize (2006), the Hiroshima Freedom Prize (2005), and the First International Award at the 48th Venice Biennale (1999).  OverRuled, Neshat’s commission for the fourth edition of Performa, premiered in November 2011.  A major retrospective of Neshat’s work, organized by the Detroit Institute of Arts, will open in April 2013.  Neshat currently lives and works in New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-170" width="170" />
  <Karma>12.5541</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748569</Latitude>
  <Longitude>-74.004161</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FCAD" href="http://www.nyartbeat.com/event/2012/FCAD">
  <Name>Michele Kong &amp; Yosuke Ito &quot;Circulation&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A97C5B22">
    <Name>M55 Art</Name>
    <Type>Gallery</Type>
    <Address>44-02 23rd St., Long Island City, NY 11101</Address>
    <Phone>718-729-2988</Phone>
    <Fax></Fax>
    <Access>Between 44th Ave. and 44th Rd. Subway: E/F to 23rd Street/ Ely Avenue</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[With upheaval spreading around the world, what can we make of our current global situation? Like looking in a mirror every morning, we may check numerous sources of information. On one hand, in Japan we witnessed that everybody could experience weakness, loss and suffering from unexpected circumstances – the great earthquake and tsunami. More recently we saw the Occupy protests spreading from Wall Street to locations all over the world. They seem to cry out for recovering some common ground, both material and spiritual.

These incidents show images in a mirror that is not always stable and flat. Fact was not reflected in the mirror, more perhaps somewhere between the incidents and the reflections. If the mirror that we look into each morning does not reflect fact, then is the mirror even real? Now, everything is in interconnected, circulating on a global scale and has the possibility to be upset.

Art has a function to rouse people to look at the structures of the current world and show something in between. This two-person show creates a dialogue and exchange of ideas between artists Michele Kong (NY) and Yosuke Ito (Tokyo).

This light-based exhibition is best viewed after sunset.


Michele Kong
For several years, Michele Kong created large-scale sculptural installations inspired by structures in nature and focusing attention on things found in plain sight. Such works have been included in exhibitions at a variety of art venues including: PS 1 Contemporary Art Center (NY), Bemis Center for Contemporary Art (NE), Arlington Arts Center (VA), Maryland Art Place (MD), Delaware Center for the Contemporary Arts (DE), to name just a few. In 2009, Kong expanded her artistic practice and began experimenting with narrative in short video projects. Several fellowships including the Fine Arts Work Center, Yaddo, Virginia Center for the Creative Arts, and other programs supported this new body of work. Additionally a 2009 Creative Artist Exchange Fellowship, awarded by the Japan-US Friendship Commission/NEA, contributed to the production of collaborative works including the work on view in this exhibition, The Space Between.


Yosuke Ito
A Tokyo-based artist and international exhibitor, is interested in the mechanism of self-reflection. He refers to this process as a connection between gaze and glance to memory and record. As Artistic Director of the international exchange project, Puddles, Ito has collaborated with intermedia artist Phill Niblock, a Minimal sound master. The inspiration from these collaborations has broadened Ito’s work, reaching beyond the visual to include other senses. From 2009 at M55 Art, Ito develops his ideas into a visual narrative. The dispersal of light is transferred to the circular motion of propellers powered by solar cells, suggesting the far-reaching implications regarding current global environmental issues.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FCAD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FCAD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FCAD-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748986</Latitude>
  <Longitude>-73.944494</Longitude>
 </Event>

</Events>
