Artist talk by Sal Randolph 4/2 + Versus, a conversation on competition 4/4

Sal Rudolph-Artist Talk Plus VERSUS-A Conversation on Competition

Two events at Haverford, in conjunction with the exhibition And the Winner Is… at Cantor Fitzgerald Gallery:

Monday, 4/2, 4:30pm, Stokes 102: artist talk by Sal Randolph.  Sal Randolph lives in New York and makes art involving gift economies, social interactions, public spaces, and publishing, including Opsound, (a commons for the exchange of copyleft music), the Free Biennial and Free Manifesta (a pair of open guerrilla “biennials”), Free Words (a book infiltrated into bookstores and libraries), and Money Actions (an ongoing series of interventions in which she gives away money to strangers). Her work has been on view recently at the Ljubljana Biennial in Slovenia, CS13 in Cincinnati, and is coming soon to Proteus Gowanus in Brooklyn where she’ll be an artist in residence this winter, offering free tickets to unknown destinations. Other projects have taken place at Manifesta 4, the Live Biennale, Röda Sten, the Palais de Tokyo, Bürofriedrich, Art Interactive and Pace Digital Gallery.  She is currently investigating games, recipes, algorithms, codes, and texts, playing video games, and writing about about experience, participation, and value in art.  See http://salrandolph.com/  On the afternoon of 4/3 she will create a “combat log” in the gallery; and at 11am on 4/4 she, D. Graham Burnett, and students will devote extremely close attention to an artwork, secretly chosen and unveiled on the spot, in Magill Library.  For details about these events see http://andthewinneris.haverford.edu/schedule/

Thursday, 4/5, 7:30pm, Cantor Fitzgerald Gallery:  Versus: an interdisciplinary conversation about competition featuring Tom Donnelly (Haverford College Cross Country Coach), Indradeep Ghosh (Haverford College Economics Department), Tim Harte (Bryn Mawr College Russian Department), Rachel Hoang (Haverford College Biology Department), Jesse Shipley (Haverford College Anthropology Department), and Wendy Sternberg (Haverford College Psychology Department).  Preceded at 6pm by a Black Tie Tailgate hosted by artist Jong Kyu.  See http://jongkyu.com/  For detail about Versus, see http://www.haverford.edu/calendar/details/194701

John Muse & Matthew Callinan, Exhibition Curators
And the Winner Is…
Sponsored by the John B. Hurford ‘60 Center for the Arts and Humanities
Cantor Fitzgerald Gallery
Haverford College
370 Lancaster Avenue
Haverford, PA 19041
(610) 896-1287
haverford.edu/andthewinneris
haverford.edu/exhibits
facebook.com/HCexhibits

Leslie Topp Lecture – March 22, 2012

“Death and the Asylum: Mortuaries in Early 20th-century Habsburg Psychiatric Institutions”

Leslie Topp
Senior Lecturer in History of Architecture
Dept. of History of Art & Screen Media
Birkbeck College, University of London
43 Gordon Square, London WC1H 0PD

6pm Reception, Thomas London Room
7:30pm Lecture, Carpenter Library B-21

Co-sponsored by the Department of German

27 years without images – Monday, February 20

27 years without images (on the possibility of cinema after revolution)

Screening and conversation with Eric Baudelaire and Homay King

Slought Foundation | Monday, February 20, 2012; 6:30-8:30pm
Free (Reservation not required)
Slought Foundation is pleased to announce “27 years without images (on the possibility of cinema after revolution),” an evening film screening and conversation with artist Eric Baudelaire and film theorist Homay King, of Bryn Mawr College, on Monday, February 20, 2012 from 6:30-8:30pm at Slought Foundation. The event will begin with a screening of Eric Baudelaire’s The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years without Images (2011, 66 minutes).

In Eric Baudelaire’s film, the political and personal journeys of the Japanese Red Army are reexamined as an anabasis, at once a lost path towards the unknown and a return towards home. From Tokyo to Beirut amid the post-1968 ideological fever, and from Beirut to Tokyo after the end of the Cold War, the thirty-year itinerary of a radical fringe of the revolutionary left is recounted by two of its protagonists. May Shigenobu – daughter of Fusako Shigenobu, who founded the small group – witnessed it closely. Born in secrecy in Lebanon, a clandestine life was all she knew until age 27. But a new era began in her life with her mother’s arrest in 2000 and her adaptation to a suddenly very public existence. The second character is Masao Adachi, the legendary Japanese avant-garde director who joined the Japanese Red Army and the Palestinian cause in 1974. For this theorist of fukeiron (a movement of filmmakers who sought to reveal the structures of power by filming landscapes) his 27 years of voluntary exile were without images, since those he filmed in Lebanon were destroyed during the war.

Slought Foundation is also pleased to announce The Music of Ramon Raquello, an exhibition of work by artist Eric Baudelaire, on display in the galleries from March 13-April 13, 2012. The three works in this exhibition are diverse in material and structure: Sugar Water is a video installation, Chanson d’Automne a newspaper collage, and Ante-Memorial a set of letters. Each of these works imagines a disaster – potential or actual, past or ongoing – and invites speculation about what forms “resistance” might take in its aftermath. The exhibition’s title references Orson Welles’ War of the Worlds radio play and its fictional orchestra whose music is interrupted by reports of an alien invasion (in fact, the music was performed by the CBS house band under the direction of Bernard Herrmann). Pressing the line between fiction and fact, the three works juxtapose historical givens with historical possibility, and solicit reflection about alternate futures, images, and forms of coexistence. Click here to read the full curatorial essay by Homay King.

Eric Baudelaire was born in 1973 in Salt Lake City, USA. He lives and works in Paris. Through film, photography, printmaking and installation, he explores the relationship between images and events, documents and narratives. He has recently had exhibitions at the Hammer Museum in Los Angeles, Elizabeth Dee Gallery in New York, Juana de Aizpuru in Madrid, Greta Meert in Brussels, and is preparing an exhibition at Gasworks in London. His films were selected at the International Film Festival Rotterdam, and his work is present in several public collections, including the Whitney Museum of American Art, the Centre Pompidou, the Fond National d’Art Contemporain, and the FRAC Auvergne.

Slought Foundation
Slought.org

4017 Walnut Street, Philadelphia PA 19104
Tel: 215.701.4627
Fax: 215.764.5783

Press contact: Aaron Levy
alevy@sloughtfoundation.org

 

David E. James – February 3, 2012

David E. James
“Twenty-nine Pictures Like That: The Elvis Movie”

Friday, February 3, 5:00 pm
231 Fisher-Bennett Hall, Univ. of Pennsylvania
Co-sponsored by the Bryn Mawr College Program in Film Studies and Center for Visual Culture and the Philadelphia Cinema and Media Studies seminar at Temple University, and hosted by the University of Pennsylvania

David E. James is on the faculty of the School of Cinematic Arts at the University of Southern California. He is the author of Allegories of Cinema: American Film in the Sixties (Princeton University Press, 1989), Power Misses: Essays Across (Un)Popular Culture (London: Verso Books, 1996), and The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (University of California Press, 2006).

Abstract Painting and Beyond Conference, February 9 – 11, 2012

ABSTRACT PAINTING AND BEYOND CONFERENCE

February 9 through 11, 2012

@ Institute of Contemporary Art, Philadelphia

and Terrace Room, Cohen Hall, University of Pennsylvania

Preceded by:

ARTIST TALK: CHARLINE VON HEYL

Wednesday, February 8, 2012 6:30 pm

@ Institute of Contemporary Art, Philadelphia

Let us say, if only for the sake of argument, that abstract painting began with Manet, and ended with Abstract Expressionism, and that there is a “beyond.” How would we conceptualize this “beyond”? Would we say that it is painting’s own return to figuration (Johns’s Targets and Flags, Warhol’s Marilyns)? The extension of abstraction into other mediums: drawing, sculpture, dance, photography, and digital images? Or is it perhaps something internal to abstract painting itself?something that our critical paradigms did not permit us to see, but that later painters have rendered visible? These are a few of the questions that this conference will address.

Abstract Painting and Beyond is inspired by, and will coincide with, an exhibition of Charline von Heyl’s paintings and drawings at the Philadelphia Institute of Contemporary Art. The conference will begin with an evening conversation between von Heyl and Kaja Silverman, and continue over the following two days, with talks by a distinguished group of speakers.

SPEAKERS

Elise Archias, Nancy Davenport, André Dombrowski, Darby English, Briony Fer, Rachel Haidu, Michael Leja, Daniel Marcus, Christine Poggi, Anne M. Wagner, and Margaret Werth

For more information and free registration:

http://www.kajasilverman.com/abstract-painting-and-beyond-conference.php

“True Stories” – February 13-25, 2012

“True Stories”
Locks Gallery, 600 Washington Sq. South, Philadelphia
On view 13 – February 25
http://www.locksgallery.com/exhibits.php?eid=140

Locks Gallery presents True Stories, a video screening curated by Lilly Wei. The show includes Simon Leung’s War After War (2011, 90 min.), showing at 10am, 1pm, and 4pm. Simon Leung will speak about his work in Bryn Mawr’s Visual Culture Colloquium on Wednesday, March 21, at 12:30 pm. Those who are interested are encouraged to view the film prior to his talk.

Simon Leung was born in Hong Kong. He has participated in the Guangzhou Triennial (2008), the Luleå Summer Biennial (2005), the Venice Biennale (2003), the Whitney Biennial (1993), and has also exhibited at MoMA, New York; Art Institute of Chicago; Generali Foundation, Vienna; 1a Space, Hong Kong; NGBK, Berlin; and Sala Mendoza, Caracas. In 2008, he received a Guggenheim fellowship and the Art Journal Award for his essay, The Look of Law.