Come out and support TODAY Katrina Sorrentino’s solo thesis exhibition How to Make the Bed from 6 – 9 PM at the MFA Studios in Long Island City.
Join us TOMORROW Friday April 1st for the 2016 Class MFA Group Show ALL AT ONCE at ICP Midtown (School)
Next Saturday, December 12, candidates from the ICP-Bard MFA program will present After the Fact, a one-day symposium examining the place and potential of The Event. The symposium will be composed of artist talks and panel discussions followed by a Q&A session.
Featured participants include Jean Marie Casbarian, Nona Faustine, Alex Fialho, Gordon Hall, Katherine Hubbard, Steffani Jemison, Martha Joseph, T. Nikki Cesare Schotzko, Milagros de la Torre, and Martha Wilson.
The symposium will explore how we process personal and political information, how we view and contextualize art, and how the worlds of both fact and fiction inform our everyday realities and our senses of self. Natural disasters, encounters with works of art, acts of political resistance, the genesis of authentic love, all are points of no return. What happens when we feel, live, and experience the intensities that emerge, as if out of nowhere, as miraculous forces? How do we relate to contingencies, which change the way we perceive our selves and engage in our world?
Date & Time: Saturday, December 12, from 11 am–5 pm.
Location: Seminar B/Shooting Studio at the School at ICP,
1114 Avenue of the Americas at 43rd Street.
Registration: Free and open to the public.
Open Studios: After the symposium, 19 candidates from the ICP-BARD MFA program will open their studios to share current work. Open Studios 2015 will be held from 6–10 pm at 24-20 Jackson Avenue in Long Island City.
For schedules and bios of speakers, please visit afterthefact2015.wordpress.com.
The Green Ray from The Sun Quartet by Tacita Dean. 16mm film. 2001
Under the Subway Video Art Night is an event focused exclusively to video art with the projections on the walls of the streets or in art spaces in New York City and this edition in Berlin the same day also. In the last four editions were showed the works of over 200 artist from all over the world.
Terms and Conditions apply
Wacthing this beautiful video in Jean Marie Casbarian´s Graduate Seminar class.
The short film An Optical Poem, 1938, by the celebrated German-born abstract film-maker Oskar Fischinger, in its entirety, composed to Franz Liszt’s “2nd Hungarian Rhapsody.” Made entirely with paper in stop motion fashion.
In the beginning there was no earth, no water – nothing. There was a single hill called Nunne Chaha.
In the beginning everything was dead.
In the beginning there was nothing; nothing at all. No light, no life, no movement no breath.
In the beginning there was an immense unit of energy.
In the beginning there was nothing but shadow and only darkness and water and the great god Bumba.
In the beginning were quantum fluctuations.
These are some of the lyrics of Camille Henrot’s video “Grosse Fatigue” (2013) that refelects Camille Henrot’s own vision of the creation of universe.
In “Grosse Fatigue”, Camille Henrot (French, b. 1978) establishes a large structure where collected images from the Smithosonian Institution in Washington, (Museum of Natural History, Archives of American Art, and the National Air and Space Museum) and her own footage, alternate in browser windows in a non logical narration.
This frenetic rhythm is accompanied by the strong presence of a desperate male voice that performs with spoken word style the text that Camille Henrot and Jacob Bromberg, a poet and editor for British Journal, wrote together. This sort of hip hop preacher explores the history of myth, science, religion and human imagery.
Camille Henrot produces studio footage using a seductive Eve’s manicured hands that act in pantone color scenes, giving a sense of a contemporary and digital scenario. This footage alternates with the Smithsonian images of dissected animals, lost civilizations and space artifacts, and historical images collected by Henrot.
The internet seems to be the browser of human destiny that combines all the images in a single story of ethical concerns and human responsibilities. “Grosse Fatigue” demonstrates Camille Henrot’s anthropological interest through the problems that it encounters and the questions it leaves unresolved.
Here is an interesting interview with Camile Henrot where you can also wacth extracts from the video Grosse Fatigue.
The creator’s function is to sift the elements he receives from her, for human activity must impose limits upon itself. The more art is controlled, limited, worked over, the more it is free. As for myself, I experience a sort of terror when, at the moment of setting to work and finding myself before the infinitude of possibilities that present themselves, I have the feeling that everything is permissible to me. If everything is permissible to me, the best and the worst; if nothing offers me any resistance, then any effort is inconceivable, and I cannot use anything as a basis, and consequently every undertaking becomes futile.
Will I then have to lose myself in this abyss of freedom? To what shall I cling in order to escape the dizziness that seizes me before the virtuality of this infinitude? (….). What delivers me from the anguish into which an unrestricted freedom plunges me is the fact that I am always able to turn immediately to the concrete things that are here in question. I have no use for a theoretic freedom.
Well, in art as in everything else, one can build only upon a resisting foundation: whatever constantly gives way to pressure, constantly renders movement impossible. My freedom thus consists in my moving about within the narrow frame that I have assigned myself for each one of my undertakings.
To the voice that commands me to create I first respond with fright; then I reassure myself by taking up as weapons those things participating in creation but as yet outside of it; and the arbitrariness of the constraint serves only to obtain precision of execution. From all this we shall conclude the necessity of dogmatizing on pain of missing our goal.
If these words annoy us and seem harsh, we can abstain from pronouncing them.
Igor Stravinski. Poetics of Music. 1947. Harvard University press. Cambridge