Ivana Larrosa – solo exhibition
February 18-21, 2016
Reception : Thursday, Feb. 18, 6-9pm
Vermouth With The Artist : Friday, Feb. 19, 12-4pm
On View : Friday-Saturday, Feb. 19-20, 12-7pm / Sunday, Feb. 21, 12-5pm
ICP-Bard MFA studios : 24-20 Jackson Ave. Long Island City, NY 11101
Much of Ivana Larrosa’s work is an exploration and expression of the strangely subjective perception that she inherited as a result of a traumatic car accident years ago, which left her with permanent double vision. Stuck in an overturned car for more than an hour, Larrosa brushed up against death and came out with a new desire for self-discovery. After a long period of physical therapy she began a series of solitary travels around the globe and focused all her energies on art making. In New York she has been using her body as material in documented performance; developing an acutely stylized approach that blends a playful womb-world with a hauntingly inescapable strange loop.
In one of my favorite video pieces, Gravity (4:31), the shot from above holds steady on a brown leather couch. The artist crawls around it, contorting her body and grabbing on as if for her life. It reminds me of a childhood playing on couches where the wood tiles were lava, not to be stepped-on or fallen-into. The stagnant camera disorients the viewer as the piece endures, becoming a ghostly view of the out-of-body experience.
Months ago I watched as Larrosa brought a variety of candy colored plastic toys into the studio. There were little 3D figures reminiscent of the flashing LED people in the crosswalk light, but some of them were running and some had their fists raised like superheroes flying through space. She brought in old broken mechanical devices: tape players, TVs, and typewriters, then proceeded to color them with spray paint. She installed them laying on the floor in elaborate compositions with confetti and curlicues every which way – it was sensory overdrive. Looking at this work and it’s installation revealed moments of hilarity mixed with a hallucinogenic heaviness. Her little walk/run/fly figures cascaded down a color gradient banner toward the hardwood floor.
“Like in Star Wars, ‘I am your father,’ but it’s ‘I am not your mother’… that’s really how it came. I think in the end you need to use humor, I think in the end life is not that serious…. Like you are not going to get rejected at the gates of heaven if you don’t have enough pictures!”
Ivana Larrosa. Y=X, 2014. C-print 36×24″
MFA Solo Thesis Show season starts over, and I have the honor to break the ice for the Class’16 with I am not your mother. Needless to say I would love dear reader coming over and join me for this big moment. It’s a piece of my experience at ICP-Bard and also the most intimate and wild work I have done. (One of the reasons because the title is in first person).
If there is a word that sums up my experience at this program is “healing”. It’s been a tough but very rewarding job thanks to the support of my beautiful and talented community of classmates, teachers, staff and ICP and NY artist community. So grateful to share this rebirth with you in this long road that my car accident has led me. Continue reading
T. Nikki Cesare Schotzko’s book “Learning How to Fall”
T. Nikki Cesare Schotzko is Associate Professor at the University of Toronto’s Centre for Drama, Theatre, and Performance Studies. She coedited TDR’s special issue “Caught Off-Garde: New Theatre Ensembles in NYC (mostly)” with Mariellen R. Sandford in 2010, and, with Isabel Stowell-Kaplan and Didier Morelli in 2015, a special issue of CTR entitled “Performing Products: When Acting Up Is Selling Out.” She has presented talks and papers internationally, and, as an occasional dramaturge, collaborated on productions in New York, Toronto, Chicago, and Morelia, Mexico. In fall 2012, Professor Cesare Schotzko organized the The Future of Cage: Credo in celebration of the centenary of composer John Cage, which brought together an international and interdisciplinary array of scholars and artists including Allen S. Weiss and Pauline Oliveros, and culminated in a new performance of Cage’s 1976 Lecture on the Weather. Her first book, Learning How to Fall: Art and Culture after September 11, engages the skewed relationship between 21st-century media technologies, perception, and pop culture, and her current research explores what she considers to be a trending nihilism, or #nihilism, within literal and metaphoric climate change.
T. Nikki Cesare Schotzko will present her work at After the Fact, a one day symposium examining the place and potential of The Event, hosted by candidates from the ICP-Bard MFA program. The event will take place on December 12 at ICP School (1114 Avenue of the Americas at 43rd Street, NY, NY 10036). The door opens at 10am for registration and breakfast. Morning session begins at 11am and afternoon session begins at 2pm. To learn more about the symposium, please visit afterthefact2015.wordpress.com.
Shan Kelley, “With Curators Like These, Who Needs A Cure”, 2015.
Alex Fialho, Programs Manager at Visual AIDS, has facilitated projects and conversations around both the history and immediacy of the HIV/AIDS epidemic, utilizing art to maintain HIV/AIDS visibility, consider its legacy, and galvanize contemporary response. He has presented his research on the art of Glenn Ligon and Keith Haring at the College Art Association and NYU Fales Library. He also curates exhibitions for Lower Manhattan Cultural Council as Research and Curatorial Associate, and is a frequent contributor to Artforum.com and Artforum International Magazine.
Alex Fialho is invited to After the Fact , a one day symposium examining the place and potential of The Event, hosted by candidates from the ICP-Bard MFA program.
Fialho will be in conversation with Nona Faustine, Milagros de la Torre and T. Nikki Cesare Schotzko, moderated by Jean Marie Casbarian.
The event will take place on December 12 at ICP School (1114 Avenue of the Americas at 43rd Street, NY, NY 10036). The door opens at 10am for registration and breakfast. Morning session begins at 11am and afternoon session begins at 2pm. To learn more about the symposium, please visit afterthefact2015.wordpress.com.
Photographer Nona Faustine was born and raised in Brooklyn, NY. She is a graduate of The School of Visual Arts and International Center of Photography at-Bard College MFA program in 2013. Her series “White Shoes” are nude self-portraits taken in and around the places associated with the 250 year history of slavery in New York City. Recently her work has received worldwide press coverage online and print in publications such as the Huffington Post, Hyperallergic, Elle.com, NBCNews, The Village Voice, Beautiful Decay, ArtNet, Brooklyn Magazine, Mic.com, Greybook Magazine, Dodge & Burn Blog, Lenscratch Fine Art Photography Daily, PDN, and a host of national and international publications.
Join artist Nona Faustine on Saturday, December 12, at After The Fact Symposium at ICP.
The symposium will take place from 11am to 5pm on December 12, 2015, in Seminar B/Shooting Studio at the School at ICP, 1114 Avenue of the Americas at 43rd Street in New York. It is free and open to the public.
For more information and a full schedule of After the Fact, please visit afterthefact2015.wordpress.com
For a full version of Nona Faustine Bio and other speakers visit afterthefact2015.wordpress.com/speakers
Steffani Jemison, “Untitled (X)”, 2013. Courtesy of Steffani Jemison.
Steffani Jemison was born in Berkeley, California, and is currently based in Brooklyn, New York. She holds an MFA from the School of the Art Institute of Chicago (2009) and a BA in Comparative Literature from Columbia University (2003). Jemison’s work has been exhibited nationally and internationally; solo exhibitions include LAXART, the RISD Museum, the Bindery Projects, and Real Art Ways; collaborative exhibitions include the New Museum and the Royal Danish Academy of Fine Art; and group exhibitions include the Brooklyn Museum; the Drawing Center; the Studio Museum in Harlem; Laurel Gitlen; Team Gallery; and other venues.
Steffani Jemison is invited to present work at After the Fact, a one day symposium examining the place and potential of The Event. Candidates from the ICP-Bard MFA program will host the symposium on December 12th at ICP School (1114 Avenue of the Americas at 43rd Street, NY, NY 10036). It is free and open to the public.
To learn more about the symposium schedule and speakers, please visit https://afterthefact2015.wordpress.com
Martha Joseph is a Curatorial Assistant in the Department of Media and Performance Art at The Museum of Modern Art, where she has worked on such exhibitions, commissions, and performances as Transmissions: Art in Eastern Europe and Latin America, 1960–1980; Steffani Jemison: Promise Machine; and Projects 101: Rabih Mroué. Before joining MoMA she worked at The Whitney Museum where she assisted on the 2014 Biennial and helped produce such performances as Mortal Kombat featuring Ariana Reines and Jim Fletcher. Previously, she worked in the curatorial department of The Massachusetts Museum of Contemporary Art (MASS MoCA) and curated the group exhibition Love to Love You. She received her Masters degree in the History of Art from Williams College and Bachelors degrees in Art History and Vocal Performance from Oberlin College and Conservatory.
On 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. Martha Joseph will moderate afternoon panel composed of Gordon Hall, Katherine Hubbard, and Steffani Jemison.
The event takes place at ICP School (1114 Avenue of the Americas at 43rd Street, NY, NY 10036). It begins at 10am with registration and breakfast. Morning session begins at 11am and afternoon session begins at 2pm. For more information, please visit afterthefact2015.wordpress.com.