Ways of Water

A Performance Premiere of ‘Ways of Water’ and Artist Presentation by Zierle & Carter, Artists and University College Falmouth Lecturers

It is with great pleasure that we write to warmly invite you to our forthcoming showcase performance and networking event at University College Falmouth’s (UCF’s) new Performance Centre on 13 May 2011, by established Cornwall based performance artists Zierle & Carter, aka Alexandra Zierle and Paul Carter – www.zierlecarterliveart.com

Just back from a three month Arts Council funded research and production trip to Canada and the USA, Zierle & Carter will give a unique insight into their experience and work with a presentation on their current 6 month project ‘Through The Heart: Works on Love, Life, and Laughter’ – http://www.throughtheheartperformances.com. Featured will be works made during their trip for exhibitions, at international festivals, and on residencies, such as The Banff Centre in Canada, and in New York with The New York Times acclaimed artist, choreographer, and director of thinkdance Jill Sigman. This will be followed by the premiere of a UCF commissioned site specific, interactive performance and networking event entitled ‘Ways of Water’, that responds to, and celebrates the theme of generative change within Cornwall, and the emergence of a ‘new landscape’. Collectively sewing seeds, bridging spaces, and crossing divides, ‘Ways of Water’ gives an opportunity for dialogue and exchange, and explores the power of communal acts of intent, continuing their current research on love and community building through a shared experience. Both events are free and open to all ages.


Artist Presentation: Studio A, 3.00pm to 4.30pm.

Networking Event: Performance Centre Lobby. An opportunity to meet other practitioners and look around the Performance Centre until 6.30pm. Food will be available during this time in the Koofi Café on campus and from Falfalafel, a hot food stall serving falafels outside The Performance Centre.

Performance: Studio A, 6.30pm to 9.30pm.

If you would like to attend either or both of the events please RSVP to Emily Pye by email at emily.pye@falmouth.ac.uk

Posted in News

Down There Among the Roots at Newlyn Art Gallery

Down There Among the Roots
Newlyn Art Gallery
Private View May 12th from 7-9pm

Artists: Phoebe Cummings and Chris Watson
Curators: Students from the MA Curatorial Practice at University College Falmouth

Exhibition runs from 13th May – 9th July

This two-person exhibition presents the sound recordings of Chris Watson with Phoebe Cummings’ site-specific installations of unfired clay.

Creating an immersive acoustic environment within the gallery Chris Watson’s pieces record the haunting sounds emanating from telegraph wires as the wind interacts with them. details from the Cornish landscape in Phoebe Cummings’ sculptural installation, commissioned specially for this exhibition, create an interplay of exquisite miniature scenes and life-size fragments of landscapes.

Both artists investigate the passage of time in relation to specific geographical locations; revealing aural and visual elements that are often overlooked. This experiential exhibition is an invitation to explore poetical documentations of landscapes, histories, technologies and communications.

The partnership between Newlyn art gallery and MA Curatorial Practice at University College Falmouth offers exceptional opportunities for students to develop a curatorial practice through a live project.

Posted in Art Events & Exhibitions, CUR104 (Professional Practice), CUR105 (Group Project 1), CUR106 (Group Project 2), galleries, News, Professional Development


Café Crema
306 New Cross Road. London SE14 6AF
Nearest tube/train: New Cross or New Cross Gate

Sunday 22nd May, 2-4pm
Sunday 29th May, 2-4pm
Sunday 5th June, 2-4pm
Calling all stitchers, hackers, programmers, embroiderers,
patchworkers, coffee drinkers, steampunks, artists, crafters, makers
and tinkerers….

You are warmly invited to gather at Café Crema to stitch the term
‘ensemble’ as part of the Embroidered Digital Commons facilitated by

Ele Carpenter.

We will be embroidering the following text from ‘A Concise Lexicon of
/ for the Digital Commons’:
“Ensemble: The conceit or delight in togetherness in an increasingly
anomic, fragmented world. Playing or working together to create
finished or unfinished works. Chamber musicians, criminals,
code-hackers and documentarists form ensembles. Artists try to.
Effective ensembles are high bandwidth assemblies that build into
their own architecture portals for random access into themselves. They
are, when they are at their best, open systems that place a premium on
shared information within them. They can at times maintain high levels
of secrecy while seemingly appearing to be transparent. Here,
confidentiality is an index of practices in gestation. Mined data is,
sometimes, restored to natural states of information entropy in data
dissembling ensembles, which have been found to work best at night in
media labs. The Raqs Media Collective is an ensemble and everything it
does is an ensemble of existing or anticipated practices.”
(Raqs Media Collective, 2003)


No previous experience necessary. Materials provided.
This project is supported by The Co operative Community Fund.

Posted in Art Events & Exhibitions, CUR104 (Professional Practice), CUR107 Final Project, News | Tagged , ,

Tastes Like Arsenic

The Daniel Room @ The Poly, Falmouth
2nd – 9th May
Private View 3rd May 6 – 8pm

Without sensibility a man can have no aesthetic experience 
- Clive Bell

Tastes Like Arsenic

Beauty in art – like death – causes contention. Both are linked with truth, both are linked with duplicity. Both are universal. Tastes Like Arsenic brings these artist’s work together in an exhibition context for the first time, highlighting the parallels between their oeuvres, and the connections that can be drawn between their preferred subject matter, working method and connotations. There is an inherent shared attraction to aestheticising the absurd, the darkly comic, the beautiful grotesque.

Posted in News

Center For Curatorial Studies at Bard College

Center for Curatorial Studies
Bard College
May 1–May 22, 2011

Sunday, May 1, 1:00–4:00 p.m. This spring the Center for Curatorial Studies at Bard College (CCS Bard) presents 13 exhibitions and projects, including work by more than 25 leading and emerging contemporary artists such as A.K. Burns, Terence Koh, Marysia Lewandowska, Tevor Paglen, all curated by second-year students. Presented in two groups, these projects focus on diverse concepts and themes and represent an international body of artists working in a variety of media. These exhibitions are the culmination of the students’ work for the master’s degree.

Exhibitions and Projects in the second group are:
The Object of Society Is
Artist: Jenny Perlin
Curated by Nova Benway

Featuring a new film by Jenny Perlin, the exhibition results from research into the life and influence of Eleanor Roosevelt. The work draws inspiration from the literature and film that inspired Roosevelt, as well her own political and social rhetoric.

Thinking About Flying
Artist: Jon Rubin
Curated by Karin Campbell

Artist Jon Rubin’s new, site-specific project aims to catalyze a more direct relationship between the CCS and its potentially broad local audience, who are invited to share in the care of homing pigeons trained at Bard College.

Not Necessarily in that Order:
Curatorial questions about The Barnes Foundation’s move to Philadelphia
Edited by Orit Gat

Not Necessarily in that Order is a publication that explores the curatorial implications of The Barnes Foundation’s announced move from Merion, Pennsylvania to Philadelphia.

Dear Pratella, what do you hear?
Artists: Rozalinda Borcilă, Jacob Kirkegaard, Chris Kubick and Anne Walsh, Hong-Kai Wang
Curated by Michelle Y. Hyun

Dear Pratella, what do you hear? is an exhibition-as-experiment that investigates the critical potential of sound-based art in various social, spatial, temporal, and discursive contexts.

Counter-relief (CCS Bard 2011)
Artists: Jimmy Robert in collaboration with Maria Hassabi
Curated by Kelly Kivland

For his first commissioned project in the United States, Brussels-based artist Jimmy Robert will collaborate with New York City-based choreographer Maria Hassabi to revisit and restage the third iteration of his live performance and installation work, Counter-relief. The performance will take place at the opening reception on Sunday, May 1st at 2pm; an Artists Talk will take place on Monday, May 2nd at 5pm.

Double Session
Curated by Natasha Llorens

Double Session presents projects initiated by Mary Walling Blackburn and Douglas Paulson: a parasitic library of impossible sound and a public sculpture re-visioned as production space.

Performances by: Brody Condon, Shana Moulton, and Yemenwed
Curated by Courtney Malick

(Re)Move/(Re)Frame presents three performances occurring at different times and places and explores the possibilities of exhibiting performance documentation inviting viewers to participate in the documentary process via the project’s accompanying website at: http://www.r-e-m-o-v-e.info—which will launch May 1st in conjunction with the opening of the exhibition at CCS. Brody Condon’s performance already took place, and the video of the performance will be on view at CCS the first week of the exhibition. Yemenwed will be performing on May 7 at Bard College, and Shana Moulton will perform on May 13 at the Lower Manhattan Cultural Council.

What’s Past is Prologue
Artists: A.K. Burns and MPA
Curated by Julia Paoli

Artists A.K. Burns and MPA select a series of works from the Marieluise Hessel Collection in order to create an evocative context that informs both their overall practice and their latest projects. On May 1st, 2011 MPA will present a live performance that responds to works from the Hessel Collection.

Student-curated projects at CCS Bard are made possible with support from the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Audrey and Sydney Irmas Charitable Foundation; the Board of Governors of the Center for Curatorial Studies; and by the Center’s Patrons, Supporters, and Friends. Additional support is provided by the Monique Beudert Award Fund.

The CCS Bard Galleries and Hessel Museum of Art at Bard College are open Wednesday through Sunday from 1:00 to 5:00 p.m. All CCS Bard exhibitions and programs are free and open to the public. Limited free seating is available on a chartered bus that leaves from New York City for the May 1 opening. The bus returns to New York City after the opening. Reservations are required; call 845.758.7598 or email ccs@bard.edu.

Please see our website, http://www.bard.edu/ccs for all related programming and further information.

Also on view:

Hessel Museum of Art
March 27–May 22

CLAP is a curatorial collaboration between CCS Bard graduate students Nova Benway, Michelle Hyun, Nathan Lee, Dylan Peet, and CCS Bard Executive Director Tom Eccles. Featuring works from the Marieluise Hessel Collection—greatly expanded since the inauguration of the Hessel Museum of Art in 2006—the exhibition includes many recent acquisitions on view for the first time, as well as a new commission by Tony Oursler. The title takes its inspiration from minimalist composer Steve Reich’s Clapping Music (1972), an early example of “phasing” in which repetitive patterns or phrases of music fall in and out of unison with each other based on the subtle shift of one note. Rather than seeking to draw out the inner psychological life of artworks, CLAP asks what we can discern from their outsides—and what they can find in each other. Looking to gestures instead of identities, connections rather than histories, encounters versus explanations, CLAP is less about applause; rather it brings things together, making noise.

For more information, please call CCS Bard at 845.758.7598, write ccs@bard.edu, or visit http://www.bard.edu/ccs.

Center for Curatorial Studies and
Hessel Museum of Art
Bard College, PO Box 5000
Annandale-on-Hudson, NY 12504-5000

Posted in Art Events & Exhibitions, CUR101 (Curatorial Models), CUR102 (Curatorial Practice), CUR104 (Professional Practice), CUR107 Final Project

It’s the Political Economy, Stupid

It's the Political Economy, Stupid

It’s the Political Economy, Stupid | 16 March – 25 April 2011Opening: 15 March, 19.00 pm

Project curators: Oliver Ressler & Gregory Sholette

Participating artists: Zanny Begg,  Libia Castro & Ólafur Ólafsson  Damon Rich, Superflex

Globalization,  privatization, flexible work schedules, deregulated markets; 30 years of neoliberal capitalism has driven most of the world’s governments to partly or wholly abandon their previous role as arbitrators between the security of the majority and the profiteering of the corporate sector. It comes as no surprise therefore that when problems in the US real estate and financial sectors resulted in a global financial crisis starting in 2008, governments all over the world pumped trillions of dollars into banks and insurance companies, essentially creating the largest transfer ever of capital into the private sector. One argument often cited for this unprecedented action was that many of these transnational corporations were “too big to fail.”

Still, despite these enormous expenditures millions of people soon lost their homes and livelihood, and the economic and social damage has not yet ended. The cost of these bailouts is staggering. States borrowed capital to rescue financial institutions resulting in growing national debt and virtual insolvency for some countries. Managing these budget deficits might have been possible if wealthy transnational corporations were forced to assist the economy, but neoliberal governments instead chose to introduce belt-tightening programs that radically reduce public services and social welfare. Needless to say, these austerity measures do not necessarily reflect the will of the majority, and increasing voter apathy is one serious side effect of such top-down decision-making.

Today,  we are facing a catastrophe of capitalism that has also become a major crisis for representative democracy. The very idea of the modern nation state is in jeopardy as the deterritorialized flow of finance capital melts down all that was solid into raw material for market speculation and bio-political asset mining. It is the social order itself, and the very notion of governance with its archaic promise of security and happiness that has become another kind of modern ruin. Theorist Slavoj Žižek puts it this way, “the central task of the ruling ideology in the present crises is to impose a narrative which will place the blame for the meltdown not on the global capitalist system as such, but on secondary and contingent deviations (overly lax legal regulations, the corruption of big financial institutions, and so on).” [1]

It’s the Political Economy, Stupid [2] brings together a group of superlative artists who focus on the current crisis in a sustained and critical manner. Rather than acquiesce to our current calamity this exhibition asks if it is not time to push back against the disciplinary dictates of the capitalist logic and, as if by some artistic sorcery, launch a rescue of the very notion of the social itself.

Open Space, Open Systems
Zentrum für Kunstprojekte, Vienna, Austria
Open Friday, Saturday 13.00 – 18.30 and open for the rest of the week days by appointment only. Admission free

The exhibition It’s the Political Economy, Stupid will be continued with different works in an upcoming show at the Austrian Cultural Forum New York, from January till April 2012 (http://www.acfny.org <http://www.acfny.org/&gt; ).

[1] Slavoj Žižek, First as Tragedy, Then as Farce. Verso Books, London/New York 2009, p. 19

[2] The title It’s the Political Economy, Stupid is a re-phrasing by Slavoj Žižek of the phrase “It’s the economy, stupid”, a widely circulated phrase used during Bill Clinton’s successful 1992 presidential campaign against incumbent President George Bush Senior.

Posted in News

Wunderland Art Exhibition

As part of the International Women’s Day Centenary celebrations, tactileBosch brings you Wunderland. Selected eclectically like the wunderkammer of a wanderer through exotic lands, this is a female, sideways look at how things are or might be. Elliptical, sometimes obtuse, but definitely more Paula Rego than Lewis Carroll; Eva Hesse meets Herman Hesse. The women in this show bring their …own particular take on matters surreal, serious and sublime, bound together by a light curatorial thread that weaves together these extra-ordinary perspectives.

Posted in Art Events & Exhibitions, CUR101 (Curatorial Models), CUR104 (Professional Practice), News | Tagged , , ,