2016.9.25 | 456聊天室 ::: 藝術計畫座談 ....點選更多訊息456聊天室 @ 456藝廊
2016年9月25日, 下午 6-7:30 點 456 Broadway, 3rd Floor, New York, NY 10013
Host: Jia-Jen Lin, Manuel Molina Martagon, Colby Cannon
Please join us for a discussion and slide show on the recent project "Manufracture Series: Bread, Steel, and Benjamin Moore," a project investigating the segregated yet inseparable relationships between manufacturing and artmaking within local settings in Brooklyn. For more description and images of its current exhibition, please visit https://www.facebook.com/events/1222099397820610/
During this discussion, we will be sharing the collaborative process, the result of this project, and some of our individual artistic practice. We will also have open conversations with the audience regarding to related subjects, such as labor, social and neighborhood changes, and the seemingly interchangeable roles between artists and manufacturers.
The discussion will be held from 6pm to 7pm, following by a tea and wine reception.
= "Manufracture Series: Bread, Steel, and Benjamin Moore" is a project created by Jia-Jen Lin and in collaboration with Manuel Molina Martagon, Colby Cannon Welsh, NY Brooklyn Bread, and Quality Stainless Steel Inc.
Jia-Jen Lin’s work creates imagery relating to the human body and society as reflected in our minds. In an interdisciplinary approach, Lin integrates sculpture, photography, video, and performance. She received her BFA in Painting at the National Taiwan Normal University, Taipei, and her MFA in Sculpture from the School of the Museum of Fine Arts, Boston. Lin has participated in numerous exhibitions in the US, Taiwan, Spain, Australia, and Germany. She is a grantee of the Brooklyn Arts Fund in 2016.
Manuel Molina Martagon is a multimedia artist working in video, photography, and performance. Molina Martagon holds an MFA in Photography, Video, and Related Media from the School of Visual Arts in New York and an MFA in Creative Writing in Spanish from NYU.
Colby Cannon Welsh is a multidisciplinary visual artist working in a combination of performance, video, object, color, and installation. Welsh has installed, exhibited, and curated gallery and public displays of art extensively in Australia and has shown work in the US, Germany, Hong Kong, and Poland.
Manufracture Series: Bread, Steel, and Benjamin Moore is sponsored, in part, by the National Culture and Arts Foundation, Taiwan, and the Cultural Affairs Bureau of Taichung, Taiwan, the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC). This talk is sponsored by CAAC.
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2016.9.18 | 456聊天室 ::: 音樂行為表演系列 ....點選更多訊息456聊天室 @ 456藝廊
2016年9月4日, 下午6:30-9:30點 456 Broadway, 3rd Floor, New York, NY 10013
節目表 7:00 Arrington de Dionyso 7:45 Brooke Herr 8:30 Degree Zero (Kurt Ralske / Daniel Carter / Michael Bullock / Andrew Drury)
策展: 高嘉丰
藝術家簡介
An uncompromising voice in contemporary music, Arrington de Dionyso integrates ancient soundmaking techniques with trans-modernist inquiries into the nature of consciousness. His propulsive improvisations utilize voice and reeds (primarily bass clarinets and his invention the Bromiophone) as multiphonic tools in the navigation of liminal spaces between shamanic seance and rock and roll ecstasy. In August/September of 2016, Arrington de Dionyso will be the Sound Artist in Residence at Brooklyn's Pioneer Works, where his projects will include research on woodwind mouthpieces better suited to microtonality and a very special collaboration with SENYAWA from Yogyakarta, Indonesia. https://arrington.bandcamp.com/
Brooke Herr is a visual and sound artist based in Brooklyn. She's into the internal, sexual, sensual, the body, the voice, the occult, and reverb www.brookeherr.com
Kurt Ralske's video installations and performances enact a dialogue with history: an exploration of the past that proposes a new view of the future. His work has been exhibited internationally, including at the Venice Biennale in 2009 and 2015, the Guggenheim Bilbao, and the Los Angeles Museum of Contemporary Art.
As a composer and improvising musician, Kurt has made recordings released on the Sub Rosa, Sony Music, 4AD, Roaratorio, and Concept labels, and contributed to the scores of eight feature films. He is currently a Professor of the Practice in Digital Media at Tufts University, School of the Museum of Fine Arts. http://retnull.com/
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2016.9.4 | 456聊天室 ::: 音樂行為表演系列 ....點選更多訊息456聊天室 @ 456藝廊
2016年9月4日, 下午7-9:30點 456 Broadway, 3rd Floor, New York, NY 10013
Line up
7pm Chris Pitsiokos, saxophone
7.30pm Zach Rowden, bass Charmaine Lee, voice
8.15pm Maestro Day: Henry Fraser, bass Connor Baker, drums Sam Weinberg, tenor Joe Moffet, trumpet
For the month of September, 456 Forum Performance Series will focus on solo and small group artists who incorporate improvisation as a core aspect of their performance. We invite artists who challenge traditional conceptions of technique and draw upon the synthesis of unconventional influences. In so doing, we hope to represent underrepresented voices and encourage fearless experimentation and creativity.
Update 9月6日:
Chris Pitsiokos solo: https://www.youtube.com/watch?v=IMcV5CBwkLw
Zach Rowden/Charmaine Lee duo: https://www.youtube.com/watch?v=zExVrFGkQTk&feature=youtu.be
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2016.8.2 | 曼哈頓下城文化協會藝術補助金申請截止日期 ....點選更多訊息 |
2016.7.30 | 美華藝術協會舉辦 2016 新詩朗誦會 - 詩人何為 ....點選更多訊息新詩朗誦會 7/30/2016, 5-7pm 456畫廊 紐約百老匯大道456號, 3F
詩人何為
今年在大陸各地掀起新詩百年的活動。新詩百年是指1915年開始的白話文活動。當時胡適在美國留学,1916年他在哥倫比亞大学就讀時開始一自由体詩的創作,並于1917年在"新辭"雜誌刊出他的新自由体詩,引起廣泛討論與爭辯。而1915至1919年五四中運動期間,白話文的文学革命建定了基,一直影響至今。
所以,新詩百年使我們回頭看到了過來的發展是分成好幾個部份的,包括台灣,大陸,香港和海外。要包括在紐約的用白話創作的華語詩人,而紐約更承接了當年胡適先生在哥大時的初期白話文詩的嘗試。
這次在456畫廊舉辦的詩歌朗誦也讓詩人們和詩歌愛好者重温白話文的歷程,同時也面臨作為詩人如何用創作來表達當今社會和國家的問題。
同時朗誦會另有周龍章先生的昆曲和彈詞的演唱。此次參展詩人則有: 楊皓,王渝,林靜,黃翔,方子,嚴力,洪君相,唐簡,姚茵,彭國全,張家綸,李桂田,常少宏等。
绘画即兴创作 Liu Yue(刘悦)。
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2016.6.11 | 456聊天室 ::: 音樂行為表演系列 ....點選更多訊息Gallery 456/456藝廊 456 Broadway, 3rd Floor, New York
2016年6月11日, 下午7-9點
Please join us for a special night of improvised music to celebrate the first 456 Forum performance series curated by Bryan Qu and Charmaine Lee.
7pm Yes Deer
Anders Vestergaard - Drums Karl Bjorå - Guitar Signe Dahlgreen - Saxophone
8pm Dre Hocevar Coding of Evidentiality
Joe Morris, guitar Henry Fraser, bass Ingrid Laubrock, saxophone Charmaine Lee, voice Chris Pitsiokos, saxophone Dre Hocevar, drums
$10 suggested donation
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2016.6.10 | 好消息共享! 馬友友和絲綢之路樂團的紀錄片 "The Music of Strangers" 即將於纽约6月10日上演! ....點選更多訊息官网: http://themusicofstrangers.film/ 预告片: https://www.youtube.com/watch?v=SShFP7QfSCg 购票网址: Angelika Film Center https://www.angelikafilmcenter.com/nyc Lincoln Plaza Cinema http://www.lincolnplazacinema.com/
6月10日于纽约上演
曾獲奧斯卡獲獎紀錄片的導演,他的新電影 "The Music of Strangers" 即將於纽约市6月10日正式上演。 這部紀錄片講述了著名大提琴家馬友友和國際知名的音樂家集體創造的一段激勵非凡的故事。 在這電影裡,這組不同的演奏家,歌唱家,作曲家,編曲和視覺藝術家所組成的絲綢之路合奏團,在秉持傳統,文化的共同理念下,他們一起探索音樂的力量,激勵正面的希望。
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2016.5.15 | 456聊天室 ::: Science - f - Technology, Engineering, Mathematics ....點選更多訊息Please join us for a screening and discussion at Gallery 456 for a screening and discussion of works by He Huang, Virginia Lee Montgomery, Liz Magic Laser, Melanie Gilligan & Nicole Maloof.
Mama, 2007 He Huang
The Alien Has to Learn, 2015 Virginia Lee Montgomery
Mine, 2009 Liz Magic Laser
Popular Unrest, 2010 Melanie Gilligan
Playing A Girl, 2013 Angela Washko
special commission Behind the Lines, 2016 Nicole Maloof
Limited editions of commissioned work by Nicole Maloof will be distributed to the audience.
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2016.5.1 | 456聊天室 ::: Screening and discussion ....點選更多訊息(當次456聊天室英文為主) Please join us this Sunday evening at Gallery 456 for a screening of the documentary film Here is always somewhere else: the disappearance of Bas Jan Ader, followed by several other artists’ work inspired by his legacy.
The gallery is on the 3rd floor. Door open at 6:00 Screening starts at 6:30
Rene Daalder: Here is always somewhere else (40min)
Agnieszka Polska: Future Days (28min)
Guo Xi and Jian Ling: The Grand Voyage (Slideshow TBD)
David Horvitz: Disappear (1 min)
Taole Zhu: Poetry reading / non-performance
Post-screening discussion will take the work of Bas Jan Ader as a point of departure in a discussion of inability, the meaning of art as defiance, and contemporary lives at the intersection of a suffocating physical sphere and the disembodied virtuality of online existence. Performance improv is encouraged.
*Note: We're still waiting for screening permissions from some other artists, please refer to the official program the final list.
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Dutch/Californian artist Bas Jan Ader (1942-1975) was last seen in 1975 when he took off in what would have been the smallest sailboat ever to cross the Atlantic. He left behind a small oeuvre, often using gravity as a medium, which more than 30 years after his disappearance at sea is more influential than ever before.
A rebellious student, he failed art school at the Rietveld Academy, where friend Ger van Elk recalls that he would use a single piece of paper for the entire semester, erasing his drawings as soon as they were finished. At the age of 19 he hitchhiked to Morocco, where he signed on as a deckhand on a yacht heading for America.
The yacht shipwrecked off the coast of California, and Ader stayed in Los Angeles where he enrolled at Otis Art Institute. Ader then taught art and studied philosophy at Claremont Graduate School. In 1970 he entered the most productive period of his career, beginning with his first fall film, which showed him seated on a chair, tumbling from the roof of his two-story house in the Inland Empire.
In 1975 Ader embarked on what he called "a very long sailing trip." The voyage was to be the middle part of a triptych called "In Search of the Miraculous," a daring attempt to cross the Atlantic in a 12 foot sailboat. Six months after his departure, his boat was found, half-submerged off the coast of Ireland, but Bas Jan had vanished.
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2016.3.27 | 456聊天室 ::: Kamron Saniee // Zou Zhao // Sleep Talk // While We Still Have Bodies ....點選更多訊息(當次456聊天室英文為主) door 6:30 music starts promptly at 7:00
7:00 Kamron Saniee 7:40 Sleep Talk 8:10 Zou Zhao 8:40 While We Still Have Bodies
BYOB show organized by Gao Jiafeng
Kamron Saniee (*1992): Studied violin performance with Cyrus Forough and Shirley Givens, and composition at Mannes pre-college with Gordon Minette. Appeared in festivals in Beverly Hills, CA and Plzen, CZ and in masterclasses with Pinchas Zukerman and Mikhail Kopelman. Graduated summa cum laude in mathematics from Princeton and moved to NYC in 2013, then starting to produce electronic music with later live sets at Bossa Nova Civic Club, Trans Pecos, Elvis Guesthouse, etc. (soundcloud.com/kamron-saniee). Began composing spatial sound for Daniel Neumann's experimental music series in 2015, with tape-piece playback and live performances at the Knockdown Center, at Fridman Gallery for the CT::SWaM summer sessions and New Ear Festival 2016, and most recently at Neu West Berlin gallery in Berlin Neukölln. Works as a data scientist in NYC.
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Zou Zhao: " Taking departure from a specific interest in the gap between English and Chinese, my various works examines the role of English language in the neocolonial distribution of knowledge today. Under the signifying regime of globalisation, I recognises that an indeterminate diasporic identity suffice to testify against any claim to a language’s transparency, given that a contemporary subjectivity today must be understood as produced by ‘translation’.
My works thus far has taken the form of video, performance and writing, and has taken to task an examination of colonial legacy through the materiality of the voice. I take the voice, as a metonymy for the body, to raise questions surrounding a perceived notion of ‘autonomy’ within language."
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SLEEP TALK is an improvisational duo comprised of snare drum/percussionist extraordinaire David Grollman and violinist, vocalist, and sleep talker, Natalia Steinbach. The two improvise upon a theme composed of an extensive library of Natalia’s sleep talking recordings. Using their instruments, objects, and voices, David and Natalia create an unpredictable and imaginative performance.
nataliasteinbach.com facebook.com/dgrollman
*** The Mission! While you still have bodies, we still have bodies. Ears, limbs, faces. Contractions (FvH). Ben was kidding, but Sean was not. Where is Michael? At least we still have bodies. Why? Glass pounds the table. Glass pounds the table again. Smelling like cigarettes and asking for jobs. Horns colliding. It might not be ethical, but at least it's fresh. We are the ze's. While we still have ears our mouth is eating you. Born and raised in your mind. We died as soon as you need us. Excellent for cooking. The laugh of defeat, the cry of triumph, and the sulk of hope. I learned a lot. A kid walks into class. That night. There's minimal requirements. Thirty-five, thirty-seven. Atlas Eser, buzz 64
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2016.3.13 | 456聊天室 ::: 影映系列 I - In the Name of the Media ....點選更多訊息(當次456聊天室英文為主) Video Screening Series: In the Name of the Media, curated by Weigang Song
Join us on March 13, Sunday, Doors open at 6: 30 pm, Screening starts at 7:00 pm Free and open to public
In the name of the media, what saturates our contemporary life is violently intensified and magnified by the evolving technologies. Overwhelmingly yet numbingly, we are urged to embrace the new possibilities of experience, the value of which we take for granted so frivolously. What issues, emerging now or before, are urgent enough to critically address by artists? And what questions, concerning now or future, are relevant enough to emphatically formulate?
Featuring artists from diverse artistic and cultural backgrounds, this screening event showcases the works that display artists’ strong concerns over and through media, examining the specific issues that are revealed, dodged and created in today’s media environment. Their efforts, instead of settling the audience into any firmly framed media discourse, should only encourage us to question and explore our positions in the vast universe of mediated realities.
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2016.2.28 | 456聊天室 ::: Artist Talk by Chung (Fanky) Chak ....點選更多訊息(當次456聊天室英文為主) Sunday, February 28 2016, 5:30 PM - 7 PM
In conjunction with Chak's solo exhibition, Looking for Gold Mountain, Lost Chinatowns in the western United States, the panel will be held at the Chinese American Arts Concil. The series of works unfold the stories behind the lost Chinatown.
Chung (Fanky) Chak grew up in Hong Kong and came to the U.S. at the age of 22. His cultural background plays a significant role in his image making process. His work consistently examines how human beings interact with their surroundings. He finds his inspiration through in culture clashes and gender expectation, religion, and historical events. His work is content-driven; he explores different solutions ranging from documentary to photomontage in order to achieve the goals of communication. At first glance, his work does not show a strong cultural identity, but he believes his ethnicity as an Asian male has made a significant impact on his method of art making. His interest in Chinese characters, developed from pictograms, has affected his daily verbal communication skills and his interpretation of visual semiotics. His work consistently carries a sense of solitude, which probably is another indirect reflection of his cultural differences.
Historical background behind the project: The early Chinese immigrants in the late 1860’s provided cheap “coolie” laborers to build railroads. This influx of immigration continued rapidly until the Chinese Exclusion Act was passed in 1882. The act prevented the naturalization of these workers, and prevented further immigration, including family, to the U.S., causing the Chinese population to decline 40% from the 1890’s to 1920’s. In the population decline, many Chinese moved from their community Chinatowns to the larger metropolitan to avoid discrimination. Since the Chinese settlements were always located in the valuable downtown areas, urban gentrification also led the smaller Chinatowns to decline. After the Chinese were driven out, some of these areas were lucky enough to become prime neighborhoods, such as San Jose, Denver and SLC while others were abandoned as ghost towns. Since 2013, I have driven twelve thousands miles throughout the eight western states to photograph more than 30 historical sites. I noticed most of these locations are small neighborhoods only covering 2-3 blocks, but they share two similarities-- they have very little remaining traces from the early Chinese immigrants, and they all look ordinary.
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