This week we catch up with Orit Gat at Superscript2015. This was one of the most honest conversation we have had in years. I think the context of being surrounded by arts writers created the prefect context for frankness.
Thanks go out to our sponser Coagula Curatorial and our friends at the Walker.
Orit Gat from her web site…
Orit Gat is a writer based in New York and London. She writes about contemporary art, publishing, internet culture, and different meeting points between these things. Her writing is published regularly onRhizome, where she is a contributing editor, and has appeared in frieze, ArtReview, The White Review,Art Agenda, Flash Art, The Art Newspaper, The Brooklyn Rail, Spike Art Quarterly, Review 31, BOMB Magazine, LEAP, and Modern Painters.
I’m currently the managing editor of WdW Review. In my spare time, I read art magazines with some other people organize this class at the Public School New York (you can read about it here).
From Iceberg Projects…
Iceberg Projects is pleased to present selections from the Art+ Positive archives, curated by Dr. Daniel Berger and John Neff. The first exhibition of the group’s archive, this show is the first step in an ongoing project of research and scholarship around the materials.
A June 1989 Vanity Fair profile of Mark Kostabi included this quotation from the celebrity artist:
These museum curators, that are for the most part homosexual, have controlled the art world in the eighties. Now they’re all dying of AIDS, and although I think it’s sad, I know it’s for the better. Because homosexual men are not actively participating in the perpetuation of human life.
That summer, Art+ Positive organized as an affinity group of ACT UP New York in protest of Kostabi’s remarks and other instances of “homophobia, AIDSphobia, and censorship in the arts.”
Art+ Positive members included Dennis Davidson, Bill Dobbs, Lola Flash, Catherine Gund, Aldo Hernandez, Leon (Tracy) Mostovoy, Robin Murphy, Ray Navarro, Hunter Reynolds, Jody Rhone, Julie Tolentino and David Wojnarowicz. Collaborating artists also represented in the archive include Donna Binder, David Bradshaw, Ana De Orbegoso, Martha Fleming & Lyne Lapointe, Diviana Ingravallo, Zoe Leonard, Anthony Viti and Michael Wakefield.
Iceberg’s exhibition will include artworks and a rotating display of documents, ephemera and protest signage from this collective of artists practicing at the intersection of the HIV / AIDS crisis and the Culture Wars of the Bush era. A workstation in the gallery will be used in cataloging and digitizing the archive during the run of the show.
Equipped, created by Ray Navarro with assistance from Zoe Leonard, will be among the works exhibited. An image-text triptych in artist-designed frames, Equipped slyly mobilizes references to queer sex, AIDS medicine, and censored public speech. It was included in the 1990 PS 122 exhibition An Army of Lovers: Combatting AIDS, Homophobia, and Censorship, which opened on the day of Navarro’s death. The elements of a large collage installation by David Wojnarowicz, also shown in the PS 122 exhibit before being dispersed into different collections, will be brought together for display at Iceberg for the first time in 25 years.
Holy SHIT! Janine Antoni!
From Amanda Browder…
This week: Amanda Browder chats with New York-based artist Janine Antoni about her latest exhibition, From the Vow Made, at Luhring Augustine. Exploring blurred lines between sculpture, performance, and choreography, we also discuss Antoni’s collaborations with the Stephen Petronio Company. A fusion of dance and the visual world, Antoni and Petronio’s Like Lazurus Did and Honey Baby exemplify her work’s relationship with process and transition. Antoni’s ideas are woven into a braided conversation between objects, the everyday and the body. For more information visit:
shamelessly lifted from Art 21…
Janine Antoni was born in Freeport, Bahamas, in 1964. She received her BA from Sarah Lawrence College in New York, and earned her MFA from the Rhode Island School of Design in 1989. Antoni’s work blurs the distinction between performance art and sculpture. Transforming everyday activities such as eating, bathing, and sleeping into ways of making art, Antoni’s primary tool for making sculpture has always been her own body.
She has chiseled cubes of lard and chocolate with her teeth, washed away the faces of soap busts made in her own likeness, and used the brainwave signals recorded while she dreamed at night as a pattern for weaving a blanket the following morning. In the video, “Touch,” Antoni appears to perform the impossible act of walking on the surface of water. She accomplished this magician’s trick, however, not through divine intervention, but only after months of training to balance on a tightrope that she then strung at the exact height of the horizon line. Balance is a key component in the related piece, “Moor,” where the artist taught herself how to make a rope out of unusual and often personal materials donated by friends and relatives.
By learning to twist the materials together so that they formed a rope that was neither too loose nor too tight, Antoni created an enduring life-line that united a disparate group of people into a unified whole. Antoni has had major exhibitions of her work at the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; S.I.T.E. Santa Fe; and Irish Museum of Modern Art, Dublin. The recipient of several prestigious awards, including a John D. and Catherine T. MacArthur Fellowship in 1998 and the Larry Aldrich Foundation Award in 1999, Janine Antoni currently resides in New York.
On December 12, 2014, the Second Kochi-Muziris Biennale, curated by artist Jitish Kallat, opened in Kerala, India. The second edition of the Kochi-Muziris Biennale built upon the themes from the first Kochi-Muziris Biennale. So, before we dive into the second edition, let’s first revisit Indian’s inaugural international Biennale.
The first edition opened on December 12, 2012. It was a huge event and by all accounts, a success. In this podcast, Tanya Gill puts together a collection of artist interviews and viewer reactions from the first Biennale’s opening week in 2012, including celebrated artists Nalini Malani, Vivan Sundaram, Tallur L.N., Rohini Devasher, as well as Australian street artists Daniel Connell and Vextra, independent curator Amit Kumar Jain, and filmmaker Hatti Bowering.
Please stay tuned for the forthcoming second Kochi-Muziris Biennale podcast. This podcast, as well as photographs of the
and additional interviews, can be found at zacii.com. Additional information on the Kochi-Muziris Biennale can be found at http://kochimuzirisbiennale.org.
Tanya Gill is a visual artist who lives between Chicago, USA and Chandigarh, India.
A special thank you to everyone who took the time to talk in December 2012! It was amazing to witness this groundbreaking event.
Tanya Gill interviews Mumbai artist Manish Nai at Kavi Gupta’s Elizabeth street space as he prepares for his June 6th opening. This is Manish Nai’s debut solo exhibition in the United States. He is using this opportunity to create wall murals and a compressed jute sculpture just for the space. The media used in Nai’s work are both humble and quintessentially Indian. He transforms everyday materials, such as newspapers or clothes, through labor-intensive processes. The result is a very personal translation of time. For more information on the exhibit visit www.kavigupta.com.
219 North Elizabeth Street
June 6, 2015 – August 1, 2015