Here are some things that I have been up to lately that I have not had time to blog about because of the oppression that is being a 25 year old s/w/f living in New York, going to grad school, while working part time. It’s soooo awwwwful. I can’t even blog about all of the fabulous things i get to do all of the time… I don’t even have time to shop at Urban Outfitters and eat brunch at Marlow and Sons while listening to Animal Collective on my iPhone! Oh, the horror!

(list in reverse chronological order)

Olaffer Eliasson- Multiple Shadow House, at Tanya Bonakdar Gallery
Ever since my epiphiny that was experiencing ‘Into the Light’ as a 17 year old in Cleveland, OH, I have been a sucker for the projected image. This beautifully installed show provides the best kind of interaction with the art itself, and with gallery visitors. I don’t think I have ever connected with random people in the gallery setting as in this installation. The nuanced, pastel-colored bands of light, activated by the movement of participant’s bodies in the space was dynamic and compelling, inviting us to question how we see others, and ourselves. There was almost a cinematic quality to it; with surprises around every corner. In a weird way, it reminded me of Bruce Nauman’s “Video Corridor” (1969) or Dan Graham’s “Opposing Mirror and Video Monitors” (1974) in that institutional spaces are used as a site for interrogation, participation, and social interaction. The driving force behind participant’s behaviors in all of those works is driven by our curiosity for how the apparatus functions. It would be amazing to have a dance party in this space. Or to take acid in there with like 2 other people. and some unicorns. A guaranteed crowd pleaser.

Banks Violette– Gladstone Gallery in collaboration with Team Gallery
This show seems to be so much about mythology of both concepts and material in contemporary art. It’s rough edges and DIY details compete for attention from the more sublime elements of the monumental installations. Initially looking like the interior of a deconstructed Mercedes showroom from the future, the combine industrial materials which at first glance, seem to be assembled with precision. Once you move around the works and look at the structure, they are held together with sandbags, ducktape, shellac and execution of technique. A metaphor for so many elements in our cultural landscape, (shoddily constructed buildings, plastic surgery, sleazy stockbrokers…) the work makes sense and is beautifully installed. Is it anything new? Probably not.

White Columns-Ecstatic Peace Poetry thing.
The main gallery at White Columns right now is pretty amazing. There are zines displayed in vitrines along the periphery of the gallery, and blown-up xeroxes of zine covers pinned to the walls. From the website:

Moore was inspired to publish Ecstatic Peace Poetry Journal after years of appreciation, study and relentless archiving of post-war poetry publishing focusing on the activity of the “mimeo revolution” of the ’60s and ’70s. The stapled mimeo poetry journals produced from the St. Mark’s Poetry Project, Peace Eye Bookstore in New York City, and Asphodel Bookstore in Cleveland, Ohio, as well as a myriad of other subterranean centers of shared post-beat writing, rage, meditation and experimentation continues to inform the publication of Ecstatic Peace Poetry Journal.

It isn’t clear whether the collection on view is Thurston’s, or if it came from the zine archive at Columbia, or what, but I don’t care. It rules. Also, there has been a pretty fierce lineup of weekly performances in conjunction with the show. The show itself is installed really well, it is clear that they thought about the fact that there would be lots of people in the gallery during the performances. They compensated by posting large xeroxes high on the wall, so viewers can absorb some content of the exhibit while listening to a noise performance or poetry reading. Ask me about some of the craziness sometime. One story involves Kim, Thurston, and Coco trying to get out of a parking spot in their Volvo Crosscountry….

X-Initiative- BYOA- I really wish I didn’t go to this. It was depressing. Lots of crap. I don’t want to talk about it.

William Borroughs “Target#5” 1997 (above)

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I love the idea of having a show around a marginalized philosopher, or writer, and presenting documents and events from their life. This show, where 5 downtown artists were presented by another invited artist, acquaintance, friend, academic and/or admirer, the show largely focuses on transdisciplinary artists working outside of the institutionalized contexts of production and presentation. As with the White Columns show, this exhibition presented some pretty great events. Très dec, and very inspirational.

William S. Burroughs
presented by John Giorno

Charles Henri Ford
presented by Mitchell Algus and Christopher Muller

Ray Johnson
presented by Bill Wilson and Stefan Kalmar (director of Artist’s Space)

Philippe Thomas
(readymades belong to everyone (r) )
presented by Claire Fontaine

Arhur Russell
presented by James Merle Thomas

Superflex-Flooded McDonald’s at Peter Blum Chelsea
Danish collective reconstructs (I still can’t believe it wasn’t a real McDonald’s..) the evil fast-food restaurant and floods it. That’s the narrative. It is slow, but worth the wait. Once the site is flooded, all of these distopian themes about how we are decimating the universe with our selfishness and disregard for the future was articulated in a succinct way. Visually, garbage, food-bits, and furniture floating through the murky depths was scary and poetic. There were some other works in the show as well. They were so-so.

Joan Jonas-Mirage at MoMA– This show is cool. Babs London: you are my hero. That’s all I have to say.

Jaimie Davidovich-“The Live! Show” at Cabinet-
This exhibition examines the history of New York-based artist Jaime Davidovich’s pioneering cable TV show “The Live! Show,” shown on Manhattan cable Channel J from 1979-1984. In addition to episodes from the show, the exhibition also showcased some of the objects that Davidovich, mimicking the commercial language of television, made to be sold during his show’s “Video Shop” segment. The show typically featured guest performances by other artists drawn from the downtown art community of the period, many of which were previously involved with Cable SoHo, an organization dedicated to producing and showing new artistic works on cable television which changed its name to Artist Television Network in 1977.