October 16, 2012

Street Haunting Discussion with Nanna Debois Buhl and Jen Kennedy

Nanna Debois Buhl and Jen Kennedy will discuss the figure of the flâneuse and the act of walking as a way to experiment with identity and to carve spaces for reflection and action – at once a physical act, a mode of production, and a metaphor.

Nanna Debois Buhl’s Street Haunting features three newly commissioned works that utilize the act of walking in unexpected ways.  For each work, Buhl has created a system where a walk becomes the impetus for images and stories, revealing new paths through urban and literary landscapes. In the accompanying publication, Jen Kennedy looks at both the material and imaginary walks that Buhl takes the viewer on in Street Haunting. Beginning as a conversation with the artist on the complex histories of flâneurie and dérive, as well as often on overlooked theorists of walking, Michéle Bernstein and Henriette Valet, Kennedy’s text also maps the literary and visual intertexts evoked in the works in the exhibition.

Nanna Debois Buhl received her MFA from The Royal Danish Academy of Fine Arts in 2006 and participated in The Whitney Independent Study Program, New York in 2008-09. Recent shows include: El Museo del Barrio, New York; Art in General, New York; The Studio Museum in Harlem, New York; Bureau, New York; Lunds Konsthall, Lund and Kunsthallen Brandts, Odense. Her work is in the collections of the Museum for Contemporary Art and The National Museum of Photography in Denmark. In 2010, Revolver Publishing published her artist’s book A Journey in Two Directions and the collaborative book City Grammar (with Liz Linden). Her work has recently been discussed in Art in America, Flash Art, Artforum, and The New York Times.

Jen Kennedy is a Social Studies and Humanities Research Council of Canada Doctoral Fellow at Binghamton University. Her work looks at the radical redefinition of young womanhood in France during the years coinciding with the end of WWII and the collapse of France’s colonial empire, focusing on how this new fantasy of femininity was détourned, appropriated, and otherwise explored by Guy Debord, Michèle Bernstein, and Gil Wolman, among other postwar artists, writers, and filmmakers. Her writing can be found in Image & Narrative, Alphabet Prime, C Magazine, Fuse, and Grey Room. She was a critical studies fellow at the Whitney Independent Study Program in 2008-2009 and is part of an ongoing collaboration with Liz Linden that looks at the semantics of contemporary feminism.

October 9, 2012

Salon: Tomaz Furlan and Olson Lamaj

Tomaz Furlan will discuss his WEAR video project, including a video performance that depicts one day in the life of a typical worker. The video shows the worker’s reality in both a funny and cynical way.

Olson Lamaj uses photography, video, painting, and installation to capture and address the absurdities, ironies, and contradictions that characterize the fast-paced change of contemporary urban
Albania. He will discuss his video project photo eater and two of his photo collections, Details
and On the Street.

Participating Residents

October 2, 2012

Brooklyn Commons: Martha Rosler and Michael Arcega

Brooklyn Commons, a new discussion series beginning this fall at ISCP, presents intellectual and artistic pairings between the established Brooklyn-based artist community and ISCP residents. This series puts artists in conversation who have not shared a dialogue in the past and focuses on the vibrant and diverse cultural practitioners living and working in Brooklyn, both long-term and short-term.

Martha Rosler and Michael Arcega will discuss the role of commerce, performance, exchange of ideas, and narrative. Rosler’s work has dealt with issues of class, gender, culture, and politics in everyday life through photographic images, video, performance, and critical writing. In November, Rosler will present Meta-Monumental  Garage Sale at The Museum of Modern Art (MoMA), which showcases a massive, crowd-sourced garage sale where the artist will be present to negotiate prices.

Arcega’s recent project, Montalvo Historical Fabrication & Souvenirs – produced in collaboration with Stephanie Syjuco, utilized a souvenir shop to re-examine issues of commerce, empire, and the repackaging of historical narrative. Arcega is interested in how objects can be metaphors for national identities and how one can investigate socio-political circumstances where power relations are unbalanced from the perspective of a naturalized American.

Martha Rosler has for many years produced works on war and the “national security climate.” Her photomontage series House Beautiful: Bringing the War Home, originally made as a response to the Vietnam War, was reinstituted in 2004 and again in 2008. Rosler has had numerous solo exhibitions and participated in many group exhibitions nationally and internationally. In November, MoMA will present her performance and installation Meta-Monumental Garage Sale, an event she has held in many art venues.

Michael Arcega is an interdisciplinary artist based in San Francisco. He works primarily in sculpture and installation. Arcega holds a BFA from the San Francisco Art Institute and an MFA from Stanford University. His work has been exhibited at the deYoung Museum, Yerba Buena Center for the Arts, the Museum of Contemporary Art in San Diego, the Orange County Museum of Art, The Contemporary Museum in Honolulu, and the Museum of Fine Arts in Houston. He was recently awarded a 2012 Guggenheim Fellowship in Fine Arts.

Brooklyn Commons is organized by Kari Conte, ISCP Director of Programs and Exhibitions.