BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20141026 DTSTAMP:20140902T234200 DTSTART:20140907 GEO:40.7172851;-73.9923399 LOCATION:Miguel Abreu Gallery Eldridge Street\,88 Eldridge Street \nNew Yo rk\, NY 10002 SEQUENCE:0 SUMMARY:Torture Concrete\, Jean-Luc Moulène UID:354421 END:VEVENT BEGIN:VEVENT DTEND:20140907T200000 DTSTAMP:20140902T234200 DTSTART:20140907T180000 GEO:40.7172851;-73.9923399 LOCATION:Miguel Abreu Gallery Eldridge Street\,88 Eldridge Street \nNew Yo rk\, NY 10002 SEQUENCE:0 SUMMARY:Torture Concrete\, Jean-Luc Moulène UID:354422 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141026 DTSTAMP:20140902T234200 DTSTART:20140907 GEO:40.7158106;-73.9913621 LOCATION:Miguel Abreu Gallery Orchard St\,36 Orchard St. \nNew York\, NY 10 002 SEQUENCE:0 SUMMARY:Torture Concrete\, Jean-Luc Moulène UID:354419 END:VEVENT BEGIN:VEVENT DTEND:20140907T200000 DTSTAMP:20140902T234200 DTSTART:20140907T180000 GEO:40.7158106;-73.9913621 LOCATION:Miguel Abreu Gallery Orchard St\,36 Orchard St. \nNew York\, NY 10 002 SEQUENCE:0 SUMMARY:Torture Concrete\, Jean-Luc Moulène UID:354420 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141005 DTSTAMP:20140902T234200 DTSTART:20140907 GEO:40.7188404;-73.9873018 LOCATION:Thierry Goldberg Gallery\,103 Norfolk Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Summer Rental (Off-Season Rates…) \, David Kramer UID:354305 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Senior &\; Shopmaker Gallery is pleased to present James Rosenquist&rsquo\;s \;F-111 (South\, West\, North\, East)\, a four-part\, 290 inch lithograph with screenprint printed in 1974 at Styria Studio\, New York and one of the outstanding Pop prints of the era. Accompa nying the print will be a selection of the artist&rsquo\;s dynamic charcoal and graphite drawings from the same time period.

James Rosenqui st (American\, b. 1933)\, one of the key figures of the Pop Art movement\, has been an influential printmaker from his early experiments with lithogra phy in 1965 at Universal Limited Art Editions in Long Island to his innovat ions in recent years with large-scale multimedia prints. One of his seminal works on paper is the tour-de-force \;
F-111 (South\, West\, North\, East) \;of 1974\, published by Petersburg Press and create d nearly a decade after the monumental multi-panel painting of the same tit le. The painting is included in the collection of the Museum of Modern Art in New York\, which\, in 2012\, exhibited it in the original wall-wrapping configuration first seen at the Leo Castelli Gallery in 1965. Designed in t wenty-three panels\, its primary subject was the latest F-111 fighter-bombe r plane in development at the time\, against which are juxtaposed images fr om everyday consumer culture. Rosenquist transformed the language of commer cial billboard painting in his canvases and works on paper by weaving fragm ented images\, shifts in scale\, and a vivid palette into disjunctive\, non -narrative compositions. In \;F-111\, the artist juxtaposes su ch disparate images as a GE light bulb\, a Goodyear tire\, a nuclear explos ion\, canned spaghetti\, and the head of a blond girl under a hairdryer to anxious effect\, offering a complex reflection of American society of the e ra.

DTEND:20141108 DTSTAMP:20140902T234200 DTSTART:20140919 GEO:40.7499366;-74.005949 LOCATION:SENIOR & SHOPMAKER GALLERY\,210 Eleventh Avenue \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:F-111 (South\, West\, North\, East) and Drawings from the 70s\, Jam es Rosenquist UID:354304 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In this body of work\, Artifacts of Fire and Wax\, Charland transforms blank\, unexposed sheets of silver gelatin paper into handworked \, tactile abstractions. Using a red candle\, Charland drips wax onto sheet s of paper. \; \;As the flame burns and exposes the paper\, drops o f wax fall onto the emulsion. \;Like \;the red light in a darkroom\ , the red wax becomes a small filter\, preventing further exposure by the f lame. Once Charland achieves his desired pattern of drips \;he begins t he development process. The wax\, which first acted to resist exposure by t he candle\, then acts to resist the chemical development of the photograph. After the first cycle of processing is complete\, only areas of the emulsi on not covered in wax develop and turn to metallic silver. Charland then be gins to break up the wax bits with his hands\, creating cracks and revealin g unprocessed areas of the emulsion. The paper is run through the chemicals again and again to add multiple levels of tone to the newly revealed\, unp rocessed regions of the paper.

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For Charland\, who is known for his wondrous\, science-experiment-like &lsquo\;straight&rsquo\; photographs\,&n bsp\;making these works felt elemental and truly stripped down. \; &ldq uo\;The time spent making each of these images feels transcendent\; a simil ar sensation to where the mind goes while staring into the flames of a wood fire. Hours hovered over a white sheet of paper with fire in hand\, watchi ng the liquid drop to the surface. First a shadow as the wax falls\, \; then a snap as it connects and splatters across the emulsion. I wonder how each of these actions will render visually. These artifacts of fire and wax remind me that photography is inherently a medium of the inverse. Shadows become light. \;Light turns to shadow.&rdquo\;

DTEND:20141026 DTSTAMP:20140902T234200 DTSTART:20140910 GEO:40.7175125;-73.9904759 LOCATION:Sasha Wolf Gallery\,70 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY: Artifacts of Fire and Wax\, Caleb Charland UID:354302 END:VEVENT BEGIN:VEVENT DTEND:20140910T200000 DTSTAMP:20140902T234200 DTSTART:20140910T180000 GEO:40.7175125;-73.9904759 LOCATION:Sasha Wolf Gallery\,70 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY: Artifacts of Fire and Wax\, Caleb Charland UID:354303 END:VEVENT BEGIN:VEVENT DESCRIPTION:

*Pissed: Last Toast*

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&lsquo\;Up yours!&rsquo\; I say \, to this razed domain of mud\,
And my louche old being: to you\,
This threesome that is loneliness\, shared blood\,

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77

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Oh\ , and I drink to You &ndash\; you too\;

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Here&rsquo\;s to my world\, which has seen its arse\, To lies lodged in my ravaged gob\,
To mourn ful eyes\, cold\, dead as glass\,
To the fact that God&rsquo\;s a slob .

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 \;

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Darja Bajagić (b. 1990) recently completed her M FA at the Yale University School of Art. Her recent exhibitions include &ld quo\;Abnormcore&rdquo\; at ROOM EAST\, New York\, NY\; &ldquo\;Infinitude&r dquo\; at Roberts &\; Tilton\, Los Angeles\, CA\; and &ldquo\;Now Feel B ad&rdquo\; at Interstate Projects\, Brooklyn\, NY. She is to be featured in &ldquo\;Private Settings: Art After The Internet\,&rdquo\; an upcoming sho w at the Museum of Modern Art in Warsaw\, Poland. Bajagić lives and works in New York.

DTEND:20141005 DTSTAMP:20140902T234200 DTSTART:20140907 GEO:40.7162;-73.991351 LOCATION:Room East\,41 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:C6ld C6mfort\, Darja Bajagić UID:354301 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On September 2\, 2014\, Mira Friedlaender will begin work on Half of What&rsquo\;s There as part of Recess&rsquo\;s signature program\, Session. Session invites artists to use Recess&rsquo\;s public space as st udio\, exhibition venue and grounds for experimentation.

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Over the c ourse of her Session\, the artist will unpack\, document\, and inventory th e life&rsquo\;s work of Bilge Civelekoglu Friedlaender.

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Bilge came to New York at the age of 24 to become an artist. A Turkish é\;migr&e acute\; active from the 1970s-1990s\, she produced non-objective work in th e form of works with paper\, installations\, and sculpture. She was also Mi ra&rsquo\;s mother.

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When Bilge died\, her gallery did not continue representation\, and so her life&rsquo\;s output has remained in storage\, undisturbed\, for years. Bringing these works from storage to Recess to be unpacked\, Mira will take on the role of artist\, art handler and registrar . Each week of the Session she will present a new installation of excavated works. She will display her mother&rsquo\;s work alongside the materials t hat have housed and informed it: storage bins\, packing supplies\, and a se lection of original ephemera.

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As she sorts these materials\, Mira&r squo\;s labor will become a public performance that draws attention to the epic archives that represent the fate of most artworks. Throughout the Sess ion she will respond to the formal components of the evolving installation as well as her mother&rsquo\;s work by creating new works in video\, on pap er and with reconstituted stored materials.

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In a series of conversa tions with art industry workers she will further excavate ideas of value\, legacy\, presentation and labor. Reframing the installation\, deinstallatio n\, and storage processes as the center of artistic activity\, Mira will pr esent the hidden economy of art removed from the market.

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About the Artist:

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Mira Friedlaender is a Brooklyn &ndash\; based multidiscipl inary artist who puts creative struggle at the center of her projects. She received a BA from Tufts University\, BFA from The School of the Museum of Fine Arts\, Boston\, and her MFA from NYU. She has exhibited her work local ly and internationally and has been a Visiting Artist at the American Cente r\, Dhaka\, Bangladesh and at Dulcinea Independent Art Space\, Istanbul\, T urkey.
She has always been a fan of packing materials.

DTEND:20141025 DTSTAMP:20140902T234200 DTSTART:20140902 GEO:40.7225432;-74.0041675 LOCATION:Recess Activities\, Inc.\,41 Grand Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Half of What’s There\, Mira Friedlaender UID:354299 END:VEVENT BEGIN:VEVENT DTEND:20140918T200000 DTSTAMP:20140902T234200 DTSTART:20140918T180000 GEO:40.7225432;-74.0041675 LOCATION:Recess Activities\, Inc.\,41 Grand Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Half of What’s There\, Mira Friedlaender UID:354300 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Paul and Lisa live down the hall from each other. \;
Yesterday Paul got a package from \;amazon.com. Lisa noticed it befor e Paul since she regularly checks the package room for her own orders\, whi ch come frequently. \;
Paul's window overlooks another building wh ich is glass so he can see himself in a faraway reflection which he likens to a simulated ocean view. \;
Lisa's window is looking out to the edge of the glass building so she likens it to an obstruction.

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Rece ntly Lisa has noticed the smell of strange fumes from Paul's place. She ded uces from the recycling bin that Paul now has a 3-D printer. With a router attachment! Paul adds\, as Lisa confirms her suspicion in the hallway. It's for work\, he says. At his job\, they have one long table that circles and swerves through the whole space\, making alcoves\, and little covered meet ing places. Their clients are generally visibly impressed. Lisa works from home and has a dog. Neither she nor her dog are very keen on these new acri d scents. In fact\, Lisa often gets headaches. She burns incense at home an d she thinks Paul does too. It&rsquo\;s an effective way to hide the smell of burnt chemicals\, and luckily\, they both love the scent of nag champa.< /p>\n

Between them is a woman who is often visited by her mother. When sh e visits\, they tend to talk very loudly together in the hallways in an unf amiliar language. She normally doesn&rsquo\;t wear any sort of headscarf\, so when she does Paul can&rsquo\;t tell if it&rsquo\;s for fashion or not. He doesn&rsquo\;t care\, he just doesn&rsquo\;t like how they talk in the h allways. It's rude. Consequently\, he feels entitled to play his music loud er when he pleases. His speakers are wired through the whole apartment\, al l nicely inlaid into the walls\, two conveniently into the one they share. She has never complained about the music\, but Paul assumes that she is tal king about him to her mother. Sometimes he thinks her eyes control the elec tricity. Sometimes Lisa finds batteries in the hallways.

DTEND:20141019 DTSTAMP:20140902T234200 DTSTART:20140907 GEO:40.720851;-73.984847 LOCATION:Rachel Uffner Gallery\,170 Suffolk Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Flat Neighbors\, Dora Budor\, Elaine Cameron-Weir\, Daniel Keller\, Ajay Kurian UID:354297 END:VEVENT BEGIN:VEVENT DTEND:20140907T200000 DTSTAMP:20140902T234200 DTSTART:20140907T180000 GEO:40.720851;-73.984847 LOCATION:Rachel Uffner Gallery\,170 Suffolk Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Flat Neighbors\, Dora Budor\, Elaine Cameron-Weir\, Daniel Keller\, Ajay Kurian UID:354298 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Rachel Uffner Gallery is pleased to present \;No Alo ha\, its first solo exhibition with Strauss Bourque-LaFrance. Bourque- LaFrance&rsquo\;s interdisciplinary practice combines painting\, sculpture\ , and performance\, and merges disparate fields and influences\, from inter ior and stage design to film and comics\, exploring desire\, memory\, and e strangement in contemporary domestic and commercial culture. For \; No Aloha\, Bourque-LaFrance presents a series of paintings and sculptu res that fuse his interest in the fabricated\, minimal object with syntheti c readymade materials\, constructing an uncanny interior mise-en-scè\ ;ne with shifting views and multiple readings.

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A new group of domes tic sculptures that function as fireplace mantels or pedestals populate the carpeted interior of the main gallery space. Traditionally the mantelpiece has been an archetype of formal domesticity\, defining interior dé\; cor and an architectural focal point that served a ventilating purpose\, bu t has since\, particularly in the 20th century\, been used to frame the &ld quo\;family room\,&rdquo\; signifying a place to gather\, or to display obj ects\, photos\, mementos\; a kind of secular altar. Fireplace mantels reach ed a high point of cultural saturation in the early nineties\, when roughly two thirds of American homes had one. Today\, these sites are mostly paint ed over and left behind as decorative markers lamenting the grandeur of a b ygone era. In Bourque-LaFrance&rsquo\;s disjointed interiors\, the mantels are resuscitated and filled with a buoyant sense of openness and optimism t hat articulate domesticity\, but as a malleable construct. Each of the four mantels in the exhibition takes on a different shape or surface &ndash\; r eferencing the design and political ideologies of International Style and M emphis Group along with the high/low aesthetics of Pop and ornamentation &n dash\; acting as a pedestal\, a sculpture of an object\, an image of an obj ect\, and so on. These mantels likewise double as animated portals to an al ternate space or reality (think \;Beetlejuice)\, setting the s tage for a spiritual-like sense of transformation inherent in his practice.

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In concert with these works\, Bourque-LaFrance will show a new gro uping of "vacation paintings" that explore escapism and contemporary ways o f seeing\, expanding his visual language by synthesizing marks\, tropes\, a nd framing devices of historical and contemporary painting. Created using s pray enamel on polyethylene mesh encased in multi-colored Plexiglas boxes\, the vacation paintings combine spontaneous gestural abstraction with colla ged and often representational imagery. Like blurred\, optical remnants of &ldquo\;attempted images\,&rdquo\; they oscillate between the tastefully be nign and comically unhinged. Ultimately\, &ldquo\;vacation space&rdquo\; is a non-space\, as it exists between one&rsquo\;s everyday life and the life one hopes to live (or in the Foucauldian sense of heterotopia\, it is an i n-between space ofotherness \;that offers a means of escape fr om daily anxieties). Whereas for Foucault the mirror was an ideal site of h eterotopic duality\, Bourque-LaFrance&rsquo\;s hybrid paintings are positio ned somewhere between textiles\, smartphone screens and commercial or histo rical vitrines\, potentially hopeful and meditative fields where the viewer projects one&rsquo\;s fears and desires\, but that never fully reveal them selves. It is the space between one&rsquo\;s home and one&rsquo\;s job\, be tween one&rsquo\;s fantasies and realities. This space is \;No Aloh a.

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Strauss Bourque-LaFrance\, b. 1983\, lives and works in Bro oklyn. Recent solo shows include KANSAS\, New York\; Courtney Blades\, Chic ago\; Bodega\, Philadelphia/New York. His work has been included in exhibit ions at ICA Philadelphia\, SculptureCenter\, New York\; Contemporary Austin Jones Center\, Texas\; Abrons Art Center\, New York\; Johannes Vogt Galler y\, New York\; Vox Populi\, Philadelphia\; Crane Arts\, Philadelphia\; Extr a Extra\, Philadelphia\; Clifford Gallery\, Colgate University\, New York\; and Porch Projects\, Washington D.C.\, among others. He received his BFA f rom Hampshire College\, Amherst\, MA\; and his MFA from Tyler School of Art \, Philadelphia\, PA.

DTEND:20141019 DTSTAMP:20140902T234201 DTSTART:20140907 GEO:40.720851;-73.984847 LOCATION:Rachel Uffner Gallery\,170 Suffolk Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY: No Aloha \, Strauss Bourque-LaFrance UID:354295 END:VEVENT BEGIN:VEVENT DTEND:20140907T200000 DTSTAMP:20140902T234201 DTSTART:20140907T180000 GEO:40.720851;-73.984847 LOCATION:Rachel Uffner Gallery\,170 Suffolk Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY: No Aloha \, Strauss Bourque-LaFrance UID:354296 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Petzel Gallery is pleased to present an exhibition of new wo rks by Walead Beshty. This will be the gallery&rsquo\;s first solo exhibiti on with the Los Angeles based artist.

In his new exhibition\, Wa lead Beshty continues to explore the ways in which objects accrue and produ ce meaning through their placement and circulation in the world. Using the preexisting design of the gallery tables and desktops as a readymade\, Besh ty created polished raw copper sculptures built to the dimensions of the ga llery&rsquo\;s working surfaces. The &ldquo\;Copper Surrogates&rdquo\; were then installed replacing the gallery&rsquo\;s desks and left in place for his curated summer exhibition A Machinery for Living. As the gallery staff resumed their normal everyday work activities\, their movements tarnished a patina on to the highly reflective copper surfaces. Much like film capturi ng a moment in time\, the copper surrogates map the progression of the gall ery staff&rsquo\;s immaterial labor: of discourse\, transaction and negotia tion. In September\, the copper surrogates will be installed in the gallery \, dislocating them from their original function.

Walead Beshty (b. 1976\, London\, UK) is an artist and writer living and working in Los A ngeles\, and Associate Professor in the Graduate Art Department of Art Cent er College of Design. In the past decade he has had numerous solo exhibitio ns including Fair Use\, The Power Station\, Dallas\, TX (2013)\; Securities and Exchanges\, The Ullens Center for Contemporary Art\, Beijing (2011)\; A Diagram of Forces\, Malmö Konsthall\, Malmö\, Sweden / Centro de Arte D os de Mayo\, Madrid\, Spain (2011)\; Walead Beshty: Legibility on Colored B ackgrounds\, The Hirshhorn Museum and Sculpture Garden\, Washington\, DC (2 009)\; Pulleys\, Cogwheels\, Mirrors\, and Windows\, University of Michigan Museum of Art\, Ann Arbor\, MI (2009)\; Passages\, LAX ART\, Los Angeles\, CA (2009)\; Hammer Project: Walead Beshty\, The Armand Hammer Museum\, Los Angeles (2006) and The Phenomenology of Shopping and Dead Malls\, P.S.1/Mo MA Contemporary Art Center\, Long Island City\, (2004). A forthcoming exhib ition\, Walead Beshty\, A Partial Disassembling of an Invention Without a F uture: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels A re Lying Around at Random All Over the Workbench\, will open at the Barbica n Centre in London in October of 2014\, marking his first solo show in a UK public gallery.

DTEND:20141004 DTSTAMP:20140902T234201 DTSTART:20140904 GEO:40.7443935;-74.0059535 LOCATION:Petzel Gallery\,456 W 18th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Performances Under Working Conditions\, Walead Beshty UID:354293 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140902T234201 DTSTART:20140904T180000 GEO:40.7443935;-74.0059535 LOCATION:Petzel Gallery\,456 W 18th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Performances Under Working Conditions\, Walead Beshty UID:354294 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Petzel Gallery is pleased to announce a solo exhibition by N ew York based artist Allan McCollum. This is his sixth solo exhibition with the gallery.

McCollum has for years challenged our culture&rsqu o\;s tendency to value single unique artworks over objects produced in larg e quantities. For &ldquo\;The Shapes Project\,&rdquo\; started back in 2005 \, he has set out to design a system that would allow for the production of a single\, unique shape for every person in the world. To make certain tha t the system will be able to accommodate everyone\, it has been organized t o produce over 31\,000\,000\,000 different shapes\, which is more than the highest population estimates might require. The show in September will be t he latest iteration of the "Shapes Project" called "Perfect Couples" which is an attempt to create pairs of his Shapes that could suggest unique human relationships.

Allan McCollum was born in 1944 Los Angeles\, Ca lifornia\, and lives and works in New York City. His work is in over sevent y museum collections\, including the National Gallery of Art\, Washington\, D.C.\; the Museum of Modern Art\, New York\; the Guggenheim Museum of Art\ , New York\; The Metropolitan Museum of Art\, New York\; the Whitney Museum of American Art\, New York and the Los Angeles Museum of Contemporary Art\ , Los Angeles. Solo retrospectives of McCollum&rsquo\;s work have been held internationally including at the Musé\;e d&lsquo\;Art Moderne\, Vill eneuve d&rsquo\;Ascq\, Lille\; the Sprengel Museum\, Hannover\; the Serpent ine Gallery\, London\; among many others. He has produced public art projec ts in both the United States and Europe. His work was also recently include d in the 9th Bienal do Mercosul\, in Porto Alegre\, Brazil\, curated by Sof í\;a Herná\;ndez Chong Cuy. Numerous texts on McCollum's work h ave been published by a number of art historians and critics including Mart ha Buskirk\, Maryjo Marks\, Rosalind Krauss\, Craig Owens\, Hal Foster\, An ne Rorimer\, Lynne Cooke\, Lars Nittve\, Thomas Lawson\, Catherine Qu&eacut e\;loz\, Helen Molesworth\, Johannes Meinhardt\, Claude Gintz\, Suzi Gablik \, Nicolas Bourriaud\, Rhea Anastas\, Nancy Princenthal\, and Jill Gasparin a. In 2012\, JRP Ringier published a monograph of McCollum&rsquo\;s work.&n bsp\;

DTEND:20141004 DTSTAMP:20140902T234201 DTSTART:20140904 GEO:40.7443935;-74.0059535 LOCATION:Petzel Gallery\,456 W 18th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:The Shapes Project: Perfect Couples\, Allan McCollum UID:354291 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140902T234201 DTSTART:20140904T180000 GEO:40.7443935;-74.0059535 LOCATION:Petzel Gallery\,456 W 18th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:The Shapes Project: Perfect Couples\, Allan McCollum UID:354292 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141012 DTSTAMP:20140902T234201 DTSTART:20140907 GEO:40.721476;-73.985293 LOCATION:Participant Inc.\,253 East Houston Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Negrogothic\, M. Lamar UID:354288 END:VEVENT BEGIN:VEVENT DTEND:20140907T210000 DTSTAMP:20140902T234201 DTSTART:20140907T190000 GEO:40.721476;-73.985293 LOCATION:Participant Inc.\,253 East Houston Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Negrogothic\, M. Lamar UID:354289 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Since the beginning of his career\, Fred Wilson has created a diverse range of work that challenges assumptions of history\, culture an d race. Pace&rsquo\;s exhibition will feature works from the past ten years \, including several that have never before been exhibited.

DTEND:20141018 DTSTAMP:20140902T234201 DTSTART:20140912 GEO:40.749485;-74.005031 LOCATION:Pace Gallery - 25th St.\,534 W. 25th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Sculptures\, Paintings\, and Installations: 2004 - 2014\, Fred Wil son UID:354287 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Post-Speculation \;begins where \;Specu lation\, Now \;ends: as a postscript\, a footnote\, an addendum\, and a reflection of a book that does not yet exist. In an age of geopolitic al upheaval\, unstable financial markets\, environmental uncertainty\, and distributed artistic production\, \;Post-Speculation \;exp lores the fringe\, the edge\, and the double-bind of this broad topic.  \;

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&ldquo\;Speculation&rdquo\; is often associated with financial m arkets and defined as measuring investment risk against future returns. At the same time and in its original usage\, &ldquo\;speculation&rdquo\; is th e creative leap of looking both beyond and within the known in order to ima gine something unexpected. In this context\, speculation is a framework for action and thought that can be constructive in a historic moment of radica l change and uncertainty. Ironically\, the concrete environment of the exhi bition setting provides the foil to engage in such provocative questioning< /p>\n

The exhibition begins with \;Post-Speculation\, Act I. For eleven days\, the art collective HOWDOYOUSAYYAMINAFRICAN? will occupy P! in order to launch \; thewayblackmachine.net\, an internet archive of activism around black embodiment inspired by Th e Wayback Machine (web.archive.org). Addressing contemporary conditions suc h as police brutality\, American-funded international violence\, and the wa ys that memes and hashtags collapse and make legible such threats to person hood\, the collective&rsquo\;s conceptual and spatial intervention uses the gallery itself as a medium that extends into the street. Designed by \ ;A(n) Office \;with HOWDOYOUSAYYAMINAFRICAN?\, \;Act I \;will feature multiple screens\, projec tions\, black walls\, and void space. Through performances and architectura l maquettes\, multiple operations are modeled on and for theHouse Opera | Opera House\, a found/acquired house in Detroit that places art at the center of the community and offers community members a space to create.  \;

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This implicit merging of closeness and distance\, reality a nd story\, sets the stage for \;Post-Speculation\, Act II\, a group exhibition building upon the conditions left by \;Act I. The exhibition opens with \;Sarah Oppenheimer&rsquo\; s reactivation of her 2012 faç\;ade installation at P!\, \;C- 010100. Like other aspects of the show\, Oppenheimer&rsquo\;s work pla ys on the reversal of temporal sequence\, restoring the gallery windows to a mirrored condition from two years ago. Similarly\, \; Josiah McElheny \;continues his series \;of &ldquo\;collaboration s with dead artists&rdquo\; that result in temporary and site-specific work s. For \;Act II\, he speculates on how \;Blinky Pa lermo \;(1943&ndash\;1977) might restage one of his monotonal murals in the New York gallery space\, responding to both the physical envi ronment and other artworks. Peruvian-born\, Berlin-based artist Gab riel Acevedo Velarde presents Ciudadano Paranormal \; (2013)\, featuring video interviews with state employees regarding their en counters with the &ldquo\;ghosts&rdquo\; of government institutions. The vi deo is accompanied by fantastical drawings that reflect on the Modernist ar chitecture where these encounters have allegedly occurred. With a sensitivi ty keenly attuned to translating the ever-shifting present\, \; Lynn Hershmann Leeson&rsquo\;s \;Synthia \;(1999& ndash\;2004) uses real-time financial data to control the movements and moo d of a fictional female character as she wanders the city. European art and design collective \;Å\;bä\;ke presents a ser ies of photograms and glass cubes produced in collaboration with Finnish gl ass-blowing icon \;Oiva Toikka. The resulting series\,  \;A History of the World (2014)\, abstractly represents event s spanning the history of the universe\, from the Big Bang to Heat Death. T he photographs from \;Amie Siegel&rsquo\;s \;B lack Moon / Hole Punches \;(2010) series trace parallel time withi n post-apocalyptic science fiction and the 2008 economic recession and hous ing crash. At an accompanying event in October\, Siegel will screen her sho rt film \;Black Moon \;(2010) at The New School in convers ation with the exhibition curators. Finally\, \;Walid Raad  \;presents \;Section 88: Act XXII_Views from Inner to oute r compartments \;(2010)\, which is part of the project \; Scratching on things I could disavow. Shown for the first time in New York\, these floor-to-ceiling photographic strips hide miniature architectu ral details that become literal and metaphorical thresholds to access new s paces and experiences. Through this combination of site-specific installati ons\, real-time explorations\, and otherworldly dimensions\, the exhibition itself becomes a speculative playing field for the interactions of objects and ideas. \;

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Post-Speculation precedes the launch of  \;Speculation\, Now\, a comprehensive consideration of the sp eculative in disciplines ranging from art to anthropology\, history\, and s cience. The book is published by Duke University Press\, in association wit h the Vera List Center for Art and Politics at The New School\, and designe d by \;Project Projects\, with an anticipated book lau nch in early November 2014. \;

\n

A proposition rather than a stat ement\, Post-Speculation also inaugurates Parallel Systems 2014&ndash\;2015\, a yearlong series of exhibitions and events at P! focused on the embedded structures of thought\, belief\, and action tha t shadow our commonly-held rational systems. \;

DTEND:20141101 DTSTAMP:20140902T234201 DTSTART:20140901 GEO:40.719429;-73.993847 LOCATION:P!\,334 Broome St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:POST-SPECULATION\, Lynn Hershman Leeson\, HOWDOYOUSAYYAMINAFRICAN?\ , Åbäke\, Josiah McElheny\, Sarah Oppenheimer\, Walid Raad\, Amie Siegel\, Gabriel Acevedo Velarde UID:354286 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141011 DTSTAMP:20140902T234201 DTSTART:20140911 GEO:40.7494274;-74.004275 LOCATION:Nancy Margolis Gallery\,523 W. 25th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:WHTIE | BLACK \, Rebecca Adams\, John Dante Bianchi\, Rachel Garrar d\, Gregory Hayes\, Michelle Hinebrook\, Steve Yancar UID:354284 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20140902T234201 DTSTART:20140911T180000 GEO:40.7494274;-74.004275 LOCATION:Nancy Margolis Gallery\,523 W. 25th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:WHTIE | BLACK \, Rebecca Adams\, John Dante Bianchi\, Rachel Garrar d\, Gregory Hayes\, Michelle Hinebrook\, Steve Yancar UID:354285 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pat Lasch: Love&rsquo\;s Labors 1974/2014 will be on
v iew at Meredith Ward Fine Art from September 18 &ndash\;
October 25\, 2014. The show will feature 12 new
works by the artist\, which she ca lls &ldquo\;Christening
dresses\,&rdquo\; made entirely from acrylic polymer paint.
Also on view will be three sewn canvases dating from < br />1974. This is Lasch&rsquo\;s second show at the gallery.
In a sta tement for the exhibition\, Lasch writes\,
&ldquo\;The &lsquo\;Christ ening dresses&rsquo\; represent a young girl&rsquo\;s
entrance into t he world through her mother&rsquo\;s labor\,
and the unknown future o f her own life and
labors.&rdquo\; Lasch notes that her work has gone
against the grain of art world trends: &ldquo\;From the late
19 60s and mid-1970s\, when most artists were
painting\, I reclaimed sew ing as an art form\, putting
thousands of tiny stitches on muslin to represent our
ancestors&hellip\;Today\, as young artists are working with
sewing and textiles\, often in monumental scale\, I am
usin g paint to create &lsquo\;fabric&rsquo\; for small\, intricately detailed < br />&lsquo\;Christening dresses&rsquo\;.&rdquo\;
Lasch has been produ cing ground breaking and
provocative work for almost four decades. He r most recent
work continues her ongoing project.
Pat Lasch has enjoyed significant success in her
career\, having participated in ma ny individual and group
exhibitions in the United States and abroad. She was
elected a National Academician in 1995\, and her work is
represented in such museum collections as the Metropolitan
Museum o f Art\, New York\; the Museum of Modern Art\,
New York\; the Smithson ian American Art Museum\,
Washington\, D.C.\; and the Palm Springs Ar t Museum\,
California.
The exhibition will be accompanied by an
illustrated brochure with an essay by the artist.

DTEND:20141025 DTSTAMP:20140902T234201 DTSTART:20140918 GEO:40.7726831;-73.9637366 LOCATION:Meredith Ward Fine Art\,44 East 74th Street \nNew York\, NY 10021 SEQUENCE:0 SUMMARY: Love’s Labors 1974/2014\, Pat Lasch UID:354283 END:VEVENT END:VCALENDAR