THE WEEK/WEEKEND: Oct 18-24th.


Ashley Wood/Jeremy Geddes

Jonathan Levine
Oct 20 — Nov 17, 2012

Jonathan LeVine Gallery is pleased to announce Machine Sabbath, a series of new works by Australian artist Ashley Wood, in what will be his debut solo exhibition in the United States and exhale, a series of new paintings by Melbourne-based artist Jeremy Geddes, in what will be his debut solo exhibition in the United States. On Saturday, October 20th, there will be a print released at 1pm, and the opening reception for the exhibition will be held from 6—9pm.

Music for Voice: Cycles, Mashups, and Machinic Rhapsodies
Le Poisson Rouge
Sun., October 21, 2012 / 5:00 PM and Tue., October 23, 2012

Join Metropolis Ensemble’s celebration of song and contemporary lyricism in a concert featuring 3 extraordinarily talents from a new generation of star singers, Kate Lindsey, Kiera Duffy, and David Babin (along with members of his celebrated band from Paris, BabX). Music for Voice will be an unforgettable evening of kaleidoscopic textures, soaring melody, and elegiac poetry.

Leave The Bass Alone, 5 Basses
Harvestworks
Installation: Sat/Sun, Oct 20/21, 4 -7pm
Reception and live performance: Friday, Oct 19, 7 – 9pm

Inspired by this quote from Morton Feldman to Stockhausen and studies of dramaturgic developments of different human and natural soundscapes, Leave the Bass Alone is a collection of sound installations, field recordings and performances exploring the depths of the double bass’ spectral world. In “5 basses”, five double basses are amplified and feedbacked with each other. The strings and the bodies of the basses resonate with their ambient surroundings, thus creating an interactive drone in which the basses are controlled both by their acoustic vibrations and their environment. Seemingly simple acoustic/physical principles take on the complex role of the composer, creating forms and structures surprisingly similar to those we find in our everyday life.

Beth Wiemann, Composer/Clarinet with Geoffrey Burleson, Piano and Maria Tegzes, Soprano
Firehouse Space
October 20, 2012 8:00 pm

Performing compostions with and without video accompaniment, including, Sharp Nostalgia, for bass clarinet and piano, The Primary Tool is Soup, for soprano, piano and DVD, The Star Theatre, for clarinet, piano and DVD and other short solo works. Link to earlier performance of one of “Star Theatre” http://www.youtube.com/watch?v=h6bRTph9MxY&feature=plcp

Hindsight is Always 20/20
Closing Nov. 7
Brooklyn Bridge Park, Walkway near the Carousel

Originally commissioned for display during the 2008 Democratic National Convention, Hindsight is Always 20/20 is a large public sculpture consisting of 43 light boxes.  The work examines the history of American political discourse through the metaphor of vision. Drawing from the annual State of the Union (SOTU) addresses given by Presidents to Congress, Hindsight consists of a single Snellen-style eye chart for each president who gave SOTU addresses from George Washington through George W. Bush. Instead of the typical characters present in an eye chart, the piece employs words drawn from their speeches, presented in order of most frequent (top line) to least frequent (bottom line) word. The result is a startlingly clear snapshot of the lexicon of each presidency, containing a mix of historically topical keywords and rhetoric unique to each president and the time period in which they served in office.

THE CELLAR AND POINT/FLORENT GHYS – SOLO PERFORMANCE DOUBLE BASS-LAPTOP
Cornelia Street Cafe

Wed Oct 24th

The cellar and point is an adventurous “garage-chamber” sextet whose musical universe comprises the detail of modern concert music, the emotional directness of alt-rock, and the improvisational sensibilities of downtown jazz. Formed in 2010, the group features an impressive cross-section of young talent from NYCʼs classical, jazz, and new music scenes.Ghys is one of a new breed of composer/performers who thrives on performing the music he composes. He creates highly contrapuntal, post-minimalist chamber music showcasing intelligent multi-tracking and inventive use of electronics and sampled speech. On the surface, his music is lighthearted and easily engaging, with whimsical loops and repetitions dancing around each other, creating clever and pleasing rhythms. Acoustic bass lines interweave creatively and buoyantly with layered instrumental tracks, electronics or processed speech. These seemingly simple elements are carefully crafted, however, and pieced together very deliberately.

Landscapes of the Soul
La Mama
October 19 – October 21, 2012

By using an array of musical traditions from around the world, composer and multi-instrumentalist Nacho Arimany offers a ritualistic expression that engages the audience in experiencing free interaction between different artistic disciplines. The incorporation of Jazz , Video-Art and Live Digital Drawing opens the space for tradition to be transformed and actualized by a new experience of collective creation.

TYPES WE CAN MAKE & TYPE@COOPER
Cooper Union
OCTOBER 23 – NOVEMBER 17, 2012

“Types We Can Make”- A selection of contemporary Swiss typeface design curated by ECAL/University of Art & Design Lausanne (Switzerland), in association with The Herb Lubalin Study Center of Design and Typography. “Type@Cooper”- Graduates of Cooper Union’s Typeface design program, Type@Cooper, will exhibit a diverse range of their works.

Dead in August
Site 95

October 19 – November 16, 2012

site95 is pleased to present “Dead in August,” a group exhibition organized by Meaghan Kent and Sara Maria Salamone. “Dead in August” is part of a multi venue project that uses additional spaces in New York to create in depth exhibitions highlighting emerging New York based artists. The exhibition will be held at NYCAMS, New York Center for Art and Media Studies, New York. Artists include: Nils Folke Anderson, Agnes Barley, Jude Broughan, Matthew Brownell, Peter Demos, Nathan Dilworth, Roberto Carlos Lange, Francesco Longenecker, Christian Maychack and Alexandra Posen. A panel discussion moderated by Andrea Hill will be held Thursday, October 25 at 6:30pm.

PAMELIA KURSTIN with PETE DRUNGLE
Barbes
Thu 10/25

Invented in 1919 by Russian scientist Léon Theremin, the Theremin is one of the oldest electronic instrument – and the fact that it doesn’t need to be touched to produce a sound, makes it also the most magical. Pamelia is widely considered one of the world’s greatest theremin player. On an instrument primarily associated with horror and science fiction soundtracks, she can be lyrical. Her pitch, her technique and her taste are equally perfect. She can play microtonal puzzles and walking bass lines. She can sound like a violin, a human voice or an analog synthesizer. Out of what was once a symbol of modernism, she plays music of a very emotional order. Pamelia has been based in Vienna for a few years, and this is a rare chance to catch her here – and then with Barbez for the later set. She will be joined by pianist Pete Drungle.

How to Break
Here Arts Center
Oct 18-Nov 4

In their first co-producing endeavor, HERE and the Hip-Hop Theater Festival present the world premiere of How to Break, a collaboration between playwright Aaron Jafferis, reknowned breakersKwikstep and Rokafella, beatboxers Adam Matta and Yako 440, composer Rebecca Hart, and director Christopher Edwards. Recipient of the 2012 Thomas Barbour Playwright’s Award,How to Break sneaks into a hospital room with a fake ID, a potty mouth, and a bad case of heartsick.

MONICA BILL BARNES & COMPANY
NYU Skirball
OCTOBER 20 / 8:00 and OCTOBER 21 / 3:00

Monica Bill Barnes & Company return after their performance in This American Life Live! last May. Ira Glass will introduce these performances and join the company onstage for a post-performance discussion.

JENNIFER & KEVIN McCOY: TWENTY ONE TWELVE 
POSTMASTERS
October 20 – November 24, 2012

Postmasters is pleased to announce Twenty One Twelve, its sixth exhibition with Jennifer and Kevin McCoy and their 10th year with the gallery. Pioneering new media artists whose works explore both time-based and physical reality, the McCoys are perhaps best recognized for constructing subjective databases of film and television material and for creating miniature film sets with live video cameras. The integration of sculpture and video continues in their new exhibition. Pointing to a time 100 years from today Twenty One Twelve connects current trends with future failures and potential transformations. For this show the McCoys have created a series of ten sculptures which depict the landscapes of today and tomorrow. Corporate campuses, parking lots, man-made mountains, resort architecture, and factories all collide with a globalized media infrastructure. This framework exists to support utopian goals, even as it rests upon resource depletion, financial instabilities, and entropic decay. The problems of environmental and economic collapse persist in the face of the rhetoric of the assumed benefits of continued economic expansion and a technological future.

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The Second Coup.

by Christopher Barnes

Three shivered in grave clothes.
We were bent
Upon the noiseless foot of time,
Whispers under a kitchen table-cloth, repulsed
By a snigger sounding crystal, hail.

An act-a-part day’s meddling.
Money-s worth –
It’s unseasonable.
The moods in us snagged
In this racket-plague hospitality.  Stark,

Vaporous sunset behind curtains.

Christopher Barnes’ first collection LOVEBITES is published by Chanticleer.  He is a participant writer for http://www.stemistry.com/ and reads at Poetry Scotalnd’s Callendar Poetry Weekends.  He has also written art criticism for Peal and Combustus magazines.

 

A Gift.

by Madeleine Barnes

Curled inside the body of a lamb is half the moon.
I see her kneel down beyond a splintering fence.
One friend has died, for now, at least—I’ve lost my whereabouts.
Inside the body of half the moon are seventeen eggs.
When the world comes to you this way, muffled though
irresolute flamelight, you must enter and refuse to leave.
Inside one egg, a parabola, a solitary winter morning.

Crouched in the stable one red colt wavers on thin legs.
What does he see from within the orb of his eye?
The deep terrain of the unperceivable track revolving
as he runs, record time.

Scintillate. Keep warm. Inside the black fountain of a crow’s
back I see maps of fragile questions. One friend has gone
without leaving an address, training himself to paint outside of school.

Nested on the edge of a mountain he found a lateral vision
of what remains outside of time. Inside the bare armor of skin
the sun has burned me deep enough to reach him.

My friend is trapped inside the entire arrangement of this web,
his body wrapped into one thin point. When it trembles
it asks questions: Can you bear the indivisible light?

And then it answers for us: yes, we are connected by the gift
itself, the endless ability to see.





Madeleine Barnes is a graduate of Carnegie Mellon University in creative writing and fine arts. She was the recipient of West Virginia University’s Hungry Poets Prize (2012), an Academy of American Poets Prize from Carnegie Mellon University in 2011, the Borders Open Door Poetry Prize in 2009, and the Princeton Poetry Prize in 2008. Her poems have appeared in places like The Rattling Wall, Open Thread, Oakland Review, Weave Magazine, North Central Review, Three Rivers Review, Collision Magazine, Allegheny Review, Albion Review, 5AM, and Plain China.