Monday, February 16, 2015

As part of the "RESPOND" Exhibition at Smack Mellon--I Can’t Breathe a performance by Shaun Leonardo

As a culmination to RESPOND, please join artist Shaun Leonardo and the organization Smack Mellon for a public-participatory workshop and performance that will take the form of a self-defense class. Over the course of a half hour, participants will learn a range of self-defense technique – from purely pacifist, self-protective maneuvers (including how one may relieve the pressure of a chokehold) to more overt, defensive strategies. (Participants will not learn offensive strikes or moves.) 
Participants will then be placed and paired off in a staggered arrangement. With certain cues given by the artist, each pair will enact the self-defense techniques just learned, alternating in the role of the aggressor. As the artist recites a script inspired by Nina Simone, each pair will elect which action to take solely based on how he or she internalizes the words' meaning.
The overall, impromptu composition of defensive actions thus creates a reflection and meditation on our community's legacy of self-preservation, and continued desire/need/fight to protect and survive. The piece will be conducted in memory of Eric Garner, Michael Brown, Akai Gurley, Ramarley Graham, Tamir Rice, Trayvon Martin… and countless others.

Shaun Leonardo is a multidisciplinary artist who uses modes of self-portraiture as a means to convey the complexities of masculine identity and question preconceived notions of manhood. The portraits take the form of cutout paintings, drawings, and sculptures, while also brought to life through performance.  Leonardo is a Brooklyn-based artist from Queens, New York City. He received his MFA from the San Francisco Art Institute and has received awards from Skowhegan School of Painting and Sculpture; The New York Studio School; Lower Manhattan Cultural Council; Art Matters; New York Foundation for the Arts; McColl Center for Visual Art; Franklin Furnace; and The Jerome Foundation. His work has been presented in galleries and institutions internationally with recent solo exhibitions in New York City, and is featured in the current exhibition Crossing Brooklyn at Brooklyn Museum.

Thursday, February 12, 2015

Article about the BlackOUT Collective and direct community action

Saturday, February 7, 2015

Text about the Spring Exhibition Series at the Vita Kuben, Umeå Sweden

For the Spring exhibition season at the Vita Kuben artist Mary Coble has been invited to curate a series of three shows. 

In line with Coble's current research project on manifestations of resistance, the artist has invited collaborators Jeuno JE Kim and Ewa Einhorn as well as Sidsel Meineche Hansen to exhibit work that also engage in critiques of and resistance to power, privilege, normativity and categorization. For the final exhibition Coble will show work at Vita Kuben in dialogue with a live performance as part of MADE 2015, Umeå’s performing arts festival.

Jeuno JE Kim and Ewa Einhorn's short film Whaled Women (2013) is a satirical critique of current demands for assimilation. It takes place in the fictional town of Krabstadt where the Nordic countries place their 'unwanteds': immigrants, long-term unemployed and criminals. A group of women wash up on Krabstadt's shores after fleeing an ecological disaster, and the following integration process reveals the system's hypocrisy, intolerance and xenophobia. Appropriating the form of the typically U.S. male dominated animated sitcom with the incision of a queer feminist, European perspective Whaled Women insist on the need to resist the Nordic self-image as non-colonial and all-inclusive.

Sidsel Meineche Hansen’s series of woodcut block prints with titles such as Toxic Institution, 4ever mortgage, Torture me so I can learn and OCD.CBT.OD. (2013) is part of her ongoing inquiry exploring nervousness as a form of institutional critique and as resistance towards becoming human capital through professionalization. She describes each print as a micro-political diagram. Meineche Hansen’s focus expands in part through her latest video work Seroquel® (2014) where she considers the pharmaceutical industry as an "emotional-industrial complex that allow capitalism to enter our relationship to ourselves.” Her work can be seen as a critique of society's bio-political normalization and disciplining of the individual. 

Kim/ Einhorn's and Meineche Hansen’s works are insistent with humor, mimicry, institutional critique, poetry and critical unruliness. According to Coble these qualities have the power to resist the dominating narratives of mainstream society, such as standards of success, adaptation to the norm and fear of failing.  Coble’s own works add a focus on explicitly queer strategies of resistance.

In Coble’s Gestures of Defiance (2015), attention is on the raised, clenched fist as a symbol of resistance. Historically activated in various political protests, Coble considers images of the fist in connection with contemporary events such as LGBT Pride marches, which initially grew as social activist movements with the desire to claim space and create visibility. Coble questions both the heteronormativity and homonationalism that in part is seen through the commercialization of marches such as Pride today. Using banners and flags from various contexts in the installation at Vita Kuben the artist calls for a reclaiming of the raised fist as a sign of solidarity with those who are not in a position of privilege or visibility today.  In the live piece for MADE 2015 Coble re-appropriates the raised fist as an embodiment of repeated defiant gesture.

30.1–7.3



Jeuno JE Kim och Ewa Einhorn , Whaled Woman

13.3–2.5
Sidsel Meineche Hansen ,  Seroquel XR 

8.5–25.7

Mary Coble, Gestures of Defiance












Friday, February 6, 2015

TO BEGIN...Space for Resistance (working title)

I'm starting this blog to document, remember, reflect, compile, update and communicate what I'm working on, thinking about and experiencing within the framework of a current artistic research project I'm developing.

As part of a recent 'research day' Valand Art Academy in Gothenburg, Sweden-where I'm a senior lecturer in the MA Fri Konst (Fine Art) and Photography Units-I had the opportunity to present my current artistic research.  

Here is the project that I presented and have been thinking/working along with for some time now. How I speak about this changes over time and with each new work I make or new way I find to consider and frame what it is that I'm trying to do or am doing.

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Space for Resistance (working title) is a line of research that entangles multiple ongoing artistic projects that most typically use performance and installation to investigate, manifestations of resistance through symbols, actions, language or silence. How can resistance be formulated from a queer or marginalized position? 

 A number of my performance-based works have cited spaces of normativity such as a mainstream LGBT Pride Parade, an Evangelical Lutheran Church or a men’s locker room. I argue for the necessity of the “killjoy” figure (Sarah Ahmed) as a position of resistance within these communities that are each based on a particular set of codes, rules and expectations.  

The killjoy figure or symbol of defiance confronts the power that is executed from within this homogeny and opens a space for resistance. The project calls for a queer insistence on deviance as a deconstruction of the power that the norm performs (Judith Butler). This also refers to Jack Halberstam’s proposal that resisting heteronormative standards of success and deliberately failing is a queer art in itself.

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I'm focusing on 5 current projects where I'm trying to consider the ideas above.

1. Spring Season 2015:  Curation of 3 exhibitions at the Vita Kuben in Umeå, Sweden i      
                           including the work of Jeuno JE Kim & Ewa Einhorn, Sidsel Meineche  
                           Hansen and myself
2. May 8th:  Exhibition Opening at the Vita Kuben in Umeå, Sweden

3. May 9th:  Live work for the MADE Festival at the Norrlands Opera, Sweden

4. June 4th-14th:  Live work for the Rapid Pulse Performance Festival, Chicago, Illinois 

5. Commission by the Danish Statens Kunstfund (state art fund) to produce a live work and
    a series of photographs from that work