JANUARY 7 - 11, 2019 | Winter Residency
The Expanded Body
The Transart Institute 2019 winter residency will think, discuss and practice the artist as an expanded body. From the corporeality of our practices, to the bodies of knowledge we encounter and produce through our research, to the private and public space we engage with our work, the expanded body asks us to stretch ourselves outwards to think, act and reflect collaboratively.
Our group of MFA artists each have a relationship to this theme. They are by turns, expanding their bodies through dance or performance practices, extending the body through materials or technology, exploring the spaces between bodies via portraiture and experimenting with expanded bodies of knowledge. In each of these practices, Transart’s artists are exploring forms for expanding their various bodies, outwards into the world; connecting and exchanging, co-constructing new spaces and publics where their practices can be in vital and critical relation to the world.
Sunday January 6th
7pm - Group Dinner + Opening Meeting (Laika, Brooklyn)
Monday January 7th
Location: Art in General
9am - 10am Movement Session with Kate Hilliard (OPT)
10:30am - 1:30pm Workshop
“One speaking mouth, with many ears, and half as many writing hands” with The Centre for Experimental Lectures
1:30pm - 2:30pm - Lunch (installation time if needed)
2:45pm - 3:15pm - Guest reviewers mini-artist talk* - Vanessa Anspaugh & Dejan Lukic
3:20pm - 5:40pm - Presentations - Kate Hilliard, Sheila Lynch, Syowia Kyambi
6 - 7pm - Studio visits Art in General artists-in-residence
Tuesday January 8th
Location: Art in General
9:30am - 10:30am Movement Session with Kate Hilliard (OPT)
10:45am - 11:15am - Guest reviewers mini-artist talk* - Jeff Thompson + Dafna Naphtali
11:25am - 1pm - Presentations - Rudi Cossovich, Flavia Bertorello
1pm - 2pm - Lunch (installation time if needed)
2pm - 2:30 - Guest reviewers mini-artist talk* - TBC + Isin Olon
2:35pm - 4:10pm - Presentations - Sarah Jane Eaton, Peter Lopez
6pm - Alumni Open Frame night**
*Guest reviewers mini artist talk will be a short presentation of the reviewers’ work with relation to “the expanded body”.
**We would like to invite alumni to attend presentations. Additionally we would like to invite alumni to present new work at an alumni open frame note. They will need to submit a form with details.
Wednesday January 9th
Expanding the body - listening and collaboration
10am - 12pm - Guggenheim Museum self-guided tour of Hilma Af Klint show
12pm - 1:30pm - Lunch
2pm - 3:30pm - Soundwalk TBC
4pm - 5:30pm - Studio visits at The International Studio & Curatorial Program (ISCP)
6pm - 8pm - Eyebeam Welcome Wednesday (OPT)
Thursday January 10th
Expanding the body - publishing and writing practices
9:30am - 11am - Visit to MoMA Library
11am - 1pm - MoMA galleries*
1pm - 2pm - Lunch
2:30pm - 3pm - Printed Matter visit
3:30pm - 6:30pm - Workshop “Writing as performance with Nicolás Dumit Estévez Raful Espejo
Friday January 11th
9:30am - Collegium Meeting (Location TBC)
11am - 4pm - Jean Marie Gallery Crawl including: Drawing Centre guided tour Dream House PS1*
5pm - Closing Meeting (Location TBC)
*Students responsible for entrance fees. Student discount available.
Venue: Art in Generalx
20 Jay Street, suite M10E
Art in General is a nonprofit organization that assists artists with the production and presentation of new work. It changes in response to the needs of artists and informs and engages the public about their work.
Art in General was founded in 1981 by two artists, Martin Weinstein and Teresa Liszka, in the General Hardware building as a space for artists to inspire, meet, and exhibit. A pioneering force since the 1980s, it has grown into a New York institution unlike any other in the city, supporting thousands of local and international artists through deep personal connections and direct funding.
Vanessa Anspaugh - I am a dance artist who works through visual, somatic, and conceptual languages in an effort to facilitate emotional, political, and relational dance works. My particular process methodology hinges on a belief that what is going on inside of the room reflects also what is going on outside of the room, in the culture at large. In my processes driven work, I continue to work collaboratively with performers in order to discover how their interests and concerns can be in dialogue with my own interests exploring the complex power relations embedded in a variety of relationships. From the personal, institutional and sociopolitical, I aim to work through questions around control, collaboration, authorship, domination and surrender.
Dejan Lukic (PhD) is a scholar and writer, and received his PhD in anthropology from Columbia University. His work revolves around the inescapable convergence of art and politics, while taking seriously stylistic forms of writing around and about this convergence. He has published two books (one on the aesthetics of terrorism and the other as a collection of thought-images), as well as numerous essays on art and philosophy. He is currently writing two manuscripts: a) “The Charismatic Image” (on the nature of charisma) and b) “Sickness Unto Life” (on delirium of literature as a form of health). Dejan is a faculty member in the Art Writing department at the School of Visual Arts in New York City and teaches online courses for the Node Center for Curatorial Studies in Berlin and for the Global Center for Advanced Studies in Ireland. He runs an art & ecology Summer school—Step Not Beyond—on the Adriatic island of Cres and co-directs the culinary-philosophical troupe Vitalist Cuisine.
Jeff Thompson is an artist, educator, curator and programmer. He is Assistant Professor and Program Director in Visual Art and Technology at Stevens Institute of Technology.
Dafna Naphtali is a electronic-musician/performer/singer/composer from an eclectic musical background (jazz, classical, rock and near-eastern music). Since the mid-90’s she composes/performs experimental, interactive electro-acoustic music using her custom Max/MSP programming for live sound processing of her voice and other instruments, and also interprets the work of Cage, Stockhausen and contemporary composers. With her large variety of projects with well regarded musicians in the US, Europe and India, she has received awards from NYFA, NYSCA, Franklin Furnace, American Composers Forum, Foundation for Contemporary Arts and American Music Center, and recorded several CDs, including “What is it Like to be a Bat?” a digital punk trio with Kitty Brazelton (on Tzadik). Dafna teaches at New York University and Brooklyn College, Harvestworks and privately.
Isin Önol has been working as an independent curator predominantly in Austria and Turkey since 2009. Before that, she leaded the Elgiz Museum of Contemporary Art as its director and curator in Istanbul for three years. (2006-2009) She is an enthusiast producer of exhibition projects, talks, and other art-related events as well a researcher working in the field of contemporary art, cultural studies, and art education.
Guggenheim - Hilma af Klint tour
1 hour self-guided tour. Then each student chooses one work to present to the group.
Dafna Naphtali’s “Walkie Talkie Dream Garden”
Janet Cardiff’s “Her Long Black Hair”
John Luther Adams’ “Soundwalk 9:09
Eyebeam is an organisation for art & technology. Welcome Wednesday is a space for current and former Eyebeam artists to share new ideas, works in progress, host conversations, and experiment with different formats. Printed Matter is the world’s leading non-profit organisation dedicated to the dissemination, understanding and appreciation of artists’ books.
Printed Matter is the world’s leading non-profit organisation dedicated to the dissemination, understanding and appreciation of artists’ books.
The Drawing Center presents an exhibition that focuses on three young artists who explore diverse identities through portraiture and who do so almost exclusively through the medium of drawing.
Dream House is a sound and light environment
One speaking mouth, with many ears, and half as many writing hands
The Centre for Experimental Lectures
Starting the lecture from zero.
The lecture is a work, not a report on the work you do elsewhere.
Be prepared to present a 5 min “lecture” of your own creation or appropriation--not a talk about your practice, but a practice in the form of the talk.
How do you want to speak and in what voice?
What kind of language do you want to use?
Where are you physically in relation to the audience?
Is it you that is presenting? Are you collaborating with anyone?
Are they images or other media included? What is the size / scale /duration and proximity to you?
What software or other interfaces will you use?
What is the role of these images to what is being said? Is it illustrative? Dialogical? Some other relation?
Are there objects involved?
Are you sitting / standing / moving around?
How are you engaging or not engaging with the space you are in?
What are you doing with your body?
…and so on…
With our time together, it is our goal to give an account of what we are doing with our Center for Experimental Lectures, how we imagine our practice, as well as discuss some of our conicted and divergent research on the history of the lecture-form, its possibilities for art practice, and offer an incomplete history of its place within art’s appropriation of the educational.
10:30 – 11:30 short lectures participants
11:30 – 12:30 presentation on our work
12:30 – 1:30 discussion
The Center for Experimental Lectures is an artist’s project based in New York that engages with the public lecture as form. The Center for Experimental Lectures commissions new lecture performances, focusing on not only the content and format of each unique lecture but also the possibilities of the lecture as a creative platform.
The Center for Experimental Lectures was started in 2011 by Gordon Hall, and since then has commissioned 35 new lecture performances at a variety of venues including Alderman Exhibitions (Chicago), Recess (NYC), MoMA PS1 (NYC), The Shandaken Project (Shandaken, NY), The Shandaken Project at Storm King (New Windsor, NY), Interstate Projects (Brooklyn, NY), Brooklyn Academy of Music, and at the Whitney Museum of American Art presenting Seminars with Artists in conjunction with the 2014 Whitney Biennial. Starting in 2016 Joseph Lubitz joined Gordon Hall as an organizing collaborator at the CEL.
Writing as Performance
Nicolás Dumit Estévez Raful Espejo
We walk-work-walk as a group. We visit three locations where we spend time writing: The Gay, Lesbian and Transgender Community Center (Keith Harring’s Mural in former bathroom); Our Lady of Guadalupe Shrine; Jefferson Market Library. We end up at the Good Stuff Diner or at Grounded Coffee House, where we have a closure and invite the students to share their work.
Nicolás Dumit Estévez Raful Espejo treads an elusive path that manifests itself performatively or through experi¬ences where the quotidian and art overlap. He has exhibited and performed extensively in the U.S. as well as internationally. Residencies attended include P.S. 1/MoMA, Yaddo, The Center for Book Arts, and the MacDowell Colony. Estévez Raful Espejo Holds an MFA from Tyler School of Art, Temple University, Philadelphia, PA, where he studied with Coco Fusco; and an MA from Union Theological Seminary. He has received mentorship in art in everyday life from Linda Mary Montano, a historic figure in the performance art field. Montano and Estévez Raful Espejo have also collaborated on several performances. Publications include Pleased to Meet You, Life as Mate¬rial for Art and Vice Versa (editor), One Person at a Time, The P Word, and For Art’s Sake. He is the founding director of The Mangú Museum (pronounced man-goo) and The Interior Beauty Salon. He was born in Santiago de los Treinta Caballeros, Dominican Republic, and in 2011 was baptized as a Bronxite: a citizen of the Bronx.