A program at Chelsea Art Museum, NYC, 2003-2010, among the inspirations for Streaming Museum.

The Project Room was initiated at Chelsea Art Museum by Nina Colosi, Founder of Streaming Museum.

Below is the archive of programs taking place from 2003 – 20010, and programs taking place from 2000 to 2002.


Digital Art At Google: Data Poetics June 11 – August 13

– Information on Digital Art @Google: Data Poetics (June 11 – August 13)
– Photos from exhibition & artist talks


PERFECT VIEW by Jack Toolin

August 5 – September 2, 2010

Artist Talk: August 26, 6-8pm

Perfect View exposes sublime landscapes across the United States creating connections between diverse geographical regions and cultures through the use of new media technology, known as ‘geocaching’.

Press Release (PDF)

The Project Room for New Media at Chelsea Art Museum, Home of the Miotte Foundation, is pleased to announce an exhibition of experimental geography created by Jack Toolin/C5. Perfect View is part of the C5 Landscape Initiative, a suite of four projects that address the perception of landscape in light of GPS technology. The Perfect View exhibition will feature six large-scale triptychs, video documentation, expedition artifacts, and the interactive C5 GPS Media Player.

Jack Toolin is an artist whose work spans new media. He been exhibited nationally and internationally at venues including the Whitney Museum of American Art, New York (2002 Whitney Biennial); San Francisco Camerawork; The Walker Art Center, Minneapolis; and Foxy Production, New York City. He is a Visiting Assistant Professor at Pratt Institute and an adjunct professor at the Polytechnic Institute at NYU.

Perfect View is a project initiated in a request made to those who participate in the growing activity of ‘geocaching’ (known as ‘geocachers’) to capture the beauty, serenity and sublime quality of selected landscapes around the United States ranging from riverbeds to rocky outcroppings. The process of geocaching includes placing ‘caches’ in hidden locations to record the latitude/longitude coordinates, which are publicized on the web and enabling others to seek out their positions.

The triptychs documenting the sites consist of large-scale photographs, satellite imagery, and computer-generated renderings. These three technologies provide for distinctly different ways of representing topography, which insinuate the viewers experience and interpretation of the landscape. Video documentation presents interviews with three of the ‘geocachers’ who contributed sites to the project – their enthusiasm insights into both the communal aspect of the activity and the rewards of exploration. The C5 GPS Media Player presents some of the expedition routes – in the form of GPS tracklogs – from Perfect View as well as photographic and video documentation associated with them.

Perfect View delves into our increasingly technological methods of exploring, evaluating, and sharing our experience of topography. While ostensibly about landscape imagery, Perfect View addresses parallels between technological and philosophical developments during the Enlightenment and modern technology. Not only does current technology enable multiple, simultaneous representations, it permits peer-to-peer sharing, linking vast geographic regions and cultural differences. Technology is often seen as antithetical to nature, Perfect View represents a respectably large community of users who engage with GPS technology precisely for the fascination of exploring little-known areas in the natural world.


Press Release (PDF)


LISA (Leaders in Software in Art) Salon
in The Project Room For New Media // SoftwareAndArt.com

Thursday, August 12th at the Chelsea Art Museum.
RSVP: isabel@draves.org – please bring a fascinating friend!

Strict Timing:
6:00 – 7:00 — Wine, beer, soft drinks, hors d’oeuvres
7:00 Sharp – 8:00 — Presentations and discussion
8:00 – 10:00 — Gather informally nearby to continue the conversation.

Date: Thursday, August 12, 2010

Address: Chelsea Art Museum, 556 W 22nd St. at 11th Ave (West Side Hwy). Subway to 23rd St. (c/e is closest, 1 train is walkable, fv/rw are a little far)

– Ursula Endlicher’s work resides on the intersection of Internet, performance and multi-media installation. Her focus lies in analyzing the social and structural components of the Web while translating its hidden architectures and languages – such as HTML – into choreography for performances, into layouts for visualizations, installations or objects, or into notation for music. http://www.ursenal.net/

– Daniel Beunza obtained his Ph.D. from New York University and taught in Barcelona and at Columbia Business School in New York City before joining the London School of Economics as a lecturer in management.

His work examines the ways in which social relations and technology shape value within Wall Street. As part of the 3-man collaborative Derivart, he examines concepts like floating, trading, rising, or crashing, and investigates variables like correlation, volatility, or liquidity. http://derivart.info

– Benton-C Bainbridge makes movies, installations, and live visual performances with custom digital, analog and optical systems of his own design. He has performed in museums worldwide and co-founded several live video collectives and is known for pioneering VJing on tours across 5 continents, collaborating with scores of artists around the world. Currently, Benton-C Bainbridge is making slow motion video paintings and exhibiting in New York and Buenos Aires.


– Jack Toolin is an artist whose work spans new media installation, digital imaging, and performance. He works both independently and collaboratively and has been exhibited nationally and internationally at venues including the Whitney Museum of American Art, New York (2002 Whitney Biennial); San Francisco Camerawork; The Walker Art Center, Minneapolis, MN; the Museo Nacional de Bellas Arte, Buenos Aires,

Argentina; Foxy Production, New York City, and more.


The attached image is by Jack Toolin from the Landscape Initiative.

SEPTEMBER’S salon will be held Tuesday, September 14th at the Diapason

Gallery in Brooklyn. Put it in your calendar!

**Did you get this invitation from a friend? Please reply to me – whether you can make it or not – so I can add you to the LISA list.

**Do you wish no longer to receive LISA mailing list emails? Troglodyte! Please reply to me with your penitent request. See you soon!  – Isabel

Guest List: LISA is for scintillating people who make a living collecting, creating and/or discovering the best new art and/or software. If you know someone like this, please forward this note to them or give me their email. This is a private gathering, so please limit distribution.

Presenters: Would you or someone you know like to present at a future LISA salon? Contact isabel@draves.org

Date: Thursday, July 8, 2010

Address: Chelsea Art Museum, 556 W 22nd St. at 11th Ave (West Side Hwy). Subway to 23rd St. (c/e is closest, 1 train is walkable, fv/rw are a little far)

– Mark Napier has been commissioned to create net artwork for SFMOMA, the Whitney Museum, the Guggenheim, and more, and is represented by Bitforms. He combines his training as a painter with 15 years of expertise as a software developer to create “art interfaces”, software that addresses issues of authority, ownership and territory in the virtual world. http://potatoland.org, http://marknapier.com

– Paul Amitai is a visual and sound artist whose work has been presented internationally at venues such as Scope Art Fair (New York), Art Chicago, and Manchester Exchange Square (UK). He has performed electronic and improvisational music with the likes of Run-DMC and the Skatalites; is a curator of film, music, and art for venues like the Knitting Factory and Eyebeam; and has written about arts and culture for publications like Signal to Noise and The Onion.


– Marty St. James is a London-based artist who has concentrated on performance art, video and installation art (time based-media) and digital works since the 1980’s. He exhibits internationally and his work has been shown, among other places, in a one-man show at the National Contemporary Arts Centre in Moscow and alongside alongside major works by Picasso, Bacon, Warhol, Freud, and Warhol at the National Portrait Gallery in London.



– John F. Simon Jr. has been producing art professionally for nearly 20 years and has seen his work acquired by the Whitney, the Guggenheim, MoMA, SFMOMA, LACMA, and many others. He has exhibited internationally and is represented by the Gering and Lopez Gallery.

The main way that he shows his software art is through sculptural wall hangings with LCD screens he calls “art appliances” which he has made and sold since 1999. numeral.com.

The attached images are stills from Pam Standing by Mark Napier and the Invisible Man by Marty St. James.

Pam Standing by Mark Napier

INVISIBLE MAN by Marty St. James

August’s salon will be held Thursday, August 12th at the Chelsea Art Museum. Presenters include:
Benton-C Bainbridge – Live visual performances with custom digital systems
Daniel Beunza – Leading expert on financial visualization, director of Columbia University’s Center for Organizational Innovation
Ursula Endlicher – Web Spider weaving physical networks out of virtual links
Jack Toolin – New media, digital imaging, and performance artist

RSVP: isabel@draves.org – please bring a fascinating friend!




Birthday Series

Schumann at 200: Three Perspectives

TUESDAY, JUN 22, 2010

New York Times review by Allan Kozinn

Argento inaugurates its Birthday Series with three perspectives on Robert Schumann at his 200th. Argento pianist Joanna Chao will perform Liszt’s stunning arrangements of two Schumann songs. In György Kurtág’s “Homage a R. Sch.,” music emerges from silence to a powerful climax as the imaginary Robert Schumann brings a small pantheon of characters in his circle back to life. Argento completes the concert with the premiere of Schumann’s Second Symphony in an 11-player chamber arrangement by Kimmy Szeto.


Robert Schumann – Widmung
arr. Franz Liszt for solo piano
Joanna Chao, piano
Robert Schumann – Frühlingsnacht
arr. Franz Liszt for solo piano
Joanna Chao, piano
György Kurtág – Hommage à R. Sch., op. 15d
for clarinet, viola and piano
Robert Schumann – Symphony No. 2 in C Major
arr. Kimmy Szeto for chamber ensemble world premiere (1st/4th mvts); U.S. premiere (2nd/3rd mvts.)

Performing Arts at CAM is a highly acclaimed concert and dance performance series curated by Nina Colosi, featuring internationally renowned, as well as emerging, artists. In the spirit of Jean Miotte’s commitment to cultural exchange, Performing Arts at CAM presents a diverse range of genres and cultural traditions — classical and contemporary music concerts, sound art installations, dance and physical theater works by artists from around the world.

Fred Kirshnit, The New York Sun –  “Some of the most adventurous contemporary music is being performed downtown…at the Chelsea Art Museum.”

Anthony Tommasini, New York Times – “At Chelsea Art Museum new music gets a setting to match…. There is something about hearing new music amid new paintings in a bright, airy and spacious contemporary art museum that fosters receptivity to both music and art.”

Yamaha Disklavier is the official piano of Performing Arts at CAM. Tickets are $15 / $10 students and seniors / Free for CAM Members




May 26 at 7 pm

Dante Project Premiere Concert

Shiau-uen Ding, pianist

Miranda Cuckson, violinist

Franz Liszt – Après une Lecture de Dante – Fantasia quasi Sonata
Christopher Bailey – To Those Who Would Crush My Will
Michael Ippolito – Liszt It Is
Mario Davidovsky – Duo Capriccioso (with violinist Miranda Cuckson)
Bela Bartok – Sonata No. 2 (with violinist Miranda Cuckson)

The Dante Project was conceived in the fall of 2007, right after I graduated from Cincinnati College-Conservatory of Music. Two Californian composers wanted to embark on a joint project with me as a performer. A lengthy discussion ensued, and I eventually consulted one of my mentors, Dr. Joel Hoffman. He suggested a call-and-response for a piece that was significant to me. I immediately thought of Liszt’s Dante Sonata ; it was the piece that inspired me during a difficult time and helped me reach a breakthrough in my technique. I commissioned composers to write responses to this piece. This concert includes two of them. ” –Shiau-uen Ding

Shiau-uen Ding has been called a “daredevil” by the New York Times for her performance at Bang on a Can Marathon. A native of Taiwan, she has performed throughout the US, Asia and Europe, and is at home in traditional as well as contemporary music. For her Dante Project, she commissioned up-and-coming young composers to write responses to Franz Liszt’s Après une lecture de Dante, fantasia quasi una sonata, also known as the Dante Sonata.

In addition to the Dante Sonata, this premiere concert of the Dante Project features Christopher Bailey’s To Those Who Would Crush My Will, Keith Kirchoff’s Piano Sonata and Michael Ippolito’s Liszt It Is. In Bailey’s To Those Who Would Crush My Will, bits from the Dante Sonata are re-arranged, transposed and composed into something new. Kirchoff’s Piano Sonata is a set of variations on a theme derived from the Dante Sonata; each of the nine variations is divided into several micro-variations. Ippolito’s Liszt It Is is a collection of different scenes with characteristics from the Dante Sonata; the pianist hums and shouts as Ippolito imagines Liszt in the act of composing.

Shiau-uen Ding is joined by Miranda Cuckson, who has recently been praised as “fiercely gifted” by Time Out NY and as “a brilliant young performer who plays daunting contemporary music with insight, honesty, and temperament” by the New York Times. A native of New York City, she is a member of the Argento Chamber Ensemble, counter)induction, Sequitur, Lost Dog Ensemble, ACME, and her series Transit Circle. Cuckson and Ding will perform Béla Bartók’s Sonata for Violin and Piano No. 2 as well as Mario Davidovsky’s Duo Capriccioso.


Raphaele Shirley, 0910 Light Shots

Dynamic minimalist laser environment

May 21 – June 19, 2010

Opening Reception: May 20, 6 – 8pm

Raphaele Shirley, Shooting Stair. Published by Dorfman Projects, 2009

The Chelsea Art Museum is pleased to present 0910 Light Shots by Raphaele Shirley, a site-specific multi-media artwork for The Project Room for New Media. In this new work Raphaele displays her dexterity in use of diverse mediums and materials such as light, fog, sensors and mirrors by which she carves ephemeral sculptures in time and space, re-evaluating elemental yet elusive aspects of the world around us.

0910 Light Shots is a continuation of her light based multi-media work such as Jewels of Kvinesdal in Norway (2009) and Shooting Stair (2009) published by Dorfman Projects in NY.  In these recent works Raphaele mingles the spatial clarity and structure of minimalism with the dynamic and virtual qualities of new media and technology.  Using light beams to draw lines and planes in space, she constructs both the visible evidence of basic geometry and the invisible and undefined structures of space into which these exist and extend. The piece created for the Project Room for New Media will be at once a site-specific ephemeral object and an interactive installation; the composition evolving in color and perspective according to the viewer’s position within. The electric presence of this irradiant sculpture takes root in basic physics, creating an arrestingly essential visual space and an environment for contemplation and reflection, whilst underlining primary phenomena intrinsic to our surroundings and exploring principles of perception.


May 6 – June 19

The Project Room for New Media at CAM presents “The Poetics of Code”

John F. Simon, Jr. and Eduardo Kac which is on view throughout  Streaming Museum’s network in cyberspace and public space on 7 continents

Reception – May 6, 6 to 8 PM. Meet John F. Simon, Jr.



Friday, May 7 at 8pm
Sunday, May 9 at 3pm

The Look & Listen Festival is an annual event dedicated to presenting new music in art galleries. The Festival seeks to expand and engage audiences of 20th and 21st music by providing a unique opportunity to simultaneously experience a stimulating visual environment for new music and a vibrant aural context for contemporary visual art. Both artists and audiences enjoy performances by musicians of the highest caliber, who present a range of new music in New York City’s most prestigious art galleries. We are excited to continue to promote and encourage the appreciation of contemporary concert music created by emerging composers.

Friday 05/07 at 8 pm

eighth blackbird: Carlos Sanchez-Gutierrez Five Memos: L & L commission, world premiere; Missy Mazzoli Still Life with Avalanche

Jack Quartet: Caleb Burhans Contritus; Hannah Lash Frayed
Jade Simmons: John Corigliano Etude Fantasy
Special Guests: WNYC’s John Schaefer (host), Caleb Burhans, Carlos Sanchez Gutierrez, Hannah Lash, Missy Mazzoli

Sunday 05/09 at 3 pm

Tanya Bannister: Olivier Messiaen Premiere communion de la Vierge
Eduardo Leandro: Daniel Almada Linde and Flo Menezes new work

Face the Music: Dan Visconti Love Bleeds Radiant (2010 L & L Competition Winner); Marcelo Zarvos Nepomunk’s Dances

Special Guests: WQXR’s Terrance McKnight (host), Dan Visconti





featuring the work of Irish art collective Grúpat

April 15 – May 15

“Irish Need Not Apply” features work by the notorious Irish art collective Grúpat. The collective’s work ranges from love letters written by teenage Dubliners to the costumes of drag flaneur The Dowager Marchylove and presentations of previously unexhibited 17th century Irish alchemical vessels. This exhibition is curated by internationally renowned composer Jennifer Walshe.

“whimsical but radical” Alex Ross, The New Yorker

“…leaps of intuition and creativity; there is at points something like an ecstasy of making here…..something that is so much more than the sum of its parts” Louise Gray, The Wire

Grúpat is an international arts collective based in Tallaght, County Dublin, Ireland. The collective works primarily in sound, with work ranging from strictly-notated compositions for classic ensembles to graphic scores, sonic sculptures, sound installations and interventions in both the public and private sphere. The roots of Grúpat can be traced to 1999, when Bulletin M, The Parks Service, Turf Boon and other artists met at a rave at the Hellfire Club on Montpelier Hill, in the Dublin Mountains. They decided to form a political and artistic “insurgency” based on the ideas of the Situationists, graffiti artists, direct action networks, and others, which they called ‘The Avant Gardaí.’ The rave was shut down by the police, but the artists met together later and began to develop interventions, dérives, and détournments along Situationist lines, which culminated in the infamous 2001 Quaring the Square intervention in the Tallaght Square, a multimedia infiltration that set upon Saturday afternoon mall shoppers with a three-hour long, illegal spectacle of music, dancing and art. Several members of The Avant Gardaí were arrested as a result, all of whom refused to give their proper names or answer any questions in any way except to say: ‘Grúpat.’ As the practices and goals of The Avant Gardaí shifted and changed after the events surrounding Quaring the Square, and as membership evolved and grew more artistic and less provocatively political in orientation, what began as an assumed identity—Grúpat—was taken as the name for a new transformation of The Avant Gardaí, and Grúpat was soon developing not only interventions but also hosting shows and concerts featuring its members.

Grúpat is comprised mainly of artists living in the South Dublin County Council area, but has over the last few years grown to be international in scope and membership. While the group has a core roster, its affiliations and “temporary members” range widely. As well, many of the members of Grúpat, in line with their early pranksterish roots, exhibit and perform solely under pseudonyms. These facts sometimes make it difficult to determine exactly who or what is in Grúpat. Notable members include Bulletin M, The Parks Service, Detleva Verens, Ukeoirn O’Connor, Flor Hartigan and O’Brien Industries. This sub-set of Grúpat often exhibit under the name “6by4” a reference to the Parisian composers known as “Les Six” and the postcode Dublin 24, in which they all reside.

The Village Voice


Spring Guide: Grúpat’s Irish Oddballs Swoop Into the Chelsea Art Museum

By Ben Davis

Ah, Ireland! Land of folklore and magic and, more recently, of a decades-long economic adventure that took the island nation from crippling poverty to addled success—and then, more recently still, to epic financial implosion. Out of this wild ride, one might well expect some interesting art, and, boy, does the Chelsea Art Museum (CAM) have some examples for you, courtesy of Dublin’s elusive “Grúpat” art movement.

Never heard of Grúpat? It comes with credentials. The force behind Grúpat’s spring show, Irish Need Not Apply, at CAM’s Project Room for New Media, is New York–based Irish artist Jennifer Walshe, a rising star in the sound-art scene. Walshe is “one of the leading avant-garde artists of Ireland,” in the words of CAM curator Nina Colosi, who presented her piece XXX_LIVE_NUDE_GIRLS!!! last year, a sort of abstract sound opera/puppet show, with Barbies.

In addition to playing with dolls, for the past couple of years Walshe has been curating shows of material by various figures affiliated with Grúpat, a loose-knit collective hailing, like Walshe, from South Dublin. Under Walshe’s stewardship, this unlikely group of oddballs, who claim to be influenced by graffiti culture, “outsider art,” Dungeons & Dragons, and Situationism, among other things, and who go by names like “Turf Boon,” “Bulletin M,” and “Ukeoirn O’Connor,” have received a fair amount of acclaim. On their home turf, the first Grúpat survey was held at Dublin’s Project Arts Center last winter, while pieces by several Grúpat members were featured in a show of cutting-edge music at the Contemporary Art Museum, Houston, in 2008, among other places.

Walshe’s CAM show will have each Grúpat artist create an installation, spinning fantastical commentary on Irish culture. The flamboyant “Dowager Marchylove,” for instance, has taken photos of himself in drag at Coney Island, carrying stones supposedly gathered from another “Coney Island” in Sligo, Ireland, a way to advance the claim that Brooklyn’s beach derives its name from the Emerald Isle (it’s usually thought to have come from the Dutch). Another Grúpat-er, who goes by the name “The Parks Service,” presents a series of photo works reimagining the druidic dolmens of Ireland as antennae aimed at extraterrestrials.

Also expect video art based on Elizabethan poet Edmund Spenser’s The Faerie Queene; an archaeological display of surprisingly sophisticated ancient Irish alchemical vessels, loaned from an Irish museum; and a recording, Early Irish Drone Music, presenting a form of Irish experimental music, “Dordán,” that predates American minimal music by some years but unmistakably covers the same territory (word is Tony Conrad has heard the recording and deemed it “excellent”).

So just what is the story with Grúpat, anyway? The tale goes like this: The collective first crystallized in 1999, when some of the core members ran into each other at an illegal outdoor rave held in some ruins outside Dublin. Based in the working-class town of Tallaght, they first teamed up as a direct-action political collective calling itself the Avant Gardí (for non-Irish-speakers, “gardí” means “police”), performing guerrilla theater experiments that were confrontational enough that they led to arrests. Over time, the formation matured into the diffuse, mind-bending arts collective called Grúpat. Its members stuck, however, with their improbable names.

If this mythology sounds, well, a little . . . mythological, it’s worth mentioning that the various larger-than-life personalities from the group have been notoriously difficult to track down. At the opening of their Dublin survey, all nine of the Grúpat collective’s active members were prevented from appearing by a blizzard in Paris. Walshe, their longtime ambassador, had to stand in for them. Hmmm. Finding what’s actually real will be part of the fun at the CAM show. If you think about it, the uncertainty as to what parts of Grúpat’s scrappy success story are based on a firm foundation makes them perfect to represent Ireland, given recent economic history.

‘Irish Need Not Apply,’ April 15 to May 15, Chelsea Art Museum, 556 West 22nd Street, chelseartmuseum.org

Made possible with funding from the Arts Council of Ireland





“Lighter Than Fiction” by Jenny Marketou
March 5 – April 3, 2010

Opening Reception: March 4, 6-8pm
Press Preview: March 4, 5-6pm

Meet-the-Artist: March 18, 2010, 6:30 PM – Moderator, Christine Paul, Adjunct Curator of New Media Arts, Whitney Museum of American Art, Director of Media Studies Graduate Programs, The New School, NY

Docent Tours free with museum admission every Saturday, 4 PM

What do you see when soaring over Los Alamos, New Mexico… utopia or dystopia? A landscape of natural beauty or a place where nature was unleashed in the creation of the nuclear bomb?   Jenny Marketou’s video installation poses the question, juxtaposing dreamlike perspectives with disturbing realities. These contrasting states are experienced in three single channel video projections that comprise the installation.

In “Stolen Bubbles” 2010 Marketou has mixed visual and sonic material from Karel Zeman’s  “The Stolen Airship” 1966 with her original animation that draws from the airborne balloon project called “Bubbles” 2009 – both filmed over Prague, Czech Republic.

“Bubbles” is based on a public sculpture project where the artist created a remarkable set of 14-meter banners with her original graphic composition using the word “Fragile” which were draped onto an air balloon. Marketou filmed as she and her guests riding the balloon experienced breathtaking views of Prague and the dream-like sensation of floating with the wind currents, hovering above the busy pace and anxieties of city life.

“Levels of Disturbance” (2009) is structured around the aerial audio and visual recordings that Marketou captured while flying in a small jet over the natural landscape around Los Alamos, New Mexico, where the atomic bomb was created in the 1940s, that is still contaminated by nuclear waste and turbulent human emotions. During editing Marketou destroyed the order of the video sequence and the coherence of the narrative, placing at the center of each frame a round sphere animated in a perpetual motion that controls and obstructs access to the full image of the landscape. The viewer is drawn into this unsettling spinning sensation, generating metaphors for the human condition.

“Lighter Than Fiction” investigates the precarious balance between reality and fiction capturing the view from above where the lightness of utopian sensations and imagery are contrasted by dystopian realities.

Jenny Marketou was born in Athens, Greece and since 1984 has lived and worked in New York. Marketou has been awarded grants and artists residencies worldwide and holds a Master of Fine Arts from Pratt Institute in Brooklyn, New York. She has lectured extensively and has taught as an adjunct professor Photography and Interdisciplinary Studio Art at The Cooper Union School of Art and Science in New York City. She is the author of the book “The Great Longing: The Greeks Immigrants of Astoria, Queens” Kedros Publishing. She has represented Greece at the Sao Paolo Biennial, Sao Paolo, Brazil and in Manifesta at Witte de With, Rotterdam.

Marketou’s recent exhibitions include: A solo show “Red Eyed Sky Walkers” (the National Museum of Contemporary Art, Athens, Greece); Le Grand Palais (Paris, France); Apex Art (New York, USA); Art in Odd Places (New York, USA); Fiacs 3rd Biennial International of Contemporary Art of Seville (Seville, Spain); Tina b Festival of Contemporary Art of Prague (Prague, Czech Republic); Pulse, International Art Fair (New York, USA); Anita Beckers Gallery (Frankfurt/Maine, Germany); ZKM, Media Center for Art and Technology (Karlsruhe, Germany); The Breeder Gallery (Athens, Greece); Museum Abteiberg (Moenchengladbach, Germany); Strozzina Center of Contemporary Art, La Fondacione Palazzo Strozzi (Florence, Italy); Kunstverein Ludwigshafen (Ludwigshafen Mannheim, Germany).


Lighter Than Fiction” is made possible with public funds from the New York State Council on the Arts, a state agency, and the New York City Department of Cultural Affairs, in partnership with the City Council.  The March 18th artist talk is sponsored by The Experimental Television Center’s Presentation Funds program which is supported by the New York State Council on the Arts.




Social Object: Sculpture and Software

An interactive software installation by Michael Rees
Curator, Koan Baysa
December 17 – January 23, 2010 in The Project Room for New Media at CAM
Artist talks January 21, 6 – 8 pm

The Project Room for New Media at CAM
556 West 22nd St.
Free with museum admission
Info: www.chelseaartmuseum.org

“Social Object: Sculpture and Software” is an interactive software installation by Michael Rees that includes correlated physical objects with virtual objects. Interacting with artist authored software creates screen based experiences that construct virtual objects from which physical objects can be derived. The work explores the relationship between language and form and creates a framework for virtual and physical play.

The exhibition includes the Sculptural User Interface (SUI) application, along with objects made from the SUI using contemporary automated sculpting processes. The SUI is a language to form synthesizer. The software generates 3D forms by typing letters on the keyboard. Many letters, words, sentences, turn into many kinds of shapes can be combined in multiple ways to create a rich user experience. The exhibition includes the software Sculptural User Interface, along with objects made from the software. The Sculptural User Interface is a language to form synthesizer. Social Object and The Sculptural User Interface are inspired by Joseph Beuys’ ideas about Social Sculpture, Duchamp’s ready mades recapitulated by Joseph Kosuth as the ready made made ready and how these relate to the open source software movement.

More inormation: http://www.michaelrees.com/Michael_Rees/SUI2009.html

Produced by Don Guarnierri. Alphabets from: Anj Ferrara, Geoff Flash, Randy Illum, Prem Mckeig, Sarah Menchise, Pablo Morillo, Adam Nowicki, Michael Rees, James Stewart, Alex Vicenzi, Ray Vikete, Matthew West.


This project is made possible by grants from the National Foundation for the Arts, the Creative Capital Foundation and the Tribeca Film Institute’s Media Arts Fellowships. Special thanks to Chris Burnett, Donald Guarnierri, Kristofer Schlachter and Koan Baysa.

Exhibition in The Project Room for New Media is made possible with public funds from the New York State Council on the Arts, a state agency, and the New York City Department of Cultural Affairs, in partnership with the City Council.  The Artist talk is sponsored by The Experimental Television Center’s Presentation Funds program which is supported by the New York State Council on the Arts.


Kathleen Supove, pianist

As They Discover Us, We Discover Who We Are
A Concert of Piano Works by Louis Andriessen and Jacob Ter Veldhuis
In Honor of Henry Hudson’s legendary voyage and discovery of “New Amsterdam” (New York!)
December 2, 2009 at 7 PM
Performing Arts at CAM
General Admission $15, Students/ Senior $10, CAM Members free

Kathleen Supové is one of America’s most acclaimed and versatile contemporary music pianists, known for continually redefining what it means to be a pianist/keyboardist/performance artist in today’s world. After winning top prizes in the Gaudeamus International Competition for Interpretation of Contemporary Music, she began her career as a guest artist at the prestigious Darmstadt Festival in Germany. Since then, Ms. Supové has annually presented a series of solo concerts entitled THE EXPLODING PIANO. In this series, she has performed and premiered works by such established composers as Louis Andriessen, Terry Riley, Frederic Rzewski, Alvin Curran, and Morton Subotnick, as well as emerging composers from varied backgrounds such as David Lang, Randall Woolf, Eve Beglarian, Anna Clyne, Missy Mazzoli, and Bubblyfish, just to name a few. In recent seasons, she has developed THE EXPLODING PIANO into a multimedia experience by using electronics, theatrical elements, vocal rants, performance art, staging, and collaboration with artists from other disciplines. A recent large-scale project is an evening-length, staged Concert Theater work for singing/reciting/moving pianist called “Jitters”, with music by Randall Woolf and texts by Valeria Vasilevski. She is also involved in an ongoing project of commissioning a repertoire of pieces for piano and electronics. In 2001, Kathleen became a Yamaha Artist and is working on a long-term project of commissioning works for the Yamaha Disklavier. She has received grants from Meet The Composer, Mary Flagler Cary Charitable Trust, Greenwall Foundation, The Aaron Copland Fund for Music, and American Composers Forum.

Kathleen is a featured performer in the Summer 2000 issue of Yale Theater Journal, which is devoted to Concert Theater. She has appeared with The Lincoln Center Festival, Other Minds Festival, The Philip Glass Ensemble, Bang On a Can Marathon, Music at the Anthology, The Bill T. Jones/Arnie Zane Dance Company, Composers’ Collaborative, Inc., and at many other venues, ranging from concert halls and universities to theatrical spaces to clubs. Her most recent CD is INFUSION, released on the Koch International Classics label. Other recordings can be found on the Tzadik, CRI, Innova, New World, Neuma, Bridge, Centaur, OO, and XI labels.

For up-to-date information on Kathleen’s diverse activities, visit supove.com and myspace.com/supove.

(For Piano, Toy Piano, and Rose)
(Three Urban Songs for Piano and Soundtrack)
Lying Piece of Shit
From The Time She Was a Baby
That’s It, Your Honour
(For Piano and Soundtrack)

“What Ms. Supové is really exploding is the piano recital as we have known it, a mission more radical and arguably more needed.”

Anthony Tommasini, NY Times

“This was classical music played like the best rock’n’roll. It was passionate, earnest, loud and more complex than the gatekeepers of high culture would like to think. Brava.”

Ben Sisario, NY Press





Taka Kigawa, pianist
Beethoven, Debussy and Stravinsky
November 11 at 7 PM

On November 11 at 7 pm, Performing Arts at Chelsea Art Museum presented pianist Taka Kigawa performing Beethoven’s “Ode to Joy” from Symphony No. 9 in D minor, Op. 125, arranged by Liszt, commemorating the historic performance by the New York Philharmonic conducted by Leonard Bernstein in East Berlin on December 25, 1989.  Also on the program are “L’Isle Joyeuse” by Debussy and “Trois Mouvements de Petrouchka” by Stravinsky.

BREAKTHROUGH by Edwina Sandys

an exhibition in The Project Room for New Media and throughout the global network of Streaming Museum
November 5 – December 12, 2009
Opening reception and meet-the-artist, Thursday, November 5, 2009, 6-8pm

Photo by Richard Sugg

To commemorate the fall of the Berlin Wall on November 9, 1989, The Project Room for New Media presents a 32 x 12 ft image of the sculpture “Breakthrough” (1990), a monumental historic work Edwina Sandys created from 8 Berlin Wall panels. The exhibition incorporates audio excerpts from Edwina Sandys’ grandfather Winston Churchill’s historic “Iron Curtain” speech, delivered in 1946 at the site where the “Breakthrough” sculpture stands, by the Churchill Memorial on the campus of Westminster College in Fulton, Missouri; prints that illustrate the history of the work; the documentary film, “Writing on the Wall: Remembering the Berlin Wall, Co-produced by John Michalczyk and Ronald Marsh; photographs curated by Bobbi Baker Burrows, LIFE Director of Photography; and “Stronghold” 2009 a piece for 8 basses by American composer Julia Wolfe.

On the first anniversary of the tearing down of the Berlin Wall, President Ronald Reagan dedicated “Breakthrough” to a crowd of thousands of people including diplomats and dignitaries. “In dedicating this magnificent sculpture, may we dedicate ourselves to hastening the day when all God’s children live in a world without walls. That would be the greatest empire of all.”

In May 1992, the former Soviet leader Mikhail Gorbachev visited Westminster College. Speaking from the same podium where Winston Churchill first spoke of an “iron curtain,” Mikhail Gorbachev proclaimed that humanity has entered a new era of history and needs a democratic world government to guide it. “Here we stand, before a sculpture in which the sculptor’s imagination and fantasy, with remarkable expressiveness, convey the drama of the “Cold War,” the irrepressible human striving to penetrate the barriers of alienation and confrontation. It is symbolic that this artist is the granddaughter of Winston Churchill and that this sculpture should be in Fulton.”

Breakthrough concert

On November 11 at 7 pm, Performing Arts at Chelsea Art Museum will present pianist Taka Kigawa performing Beethoven’s “Ode to Joy” from Symphony No. 9 in D minor, Op. 125, arranged by Liszt, commemorating the historic performance by the New York Philharmonic conducted by Leonard Bernstein in East Berlin on December 25, 1989. Also on the program are “L’Isle Joyeuse” by Debussy and “Trois Mouvements de Petrouchka” by Stravinsky.

Breakthrough at Chelsea Art Museum is made possible in part with public funds from the New York State Council on the Arts, a state agency, and the New York City Department of Cultural Affairs, in partnership with the City Council.





Performing Arts at CAM – Fall Season Launch

Two Time Grammy Winner, percussionist, photographer, digital rhythmatist, WILL CALHOUN, (mostly known for his unique drumming/composing for NYC Rock icon band Living Colour,) will perform a solo electronic/Indigenous multi-media concert at the Chelsea Museum, 556 West 22nd St., NYC, Wednesday, October 28th, 7-8.30 pm. Will’s performance will explore traditional/electronic rhythms laced with digital visuals and Will’s photography from his research abroad. Special Guests include: Dancer- Ethel Calhoun and Real World Recording Artist-Tibetan vocalist Yung Chen Lhamo.




Tina B. Prague Contemporary Art Festival

October 8 – December 8 in Streaming Museum and The Project Room for New Media  www.streamingmuseum.org





Multi-channel video installation, DVD players, projectors, portable DVD players, televisions, plexi see-thru mirrors

Culled from hundreds of hours of talk shows, late shows, reality shows, celebrity shows, award shows, life-style shows, game shows, and shows about shows, this installation takes TV applause to its logical end: no object or context, just the pure build up and downswing of collective clapping and hooting, an on-going show made up only of the audience. The Project Room for New Media is filled with applause, reflected, refracted, repeated, in sound and video. The audience is the performer.

Inciting applause has long been part of the manipulation, or perhaps the making, of an audience. Today’s American TV culture presents applause at its most ritualized, culturally-prevalent and prescriptive mode. ‘Live studio audience’ is an American cultural category, with personnel and staff dedicated to their guidance, to tell them what to do, when to clap, to wave frantically in the front and stir them up over something or other.

The object of applause doesn’t matter as much as the ritual itself, as the self-satisfying burst of euphoria, the self-referential appeal to fame, melting the obsessions of celebration and celebrity into one form, regimented, quasi-pavlovian waves of approval after approval reinforcing the image of participation and unity, confirming beyond words the validity and vitality of a group to itself.

A good newspaper, Arthur Miller once said, is the nation talking to itself. We might say that today’s television shows have the nation clapping for itself – all day, every day. Applause is a collective act, infectious, feeding on itself, an audience performing for itself, performing itself.

caraballo-farman is a two person team based in NY. Working in a wide range of settings, from stadiums to hotel rooms, their work explores the relationship between individuals and groups, unit and structure, and how one enables or dissolves the other, setting up a tension between being in particular and social being. They have exhibited nationally and internationally, in such venues and events as the Havana Biennial, the Tate Modern, PS1, LAXART’s billboard project, Artists Space and the Chelsea Art Museum’s current show Iran Inside Out.




Eduardo Kac, Reversed Mirror, 1997

videopoem 7 minutes
July 7 – August 8
Wednesday, July 29, at 6 PM
sponsored by the Experimental Television Center’s Presentation Funds program, supported by the New York State Council on the Arts


CAM commemorates the 40th anniversary of the first walk on the moon…and beyond

Reversed Mirror (1997) by artist Eduardo Kac, is a seven-minute single channel videopoem. The text of this work is a poem written by Kac from which he has created a constant flow and transformation of forms, presenting an ever-changing image of infinity that resonates in the context of the vastness of space. Oscillating particles emerge and evolve into ephemeral words, only to dissolve again and reemerge as new ephemeral words. Reversed Mirror takes language into a domain of trance where the subtle dissolution and reconfiguration of verbal particles is charged with a feeling of calmness and agitation.

Eduardo Kac is known for his 1999 groundbreaking transgenic artwork Genesis, and attracted global attention in 2000 with GPF Bunny a.k.a. Alba, the fluorescent green rabbit. From June 1 to September 14 Kac is also exhibiting throughout The Project Room’s Streaming Museum cyberspace and international public space network, a video of his new transgenic work,

Natural History of the Enigma — a plantimal called “Edunia”, that is a genetically-engineered flower hybrid of the artist and Petunia. The work is a poetic reflection on the contiguity of life between different species and further stimulates the imagination to ponder what other life forms might exist or be created beyond earth. It has received the Golden Nica 2009 – the highest award given by Ars Electronica, the world’s premier cyberarts competition.

Also exhibited in Streaming Museum are selections from the video oratorio, Paradiso, by renowned Dutch avant pop composer Jacob Ter Veldhuis and video artist Jaap Drupsteen; and a performance by El Sistema program’s top youth orchestra conducted by Gustavo Dudamel. Founded by Dr. Jose Abreu in Venezuela over 30 years ago, this visionary program transforms the lives of children through music and has proven to be a new model for social change. Dr. Abreu has received the TED Prize 2009. For information and to view the exhibitions go to streamingmuseum.org.




Four Artists in Concert:

An exhibition of visual art by Morgan Russell, Mark Wiener, Fedele Spadafora, and Stephan Fowlkes

June 25 – July 4

The exhibition Four Artists in Concert arose out of Music & Art, a concert series highlighting emerging new music ensembles and visual artists. In collaboration between Performing Arts at CAM and Artlog.com, the concert series took place at Chelsea Art Museum during the fall and winter of 2008/2009. Visual artists from across the globe were invited to submit work through the arts community site artlog.com, emulating the themes of the concerts. Chelsea Art Museum curators considered all submitted work and selected two artists, Morgan Russell and Mark Wiener to be exhibited in The Project Room for New Media. The public selected two additional artists through a voting system, Fedele Spadafora and Stephan Fowlkes, to be included in the exhibition. The product of this unique project is Four Artists in Concert.

The Project Room for New Media is an incubator of new ideas, showcasing groundbreaking concepts in all art mediums, and the intersection of the arts through technology. Four Artists in Concert relies on technology to create the exhibition’s immersive environment that intersects art and music. The Internet was also vital to the initial process whereby artists listened to music samples online and uploaded their work on the website artlog.com.

The Music & Art series was designed to promote innovation and creativity in the Performing Arts at CAM series; to create an awareness and interest among young adults in the works of contemporary composers; to explore the natural and necessary relationship between music and the visual arts in accordance with Chelsea Art Museum’s mission. Through Artlog’s free online social platform, artists and art lovers from around the world were given the opportunity to engage and participate with the series online.

The music program, curated by Konrad Kaczmarek, emphasized cross-genre chamber music and live electronics. It included music by Konrad Kaczmarek, Red Hooker, Tristan Perich, Build, Now Ensemble, and William Brittelle, whose recordings will be played in the exhibition space. The Project Room focuses on immersive experiences that bring together all art mediums and this is an important aspect of this installation.


Manhattan New Music Project presents
Sabine and B3+

Wednesday 6/3 at 7 pm
An evening of jazz-infused contemporary chamber music, performed by young new music collective The Sabine Players and seasoned brass trio B3+, including a world premier by John Clark and Twilight Music by John Harbison. This program is presented by the Manhattan New Music Project as part of its New Composers Series, highlighting living composers with new approaches to jazz and other forms of new music.


Composers Concordance

Wednesday 6/10 at 7 pm
New and recent works, including three world premieres, by the directors of Composers Concordance and music by Otto Luening. There will also be large-scale projections of the visuals behind the performers: Margaret Lancaster, flute, Esther Lamneck, clarinet and Paul Hoffmann, piano. On the Moon and Beyond, a multi-media summer exhibition at Chelsea Art Museum celebrating the 40th anniversary of man’s first walk on the moon, will be reflected in new pieces written for flute.




Waves by Helidon Gjergji (Albania/US)

May 14, 2009 – June 13, 2009
sponsored by the Experimental Television Center’s Presentation Funds program, supported by the New York State Council on the Arts


Gjergji creates environments in which the images of live television are reflected and refracted in a variety of ways to produce colorful kaleidoscopic abstract paintings that are meant to dazzle the viewer while exposing the morphology of television programming and staging its consumption of the viewer.

Gjergji creates environments in which the images of live television are reflected and refracted in a variety of ways to produce colorful kaleidoscopic abstract paintings that are meant to dazzle the viewer while exposing the morphology of television programming and staging its consumption of the viewer.

Waves consists of some thirty 5” TV-sets progressively descending from the ceiling. The last one (the lowest one) is crashed into the floor. At that area of the floor there is a small hill of sand at the center of which is a sort of crater opened by the crash of the last TV-set. The TV-sets are tuned in different random channels. The sound coming from the different TV-s creates a wall of sound, making it virtually impossible to focus on the content of any one channel in particular.


A native of Albania, Helidon Gjergji had been studying art in Italy before he came to the United States for the first time to get his master’s degree. He considered himself a painter, but he was so struck by America’s throwaway mentality that he started assembling discarded TV sets and plastic bags to express his concerns about the abuse of political, religious, and economic power. Waves explores this theme by tracing the history of television.

At the dawn of the mass television era, a handful of television stations broadcasted a few programs for only several hours per day. The absence of choice meant that television was autocratic, dictating what viewers would watch and when. As television rose to become the new center of gravity for the private social sphere, it often produced unintended consequences. While channel surfing for the football game, for example, a sports fan might inadvertently watch the recent developments of a coup d’etat in the Ivory Cost, which he didn’t even know existed.

As TV stations boomed, they extended broadcasting around the clock, which increased viewer’s choices thus “democratizing” television. Gradually, the unilateral relationship between the TV and its viewer morphed into a mutual rapport as televisions (or at least their producers) started watching their audiences: Which programs are the most popular? At what time of day do most people watch TV? How do gender, race, age, and socioeconomic status dictate programmatic and scheduling preferences? Demographic statistics aided and encouraged this process of democratization, as cable, video, satellite, and other technological achievements developed to provide infinitely more choices, resulting in a sophisticated virtual system.

Today, the remote control has become an additive fictional muscle of one’s body, obediently sending impulses from one’s mind to the TV monitor. No more need for the football fan to watch news about the Ivory Cost, or for a Georgian expatriate to follow the Georgian – Russian conflict through Russian, American or French channels, when the Georgian channel is available via satellite. The Georgian channel will speak to its citizen exactly the way she wants it to, in her own language, literally and metaphorically. Meanwhile, a Russian viewer is delivered a different version of the story in her respective language. Thus, TV assumes a chameleon-like identity, conforming to the tastes and cultural nuances of whoever happens to be watching. What once transmitted a virtual version of reality now reflects a virtual reconstruction of one’s own superego.



Helidon Gjergji born in Tirana 1970, lives and works in NYC.

593 20th Street, #1
Brooklyn, NY 11218
C: +1-646-546-2788

Selected group and solo shows 2001-2009:

– VENICE BIENNALE 52, Albanian Pavilion (among the finalists for the Golden Lion Prize), curator Bonnie Clearwater, (Museum of Contemporary Art, North Miami).
– TIRANA BIENNALE 1, National Gallery of Albania, Tirana, curator Francesco Bonami.
– MADRE, (Museum of Contemporary Art), Naples.
– “PRESENT FUTURE”, Artissima 10, Turin, curator Emma Dexter (Tate Modern, London).
– VILLA ARSON, Le Centre National D’Art Contemporain, Nice. LOTHRINGER DREIZEHN, Kunsthalle, Munich.
– PAN (City Museum of Contemporary Art), Naples.
– STRAY SHOW 1, Chicago, curator Heather Hubbs.
– SUBURBAN, Oak Park. Other artists: Rirkrit Tiravanija etc.
– CIOCCA GALLERY, (solo) Milan, curator Michele Robecchi (Phaidon London).
– The KOSOVO ART GALLERY, Museum of Contemporary Arts, Prishtina. Other artists Phil Collins etc.
– TBA Space, Chicago, collaboration with Julie Rodriguez (MCA Chicago), Sylvia Chivaratanond and Hamza Walker (Renaissance Society).
Selected press 2001-2009:
– Flash Art, Venice Biennale 52 (catalogue), Tirana Biennale 1 (catalogue), Present Future (catalogue), Contemporary, Sculpture, New Art Examiner, Chicago Tribune, Chicago Journal, Exibart, L’Uomo Vogue, Espoarte, New City, Shekulli, Coterie, Tirana Observer etc.

2000     M.F.A., Northwestern University, Chicago.
1996     Diploma di Laurea, Accademia di Belle Arti, Napoli.
1994     Diplome Universitare, Akademia e Arteve, Tirana.


A Tale from the World of Parallel Thinking
Semi-Systems drawings and Performance Art from the 1980’s by Hassan Sharif in the UAE

May 27, 6:30 PM

A lecture by art historian, Paulina Kolczynska, presented prior to Hassan Sharif’s exhibition in the Venice Biennial at the Abu Dhabi Authority for Culture and Heritage (ADACH) platform for visual arts, curated by Catherine David, June – November 2009.

This unprecedented lecture brings to light experimental material of mathematical drawings created in “Semi-systems” and a series of performances by UAE artist Hassan Sharif in the early and mid 1980’s in Dubai. In-depth analysis of drawings created according to the “chance and order” constructivist formula will be presented for the first time to the Western audience.

Kolczynska will examine the phenomenon of constructivist theory in conjunction with middle-eastern spirituality and trace its evolution from the drawings to the series of performances which are the sole examples of performance art in this region in the time frame of early to late 1980’s. She will discuss the unique aspects of these performances which took place in Dubai and in Hatta, a desert area near Dubai, comparing them with Polish and Czech performance art executed in the same time frame.

The comparative aspect of the constructivist influences as well as certain similarities rooted in geo-political circumstances will open up a new perspective on performance art which will allow us to see the importance of the contribution of Hassan Sharif and will underline his unique place as an international experimental and performance artist.

Hassan Sharifs works will be presented in the group exhibition at the Abu Dhabi Authority for Culture and Heritage (ADACH) platform for visual arts, curated by Catherine David, June to November 2009. He will also participate in the Tina B. Festival where he will discuss his performances in the panel discussion with Czech performance artist Jiri Kovanda and Polish conceptual artist Zbigniew Libera in Prague in October 2009.


Farewell on Z axis
digital puppetry by Korean artist Semi Ryu
a Barbi Doll opera on film by Irish artist Jennifer Walshe

5/27 at 7 PM
Digital puppetry by Semi Ryu (Korea), Virginia Commonwealth University New Media professor

“Farewell on Z axis”, is a Virtual puppet performance project that will incorporate with Korean oral traditional storytelling performance, called “PANSORI”, exploring complicated interactive relationships between virtual puppet, puppeteer, drummer, and the audience. The story chosen for this performance will be the scene of farewell between young lovers (from the story “Chun-Hyang-Ga”), demonstrating  the extreme state of constrants called “? Han.” This project explores Han in a paradoxical relationship between virtual puppet and puppeteer, and the distance between user and avatar in digital age, which will act as lovers facing each other, continuously exchanging dialogues of love and farewell.

“XXX_LIVE_NUDE_GIRLS!!! is an opera on film by Jennifer Walshe (Ireland) composer and performer. Walshe takes the tradition of marionette opera and transforms it through the use of Barbie dolls. A riff on Aristophanes’ Lysistrata, this notorious opera has been performed all over the world.”

Jennifer Walshe is a composer and performer who has been called “the most original compositional voice to emerge in Ireland in the last 20 years” by the Irish Times and “the wild girl of Darmstadt” by the Frankfurter Rundschau.




Immobilite by Mark Amerika

A feature-length mobile phone art film remixed for cyberspace and public space

April 7, 2009 – May 7, 2009
Opening Reception/Exhibition, April 8, 6-9 PM
Artist talk, May 7 @ 7 PM – “We Write This To You From The Future: On The Making of Immobilite”
sponsored by the Experimental Television Center’s Presentation Funds program, supported by the New York State Council on the Arts


Film still from Immobilité

On view in 75 minute feature length in The Project Room for New Media
Ten-minute remix broadcast through Streaming Museum global network
Tate Media interview, press, go to: http://www.tate.org.uk/intermediaart/mark_amerika.shtm

See the site: www.immobilite.com

Shot on a mobile phone, uses landscape, portraiture, experimental mobile phone videography, poetic intertitles and subtitles, and original 75 minute soundtrack, creating a provocative story about a dream world within our own world. The work critically reflects on the fluidity of emerging identities in digital culture from both philosophical and literary (fictional) perspectives.


Eternal Recurrence
The Art of Lucero Gonzalez Jameson and Claudia Doring Baiz

Curator, Raul Zamudio
Presented by Nina Colosi
April 9 – May 9

(left) Lucero Gonzalez Jameson “Execution of Miramon” 30×27 in. (right) Claudio Doring Baez, “Manuel Gonzalez” 48×30 in.

Eternal Recurrence brings together the art of Lucero Gonzalez Jameson and Claudia Doring Baez, two artists from different generations whose works poetically vacillate from the present to the past. Both artists are related to important Mexican historical figures: one is Manuel Gonzalez (1833-1893), a President of Mexico and a liberal; and the other Miguel Miramón (1831-1867), an interim President of Mexico, a general, and a conservative; the latter was one of two persons executed with Maximilian I, Emperor of Mexico and immortalized in Edouard Manet’s The Execution of Emperor Maximilian (1868-69).

Lucero’s contribution to the exhibition consists of sculptures, a video, and paintings and she introduces her works in Eternal Recurrence via her rendition of Manet’s iconic painting. Her other canvases also trope history in that they are informed by canonical artists such as Picasso and Matisse, yet her paintings are of more personal subject matter and articulated in her distinctly abstract and expressive style. Claudia Doring Baez, on the other hand, approaches history almost as if it is fiction: her participation in Eternal Recurrence explores a postmodern spin on portraiture in which the models she depicts are based on real individuals, though the resulting works are titled vis-à-vis their professional occupation: the filmmaker, the librarian, the art dealer and so forth. Her strategy is to capture the quintessence of a maker of films, for example, so that the painting embodies a character or even an archetype rather than a specific person. She prefaces her paintings and sculptures in Eternal Recurrence with a series of portraits titled The President of Mexico, which is based on a full-length portrait of Manuel Gonzalez housed in Mexico City’s Chapultepec Castle and part of Mexico’s cultural patrimony.

Programs presented in conjunction with the exhibition:

Live portrait painting by Claudia Doring Baez,
Thursdays and Saturdays 2-6 PM.

Sound Sense: a reading of poetry and prose

Saturday 4/25 from 3:30 – 5:30 pm
Readings of works by MFA candidates at the
Columbia University Graduate School of the Arts
Directed by Alexandra Zelman-Doring

With a strong emphasis on the listener’s experience of the work, this reading promises an awakening of the sheer force of literary language. The readers will perform both their own work and each other’s, sounding out the emergent voice of a new recourse to poetry. Participants: Marina Kaganova, Matthew Rossi, Justin Boening, Janice Greenwood, Jesse Longman, Prashant Keshavmurthy, Jeffrey Landman, Alexandra Zelman-Doring


Performing Arts at CAM

Reflex Ensemble, Keren Rosenbaum and Cassie Terman

Wednesday 4/1 at 7 pm

Theresa is a performance by cellist Keren Rosenbaum, physical theater artist Cassie Terman, and 2 members of Reflex Ensemble, who transform an empty stage with sound, music and movement to explore a surreal realm of comic dilemma and the pathos of human frailty. Inspired by the writings of Italo Calvino, this performance was developed in the New Art Lab of The Project Room for New Media at Chelsea Art Museum.


Red Light Ensemble —- New York Times review, 4/13/09

April 13, 2009
Linking Composers by Contrast and Affinity

At first brush Morton Feldman and Beat Furrer do not seem temperamentally suited to sharing a concert. Mr. Feldman, a New York composer who developed his style during the 1950s and died in 1987, is best remembered for the expansive works of his late years: sweeping glaciers that seem practically motionless but glisten with subtle plays of light and shade. Mr. Furrer, a Swiss-Austrian composer born in 1954, works in sudden gestures, frantic motion and stark silences.

But there is a connection between them, which the contemporary-classical ensemble Red Light New Music set out to illustrate in a well-attended concert at the Chelsea Art Museum on Friday night. In a program note Liam Robinson, a composer and a director of Red Light, discussed Mr. Furrer’s discovery of Feldman’s 1986 piece “Coptic Light.” What Mr. Furrer found there, Mr. Robinson related, was “the capacity and power within music to create a simultaneous sense of stasis and continuous movement.”

You could use the same words to describe Minimalism, which also has a place in Mr. Furrer’s nervous system, to judge by two 1997 works played here. In “a due,” Erin Wight’s viola scrabbled, hissed and yawned over Yegor Shevtsov’s steadily percolating piano figures. Unanticipated pauses cleared the air, and the music resumed with subtle changes in tint or inflection.

“Presto con fuoco” had Natacha Diels, a flutist, and David Broome, a pianist, in a similar relationship, with the piano gradually encroaching on the flute’s territory. All four of these sure-handed players brought out the enigmatic beauty of Mr. Furrer’s wiry constructions.

Ms. Wight and Mr. Shevtsov also gave an engrossing account of Feldman’s fragile 1970 work “The Viola in My Life III.” Alone, Mr. Shevtsov offered a gracious performance of Mr. Feldman’s “Last Pieces,” a transitional creation from 1959.

Further conjoining the composers were two playful films by Bady Minck. Both had been screened nearly a week earlier during a concert by Klangforum Wien, a new-music ensemble founded by Mr. Furrer.

“Being and Nothingness” showed Mr. Furrer plucking a copy of Schumann’s “Novelette” No. 8 from an antiquarian shop, then magically distorting it into his own “Ein Lied, das Über das Ende des Liedes Hinaus ein Anderes Ende Finden Wollte” (“A Song That Aimed to Find Another Ending Beyond the End of the Song”). In “Schein Sein” (“Seems to Be”) Ms. Minck pans across a desk cluttered with significant Feldman cues — a Mondrian painting, a rug pattern, the voice of John Cage — before playing perceptional games to the tune of Mr. Feldman’s “Madame Press Died Last Week at 90.”

Copyright 2009 The New York Times Company

Wednesday 4/10 at 7 pm 

The Red Light Ensemble performs chamber music by two great composers of the late 20th century, Morton Feldman and Beat Furrer. In addition to these performances, the concert will feature a rare screening of the work of Luxembourgian filmmaker Bady Minck, who has crafted elegant and beautiful films around music by these two composers.


Eric Huebner

Wednesday 4/29 at 7 pm
Pianist Eric Huebner and composer Caroline Mallonée team up with Icelandic video artist Björk Viggósdóttir to present an evening of electro-acoustic music accompanied by video projections. A new work by Mallonée for piano and electronics will receive its world premiere along with performances of solo piano music by Takemitsu and Ligeti.





Artists: Jeremy Gardiner, Anthony Head, Nick Lambert, Jan Rafdal
March 5 – April 4, 2009

Imaginalis is an exciting collaborative exhibition by a European artists’ collective Imaginalis. Bringing together interactive installations alongside multi-media, painting and print work firmly routed in the rich tradition of modern landscape artists, the exhibition is the culmination of a close collaborative partnership between the four artists.

The Jurassic Coast, a UNESCO world heritage site in Dorset, England, is the inspiration for evocative paintings and prints that blur the line between representation and abstraction. Viewing the coast from the land, sea and air layers of color convey sensations, changes in the weather and seasons. The working method behind the pictures, scouring, building accretions of paint, collaging, and sanding down, echo the history of the ninety miles of ancient coastal landscape we see today. Like the geological spectrum of the coast, these images are stratified, creating distinct bands of paint and color in complex layers built up over eons.

Jurassic Light Years further explores the coastline in the context of a dynamic and time-based virtual environment. The installation uses hybrid techniques that combine painting, drawing, satellite data and ambient sound with immersive virtual reality through computer programming. This work features natural systems, such as changing weather, sea and geological erosion, over time.  The dynamic qualities of this interactive installation best convey the succession of changing climates and landforms during its 250 million year old history.

By contrast Oculus is an installation that focuses on the human desire to measure and quantify the passing of time to make sense of the eras of change. Taking its form from the rose windows of European medieval cathedrals the jewel colors of the stained glass are projected to create an ethereal animated installation. Oculus subtly captures movement over time, its circular form echoes that of many ancient calendars and clocks. Embedded in the roundels of the window are the signs of the Zodiac, the plan of Stonehenge, the Nebra star-disc, the Aztec calendar, Copernicus’s view of the solar system, and at the centre, the great clock at Hampton Court, the royal palace of King Henry the Eighth. The piece connects the beliefs, discoveries and world-view of the cultures that sought to capture time and place and frame it.



Performing Arts at CAM

Taka Kigawa, pianist

Wednesday 3/25 at 7 pm

The critically acclaimed pianist Taka Kigawa will perform dazzling solo piano repertoires for this concert. The program includes the works of strikingly inventive composers; Etudes Book I by Claude Debussy, “Incises for Piano” by Pierre Boulez, and Etudes Book I by Gyorgy Ligeti.




Project Perpetuum – a multi-media / jazz production

Performing Arts at CAM
February 25 at 7 pm

Gerd Baier, Emma Desjardins, Philipp Gutbrod, Micaela Leon, choreographed by Anne Zuerner

An Evening of Choreography and Improvisation, is a rare merger of live improvised jazz music, vocals, and contemporary dance. The piece is based on the album “Perpetuum” by the chamber Jazz duo Gerd Baier / Philipp Gutbrod. Many of the pieces that will be performed are inspired by literature, art, and science: The composition Milena is based on Franz Kafka’s love letters to Milena Jesenska. This piece will be performed by the whole quartet with a special emphasis on Emma Desjardins’ transformation of written words into dance. Another piece, When Vincent Got Lost, conjures up the struggles of Van Gogh in the beautiful scenery of Southern France. Finally, Pioneer 10 is inspired by the satellite of the same name that was launched in 1972 and has long lost contact with planet earth, but continues its journey into the unknown nonetheless.


Red Light Ensemble

Wednesday 2/4 at 7pm
Premieres commissioned works by American composers Liam Robinson, Scott Wollschleger, Vincent Raikhel.  Also features Tether by Charlie Wilmoth winner of RL’s second annual composer competition, and works by Claude Vivier and French master Gerard Grisey.

Next concert April 8.




Bohdi Obfuscatus (Allegiance), an installation by Michael Joo (US)

January 10 – February 7, 2009
Guest Curator, Micaela Martegani, Founder and Director, More Art
A new media installation and community education program. www.moreart.org

An installation by Michael Joo features a video helmet comprised of 48 live surveillance cameras as they examine the faces of a group of New York teenagers as they tell stories about their lives and attempt to recite the Pledge of Allegiance.  This multi-media installation consists of a video projection, mirrors, and sound. The portraits of these teenagers, at one representational and abstract, are presented as a matrix of recorded projection and reflected video imagery.


England – a play by Tim Crouch

Performing Arts at CAM
Part of the Under The Radar Festival presented by The Public Theater
Thursdays and Fridays 1/8, 1/15, and 1/16 at 6:30 and 8:30 pm
Saturdays 1/10, 1/17 at 2:00 and 4:00 pm

Two guides in a gallery.  Two lovers with a lifestyle to maintain. Two hearts beating four thousand miles apart. A moving evocation of the relative values we place on precious things. Tim Crouch is fast developing a reputation as one of Europe’s most daring writers and performers. England won three major awards when it opened at the Edinburgh Fringe in 2007. England is part of the Under The Radar Festival presented by The Public Theater. Running Time: 60 minutes. The audience is standing for half of the performance.




Critical Engagements: A selection of videos from the tina b. Festival 2008

December 10, 2008 – January 3, 2009

Guest Curators, Micaela Giovannotti and Blanca de la Torre

Artists: Eugenio Ampudia, Johanna Billing, Cristina Lucas, Domenico Mangano, Jenny Marketou, Ana Prvacki, Amparo Sard, Hank Willis Thomas and Kambui Olujimi, Wooloo Productions.

EUGENIO AMPUDIA Where to Sleep. Goya, 2008

One channel video installation (1: 51)

Courtesy of the artist and Max Estrella Gallery, Madrid, Spain

Critical Engagements fuses two projects that were recently showcased in tina b. 2008, The Prague Contemporary Art Festival: VIDEOCRACY, curated by Micaela Giovannotti, and All that is solid melts into air: ALTERNATIVE REVOLUTIONS, curated by Blanca de la Torre.

Now in its third edition, the TINA B. – The Prague Contemporary Art Festival, aims to combine the creative energy of the cultural scene in Central and Eastern Europe with emerging talents and trends from around the world in the Czech Republic’s vibrant capital. Adopting the leitmotif FORMS OF ENGAGEMENT, TINA B. 2008 focused on the relationships between art and society, exploring the role of contemporary art, artists and artistic practice as socio-cultural agents that not only provide a critique of social order, but also serve a direct, positive and symbiotic social function on local and global levels.

Micaela Giovannotti’s project VIDEOCRACY, explores the inherently democratic approach of video art as well as its intrinsic power to engage, indoctrinate or manipulate audience perception. With her project, Micaela Giovannotti transformed the Italian Cultural Institute into a vibrant contemporary art space, revitalizing tangible architectural elements of the Institute through video and the ephemeral qualities of light, sound, and motion.

In turn, ALTERNATIVE REVOLUTIONS, by Blanca de la Torre, is comprised of a series of works that subvert the classical notion of Revolution. It posits the concept of revolution on a new premise: namely that all sorts of political, intellectual, social, and quotidian revolutions are better understood as part of a single dialectical process. The exhibition develops creative interplay among the different forms of revolutions, widening our own experience to lending our daily lives with a new depth.

In creating Critical Engagements, the curators take on the challenge of starting with two sets of pre-formulated ideas and melding the concepts into a cohesive new exhibition around the notion of “engagement”. This act of re-imagining two projects into one, could, in and of itself, be viewed as yet another form of engagement. Accordingly, this exhibition echoes the new patterns, conventions, and formulas that are reshaping revisionist engagements running through society today.

Sophia Ensemble

December 10 at 7 pm

Olivier Messiaen – Quartet for the End of Time (1941)

On the occasion of the composer’s 100th birthday

Introduction by Dan Cooper, composer and educator


lynn Bechtold (violin)

David Gould (clarinet)

John Kneling (cello)

Mescal Wilson (piano)

Ensemble π (“Pi”)

December 3 at 7 pm


Elias Tanenbaum – Changing Times piano trio (1993)

Alice Shields Mioriza: Requiem for Rachel Corrie (2004)

Dmitri Shostakovich -Quintet for piano and string quartet in G minor Op 57 (1940)

In memoriam: Elias Tanenbaum (1924-2008) was a WWII veteran and peace activist who had a lifelong aversion to wars and the human suffering they bring. Among his many strong political pieces are “Letters From Stalingrad,” “Keep Going, by George,” and “Najaf.”

In the words of Alice Shields: “I created Mioritza in memory of Rachel Corrie, the 23-year-old American peace activist who was killed by an Israeli forces bulldozer while attempting to defend a Palestinian pharmacist’s home from demolition. The title Mioritza, from a traditional Romanian poem, means “the clairvoyant lamb.”

Russian composer Dmitri Shostakovich is known for his controversial relationship with the Stalinist regime.  Like many of his pieces, this quintet was censored for the more satirical aspects of his style. Yet, despite the work’s confrontational and sarcastic nature, it proved to be a great success, and ironically gained a Stalin Prize.

Ensemble Pi

Jill Jafe (viola)

Sycil Mathai (trumpet)

Idith Meshulam (piano)

Maxine Neuman (cello)

Kelly Hall-Tompkins (violin)

Airi Yoshioka (violin)

Amy Zoloto (clarinet)




Ensemble π (“Pi”)

Nov 12 at 7 pm


William  Kentridge/Philip Miller – Monument (1990) and Stereoscope (1999) from Nine Drawings for Projections.

Olivier Messiaen – Quartet for the End of Time (1941)

Phillip Miller’s music accompanies nine films by William Kentridge, two of which are being performed tonight. The films chronicle the fictional story of Soho Eckstein, a wealthy South African mine owner, land developer and cuckold, set up against the backdrop of South Africa’s shifting political and social realities. “I have never tried to make illustrations of apartheid,” Kentridge has said. “But my drawings and films are certainly spawned by and feed off the brutalized society left in its wake. I am interested in a political art…an art of ambiguity, contradiction, uncompleted gestures and uncertain endings. An art—and a politics—in which optimism is kept in check and nihilism at bay.”

This year we celebrate the centennial of Olivier Messiaen (1908-1992) who was captured as a French soldier during WWII and wrote this piece while imprisoned in a German camp. The title comes from the description of the apocalypse in the Book of Revelation. The work is dedicated to the angel who lifts his hand toward Heaven, saying, “There shall be no more time.” However, according to Alex Ross, “In the end, Messiaen’s apocalypse has little to do with history and catastrophe; instead, it records the rebirth of an ordinary soul in the grip of extraordinary emotion. Which is why the Quartet for the End of Time is as overpowering now as it was on that frigid night in 1941.”

Ensemble Pi

Jill Jafe (viola)

Sycil Mathai (trumpet)

Idith Meshulam (piano)

Maxine Neuman (cello)

Kelly Hall-Tompkins (violin)

Airi Yoshioka (violin)

Amy Zoloto (clarinet)


Idith Meshulam – idith@ensemble-pi.org


Music and Art 

3-concert series curated by Konrad Kaczmarek in collaboration with artlog

11/19 Red Hooker and Build

12/17 Now Ensemble and Friends

1/17 William Brittelle and Mohair Time War, and Tristan Perich

Reception 6:30, concert 7:30

Artists can submit work related to concert themes and Museum curators will select work for exhibition. For information go to www.artlog.com.




John Cage, “Lecture on the Weather” (1976)

John Cage at Harvard University, 1990

Photographer, Betty Freeman. Courtesy of the John Cage Trust.

Chelsea Art Museum
556 West 22nd Street
Friday October 24 & Saturday October 25 at 7:30pm
Pre-concert reception at 6:30 pm

$35 general admission/$25 students, seniors & EMF Subscribers

Lecture on the Weather is unique in John Cage’s work. It is social and political allegory, thoughtful, powerful, and memorable. From the perspective of 1975, the year in which it was composed, it conveys a prescient message of concern for the environment as well as for the social and political inclinations of this country. Commissioned by the Canadian Broadcasting Corporation in observance of America’s bicentennial and based on writings by Henry David Thoreau, Cage conceived the work as an unconducted radio broadcast or theatrical performance wherein twelve individuals read excerpts from Thoreau’s writings, intermittently performing exquisite moments of music amidst a gathering storm.

The performers for these evenings are Eric Beach, Ralph Benko, Merce Cunningham, Mari Kimura, Garry Kvistad, Joan La Barbara, Chris Mann, Josh Quillin, Joan Retallack, Margarete Roeder, Agnieszka Roginska, Mikel Rouse, Adam Sliwinski, Jason Treuting, Jan Williams, Greg Zuber. The production is directed by Laura Kuhn.

Proceeds from these performances will benefit the John Cage Trust and Electronic Music Foundation. If you would like to support us further, purchase a pair of tickets for $250 and enjoy preferred seating and attendance at an intimate post-performance, meet-the-artists celebration, complete with champagne and nutritious delicacies prepared from John Cage’s own recipes!

For information/tickets/reservations, call (888)749-9998: http://www.emfproductions.org/upcoming/lectureontheweather.html

Electronic Music Foundation, Ear to the Earth Festival

Monday-Thursday 10/20 – 10/23 at 7pm daily

The third installment of Ear to the Earth, an annual festival of music, art, and ecology will be complimented by a series of four concerts at Chelsea Art Museum, highlighting instrumental music with an ecological bent.

Music by George Crumb, Ezequiel Vinao, Charlie Morrow, Helen Fisher, Matthew Burtner and others, with performances by So Percussion, Matthew Burtner, Madeleine Shapiro, Stephen Gosling, and many others


Leonor Hirsch Competition, Buenos Aires, Argentina

A program of the Bunge y Born Foundation

Concert and award ceremony. October 22, 2008 (click here)

Notations 21: Installation, Concert, Education Series

October 4 – November 1

Installation on view in The Project Room for New Media October 4 – Nov 1

featuring rare footage of John Cage, premiere footage of Egyptian composer Halim El-Dabh discussing his “color notation” and more…

Telling Stories with Sound and Music

a workshop series designed to create tools for parents to make music part of their child’s everyday life. Through exploration of rhythms, sounds, and texture, Telling Stories with Sound and Music will provide children with an opportunity to integrate music into their developing understanding of the arts. It is intended for children ages 4-6 and their adult companions. Workshops take place every Monday afternoon at 3:30 during the month of October and run 45 minutes. Classes for older students can be arranged. For more information, please email: programs@chelseaartmuseum.org or call 212.255.0719 ext 112.

A Listening Area

has been installed in The Project Room to provide guests a facility where they can access actual scores of Notations 21 composers. CD players and headphones complement their listening experience.

On October 18th 2pm Kenneth Silverman Pulitzer Prize-winning author) discusses his new book in progress about John Cage.

Click here to view full Notations 21 concert schedule.

Notations 21 – ongoing research project of innovative notation


Theresa Sauer

A donation of all proceeds will go to the Foundation for Contemporary Arts. Founded by Jasper Johns and John Cage. info@contemporary-arts.org



“Artists and Innovators for the Environment” part one, October 3 – December 3





Andrea Juan, Antarctica Project III

July 10 – August 30




USSR&R: Rock on a Red Horse – Friday, 6/13, 6-8 pm

Directed and Produced by Ken Thurlbeck

The period from 1985-1991, infamous for cultural upheaval in the U.S.S.R., witnessed a supposedly state-sanctioned revolution, known more commonly as the period of glasnost (openness) and perestroika (restructuring). Ken Thurlbeck’s acclaimed documentary film explores the underground rebel music of Soviet youths during that tumultuous time. The film USSR&R: Rock on a Red Horse outlines rock music’s powerful role in the complicated political and social transformation. In sixty minutes the film covers snippets of clandestine rehearsals, illegal concerts shut down by the KGB, and interviews with fans of state-banned rock & roll. In addition, the film includes performance footage from an eclectic variety of bands, musicians, and composers who risked sanction, exile, and incarceration for their music.

During this period, the so-called “dregs of society” sought in music an expressive outlet for their political disillusionment. USSR&R: Rock on a Red Horse artfully details how the music helped galvanize a cultural reform, which most history texts attribute almost exclusively to economic and public policy reforms. “USSR&R” provides fresh insight to a widely discussed, seldom understood paradigm shift that was set into motion by youths opposed to the communist aesthetic. Through Thurlbeck’s one discovers how music helped undermine public confidence in the state’s ability to prevent descent into poverty and chaos, let alone to lead society to the prosperity it promised.

Although Glasnost was ostensibly a “facilitating concept,” opening doors for writers and journalists to test and stretch the limits of free speech, the KGB banned Thurlbeck from entering the country upon discovering his involvement in this documentary. Nevertheless, he continued to find passage for himself and his crew and was nicknamed “The Tunnel” for his uncanny ability to slip in and out of the country undetected. As Thurlbeck demonstrates in his film, the ideal of glasnost transmogrified from a state-bestowed privilege into a right indignantly asserted at the grass roots level. This “expansion in meaning” was helped along by damaging exposés, investigative reports, and films such as this.

Thurlbeck is an award winning creative professional who has worked internationally. He developed Café Films, an international television commercial production company, and has directed over 1000 television commercials. Ken has directed several other documentaries including “Rocky Road,” “Pacifico Beer,” and “Issey Miyake.”

Chelsea Art Museum is pleased to present this film, as it relates its recent exhibition “Thaw: Russian Art from Glasnost to Present.”




The Promised Land: a video art exhibition about the consequences of globalization, May 22 – July 5

Curator, Blanca De la Torre

Carlos Amorales’ The Forest

The Promised Land presents a cycle of projections and video installations by several prominent artists. The feature installations will rotate and each one will be on display for one week. Additionally, in conjunction with the feature installations, a video program conceived especially for the occasion will run throughout the duration of the exhibition. Participating artists will also hold talks at Chelsea Art Museum to introduce their work and explain their artistic practices to the public.

The Promised Land highlights the ironic consequences of globalization. It is conceived around a central question: Has globalization advanced or hindered society? Conventional wisdom holds that globalization is synonymous with progress and produces tangible benefits. The artists in this exhibition explore whether those perceived benefits are real or imagined. By examining the cultural, sociological, and political problems that have arisen as the byproducts of an increasingly globalizes world, The Promised Land juxtaposes the ideals of co-existence, acceptance, and cultural diversity with the reality of prejudice, alienation, censorship, and nationalism.

May 22 – 29 – Ivan Navarro’s Flashlight: I Am Not From Here, I Am Not From There (2006) shows a man pushing “Flashlight,” a fluorescent wheelbarrow sculpture by Navarro, through deserted city streets and along a railroad track. The soundtrack accompanying the journey is a ballad of transience and dislocation played out by the rolling sculpture.

May 29 – June 5 – Antoni Muntadas’ Cross-Cultural Television is a montage of television footage from various regions of the world, highlighting the way the programs conform to an internationalized image. The video appears to be the product of systematic elimination of any elements that would signify an association with a particular cultural community.

June 5 – 12 – In Nomads East West Montse Arbelo and Joseba Franco traveled around the across the globe, recording their experiences with their laptops and video cameras. Wandering through a world full of contradictions, they shared their culture with those they encountered and experienced a great deal of human diversity on the streets. Ultimately, they concluded that despite differences in skin color, language, culture, economic status, and other differentiating factors, human similarities outweigh our differences.

June 12 – 19 – Jeanette Doyle’s “body (orient)” documents the journey from the site of the executions in Tiananmen Square to the ‘civilizing’ site of the Beijing Art Fair. The audio element is directly taken from Sidney Lumet’s ‘Murder on the Orient Express’, which itself comprises of the fictional ‘record’ of a bunch of ‘foreigners’ being transported and interrogated in transit.

June 19 – 26 – Carlos Amorales’ The Forest is conceived as a sharp metaphor of the society habited by wrestlers in suits, black crows  and planes descending from the sky. An apocalyptic installation were the dreamlike alternates with the menacing, and the rapid, repetitive succession of the symbols create a perverse sense of apprehension in the viewer. An allegorical interpretation of  the collective threatens in globalized society

June 26 – July 5 – Artists in the collective Democraciapainted the word “charity” on the trash receptacles located outside of a supermarket, where people regularly line up to take the stale food that the supermarket has discarded. The video installation, called Charity, includes “Charity’s perfume,” an odor of rotten food that is dispensed in the gallery to heighten visitors’ awareness of the regrettable situation. Visitors may also buy “Charity’s perfume”from a vending machine.

The following video program will be presented in conjunction with the feature installations and will run from May 22 – July 5:

In Don’t Do it Wrong, several artists portray various aspects of today’s globalized world, drawing viewers’ attention to certain subtleties that are often overlooked. Katarina Zdjèlar (Don’t Do It Wrong) explores social rituals as power structures and shows how such rituals foster a sense of belonging. In Avelino Sala’s Arde lo que Será, football players, each wearing a different team’s uniform, play an endless match with a ball of fire. Javier Velasco (Ópera Para Migrantes Mexicanos) performs an opera analyzing the “Guide for Mexican Emigrants” distributed by the Mexican government as an “educational” campaign about the potential dangers of crossing the border illegally.

Shahram Entekhab (MLaden) draws the picture of the stereotype criminal immigrant from the Balkans, in Berlin raising questions about the complexity of  migration and segregation of the public space, . Similarly, B Hakeem (Negotiations) highlight the irony of the term “negotiation” that is still used today in all the realms, political, social and religious life. Finally, Manuela Viera-Gallo (Digging the American Dream) portrays a woman desperately carving the land as a metaphor for the dream shared by countless immigrants striving to reach the ‘promised land’.






exhibition of international multi-media artists and conference at the Museo de la Universidad Nacional de Tres de Febrero: Opening March 5, conference March 6, 2008. Curator, Andrea Juan (Argentina). Exhibition catalog essays and conference presentations by Nina Colosi (US) and Annick Bureaud (Fr). Conference participants: Mariano A. Mémolli, Director Nacional del Antártico; Rodolfo del Valle, de la Dirección Nacional del Antártico; Hernán Sala, Investigador del Instituto Antártico Argentino; Corinne Sacca Abadi, crítica de arte, curadora y psicoanalista, y Beatriz Ventura, Asesora Cultural y Académica de la Embajada de Canadá.

De la misma participan los siguientes artistas:

Philippe Boissonnet: Fotografía y Lorraine Beaulieu: impresiones sobre tela de Canadá; Phil Dadson, Neozelandés: Video instalación; Las Australianas Karin Beaumont y Lisa Roberts: Objetos; de España: Mireya y Mercedes Masó: Video junto a Pamen Pereira con Dibujo.?Y los argentinos: Marina Curci: Pintura; Jorge Chikiar: Instalación sonora; Adriana Groisman-Stefan Oliva (EE.UU): Video; Marcelo Gurruchaga: Fotografía; Andrea Juan:Instalación Sonora y Visual; Alberto Morales: Pintura y Grabado; Jorge y Lucy Orta (Británica) Video.



Streaming Museum launch January 29, 2008

Real-time exhibitions in cyberspace and public space on seven continents



Performing Arts at CAM: October 2007 – August 2008 Schedule

Performing Arts at CAM is a highly acclaimed program featuring internationally renowned, as well as emerging, performing artists. Curated and by Nina Colosi since its inception in 2003, Performing Arts at CAM presents a diverse range of genres and cultural traditions — classical and contemporary music concerts, sound art installations, dance and physical theater works –many of which emphasize the correlation between performing and visual arts. Staging all performances directly in the exhibition galleries, Performing Arts at CAM builds on the legacy of the abstract expressionist painter Jean Miotte, whose foundation is housed within Chelsea Art Museum. Through his painting Miotte strove to build a bridge between cultures and break through national boundaries to form a truly international artistic language.




Jessica Schmitz – Thursday 8/21 at 7 p.m.

Summer Solstice 3

Inna Faliks – Thursday 8/7 at 7 p.m.

Described by critics as “electrifyng, warmly poetic, passionate, a musician who uses her technical perfection to take risks, and a mature musical personality,” Inna Faliks made her debut with the Chicago Symphony at age 15 and has been performing solo, chamber music and concerti in the US and abroad.




Jessica Schmitz – Thursday 7/24 at 7 p.m.

Summer Solstice 2




Jessica Schmitz – Thursday 6/19 at 7 p.m.

Summer Solstice 1

Drawn to the performance of both contemporary and traditional repertoire, New York based flutist Jessica Schmitz has performed internationally across a wide spectrum of musical arts. As a featured soloist, chamber musician, and orchestral player she has given the world premieres of many pieces in the US, and has also worked with such composers as Meredith Monk, Steve Reich, David Lang, Robert Dick, Steve Mackey, Julia Wolfe, Michael Gordon, and Harold Meltzer.

Konrad Kaczmarek in collaboration with Artlog.com – Saturday 5/1 at 7 p.m.

Metamorphic_Gestures: An evening of electronic music and art

This concert brings together several pieces Konrad Kaczmarek has written for acoustic instruments and live electronics that explore the idea of computer-generated extended technique and improvisation. Using a software program he authored called Metamorphic_Gestures, each piece will highlight a different form of interaction between the performer, the instrument, and the electronic processing.


Matthew Greenbaum – Saturday 5/1 at 7 p.m.
What We Owe the Invertebrates 

Music, video and theater works by Matthew Greenbaum. With Miranda Cuckson,violin and Cyndie Bellen-Berthézene, soprano.

Ne(x)tworks – Saturday 5/3 at 2 p.m.
Music of Wadada Leo Smith

Ne(x)tworks continues its ongoing work with the maverick improviser and graphic score pioneer Wadada Leo Smith.

Christine DiWyk and Hanako Yamagata 4-hand piano music – Saturday 5/10 at 2 PM

Janacek, Debussy, and Tchaikovsky, and featuring Stravinsky’s Rite of Spring

Lautreamont Concerts – Thursday, 5/15 at 7 p.m.

Formed in 2004 by violinist Steven Zynszajn with some of his closest colleagues from the Juilliard School, Lautreamont Concerts have performed throughout New York’s Tri-State area. They offer programs of the sort one might have encountered in a golden era of classical music: a medley of solo works, chamber music and concerti for strings and piano, as well as transcriptions and new works. Currently the resident classical ensemble of the Chelsea Art Museum, they are also a non-profit organization dedicated to bringing their performances to healthcare institutions in New York.

Eric Heubner Thursday 5/22 at 7 p.m. 

New American Music

Two of New York’s most exciting and innovative mixed instrument quartets, Antares and Flexible Music, present a program of new American music by some of today’s hottest young composers. The program will feature the New York premieres of new works by Mason Bates and James Matheson for Antares and recent compositions by Nico Muhly and Caroline Mallonée plus Louis Andriessen’s 1991 classic, Hout, performed by Flexible Music.


Ne(x)tworks Saturday 4/5 at 2 p.m.

Music of Alvin Curran

Ne(x)tworks presents a full program of works by the radically innovative, award winning composer Alvin Curran. Ne(x)tworks is a collaborative ensemble of musicians creating and interpreting work that features a dynamic relationship between composition and improvisation.

Lautreamont Concerts Thursday 4/10 at 7 p.m.

Music from France

Solo works and chamber music for strings and piano by Rameau, Berlioz, Chausson and Debuss. Formed in 2004 by violinist Steven Zynszajn with some of his closest colleagues from the Juilliard School, Lautreamont Concerts have performed throughout New York’s Tri-State area. They offer programs of the sort one might have encountered in a golden era of classical music: a medley of solo works, chamber music and concerti for strings and piano, as well as transcriptions and new works. Currently the resident classical ensemble of the Chelsea Art Museum, they are also a non-profit organization dedicated to bringing their performances to healthcare institutions in New York.

Keith Kirchoff Saturday 4/12 at 2 p.m.

Dynamic Motion: American Ultra-Modernism

Featuring the music of Charles Ives, Carl Ruggles, Wallingford Riegger, John J. Becker, Henry Cowell, George Antheil, and Conlon Nancarrow, this recital explores the first forty years of the twentieth century, a pivotal period in the development of United States as an independent, creative, international music presence. At this time America freed itself from European influence and found its own voice as composers began experimenting with new instruments and discovering new sounds.


Ne(x)tworks Saturday 3/1 at 2 p.m.

Dialogics: Ne(x)tworks at Chelsea Art Museum

Featuring new works from composing group members Shelley Burgon and Cornelius Dufallo, improvisations by the Ne(x)tworks Trio (La Barbara, Frasconi, Dufallo), and the continuation of its interaction with legendary Downtown composer/performer Jon Gibson. The group will revisit Gibson’s indeterminate strategic work Multiples from 1972 and a reworking of sections from Relative Calm, an early 1980’s piece commissioned by acclaimed choreographer Trisha Brown.

Lautreamont Concerts Thursday 3/6 at 7 p.m.

The Trout and Other Works

This concert will be partly devoted to the chamber music of Arensky and Schubert, whose respective Piano Trio No. 1 and “Trout” Quintet will be performed. Pianist Maxim Pakhomov will perform a short intermission of two of Liszt’s Etudes Concertantes, followed by the premiere of Drew Krause’s Step Into the Air and Breathe for Piano Quartet.

Metropolis Ensemble Saturday 3/8 at 2 o’clock

Digital Sustain: Six Etudes for Piano by Ryan Francis

Presented in tandem with etudes from György Sándor Ligeti (1923-2006), William Bolcom (b. 1938), Frédéric Chopin (1810-1849), and Franz Liszt (1811-1886).

St. Lukes Chamber Ensemble Saturday 3/15 at 2 p.m.

Second Helpings: ’38 Special

A 70th birthday celebration spotlighting composers who share the same birth year as Joan Tower. Featuring musical luminaries William Bolcom, John Corigliano and John Harbison, who will all be present at the performances. Second Helpings is a concert series and food drive. Please bring non-perishable food donations to the performance for a chance to win prizes.

Inna Faliks, Pianist Saturday 3/22 at 2 p.m.

The Fantastic in Music

A piano recital featuring music by Ravel, Beethoven, Schoenberg, and Rachmaninoff will be complimented by a reading of related poems and a brief discussion led by the artist. Described by critics as “electrifying, warmly poetic, passionate, a musician who uses her technical perfection to take risks, a mature musical personality,” Inna Faliks made her debut with the Chicago Symphony at 15 and has been performing solo, chamber music and concerti throughout the US and abroad.

St. Lukes Chamber Ensemble Saturday 3/29 at 2 p.m.

Second Helpings: Greatest Hits

Highlights from composers featured during capital Tower’s 10-year St.Luke’s residency and a look forward with world premieres of two newly commissioned works by Keith Fitch and Daniel Wohl. Second Helpings is a concert series and food drive. Please bring non-perishable food donations to the performance for a chance to win prizes.


St. Luke’s Chamber Ensemble Saturday 2/23 at 2 p.m.

Second Helpings: Towering Influences

Exploration of Tower’s influences and her musical legacy to younger generations of composers; performed in the context of Tower’s own compositions. Featuring music by Shostakovich, Messiaen and Stravinsky; and a newly commissioned work by Sergei Tcherepnin. Second Helpings is a concert series and food drive. Please bring non-perishable food donations to the performance for a chance to win prizes.


Lautreamont Concerts Thursday 1/31 at 7 p.m

Focus on Mendelssohn

The first in a series of three concerts by the dynamic ensemble Lautreamont Concerts will feature music by Felix Mendelssohn, a German composer of the early Romantic period. Formed in 2004 by violinist Steven Zynszajn with some of his closest colleagues from the Juilliard School, they have performed throughout New York’s Tri-State area. Currently the resident classical ensemble of the Chelsea Art Museum, they are also a non-profit organization dedicated to bringing their performances to healthcare institutions in New York.





12/15 @ 2:00 pm

A world music rock band steeped in classical music tradition




Wendy Osserman Dance Company

11/13 @ 7 PM celebrating CAM’s 5th Anniversary

Osserman Dancers Reply to “The Incomplete” exhibition




Lautreamont Concerts (3 month series)

10/20, 11/17, 12/8 @ 2 PM

A vibrant classical counterpoint to contemporary art at Chelsea Art Museum performed by renowned international soloists

Jessica Schmitz and PKM Productions (3 month series)

10/25 and 11/8 @ 7PM, 12/8 @ 4 PM

The Ever-Evolving Sound of the Avant-Garde performed by some of New York’s most cutting-edge musicians

Music in dialog with “The Incomplete” exhibition

Revelation: Music in Pure Intonation by NY composer/pianist, Michael Harrison

Cantaloupe Music CD release concert October 18, 19 @ 8 PM




New media in Gijon, Madrid and Buenos Aires

Nina Colosi, Curator of New Media and Public Programming at Chelsea Art Museum and TheProjectRoom.org, participated in Artmedia, a panel discussion organized by the Maimonides University at the Centro Cultural Recoleta, Buenos Aires on August 23. The program, which focused on the movement of video art from gallery and museum to urban space,was presented during the exhibition “Resplandores” curated by Graciela Taquini and Rodrigo Alonso. Colosi spoke about “Streaming Museum”, a global public art program she is developing. Following the Artmedia program, she visited Montevideo, Uruguay, to tour new media exhibitions at the Centro Municipal de Exposiciones Subte, with Director, Santiago Tavella, and the Centro Cultural de Espana, with new media curator, Patricia Bentancur.

Nina Colosi attended the First Internacional Congress Art Tech Media held at the Ministry of Culture in Madrid, Spain, May 8-10. She participated in a panel discussion, “Museums, Art Centres and Medialabs in the 21st Century”. Colosi was among the guests for the inaugural week of Laboral Center for Art and Creative Industries in Gijon, Spain, which opened March 28.

Development of Streaming Museum is supported by FJC – A Foundation of Philanthropic Funds. Maimonides University conference participation was sponsored by Praxis International Art, Buenos Aires, and Philadelphia Institute for Advanced Studies, Buenos Aires.


[PAM] Perpetual Art Machine

Video Art in the Age of the Internet

Co-organized by Nina Colosi and the [PAM] Founding artists

556 West 22nd Street, New York, NY 10011

August 11 – September 7, 2007
Opening Reception: Saturday, August 11, 2-6 pm.

Chelsea Art Museum Summer Party: Thursday, August 23, 6-11 pm

[PAM] Video Roundtable: September 6, 5-7 pm





Public Programming on the Reuters and NASDAQ screens.

March – June 2007



MARTY St. JAMES – “The Invisible Man”

Premiere of video triptych filmed in France, 2007
Bringing together Constable, Wells, Magritte, Beuys “under one hat’.

June 16 @ 4:00 PM – 7-minute performance/discussion

“The Invisible Man” on view June 16- July 7
2nd floor gallery
Tuesday through Saturday 12-6, Thursdays until 7:00 PM
FREE with museum admission

Information: Nina Colosi, curator, 646-425-0981

“…Marty St. James believes that art only matters if the artist has
something important to say, that his or her work is not simply an item of commercial transaction. His is an Apollonian discourse rather than a Dionysian one. For him art is a way of thinking in the visual rather than the making of a heroic statement or precious object. He is in tune with Bachelard’s notion that the embodiment of knowledge exists in the action of making, rather than in the object of the finished piece. His intention is to investigate “the stringing together of moments in frame type form to explore surface and time.”

– Sue Hubbard Arts Editor The Independent Newspaper, London


Marty St. James

Like a sporting event Time becomes duration, it concerns the Space that is defended and then occupied, many moments are then Conserved but finally they become Obselete and faded pictures in the minds of many. Thus Invisible Man can be seen as occupying all these elements at once. The 19th century writer H.G.Wells gave form to his invisible creature by wrapping his head in bandages, a hat and dark glasses. The key to the experiment was water / liquids and our supposed ´ability´to see through them. Here the invisibility also has a social, political and creative activity at the heart of its thinking. But Time Based Media methods are sort here, in particular actions and movements to provide other forms, which ideally disappear or like rain transform into something else often made up of O´s and 1´s. As with Well´s book, doubt creeps into the mind and produces another solution or indeed an obvious answer. Like mummification our test and dilemma is, can we preserve the now or is process the only real solution the digital age.

Marty St. James, Buenos Aires May, 2007



Somewhere or in Between

January 6 – 26, 2005




St. James will discuss his work and meet museum visitors.

At 3:00 PM the discussion will continue as St. James is joined by author/artist/new media theorist, Lev Manovich; Christiane Paul, adjunct new media curator, Whitney Museum of American Art; Barbara London, curator, video and digital media, Museum of Modern Art; Sue Hubbard, art critic, Independent Newspaper, London; Ken Feinstein, artist/professor of experimental video.
The discussion is moderated by Mechthild Schmidt, master teacher, digital communications and media, McGhee Divison, New York University.

MARTY ST. JAMES, London based fine artist, is a modernist in post-modern clothing.

As an artist his primary medium, along with drawing, is digital technology but his concerns are firmly rooted in the spiritual and Utopian subtexts of modernism with its hallmark of self-reflexive thinking.

“This guy’s work is dark, yet at the same time he recognizes something in us all which at the same time we locate and understand within his work, something fundamentally familiar. In Russia he is described as a visual poet penetrating our deepest thoughts and asking questions we dare not ask.”

In Somewhere Or In Between St. James dares to ask difficult and uncomfortable questions as to where we as viewers and artists choose to locate ourselves within contemporary society. The spaces he explores are those balanced stylistically between figuration and abstraction, between absence and presence, between idealization and cynicism.

For him creativity – in line with Joseph Beuys’ legacy – is the purest form of political statement.

Included in the exhibition is the video triptych The Journey of St. Maurin first shown in Moscow last year at the National Centre for Contemporary Art. The journey is a recurrent metaphor, the journey as quest, the journey as self-delineation. Through static, figurative and moving images accompanied by sound the viewer is drawn into a place of spiritual isolation and entrapment. St. Maurin was a supposed heretic beheaded for his beliefs.

After his death he was said to have returned to his place of worship holding his head in his hands. This horrific story of martyrdom acts as a metaphor for conviction, for the strength of belief and underlines that all experience is part of a continuing journey towards a goal of self-realization. But the journey portrayed here is bleak. Through the kinetic spiral created by the turning window we leave the enclosed space of an anonymous room to travel through undisclosed locations, both urban and rural, only to be spun back to a final frame of empty blackness. No happy resolutions are proffered so that we are invited to consider Yeats’ famous lines:

Turning and turning in the widening gyre

The falcon cannot hear the falconer; Things fall apart; the centre cannot hold Familyway is a single channel video work. The stillness of Familyway stands both in stylistic and emotional contrast to the St. Maurin video. The frozen frames embody time at a stand still. In this work Marty St. James explores ideas that have seduced him in the writing of Sartre; how time separates the self from the self, from the self as it once was, from what we wish to be, from desires, from things, from others. Yet in this stillness, in the conjoined image of a family where the members reach out one to another, there exists a contradiction, a seed of hope, a way forward out of the postmodern swamp of indifference, out of a universe dominated by narcissism and commodity.

Sue Hubbard The Independent Newspaper London

Produced in cooperation with the Program in Performance and Interactive Media Arts, Brooklyn College, John J. A. Jannone, Director.


Marty St. James is a London, UK based artist born in Birmingham, England. St. James studied at Bournville School of Art and Cardiff College of Art under the directorship of the innovative art educator Tom Hudson. He has concentrated on Performance Art, Video and Installation Art (time based-media) and digital works since the 1980’s. During the 80’s and 90’s he undertook major Performance art and video tours of Britain, Europe and North America.

St. James made his first video art work by appearing as a fictitious contestant on the TV quiz game Mr. and Mrs. His video art works have been shown and broadcast worldwide in galleries, festivals and on network television, including TimeCode and Hotel produced by Channel Four television. St. James invented the art term Video Portraits exhibiting the 11 channel video portrait of the Olympic gold medalist.

The Swimmer and two others commissioned by the National Portrait  Gallery in London in 1991 all of which are in the collection. He has completed Residencies at Kunstakademiet, Trondheim, Norway (1993); 101 Gallery Ottawa, Canada (1994): Banff Centre For The Arts (1999), Canada and with the Kolodzei Foundation in Moscow (2003). In 2000 he traveled around the world in researching his artwork including North

America and the Australian outback. St. James represented UK in British Council Shows including Metropolitan Museum of Photography in Tokyo (1998) and Contemporary Art Museum, Nagoya (1995). Forty of his video works have been archived for the UK by the British Film Institute. The National Portrait Gallery selected St. James’s video portrait Boy/Girl Video diptych to represent the year 2000 in its millennium exhibition 101 Portrait Masterpieces of the Twentieth Century alongside major works by Picasso, Bacon, Warhol, Freud, Warhol, and others. In 2003 he had a one-person show at the National Contemporary Arts Centre in Moscow.

Artist’s websites: martystjames.com and stjamesart.freeserve.co.uk

Both events are FREE with museum admission.

Chelsea Art Museum
Home of the Miotte Foundation
556 West 22nd Street, New York City
2nd floor gallery

Tuesday through Saturday 12-6, Thursdays until 7:00 PM

FREE with museum admission

Information: Nina Colosi, curator, 646-425-0981




Contemporary Music Concerts @ CAM

“Traces of NY”

May 15 – Gregory Harrington, violinist.

Music by Luening, Bach, Warshauer, Piazzolla, Paganini, Kreisler.

“…impressive…young Dublin born violinist showed natural artistry and an ability to dazzle”. The Irish Times, August 2002.

Saturday, May, 26 @ 2 pm

Saturday, January 20 @ 2 pm

Jen Stock, Composer/Curator

ONE BIT MUSIC, “Part handheld danceteria, part art,” (Wired) is a project by

composer/artist Tristan Perich, who accompanies his 1-bit minimal glitch/dance music live on drums.

COREY DARGEL is a composer/lyricist/singer who performs art songs that “smartly and impishly blur the boundaries between contemporary classical idioms and pop” (New York Times). He performs a set of original music with Jim Altieri on violin.

SOUNDBOOK ONE performs songs for computer, electric guitar, and percussion by composer/curator Jen Stock. Jen Stock, laptop; Mark Dancigers, guitar; Koven Smith, drums.

INGRAM MARSHALL “Soe-Pa” for guitar and digital delay performed by Evan Drummond.

Composer/Performer Information:

Jim Altieri: http://www.tweeg.net

Mark Dancigers: http://www.markdancigers.com

Corey Dargel: http://www.automaticheartbreak.com

Evan Drummond: http://www.evandrummond.com

Tristan Perich: http://www.onebitmusic.com

Koven J. Smith: http://www.kovenjsmith.com

Jennifer Stock: http://www.soundbookone.com




Contemporary Music Concerts @ CAM

April 28 – “new works, new composers” composers and musicians from the Juilliard School

April 17 – Ne(x)tworks performs and Earl Brown retrospective & CD/DVD release.




April 8-11, 2007



Children invent music scores, visually artistic and performable, modeled after a vocal composition by Luciano Berio.

Keren Rosenbaum, an internationally known Israeli composer and educator based in NY, conducts a workshop for children ages 7 – 10 at the office of Mayor Bloomberg. The program is part of the curriculum of TheProjectRoom.org, the international arts and education program of Chelsea Art Museum produced by Nina Colosi, in which Ms. Rosenbaum is affiliated as artist and educator.

April 26





Gijon, Spain. March 29 – April 2

Participation in inaugural week – Video – coming soon.




Lecture – March 10 @ 2PM

Video art exhibition – March 10-31

Graciela Taquini, Argentine video artist, international curator and cultural pioneer, will present a lecture on March 10 at 2 PM which opens a three-week exhibition of her recent video artworks in the New Media Gallery at Chelsea Art Museum, Home of the Miotte Foundation.

Based in Buenos Aires, Taquini has attained the highest academic and curatorial achievements in Argentine electronic art. The program has been produced by Nina Colosi, curator and founder of TheProjectRoom.org, and is sponsored in part by The Experimental Television Center’s Presentation Funds program which is supported by the New York State Council on the Arts.

Taquini will discuss her recent video artworks and her career as an artist and curator of contemporary art for over 20 years. She will give an overview of Argentine trends in art and technology, and a selection of shows she has curated such as Eduardo Kac’s exhibition at Telefonica Foundation in 2006. The video art to be exhibited from March 10 – 31 includes: “Lo Sublime/Banal”, which won first prize at Video Brasil Festival 2004; “Granada” 2005, which has received awards from Fundcion Telefonica and has been exhibited internationally; “Sisifa”, made for FemLink 2007, France; and “Border Line” 2007, a site specific video installation in a special version made for Chelsea Art Museum.

As an artist Taquini has received numerous awards in Argentina and abroad. Video Brazil Festival has documented her artistic achievements.

www.videobrasil.org. brdossierGracielaTaquini


Graciela Taquini is developing a Multimedia Center at the Centro Cultural San Martin, a new enterprise of the Ministry of Culture of the Government of Argentina.

Taquini is visiting New York under the sponsorship of the Cultural Department of the Ministry of Foreign Affairs from Argentina, Centro Cultural San Martin, Buenos Aires, and Universidad Maimonides Buenos Aires.

On March 7, Graciela Taquini will present a program, “Violence/Violencia, Argentinian Video Art” at El Museo del Barrio. On March 8 an exhibition of Latin American artists living in the USA will open at Praxis NY Gallery which Taquini has co-curated with Ines Katzenstein, Curator, Museo de Arte Latinoamericano de Buenos Aires, and Gabriela Rangel Director of Visual Arts at the Americas Society, NY.

ADMISSION to the lecture and video exhibition is FREE with Museum admission $6.00, students/seniors $3.00. FREE for Museum members.

For information contact Nina Colosi – nina.colosi@gmail.com 646-425-0981






Produced by

Nina Colosi, Founder/curator, TheProjectRoom.org

Paulina Kolczynska, art historian/advisor. PK Fine Art Appraisals, Inc.

February 8

Collecting the New Classics
Paulina Kolczynska, PK Fine Art Appraisals, Inc.

March 8

Legal Issues Relating to the Purchase and Sale of Art
Malcolm S. Taub, Esq., Partner, Malcolm S. Taub LLP Attorneys at Law

March 15

Contemporary Chinese Art & the Developing Market
Taliesin Thomas, art advisor and Koan Jeff Baysa, Director of International Projects, MOCA China

April 5

Where to Discover Emerging Artists
Kipton Cronkite, Founder, KiptonART


$10 general, $7 students/seniors includes Museum admission.
FREE for Museum members.


nina.colosi@gmail.com, 646-425-0981





Saturday, January 20th @ 2 pm

Presented by Nina Colosi, The ProjectRoom.org, with Jen Stock, composer/curator.






Jihui Digital Salon

Founded in 2000, the salon features discussions and presentations by new media artists as a gateway to digital art, furthering the dynamic dialogue between the academic and the art world. The digital salon is aimed at promoting understanding of new media arts, supporting emerging artists, and exploring the rapid paradigm shifts brought about by digital technologies. All discussions are recorded and subsequently archived at the project website. agent.netart is a collaboration on public programs organized by the Netart Initiative and Intelligent Agent.

agent.net art is made possible by generous support from the Digital Design Department and Parsons Design Lab of Parsons School of Design and from the Rockefeller Foundation. Presented by Christiane Paul and Zhang Ga.


Program #6 – 12/2/06 Shu Lea Cheang



Saturday, November 4 @ 2 pm

Christine Diwyk, pianist, performs Frederic Rzewski’s electrifying masterpiece,

“The People United Shall Never Be Defeated”




Absolute Wilson

An Interview with Robert Wilson & Katharina Otto-Bernstein

October 24

(Click here for video)

Philip Glass @ Guggenheim Film Premiere

October 25

(Click here for video) 




Zero One San Jose

TheProjectRoom.org organized the opening night tribute to Nam June Paik and technology for Jenny Marketou’s “99 Red Ballons” (www.jennymarketou.com) and Thompson and Craighead’s “Unprepared Piano” (www.thompson-craighead.net/docs/unpiandoc.html).

August 7-13




Codes of Culture: Video Art from 7 Continents

arteBA 15th contemporary art fair, Buenos Aires

May 19th – May 24th



Matthew Greenbaum, recipient of composers award, American Academy of Arts and Letters, presents a concert of his music.

May 23rd, 8PM



The Democracy Project

Sounds from Kandinsky

Saturday, May 20th, 7PM and Saturday, May 27th, 7PM

The Democrazy Project- a performance series that inquires into the role of the arts in a democratic society with special guest historian James Allen Smith.

Saturday, March 18th and March 25, 2006:

Four radical takes on SOUNDS from Kandinsky.

Sound worlds by Milica Paranosic, Paola Prestini, Nora Kroll-Rosenbaum and Nico Muhly. String quartet, percussion, clarinet, saxophone, soprano, electronics, video installation, movement, spoken word poetry and animation.

“Great big houses suddenly collapsed. Little houses stood calm. A thick hard egg-shaped orange cloud suddenly hung above the town.” Kandinsky





Reflex – new music ensemble performs in Amsterdam




A Movable Feast – Pre-launch exhibition and lecture series for public art program (Streaming Museum) March 10, 2006
“People’s Portrait” on view through April 10 in Times Square and international cities.

Public art and digital artworks:

“People’s Portrait” global networked public artwork (2004, 2006) Zhang Ga, “Good Morning Mr. Orwell” (1984) Nam June Paik, “Times Square Time Share” (2006) Kurt Ralske, dance on film by Troika Ranch




Vision Into Art

12/10/05, 4-6 PM

Vision Into Art benefit – 12/13, 7:30-9:30 PM

Interdisciplinary, thematically unified performances driven by newly commissioned music, dance, film, and spoken word.






Daniel Bernard Roumain & The Mission

October 8, 2005

Composer/performer Daniel Bernard Roumain (DBR) & his band, DBR &

The Mission perform DBR’s 24 Bits: Hip-Hop Studies & Etudes, Book 1 – meshing modern, classical, jazz, rock, and hip-hop styles of music. The Mission: Wynne Bennett (keyboards/laptop), Kenny Grohowski (percussion), Earl Maneein (violin), Brett O’Mara (violin), Jessie Reagen (cello), Tara Thomas (vocals), & Jon Weber (viola).


September – June


Jihui Digital Salon

September, 2005 – June, 2006 @ 6:00 PM

Jihui Digital Salon, founded in 2000, features discussions and presentations by new media artists as a gateway to digital art, furthering the dynamic dialogue between the academic and the art world. The digital salon is aimed at promoting understanding of new media arts, supporting emerging artists, and exploring the rapid paradigm shifts brought about by digital technologies. All discussions are recorded and subsequently archived at the project website.

agent.netart is a collaboration on public programs organized by the Netart Initiative and Intelligent Agent. agent.netart is made possible by generous support from the Digital Design Department and Parsons Design Lab of Parsons School of Design and from the Rockefeller Foundation. Presented by Christiane Paul and Zhang Ga. (http://agent.netart-init.org)

Program #5 – 6/8/06 Ken Feingold

Program #4 – 2/24/06 Scott Snibbe, “Body, Space and Cinema”

Program #3 – 11/17/05 Cory Arcangel

Program #2 – 11/3/05 Julia Heyward and Toni Dove, “Interactive Cinema”

Program #1 – 9/30/05 Joachim Sauter



Project RITE

Reinventing Tradition and Environment: East Merges with West

September 8, 2005

Concert at 7:30 PM

Pre-concert talk, “Face, Race, Art and Music”, at 7:00 PM
A concert of electronic World Music by Project RITE, a new music/multi-media ensemble of leading artists and computer and acoustic technology from the U.S. and Japan. Produced by Mari Kimura and Yoshihiro Kanno.

Project RITE artists and scientists:

-Mari Kimura, Violin (Japan/US)

-Yoshihiro Kanno, composer (Japan)

-Tamami Tono, Sho performer (Japan)

-Bruce Gremo. Shakuhachi performer (US)

-Miya Masaoka, Koto performer, (US)

-Dr. Yoshio Yamasaki – Professor of GITI (Global Information and Telecommunication Institute), Waseda University. Dr. Yamasaki is a world leader in the area of acoustics.

Project RITE is made possible with generous support from Japan Foundation, International Institute on Human Environment (IRIHE Japan), Waseda University and Yamaha Corporation.




A New Art Lab program of The Project Room


with Cassie Terman, Shinichi Momo Koga, and Keren Rosenbaum

Saturday, July 16 @ 2pm


Information Esthetics: Lecture Series One

presented by W. Bradford Paley

March 31 — July 14, Thursdays 6 PM

presented by W. Bradford Paley


Lecture Series One

Completed: March-July, 2005

Making data meaningful-this phrase could describe what dozens of professions strive for: Wall Street systems designers, fine artists, advertising creatives, computer interface researchers, and many others. Occasionally something important happens in these practices: a data representation is created that reveals the subject’s nature with such clarity and grace that it both informs and moves the viewer. We both understand and care. This is the focus of Information Esthetics.

Information Esthetics, a recently formed not-for-profit organization, has put together a lecture series dedicated to helping this happen more often. World leaders in seven different aspects of sense-making have been invited to speak on topics from typography to visual perception, from charting to electro-mechanical engineering. The goal: to help expose the beauty experts see in their databases, better engaging their whole minds in interpretation; to help inspire art that’s not just decorated with data but makes the data readable, satisfying viewers’ minds as much as their eyes and hearts.

The format of the talks lets us explore more deeply than a typical panel or academic paper presentation. Each speaker will talk for a full hour, we’ll break for a half hour of fine spirits and snacks, then sit down again for an interview/chat led by series organizer and interaction designer W. Bradford Paley. The intent throughout is to delve into the implications these profound ideas have for human communication in general-but also to share some simple techniques that people can immediately put to use in their own projects.

The lectures took place Thursday evenings in the Chelsea Art Museum at 556 West 22nd street in Manhattan. They were free with the discounted $3 museum admission, and [did not, really-ed.] start promptly at 6:00 pm on these dates:

Robert Bringhurst, March 31 · Typography and layout

The distinguished Mr. Bringhurst is perhaps the most recognized typographer, a published poet, and the author of the fundamental contemporary work on typography: “Elements of Typographic Style.”


Judith Donath, April 21 · Social computing

Dr. Donath’s group at the MIT Media Lab studies intriguing social interactions and produces some of the loveliest and clearest visual representations of these complex systems. She is a well-read and careful observer of fine art.


Ted Selker, May 12 · Situated devices

Dr. Selker focuses on putting intelligence into everyday bjects: his invention of the eraser-like IBM Trackpoint device transformed laptop

keyboards throughout the industry. His MIT Media Lab group continues to expand those explorations.


Lisa Strausfeld, May 26 · Real-time charting

Ms. Strausfeld is a partner in Pentagram, the respected New York

design firm. Her dense, readable information displays are well structured,

visually rich, and intellectually satisfying.


Bill Buxton, June 16 · Supporting creative analysis

Mr. Buxton is a musician, mountain climber, and interaction designer; former Chief Scientist of Silicon Graphics; and a well-known and controversial computer interface expert. He owns an art gallery in Toronto with his wife and has been developing user interfaces explicitly for designers for over a decade.


Ron Rensink, June 30 · Visual perception

Dr. Rensink is one of the world’s experts on “Change Blindness” a feature of the human visual system that allows major changes to happen unnoticed right in front of one’s eyes, allowing (among other things) magic performances to work. He studies human perception, discovering and sharing principles useful in design.


Tamara Munzner, July 14 · Large data sets

Dr. Munzner specializes in information visualization: showing complexities in subjects that range from genetically-determined phylogenetic evolutionary trees to environmental sustainability. Her work is informed by an eye developed under her art-teacher father, and often reveals structure more clearly as a result.


This lecture series is an Information Esthetics production, made possible by a project of Digital Image Design Incorporated. The talks are presented by Nina Colosi, producer/curator of The Project Room at Chelsea Art Museum, and are supported in part by the Department of Computer Science at Columbia University.

Generous volunteer efforts support Information Esthetics, including high-reliability Web site hosting by Michael Rosenthal and expert audio/video support by Peter Kennard. Please contact i.e. director W. Bradford Paley if you would like to volunteer, be put on the i.e. mailing list, or otherwise participate.

The Information Esthetics site was generously hosted at the time of this series by Walrus Internet.

World leaders in seven different aspects of sense-making have been invited to speak on topics from typography to visual perception, from charting to electro-mechanical engineering.

March 31: Robert Bringhurst – Typography and layout

April 21: Judith Donath – Social computing

May 12: Ted Selker – Situated devices

May 26: Lisa Strausfeld – Real-time charting

June 16: Bill Buxton – Supporting creative analysis

June 30: Ron Rensink – Visual perception

July 14: Tamara Munzner – Large data sets




ProyectArte, School of Fine Art, Buenos Aires, Argentina

Presents an exhibition of art created by young students and their mentor/teachers.

June 16 – July 2


Star Art I

May 28 – June 14

Peter Falk, William Burroughs, Sophia Loren, Federico Fellini, Jack Kevorkian, Jonathan Winters, Gloria Vanderbilt, Bob Dylan, David Byrne, Richie Havens, Buddy Ebsen, Dee Dee Ramone, Emilio Pucci, Allen Ginsberg, Victoria Gotti, Lawrence Ferlinghetti, Muhammad Ali, Kurt Vonnegut, and others.

Star Art II

June 17 – July 9

Tony Bennett, Miles Davis, Jacques Cousteau, Zero Mostel, Gloria Swanson, Martin Mull, Merce Cunningham, Anthony Quinn, David Bowie, John Waters, Xavier Cugat, Ron Wood, Phyllis Diller, Peter Beard, Red Skelton, Joni Mitchell, Rosie O’Donnell, Mel Brooks, James Dean, Butch Patrick, Jimmy Stewart, Viva, Joe Mantegna, John Lennon, Jessica Tandy, Dinah Shore, Micky Dolenz, Congo The Chimp, Randy Jones, Adam West, Vincent Price, Art Carney, Eli Wallach, Ceasar Romero, Julie Newmar, Lee Meriwether, Robert Englund.

Curated by Baird Jones.




Meet-the-artist: Arik Shapiro

renowned Israeli composer demonstrates and discusses his work.

April 30, 2 pm



Beyond the Machine 3.0

From the Music Technology Center at Juilliard

April 19-20, 8 PM



“Rhythm Science: Sampling in a Global Context: Music, Art, Technology and Copyright”, moderated by Paul Miller DJ Spooky.

April 15, 2005 6:30-9:30pm

Miller is the author and composer of “Rhythm Science”, a book and CD, published by The MIT Press (2004), www.rhythmscience.com that will generate and inspire this discussion. The panel will present a wide range of perspectives on issues surrounding sampling in contemporary culture from artistic, philosophical, legal and business points of view.

Participants include: Hank Shocklee, Producer of “Public Enemy” and many other hip-hop groups; Lee Hirsch, Director of “Amandla”; Siva Vaidhyanathan, author of “Anarchist in the Library” and “Copyrights, Copywrongs”; Catherine Corman. filmmaker; Colin Mutchler, director, freeculture.org; Christoph Cox, Associate Professor of Philosophy at Hampshire College, editor of “Audio Culture: Readings in Modern Music”, writer on contemporary art and music for “Artforum; Kodwo Eshun and Anjali Sagar, directors of Otolith Group; Daniel Bernard Roumain, composer.




April 14-23, 2005

For information on participants see: http://imcexpo.net/speakers.htm

Michael Naimark, Paul Miller DJ Spooky, W. Bradford Paley, Judith Donath, Natalie Jeremijenko, Luke Dubois, Jean-Marc Gauthier, Kathleen Ruiz, Matthew Sutter, Clay Shirky, Derek Lomas, Craig Konyk, Miro Kirov, and many others.




Opening Thursday, April 14, 6 – 9 PM, through April 23

Immersive Displays, Live Image Processing, Social Software, Wearables & Wireless



10th Floor – second edition, Parsons School of Design

Curated by Zhang Ga

April 12– 19





NY Debut

Reflex Ensemble -“BLOWING STEAM”

Composed & Created by Keren Rosenbaum

Tuesday, March 22, 8 PM



Janne Rättyä – Solo Recital

Thursday, March 17, 7 PM

World-renowned Finnish accordionist, NY debut recital.

Music by J.S. Bach, S. Gubaidulina, L. Berio, K. Rosenbaum & J. Tiensuu




Hi Art!

January 29 through February presenting an art workshop program for children 2-12, accompanying the exhibition “ManMade Planet”

An exhibition parallel to The Gates, Project for Central Park by Christo and Jeanne-Claude.



Reflex Ensemble – open rehearsal

January 15

Preview to NY debut on March 22. Rehearsals with ensemble members and workshops with conservatory and university students are open to the public. Reflex is the resident ensemble of The Project Room


Symposium – Marty St. James and Lev Manovich

January 8


Christiane Paul, adjunct new media curator, Whitney Museum of American Art

Barbara London, curator, video and digital media, Museum of Modern Art

Sue Hubbard, art critic, Independent Newspaper, London

Ken Feinstein, artist/professor of experimental video

Moderated by Mechthild Schmidt, master teacher, digital communications and media, McGhee Divison, New York University


Lev Manovich

MISSION TO EARTH (Soft Cinema edition)

A media installation

Official Release Presentation of a new DVD published and distributed by MIT Press (2005)

JANUARY 8 – 26

Saturday, January 8, 2:00 PM Opening reception and Talk

The discussion will continue as Manovich is joined by

Christiane Paul, adjunct new media curator, Whitney Museum of American Art

Barbara London, video and digital media curator, Museum of Modern Art

Marty St. James, visual artist

Sue Hubbard, art critic, Independent Newspaper, London

Ken Feinstein, artist/professor of experimental video

Moderated by Mechthild Schmidt, master teacher, digital communications and media, McGhee Divison, New York University

At 3:00PM the discussion will continue as St. James is joined by: author/artist/new media theorist, Lev Manovich; Christiane Paul, adjunct new media curator, Whitney Museum of American Art; Barbara London, curator, video and digital media, Museum of Modern Art; Sue Hubbard, art critic, Independent Newspaper, London; Ken Feinstein, artist/professor of experimental video. The discussion is moderated by Mechthild Schmidt, master teacher, digital communications and media, McGhee Divison, New York University.

Mission to Earth is a film assembled by software in real time.

Mac G5 computer, custom software written in Lingo (Macromedia Director).

Narrative, videography, editing: Lev Manovich.

Soft Cinema software: Andreas Kratky | Berlin.

Music: Jóhann Jóhannsson | Iceland

Motion graphics: Ross Cooper / Stuart Sinclair | LondonARTIST TALK – JA

Technical installation: Brooklyn College, Program in Performance & Interactive Media Arts

Produced in cooperation with the Program in Performance and Interactive Media Arts, Brooklyn College, John J. A. Jannone, Director

What kind of cinema is appropriate for the age of Palm Pilot and Google? Automatic surveillance and self-guided missiles? Consumer profiling and CNN? To investigate answers to this question Lev Manovich, one of today‚s most influential thinkers in the fields of media arts and digital culture, paired with award-winning new media artist and designer Andreas Kratky. They have also invited contributions from leaders in other cultural fields: DJ Spooky, Scanner, George Lewis, and Jóhann Jóhannsson (music), servo (architecture), Schoenerwissen/OfCD (information visualization), and Ross Cooper Studios (media design).

The results of their three-year explorations are the three films, the latest of which is making its New York debut in The Project Room at Chelsea Art Museum. Mission to Earth tells the story of Inga, an alien who after spending twenty years on earth is finally given the chance to return to her own planet, Alpha-1. An allegory about the Cold War and immigration, Mission to Earth utilizes footage of a secret radio telescope build in the former Soviet Union in 1971. The film is edited in real time by custom software, rendering each run of the piece different from the last. The software determines the screen layout, number of windows on the screen, and each window’s content, using a script and a system of rules determined by the authors. In a great deal of narrative nearly all choices are left to the software; however at some points the authors specified exactly what the viewer sees as a particular moment in time.More information at www.softcinema.net

Complete text used for voiceover in Mission to Earth is available at www.manovich.net/alpha.html

Lev Manovich, the leader of the Soft Cinema project and the videographer, editor, and author of Mission to Earth, is an internationally recognized leader in the field of new media culture. He is the author of The Language of New Media (The MIT Press, 2001) and Little Movies (1994), the first film project created specifically for the World Wide Web. His computer-driven installations and films have been exhibited in numerous museums, galleries, media and film festivals in the US, Europe and Asia, including ZKM, Karlsruhe; the ICA, London; SENEF, Seoul; and the ICC, Tokyo. In addition, Soft Cinema received an honorary mention at Transmediale 2003 festival, Berlin and is the subject of a short documentary by ARTE-TV.

Andreas Kratky, the author of the Soft Cinema software, has been responsible for media design and co-direction of a number of groundbreaking new media projects, including the award-winning DVDs That‚s Kyogen and Bleeding Through ˆ Layers of Los Angeles 1920-1986 (both published by ZKM).

For information please contact: Nina Colosi, Producer/curator, The Project Room @ Chelsea Art Museum nina@chelseaartmuseum.org

Produced in cooperation with the Program in Performance and Interactive Media Arts, Brooklyn College, John J. A. Jannone, Director.

JANUARY 8 – 26

A media installation – Official Release Presentation of a new DVD published and distributed by MIT Press (2005)


Marty St. James


January 6 – 26






Yumi Kurosawa performs on the 20-stringed Koto, within an exhibition of Shin-On Paintings by Shuhei Matsuyama.

Saturday Dec 18, 2pm and 3pm





November 9 — 27, 2004


THURSDAY November 11, 6:00 — 8:00 PM RECEPTION


— Feinstein will discuss his work and meet museum visitors



A Globally Networked Public Art Project by Zhang Ga

Times Square NYC, Singapore, Rotterdam, Linz and Brisbane


November 4, 7 – 9 PM:

Opening reception celebrating

October 27-November 28:

Peoples’ Portrait is on view on the Reuters screen in Times Square.





Workspace Projects

October 23 — November 6

Featuring experimental media, surround sound audio and video works and presentations by artists working with Harvestworks: www.harvestworks.org


Fall For Chelsea

October 16, 12—6 PM

A day of family workshops, curator and artist talks and music programs.

New music family workshop with Keren Rosenbaum

Meet-the-artist, Agnes Denes discussing her exhibition “Projects for Public Spaces”

Curator, Christiane Paul, “The Passage of Mirage:Illusory Virtual Objects”



November 8,2004- October 16, 2005

A series of 20 Saturday afternoon programs where artists meet with students and museum visitors in informal discussions, demonstrations and workshops. Sponsored by Electronic Music Foundation with public funds from the New York State Council on the Arts, the Roland Corporation, and Symbolic Sound Corporation.

October 16 – Program #20 Final program

As part of Fall For Chelsea, a day of family workshops, curator and artist talks, and music programs, 2 programs:

2pm — Richard Nunn (New Zealand) performs on traditional Maori Instruments of New Zealand with accompanying electronics and discusses his concepts of combining traditional instruments with new technologies.

4pm — Timucin Sahin (Turkey) uses interactive electronics and fretless electric guitars, incorporating different influences from contemporary music, jazz, and non-western music improvisation techniques.


The Passage of Mirage: Illusory Virtual Objects

September 14 – October 16

Featuring works by Jim Campbell, Vuk Cosic, John Gerrard, W. Bradford Paley, Eric Paulos, Wolfgang Staehle, Thomson & Craighaid, and Carlo Zanni

Opening reception: Tues, September 14, 6-8 PM

September 14 – October 16

Opening reception: Tues, September 14, 6-8 PM

Artist Talk: Thurs., September 30, 7 – 9 PM

Symposium: ” Negotiating Realities: New Media Art and the Post-Object”

Sun, Oct. 10, 4-9 PM, Tishman Auditorium, New School University

Exhibition and symposium organized by agent.netart

(joint public programs by Intelligent Agent and the Netart Initiative of the Parsons School of Design)

Curators and symposium co-ordinators:

Christiane Paul (Director, Intelligent Agent; Adjunct Curator of New Media Arts, Whitney Museum)

Zhang Ga (Director, Netart Initiative; Professor, MFA Design and Technology program, Parsons School of Design)

The exhibition and symposium are made possible by funding from THE ROCKEFELLER FOUNDATION

The exhibition The Passage of Mirage explores concepts surrounding the “virtual object” and the issues of representation that have been raised by it. While the coalition of virtual and object seems contradictory at first glance, it dialectically illuminates the complex relationships between the virtual and the real that unfold in new media art. In classical optical theories of the 18th century, the word “virtual” was used to describe the reflected image of an object. Today’s digital image does not require a physical object to represent a physical reality; rather than reproducing reality, it encodes data and therefore alludes to an expanded concept of objecthood.

New media art both connects to and expands the dematerialization of the art object that occurred in earlier art movements. The new media object is a process in flux that is potentially interactive, dynamic, participatory and customizable and often oscillates between its inherent ephemeral nature and its material components or people’s desire to objectify it.

The Passage of Mirage features nine projects that address these issues by portraying the virtual object as a process, a data structure (or carrier thereof), or as an encoded reality. The artworks expand notions of the traditional art object, sometimes quite specifically with regard to more established art forms such as photography, film, or painting.

The works of Jim Campbell and Thomson & Craighead, for example, offer different approaches to processing the medium of film. Campbell’s Illuminated Average #1 creates an average of all the frames of Htchock’s Psycho and collapses the film into one single image; by contrast, the artist’s Night Light visualizes Psycho’s sound level and the brightness of the image throughout the film. Thomson & Craighead’s Short Films about Flying is an edition of unique cinematic works that were generated in real-from existing data found on the World Wide Web: each “movie” (replete with opening titles and end credits) combines a video feed from Logan Airport in Boston with randomly loaded net radio sourced from elsewhere in the world.

John Gerrard’s Watchful Portrait and Carlo Zanni’s Altarboy both transform a portrait into a “living” process that is networked or responds to haptic sensation; and Wolfgang Staehle’s and Vuk Cosic’s works present a “live” version of a photograph or painting. In very different ways, the idea of the object as data carrier unfolds both in W. Bradford Paley’s Code Profiles and Eric Paulos’ Limelight, a sculptural object that doubles as automated threat detection and indication system.

While still informed by the aesthetics of more traditional media, the artworks in the exhibition are media objects that are process-oriented, reactive, or open to (real-time) data processing and intervention.


The Passage of Mirage — Illusory Virtual Objects

Exhibition Projects


Jim Campbell

Accumulating Psycho, 2004


Night Light, 1995/1998

Custom electronics, light bulbs, glass


Jim Campbell’s Accumulating Psycho and Night Light each represent a different view of the Alfred Hitchcock classic Psycho. Accumulating Psycho continually collapses the frames of the entire 1 hour, 50 minutes film (while the sound remains intact). By contrast, Night Light (from Campbell’s Memory Series) visualizes two different aspects or “memories” of Psycho: the film’s sound level and the brightness of the image throughout the film. The two memories are synchronized and used to change the brightness of two light bulbs. Loud scenes are bright on the left-hand bulb and dark scenes are dark on the right-hand bulb.

This way, an electronic record of the collective memory of the film is used to transform an every-day object mounted on the wall. Night Light points to the “hidden” quality of memories, which have to be transformed in order to be represented.


John Gerrard, Watchful Portrait (Caroline), 2004

Medium : 3D model, gaming engine, software

Equipment : PC x 2, LCD screen x 2, custom corian plastic housing, tracking device

Collaborators : Erwin Reitboeck, Werner Poetzelberger, Robert Praxmarer, Ars Electronica Futurelab.

This work was realised with the support of the 2004 Siemens Artist in

Residence Project at the Ars Electronica Futurelab, Austria.


The work consists of two virtual portraits that are tracking the position of the sun and the moon at all times. The precise scientific information as to the movement of these elements is constantly monitored live and the portraits are designed to follow these co-ordinates with their eyes at all times. The portrait (Caroline) opens her eyes at dawn and tracks the sun. At dusk she closes her eyes. At this point, the opposite portrait opens her eyes and tracks the moon all night. The diptych is shown on a shelf with the public being able to turn each panel on a central pivot point. The virtual portrait, however, remains static, allowing the public to look around and behind it, evenually leaving the screens in any way desired.


Carlo Zanni, Oriana, 2004

Sculpture, aluminum case with LCD screen


The Oriana sculpture (part of Carlo Zanni’s series Altarboy) consists of a customized, portable aluminum case. The bottom shell sheet of the case contains a little transparent glass box with fresh rose petals, pointing to the ephemeral nature of the object. The sheet itself is also covered by fresh rose petals. Embedded in the top shell is a 17″ LCD screen showing a portrait of writer and journalist Oriana Fallaci. The pupils of her eyes consist of images gathered through live search engine queries; the images returned by the query are resized as 1×1 pixels and linked to a thumbnail of the same image (images are being refreshed every 90 seconds). Users remotely interact with the piece and launch the images in the pupils at the website www.oriana.us. The right pupil of the portrait is filled with images that users gather through queries at the webiste. The left pupil of the portrait is filled with images that are the result of a query for the words “Cu Chi” on the Google search engine. The Cu Chi tunnels were one of the most famous battlegrounds of the Vietnam War and are one of the country’s prime tourist attractions today. Fallaci wrote about the Vietnam war, most notably in her Vietnam journal Nothing, and So Be It .Oriana constructs a physical object and portrait as a “living process” that contains a multitude of other possible portraits and takes its shape through the choices of users in a real-time networked process.


Thompson & Craighead, Short Films about Flying, 2003

Installation / projection


www.templatecinema.com (beta)

Short Films about Flying is a networked installation and open edition of unique cinematic works which were generated in real-time from existing data found on the World Wide Web. Each “movie” (replete with opening titles and end credits) combines a video feed from Logan Airport in Boston with randomly loaded net radio sourced from elsewhere in the world. As this relatively good quality video stream was taken from an existing commercial website where its visitors are able to remotely control the camera, each “movie” is “shot” and “paced” by its own (albeit unsuspecting) camera person. Additionally, text grabbed from a variety of on-line message boards is periodically inserted, appearing like cinematic inter-titles when viewed in combination with all the other components. The result is a coherent yet evocative combination of elements that produce an endlessly mutating edition of low-tech mini-movies that the artists call Template Cinema.

Courtesy of Mobile Home, London


Wolfgang Staehle, Fernsehturm (TV Tower),2004

Live webcam feed, flat panel screen, dimensions variable

Fernsehturm continues Wolfgang Staehle’s exploration of the aesthetic implications of the “live” image. The screen displays a live feed of a view monitoring the TV tower in Berlin — a painting in motion. Fernsehturm suggests a constantly evolving photographic image that becomes a continuous record of minute changes in light and every aspect of the environment. It is a highly ephemeral, time-based document that cannot and won’t ever be repeated (except as an archived version). Encountering this type of image on the wall of a gallery or museum, constitutes a radical change of context that poses essential questions about representation and the nature of the art object itself. Does the “live” image supersede previous art forms such as photography? What role do the aesthetics of processing and mediation play in our perception of an artwork?


Vuk Cosic, History of Art for the Intelligence Community (Cezanne), 2002

Networked software, projection


History of Art for the Intelligence Community is a front-end / client for Carnivore, a project by the Radical Software Group (RSG) that mimics the FBI’s net surveillance software of the same name. The Carnivore project consists of the packet-sniffing software created by RSG that monitors network traffic on a local area network; and the clients that numerous artists have created to visualize the data exchange on the network. In History of Art for the Intelligence Community, Cosic displays the Web-usage data of the network via well-known masterpieces by Cezanne, Van Gogh, and others. Paul Cezanne’s Still Life with Plate of Cherries (1885-87) appears as a digital reproduction of the original painting, except for the fact that the numbers of cherries and peaches on the plates in the painting are constantly changing. Cherries indicate the number of incoming mails on the network, and peaches the number of outgoing mails. The project seeks to encourage “old media”-oriented audiences to consider the aesthetic possibilities of networked digital media.


W. Bradford Paley, Code Profiles, 2002

Touchscreen; software commissioned by the Whitney Museum of American Art


Code Profiles is a software that displays its underlying code and comments on itself. The code reads in its own source and displays it in a tiny font. As users move their finger over the touch screen, each line of the code becomes legible. The software moves three points in “code space”: the white line traces the code in the order it was written by the artist; the amber line traces the code word by word as someone might read it; the green line shows a sample of how the computer reads the code. The code lines themselves gradually get brighter as they execute more. In a self-reflexive way, Code Profiles unveils a “virtual object” as the algorithms constructing this very object.


Eric Paulos & Chris Myers, Limelight, 2003


Limelight is a sculptural object designed to provide the user with an awareness of the current condition of actual threats that should be of concern. It is an automated, electronic, personal, tactical, threat detection and indication system that identifies, monitors, and interprets the numerous local and global indicators that might signal a threat. Limelight is designed to provide the necessary balance of local measurements and global monitoring to provide an accurate awareness of threats. However, the privilege of obtaining this information and easing the mind of the user is not without its price: the relinquishing of privacy and personal biometric data as well as the profiling of the individual’s usage patterns, location, and activities. Standing at around 40 cm and weighing less than 4 kg, Limelight has a variety of local sensing equipment onboard that samples the local environment thousands of times every second. The measurements are carefully compared to “normal parameters” as well as globally changing indicators to watch for any sign signaling a potential threat. The rules used to determine a current threat are also in flux, constantly being updated and reconfigured via the wireless remote network connection to Limelight from the EIU server.





June 3 -19, 2004

An exhibition curated by James Tunick, Studio IMC presenting artists from Studio IMC, New York University’s Interactive Telecommunications Program and Yale University: Liubo Borisov, James Clar, Jean-Marc Gauthier Konrad Kaczmarek, Dana Karwas, Miro Kirov, Daniel Shiffman James Tunick, and Gabriel Winer. Exhibition includes two events:

– Opening with public reception, Thursday, June 3, 6:00 – 9:00 pm
Featuring electronic music performances & refreshments.

-“Introductions” workshop, Saturday, June 5, 1-2pm
Artists discuss their work and meet museum visitors. Special presentation by Matthew Sutter, professor of new music and theater, Yale University.





Electronic Music Foundation @ Chelsea Art Museum

May 3, 4, 6, 7, 8, 2004

Artists: Christin Wildbolz; Elzbieta Sikora; Jean Claude Risset; Frances Marie Uitti; Mari Kimura; John Cage and LeJaren Hiller’s HPSCHD.

More information




A Saturday afternoon program where artists meet with students and museum visitors in informal discussions, demonstrations and workshops. Sponsored by Electronic Music Foundation with public funds from the New York State Council on the Arts, the Roland Corporation, and Symbolic Sound Corporation.

May 22 – Program #19

Uri Dotan, artist participant in ‘Surface Tension’ exhibition at the Chelsea Art Museum, discusses connections between painting, sound, and animation

May 15 – Program #18

Martin Baumgartner and Monya Pletsch take laptop performance to new heights, and are joined by composer, Mori Ikue.

May 8 – Program #17

In 1969, Lejaren Hiller and John Cage composed HPSCHD, possibly the biggest and wildest musical and multimedia composition there ever was. Joel Chadabe, who has directed several productions of HPSCHD, will show a DVD documentary of a production in Amsterdam in 1994 and describe his concepts of the evening’s performance

May 1 – Program #16

League of Electronic Urban Robots (:LEMUR)

Eric Singer and Jeff Feddersen demonstrate and explain the electronics, mechanics and controls that make their robots work.






Premiere Thursday, April 15, 8PM

Oon view April 17th – May 8th

2-channel video installation with sound

Exhibition includes two events:

-Opening Performance of “Suspension”, Thursday, April 15, 8 pm
Janene Higgins: video mix. Elliott Sharp: electro-acoustic guitar, bass clarinet, laptop.

-“Introductions” workshop, Saturday, April 17th 1pm-2pm.
Artists discuss their work and meet museum visitors.



A Saturday afternoon program where artists meet with students and museum visitors in informal discussions, demonstrations and workshops. Sponsored by Electronic Music Foundation with public funds from the New York State Council on the Arts, the Roland Corporation, and Symbolic Sound Corporation.

April 24 – Program #15

Jin Meyerson, artist participant in ‘Surface Tension,’ exhibition at the Chelsea Art Museum, discusses the computer as a tool in contemporary painting.

April 17 – Program #14

Elliott Sharp, composer, performer, improviser, and Janene Higgins, video artist, discuss their 2-channel video installation with sound presented in the Project Room April 15 and on view through May 8. Sharp lives in New York and performs worldwide.”… Sharp not only devises his own instruments and processing, but he’s achieved a distinctive vocabulary and compositional logic … tightly wound … with pent-up energy.” — Down Beat. Sharp and Higgins work is an exciting example of the future of cinema — cinema without walls, that’s living and performable.

April 10 – Program #13

Morton Subotnick, composer, electronic music pioneer, lives in New York and California, teaches at NYU and Cal Arts. “In the early ’60s, Morton Subotnick began to experiment with an infant art form. Now he’s 70, and he and electronic music are being recognized for their maturity.” — Los Angeles Times. He also demonstrates his educational software for children.


Making Music in the Electronic Age

April 7 and 8, 2004

At the Children’s Museum of Manhattan — part of the education program presented by Chelsea Art Museum and Electronic Music Foundation.





March 20 – April 17, 2004

Installation, Sculpture, Drawing

Sound in collaboration with Stephen Vitiello.

Exhibition includes three events:

-Introductions: Drawing with Body, Drawing with Sound, Saturday, March 20 1-2pm

-Opening Performance, March 20, 3 – 6 pm

-Artist Talk Moderated by Nathalie Angles, Director, International Residency Program, Location One, and independent curator. Thursday, April 8, 6:30 PM



A Saturday afternoon program where artists meet with students and museum visitors in informal discussions, demonstrations and workshops. Sponsored by Electronic Music Foundation with public funds from the New York State Council on the Arts, the Roland Corporation, and Symbolic Sound Corporation.

March27 – Program #12

Joan La Barbara, vocalist, composer, lives in New York and performs worldwide. “… such vocal presence that she made several avant-gardists blush guiltily afterward for having succumbed to that much sheer beauty.” — Los Angeles Times

March 20 -Program #11

Stephen Vitiello, sound artist, improvisor, and Monika Weiss, visual artist, discuss the relationships between drawing, sculpture, and sound, and their past collaboration. The Weiss/Vitiello performance of “Limen/Meadow” follows the Introductions program. Weiss’s Vessels exhibition, including installation, sculpture and drawings is on view in the Project Room March 20-April 17. Stephen Vitiello, lives near New York and performs and presents his work worldwide. “… his electro-acoustic sound collage occupies an otherwise empty room like a little slice of heaven.” — The New Yorker.

March 13 – Program #10

Patti Monson, flutist, lives in New York, performs widely, and directs the Tactus Ensemble at the Manhattan School of Music. “… pushing the edges of contemporary technique … the most compelling aspect of her performance was the degree to which she let musicality take over. ” — The New York Times

March 1 Program #9

Brian Parker, music educator and composer, give a hands-on demonstration of making music with computers and synthesizers.





On view during museum hours, February 21 – March 13

A collaborative Project of CEC Artslink, Art in General, the National Centers for Contemporary Art in Kaliningrad, Nizhny Novgorod, Ekaterinburg and Moscow, and the Pro Arte Institute.



A Saturday afternoon program where artists meet with students and museum visitors in informal discussions, demonstrations and workshops. Sponsored by Electronic Music Foundation with public funds from the New York State Council on the Arts, the Roland corporation, and Symbolic Sound Corporation.

February 28 – Program #8

Bernhard Loibner, composer of digital music and media artist, lives in Vienna, Austria, and travels worldwide. He performs with a laptop.

February 21- Program #7

Benjamin Chadabe, an improvising musician and media artist, is also working closely with the Groupe de Recherches Musicales in Paris to promote GRM Tools as software that empowers individual creativity with music. GRM Tools has been used prominently to create the sound for films such as The Matrix: Revolutions, Swordfish, and many others, and it is widely used by leading musicians.

February 14 – Program #6

Pamela Z, composer, vocalist, performance artist, performs with her body synth. She lives in San Francisco and travels worldwide. “Pamela Z is, as the saying goes, an intriguing bunch of people, a vocalist who mixes street instincts with vestiges of operatic singing … a gifted improviser … manipulator of delay loops to build up layers of sound.” — Los Angeles Times

February 7 – Program #5

Laetitia Sonami, composer, performer, lives in the San Francisco Bay Area, travels worldwide, and teaches at Cal Arts and the San Francisco Art Institute. Performs with her body synth, Lady’s Glove. “Sultry and magical … a striking talent.” — Village Voice.





A Saturday afternoon program where artists meet with students and museum visitors in informal discussions, demonstrations and workshops. Sponsored by Electronic Music Foundation with public funds from the New York State Council on the Arts, the Roland Corporation, and Symbolic Sound Corporation.

January 31- Program #4

Mari Kimura, composer, improviser, performer acoustic and electronic violins, lives in New York, teaches at NYU and Juilliard, and tours worldwide. “Chilling… gripping… charming… Ms. Kimura is a virtuoso playing at the edge.” — The New York Times

January 24 – Program #3

Introduction to Interactivity in Music presented by Joel Chadabe, composer and author of Electric Sound , teaches at NYU, Manhattan School of Music, and Bennington College. “It would be hard to imagine a more incisive, insightful, or purely readable history of electrical music-making … Plug into Electric Sound.” — Keyboard Magazine

January 17 – Program #2

Introduction to Making Music in the Electronic Age.

An overview for ages 6 to adult demonstrating how to make music with computers, software, acoustic instruments, voice, and interactive technology. Composer/teachers are Brian Parker, Greg Rippen, Lang Crawford.





December 10 – January 17

Part of the 300th Anniversary Celebration of St Petersburg, Russia @ Chelsea Art Museum.

“Introductions” meet the artist — December 13, 1-3pm.

Curator, Natalia Kolodzei presents an overview of new media art in St. Petersburg and Frants’ video works on view during St. Petersburg celebration.



From Leningrad to St. Petersburg: 25 Years of Art Selections from the Kolodzei Collection of Russian and Eastern European Art Painting, sculpture, photography, and new media

December 10, 2003 to January 17, 2004

Gallery talk by Natalia Kolodzei, curator.
December 13, 14, January 3, 10, 17 at 1pm and 3pm





November 22 – December 12
Opening and INTRODUCTIONS: MEET-THE-ARTIST – Nov 22, 12:00-3:00pm.


INTRODUCTIONS: MEET-THE-ARTIST – a 20-program series, 11/8/03 – 10/16/04

A Saturday afternoon program where artists meet with students and museum visitors in informal discussions, demonstrations and workshops. Sponsored by Electronic Music Foundation with public funds from the New York State Council on the Arts, the Roland Corporation, and Symbolic Sound Corporation.

November 8 – December 6

Interactive sound installations accompanied by a special exhibition of kinetic art by Pol Bury from the permanent collection of Chelsea Art Museum.

November 8, 2003, 12:00pm – 3:00pm.

-Artists demonstration and reception
November 15, 2003, 1:00pm to 4:00pm





Electronic Music Foundation presents three cutting edge concerts
June 3, June 4,

Chris Mann, Joan la Barbara and the Ne(x)tworks Ensemble.
June 5

Alvin Lucier Retrospective:
6pm conversation, 8pm concert