150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt. CURATED BY SAUL OSTROW FOR CPI_CURRICULA March 1 – March 31, 2020 New Works will be added to the exhibition on March 6, 13, 20, 27 Closing Reception: Saturday, March 28, 6 – 8 pm Performing: to carry out, accomplish, FOR IMMEDIATE RELEASE—PS122 GALLERY IS PLEASED TO or fulfill (an action, task, or function) PRESENT PERFORMING AUTHORSHIP: 31 DAYS IN MARCH, A PROJECT ORGANIZED BY SAUL OSTROW FOR CRITICAL Authorship: the state or fact of PRACTICES INC.’S CURATORIAL PROGRAM CPI_CURRICULA. being the writer of a book, article, New York, New York (February 21, 2020)—Performing document, etc. or the producer of Authorship: 31 Days in March assembles the work of eight a creative work collaborative teams to author works that are either hybrids, syntheses, or amalgams of the sensibilities of the teams’ members. The idea for Collaboration: the action of working this project came from discussions with Ian Cofre, Director of PS122 with someone to produce or create Gallery, and artist Russell Maltz; all three of us are affiliated with something Critical Practices Inc. It was determined that it would be fun to do something a little different— something old school, i.e. ad hoc. So rather than organize an exhibition around a topic—it was determined that CPI would organize a project based on a situation—a set of conditions, terms, and tasks. To this end, it was determined that it might be of interest to consider the gallery primarily as a site of production. This inversion has its roots in Robert Morris’s Continuous Project Altered Daily, which 51 years ago was performed in March 1969 at the Castelli Warehouse. Morris had brought to the site a wide range of industrial materials, as well as a quantity of earth, which he would re-arrange daily. The project raised various questions about the nature of art as a product of variation and repetition. Morris at the end of each day photographed the indeterminate nature of each day’s final form. In the case of Performing Authorship: 31 Days in March, rather than focus on the temporality and variability of the artwork, I thought that what would be most interesting is an exhibition that addressed the terms and conditions of production; in particular the assumed individuality of authorship, as a product of the supposed isolation of the studio. Taking this as my premise, I decided to focus on the notion of collaboration—the action of working with someone to produce or create some entity which would be neither one person’s nor an other’s. Unlike Morris’s project, the resulting work in this case would be unique and specific. The next decision to be made was, who would be the Core Group of artists–and how many should there be? It was a given that these artists had to represent various aesthetics, intellectual and philosophical tendencies and practices, as well as being generationally diverse. Then there was the question of how much instruction were the participants to be given, since they in turn would be inviting collaborators. As such I turned to the guiding principles of all of Critical Practices Inc. (criticalpractices.org) programs: I would draft The Rules of the Game (available on request) for Performing Authorship: 31 Days in March. For inquiries, please contact: Ian Cofre, Director [email protected] IG: @ps122gallery PS122 Gallery is free and open to the public and inclusive of all people, regardless of race, ethnicity, age, LGBTQIA identity, and class. Conveniently located on the ground floor of the 122 Community Center in the East Village of Manhattan near several public transportation lines, PS122 Gallery provides wheelchair accessibility through the 122CC main entrance, as well as wheelchair accessible water fountains and all-gender restrooms. 150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt. CPI_Curricula was originally designed to encourage the production of collaborative projects by and facilitating the interactions between individual artists (and groups), as well as critics and other interested parties. After some deliberation, it was decided Performing Authorship: 31 Days in March would consist of 8 collaborative teams. The Core of Russell Maltz, Cris Gianakos, Michael Gitlin, Hannah Bigeleisen, Alicia Grullon, MK Guth, Ivelisse Jiménez, and Bradley Tucker represents 4 generations (1970s-2000s) of artists. Each week, two teams are scheduled to make and install their work. The collaborations need not be produced on site, but the work must be completed and installed in accord with the given schedule. All the projects will be presented the final weekend of the exhibition. Consequently, the two most important rules to come out of this process were: 1.) Each projects’ material parameters and timeframe will be defined by the nature of PS122 Gallery resources and schedule. 2.) Nothing can be done physically to the space that the artist is not prepared to restore to its previous condition (this must be done immediately in that there are only 4 days between scheduled exhibitions). With the intent of further demystifying the creative process by extending the dialog relative to art to public spaces, a PI_LTR On Authorship will be scheduled for the last weekend of the exhibition. All collaborators will be invited to participate with each inviting one additional participant. SCHEDULE 1. Installation March 1-5; Open to the public March 3. Installation March 16-20; Open to the public 6-8 March 20-22 • Team Russell Maltz • Team Alicia Grullon • Team Michael Gitlin • Team MK Guth 2. Installation March 9-13; Open to the public March 4. Installation March 23-27; Open to the public 13-15 March 27-31 • Team Cris Gianakos • Team Ivelisse Jiménez • Team Hannah Bigeleisen • Team BraDley Tucker 5. March 28, 4:30 PM — Critical Practices Inc. RounD Table: On Authorship CPI_Curricula is a project of Critical Practices Inc., which was founded in 2010 and incorporated in 2012. The idea was and has been to support the emergence and development of new practices and discourses within the field of cultural production. By operating outside “normal” institutional and marketplace models, CPI seeks to take objectives and concerns expressed by diverse members of the cultural community and create programming around these. The intent is to build a network and a platform for different points of view that can then help shape critical, theoretical, and artistic practices. for this we developed a variety of roundtables, publications, work groups, informal exhibits and events in a “domestic” setting; CPI produces “The Rules of the Game” that establish the parameters for each endeavor. There is nothing proprietary about these rules, and CPI endeavors to spread such practices throughout its community. PS122 Gallery is a dynamic, cooperatively run not-for-profit, alternative space in the East Village that provides opportunities and support services for emerging and underrecognized artists since 1979. The gallery reopened in January 2019 following a six-year hiatus while the historic City of New York-owned building was renovated and brought up to code, doubling the gallery in size and expanding programming capacity. In its 40th Anniversary season, PS122 Gallery is working from an ethos of #YearZeroinForty, acting as a platform in order to reengage with its surrounding community, identify new communities, and discover how it can address their needs. Under the artistic direction of Gallery Director, Ian Cofre, the 2019-2020 yearlong season is dedicated to multigenerational legacies, deep time, and long-term explorations, processes and thinking. #ps122gallery #ps122 #eastvillage #40thAnniversary #paintingspace #YearZeroinForty For inquiries, please contact: Ian Cofre, Director [email protected] IG: @ps122gallery PS122 Gallery is free and open to the public and inclusive of all people, regardless of race, ethnicity, age, LGBTQIA identity, and class. Conveniently located on the ground floor of the 122 Community Center in the East Village of Manhattan near several public transportation lines, PS122 Gallery provides wheelchair accessibility through the 122CC main entrance, as well as wheelchair accessible water fountains and all-gender restrooms. 150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt. ARTIST BIOS Installation March 1-6; Open to the Public March 6-8 TEAM MALTZ Russell Maltz (b. 1952, Brooklyn, NY) lives anD works in New York City anD has exhibiteD work in numerous solo and group exhibitions throughout the United States and internationally, including in Australia, Germany, Austria, France, Italy, Israel, Denmark, Mexico, Switzerland, Japan and New Zealand. His works are in the collection of The Brooklyn Museum, Yale University Art Museum, Fogg Art Museum, HarvarD University Art Museum, Kunstraum-AlexanDer Burkle, Freiburg, Germany, San Jose Museum of Art, San Jose, California, Arkansas Art Center, Little Rock, Arkansas, SaarlanD Museum, Saarbrucken, Germany, Stiftung fur Konkreter Kunst, Reutlingen, Germany, Wilhelm-Hack Museum, LuDwigshafen , Germany, Gallery of Western Australia, Perth, Australia. A survey exhibition representing 40 years of his work was recently mounted at the Stadtgalerie in Saarbrucken, and at Galerie Michael Sturm in Stuttgart, Germany and ran from May through August 2017. The exhibition was accompanied by a monogram book covering his work from 1976 through 2017 and published by The Stadtgalerie Saarbrucken anD printeD by Kerber Verlag in BiefelD, Germany. He has been facilitating with Critical Practices IncorporateD since its inception anD serves on its aDvisory board. Bat-Ami Rivlin (b. 1991, Israel) is a New York based artist, who graduated in 2019 from Columbia University MFA Program. She has exhibiteD in such venues as the Jewish Museum, FreDric Snitzer Gallery, KnockDown Center, Times Square Space anD others. TEAM GITLIN Michael Gitlin’s family emigrateD from South Africa to Israel in 1948.