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Dancenoise I , I and Their Very Special Friends ¢~:"/' 7 'T Saturday March 26, 8:30 P.M

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Dancenoise I , I and Their Very Special Friends ¢~: \ f _fy 1 I AN EVENING WITH t, ¢ Y DANCENOISE I , I AND THEIR VERY SPECIAL FRIENDS ¢~:"/' 7 'T SATURDAY MARCH 26, 8:30 P.M. .. -¥\"', 'L '. They pull out machine guns and spray the au- .f , 1 )9 5 '» dience with fake bu/lets while to the ,~ _ they strip I , ' .¢i_, _,;_f?fl5,,.A_" '° ' waist. To a insistent beat, then . r clamourous, spa.- .- ,I _,' gy/,;,:_'§$j_,';',5" _~_,_'(, t ,é` paint their naked chests silver twisting '--..._' {=~__' QQ '-5f"_ ,_ 7 ':\ W*-. Q themselves into a frenzied thrash of improvised , l» .f, _T . _'{1'_'fQ7 f __ _ ,, . _ fa. ., .x \ = ~#»- Andthe finale?A scene where the two . '. , . ', _ _ dancing. UQ wr- _ _:lj ' »_._»'§¢ "' él " a dolls shirt out its heart. We//, "A , rip open andpull _ 1, "{f' ` _ "' Nl" a chicken A/I this to the sound ,, heart, actually 123' ' ' of an amphetaminized version of the 605 chestnut, "Put a Little Love in Your Heart." ,5_*f,~1--=.< ` ' ' ' A `35'~`-" ' C B mb ' þÿf.1,2§'» ¬"' IOS Zi`lZeiL'l 155; ._ Q, I I ' 5" ' E , _.ba » DANCENOISE is Anne Iobst and Lucy f_§`~'f, _ been erformin . Sexton, who have p g . »~1»~ __ _'fx ' "t "ff together since 1983, largely on the ` circuit in New York (WOW ; nightclub "Tak- - /I' Cafe, 8 BC, The Palladium, etc.). from television, hardcore . p ing inspiration *f-"' our own ex- .1 music, show tunes, and I as women, we create shows ,_ _ L . periences " that are and ¢ I funny, absurd, entertaining, - "III the con- K -v \` . unsettling," they explain. "Using g _ - / QQ \ I I 1 ventions of dance, performance, and _I we ex lore the contrast bet- . cabaret' p I I ¢ _ 1' `_ _ ' Ween the ima3es we are fed and our __ . _ _ own lives; a contrast which provokes _ r;' `' parody an d ra ge, h umor an d obsceni- and blood." Their taboo- Q 'nv ty, tap dancing shattering spectacles have led many critics to consider DANCENOISE (along _ _ _ \` , . ` artists like Karen Finle and Mimi ff* with Y _\__ Y Goese) as the cutting edge of "the theater of transgression." BLOOD AND FOIL will give Buffalo a taste of this "transgression": an evening of unorthodox work by women whose onstage personas defy gender conven- tions. Accompanying DANCENOISE will be a host of their "very special friends," the brightest lights of the Downtown Manhattan club scene. This program is being assembled with the assistance of Lori E. Seid and is cospon- sored by UUAB Cultural and Perform- ing Arts. Admission: $5.00/$3.00 Hallwalls members and UB students. Anne Iobst and Lucy Sexton of DANCENOISE. Photograph by Charles Steiner. EXHIBITION VIDEO IN VIDEO VIEWING ROOM EXHIBITION DOUBLE A RDIST UALT POLITICS OF EXH c..|ON NFORMATION VISION Continuing through //larch 25 Videotapes are available for viewing during regular gallery hours, free. //larch 1988 UCK through 25, Organized by Barbara Lattanzi This exhibition examines functions of knowledge in the service of power. These AGRO tapes range from persuasive uses of information (for advertising, public relations, and lobbying efforts) to critical analyses of assumptions and tactics of network IOHN ALLEN television news and documentaries and their impact on current events. THE SHOE//lC //IULE Featured RICHARD RAMIREZ videotapes: ARMIIO Chuck Agro's installation includes paint- Atlacatl (1983), EI Salvadoran military tape. ings and objects which self consciously De Audacia (Time of (1983), El Salvadoran rebel forces tape. Tiempo Daring) I EMILY CHENG resemble Modern Art. Bold geometrics, Los Refugiados (The Refugees) (1985), by Michael Ach and Mark Brady. formulaic obsession with color, (The above tapes are part of a touring exhibition of Latin American work) EUGENIO ESPINOSA materials, and no-frills presentation, all Democracy in Communication, organized by Karen Ranucci. adds to the deja-vu. But this homage to for (1986), Tami Gold and Goldfarb. ALBERT CHONCI Prescription Change by Lyn the Moderns is in fact undermined by *Excerpts from Politics of the Electromagnetic Spectrum (1987), documentation humorous use of various time- of TYRONE MITCHELL Agro's talk given by Robert Horvitz at Hallwalls. tested formalist devices. Freedom of Information Tape 1: lean Seberg (1980), by Margia Kramer *Continuous Entertainment Lee and David Smith. HOWARDENA PINDELL Agro strives to expose the masculine (1987), by Murray bad to be it could be If If ,stereotypeswhich inform the male artists *lf its too true, DISINFOIQMQTION ,(1985),.by.lv1artha. TTI-WEENTRAMSARAN Rosler. urge to "produce" and "perform/' What *Race Prime Time David Shulman. initially appear to be slick, sculptural ac- Against (1984), by CARRIE YAMAOKA Will Zone Productions. coutrements to black "color-field" paint- They Say They (1987), by are of CHARLES YUEN ings simply pieces exercising ***VHS copies of asterisked titles are available for home viewing*** These equipment. mini-trampolines, VHS rental per tape: $2 (formembers) for members) bars, and the like, are never completely aestheticized and invite the viewer to physically engage with the work: to This event will include the of Fred Wilson, Curator "show his stuff." Of course, no one may screening 2 tapes featured in the current Video actually perform on this equipment, as POLITICS OF INFORMATION Room exhibition: Race Double Vision is an exhibition of works in the gallery context, it retains its iden- Viewing Against Part One Prime Time David and both by ten contemporary artists who draw tity as sculpture. by Shulman; their working aesthetic from elements of Wednesday, March 16 the English and Spanish versions of Zone Productions' Will. Follow- non-western culture. Rather than adap- 7:3 O P.M. Free They Say They the there will be a discus- ting their work to the narrow dictates of ing screening the prevailing 'American" aesthetic, these sion with members of the Revolutionary Communist the Maoist artists seek to recreate language and sym- P E T E R Party, organiza- tion which is the of bolism out of the visual, verbal, and subject They Say philosophical traditions of the lands They Will. where the majority of the world's people STEPHENS and live. think, create, ROMANCE A//D The painting, photography and sculpture Tapes from the current Video Viewing in this exhibition do not make overt ADVENTURE Room exhibition featured in this even- POLITICS OF INFORMATION political statements or confine ing's presentation include: three El Peter Stephens' new paintings combine themselves to topical issues. Theirs is a Salvadoran tapes from the touring exhibi- Part Two his earlier empathy toward images from subtle manifesto which seeks to recover tion Democracy in Communication, March 23 art historical sources with a new interest Wednesday, opportunities for cultural growth which Prescription For Change, Continuous in detailed renditions 8:00 P.M. Free have been lost in the wake of col- portraiture. Finely Entertainment, Freedom of information of dramatically posed friends are posi- onialism, eurocentrism, and United Tape 1: /ean Seberg, and lf it's too bad tioned in front of scrim-like backgrounds States-dominated global mass media. to be true, it could be DISINFOR- of cathedrals, pastoral landscapes, and Their art avoids the stereotypical cartoon MAT/ON. other similarly nostalgic subjects. In and the exotic appropriated image so order to heighten the "ancient" quality prevalent in the western view of "foreign" of these grounds and futher remove them lands for the simple reason that for them, from illusionistic space, Stephens these images are not foreign. It is precise- certain pictorial devices and because these artists are descendants employs ly I'oeil effects. Holes in the of non-westernpeoples that their work trompe appear surface aIIUElTng't6'@ a|il'de§1y[Eind rings true. lt is their consciousness of this ()-ELT-I£ luminous fields of color and gold leaf heritage that reinforces their need to provide a sensuous, decorative founda- create, and in particular to create this tion for the and architectural kind of work. landscapes motifs. N FORMATIO N Visiting Curaton Fred Wilson is current- The solitary portraits which hover on top ly Director of the Longwood Arts Project, of all this engage the PAINTING & PHOTOGRAPHY EXHIBIT Bronx Council on the Arts. He is also a packaged history viewer in an entirely different manner. practicing artist. There is an illustrated Their realism in both style and attitude catalog available in conjunction with this confounds the comfortable distance we In with the current video ex- exhibition. conjunction maintain with the signifiers of grandeur hibition, the Video Viewing Room is ex- Double Vision has been made possible found in the rest of the painting. These hibiting paintings and photographs, in part by a grant from the Museum Pro- inspired portraits demand our emotional reflective of community issues and social gram of the National Endowment for the investment, despite the artifice of their values, by artists associated with ' r --»- Arts. tension - "=1~ The resultant be- -. _ .s_"_ "at a art .I ' ' surroundings. T" 1 , community-based 'Lt u ef '><-_ MollyOlga, ` I -' -. ` tween these elements re- '~. N*-s ' in Buffalo. Featured artists incongruous " organization -. ° c - §`kf 2, Hours: 12:00 we our to 'g Q, -5 Gallery Tuesday Friday, quires that examine response 5 g include: `> ' gg ' ' 32-' - :"a - .=I "'|,;_ 6:00 1:00 5:00 the real and the fictional. ' Saturday ~. s. Duncan Bethel ..,3~` ivtl. f`,c;._ ~_,b¢§;a '§5Z»._v ' ,_.:~`f 1 X* :L 1 ~`,- . Lenore Bethel _ ,_ ` .t.~.,1 ' ' / »» 7 ._ , ~'i`r-, X 51% 'f -` - S' ". _,ig It ,sash-' 21, Juan Cavazos = _ ' is -Eff' 55 " All visual artists are invited to bring in 'f ,Y ' ='-Ps Huey Mei Chang .
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