Artists in Action

1995 Mext wave Festival SponIOfld by Philp MorrIs Companies Inc. The Brooklyn in Partnership with Dia Center Queens Museum Academy of Music for the Arts of Art

Bruce C. Ratner Ashton Hawkins Murray R. Tarnapoll Chairman of the Board Chairman, President, Board of Trustees Board of Trustees Harvey Lichtenstein President Michael Govan Carma C. Fauntleroy & Executive Producer Director Executive Director rtists in BAM Visual Arts Initiative

Theater Project Interim: after the The Flies: A Musical for a Rock Band end and before Phantasmagoria Vito Acconci the beginning lIya Kabakov in collaboration with Kristin Jones & in collaboration with the Mekons Andrew Ginzel Vladimir Tarasov in collaboration with and David Dorfman Chandralekha

Dia Center for the Arts Queens Museum of Art BAM Majestic Theater

October 11-14, 1995 October 19-21, 1995 October 26-28, 1995 at 8pm at8pm at8pm October 13 at llpm October 21 at 3pm

Special support for Artists in Action has been provided by The Pew Charitable Trusts, The Henry Luce Foundation, Inc., The Bohen Foundation, National Endowment for the Arts, The Greenwall Foundation, Time Out New York, and The Cowles Charitable Trust.

Costume illustration by lIya Kabakov During their years working with visual artists as part of the Brooklyn Academy of Music's Next Wave Festival, BAM President and Executive Producer Harvey Lichtenstein and Producing Director Joseph V. Melillo learned that visual artists and performing artists have different ideas about space. This difference is the inspiration behind Artists in Action, BAM's Visual Arts Initiative. The project reverses the roles generally held by visual and performing artists who work in collaboration, giving visual artists the lead role in conceiving and directing performance-related projects. Each year, three visual artists will be selected to develop their ideas for performance projects. The artists will work with BAM to select performers and develop their projects over a nine-month workshop period. At the end of the workshop period the three "works-in-progress" will be presented to the public as a mini-series under the auspices of BAM's Next Wave Festival. The projects will each be developed and presented at separate sites, one project at BAM and the other two at the locations of BAM's "Art Partners." While BAM's involvement in the program will remain constant, the Art Partners, selected from New York City's museums and non-profit exhibition spaces, will change from year to year. This rotating partnership will increase the opportunities available to artists, facilitate a variety of organi­ zational collaborations, and identify and attract new audiences for each participating institution. Program artists are chosen through a nomination and review process involving representatives from visual arts institutions across the cou ntry. Artists in Action was developed, in large part, with the help of a 1992 planning grant from The Pew Charitable Trusts and an Advisory Committee of curators and art professionals, including Nancy Spector from the Solomon R. Guggenheim Museum, Lynne Cooke from Dia Center for the Arts, Jane Farver from the Queens Museum of Art, CharloUa Kotik from The Brooklyn Museum, Thelma Golden from the Whitney Museum of American Art, Robert Storr from the Museum of Modern Art, and indepen­ dent curator Jeffrey Deitch. "This is an innovative program to encourage visual artists to initiate per­ formance projects which may involve performing artists as collaborators as well as performers," says Harvey Lichtenstein, "It was conceived and devel­ oped by BAM together with visual arts institutions and will, we hope, reveal new, exciting directions and innovative works in the area of performance." Since its inception, the Brooklyn Academy of Dia Center for the Arts is a multi-disciplinary Music has been committed to presenting the contemporary arts organization with large-scale, finest in traditional and contemporary performing long-term exhibition projects and programs for arts, presenting many national and international poetry, dance, education, lectures and symposia. artists, often in their New York and national Dia's program at 548 West 22nd Street in debuts, in the fields of dance, music, theater, Manhattan offers visual artists the opportunity music-theater, and opera. Today, under the to develop new work or a focused presentation direction of President and Executive Producer of work on a full floor of the building for extended Harvey Lichtenstein, BAM's commitment is exhibition periods, usually one year. In addition, two-fold: to the presentation and support of artists works from Dia's permanent collection are pre­ with an artistic vision that encompasses the newest sented from time to time. forms in the performing arts and to the Brooklyn community, with programming for the borough's The Queens Museum of Art, located in Flushing diverse population. Meadows Corona Park, Queens, recently com­ pleted a three-year $15 million reconstruction project that ma rks the tra nsformation of the Museum from a former World's Fair Pavilion into a museum of art. Founded in 1972, the Queens Museum of Art presents changing exhibitions that focus on Twentieth Century and Contemporary Art and reflect the international diversity of the iili••IIIII'I~llf Museum offers a wide array of pub­ IC programs including lectures, documentary and feature films, gallery talks, and familyworkshops. Theater Project Vito Acconci, born in the Bronx in 1940, began his career as a poet. for a Rock Band In his first work in a visual art context in the late 60's and early 70's, the artist used his own body as a subject for photography, film, video and Vito Acconci performance. These early works, which explore the self in its relation to and the Mekons others, have exerted a profound influence on the current generation of young artists. During the next two decades, the artist's relationship to his The Mekons: audience changed as viewers ceased to be merely spectators and became Sally Timms more and more an integral part of his work. In the mid-70's, Acconci Jon Langford created audio/visual installations that turned exhibition spaces into com­ Tom Greenhalgh munity meeting places. In the early 80's, he invited his viewers to create Steve Goulding the artwork by activating machinery that erected shelters and signs. In the Sarah Corina late 80's, he turned to the creation of furniture and to prototypes of houses Rico Bell and gardens. More recently, the artist has focused his creative energies on Acconci Studio: architectural and landscape design that integrates public and private space. Luis Vera, As a group, the Acconci Studio designs and builds public projects in Design & Engineering parks, city streets, and city buildings. Jennifer Schrider Solo exhibitions of the artist's work have been organized by the Charles Doherty Museum of Modern Art, New York; the San Diego Museum of Contemporary Art, La Jolla; Centre d'Art Contemporain, Grenoble; and the Museum of Lighting Designer: Applied Art, Vienna. In the past few years, Acconci Studio has designed Christien Methot and built a plaza at Queens College, New York; a courtyard for an elemen­ tary school in the Bronx; a public garden at MetroTech Center, Brooklyn; Associate Lighting a wall used as seating at the Arvada Community Center, Colorado; and Designer: street furniture for Tachikawa City, Japan. The artist has collaborated with Raphael Latorre Steven Holl (in the renovation of the Storefront for Art & Architecture, New York) and with Stanley Saitowitz and Barbara Stauffacher Solomon (at the Lighting Services: Embarcadero Promenade, San Francisco). Additional public projects are designOne now underway in Liverpool, Chenove and The Hague.

Lighting Board Pioneers and survivors of the punk rock movement in England, for over 15 Operator: years the Mekons have charted a course for themselves that includes forays D.M. Wood into Nashville honky-tonk, politics, and love and romance. The Mekons' past albums include "Rock 'N' Roll," an album that explored the power of Sound Equipment music and the mrusic industry from a variety of angles, and "I Love Mekons," and Design: Promix Inc. an exhiliarating pop record that examines the marketing of love.

Sound Engineer: Christien Methot's work has been seen in and around New York City for Casey Rice the past four years. He is the resident Lighting Designer for Workhouse Theatre Co., and is presently designing the new musical by Mac Wellman Construction and Len Jenkins "Tallahassee." Up coming projects include "Don Giovanni" Coordinator: for Opera North East. Peter Homestead Special thanks to Arto Lindsay, Diego Cortes and Tim Carr. Set Fabrication: Marc Rubin Scenic motion control systems by United Theatrical Services, Inc. New York Interim: after the Kristin Jones and Andrew Ginzel have worked collaboratively for the past end and before twelve years. The artists have invented a diverse range of works for muse­ the beginning ums, galleries, public spaces, and for performance. Exploring the nature of time, equilibrium and memory, using a broad range of materials, they have Conceived and created both ephemeral and permanent works in many venues including Directed by the Brooklyn Bridge Anchorage, The New Museum, and the P.S.1 Museum Kristin Jones/ in New York; nationally for the List Visual Arts Center at MIT, the Chicago Andrew Ginzel/ Cultural Center, and the Wadsworth Atheneum; and internationally at the Chandralekha Kunsthalle Basel, and the Museo 0' Arte Contemporanea in Prato, Italy among others. In performance, the artists have worked with Matthew Choreography: Maguire, David Dorfman and Merce Cunningham. Recently the artists have Chandralekha invested themselves in a variety of public arts projects, building large scale site specific works. Jones and Ginzel have received a variety of awards Original Music: including the National Endowment for the Arts Fellowship for Sculpture in TH. Subash Chandran 1986 and 1994, a Bessie Award, the U.S. Indo Fellowship, the Pollack­ Krasner Foundation Grant, and the Rome Prize in 1994. Lighting Design: Eric Cornwell Choreographer Chandralekha is one of the most important voices in the Indian counter-cultural movement today. A firm believer in the need for Performers: revitalizing traditional dance forms with contemporary energies, Chandralekha TH. Bhuvaneshwari utilizes the structures of Bharatanatyam, martial arts forms like Kalari, and Sudha Jagannath therapeutic forms like yoga to create her unique dance compositions. With Shaji K. John productions that have been hailed as major landmarks in contemporary Usha K. Nair dance, Chandralekha has created a new audience for Indian dance both in India and abroad. In 1994 she performed her work Yantra in the United Animators: States co-sponsored by Jacob's Pillow and the Dancespace Project. In 1995, Jennifer Cohn she toured Germany and France and performed in Hamburg with Pina Emily Greenhill Bausch. Chandralekha lives and works in Madras, India. Ian Hill T.H. Subash Chandran is among the most outstanding percussionists in Company Manager: India in the classical Carnatic style. In the past 35 years, he has accom­ Sadanand Menon panied almost every top Carnatic musician in concerts all over the world. He has accompanied the Chandralekha Group for the past two years, play­ Production Manager: ing the "Ghatam" (special clay pot), the "Morsing" (jewish harp), and Gayle Jeffery "Konnakkel" (vocal percussion).

Technical Director: Lighting Designer Eric Cornwell has lighted dance, opera, and theater across Zeke Zacca ro the United States, Europe, and the Far East. He has worked with Peter Sellars, Robert Wilson, Lucinda Childs, Mabou Mines, The New York City Funded in part Opera, the Metropolitan Opera, and dozens of New York shows on and off by a gra nt from Arts Broadway. Last year he co-created the lighting performance piece deLights: International, a division Art on Six Outlets for the Whitney Museum. of the Institute of International Education Special thanks to Duggal, Production Arts Lighting, Consolidated Edification, Jennifer Bernstein, Uttara Coorlawala, 1. Charles Erickson, Anil Melnick, Joel Schlemowitz, Tom Thulen, and Roderick Gray Wilson. The Flies: A Musical Phantasmagoria

Conceived Old Women: Ilya Kabakov, who was born in 1933, was and Directed by Risa Bell for many years one of the Soviet Union's most lIya Kabakov Susan Van Allen celebrated "unofficial" artists. Since the mid-60's, Susan Varon while officially employed as a children's book Libretto, Set and Kathy Sova illustrator, Kabakov exhibited his work both inside Costume Design: and outside the Soviet Union in exhibitions Ilya Ka ba kov Pig: devoted to unofficial Soviet avant-garde art. The Matthia L6bke artist was virtually unknown in the United States Original Music: until 1988, when his installation "Ten Characters" Vladimir Tarasov Elephant: was featured at Ronald Feldman Fine Arts. Andreas Karl Schulze Kabakov's installations tell the story of a Musicians: post-revolutionary Russia in which the dream of Vladimir Tarasov, Lighting Design: collectivity has degenerated into a nightmare of percussion Donald Holder bureaucracy. "Ten Characters" transformed the Jason N. Hwang, gallery into a facsimile of a communal Russian violin Lighting Advisor: apartment. His 1992 installation, "Incident at Mark Dresser, Jean Kalman the Museum, or Water Music," portrayed a fic­ contrabass tional museum gallery in which water pipes had Projections Advisors: just burst, spilling water down the walls and Choreogra phy: Bo Eriksson and onto the floor. At the "Magiciens de la Terre" David Dorfman Wendall K. Harrington exhibition in Paris (1992), Kabakov reproduced an artist's messy studio apartment. Performers: Costume Fabrication: Though his work is ra rely seen in th is cou ntry, Julie Carr Martin Izquierdo Kabakov has widely exhibited throughout Europe. Jeanine Durning Studios In 1994, solo exhibitions of Kabakov's work Holly Handman were held in Cologne, Germany; at the Center Curt Haworth Scenery: for Contemporary Art in Warsaw, Poland; Sond ra Lori ng Center Line Studios, Inc. at The Museum of Contemporary Art in Helsinki, Neena Marks Cornwall, NY Finland; and the Centre National D'Art Lisa Race Contemporain in Grenoble, France. In 1995, Tom Thayer lIya Kabakov had solo exhibitions at the Centre Additional support Georges Pompidou in Paris, the Stedelijk Museum Duet performers: has been provided by in Amsterdam, the Kunstmuseum in Basel, Maria Tarasova Robert and Melissa Museum of Contemporary Art in Oslo, Centro Anton Pankevich Soros, John L. Stewart, de Arte Moderna da Fundacao Gulbenkian, Lewis Manilow, The MAK Museum, Austrian Museum of Applied Arts Production Bohen Fou ndation, in Vienna, and the Festspielhaus Hellerau, Coordination: Creative Time, Inc., Dresden. The installation "The Man Who Flew Emilia Kabakov David C. Walentas and Into His Painting" is on view at the Museum of Rob Weiner Washington Group Modern Art in New York. LLC, and Crozier Fine Arts Inc. Born in 1947 in Archangelsk in northern Russian, musician and composer Vladimir Tarasov has, for more than 30 years, worked as a soloist in brass, theater, symphonic and chamber orchestras. He was a drummer and original member of the GTC Trio, one of the most important ensembles in recent Soviet jazz history. He has played in jazz festivals such as the JVC Jazz Festival in New York and the Festival Le Mans in France. Recently Tarasov has been cooperating with musicians such as Andrew Cyrill, Butch Morris, Alfred Harth, The Rova Saxophone Quartet and Christian Muthspiel. Tarasov's jazz compositions utilize a unique blending of percussion instruments, including drums, electronic instru­ ments, and tape recordings.

David Dorfman, a native of Chicago, has been honored with three fellowships from the National Endowment for the Arts. He is also the recipient of a New York Foundation for the Arts Fellowship, an American Choreographer's Award, and the first Paul Taylor Fellowship from The Yard. In 1985, he founded his own company, David Dorfman Dance. Mr. Dorfman's choreography has been commissioned widely in the United States and Europe and has been produced in New York City at venues ranging from The Joyce Theater to Dancing in the Streets. A new project, "Familiar Movements (the Family Project)" is scheduled for Dance Theater Workshop in May.