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Michael Portnoy CV WL 1.2.2020
Michael Portnoy (1971) Works and lives in New York (US) Education 1995 MA Performance Studies, Tisch School of the Arts, New York University, New York, US 1993 BA Comparative Literature/Creative Writing, Vassar College, New York SELECTED SOLO-EXHIBITIONS AND PERFORMANCES 2020 Progressive Touch, 3-Channel Video Installation, De Vleeshal, Middelburg (NL) URGENT, Wilfried Lentz Rotterdam (NL) 2018 Touching on Everything, steirischer herbst ’18, Graz (AT) Performance, FIAC, Paris (FR) Relational Stalinism - The Musical, American Realness, Abrons Center, NY (US) wrixling.com, online performances presented by CAC Vilnius (LT) A new performance at Hauser & Wirth, New York on November 30th: 2017 Character Assassination (performance), Akademie der Künste der Welt, Cologne (DE) Progressive Touch - Total Body Language Reprogramming (performance), KW Institute for Contemporary Art, Berlin (DE) 2016 Relational Stalinism — The Musical, 6 weeks of world-bending, Witte de With Center for Contemporary Art, Rotterdam (NL) 2015 Fiktion:POPPPAPPP, performance with Momus and Michael Portnoy, 7 pm. Haus der Kulturen der Welt, Berlin (DE) 2014 100 Beautiful Jokes, Stedelijk Museum Amsterdam(NL) 100 Beautiful Jokes, Crikoteca, Krakow (PL) 2013 Thrillochromes, Wilfried Lentz Rotterdam (NL) Thrillochromes, Nuit Blanche Paris (FR) 100 Big Entrances, Palais de Tokyo, Paris (FR) 27 Gnosis, The Kitchen, New York (US) 27 Gnosis, STUK, Leuven (BE) The Bet, A Study About Doubt, Contingency and Meaning in the Economy and in Society, Kunst Werke, Berlin (DE) (performance -
MA-2013 07 the New Yorker
Allen, Emma. “The Rapper is Present,” The New Yorker, July 11, 2013 JULY 11, 2013 THE RAPPER IS PRESENT POSTED BY EMMA ALLEN Three years ago, when the performance artist Marina Abramović sat in the atrium of the Museum of Modern Art for seven hundred and fifty hours, many of the people who had waited in long lines to sit across from her melted down in her presence. Abramović remained silent and still, enduring thirst, hunger, and back pain (and speculation as to how, exactly, she was or was not peeing), while visitors, confronted with her placid gaze, variously wept, vomited, stripped naked, and proposed marriage. But the other day, at the Pace Gallery in Chelsea, where Jay-Z was presenting his own take on Abramović’s piece—rapping for six hours in front of a rotating cast of art-world V.I.P.s—viewers’ primary response was to get up and dance. Jay-Z (or Shawn Carter, or Hova, as he’s alternately known) was continuously performing “Picasso Baby,” the second song on his new album, “Magna Carta… Holy Grail,” to a succession of visual artists, museum directors, gallerists, Hollywood folk, and Pablo’s granddaughter Diana Widmaier Picasso. These guests took turns on or near a wooden bench positioned across from a low platform on which the rapper stood, except when he was prowling around. A crowd of less famous art-world denizens and cool-looking people (some of whom had been specially cast) loitered along the walls of the gallery, except when they were invited to scurry right up to Jay-Z. -
Clifford Owens, Anthology (Nsenga Knight) , 2011
FOR IMMEDIATE RELEASE 14 January 2014 Image credit: Clifford Owens, Anthology (Nsenga Knight) , 2011. Image courtesy of the artist. Clifford Owens: Better the Rebel You Know Cornerhouse, Manchester, UK, 10 May – 17 August 2014 Curated by Daniella Rose King This summer Cornerhouse in Manchester will host the first major European show by American conceptual artist Clifford Owens, across all three of its galleries. Owens ’ work explores the intersection of photography, video, text and performance. His practice seeks to challenge the boundaries of performance, and the possibilities of interaction between artist and audience. The exhibition will include an exclusive UK iteration of Owens’ work Anthology , which debuted at MoMA PS1’s eponymous exhibition in New York in 2011. The work originated from a series of 28 performance 'scores': short, diverse sets of instructions (some specific, others open to interpretation) solicited by Owens from a selection of African American artists, from established to emerging figures. Owens said: “This project originated over a decade ago. In 2000, my thesis research failed to find adequate evidence of black artists’ investment in performance art since the 1950s, but this clearly wasn’t due to a lack of involvement. Rather than lament the lack of historical interest in US-based black artists and performance art, I chose to imagine my own history. “The artists who contribute the scores drive the emotional ‘gestalt’ represented in Anthology ; I am the conduit for transmitting profoundly powerful messages from a group of enormously talented artists. My body is attached to this body of work; it is the container and conveyor of its meaning. -
Ugo Rondinone in Boijmans Van Beuningensee Page 7
Art Rotterdam Week 10 - 14 February 2016 1 Ugo Rondinone in Boijmans Van Beuningen see page 7 A Home from Detroit ULAY in Nederlands at Art Rotterdam Fotomuseum see page 5 Ryan Mendoza demolishes and rebuilds see page 4 Momu & No Es, Highway (video still),2015 Anthony Nestel, first Artist-in-Residence at AVL-Mundo/Atelier Van Lieshout Charlemagne Palestine, photo Agnès Gania TENT, Digital technology AVL Mundo open Performance artists in in our daily life see page 6 to the public see page 5 Witte de With see page 6 Art Rotterdam Week 10 - 14 February 2016 2 Art Rotterdam Week 10 - 14 February 2016 Introduction film Art Rotterdam makes Perfect start for a fair visit Van Nellefabriek New this year is an introduction the city sparkle film, compiled by art critic and writer Hans den Hartog Jager. In this film Den Hartog Jager among A festival week concen- others illustrates his personal Main Section international highlights of the fair and puts these trated at three places into an art-historical frame. The galleries show the most recent film is shown in a separate space at Free shuttle busses operate between the Intersections. Van Nelle Fabriek, AVL-Mundo, Museum developments in visual art Quarter and Wilhelminapier. xxxxxxxxxxx Use the Artsy App at Art Rotterdam From February 4, 2016 all art works that will be presented at Art Intersections Patty Morgan Rotterdam are also available online Radio at the art platform Artsy.net. Visit Introductiefilm artsy.net/art-rotterdam-2016 or Detroit huis download the Artsy App for iPhone and iPad. -
MARINA ABRAMOVIĆ Bibliography
MARINA ABRAMOVIĆ Bibliography Selected Publications 2018 Goldberg, RoseLee. Performance Now: Live Art for the 21st Century. New York: Thames & Hudson, 2018. 2017 Abramovic, Marina. The Cleaner. Hatje Cantz Verlag, 2017. 2015 Clemens, Justin. Private Archaeology. Tasmania: Museum of Old and New Art, 2015. Džuverović, Lina. Monuments Should Not Be Trusted, Nottingham: Nottingham Contemporary, 2016. Marina ABramovic: In Residence Education Kit, Sydney: Kaldor Public Art Projects, 2015. The Sense of Movement: When Artists Travel. Hatje Cantz: Ostfildern, 2015. Sardo, Delfim. Afinidades Electivas | Julião Sarmento Coleccionador, Fundacão Carmona e Costa. Lisbon: Portugal, 2015. Westcott, James. Quando Marina ABramovic Morrer: uma Biografia, São Paulo: SESC Editions, 2015. 2014 Belisle, Josee. Beaute du Geste, Montreal: Musee d’Art Contemporain de Montreal, 2014. Biesenbach, Klaus and Hans Ulrich Obrist. 14 Rooms, Ostfildern, Germany: Hatje Cantz, 2014. Bojan, Maria Rus and Alessandro Cassin. Whispers, Ulay on Ulay, Amsterdam: Valiz Foundation, 2014. Day, Charlotte. Art As a Verb, Victoria, Australia: Monash University Museum of Art, 2014. Hoffman, Jens. Show Time: The 50 Most Influential ExhiBitions of Contemporary Art, New York: DAP, 2014. Marina ABramovic: Entering the Other Side, Jevnaker, Norway: Kistefos Museet, 2014. Marina ABramovic: 512 Hours, London: Serpentine Galleries, Koenig Books, 2014. 2013 Moving Pictures / Moving Sculpture: The Films of James Franco, California: Oh Wow, 2013. Munch By Others. Norway: Arnivus + Orfeus Publishing and Haugar Vestfold Museum, 2013. Walk on, From Richard Long to Janet Cardiff: 40 Years of Art Walking, Manchester: Cornerhouse Publications, 2013. Westcott, James. When Marina ABramovic Dies, China: Gold Wall Press, 2013. 2012 Anelli, Marco. Portraits in the Presence of Marina Abramovic. -
How to Collect Performance Art Preserving Performance and Staged Art Can Be Like Trying to Keep Smoke in Your Pocket
THE ART NEWSPAPER ART BASEL DAILY EDITION 10 JUNE 2009 5 Collecting How to collect performance art Preserving performance and staged art can be like trying to keep smoke in your pocket. So what’s the best way to begin? How to collect performance art has was only completed when the gold leaf umentation of his work (it is even become a subject of a lively debate for was thrown into the river Seine and the acquired by verbal contract in front of museums and increasingly private col- receipt burnt. But if interventions such witnesses), also specified that in this lectors—as an Art Basel Conversation as Klein’s are comments on the com- case no single collector could buy all tomorrow will demonstrate (see box, modification of art, Goldberg also says 100 words. right). Klaus Biesenbach, chief curator they can be ironic statements against the Others, such as London-based collec- of Media and Performance Art at the artist’s works becoming “relics in the tor Valeria Napoleone, who specialises Museum of Modern Art, New York museum”. Performance art can give in women artists including Spartacus (MoMA), who is one of the panellists spaces new life, creating what Goldberg Chetwynd and Vanessa Beecroft, has tomorrow, says the increasing interest calls “performative exhibition aesthet- works that were made during perfor- of both groups is logical. “When you ics”. The cynical may take the opposite mances or that derive from perfor- look back you understand that video art view: that in the last couple of decades mance. But she has not bought “pure” was the ‘golden frame’ of the 1990s. -
The Visual Art Performances of Robin Rhode
CLAIRE TANCONS PARK BENCH (photo documentation), 2000 CAR THEFT (still), 2001 BREAK IN (still), 2004 Four phases can be identified within the period that spans Robin on a monitor left on the floor alongside the ephemeral drawing for instruments such as a trumpet, drums, and a bass dripping in Rhode’s artistic trajectory from 2000 to 2009, phases that mark the duration of the exhibition. In the third phase, starting in 2004– Life Performs Art paint, in a manner reminiscent of American abstract expressionist the evolution of Rhode’s work and signal shifts in its critical 5, medium-based exhibitions featured Rhode’s work as drawing (I In her seminal introduction to performance art, Performance: painting and the works of the Japanese Gutaï group. But The reception against the larger backdrop of the global art world, Still Believe in Miracles, Musée d’Art Moderne de la Ville de Paris, Live Art since 1960, RoseLee Goldberg wrote that her research Score was also a musical act. In it, Rhode made pointed references from the Johannesburg biennials of the mid-1990s, which he 2005), photography (New Photography, Museum of Modern Art, “showed me how certain ideas in a painting or a sculpture, to the history of jazz and to entertainment as a stereotypical site attended as an art student, to Prospect.1 New Orleans, the latest 2005), or video and video animation, as a result of Rhode’s slow which as a traditional art historian I might have looked for in of black representation. Rhode kept his back obstinately turned and largest biennial in the United States, in which he participated departure from live performances and increasing production in other paintings or sculptures, often originated in some sort to the seated audience (in the antispectacle fashion adopted by as an artist. -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIII, Number 2 Spring 2014 Once Again, on the Music of Laurie Anderson’s “O Superman (for Massenet)” Lindsey Eckenroth, CUNY Graduate Center Back in 1991, Susan McClary argued that Laurie Anderson’s music deserves analytical attention.1 Aside from McClary’s own remarks on the subject, to which I will return below, her call to action remains unanswered. Typically, academic writing on Anderson’s performative electronic storytelling has not explicitly addressed musical characteristics. Instead, her pieces are generally viewed as postmodern performance, video, or multimedia art, and analyses have focused on (hyper)mediation, the technological fragmentation of the subject, politicized language games and multiplicities of textual meaning, Anderson’s androgynous/cyborg performance personæ, and the ability of her production to transgress institutionalized high/low cultural and genre boundaries.2 Jon McKenzie posits Anderson’s œuvre as an “idiosyncratic collection of words, sounds, gestures, and images downloaded from various social archives, especially that of the United States.”3 Noting that the reception and production of Anderson’s works move within and between the territories of popular culture and experimental art, McKenzie argues that Anderson’s mediated evocations of “everyday life and its electronic ghost” are able to “cut across three terrains of performance: cultural, -
Performance Art4 Dunn on Dance * Social Performance 9 Robert
VT performance art4 Dunn on Dance * Social Performance 9 Robert Wilson's Chairs * Rainer, Monk, King on Croce 9 Sister Suzie Cinema * MOMA Performance Archive 0 Czech Mail * Performance Books 0 Reviews $2.50 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/live.1980.0.4.1 by guest on 26 September 2021 L IV E performance art 4 Between the Covers 30 Publishers Dunn on Dancing 3 Tony Whitfield Bonnie Marranca John Howell talks Gautam Dasgupta with Douglas Dunn Executive Editor Staff Bonnie Marranca Robert Atkins The Social Performer 10 Reviews 33 Bruce Barber Bruce Barber Ed Friedman, Larry Miller, Lenora Champagne Editor Ralston Farina, William Daryl Chin John Howell Hellerman, Women's Interart Robert Coe Center Film and Video Meg Eginton 14 Les Chaises d'Antan Festival, Cindy Lubar, Garry Peter Frank Design Ann Sargent Wooster Reigenborn, Pooh Kaye, Susan Nancy Jones Gautam Dasgupta Rethorst, Peter Rose, Claire Tony Mascatello Bernard, Yoshiko Chuma, Ingrid Nyeboe Paul McCarthy, Lyndal Jones, Staff Photographers Moira Roth R.E.: Croce 18 Stuart Sherman, Richard Johan Elbers Tony Whitfield Letters from Yvonne Rainer, Gallo, Sheryl Sutton, Robert Nathaniel Tileston Ann Sargent Wooster Meredith Monk, Kenneth Wilson, Christopher Knowles, @1980 by LIVE magazine., LIVE is King Jack Smith, Maria Irene published four times a year by Perform- Fornes, Steve Busa, Chris ing Arts Journal, Inc. Editorial and Kraus, David Antin, Badomi business office: P.O. Box 858, Peter de Cesare, Leeny Sack, Mario Station, New York, N.Y. Prosperi. Stuyvesant Sister Suzie Cinema 23 260-7586. Unsolicited 10009. Tel: (212) Patricia Jones, Tony Mascatello manuscripts must be accompanied by a self-addressed stamped envelope. -
Independent Curators International Spring/Summer 2012 Program Inde Pen Dent Prac Tice Table of Contents
INDEPENDENT CURATORS INTERNATIONAL SPRING/SUMMER 2012 PROGRAM INDE PEN DENT PRAC TICE TABLE OF CONTENTS 1 Welcome 2 Spring/Summer 2012 Calendar EXHIBITIONS 4 Living as Form (The Nomadic Version) 6 Raymond Pettibon: The Punk Years, 1978–86 7 Harald Szeemann: Documenta 5 ICI 8 With Hidden Noise 9 FAX 10 The California Experiment: New Art Circa 1970 12 Performance Now 14 Martha Wilson 16 Create 18 Image Transfer: Pictures in a Remix Culture 20 Project 35 22 do it 24 People’s Biennial EDUCATION & PUBLIC PROGRAMS 26 Curatorial Intensive 28 Partner Programs 32 Alumni Updates 33 Curatorial Research 34 DISPATCH 36 Thinking Contemporary Curating 38 The Curator’s Perspective 40 The Critical Edge of Curating 42 Curating Worldwide 43 The Curatorial Hub 44 ICI Curatorial Library NETWORKS & ACCESS 45 The Curator’s Network Editor: Mandy Sa Reproduction rights: You are free to 46 ICI Limited Editions Designer: Scott Ponik copy, display, and distribute the contents Copy editor: Audrey Walen of the publication under the following 48 ICI Conversations Printing: Linco Printing, Queens, NY conditions: You must attribute the work 50 International Forum or any portion of the work reproduced Big thanks to: Doryun Chong, Sheryl to the author, and ICI, giving the article 51 Conkelton, Sarah Demeuse, Hou Hanru, and publication title and date. If you 52 Thank You Rodrigo Moura, Sofía Olascoaga, Jack alter, transform, or build upon this work, Persekian, Yasmil Raymond, Lucía you may distribute the resulting work 54 Access Fund Sanromán, Terry Smith, and Anton only under a license identical to this 55 Access ICI Vidokle. -
ROSELEE GOLDBERG Biography
ROSELEE GOLDBERG RoseLee Goldberg, organizer of SIX EVENINGS OF PERFORMANCE: LAURIE ANDERSON, ERIC BOGOSIAN, BONGWATER (WITH ANN MAGNUSON & KRAMER), DAVID CALE, BRIAN ENO (A LECTURE), SPALDING GRAY, is an art historian, author, curator, and critic. A graduate of London University's Courtauld Institute of Art, she wrote her dissertation on Oskar Schlemmer and Bauhaus Performance in 1970. Ms. Goldberg was a professional dancer from an early age. Her interest in performance art led to the publication, in 1979, of her book Performance: Live Art 1909 to the Present, which was published in London, New York, and Tokyo, and was the first historical survey of this increasingly popular medium. The book was reissued in 1988 under the title Performance Art: From Futurism to the Present. RoseLee Goldberg was director of the Royal College of Art Gallery in London from 1972 to 1975, where she arranged a full program of lectures, seminars, exhibitions, and performances while also teaching at the Architectural Association. She wrote extensively for Studio International and was responsible for special issues of Art/Architecture (1975) and Performance Art (1976). She moved to New York in 1976 to teach at the Institute for Architecture and Urban Studies and, from 1978 to 1980, was curator of The Kitchen Center for Video, Music, Dance, and Performance in New York, presenting the early AIKT The Museum of Modern Art, New York Octobers 1990-January 15, 1991 The Art Institute of Chicago 5© February 23-May 12, 1991 The Museum of Contemporary Art, Los Angeles 1940-1990 June 23-September 15,1991 2 works of artists such as Laurie Anderson, Eric Bogosian, Molissa Fenley, Robert Longo, and David Salle. -
Anticipation, Action and Analysis: a New Methodology for Practice As
Campbell: Anticipate, Act, Analyse Introduction We interrupt this broadcast [author’s emphasis]—a phrase that has come to command our immediate attention […] a phrase that evokes a few heart stopping seconds of anxiety between the interruption and the actual announcement of what has happened. It is a phrase that puts us in the moment; we brace ourselves as we wait to hear the news that follows those four chilling words.1 I have experienced this anxiety as very real. As a child, I used to have an acute fear when, as I was watching a television programme, the transmission would be interrupted by the announcement: “we are sorry to interrupt this programme but we go over now to the newsroom for a newsflash.” Even now, when I hear those words being spoken, or even reading those words, I become dizzy and start panicking. Between 2010-2016, I undertook doctoral research that explored aspects of participation in Performance Art.2 This article, based on that research, contributes to knowledge in participative performance practice and the positive deployment of using interruptive processes; this is to provoke participation within the context of Performance Art. For the purposes of my study, the term “participation” was defined as related to the audience’s active involvement within a live performance. My study defined an audience’s engagement with the work as understood through a form of action as planned/unplanned by the work’s protagonist. For example, planned participation may mean the audience responding to a set of instructions as devised by the protagonist, and the enactment of the instructions by that audience constitutes the work; thereby the work is dependent upon their participation.