LAUNCH: ELSE JOURNAL ISSUE 2
FULLY AWARE THAT IN THESE TIMES, OUR “INTERACTION” WITH “OTHER” CULTURES AND WITH NATURE IS BOTH INEVITABLE AND PROFOUNDLY ALTERING; WE WILL CONSIDER OTHER MODES OF FRAMING ACTION AND EXISTENCE THAN IDENTITY POLITICS, SHEPHERDING NATURE AND “I”. HOW ELSE CAN WE CONSIDER THE IMPLOSION OF EXILED STATES; THE ENTROPIC INFLUX INTO THE LARGEST CITIES; THE SINKING OF SMALLER ONES; THE COLLAPSING DISTANCE BETWEEN US? HOW TO LIVE NOW IN THE "ERUPTION OF DESIRE FOR THE FUTURE WHICH RESHAPES THE PRESENT” — TO BECOME IMPERCEPTIBLE?
Join us for the launch of our next issue of ELSE Art and Cultural Journal with readings by select artists. A reception will follow along with discussions on future projects for our three year research topic "The Imperceptible Self" which commenced with exhibitions, performances, screenings and a symposium in Berlin for the Transart Triennale 2016-2019.
An occasional journal that welcomes experimental and alternative forms of representing creative work. Peer-reviewed works, projects, and research thematically gravitating towards memory, forgetting, trauma and the archive; language/image; international diaspora and post-colonialism; role of art in peace meditation; liminality; space/place; temporary architecture; foreignness, otherness and the uncanny.
Saturday, January 14 from 6-8PM
Powerhouse Arena, 28 Adams Street, Brooklyn, NY
Lynn Book, moderator
6:00 Opening remarks by Caroline Koebel, guest editor
Luisa Greenfield is a Berlin-based visual artist with a background in painting, video and a keen interest in film history that informs her projects and have led her to create visual essays that analyze the material and function of the moving image. Luisa is a current PhD candidate in practice based research with Transart Institute through Plymouth University in the UK. luisagreenfield.com
The video piece from Minus Ego entitled "I can. You can" by Marko Schiefelbein seeks to “address the manipulation of the self and the construction of the ego through advertising and multinational corporate messages.” Delivered in measured tones, they sound like self-help mantras that should cause shrill alarms to go off in our minds, but as we are so accustomed to their various forms of manipulation, they soothe instead.
Akil Kirlew is a writer and media artist based in New York. His research project Video Art: Accelerationism and the Reification of Desire explores the creative links between the production and circulation of video-based artworks and the dominance of capitalist-based forms of subjectivity.
Seismic Shifts is a critical examination of Jean-Ulrick Desert’s Sky Above Port au Prince Haiti 12 January 2010 21:53 UTC from The Goddess Constellations.
Caroline Koebel is an artist and writer whose early love of experimental cinema and coming of age in a vibrant punk scene are touchstones for her travels near and far. She’s presented her work across the US and internationally, and her writing has been translated into Spanish and Portuguese. www.carolinekoebel.com/about.html
Caroline Koebel is guest editor for the second issue of Else Journal: “The Imperceptible Self".
Paolo Piscitelli, works with drawings, sculpture, installations, video/performances and sound assembled in hybrid compositions dwelling a liminal space between different dimensions and linguistic systems. He exhibits in private spaces including e/static, Turin, Studio Tucci Russo in Torre Pellice, and Galerie Paul Andriesse, Amsterdam, as well as in public spaces including: Torino‘s GAM; FRACBourgogne, Dijon; Singuhr-hoergalerie, Berlin; MLAC, Roma; Lawndale Art Center, Houston; and the Museum of Art, Denver.
New York painter Mark Roth emerged from Chicago’s performance art scene, which launched a ten-year touring career in the 80s and 90s. He headlined at The Green Mill, Randolph Street Gallery, Club Lower Links, PS122 and The Marsh. A graduate of The School of the Art Institute of Chicago, Roth’s recent solo painting exhibits include Superheated Reservoirs at The Phatory, Dormancy Quota Exceeded at Michael Mut Gallery and The Tornado Paintings at DD172. http://www.missingthemegafauna.com/
Missing the Megafauna is an augmented reality installation situated in the Metropolitan Museum of Art. The show contemplates current climate and painting dilemmas through the lens of the Pleistocene epoch; these include living with extinction and ecological grief, the possibility of rewilding as both conservation and artistic practice, and the promise of Painting – the original Augmented Reality.
Morgan O’Hara’s international performative drawing practice consists of “Live Transmissions" in which she attempts to work/live in the present, tracking the movement (her subject) of the hands of people as they engage in life activities. Direct and minimal aspects of Japanese aesthetic practices, her background, and her studies with John Cage inspire her life/work. http://www.morganohara.com/
Morgan will read from a text about how artists perceive things which are obvious to some and difficult to grasp for others and how we can't actually explain how we know something, though we can know it without conscious learning, and often with certainty.
Rachel Stevens is an interdisciplinary artist and writer whose work investigates social, material and media ecologies, critical geographies and infrastructural space. She recently completed a year-long residency with iLAND (Interdisciplinary Laboratory for Art, Nature and Dance) and a public project commissioned for Paths to Pier 42 on the East River Waterfront in Lower Manhattan. She writes for Millennium Film Journal and teaches in the Hunter College Integrated Media Art MFA program. rachelstevens.net
Empathy and Affectivity in 1970's Star Trek Cosplay is a speculative essay on individual and collective performances of non-human others, spun from a found archive of 35mm slides.