Selections from Praxis 0.1

Little Berlin, an alternative space and zine library in Philadelphia’s Fishtown neighborhood, played host to a new series in October. Wayne Kleppe, the event organizer, felt that Philadelphia could benefit from exposure to different forms of performance and thus started utilizing the space at Little Berlin to organize. Kleppe himself does not identify as a performance artist, however he and his partner contributed the opening piece to the show. I look forward to seeing what he does with this series!

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Wayne Kleppe and Janette Chien IMG_3155 IMG_3163

Eames Armstrong

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Philip FryerIMG_3178 IMG_3182

Kaycee FilsonIMG_3186 IMG_3188SCRAAATCH

Family – r0 & Soheila Azadi

Roberta Orlando

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The simplicity of pictures. A constant research for experimentation. Without walls.
Roberta creates, develops and produces the impact of visual communication with the digital audio sync.
She explores the restless, intimate, thoughtful. She observes the emotions of the body,
sound and atmosphere, surrounding the reality of sense.
An ambient of impulses, visions and extensions that can flow in the intimate space created by r0.,
where the body moves in various digital audio-visual languages.

Roberta Orlando is basing her artistic research on gender identities and performance art, 
with a specific attention to discrimination on sexual orientation. 
She works on visual art with video, photography, installation, performance and sound. 
Her artwork has been exhibited in several and different public spaces, art galleries and museums in Europe and USA. 
Further more her study on gender and LGBT action has been performed in different countries such as: 
Italy, Spain, Germany, Estonia, UK and USA. 

 

Soheila Azadi

“Climate of Fear 002”

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Climate of Fear 002 was performed twice in Wicker Park, Illinois in mid-December, 2013.  Could the fourth hippest neighborhood in the U.S. (Wicker Park, IL) have failed at being hip? I wanted to challenge Wicker Park by assuming a foreign identity, and in this case, my Muslim identity. I asked random people to take pictures with me. The first time I performed this out of about 52 people who I asked, only 20 said yes. The second time I performed this I asked about 20 people to take pictures with me, and 14 people said yes.  The result of this performance is a letter to my family, something that I often do. I also printed all the pictures and I will send them to my family in Iran in January 2014. Once my family receives this letter, I will Skype with them and I will document the Skype session. All the documentation of this performance will be shared here.

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The sound of prayer, the smell of spices, and wet mud from bricks are still fresh memories. Isfahan, that historic city, once the capital of Persia, the city in which I was taught to communicate in Farsi and Arabic, is my home – it is Iran. After attending university in Iran, I immigrated to the United States in 2003. I have lived in Michigan and Pennsylvania for nine years before I moved to Chicago in 2013. I am currently attending University of  Illinois at Chicago. I am working towards an MFA   in Moving Images.

If a tree falls, does it make a sound? – Adam Rose and Ian Deleón

Adam Rose
“Walk to Milwaukee”

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In May 2013, I walked to Milwaukee, WI, from Chicago, IL. I walked an approximate 115 miles in 4 and a half days through northern Illinois and southeastern Wisconsin. I documented the walk using disposable film cameras.
I had the idea for the performance while driving through Indiana. The midwest is often regarded as flyover country, and I wanted to do the opposite and instead experience the scale of the midwest by walking through it. The train ride back from Milwaukee to Chicago took an hour and a half.

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Adam Rose is the Artistic Director of Antibody Corporation, a mission based organization specializing in mind/body integration. His performances incorporate both movement and originally composed music.
Since 2009, he has presented performances in both Dance and Performance Art contexts throughout Chicago, IL, where Antibody is based, and nationally in Brooklyn, NY; Rosslyn, VA; Philadelphia, PA; Cambridge, MA; New Orleans, LA; Detroit, MI; Akron, OH; Columbus, OH; and Waterloo, IA.

Ian Deleón
“A picture of the [past, present, &] future”

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In October of 2013, I visited the archipelago of Puerto Rico for my second time. There was an afternoon, in which I would be alone for several hours, so I decided to walk the 15 minutes from where I was staying in Cataño, to the nearby Bacardí distillery. A good amount of my work recently has been a response to Bacardí’s ad campaigns, especially regarding the “Cuba Libre”, which depicts the U.S. occupation of Cuba at the turn of the 20th century as a benevolent and liberating act. I entered the Bacardí complex knowing that I would do something. After my first complimentary cocktail, I decided to try the infamous “Cuba Libre” right from the source–it was gross [see Image 1]. Leaving the gated complex, I noticed how different the architecture and landscaping was within this rum-bottling oasis, a marked difference from the surrounding neighborhood of Cataño. I find a pair of gloves left on the freshly cut grass and display them in a visual homage to Max Klinger.

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A few hundred feet away from the gates, a row of palm trees lines the road leading to La Esperanza (Hope) park–former holding site for the unassembled monstrous statue of Christopher Columbus designed by sculptor Zurab Tsereteli. A headless palm, with a soft, rotting trunk catches my eye–something I have never seen in person. As I investigate the surface tension with my foot, I am reminded of a quote I had recently read from the novel 1984: “Always, at every moment, there will be the thrill of victory, the sensation of trampling on an enemy who is helpless. If you want a picture of the future, imagine a boot stamping on a human face — forever.”
Thinking of Puerto Rico’s ongoing colonial relationship with the U.S., I decided to make this short performance.

Ian Deleón (b. 1987, Miami, 2nd generation Cuban/Brazilian)

“My current body of work may be best understood in terms of its allegorical relationship to archaeology, in which the meticulous uncovering, analyzing and restructuring of ‘media fossils’ allows me to better understand and critique the particular popular culture from which I have emerged. This deconstruction of images, sounds and text (strengthened by a background in film and video editing), provides an opportunity to re-examine mass media output through a variety of critical lenses, such as the post-colonial, feminist, Marxist, cyborg, and post-modern theories.” – Ian Deleón

If a tree falls, does it make a sound? – E.Aaron Ross and Samuel Glidden

E.Aaron Ross
“204 Hits Illuminating, Exhausting”

This piece follows a previous piece of a similar format where I find a tool that seems out of place in its environment and use it to make a performance and sculpture in the environment it was found in.

While the last piece was an urban tool in a rural setting, for this new piece, “204 Hits Illuminating, Exhausting”, I wanted the reverse. I purchased an ax from the Swap-O-Rama on Chicago’s South Side, and located a group of cement pillars only a few blocks away at an abandoned factory. In the pitch black and silent night, I swung the ax into the pillar until I was too physically exhausted to continue. The sound of the ax hitting the pillar created a sharp and metallic echo, triggering a pair of audio sensitive flashes to fire, illuminating the scene for a brief moment for two video cameras and one still camera.

With each swing, dust and cement filled the air before audibly sprinkling the ground. Towards the end of my performance (approximately 8 minutes), the battery life of the flashes also became exhausted, firing less frequently (sometimes only every few hits or out of sync with the hit, allowing sparks from the ax to be visible). Eventually, the flashes stopped firing all together, and I myself stopped soon after from physical exhaustion.

This work produced a 2 channel video installation, 23 photos from the still camera connected to flash (when the two fired in succession to create a lit image), and a 3 piece photo installation using 1 photo of the performance, 1 photo of the pillar after the performance, and the ax itself mounted in a light box.

“204 Hits Illuminating, Exhausting” seeks to embody a fruitless anger and masculinity that I find repulsive, but intrinsic in myself. This work is an exercise in futility and aggression and its necessary expression.
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E. Aaron Ross is a 29 year old single white man living in Chicago. He grew up in the Western Suburbs,skateboarding and playing music in punk and hardcore bands, before attending the University of Illinois at Chicago, where he graduate with one B.F.A. in Moving Image (video/ film/ studio art), and a second B.F.A. in Graphic Design. He is the product of a blue-collar conservative father from the South-ern United States, and a workaholic single mother from Indiana.

Samuel Glidden
“Digging Graves/Buried Dreams”

It is snowing and I walk for a while down side streets until I reach a dead end and climb over some clusters of rocks and end up on a beach next to a wooded area I have never seen before. I blindfold myself and walk down the beach, recording whatever was in front of me. I reach the woods and wander into it, cutting my hands and face on branches and thorns. As time passes it begins to snow harder and I am overwhelmed with fear of the cold and the fact that I couldn’t see anything around me. I could feel the snow and wind hitting my right side so I walked against it, figuring it was coming from the ocean. I eventually feel nothing around me so I take my blindfold off and am on the same beach I began on and walked home. I was lost in the woods, blindfolded, for about an hour.
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” I am a native of Massachusetts and spent most of my formative years in Springfield, MA. When I was 18 years old I moved east and have been residing in Beverly, MA for the past two years, studying at Montserrat College of Art with a concentration in Book Arts.” -Sam Glidden

If a tree falls, does it make a sound? – Hanna M. Owens and Joseph Gordon Connelly

We are pleased to begin our 2014 series of thematic posts with, If a Tree Falls, Does it Make a Sound? (artist accounts from actions that had no witnesses.)  Over the next few months, The Present Tense features works that explore private action and challenge the role of audience.  

 

Hanna M. Owens
“Love Letters” project

Recently I came across a video on YouTube, a film from 2005 by the Iraqi filmmaker Saad Salman, and was suddenly struck with a sense of responsibility. Salman’s film is entitled Lettre d’amour à la fille du président G.W Bush, introducing me to a man with a message: a poet named Haitham Adam Jobbo Jubra’eel. He reads his poetry in the hopes that his love letter will be delivered to [one of] the daughter[s] of George W. Bush. The filmmaker then questions his motivation, Jubra’eel affirms the sincerity of his gesture, and the filming wraps up. I immediately felt obliged to deliver this message. As an effort in translation and internet outreach, I translated and re-subtitled the film, now in Arabic, French, and English, and have been attempting to deliver it, across multiple digital platforms, to both Jenna Bush Hager and Barbara Pierce Bush.

Born in rural Vermont, Hanna M. Owens is thoroughly Baltimore and currently Chicago with pit-stops in Calais, Dakar, and West Virginia. Her work has been exhibited and performed in spaces including the MCA (Chicago), Little Berlin Gallery (Philadelphia), Baltimore Museum of Art, Maryland Art Place, Maryland Institute College of Art, Towson University (MD), and Floristree Gallery (Baltimore) among others. Her face and body appear in films echoing all across the internet and she regularly broadcasts herself on cam4 under the handle madbushswag (tip if you like what you see + tip to see more of what you like / just send positive energy). She is currently completely her thesis as an MFA student at the University of Illinois at Chicago.

Joseph Gordon Connelly
“Fissure Fix”

A repaired crack in a telephone pole. The crack was filled with wood putty and then gilded. The piece was installed in an industrial area on Cleveland’s southeast side. No identification was left with the piece.

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Joseph Gordon Connelly was born in Columbus, OH. He has a BS in Dance/InterArts & Technology. He received an MFA at the University of Wisconsin-Madison. He taught studio courses in Time
Art, Performance, Installations, and Artist Video. In addition to his solo work, he is part of the art collaboration team Gordon & Gordon Art. He has produced work in the US, Germany, Israel, Russia, and Slovenia.

LONG TERM 2014

The following is a collection of videos from the work made for LONG TERM, co-curated by Adriana Disman and Sandrine Schaefer as part of LINK & PIN performance series.  LONG TERM occurred at HUB 14 and around the surrounding areas in Toronto on Saturday, April 12, 2014 – Sunday, April 13, 2014 and was co-presented with Fado.

The work featured in LONG-TERM investigates extended duration, collaborative practices of various artist duos. Unfolding over 2 days, the event addresses the complexities involved in creating, balancing, and evolving a shared creative process.  Enjoy!

 

Miller and Shellabarger

 

Miller & Shellabarger- LONG TERM 2014 from The Present Tense on Vimeo.

JV

JV “Tactic” – LONGTERM 2014 from The Present Tense on Vimeo.

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VestAndPage – LONG TERM 2014 from The Present Tense on Vimeo.

Duorama 

 

Duorama – Long Term 2014 from The Present Tense on Vimeo.

Rooms

ROOMS “Ritual No.1: COUNTING BIRDS” – LONG TERM 2014 from The Present Tense on Vimeo.

Accumulation and the precious object

I feel lucky and grateful to have participated in Accumulation a second time. During the first phase, which happened in 2009 at the MEME space, my participation was less than frequent. As I began rummaging through my studio for possible object participants in phase two, I reflected on my actions from Phase 1.  I quickly realized that I relied heavily (almost entirely) on interacting and performing with objects brought to the space by the other artists. As someone who uses mostly objects that have some sort of sentimental value or emotional connection, Accumulation had given me an ultimatum: risk having your important objects destroyed or use objects that have little or no emotional connection to your work. During Phase 1, I did not have the courage to accept that kind of challenge.

ACCUMULATION (Phase 2) Philip Fryer 02.07.14 from The Present Tense on Vimeo.

What I didn’t realize was happening, was a parallel between my hesitance to bring meaningful objects to the table and the very reason many galleries had declined to show Accumulation over the years. The uncertainty of the performances, the preciousness of the physical materials caused hesitation. I simultaneously felt frustration and understanding about these things. Five years after the first phase, Accumulation found a home for Phase 2 in the 808 gallery at BU, thanks to Lynne Cooney. Lynne’s willingness to bring unpredictability into her space allowed me to push myself out of my comfort zone and choose to bring objects to Phase 2 that I wouldn’t have brought to the first.

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This is a single I came across in my dad’s record collection. It has the name “Hughes” written in messy black letters and has smudges of white paint on both sides. To anyone else, it might just look like a ruined Mary Hopkin single, but to me it holds the hallmark of my uncle Richard (Hughes). I grew up with Richard being around almost all the time, he was a house painter through the 80’s and 90’s and frequently came home covered with white primer paint which subsequently, covered many things within my home. This is the only thing I have left with that signature, a bittersweet momento of my favorite uncle who was more fun than anyone in the world, who is now legally blind and resides in a Quincy homeless shelter. I have few things in my possession that hold this much emotional value.

Shannon Cochrane during Phase 2

Needless to say, I felt neurotic about what would happen to it after my performance. My heart jumped when Shannon picked it up during her and Marcios second performance. A green apple, similar to the one pictured on the record, is cut in half and taped to it. I felt instant relief, but more than anything, instant gratude. Gratitude to Shannon and Marcio, who acknowledged and honored this object and brought it into a new light for me. And gratitude for a community that pushes its members into new territory. I can only hope that other artists included in Phase 2 shared similar experiences, and that Phase 3 won’t take another 5 years to come to light.