Light Industry
Films by Kevin Jerome Everson
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
Monday, May 18, 2009 at 7:30pm

Grounded in historical research and a strong sense of place, Kevin Jerome Everson¹s films and videos combine documentary and scripted elements with a sparse, rugged formalism. His ongoing subject matter is the lives of African Americans and other people of African descent, often working class, but he eschews standard realism in favor of strategies that abstract everyday actions and statements into theatrical gestures: archival footage is re-edited or re-staged, real people perform fictional scenarios based on their own lives, historical observations intermesh with contemporary narratives. His films suggest the relentlessness of everyday life?along with its beauty?but also present oblique metaphors for art-making.

Many of his works return to Mansfield, Ohio, where Everson was born and raised. The community's past is examined in Company Line, in which city employee Curley Lanier explains why he and his family left Alabama in the late 1950s to migrate North: ³To do better?I guess.² The remarks betray a sense of deep ambivalence about the promises of upward mobility in America that runs through this collection of recent projects; fifty years later, the people of Mansfield still aren¹t sure what ³better² means.

- Company Line, 2009, 30 mins
- Lead, 2009, 3 mins
- North, 2007, 2 mins
- Second and Lee, 2008, 3 mins
- Fifeville, 2005, 14 mins
- Ike, 2008, 3 mins
- Undefeated, 2008, 2 mins
- The Reverend E. Randall T. Osborn, First Cousin, 2007, 3 mins
- Home, 2008, 2 mins
- The Wilbur, 2008, 2 mins
- Two-Week Vacation, 2005, 1 min
- Honorable Mention, 2009, 2 mins
among others.

Followed by a conversation with Everson and Michael Gillespie.

Born in 1965, Everson now lives and works in Charlottesville, Virginia. Everson¹s artwork and films has been exhibited at the Museum of Modern Art in New York; the Whitney Museum of American Art, the Cleveland Museum of Art, the Studio Museum in Harlem; the Armand Hammer Museum in Los Angeles; Whitechapel Gallery in London; the Palm Beach Institute of Contemporary Art; Wurttenbergischer Kunstverein, Stuttgart, Germany; the Spaces Gallery in Cleveland; the American Academy of Rome in Italy, the Sundance Film Festival, Rotterdam International Film Festival, Cinematexas, Ann Arbor Film Festival, New York Underground Film Festival, and many other venues worldwide. He is the recipient of a Guggenheim Fellowship, a NEA Fellowship, two NEH Fellowships, two Ohio Arts Council Fellowships, an American Academy Rome Prize, residencies at Yaddo and MacDowell Colony and numerous university fellowships.

Tickets - $7, available at door.

About Light Industry

Light Industry is a venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.

About Industry City

Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in need of reasonably priced space. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production. For more information:
http://www.industrycityartproject.org

Expanded Cartography And The New Live Cinema
London Central Saint Martins
Wednesday 20 May 2009, from 10am

Expanded Cinema Seminar: Expanded Cartography And The New Live Cinema

Session one will look at the different spaces of expanded cinema and its unique interrogation of media reception. 20-30 minute illustrated papers will be followed by discussion with the audience. Session two will consider expanded cinema in an age of digital technologies and their effect on the ever changing live forms of visual media. The day will culminate with a new digital video performance work by artists Steven Ball & Martin Blazicek.

Abstracts for the papers and performance information are available here.

10am - Session One

"Parameters of Practice - Annabel Nicolson’s 1970s Practice"
Patti Gaal-Holmes (Portsmouth University)

"Figurative Interventions: A Narrative in Expanded Cinema"
Emile Shemilt (University of Dundee)

"Expanding the Event Structure and the Effect of Presence"
Ingrid Boeck (Graz University of Technology)

"Levels of Unreality"
Ken Wilder (Chelsea College of Art)

1pm - Lunch Break

2pm - Session Two

"Through the Dark Room – An Approximation between the Movie Theatre and the VJing Space"
Gabriel Menotti (Goldsmiths)

"The Spectator in Expanded Cinema of the Digital Age: A “Body Without Organs”?"
Bill Balaskas (Royal College of Art)

"Expanded Cinema: Teaching New Media"
Martina Bramkamp (LCC/Kingston University)

"Light Sculptures: Marinella Pirelli’s Expanded Cinema"
Matilde Nardelli (British Academy Post-Doctoral Fellow, University College London)

"Interface: The Move to Global Participation"
Craig Smith (London College of Communication)

4.30pm - Drinks Reception

6pm - Performance

AFTER LETHABY

For five days Ball and Blazicek will capture moving image, still image and audio material around and about Central St Martins’ Lethaby Building. They will be concerned with interrogating a range of spatial, historical and other phenomena of the space and its use. The material will be developed into a one-off live audio-visual performance conceived specifically for this event at this site. The exact nature of the work will be determined during its development, which will be documented over the days preceding the performance at http://blazicek.net/lethaby

This performance has been made possible with the support of Film Academy of Performing Arts Prague (FAMU) Prague and International Centre for Fine Art Research (ICFAR) UAL, with thanks to Judy Lindsay, Head of Museum and Contemporary Collections, Central St Martins.
http://blazicek.net
http://www.steven-ball.net

at

Room G12
Central St Martins College of Art and Design, Southampton Row, London,
WC1B 4AP
Nearest Tube: Holborn

This event is free but places are limited.
To book, email Duncan White

www.studycollection.co.uk
www.rewind.ac.uk/expanded/Narrative/Home.html

Light Reading Series 9
Bernd Behr with Brian Dillon
Wednesday 20 May 2009, at 7pm

Light Reading’s ninth series continues with a dialogue between artist Bernd Behr and writer and critic Brian Dillon. The event will include Behr discussing his current project WEIMAR VILLA, as well as screening his recent works HOTEL PALINDROME and HOUSE WITHOUT A DOOR (both 2006).

Behr’s work is produced at the investigative intersection between art and architecture, and more precisely on the instances and possibilities of architectural performativity in the moving image. Behr’s new work in progress, WEIMAR VILLA, addresses notions of an archaeology of modernity and the archeologically modern in relation to the Bauhaus. Spanning locations in China and Germany, the film conflates the construction site of a Bauhaus-themed luxury suburb on the outskirts of Shanghai with the recently exhumed ruin of Laszlo Moholy-Nagy’s house, originally part of Walter Gropius’ row of prototype "Master Houses" in Dessau. The project follows his exploration of the spatial conditions of a 1972 lecture by Robert Smithson in HOTEL PALINDROME and HOUSE WITHOUT A DOOR (both 2006) which collapses a WWII US military test site with 1920s Expressionist Film.

Behr’s work can often be seen to employ a method of lateral investigation; in place of neutral documentary, the camera performs the archeological act, examining architectural topographies of the 20th Century and their social implications. In Behr’s practice, the research process infiltrates the perception of the work as a finished product, enabling it to actively question the production of knowledge with regards to its subject. In this way, Behr’s work simultaneously performs a subtle operation of current investigation and retrospective consideration, creating work that performs contemporaneously not only through its medium of video, but also acts as a proposition for potential re-engagement with the ruins and/or failures of its subjects.

Bernd Behr lives and works in London and has exhibited in numerous solo and group projects in the UK and internationally. Recent solo projects include “House Without a Door” at High Desert Test Sites, California, USA, 2008, e-raum, Cologne, Germany, 2007 and Chisenhale Gallery, London, 2006. Group exhibitions and screenings include Wurttemburgischer Kunstverein, Stuttgart, Germany, 2009, Blancpain Contemporary Art, Geneva, Switzerland 2008, Lewis Glucksman Gallery, Cork, 2007, Chelsea Space, London, 2007, European Kunsthalle, Cologne, Germany, 2006 and Palais des Beaux Arts, Brussels, 2005.

Brian Dillon is UK Editor of Cabinet magazine and AHRC Research Fellow in the Creative and Performing Arts at the University of Kent. He writes regularly for Frieze, Art Review, Modern Painters, the Guardian, the London Review of Books and the Wire. He is the author of a memoir, “In the Dark Room” (Penguin, 2005) and his “Tormented Hope: Nine Hypochondriac Lives” will be published in September 2009.

Light Reading is an ongoing series of critical dialogues that engage artists, writers and curators in conversation around a selected artist’s body of work. To book or to be included on the mailing list for future events, please contact:

Light Reading
3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG
Nearest Tube / Train: Bethnal Green

Tickets: £5 door / £4 advance
Telephone: 020 7729 4494
Email: [email protected]
Places are limited so booking is essential

www.no-w-here.org.uk

John Bock
1st - 15th May 2009
on www.tank.tv

tank.tv is extremely pleased to present John Bock’s first online solo show. The special selection of fourteen videos includes several recently completed works and tank.tv will offer a unique opportunity to view these strong, chaotic and inventive videos : Alice Cooper, Boxer, Gast, Kleinodtodsod, Trecker, Fischgrätenmelkstand kippt ins Höhlengleichnis Refugium, Hysterie im Nonchalance, Pied de Porc, Bilanzgeraden, Schattenkanten Abfahren, Messi Mecker, Das Baumstück and Tierauflauf.

Bock (b. 1965 Gribbohm, Germany) attended the Hochschule für Bildende Künste (HfBK) in Hamburg. He has exhibited internationally for over 15 years including solo exhibitions at the Schirn Kunsthalle in Frankfurt, The Moore Loft in Miami, Institute of Contemporary Arts in London and Insa Art Space, in Seoul. He has also participated in Documenta 11 (2002), the 2001 Yokohama Triennial, and the 48th, 50th and 51st Venice Biennials. Bock lives and works in Berlin.