Subject: Franklin Furnace: Archive & Performance Schedule
David Green (david@ninch.org)
Date: Wed, 29 Apr 1998 13:02:42 -0500
Message-Id: <v02130509b16d18f9f523@[192.100.21.23]> Date: Wed, 29 Apr 1998 13:02:42 -0500 To: ninch-announce@cni.org From: david@ninch.org (David Green) Subject: Franklin Furnace: Archive & Performance Schedule
NINCH ANNOUNCEMENT
April 28, 1998
FRANKLIN FURNACE ARCHIVE & LIVE PERFORMANCE ONLINE
<http://channelP.com>
<www.franklinfurnace.org>
Franklin Furnace, subject of one presentation in a "Museums & the Web"
session on the "Virtualizing" of museums, is an example of an institution
with both a cultural collection and performance space that it is taking
into the digital realm: cataloging and archiving its artists' book
collection online (now owned by New York's Museum of Modern Art) and
presenting and archiving performance art online.
David Green
>---------------------------------------------------------------------------
>This season, Franklin Furnace presents emerging artists live at 5 PM, every
>other Friday, from February 6 to June 12, 1998, on the WWW at Pseudo
>Programs Inc., at http://channelP.com. Using RealPlayerTM live-streaming
>technology, performance artists will premiere performance works created
>especially for this new medium. The performance netcasts are archived for
>viewing at any time. To view upcoming and archived performances, download
>the RealPlayerTM plug-in, available at www.real.com.
>
>February 6
>HALONA HILBERTZ' Pseudo Studio Walk deals with virtual and actual space. A
>very elementary physical action-walking/running is used within a medium that
>normally symbolizes a very different spatial experience. Using the actual
>of a venue reserved culturally for virtual spaces, the performance
>emphasizes different meanings of "space." It is a thing, an effort, an
>action that, unlike the usual information on the Internet, cannot be
>reproduced. In this sense, it cannot be seen as an action representative of
>our information age — it is rather an action within a certain medium but
>also contrary to it. Halona's performances are influenced strongly by the
>audience's presence; this time, the mode of transmission to the audience
>dominates. Halona was born in Austin, Texas and grew up in Munich and
>Dusseldorf. She studied painting and performance at the Hochschule der
>Bildenden Kunste Saar, Saarbrucken, and at the Nova Scotia College of Art
>and Design, before moving to New York in 1996.
>
>February 20
>BINGO GAZINGO is songwriter of such songs as Psycho/Psycho, Indecent
>Proposal, Up Your Jurassic Park, I Love You So Fucking Much I Can't Shit,
>What is the Meaning of the Garbage Can, Let It Rock Let It Rip Let It Roll,
>David Letterman FFFFFFFFFFFF You, Is This the Chicken Market, I Left My Fart
>in San Zbisco, I'm So Used to Losin' Will I Lose You Too, Groove On Hairy
>Mary Flying Through the Air, Love Me All the Way to Heaven, and I'm Gonna
>Ping Pong You With a Ping Pong Ball. He has been seen in venues from street
>corners to MTV's Oddville and Live With Regis and Kathy Lee. He has been on
>the Dr. Demento Radio Show, and appeared on access cable in Tromeo and Juliet.
>
>March 6
>PATRICIA HOFFBAUER is a Brazilian-born choreographer, director, writer and
>educator. The last installment of her series, Who Killed Carmen? —
>Carmenland, The Saga Continues, was part of the Whitney Museum of American
>Art at Philip Morris Performance Series Second Sight, and marked the
>beginning of her collaboration with writer/performer George Emilio Sanchez.
>The collaborative relationship continues in Linda Rivera and Guests, a work
>developed and performed over the last two years. Using mambo, cha cha chas
>and rock n' roll, this trilingual multimedia work takes the National
>Geographic cultural archetype of the serape-clad peasant, the living Noble
>Savage, and the slick talk show hostess, turning these caricatures inside
>out to reinvent them. This is a combination of a pomo
>vaudevillian/slapstick performance environment that incorporates
>post-colonial themes. It explores the space where high art intersects with
>elements of popular entertainment creating a cross-cultural piece with an
>improvisatory structure.
>
>March 20
>JON KEITH performs Sunday Afternoon in the Unisphere, a fictionalized
>reminiscence of the 1964 New York World's Fair — in part, an exploration of
>how the Fair's vision of "the future" collides with the culture of the 90s..
>Peculiar souvenirs and tour descriptions are woven into a tale in which the
>past and present are conflated. is a writer and performer whose creative
>work began in Chicago. He consistently focuses on the processes through
>which memory and desire shape perception, and contemplates these processes
>in object-oriented performance and storytelling. Since moving to New York
>City in 1993, Jon has presented his work in Manhattan at the Trocadero
>Cabaret, P.S. 122, Dixon Place, Surf Reality, the Kraine Theatre, and in the
>Field's Performance Zone Festivals. In 1997 he created his one-hour solo
>theatre piece, Tales From the Dancing Egg, which he performed that year
>during August and September at the 13th Street Repertory Theatre.
>
>April 3
>JASON E. BOWMAN is a Glasgow-based artist whose practice as a cultural
>worker is established not solely on the creation of art objects but on a
>diversity of practice. His works are predominantly produced by residency
>format. Jason's "site-sensitive" projects have been presented in various
>contexts including art institutions, academic institutions, soup kitchens,
>factories, hostels for homeless people, and disused warehouses. Untitled
>(Performance for Cyber Broadcast) will involve the durational force of one
>continuous action which will question the virtual one-to-one relationship
>between the performer and the viewer/browser that the cyber broadcast may
>appear to offer.
>
>
>April 17
>KALI LELA COLTON premieres Mama is blue. Pop is red. Girl is Green? A
>creation myth in the hybrid style of silent film-noir. Written, directed
>and designed by Colton, the cybercast features Colton performing as Red Pop,
>Green Girl and Mama Blue with an original score by composer Fred Goldfine
>and performed by trumpeter Martha Michael. Mama is blue, from her long deep
>dark blue chenille tresses to her high-heeled feet. Moving, smoky blue and
>light Technicolor images of languorous blue Mama flow with stills of text
>set in blue as she relates her poetic and sensual tale of lunatic love. Mama
>is a lunatic, in the truest sense, for she is the moon's lover. Glory in
>Mama's gown, created in collaboration with Cockerham & Sibley. Marvel at
>Caramella di Carlo's images of the bright red face of Pop, Father Sun.
>Witness Green Girl Ex Ovum, a stop-action photographic birth in
>collaboration with Aaron Igler with ova by cosmic egg farmer Elgin Li.
>
>May 1
>NORA YORK is an international performer with two recently released CD's, To
>Dream The World (Evidence) and Alchemy (Polystar, Japan). York's
>performances are a collage of musical and theatrical elements, taking
>well-known songs and reorienting the listener through the shifting gender of
>the lyrics, or altering the emphasis of the song; her original songs are a
>mixture of poetry and musical genre. For Franklin Furnace At Pseudo
>Programs Inc., she will premiere her collaborative work with visual artist
>NANCY SPERO. Spero's archetypical female images move from one York song to
>the next creating a visual context and persona for the songs to inhabit.
>York will focus on her reinterpretations of the male dominated rock-n-roll
>songs remembered from her own history, attempting to recode the sexual
>stereotypes experienced in her own coming of age. Along with these she will
>introduce evocative original songs written specifically to explore Spero's
>world. York with Spero explores the terrain that lies between high art and
>entertainment.
>
>
>May 15
>ANNA MOSBY COLEMAN presents an non, which explores the thought processes of
>verbal ellipses and their simultaneous connections to a mundane,
>extra-corporal world. She applies the interactive elements of water and
>air. an non evokes heaven in a bathroom, kitchen or laundromat. Anna
>earned her Bachelor of Fine Arts degree from Carnegie Mellon University in
>1984. She has been awarded grants from The Vira I. Heinz Endowment for her
>artist books and the Pennsylvania Council on the Arts for a fellowship and a
>production grant in the media arts. She received a Mid-Atlantic Regional
>NEA/AFI Fellowship in media arts, and she is the Director of Light Speed
>Press, an artist book press that was founded in 1987.
>
>May 29
>LENORA CHAMPAGNE writes, performs and directs. A Louisiana native, she
>moved to New York City in 1972 to become a painter. Instead, she received a
>Ph.D. in Performance Studies from NYU and took to the stage; her performance
>of Getting Over Tom was presented at a benefit for Franklin Furnace in 1981..
>She has created thirty solo and group performance works and directed fifteen
>plays in addition to her own, presenting at NYC's DTW, NY Shakespeare
>Festival/The Public Theater, Ohio Theater, DIA, and P.S. 122; and in
>Montreal, Lincoln, NE; Cleveland, Boston, New Orleans, Philadelphia,
>Berkeley, Baltimore, and Paris, France, among other venues. She will
>present Anxious Women, which includes a short video monologue, "Cassandra
>Mixes Up Medea/Medusa" and a longer live solo in which she performs a woman
>who escapes into black holes in space to get away from her abusive scientist
>husband. Hopefully black holes will appear on your screen when she goes on
>live to get your advice and responses.
>
>June 12
>ALVIN ENG & YOAV GAL Alvin is a playwright, performance artist, lyricist
>and journalist and Yoav is a composer. The two collaborate in Mao ZeDong:
>Jealous Son, an operatic portrait using four different per-formers as Mao,
>based on the title character's own writings, as well as biographical
>accounts of his life. In a non-linear, but definitely narrative manner, the
>opera utilizes actors of various ages and genders to trace Mao's life. And
>by exploring personal episodes — many from his heretofore under-documented
>childhood — the opera contrasts and examines how these episodes shaped Mao's
>political career, and in turn, the identity and perception of Chinese people
>in the latter half of the 20th century. Alvin, who created and performed
>Over The Counter Culture for Franklin Furnace's In Exile series at Judson
>Memorial Church in 1991, holds an M.F.A. in Musical Theater Writing from
>NYU's Tisch School of the Arts and was named after the Chipmunk cartoon
>character. Yoav studied visual art and music in Tel Aviv, and also studied
>composition at Juilliard, the Aaron Copland School of Music and the
>Manhattan School of Music.
>
>Franklin Furnace's 1997-98 programs for emerging artists have received the
>generous support of Jerome Foundation, the New York State Council on the
>Arts, the Joyce Mertz-Gilmore Foundation, the Heathcote Foundation, the
>Foundation for Contemporary Performance Arts, Inc., and Pseudo Programs, Inc.
>_________________________________
>
>Franklin Furnace Archive, Inc.
>45 John Street Room 611
>NYC, NY. 10038-3706
>Tel: (212) 766-2606
>Fax: (212) 766-2740
>Email: ffurnace@interport.net
>URL: www.franklinfurnace.org
>
>
>Martha Wilson, Founding Director
>Michael Katchen, Senior Archivist
>Alexander Komlosi, Administrative and Intern Coordinator
>Alice Wu, Program Coordinator
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