In Recognition: Vito Acconci

Manifesto Series: Souvenirs for an Ideal City

Manifesto Series: Souvenirs for an Ideal City

Tuesday, November 28th, 2017

7 – 9 pm

 

#storefrontseries   #manifestoseries   #souvenirs   @storefrontnyc

 

With Joep van Lieshout, Arjen Oosterman, QSPACE, and Marga Weimans.

 

As a contemporary form of commercialized nostalgia, souvenirs are the ultimate cliche in the representation of a city. Pocket-sized, acritical, and cheap, they populate tourist sites all over the world with a patina of innocence.

 

Souvenirs produce collective imaginaries made up of lines that follow the profiles of superlative sculptures, buildings, and stories. They have become the reference points that anchor a particular culture in time, representing (consciously or not) political, cultural, and social values.

 

Manifesto Series: Souvenirs for an Ideal City is organized as part of Storefront’s current exhibition, Souvenirs: New New York Icons. The event invites an international group of architects, designers, photographers, curators, and researchers to reflect upon the objects and imaginaries that define the global city. Participants will reimagine the icons of the city, and will present manifestos for new “souvenirs for an ideal city” in an effort to explore the concept of iconography and what icons mean for the city today.

 

 

About the Participants:

Joep van Lieshout is a sculptor and visionary known for exploring the boundaries of art, of ethics, of society. His work is not limited to sculptures and installations, but also comprises buildings and furniture, as well as utopian and dystopian visions. In his projects, Van Lieshout focuses on systems, power, autarky, life, sex and death – the human individual in the face of the greater whole. In 1995, Van Lieshout founded his studio, Atelier Van Lieshout; ever since, he has been working under the studio moniker to undermine the myth of the artistic genius.

 

Arjen Oosterman is a critic, educator and curator. With a background in architectural history he is editor-in-chief of Volume magazine (since 2007). For Volume’s publisher Archis, he is engaged in book publications and projects, the current one being Trust in the Blockchain Society. As an educator, he taught architectural history and later on specialized in research and writing at schools of architecture. He published first and foremost in Archis and Volume, but also in other magazines like l’Architecture d’Aujourd’hui, Baumeister, Rassegna, and Manifesto. He has written, edited, and contributed to books on contemporary Dutch architects and architecture, contributed to Dutch television documentaries, been member of juries and awards, and lectured internationally.

 

QSPACE is a queer architecture research and design studio that defines itself as mixing queer theory, social justice, and design practice. Beyond a collection of individuals, QSPACE is a platform for research projects by students and professionals working on queerness in the built environment, producing research and outputs on topics such as gender inclusive bathroom design, LGBTQ homelessness and housing, and queer histories in architecture. QSPACE pushes for organized action through exhibitions, publications, digital archiving, and design guidelines, making questions of gender and sexuality visible to a field that has traditionally subverted such questions. In the absence of a centralized voice, QSPACE is a hub for students, professionals, and academics to connect and collaborate. As architects, the studio believes that design can and should play an active role in responding to social change, and hopes to offer the tools with which to create it.

 

Marga Weimans is an international fashion house that expands itself to multiple disciplines including fashion, architecture, and fine arts. Weimans graduated from the Antwerp Royal Academy of Fine Arts. Her work has been purchased by and exhibited at the Groningen Museum, and her collections were presented in two haute couture weeks in Paris and in several Dutch exhibitions. Weimans pushes the boundaries of the industry, exploring the connections between fashion and architecture. Her collections are very broad: from haute couture to pret a porter, including architectural showpieces and minimalistic dresses. She incorporates elements of nature and space, and uses earth tones and natural fabrics. She works with 3D perspectives, and has used materials such as wood, iron, and resin as well as creating her own material by mixing fabric with fiberglass. Weimans is also interested in exploring the role of black women in our current global, complex culture. With her collection “Source of Power Collection,” Weimans puts forth an image of the eccentricity, political incorrectness, and dignity that come to play in analyzing the contemporary black woman.

 

About the Manifesto Series:

”To launch a manifesto you have to want: A, B & C, and fulminate against 1, 2 & 3. Work yourself up and sharpen your wings…” -Tristan Tzara, Dada Manifesto (1918)

 

The Manifesto Series is one of the Storefron’s ongoing event series formats. It seeks to encourage the formulation of positions and instigate spirited discussion and exchange in a dynamic and polemical context. The format therefore differs from that of other talks and presentations. Rather than putting forth a synthetic lecture or a series of projects, participants are invited to deliver a concise, point-by-point manifesto, with the hope that their positions will provide the grounds for discussion to test various hypotheses in real time.

 

 

Attendance and Seating

All Storefront events are free and open to the public. Seating is on a first come, first served basis, with priority seating available for members of Storefront. If you are a member and would like to reserve a seat, contact jk@storefrontnews.org.

 

To become a member, see here.

 

 

Support

This event is part of the Crossovers Program, a collaboration between Storefront and the Het Nieuwe Instituut. The program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.

 

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.

 

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OfficeUS Manual

 


$25.00

Lars Muller Publishers, 2017

16 × 24 cm, 6 ¼ × 9 ½ in

288 pages, 461 illustrations

Paperback

ISBN: 978-3-03778-439-6, English
 

Edited by Eva Franch, Ana Miljački, Carlos Mínguez Carrasco,

Jacob Reidel, and Ashley Schafer. 

 

OfficeUS Manual is a critical, occasionally humorous, and sometimes stupefying guide to the architectural workplace that documents and interrogates the protocols, policies, and procedures of architectural offices. The book is the third publication of the OfficeUS series, which deals with the influence of U.S. architectural practices on a global scale.

 

OfficeUS Manual contains historical material from large firms and small studios. Additionally, it features contemporary reflections by more than fifty architects, artists, and writers concerned with the needs and desires of professional architecture practices today. It analyzes the methods and practices of architectural firms, examining, in particular, the past one hundred years.

 

The book is a resource for understanding – and reimagining – the nature and design of an architectural practice. It features original graphic analysis and images from The Architects by Amie Siegel. The publication follows two other books in the series: OfficeUS Agenda, which documents the work of US architectural offices and their global influence over the past one hundred years; and OfficeUS Atlas, a register and press archive of US architectural production abroad.

 

OfficeUS is a project initiated by Storefront for Art and Architecture in 2014, when the organization was selected to serve as the commissioner of the U.S. Pavilion at the Venice Architecture Biennale. Read more about the OfficeUS project here.

 

 

 

Salon Series: On the Politics of Performance

“Marching On: The Politics of Performance” by Bryony Roberts, Mabel O. Wilson, and the
Marching Cobras of New York. Commissioned by Storefront for Art and Architecture, 2017.

 

Salon Series: On the Politics of Performance

Tuesday, November 14th, 2017

7 – 9 pm

 

#salonseries   #marchingon   #politicsofperformance

 

With Bryony Roberts, Mabel O. Wilson, and Eva Franch

 

As part of Marching On: The Politics of Performance, Storefront collaborates with Performa to host a salon series at the gallery space exploring the politics of performance.

 

A corresponding performance by The Marching Cobras of New York is presented on the Saturday and Sunday before the event at Marcus Garvey Park in Harlem. The event is free and open to the public, and is part of Performa 17. See here for more information.

 

African-American marching bands have long been powerful agents of cultural and political expression, celebrating collective identities and asserting rights to public space and visibility. With Marching On, Bryony Roberts and Mabel O. Wilson, professors at Columbia University’s GSAPP, collaborate with the Marching Cobras of New York, a Harlem-based after-school drum line and dance team, to explore the legacy of marching and organized forms of performance. Commissioned by Storefront for Art and Architecture, this new project interweaves echoes of the 1917 Silent Parade against racial violence with references to the revered Harlem Hellfighters in order to celebrate the crucial role of the community’s collective performances as acts of both cultural expression and political resistance.

 

Critical Halloween Party Bibliography: On Holes

 

 

Storefront’s Critical Halloween Party Bibliography is a compilation of readings that acts as a resource for individuals interested in investigating the topic of each year’s Critical Halloween event. The bibliography for this year’s theme of “HOLES” focuses in particular on issues of presence/absence, matter, removal, and nothingness.

 

Holes appear to be made of nothing, and yet can be described by what takes place around, inside, and through them. In art and architecture, holes question our perceptions of matter and space, constructing, revealing, and inviting us to reflect upon what is real…and what is not. Scary.

 

We invite you to submit your own contributions to the bibliography ON HOLES. To do so, end an email with citations to info@storefrontnews.org.

 

Read more about Critical Halloween: Holes and purchase tickets here.

 

PARTY BIBLIOGRAPHY: ON HOLES

 

  • Barr, Jeff. 1001 Golf Holes You Must Play Before You Die. London: Ronnie Sellers Productions, 2005.
  • Barrada, Yto.  A Life Full of Holes. Autograph, 2005.
  • Bertamini, M., and Casati, R. ‘Figures and Holes’, in J. Wagemans (ed.), Handbook of Perceptual Organization, Oxford: Oxford University Press, 2014.
  • Bertamini, M., and Croucher, C. J. ‘The Shape of Holes’, Cognition, 2003, pp. 33–54.
  • Bozzi, P. ‘Osservazione su alcuni casi di trasparenza fenomica realizzabili con figure a tratto’, in G. d’Arcais (ed.), Studies in Perception: Festschrift for Fabio Metelli, Milan/Florence: Martelli-Giunti, 1975, pp. 88-110.
  • Buntrock, Dana. ‘Teshima Art Museum by Ryue Nishizawa, Teshima Island, Japan SANAA’, Architectural Review, 2011, Web.
  • Casati, R., and Varzi, A. C. Holes and Other Superficialities, Cambridge, MA: MIT Press, 1994.
  • Dechristofano, Carolyn Cinami. A Black Hole Is Not a Hole. Charlesbridge, MA, 2012.
  • Demos, T.J. Life Full of Holes. Grey Room Inc., and Massachusetts Institute of of Technology, 2006, pp. 72–87.
  • Diedrich, Richard. The 19th Hole: Architecture of the Golf Clubhouse. Images Publishing, 2008.
  • Dimendberg, Edward. Diller Scofidio Renfro: Architecture After Images. University of Chicago Press, 2013, pp. 24, 156.
  • Ende, M. Die unendliche Geschichte: von A bis Z, Stuttgart: Thienemanns. English translation by R. Manheim: The Neverending Story, Garden City, NY: Doubleday, 1983; reprinted by Puffin Books, 1985.
  • Gargiani, Roberto. OMA. EPFL Press, 2008, pp. 16.
  • Geach, P., 1968, ‘What Actually Exists’, Proceedings of the Aristotelian Society (Supplement), 42: 7–16.
  • Giralt, N., and Bloom, P. ‘How Special Are Objects? Children’s Reasoning about Objects, Parts, and Holes’, Psychological Science, 2000, pp. 503–507.
  • Hoffman, D. D., and Richards, W. A. ‘Parts of Recognition’, Cognition, 1985, pp. 65–96.
  • Hofstadter, D. R., and Dennett, D. C., The Mind’s I. Fantasies and Reflections on Self and Soul, New York: Basic Books.
  • Holl, Steven. Parallax. New York: Princeton Architectural Press, 2000, pp. 17-18.
  • Hollier, Denis. Against Architecture: the writings of George Bataille. Cambridge, MA: MIT Press, 1989, pp. 23.
  • Jackson, F. Perception. A Representative Theory, Cambridge: Cambridge University Press, 1977.
  • Karmo, T. ‘Disturbances’, Analysis, 1977, pp. 147–148.
  • Lee, Pamela. Object to be destroyed: the work of Gordon Matta-Clark. MIT Press, 2001, pp. 67, 84.
  • Lewis, D. K., and Lewis, S. R. ‘Holes’, Australasian Journal of Philosophy, 48: 206–212; reprinted in D. K. Lewis, Philosophical Papers. Volume 1, New York: Oxford University Press, 1983, pp. 3–9.
  • Lewis, D. K. ‘Void and Object’, in J. D. Collins, N. Hall, and L. A. Paul (eds.), Causation and Counterfactuals, Cambridge, MA: MIT Press, 2004, pp. 277–290.
  • Lewis, Paul, Marc Tsurumaki, and David J. Lewis. Manual of Section. New York: Princeton Architectural Press, 2016, pp. 17–18.
  • Martin, C. B. ‘How It Is: Entities, Absences and Voids’, Australasian Journal of Philosophy, 1996, pp. 57–65.
  • Meadows, P. J.‘What Angles Can Tell Us About What Holes Are Not’, Erkenntnis, 2013, pp. 319–331.
  • Miller, K. ‘Immaterial Beings’, The Monist, 2007, pp. 349–371.
  • Moos, Stanislaus von, and Jan de. Heer. Le Corbusier: elements of a synthesis. 010 Publishers, 2009, pp. 344.
  • Nelson, R., and Palmer, S. E. ‘Of Holes and Wholes: The Perception of Surrounded Regions’, Perception, 2001, pp. 1213–1226.
  • Rose, Julian, Stephanie Hanor, and Stephanie Weber. Sarah Oppenheimer. Oakland: Mills College Art Museum, 2016.
  • Sachar, Louis. Holes. Random House Children’s Books, 2011.
  • Simons, P. Parts. A Study in Ontology, Oxford: Clarendon Press, 1987.
  • Sorensen, R. Seeing Dark Things. The Philosophy of Shadows, Oxford: Oxford University Press, 2008.
  • Sudjic, Deyan. Norman Foster: A Life in Architecture. The Overlook Press, 2010.
  • Tucholsky, K. ‘Zur soziologischen Psychologie der Löcher’ (signed Kaspar Hauser), Die Weltbühne, March 17, p. 389; now in Gesammelte Werke, ed. by M. Gerold-Tucholsky and F. J. Raddatz, Reinbek bei Hamburg: Rowohlt Verlag, 1960, Vol. 9, pp. 152–153. English translation by H. Zohn: ‘The Social Psychology of Holes’, in Germany? Germany! The Kurt Tucholsky Reader, Manchester: Carcanet Press, 1990, pp. 100–101.
  • Vitruvius, and Morris Hicky Morgan. Vitruvius: The Ten Books on Architecture. Chapter X: Catapults or Scorpiones. Cambridge: Harvard University Press. 1914.
  • Wake, A., Spencer, J., and Fowler, G. ‘Holes as Regions of Spacetime’, The Monist, 2007, pp. 372–378.

Critical Halloween: Holes

Graphic design by Fru★Fru (Rosana Galian + Paula Vilaplana)

 

Critical Halloween: Holes

 

Tuesday, October 31, 2017

9:30 pm – late

 

Museum of Sex

233 Fifth Avenue, New York, NY

 

SEE PHOTOS HERE

  
#criticalhalloween     #holes     @storefrontnyc
 

Critical Halloween is a party, an intellectual debate, a costume competition, and a space for the expression of radical thought. The event brings people together through music, dance, and costume to engage in critical discussion in New York City.

 

Each year, Critical Halloween celebrates a feared ghost of art and architectural production. This year, we explore HOLES.

 

Holes appear to be made of nothing, and yet can be described by what takes place around, inside, and through them. In art and architecture, holes question our perceptions of matter and space, constructing, revealing, and inviting us to reflect upon what is real…and what is not. Scary.

 

We invite artists, architects, designers, poets, lawyers, and other holed beings to join us at the Museum of Sex explore the conceptual depths of HOLES through sartorial guise.

 

DJ Mapquest will perform live sets throughout the night. Guests are invited to partake in an open bar, and to experience the Museum of Sex’s current exhibitions and installations.

 

Critical Halloween is a space of reflection and action based upon the belief that critical ideas have a place within even the most seemingly carefree manifestations of our culture: the Halloween costume party.

 

PEOPLE’S CHOICE AWARD

The People’s Choice Award, in partnership with The Architect’s Newspaper, will be decided in an online competition. Votes will be accepted through Friday, November 10th at 11:59 pm. View each of the entries and place your vote here.

 

 

COSTUME COMPETITION WINNERS
 
Best Individual Costume:
“Threshold” – Sebastian Grogaard
 
 
Best Duo/Couple Costume:
“Hole Foods” – Henning Strassburger and Daniel Topka
 
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Honorable Mention – Duo/Couple Costume:
“Holey-Roley (Rolex Learning Center) aka ‘Swiss Cheese'” –
Kate Chen and Ainslie Cullen
 
31_761A0204 
 
Best Firm/Group Costume: 
“Weep Holes” – FXFOWLE
 
68_761A0428
 
Best Overall Costume:
“Rhino Boolean” – Steven Holl Architects
 
22_761A0148
 
JURY
Costume competition winners were selected by a renowned jury comprised of:
  
Sean Anderson, Museum of Modern Art
Felix Burrichter, PIN-UP
Eva Franch, Storefront for Art and Architecture
Natasha Jen, Pentagram
Charles Renfro, Diller Scofidio + Renfro  
 

PARTY BIBLIOGRAPHY

See here for a list of publications and articles that inspired this years HOLES costumes.

 

________________________________

 

“I dug a deep hole in the basement of 112 Greene Street. What I wanted to do I didn’t accomplish at all, which was digging deep enough so that a person could see the actual foundations, the ‘removed’ spaces under the foundation, and liberate the building’s enormous compressive, confining forces simply by making a hole.” -Gordon Matta Clark

 

________________________________

 

 

LEAD SPONSOR
Arup
 
CRITICAL FIRMS*
DS+R
KPF 
Pentagram
Robert A.M Stern Architects
Steven Holl Architects
Weiss/Manfredi
CRITICAL COMMITTEE*  
Nanu Al-Hamad
The Architect’s Newspaper
Daniel Ayat
BIG
Sylvia Smith, FXFOWLE
Will Garris
Greta Hansen
Chase Kaars
Toshiko Mori Architects 
Margery Perlmutter
Russell Piccione Design
Protravel International
Valli Ravindran
SO-IL
Silvia Tomescu
WXY Architecture + Urban Design 
EVENT PARTNERS
Lagunitas Brewing Company
Tito’s Handmade Vodka
 
Main Photo by Jena Cumbo
Graphic Design by Fru★Fru (Rosana Galian + Paula Vilaplana)

We Like America: New Icon-i-Cities

NEW ICONICITIES
As part of It’s Happening! Celebrating 50 Years of Public Art in NYC Parks
Saturday, October 21st from 11 am to 3 pm
Central Park’s East Pinetum (East 84th Street entrance), located on the basketball courts 
See location here on Google Maps.
 
 
#spacebuster     #welikeamerica     @storefrontnyc     #ubermut    @raumlaborberlin    #newiconicities
 

NEW ICONICITIES brings together critical approaches to the shifting and complex iconography of the city. Presented during Souvenirs: New New York Icons, currently on view at Storefront’s downtown gallery space, the event includes a series of talks and a workshop inside the Spacebuster.  

 

For the Souvenirs exhibition, Storefront has commissioned 59 artists to produce original objects that represent and redefine the collective imaginary for each of New York City’s 59 community boards.

 

During New Iconicities, participants of the show will present their ideas about what should constitute an icon of the city today. In parallel to these open discussions, raumlaborberlin, the creator of the Spacebuster, will lead a public workshop that invites visitors to produce their own iconography for their neighborhoods, inspiring new ways of perceiving the city of New York.

 

This event is part of We Like America, an experimental road trip of the Spacebuster, and takes place in the context of It’s Happening! Celebrating 50 Years of Public Art in NYC Parks.

 

About We Like America

We Like America, presented in partnership with Übermut Project, is an experimental road trip of the Spacebuster, a temporary architectural structure designed by raumlaborberlin and commissioned by Storefront in 2009 in order to transform public spaces into impromptu community zones.

 

Exploring facets of the “American Dream” and seeking out new urban frontiers by transforming nomadic, transgressive, and transitory spaces, the Spacebuster is reprised through We Like America in a journey of the American Rust Belt.

 

With a multifaceted mission that includes fact finding, observation, and research, We Like America will pop up to investigate and organize around issues of collective societal desire in everyday life. The road trip kicked off in Chicago during the preview week of the Chicago Architectural Biennale, and then worked its way east with pit stops in St. Louis, Cleveland, eventually arriving in New York in October.

 

Read more about We Like America, the Spacebuster, and all the events here.

 

About It’s Happening!

As NYC Parks’ public art program took shape in the 1960s, artistic events called “happenings” popped up in parks across the city. Blurring the line between art and everyday life, these fleeting performances combined sculpture, music, theater, dance, and poetry. They varied in size and sophistication, but always relied on audience participation. Since its creation in 1967, Art in the Parks has featured over 2,000 works of art. 

 

This year NYC Parks is celebrating the 50th anniversary of its Art in the Parks program. It’s Happening! celebrate this milestone with dynamic public artworks, hands-on workshops, and performances that transform Central Park into a stage, museum, and art studio for a free day of public art. Art lovers, families, and park-goers will be delighted by free art exhibits, performances, and hands-on art workshops in Central Park’s beautiful East Pinetum field.

 

Read more about It’s Happening! here.

We Like America: Spacebuster x Brooklyn Boheme

 
 We Like America: Spacebuster x Brooklyn Boheme
Saturday, October 14th from 12 pm to 10 pm
Fort Greene Park, Brooklyn (enter at Washington / Dekalb)
 
#spacebuster     #welikeamerica     @storefrontnyc     @ubermutproject     @raumlaborberlin
 
As part of We Like America, an experimental road trip through the American Rust Belt to New York, the Spacebuster will set up shop in Brooklyn’s Fort Greene Park for a day-long program beginning with a furniture building workshop. Community residents are invited to participate in building a chair, and can take home their creations. The chair-building exercise is part of GENERATOR, an ongoing prototyping experiment by raumlaborberlin, where community input from each workshop engenders a new model. Brooklyn residents will build the “Sedia Venezana,” developed in Venice during the Architecture Biennale, and the feedback from this workshop will be used in the future towards the “Brooklyn Boheme Chair.”
 
At dusk, Spacebuster will present an hour of curated short films by Hamburg- and Berlin-based independent filmmakers such as Baltic Raw, with films including Quick Animation (1989), an Eastern Bloc “Berlin-wall era” take on hip hop culture. This will be followed by a screening of Brooklyn Boheme, a love letter to Fort Greene’s past as a vibrant cultural mecca of the late 80s and early 90s. Filmmakers Nelson George and Diane Paragas will participate in a discussion moderated by writer and performer Carl Hancock Rux (who is also featured in the film).
 
The events are free, kid-friendly, and open to the public.
 
Event Schedule
12:00 pm: Furniture making workshop as part of GENERATOR
6:00 pm: Screening of short works by Hamburg- and Berlin-based independent filmmakers
7:30 pm: Screening of Brooklyn Boheme
8:45 pm: Discussion with filmmakers Nelson George and Diane Paragas, moderated by Carl Hancock Rux
 

About We Like America

We Like America, presented in partnership with Übermut Project, is an experimental road trip of the Spacebuster, a temporary architectural structure designed by raumlaborberlin and commissioned by Storefront in 2009 in order to transform public spaces into impromptu community zones.

 

Exploring facets of the “American Dream” and seeking out new urban frontiers by transforming nomadic, transgressive, and transitory spaces, the Spacebuster is reprised through We Like America in a journey of the American Rust Belt.

 

With a multifaceted mission that includes fact finding, observation, and research, We Like America will pop up to investigate and organize around issues of collective societal desire in everyday life. The road trip kicked off in Chicago during the preview week of the Chicago Architectural Biennale, and then worked its way east with pit stops in St. Louis, Cleveland, eventually arriving in New York in October.

 

Read more about We Like America, the Spacebuster, and all the events here.

Marching On: The Politics of Performance

 

Marching On Performance Teaser, November 2017. Commissioned by Storefront for Art and Architecture. Video by Feran Mendoza and Chris Balmer.

 

MARCHING ON: THE POLITICS OF PERFORMANCE

 

April 12th – June 9th, 2018

97 Kenmare Street, New York, NY

 

April 12th Exhibition Opening:

Press and Members Preview: 6 pm – 7 pm

Public Opening: 7 pm – 9 pm

 

#marchingon     #politicsofperformance     @storefrontnyc

 

Marching On: The Politics of Performance explores the legacy of marching and organized forms of performance. African-American marching bands have long been powerful agents of cultural and political expression, celebrating collective identities and asserting rights to public space and visibility. 

 

Commissioned by Storefront for Art and Architecture, Bryony Roberts and Mabel O. Wilson collaborate with the Marching Cobras of New York, a Harlem-based after-school drum line and dance team in a new project that interweaves echoes of the 1917 Silent March against racial violence with references to the revered Harlem Hellfighters in order to celebrate the crucial role of the community’s collective performances as acts of both cultural expression and political resistance.

 

Marching On will be inaugurated with a series of performances presented by the Marcus Garvey Park Alliance as part of Performa 17 in November 2017. The performances are free and open to the public. Read more about the performances here.

 

Rooted in military training exercises and even combat itself, marching bands and drumlines were historically used to acknowledge military service in African-American communities and the absence of civil rights despite sacrifices to defend the nation. These performance forms have radically expanded since the nineteenth century to include dance lines with hip-hop and stepping choreography, but they remain connected to a strong political lineage. The symbols, iconography, costumes, colors, and movement used throughout this history reflect various understandings of social and cultural perceptions and actions. Addressing both historical and contemporary meanings, this exhibition celebrates the medium of marching performance, focusing in particular on the power of such performance to articulate heritage at a moment of rapid change.

 

About the Artists

 

Bryony Roberts is an architectural designer and scholar. She earned a BA from Yale University and an MArch from Princeton University. Her work has been supported by the Graham Foundation and was featured in the 2015 Chicago Architecture Biennial. She has published widely in design and mainstream publications, and has taught at Rice University, SCI-Arc, and the Oslo School of Architecture. In 2015, she was awarded the Rome Prize from the American Academy in Rome. Roberts’s practice integrates architecture, art, preservation, and performance to activate and critically engage historical buildings and urban spaces. With projects at sites such as Piazza del Campidoglio in Rome, Federal Plaza in Chicago, Government Quarter in Oslo, and Neutra VDL House in Los Angeles, her practice operates across many scales, from temporary installations to urban design. This range aims to foster social activation of historical sites and critical discourses on how we preserve and change existing structures.

 

Mabel O. Wilson navigates her transdisciplinary practice between the fields of architecture, art, and cultural history. She is a professor of architectural design and theory/history at Columbia University’s GSAPP, where she directs the graduate program in advanced architectural research. She co-directs GSAPP’s Global Africa Lab and the Project on Spatial Politics. She also holds an appointment as a senior fellow at the Institute for Research in African American Studies. Wilson’s design experiments, scholarly research, and advocacy projects focus upon space, politics and cultural memory in black America; raciality, technology, and aesthetics; and the globalization of architectural practice.

 

The Marching Cobras is a youth performance group based in Harlem that includes a 25-person drum line and a 25-person dance line. The Marching Cobras will be the lead artists involved in the performance and exhibition. Workshops with the group will guide the collaborative design of the live performances. Their mission is to “enrich lives of youth by providing opportunities for artistic expression and leadership development through music, marching band, step, dance, and much more.”

 

________

 

Marching On: The Politics of Performance is commissioned by Storefront for Art and Architecture.

 

Exhibition Team

Curator: Eva Franch

Associate Curator: Carlos Mínguez Carrasco

Strategic Development: Jinny Khanduja

Programs Producer: Max Lauter

 

Project Support

Marching On: The Politics of Performance is supported by the National Endowment for the Arts, the Graham Foundation for Advanced Studies in the Fine Arts, and the Lower Manhattan Cultural Council.

 

General Support

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Roger Ferris + Partners; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.

 

Photo: The Marching Cobras’ drum line in Harlem, 2014. Courtesy of Carlo Allegri/Reuters.

Marching On Performance

Marching On Performance Teaser, November 2017. Commissioned by Storefront for Art

and Architecture. Video by Feran Mendoza and Chris Balmer.

 

 

Marching On Performance

Marcus Garvey ParkHarlem (enter at 122nd St. and Madison Avenue)

Commissioned by Storefront for Art and Architecture

Presented by the Marcus Garvey Park Alliance, Storefront, and Performa

 

All performances are free and open to the public. Tickets are not required.

 

Saturday, November 11th, 2017

 

Sunday, November 12th, 2017

 

#marchingon     #politicsofperformance     #performa17     @storefrontnyc

 

Marching On: The Politics of Performance is a project commissioned by Storefront that explores the legacy of marching and organized forms of performance. African-American marching bands have long been powerful agents of cultural and political expression, celebrating collective identities and asserting rights to public space and visibility.

 

Bryony Roberts and Mabel O. Wilson collaborate with the Marching Cobras of New York, a Harlem-based after-school drum line and dance team in a new project that interweaves echoes of the 1917 Silent Parade against racial violence with references to the revered Harlem Hellfighters in order to celebrate the crucial role of the community’s collective performances as acts of both cultural expression and political resistance.

 

Marching On will be inaugurated with a series of performances presented by the Marcus Garvey Park Alliance, Storefront, and Peforma during Performa 17. The performances are free and open to the public.

 

A subsequent exhibition will be presented at Storefront’s gallery space in early 2018. Read more about the exhibition here.

 

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Project Credits

Marching On is a project by Bryony Roberts and Mabel O. Wilson in collaboration with the Marching Cobras of New York, commissioned by Storefront for Art and Architecture, and presented with the Marcus Garvey Park Alliance and Performa 17.

Commissioning Institution –  Storefront for Art and Architecture
     Chief Curator: Eva Franch i Gilabert
     Associate Curator: Carlos Mínguez Carrasco
     Director of Strategic Development: Jinny Khanduja
     Programs Producer: Max Lauter
Artistic Direction – Bryony Roberts and Mabel O. Wilson
Choreography – Terrel Stowers and Kevin Young of the Marching Cobras of New York
Performers – The Marching Cobras of New York
Costume Sourcing – Joseph Blaha and Morgen Warner
Cape Construction – Colin Davis Jones Studios
Fabric Printing – Design2Print
Graphic Design – Once-Future Office (Nikki Chung and Dungjai Pungauthaikan)
Videography and Film Editing – Ferran De Mendoza
Photography – Jenica Heintzelman
Research Assistance – Mariam Abd El Azim (Storefront for Art and Architecture) and Mayra Mahmood (Columbia GSAPP)
Production Assistance – Sasha Okshetyn and Maaike Gouwenberg (Performa)

 

 

Project Support

Marching On: The Politics of Performance is supported by the National Endowment for the Arts, the Graham Foundation for Advanced Studies in the Fine Arts, and the Lower Manhattan Cultural Council.

 

General Support

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Roger Ferris + Partners; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.

 

Photo: Marching Cobras rehearsal for Marching On, Marcus Garvey Park, Spring 2017. Courtesy of Storefront for Art and Architecture.