REED ARTS WEEK 2012 // FEBRUARY 29TH - MARCH 4TH




Troika Ranch
Enter Comma Prepare
March 2nd-4th, 8:00 pm, Kaul Auditorium



Troika Ranch, co-founded in 1994 by choreographer Dawn Stoppiello (Portland, OR) and composer Mark Coniglio (Berlin, DE), is a critically acclaimed performance ensemble that integrates dance, theater and interactive digital media in live performance. Director Dawn Stoppiello is a conceptual artist whose primary material is the human body in action. Having focused her career on computer mediated live performance, Stoppiello creates choreography for bodies interfaced with computers through sensory systems and dancing in synchrony with projected video images, exposing the complex relations of wo/man and machine. During Reed Arts Week, Troika Ranch will present their performance Enter Comma Prepare, a playful exploration of the situation of performance, examining how meaning is created in the encounter between performers and viewers. Though operating through abstract structures not designed to convey a specific story or emotion, Enter Comma Prepare examines the process of making "meaning" from performance by presenting numerous "accidental narratives".


Curtis Mann
February 29th-March 4th, 11am-6pm, Vollum Lounge



Chicago-based artist Curtis Mann uses the inherent, malleable nature of photography to force the medium to function outside of its initial indexical utility. Rooted in a desire to push photography's physical boundaries, Mann's visceral prints raise questions surrounding the mass proliferation of visual representations of political strife. His work challenges the neutrality of the witness, and highlights the fallibility of the photograph's claim to authentic documentation. For RAW, Mann will be displaying a variety of recent works, including a site-specific 80" x 56" print in his iconic grid format, five 20Ó x 24Ó photographic prints, and a series of 5" x 7" ephemeral works. In these works, found images from the Arab Spring, specifically the revolution in Yemen, are subjected to a process of selection and erasure. The images are physically and contextually altered through chemical processes using varnish and bleach; as a result, the works oscillate between image and object, photography and painting, real and imagined. MannŐs recent exhibitions include the Whitney Biennial 2010 and the solo shows "Something After" at the Almine Rech Gallery, Brussels; "Everything After" at the Kavi Gupta Gallery, Chicago; Museum of Contemporary Art, Chicago; Kusseneers Gallery, Basel, and the Metropolitan Museum of Art, New York.


Chris Kraus
Where Art Belongs
March 3, 4:00 pm, Reed College Chapel



Chris Kraus is a Los Angeles based writer, filmmaker, and director of the Native Agents new fiction series for the visionary independent press Semiotext(e). As well as fostering groundbreaking work by women authors, Kraus' own writings fearlessly explore subjects such as: feminism, gender, sex, philosophy, and love. During Reed Arts Week, Kraus will give an illustrated talk and reading from her new book Where Art Belongs (MIT Press, 2011), followed by a public conversation moderated by Cooley Gallery curator Stephanie Snyder. In four interlinked essays, moving from New York to Berlin to Los Angeles to the Pueblo Nuevo barrio of Mexicali, Where Art Belongs addresses such subjects as the ubiquity of video, the legacy of the 1960s Amsterdam underground newspaper Suck, and the activities of the New York art collective Bernadette Corporation. Kraus examines the uses of boredom, poetry, privatized prisons, community art, corporate philanthropy, vertically integrated manufacturing, and discarded utopias, revealing the surprising persistence of micro-cultures within the matrix. Her publications include: Where Art Belongs (2011); Trick (2009); Catt: Her Killer (2009); LA Artland: Contemporary Art From Los Angeles (2005); Torpor (2006); Video Green: Los Angeles Art and the Triumph of Nothingness (2004); Hatred of Capitalism: A Semiotext(e) Reader (2001); Aliens and Anorexia (2000); and I Love Dick (1997). In 2005, Kraus was nominated for the Frank Mather Prize in Art Criticism. Kraus will be speaking on Saturday, March 3rd in the Reed College Campus Chapel. This event is organized by the Douglas F. Cooley Memorial Art Gallery.


Andrew Norman Wilson
Workers Leaving the Googleplex, ScanOps, & Google User Meeting
February 29th-March 4th, 11am-6pm, Reed College Art Building
Google User Meeting presentation: March 2nd, 6:30 pm



Chicago based artist Andrew Norman Wilson's work investigates the relations of class, race, and labour in the digitization of information. His film Workers Leaving the GooglePlex investigates a top secret, marginalized class of workers at Google's international corporate headquarters in Silicon Valley. While documenting the mysterious yellow badged "ScanOps" Google workers, Wilson simultaneously chronicled the complex events surrounding his own dismissal from the company. The reference to the Lumiere Brother's 1895 film Workers Leaving the Factory situates the video within the history of motion pictures, suggesting both transformations and continuities in arrangements of labor, capital, media, and information. ScanOps, an extension of Workers Leaving the Googleplex, is based on Google Books images in which software distortions, the scanning site, and the hands of ScanOps employees are visible. Through varied analog versions of these images including image, sculptures, a book, Wilson further reasserts the materiality that composes the digital, as well as the photographic support. Wilson was the 2011 recipient of the Dedalus Foundation MFA Fellowship and Edward Ryerson Fellowship. Past exhibitions and presentations include the De Young Museum, The BanffCenter, UCLA, UCSD, The Academy of Fine Arts Finland, The TINT Arts Lab, The Iowa City Documentary Film Festival, The Abandon Normal Devices festival, and Other Cinema.


B U R S T: An Evening of Performing Arts at Reed
March 3rd, 9:00 pm, Reed College Student Union



BURST is an instance of the over-arching 'Rupture' theme wherein we explore what it means to cultivate "the event that cannot be predicted". On Saturday night of Reed Arts Week, the student Union building of the campus will transform into a forum for the new and precarious durational practices emerging within the Portland arts community. BURST will congeal as a constellation of interventions into sight, sound, motion, and space. Featured artists include Oregon Painting Society, Sarah Johsnon, Sean Joseph Patrick Carney, Tom Blood & Jordan Dykstra, Michael Reinsch, Crow, Brian Mumform, and Matt & Matt.


Jamie Drouin and Lance Olsen
Floodline
February 29-March 4th, Vollum Lounge



Canadian artists Jamie Drouin & Lance Austin Olsen explore the phenomenon of listening, highlighting the sounds which normally escape easy detection, yet can greatly influence our immediate environs and physiology. Created specifically for Reed Arts Week, FLOODLINE is a combined sound installation and series of live performances made from a thicket of collected branches that resembles a natural flood line from which sounds emanate, imitating the small noises and movement of the branches, as if still under the influence of a rising body of water. Referencing Drouin and Olsen's interests in electronic noise pollution and the dialogue these sounds have when overlaid onto more conventional symbols of nature, the artists will position themselves at a table in the gallery to add to the sounds in brief live performances - an additive process which will slowly transform both the density and character of the installation. Drouin and Olsen have been working collaboratively since 2000 in the fields of sound performance and installation. Their recorded new music works for CD under the joint name DROUIN/OLSEN have received praise in the media and made their way onto numerous 'best albums of the year' lists. FLOODLINE will be on display in Vollum Lounge on Reed College Campus from February 29th - March 4th.


Rainy Lehrman
Labor Byproduct
February 29th-March 4th, west end of Eliot Hall



Brooklyn based sculptor Rainy Lehrman's work stems from the observation of refuse and time. Lehrman creates grass sculptures that protrude from the ground, showing layers of dirt, sawdust, and earth material, creating a veritable rupturing of the earth. The effect is a defamiliarization of space, inciting a new understanding of quotidian geography and providing a new understanding of the physical references from which we base our experience of time. The layering of the organic earth material suggests the layers of our civilization shedding their existence to the ground, creating residue that is accumulative and permanent. During Reed Arts Week, Lerhman will display her work Labor Byproduct, which highlights both the accumulation and excavation of this human permanence. Rainy Lehrman received her MFA in sculpture at Pratt Institute in 2008 and her BFA from the Rhode Island School of Design in 2002 where she studied Furniture Design. Lehrman has lectured and taught at Pacific Northwest College of Art, and Pratt Institute. Lehrman is currently living and working in Brooklyn NY. Using natural and found material, Lerhman's sculpture Labor Byproduct will be presented on the West end of Eliot Hall from February 29th - March 4th.


Instant Coffee
February 29th-March 4th, Throughout public spaces in the surrounding Portland area



Instant Coffee is a service-oriented artist collective based in Toronto and Vancouver. Through formal installations and event-based activities, it builds a public place to practice, where ideas, materials and actions can be explored outside of isolated studios and in a manner that renegotiates traditional exhibition structures, but is still supported by them. As part of RAW, Instant Coffee will exhibit a series of language-based posters to be curated and distributed in the surrounding Portland area by Reed Arts Week. Since the artist collective's inception in 2000, Instant Coffee has used language like color, incorporating slogans like "it doesn't have to be good to be meaningful" and "get social or get lost" into their architectural installations, which often involve a redesign or reconfiguration of domestic social spaces (a sunken living room, a bedroom or kitchen). It is through succinct catchphrases, which at times drip with the sincerity of self-help jargon, ring with the urgings of advertising slogans or resound with a dissonant irony, that Instant Coffee gradually build a lexicon that lays the ground for its particular way of making art - one that emphasizes the relationship between form and social interactions.


Pinar Yoldas
Speculative Biologies
February 29th-March 4th, 11am-6pm, Gray Campus Center room A
Artist Talk: March 2nd, 3:30 pm



Pinar Yoldas is a cross-disciplinary artist, all-in-one designer and a neuro-enthusiast. Through her work she investigates social and cultural systems in regards to biological and ecological systems. Lately she has been designing mutations, tumors and neoplasmic organs to rethink the body and its sexuality transformed by the mostly urban habitats of techno-capitalist consumerism. Her current project Speculative Biologies simulates the experience of a "natural history museum of the future" showcasing Species of Excess elegantly caged in incubators, jars, aquariums. Pinar's work has been exhibited internationally, including Bologna(Italy), Torun(Poland), Istanbul, Frankfurt, Providence, Berkeley, New Mexico and Los Angeles. She has been awarded residency fellowship grants at MacDowell Colony, UCross Foundation and VCCA. Her artwork has been featured in Wired Magazine(online), Digicult(online) and Beautiful Decay. Currently she is a PhD student in the Art, Art History and Visual Studies department at Duke University. She is an active lab member of s-1: Speculative Sensation Lab, led by Mark B. N. Hansen (Duke University) and UCLA ArtSci Center + Lab led by Victoria Vesna (UCLA). Pinar has a BArch from METU, MS from ITU, MA from Istanbul Bilgi University and an MFA from UCLA. Her research interests include evollutionary aesthetics, art-neuroscience interactions and subversive gaming environments.


Rogue
February 29th-March 4th, Press Room Hours 11am-6pm, Reed College Commons



ROGUE is a collaboratively written daily broadside that will cover the activities of Reed Arts Week. RAW ROGUE will contain interviews, reports, and reviews submitted by RAW attendees that are produced and published within a 24 hour period. Utilizing a newsroom and event-based structure, RAW ROGUE will provide a critical lens, a platform for festival engagement, and a site to disseminate ideas that resonate beyond the traditional trajectories of contemporary art discourses. Consisting of ve issues, each installment will feature editorials by artists, writers, and educators that highlight salient themes in the lineup of RAW 2012. ROGUE is a project conceived by artists Chloé Womack and Brennan Broome. Its first iteration, OE ROGUE, incited significant controversy and debate during the 2011 Open Engagement Conference. RAW ROGUE relies on your participation. If you would like to contribute materials (reviews, photographs, etc.), send your perspectives to: rogueprojects@gmail.com


[ O U T E R ] Space Gallery
February 29th-March 4th, Front Lawn



[ O U T E R ] Space Gallery seeks to deconstruct the traditional manner in which the public interacts with and exhibits art by breaking out of the confines of a typical gallery space. By varying the environments in which art can exist, the dialogue/relationship between the viewer and the art is transformed. For Reed Arts Week, the walls act as both gallery and art object: the space in which art is exhibited becomes the art itself. Questioning the role of the institution as the steward of art curatorship, the installation challenges the traditional "places" in which art is experienced. Over the course of RAW, [O U T E R] SPACE will perform a parody of how art institutions present themselves, to demonstrate how these practices suggest greater credibility. Using the remnants of the deconstructed 'whitecube' the sculpture will be presented in a natural environment, defamiliarizing an ordinary space through a simple alteration in the attempt to facilitate a deeper understanding of the capacity to fracture and tear down traditional forms, allowing for greater examination of the possibility of a fundamental reconstruction of art institutions.








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