MARKING TIME
(trace, stage, imprint)
NEW CIRCADIA
A young sunflower follows the sun during the day and reorients itself at night in anticipation of dawn.
Hagop Atamin, U.C. Davis , New York Times How Sunflowers Follow the Sun after Day, August 4, 2016
...Time has no divisions to mark its passage, there is never a thunderstorm or blare of trumpets to announce the beginning of a new month. Even when a new century begins it is only we mortals who ring bells and fire off pistols…
“ Magic Mountain,” Thomas Mann, 1924
Standardizing time in turn, atomized the figure in motion. Eadweard Muybridge’s stop-camera motion studies offered insight into incremental motion. Frederick Winslow Taylor’s stopwatch insisted on the “one best way” to complete a work process. Similarly, the Gilbreths time-motion studies aspired to record optimized motion. Yet, paradoxically, Kleitman’s Mammoth Cave experiment, in attempting to identify the basis for the body’s circadian rhythm had no mechanism for marking the passage of time other than the daily delivery of supplies from his assistants above ground. In the absence of external cues, Marking Time speculates on forms of natural rather than mechanical time-keeping.
EVENTS
Performance, Thursday February 13
Spoken on my behalf
with Christine Sun Kim and performers
Spoken On My Behalf, is a live performance by the artist, Christine Sun Kim using three channel video using text, images and sound files. “For most of my life, I have been "spoken" or "voiced" by people on my behalf, sometimes involuntarily. As a Deaf person, voices come in many forms and are mostly functional: platforms, benefits, privileges, identities and hierarchies. In order to work with voices, there is a great deal of trust and collaboration involved to make my voices accurately represented.”
Participating artist voices: Denise Kahler-Braaten, Kay Kim, Ivan Kim, Kun Liang, Thomas Mader, Youka Snell, Beth Staehle, Christopher Tester
Artist Bio:
Christine Sun Kim uses the medium of sound in performance and drawing to investigate her relationship with spoken languages and her aural environment. Selected exhibitions and performances have been held at: Ghebaly, Los Angeles (solo); White Space, Beijing (solo); Carroll/Fletcher, London (solo); De Appel, Amsterdam (solo); Serralves Museum, Porto; Sound Live Tokyo; Albright-Knox Art Gallery, Buffalo; Walker Art Center, Minneapolis; Berlin and Shanghai Biennials; San Francisco Museum of Modern Art; Whitney Museum of American Art, New York; and the Museum of Modern Art and MoMA PS1, New York.
Workshop, Wednesday March 11- Performance, Friday March 13
Performance as Landscape
with Beau Rhee and Jeremy Toussaint-Baptiste
Visual-artist and choreographer, Beau Rhee with sound artist and composer Jeremy Toussaint-Baptiste lead a two day workshop with student volunteers to create a new work, Performance as Landscape. Using dance, drawing and other forms of art, the workshop informed by cosmic time, agricultural calendars, weather, and rituals of time passing, culminates in a performance amongst the audience inside New Circadia’s soft lithic interior.
Cast: Mannan Ahmad, Jeremy Toussaint-Baptiste, Eric Duan, Ariadne Kaperonis-Bountris, Cindy Xinyu Jiang, Beau Bree Rhee, Oscar Alfonso Lira Sanchez, Lauryn Sherwood, Collin Tatton, Amy Thomas
Producer: Aidan Cowling
Curators: Dean Richard Sommer, Natalie Fizer, Emily Stevenson
Artist Bios:
Beau Bree Rhee's artistic work is focused on the dialogue of dance, drawing, and ecology. Her practice creates relationships between body-space, the senses, and the environment. The body is a cosmic being and a relational site; it is the space where we exist in radical dependency to the world. She approaches drawing as a medium which exists “à travers” or “in between” the body and space, the dance and the choreographer, the space and the architect. Drawing is a space of potentiality and translation, spontaneity and directness, and instruction. As a dancer with over 17 years of training, she uses choreography (choreo: body – graphy: writing) as a tool for form-finding visual and haptic vocabularies of movement, the patterns of life. Drawings and performances are the main focus of Rhee's work, but she has also created installations, scents, sculptures, textile works, and texts/poems as part of her oeuvre. Her studio Atelier de Geste, is based in New York City.
Rhee is an artist, choreographer and adjunct professor at Parsons School of Design. She exhibits and performs her work internationally at the KW Institute for Contemporary Art/Berlin Biennale; The Kitchen, New York; Bard Graduate Center Gallery, New York; Kaaitheater, Bruxelles; Baryshnikov Arts Center, New York; MoMA/PS1, New York; among others. In Fall 2019, she gave a three-day masterclass at the Haute école d'art et de design Genève on dance, drawing and ecology. Her work is held in several private collections as well as in the MoMA Library and Research Collection. She has guest lectured as a visiting artist at the Strand Bookstore (Fulbright Scholars/Think Olio series), the ICP/Bard MFA program, the Swiss MFA Symposium for the Arts, and many other galleries and venues.
Jeremy Toussaint-Baptiste is a New York–based artist, composer, and performer who considers notions of errant relations that thrive across subjectivities. Toussaint-Baptiste was a 2017 artist in residence at Issue Project Room. He received a Bessie Award in 2018 for Outstanding Music Composition and Sound Design. He has presented visual and performance work at MoMA PS1; Performance Space New York; The Brooklyn Museum; The Kitchen; Issue Project Room; The Studio Museum in Harlem; The Philadelphia Museum of Art; FringeArts, Philadelphia; Tanz Im August at Hau3, Berlin; Stoa Cultural Center, Helsinki; among others. Toussaint-Baptiste is a founding member of the performance collective Wildcat!, and frequently collaborates with performers and visual artists including Will Rawls, Yanira Castro/a canary torsi, Tiona Nekkia McClodden, Jaamil Olawale Kosoko, and André M. Zachery. Toussaint-Baptiste lives and works in Brooklyn, NY and holds an MFA from Brooklyn College’s Performance and Interactive Media Arts program.
SONIC Series
Curated by Mitchell Akiyama
Digital sound performance, Saturday March 21
with Kara-Lis Coverdale, "e-" & Robin Hatch.
Kara-Lis Coverdale works in both acoustic and electronic media to create works that transcend reality. Driven by a patient devotion to sonic afterlife, memory, and material curiosity, her world-building work occupies new planes built upon a borderless understanding of electronic music rooted in the interlocking pathways of musical systems and languages. She has been called a unique navigator of the digital frontier with an ease and emotive sensitivity “we cannot yet comprehend" (Fader) and heralded as “one of the most exciting composers in North America” (The Guardian). Her most recent recorded release, Grafts (Boomkat, 2017), explores the impermanence of identity signature to exhibit a highly idiosyncratic approach to ratio-based microtonality and overtone, grief, love, and the passing of time. Coverdale’s recordings are architecturally considered and often understated, but her dynamic live shows can be unpredictable, chaotic, eerie, dynamic, and confrontational. Coverdale has presented original performances, commissions, collaborations, and installations at venues all over the world, including the Barbican, the Theatre du Chatelet, the AGO, MAC Montreal, the Filharmonia Krakowska, Theatro Circo, Kraftwerk, and the Elbphilharmonie.
Opening performance by Robin Hatch.
Kara-Lis Coverdale’s e- is a digital sound performance with representations of thermal temperature fluctuation, frequential conservation, harmonic ratio splitting, and hyperdecimalized time.
Robin Hatch is a neo-classical composer from Toronto. The Guardian described her 2019 synthesizer album, Hatch, as “an icily beautiful and occasionally terrifying piece of proggy electronica, recorded live in a single take on assorted antique analogue synthesisers and a microtonal keyboard.” She is interested in instrumental composition as a storytelling medium, and the forced narrative of the linear experience of performance.
Performance, Saturday, April 4