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ic: the full CV ic : shows 2013.05.11-2014.04.27 the hero, the villain, the salesman, the parent, a sidekick and a servant sfu teck gallery 2013.04.27-05.25 take the easy way (video) mkg127 2013.02 chair design for blue dot 2013.01.16-24 i sent you vancouver 2012.09-anon perpetual sunset (video) vancouver 2012.08.09-09.08 as part of toolkit mkg127 2012.07 office make over asian pacific foundation 2012.05-anon nothing happens in good weather (video) vancouver 2012.02.17-04-07 feeling so much yet doing so little (fb) (video) western front 2011.11-12 light bar hoorn nl 2011.01.08-02.05 there is no romance in taking a risk (star) mkg127 2010.07.28-29 ic_chilliwack internatinal chilliwack biennial 2010.02.12-03-20 bright light: light bar (fb) vancouver 2010.01.13-30 astronomical frontiers copenhagen 2009.08.26-09.06 sum up disco fallout shelter subvision. kunst. festival 2009.08-10 solyst artist in residence centre, jyderup 2009.05.06-09.15 disco fallout shelter toronto sculpture garden 2009.02.07-05.03 how soon is now vancouver art gallery 2009.01.30-04.04 assume nothing: new social practice art gallery of greater victoria 2009.01.10-04.30 a bright future 88 BLOCKS*art on main 2008.10.18-11.15 say nothing in bright colours MKG127 2008.08 say nothing in bright colours school for non-productive learning, rum46 aarhus 2008.05.15-08-15 kuenstlerhaeuser worpswede 2008.04 light bar flaggfabrikken bergen 2008.02.09-06.06 what we bring to the table oakville galleries 2007.09.14-10.20 nooks mercer union 2007.08.31-09.03 nooks henry at bumbershoot 2007.11.24-12.22 pattern theory mkg127 2007.11.22-2008.02.05 common threads illingworth kerr 2007.06.30-09.01 happy birthday & friendly greeting mkg127 2007.06.03-09.23 common threads confederation centre 2007.05.18-07.08 wish you were here york quay centre 2007.04.13-06 encuentro internacional medellin columbia 2007.02.10-03-03 romance series poster show art metropole 2006.12.15 static wallpaper lobby gallery 2006.09.30-10.01 dark hart hart house 2006.08.26 rest stop carmada, l.a. 2006.05.12-06.10 one is never enough or gallery 2006.04.09-23 welcome to the limelight css bard 2007.03.25-04.07 beautify york quay centre 2006.03.24 perfect lobby gallery 2006.01.13-03.26 peer pleasure 1 yerba buena center for the arts 2005.12.29-2006.01.22 spring sale paul petro msw 2005.10.05-29 year of perfect days sparwasser, berlin 2005.04 presentables hoffmann's house, santiago chile 2005.02.19-03.13 what do we do when we can't be 2gether 69 pender 2004.12.04-2005.03 instant coffee: bass bed san juan poly/graphic triennial 2004.09.10-10.23 sorry, we're open / the way we work southern exposure 2004.09.10-10.23 connect the dots leroy neiman gallery 2004.09.04 1-4pm *candy factory and instant coffee 2004.03 make-out party: second-base 2004.02.14-05.17 soundtracks mackenzie art gallery 2004.02.06 stencils just seemed like the right thing to do art metropole 2004.01.09-02.01 mellow drama kmart 2003.12 xxx natural light window 2003.11.21 instant MAKE OUT party 2003.11 Bienal de La Habana 2003.10.22-12.14 soundtracks the blackwood gallery 2003.10.10-14 as a satellite for instant coffee the americas society 2003.09.20-28 UDT 2.0 CAFKA Contemporary Art Forum 2003.09.13-10.25 U-TOPOS / UDT 2.0 Tirana Biennale 2 2003.09.03-10.18 psychotopes yyz artists' outlet 2003.08.23 alchemy and mysticism #2 with hive magazine 2003.07.8-08.31 buy-sellf : import / export Quartier Éphémère 2003.06.28-09.14 soundtracks edmonton art gallery 2003.06.2-30 Un© black lab gallery, seattle 2003.04.2-30 front room off the map gallery, toronto 2003.03.13-15 i've got an answer/i've got an anthem I.A.E. portland 2003.01.2-15 january show zsa zsa 2002.12.15 TO instant coffee: caffeine screens until 2002.11 the t-shirt show 2002.10.11-11.09 instant coffee: on a stick concept album: mexican pop videos screening helen pitt, vancouver 2002.07.12-08.25 TEKKO 02 mural.exhibition 2002.05.31-06.02 photo show UDT.01 2002.04.05 pleasure dome presents concept album: mexican pop videos 2002.02.08 UDC + friends garesh galleria, mexico city 2001.11.14 another slide show + tshirt show launch 2001.09.06 instant coffee UDT SAW, ottawa 2001.08.2-27 oasis : soft show in the UDT SBCA montreal 2001.06.27 sometimes, nothing much la panaderia mexico city 2001.05.25-27 overtime@workplace 2001.03.28/04.20 the waiting room the physics room NZ 2001.03.09 TEKKO 01 2001.02.09/03.16 being + nothingness 2000.12.06-03.18 instant coffee UDT + everyone the AGO . 6 Dec 2000 logo show . 13 Jan 2001 miniature show . 18 Feb 2001 video show 2000.10.28 instant coffee currency project poster launch 2000.10.21 slide show 2000.08.18 whorehouse opening party + show 2000.07.27 9pm screening why do bad things happen to good people? 2000.07.27 9pm screening first or the worst |
as part of the Red76 exhibition
I've got an answer/I've got an anthem
I.A.E. 2003, Portland, Oregon
March 13 - 21 2003
Slide and Video programmes curated by Instant Coffee
Instant Coffee curated a program of slides and another of videos for The Red76 exhibition, "I've got an answer/I've got an anthem', I.A.E. 2003, International Arts Group Exposition in Portland, Oregon (www.red76.com). Slides and videos were included in one of two programmes (both titled "Alchemy and Mysticism") that were first shown at @ Laurelhurst Theater on the weekend of March 13 to the 15th, and then played ambiently in an exhibition space PROJECTROOMONE for the following week (www.projectroomone.org).
Both programmes included
"Alchemy and Mysticism": Slides -- Karen Azuolay and Joel Gibb/ Kika Thorne/ Cecilia Berkovic/ Jon Sasaki/ Jinhan Ko/ Kate Monro/ Will Munroe/ Igor Santizo/ Timothy Comeau
"Alchemy and Mysticism": Videos -- Meesoo Lee/ Scott Russell/ Galia Eibenschutz + Alexis Zabe / Txema / Tony Romano and Shayne Ehman/ Laura Cowell & the Hidden Cameras/ Lisa Kannako & Peaches/ Paige Stain/ Jon Sasaki/ Jin's Banana House / Greg Hefford/ Slivero & Miguel Caldron/ Pedro Zulu Gonzalez/ Paolina del Paso/ Canada's #1 Air Guitarist/ Jordan Sonenberg + Greek Buck
The I.A.E., through the mediums of film/video, sound art, slide shows, lectures/presentations, installations, and more, showcased work created/curated by arts groups from across the globe. Including the following groups:
N55 Temporary Services (Binder Archives)
free103point9
Deaf Leopard
Red76 arts group
Instant Coffee
Eveleigh and Evans
Jane Palmer/Marianne Fairbanks (Personal Power)
Collective Jyrk
Beige
Ausgang
Konstakuten
love and devotion
Basekamp
New Beginnings
Forcefield
It Can Change
We've heard that the overall I.A.E. project had a huge impact on the local scene in Portland (included below is some press to give you a sense of the event).
Love, :ic:
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03/16/03
NESTOR RAMOS
It wasn't First Thursday, but Thursday was a big night for an emerging area of the local art landscape. Underground arts culture in Portland reached a new apex as the Red76 arts group hosted the first International Arts Group Exhibition. If Portland's indie arts scene came of age last Thursday -- and it may well have -- plenty of people were there to help it along. From Our Advertiser
The sturdy old Laurelhurst Theater & Pub teemed with a sea of artists, and predictably the 'sters (scenesters, trendsters, hipsters) were out en masse, like a Sleater-Kinney bobblehead doll night at the Rose Garden. Though some just came for the show, most were working artists of one kind or another. Paige Saez videotaped artists and attendees alike. "It's one of those things that should be documented," she said from behind the viewfinder of her camcorder. "It's the first of its kind."
That seemed plausible: "We haven't seen anything like this in Chicago," said Jane Palmer, who together with Marianne Fairbanks showed a variety of solar powered garments -- a purse that powers a Walkman, a handbag that powers a cell phone, a vest that powers a Game Boy.
The evening was all about uniting groups from around the country and the world that work outside the corporate atmosphere of the gallery system. These artists have taken art into their own hands, R1 adopting the philosophy frequently referred to as D.I.Y. (do it yourself). Without the funding -- or the thematic and formulaic constraints -- of traditional artists, they draw on whatever influences and resources are at hand to create something to share with people interested in experiencing something new.
Every corner of the theater was filled with D.I.Y. art -- in the lobby was a solar-powered mobile radio transmitter set up by Temporary Services, a Chicago group. The machine infiltrated the low end of every FM radio dial within a two mile radius with avant-garde beats from a collection of CDs built into the transmitter. In the restrooms, another Chicago group called Lucky Pierre played recordings from their voice-mail service, which people can call and swear at for as long as they care to. The result was a filthy audio graffiti that, sadly, was not quite loud enough to hear clearly over the running water.
In addition, each of the Laurelhurst's four screens was alive with dozens of different performers, films, slide shows and more in only a few hours.
"A group of four or six people can come, split up and not see the same show at all," said Khris Soden, who, along with other Red76 members Sam Gould and Matthew Yake put the event together. "It's a grab bag."
Soden, a diminutive, cheerful chap who pronounces "theater" so that it rhymes with "Decatur," spent most of the evening trapped inside thee-AY-ter three, trying desperately to keep his corner of the proceedings on schedule. Soden fared better in this than the curators at the other screening rooms, who had openly abandoned their schedules midway through the program (schedules, you see, are just another tool of the corporate/industrial hegemony). Some semblance of order was maintained by the curators shouting over the din of the roiling crowd that filled the lobby when a new artist was about to start.
The depth and breadth of the work created a unique artistic environment. Passing from one screening room to the next, darting in and out in the middle of presentations, conversing in the lobby, each attendee could experience the exhibition in a different way. Just as each individual work of art tested the boundaries of traditional art forms, so too did the sum total of the evening. The interaction between each piece in the unique sequence each viewer experienced it created something greater than any individual exhibit.
It was clear that Soden, Gould and Yake hadn't invited artists haphazardly. Despite the wide range of mediums used to communicate, each artist was approaching his or her art from nearly the same place. What set the show apart from the increasingly frequent D.I.Y. performances in Portland was the cumulative impact of seeing so many artists' works side by side.
And although fans of the work love such a diverse, eclectic mix of artists, the real treat is for the artists themselves, who rarely get an opportunity to see what groups in other cities and countries are doing with the same resources and the same devotion. Some of the most eagerly anticipated acts drew standing room only crowds in the large auditoriums. The Distance Formula, Portland artist/cult hero Johnne Eschleman's outfit, showed its film "Crash & Burn," accompanied by Eschleman on guitar and keyboard. The piece is constructed of edited, scratched and spliced bits of old Hollywood and other films, and the effect is startling.
Red76 and the Rasbullito Collective showed their own short film, "Click Track," eight minutes of people dancing to the beat of an extremely loud metronome accompanied by truly disturbing live free jazz. Headaches for all!
Sean Clair gave a slide presentation on his hometown of Utica, N.Y. The rough-edged, heartfelt and hilariously funny monologue was indicative of the spirit of most of the event. In the minutes before Clair went on, the crowd mustered a lackluster chant of "Utica! Utica!" a la Al Pacino in "Dog Day Afternoon." As Clair read from his notes, the house lights went dark and he decided to wing it, with some help from a guy with a flashlight.
Gabriel Mindel Saloman, an Oakland, Calif., member of the Portland-based Collective Jyrk, donned a tweed jacket and read a carefully crafted cultural history of 1999 that gradually descended into a rant against the corporate entertainment/mind control machine, punctuated with occasional slugs from a flask.
Smoking on the sidewalk before his performance, the rail-thin, cape-wearing and wildly talented Eschleman put the whole D.I.Y. aesthetic into perspective. "The reason my movies are the way they are," he said as a drunken malcontent screamed at him from the back of a passing bus, "is because I have no money. If I had money, I'd actually shoot my own movies, instead of just scratching up old ones."
Nestor Ramos is a Portland writer. You can e-mail him at nestor_ramos@hotmail.com