Check here for the calendar of events during the month of May, organized on the occasion of Gretchen Bender: So Much Deathless. Programs are free and open to the public with RSVP. Seating is limited. Note: for special May programs TOTAL RECALL (1987) REVISITED and Image Haze: A Tribute to Gretchen Bender’s “So Much Deathless”, please visit the respective program pages.
Programming is free and open to the public. Seating for all events is limited. RSVP is strongly recommended or email firstname.lastname@example.org indicating the program title in your subject line.
Meet the Makers: Jlin presents
Equilibrium: Production vs. Performance vs. Rest
Thursday, May 16
Electronic musician Jlin will present a multimedia artist talk entitled, Equilibrium: Production vs. Performance vs. Rest. The conversation provides the audience with an intimate experience to learn about Jlin’s unique contributions and approaches to music production with albums such as Dark Energy (2015) and Black Origami (2017), as well as her collaborative projects including the score for Autobiography by Company Wayne McGregor, remixes for Björk, fashion soundtracks for designer Rick Owens, and most recently, a new AI-generated track Godmother with acclaimed composer Holly Herndon. The talk will be accompanied by music videos and live demonstrations, featuring tracks from current works in progress.
Hailing from Gary, Indiana, Jlin is one of today’s most original voices in electronic music. Her trailblazing sound is filled with lush, weightless yet powerful drum patterns. Jlin’s albums Dark Energy and Black Origami, described by Pitchfork as “an epic treatise on where rhythm comes from and where it can go”, saw her blaze to the top EOY lists around the world in 2015 and 2017, leading to commissioned projects taking her into the worlds of contemporary dance, classical music and art. These include a score for Autobiography by Company Wayne McGregor, with which she also performs live, a composition for Kronos Quartet, and remixes for Björk, Max Richter and Ben Frost. She had toured worldwide, often accompanied by dancers, video and innovative light design.
Meet the Makers: DIS presents
Thumbs That Type and Swipe
Thursday, May 23
The future demands not just our expertly honed skills in watching, but also understanding. From ancient puppets to prehistoric legends, education and entertainment have been intertwined. The material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social, political, and economic complexity at eye level.
DIS (est. 2010) is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro. In 2018 the collective transitioned platforms from an online magazine, dismagazine.com, to a video streaming edutainment platform, dis.art, narrowing in on the future of education and entertainment.
Exhibition Tour: Peter Nagy
Wednesday, May 29
On select weekdays throughout the exhibition, join us for a series of exhibition tours led by friends, artists, and contemporaries of Bender, in dialogue with Red Bull Arts New York curators. On Wednesday, May 29 at 4:30pm, Peter Nagy joins Chief Curator Max Wolf for our second exhibition walk through.
Peter Nagy co-founded (with Alan Belcher) Gallery Nature Morte in New York’s East Village in 1982. That year, Bender became one of the first artists to present her work there with a solo exhibition entitled Change your Art. Active as an artist in the 80s, since 1992, Nagy has been based in New Delhi, where he resurrected Nature Morte in 1997 to champion young Indian artists and experimental art forms.
Virtual Histories: Antoni Muntadas
Video is Television? (1989), followed by Alphaville (dir. Jean-Luc Godard, 1h 39m, 1965)
Friday, May 31
Using Bender’s notion of deathlessness as a framework, Virtual Histories is a special series of film and video screenings that presents short video works and feature films by artists who explore multi-dimensional memory, alternative scenarios, and imaginary time.
As a follow-up to their short, each artist has been invited to screen a personally influential film that reflects Bender’s contributions to new media theory and production.
Video is Television?
1989, 5:34 min, color, sound
Music: “Symphony No. 1,” Glenn Branca. Executive Producer: Caterina Borelli. CMX Editors: Rick Feist, Marshall Reese. Produced by IMATCO/ATANOR for Television Espanola S.A. El Arte del Video.
In a collision of media images and images of the media, Muntadas fuses films, video and television as a hall of mirrors that reflects contemporary culture. Seen in close-up fragments, television and video images from cinematic sources — Poltergeist, Videodrome, Network, The Candidate — and video art tapes are rendered as illegible, abstracted fields. Against this ground of scanlines and shadowy images, a series of isolated words — “manipulation,” “context,” “audience,” “fragment” — comprise an index of the tactics of the television apparatus, as well as Muntadas’ (video’s) reflexive strategies of critiquing the media. As Glenn Branca’s tense musical score accelerates to a climax, the final video image, which depicts television sets in a consumer display, fragments and disintegrates.
Antoni Muntadas was born in 1942 in Barcelona, Spain, and has lived in New York since 1971. Muntadas has produced a body of work across diverse media, including photography, video, publications, the Internet, multimedia installations and urban interventions. Through his projects, Muntadas addresses social, political and communications issues, the relationship between public and private space within social frameworks, and investigations of channels of information and the ways they may be used to censor information or promulgate ideas.
Deconstructing the systems of representation and information that pervade the contemporary “media landscape,” Muntadas posits a compelling discourse on the “invisible mechanisms” that inform the production and reception of mass media texts. Reading “between the lines” to decode the subjective and objective meanings and interpretations of media language and images, Muntadas analyzes the consumption of information and the process by which it is mediated and manipulated for power, propaganda, and profit.