The community I’ve become a part of through Transart is already much more immersive than what I’ve developed in ten years of living and working as an artist in New York City.
Virgil is as an independent artist and filmmaker based in NYChttp://www.virgilwong.com
The Transart International Collective is an informal, decentralized network of Transart alumni,students, and faculty. Transartists come together from all points on the globe to generate
discussion, exchange, and develop independently-driven projects with others in the international
Transart community. The Collective platform offers a place to connect with others in the
Collective and post news, announce projects, or initiate collaborations.
Recently, members of the Transart International Collective participated in Not Festival (performances, exhibits, talks, classes, jams) Brooklyn, New York, 2011; Nothing to Declare (exhibition and education projects) Manila, Philippines, 2011; Working Conversations: (presentations and discussions on artists working in public space) Vienna, Austria, 2011; and the Shelter Project (talks, performance, intervention, exhibition) Vienna, Austria, 2010.
Please visit http://transartcollective.org for more information.
NOT FESTIVAL, Performances, exhibitions, jams, lectures, September 24 – October 8th, 2011 Brooklyn, New York
NOTHING TO DECLARE, Exhibition and call for proposals, October – November 2011, Manila, Philippines
WORKING CONVERSATIONS 2: Event, June 15, 2011 Vienna, Austria
SPACES IN BETWEEN, Exhibition, July 31 – August 5, 2010, ConcentArt, Kreuzbergstr. 28, Berlin, Germany
SHELTER PROJECT, Exhibition and symposium, June 9 – 13, 2010 Vienna, Austria
Luis Lara Malvacías in Association with Movement Research, the Greenspan Center, Williamsburg and Gallery Galou presents: Not Festival: On horns, hair, hens, haze and other (Orgi)anics things.
The Not Festival: On horns, hair, hens, haze and other (Orgi)anics things is a 2-week event that will take place from September 24th to October 8th, 2011. Created by 3RD CLASS CITIZEN and by the initiative of choreographer and multidisciplinary Venezuelan artist Luis Lara Malvacías, the event consists of a series of site-specific performances and installations, art exhibitions, jams, lectures and discussions of topics that are relevant to contemporary dance and art today, as well as contemporary dance classes and workshops. The title chosen for this edition of the “NOT FESTIVAL”, is offered as a framework where participants can get in and out of it; can re-frame it; can get rid of the concepts that this title might imply which could constrain their creative choices; can re-conceptualize it when in doubt; and finally, can fully remove themselves from it to allow meaning to be created in tandem with their creative process.
All the activities will be created, developed and presented at 39 Ainslie St, one of the few industrial/commercial buildings in the Williamsburg area that, although surrounded by high-rise developments and new luxury condos, is still standing. Maintaining its original warehouse looks, which originally attracted artists to move to the area, it still has a dance studio available for rental at a low rate, and ironically, a heated bodywork pool on the ground floor. The performers include artists from different cultural backgrounds who live and work in New York as well as guest artists from abroad. Renowned international dance teachers will lead the dance classes and workshops, and Movement Research will co-produce a Studies Project in partnership with the Not Festival. The TRANSART collective – an international collective of artists from around the world – and Galou gallery will also be involved in the final development of the event.
The purpose of the Not Festival : On horns, hair, hens, haze and other (Orgi)anics things project is threefold: as a continuation of Luis Lara Malvacías’s interest in creating collaborative and multidisciplinary events that can act as a cross-cultural exploration for the participants and the audience; as a powerful stimulus to the participating artists by offering them the opportunity to meet and share with others their ideas and approaches to creation, and to discuss topics that are relevant to contemporary art and dance today; and to serve as a platform that can encourage the formation of a network of people who can create similar projects in the future in other parts of the world.
Luis Lara Malvacías created 3RD CLASS CITIZEN in 2003. Formed initially with a focus on dance, visual arts and New Media, this collective was comprised of artists from a wide range of the growing Latino populations living and working in New York. Its collective nature also encouraged the interaction of artists, musicians, designers and choreographers from different cultural backgrounds that added a different contribution to the mix. The project is constantly evolving and changing. The Not Festival : On horns, hair, hens, haze and other (Orgi)anics things is a result of this venture. With this project, Luis Lara Malvacías and 3RD CLASS CITIZEN wants to continue the process of investigation and exchange initiated already with the Latino American Dance: Not Festival Project (2003) and Under a Big, Bright, Yellow Sun (2005). Both projects took place in New York and brought together notable artists from the city and from several Latino American countries, including Argentina, Brazil, Colombia, Peru, Mexico, Venezuela, Chile and Puerto Rico.
Press Information: Tavia Grace, taviagrace [at] gmail.com, (203) 209-4219
NOTHING TO DECLARE
Submissions due September 30, 2010
October 25 – November 25, 2011
Curated by Faudette May V. Datuin
Organized by Josephine Turalba
Nothing to Declare is a Contemporary Art Exhibition aiming to exhibit artworks by international artists, who are enjoined to collaborate and interact, not only with each other but also with their host communities. The pedagogic / educational aspect of the project is an integral component that aims to conduct art educators’ training workshops, essay writing contests and artist talks for children / adolescents in high school and college levels. Exhibition to travel to some of the participating artists’ countries in 2012 to 2013.
Nothing to Declare is a project that aims to explore the creative process of visuals artists who come to Manila with their cultural specificities and span of professional experience that is varied and diversified. The project is designed to allow selected international artists to mingle with selected local Filipino artists and share their artistic practices and know-how as regards concept and craft. This exchange among artists provides the starting point for pedagogical, art-critical and art-education activities. Nothing to Declare’s exhibition and workshop is expected to be documented in a full color book/catalogue that will comprise critical texts, academic essays, artists’ statements, photo-documentation of the workshop, and community activities as well as of the round-table discussions.
Themes and Discourse
Through the selected works of international and Filipino artists, Nothing to Declare will explore issues of identity, gender, migration —broadly defined as movement not just across waters, land, and air, but also across immediate, virtual and hyper realities—and shifting societies. The title pays particular attention to the role of migration in shaping those social changes by continuous movement, a movement characterized by breaks, dislocations, absences, and silences of those who have nothing to declare. In an uneven global system where people’s ways of sensing and feeling are de-synchronized and fractured, irreducibly plural, discontinuous and non-homogenous, Nothing to Declare plans to address such phenomena in workshops and round table discussions.
Such disjointed perceptions —which become concretely apparent in states of trance, possession, daydreams, jokes, manic and epileptic seizures— can be understood under the thematic of “picnolepsy”, a category we borrow from Paul Virilio to explain experiences that exist as a series of vacancies and absences, configured in shifting and provisional arrangements, rather than coherent unities, ordered and logical thought.[i] Nothing to Declare is thus interested in those picnoleptic vacancies and absences, the un-saids in human perception and the gaps in human experience, particularly of those at the fringes who fall between the cracks of the “real,” the rational and the visible in a global culture of unequal access amidst material excess, of want and poverty amidst waste and plenty. The project’s first stopover and point of entry for engaging with and making sense of these gaps and disappearances is Manila, the capital city of what is referred to as “a nation of nannies,” of exported overseas workers, whose remittances to those they leave behind supposedly keep the economy afloat.
As pilot site for Nothing to Declare, Manila is place as well as metaphor for understanding a particularly nomadic, migratory sensibility characterized by displacements, of absences, and of slippages, that are lived in very real, concrete, at times painful terms in the everyday. “Livedness” and “lived realities” for these families do not only refer to the immediate, the concrete. In life until death, the bodies of these so-called citizens of the world present concrete examples of contradictions, of absent people who are made present through money coming through the wires, a lifeblood circulating —from birth to death— through impersonal, electronic banking and financial circuits of exchange. For example, there is now a funerary service advertised as “Cyber-Burol” (cyber-wake), where the webcam and the computer can relay images of the bereaved and the dead, a situation where grief and feelings of loss, and pain are played out virtually.
Such virtual realities become very real and pervasive, especially in political circuses, such as elections, which for the first time have become “automated” in 2010 —a development that gives rise to the possibility of failures in elections, a danger that WJT Mitchell[ii] characterized no longer of “things falling apart” —of wars and mass destruction or mass malfunctioning of machines— but of things coming alive: the creation of new, ever-vital, virulent images and life forms: of computer viruses, terrorist sleeper cells, of warlord cells, of smart bombs, and in the case of Philippine elections, of automated Garcis (short for Garcillano, the election commissioner linked to the vote rigging in the presidential elections that in 2004). Similar circus elections and migration of labor phenomena are found in the homeland of some of the selected artists, from Egypt as a sample of Middle East countries to several Latin American and African nations. Nothing to Declare takes careful note of these movements across realities: movements where copies and objects that, despite or maybe because of having nothing to declare, nonetheless have realities and lives of their own.
As site of political and cultural power, Manila is the seat of the nation-state, one that is constantly challenged by political, cultural and social forces within and without. As source of exported labor and goods, Manila exists in the margins of global politics and economy as well as in relative geographic isolation from the rest of mainland Southeast Asia’s capital cities. However, as port of entry to the rest of the Philippine Islands, Manila is also the junction towards the rest of Asia. As the first destination for Nothing to Declare, Manila thus becomes a meeting place where people from various points of origin can work together, listen and tell stories of loss and leavings, as well as gains and triumphs. Nothing to Declare is thus a contribution to contemporary discussion on migration, not only of people across borders, but of forms and realities across time and space, with the dysfunctional city of Manila as initial site. But instead of the subaltern who cannot speak[iii], the project focuses on those who have nothing to declare –those whose marginality is source of intervention and strength, of subterfuge and resistance, of constraint as well as change.
[i] Paul Virilio. The Aesthetics of Disappearance. USA: MIT Press, Cambridge, Mass. And London, 2009.
[ii] WJT Mitchell. “The Work of Art in the Age of Biocybernetic Revolution,” What Do Pictures Want? Chicago and London: The University of Chicago Press, 2005.
[iii] Gayatri Spivak, “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. C. Nelson and L. Grossberg, eds. Basingstoke: Macmillan Education, 1988.
WORKING CONVERSATION 2
The Right to the City: Reclaiming the Urban
Landscape by Art and Activism/ZORAN POPOSKI
Special Guest: Zoran Poposki, artist
Host: Victoria Hindley, artist
15. June 2011, 20:00
Thyssen-Bornemisza Art Contemporary
Himmelpfortgasse 13, 1010 Wien
Public spaces are sites of interaction, encounter, and communication. Shared by all, the public sphere is also a source of local identity, and a place where heterogeneous groups assert this identity. Since it is also a space of exclusion, this right to representation must be continuously reasserted. Zoran Poposki will discuss several of his projects that focus on
the relation ship between socially engaged artistic practice and the sociopolitical concerns rising from the transformation of urban space in Skopje, Macedonia. In his lecture he will address the challenges of working in the public arena and what it means to attempt to engage different publics. SohoinOttakring in collaboration with Thyssen-Bornemisza Art Contemporary. TI collective members participated in this collaboration between SOHO and TB A21 Contemporary Art.
SPACES IN BETWEEN
July 31 – August 5, 2010
ConcentArt, Kreuzbergstr. 28, Berlin
Vernissage:Spaces in Between
An International Exhibition from the Transart Collective
Liminality from the Latin word limen, meaning “a threshold” or “in between”, characterized by indeterminacy, openness and ambiguity; perhaps mobility, transition, dissolution or disorientation.
Communitas is a Latin noun referring to an unstructured community in which people are equal. Communitas is an acute point of community. It takes community to the next level and allows the whole of the community to share a common experience, usually through a rite of passage. Communitas is characteristic of people experiencing liminality together.
Trans is a Latin noun or prefix, meaning “across”, “beyond” or “on the opposite side”.
The Transart Collective is, as implied by name, a coterie of artists “from other places.” In this exhibition, several of the collective’s individual members share their perception of the spaces in between those places. Such spaces may be physical, psychological, spiritual, sociological, political, or simply a demarcation point or stage in a process. Thus, the Transart Collective represents varied cultures, ages, and nationalities as well as an assortment of personal interpretive perspectives. The collective will exhibit its investigations of “in between” and spend the week in “communitas,” in order to exist in a space of transition, they will examine “rites of passage,” with the hope of gaining new perspectives beyond normal limits of thought and actions and out of in between. Recognizing, of course, that people, places, or things may not complete a transition, or a transition between two states may not be fully possible or tenable.
Organized by Simon Donovan, Karen Marshall, and Jayne Holsinger. Artists include Sarah Bennett, UK Ruth Bianco, Malta / Lynn Book, USA / Jean Marie Casbarian, USA / Ofri Cnaani, Israel–USA / Geoff Cox, UK / Jeannie Criscola, USA / Simon Donovan, USA / Nicolas Dumit Estevez, Dominican Republic–USA Carolyn Guertin, Canada–USA / Khaled Hafez, Egypt / Victoria Hindley, USA–Austria / Jayne Holsinger, USA Renee Kildow, USA / Knoll & Cella, USA / Luis Lara Malvacias / Karen Marshall, USA / Stewart Parker, Scotland–USA / Zoran Poposki, Macedonia / Tricia Sellmer, Canada / Sean Stoops, USA / Mary Ting, USA Josephine Turalba, Philippines
For inquiries, please contact: Simon DONOVAN at email@example.com
June 9-13, 2010
Projektwerksatt SOHO, Schellhammergasse 24, Vienna
Curated by Victoria Hindley
Organized Wolfgang Suetzl, Nina Goldnagl, Victoria Hindley
THE SHELTER PROJECT brings together 25 International artists and theorists on the theme of SHELTER. Multicultural, cross-disciplinary. New artwork, new talks, new performance, new questions. What does shelter mean to you?
All events will be held at Projektwerksatt SOHO, Schellhammergasse 24 from 9.–13. June 2010. SHELTER is organized by Victoria Hindley, Nina Goldnagl, and Wolfgang Suetzl, in collaboration with Beatrix Zobl, Wolfgang Schneider, TRANSART COLLECTIVE (int’l), and SOHO IN OTTAKRING.
THE SHELTER PROJECT’s purpose is to facilitate and present an intercultural exchange of new artwork, ideas, and open dialogue while offering quality arts programming on a vital topic. Revealing a multiplicity of perspectives, much of the work has been created specifically in response to the project and will be presented in Vienna for the first time.
Shelter—a seemingly simple concept that nevertheless cannot be easily defined—has many profoundly personal, philosophical, and political considerations. It affects us all and each of us experiences it in distinctly different ways. THE SHELTER PROJECT traverses far-reaching cultural territory to investigate this vital concept and its extensive repercussions in the contemporary world. Representing a diverse, multi-cultural body of voices, SHELTER contributors are drawn from a variety of disciplines including the arts, philosophy, political science, and literature; they are from the USA, Canada, Austria, Malta, Colombia, Venezuela, and Puerto Rico.
June 10, 2010
12:00-20:00 Exhibition Open
18.00–20.00 Talks (in English language):
Dr. Wolfgang Suetzl, Philosopher and Media Theorist, Austria: “Untranslating Shelter”
Dr. Monika Mokre, Political Scientist, Austria: “About the Right to Feel at Home”
Dr. Josefina Echavarría Alvarez, Peace Researcher, Colombia-Austria: “Strangers’ Subjectivity: Writing the Self in Migration Discourses in Austria”
June 11, 2010
12:00-20:00 Exhibition Open
June 12, 2010
12:00-20:00 Exhibition Open
18:00 SOHO Presents: “In the Aesthetic Trenches: Artists Fight Racism”
In collaboration with SOHO IN OTTAKRING, THE SHELTER PROJECT invites discussion following the 12th SOHO festival: “Kick the Habit: Racism as a Vent” including over 40 artists’ projects. With Ula Schneider, SOHO Director, Beatrix Zobl, Wolfgang Schneider; Co-directors; and other artists.
20:00 Performance: “Movable Objects”
Choreography & Performance by Luis Lara Malvacías (Venezuela), with Ivo Bol & Jeremy Nelson
For inquiries, please contact Victoria Hindley at firstname.lastname@example.org