alLuPiNiT

Tarro de albañil con ligas rojas encontradas y un bombillo ...

2018-09-05T11:36:00.001-07:00

Rafael Sánchez,
2014-2018

mason jar, found rubber bands, light bulb; 9.25" x 3.5" x 3.5"

Jorge Clar, 2018

Montblanc PIX Rollerball fine tip in blue on ruled composition paper;
(spiral note book): 11" x 9"

Dusk to dawn bookstand,

579 Hudson St. NYC. August 29, 2018

Monuments

2018-03-02T15:17:00.002-08:00

"What I did was, go out to the fringes. I picked a point in the fringes and collected some raw material. The making of the piece is really about collecting. The container is the limit it exists (in) within the room after I return from the outer fringes." -Robert Smithson

Double Bill

Curated by Redmond Entwistle

Art in General, January 22 - March 20, 2010

Redmond Entwistle

Sánchez-White Archives

Monuments
a film by Redmond Entwistle

cityArts

Double-Bill

By David Freedlander on Feb 23, 2010

It has been 42 years since Robert Smithson took an Inter-City Transportation Company Bus at the Port Authority to Passaic, N.J.

In his ambulatory meditations, Smithson cheekily compared the wrecked landscape to ancient Rome. His vision was cinematic, it delineated a new way of artistic interaction with the urban environment in tension with the suburban one, and it became a founding document of minimalism.

Through Mar. 20, Smithson’s work, and that of his contemporaries Dan Graham and Gordon Matta-Clark, gets a reworking at Double-Bill, an enlivening show at Art in General.

The centerpiece of the show is a movie about the journey the three of them take back to New Jersey. The old sites of their Monuments have grown derelict, wrecked by industrial decline in a way unforeseen to the artists when they began their careers five decades ago. The house that Matta-Clark once sawed in two has become an office park. Skateboarders zoom by. When one falls and cuts himself, Matta-Clark comically explores the “rupture.” “Surfaces,” he says, looking at the wound, “are too easily accepted as limits.”

Minimalism and post-minimalism have had a longer life in the seminar room than in the gallery, and the characters in Monuments are as much theories as artists; they travel through the area staring impassively at places where once they projected their art and reveling in their theories of art and urbanism.

“The museum and the city and the same,” intones Dan Graham. “My work has always been about the relationship between the city and the suburb.”

The show also features Rafael Sánchez and Kathleen White’s “BOOKS RECORDS TAPES.” It is a long table featuring stacks of for-sale books, sheet music, chapbooks and magazines of the kind found all over the city where vendors are still given reign. The ventures of Smithson et al matter because they expanded the definition of art and pointed out new ways of seeing, Sánchez and White’s seemingly dashed together collections of materials re-realizes that vision.

Through Mar. 20, 2010

Art in General

<>

Monuments on vimeo:
https://vimeo.com/42922707

<>

Robert Smithson, Nancy Holt, East Coast, West Coast
http://www.ubu.com/film/smithson_east.html

Jezus' Zoon

2017-06-11T09:46:00.003-07:00

I knew every raindrop by its name.

-Denis Johnson,

Jesus' Son

Denis Johnson, Jesus' Son

translated to Dutch by

Rob van Erkelens

In Deknipscheer,

book design,

J. -M. van Daalen
Buissant des Amorie

Performance photo of
Rafael Sánchez by Erik Odijk

When I'm rushing on my run

And I feel just like Jesus' Son.

-Lou Reed, Heroin

Wig Suitcase

2017-06-11T09:40:00.000-07:00

Kathleen White,
Wig Suitcase, 1990's

Familiar Feelings (On the Boston Group)
Curated by Manuel Segade

Centro Galego de Arte Contemporánea,
Santiago de Compostela, Spain, 2009

Foto, Mark Ritchie

more:
http://www.mememoi.net/Curating/familiar-feelings/index.html

Santiago de Compostella

2017-03-22T20:03:00.004-07:00

Kathleen and Gail
CGAC
Santiago de Compostela, Spain, 2009

Foto, Rafael

http://www.mememoi.net/Curating/familiar-feelings/index.html

REVOLVER

2017-02-11T19:50:00.000-08:00

REVOLVER,
Rafael Sánchez
Participant Inc, 2004

(performance video still)

see video here:

https://vimeo.com/108204884

Ishtar

2017-01-26T20:00:00.000-08:00

This large plaque was made of baked straw-tempered clay, modeled in high relief. The figure of the curvaceous naked woman was originally painted red; note the trace of the red color on her left wrist. She wears the horned headdress characteristic of a Mesopotamian deity and holds a rod and ring of justice, also symbols of her divinity. Her long multi-colored wings hang downwards, indicating that she is a goddess of the Underworld. The background was originally painted black, suggesting that she was associated with the night.

The figure could be an aspect of the goddess Ishtar , Mesopotamian goddess of sexual love and war, or Ishtar's sister and rival, the goddess Ereshkigal who ruled over the Underworld, or the demoness Lilitu, known in the Bible as Lilith. The plaque probably stood in a shrine.

Old Babylonian period, 1800-1750 BCE, from southern Iraq (place of excavation is unknown), Mesopotamia. (The British Museum, London).

Osama Shukir Muhammed Amin

Originally published on 18 September 2014 in Ancient History Encyclopedia under the following license: Creative Commons : Attribution-Non-Commercial-Share-Alike. This license lets others remix, tweak, and build upon this content non-commercially, as long as they credit the author and license their new creations under the identical terms.

https://www.ancient.eu

fall diptich

2016-10-29T10:39:00.002-07:00

Spirits of Manhattan ...

2016-08-28T21:10:00.001-07:00

Kathleen White, Eugene Fedorko, Gypsy Joe
alLuPiNiT NYC, 2011

http://www.actuporalhistory.org/interviews/images/fedorko.pdf

Kathleen White, 1991
watercolor, gauche on phone book page
Collection Eugene Fedorko, NYC

IV Embrace: On Caregiving and Creativity

2016-07-26T16:11:00.001-07:00

In The Power of Your Care

The 8th Floor

17 West 17th Street, NYC

IV Embrace: On Caregiving & Creativity –

Thursday, July 14, 2016

Kathleen White
Love Letter, oil on canvas, 2002

Kathleen White, Devotion, Participant Inc, Jan. 2004

Rafael Sánchez, REVOLVER
Participant Inc, Oct. 2004

pictured Robert Appleton and Kathleen White

https://vimeo.com/108204884

Sánchez / White,

Unifesto, 2006; stencil-action, 2013

http://cityandstateny.com/articles/policy/healthcare/the-bargain-that-closed-st.-vincent’s.html#.V5gyaDfgt5g

Sánchez / White, Bookstand

2004 -ongoing; Art in General, 2010

http://allupinit-nyc.blogspot.com/2010/02/gotham-art-theater-by-elisabeth-kley.html

Somewhat Portable Dolmen

Sánchez / White, 2007 -ongoing

https://vimeo.com/32184265

http://the8thfloor.org/iv-embrace-on-caregiving-creativity/

The 8th Floor

crater

2016-07-07T12:40:00.004-07:00

crater
fire island
© R. Sánchez 2014

Not Over, 2013 / Tracings

2016-05-18T22:24:00.002-07:00

cute cart disappeared

2016-05-08T20:46:00.001-07:00

for the first time in 15 years

on April 6th, 2016

the cute cart
disappears

who did it ?!

last photo

r.i.p.

André Gide

2016-05-04T04:25:00.001-07:00

Post title

2016-05-04T04:16:00.001-07:00

Mail from Gypsy Joe

2016-05-01T22:53:00.001-07:00

Vol. Vl : Gypsy Joe, USA

2016-02-22T16:45:00.002-08:00

Link:
http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/

Dixon Place163 Chrystie St.
Feb. 25, 7pm$10
IN THE LOUNGE
GERSHWIN LIVE: ALLUPINIT VOL. VL – THE POEMS OF GYPSY JOE

Edited by Rafael Sánchez & Kathleen White

ABOUT THIS SHOW

Gershwin Live is an evolving 21st century salon, artists with fearless & distinctive voices are given free rein to present theater, dance, film, cabaret, ghost stories, music & uncategorizable hybrids. Curated by Michael Wiener & Neke Carson.

ABOUT THE ARTISTS

Gypsy Joseph Cvetetic hails from Montgomery, Alabama. His poems & rhyme stories have flowed like a river though his travels around the globe. He met future alLuPiNiT cofounder & editor Kathleen White in the East Village performance scene of the 1980’s. Production of alLuPiNiT Vol. Vl was interrupted when Kathleen White was diagnosed with stage 4 lung cancer in the summer of 2013. It was Kathleen’s wish that the magazine continue. This event celebrates the first alLuPiNT release since Kathleen’s passing in the fall of 2014.

alLuPiNiT grew out of the collaborative energies of artists Rafael Sánchez & Kathleen White. The team stewarded an outdoor bookstand on Hudson Street in post 9/11 NYC. That project blossomed into a situational confluence of art, citizenry & conversation. alLuPiNiT, NYC was formed as a 501(c)3 in 2008 as a forum for extended collaboration with a family of artists working in every imaginable medium & discipline. The stand, magazine, readings & other works have been presented with Art in General, El Museo del Barrio & in MoMA’s 2012 exhibition Millennial Magazines.

http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/

Post title

2016-02-22T16:36:00.002-08:00

Sound Texts @ Wild Project, Feb. 16 - March 5, 2016

2016-02-22T16:30:00.001-08:00

Curated by Conrad Ventur in conversation with Rafael Sánchez and

in conjunction with Randy Gibson for the Avant Media Festival, 2016

at The Wild Project, NYC; February 16 - March 5, 2016

( page under construction )

¡ 新年快乐 !

2016-02-08T06:20:00.002-08:00

St. Francis in Ecstasy

2016-02-04T10:02:00.001-08:00

Giovanni Bellini

c. 1480

Oil on panel

124.6 cm × 142 cm (49.1 in × 56 in)

Frick Collection, New York

One of the greatest paintings ever created is housed quietly in the heart of our city.

http://www.frick.org/interact/bellini_discussion

20,000 Leagues Beyond the Valley of the Dolls

2016-01-31T22:33:00.001-08:00

Article originally published June, 2011

alLuPiNiT Vol V Hunter Reynolds Survival + AIDS

questions

2016-01-24T20:54:00.001-08:00

The Sun Remained'

2016-01-13T19:17:00.000-08:00

Originally published in Siglit Landau, Gabriele Horn, Ruth Ronen (Hrsg. / Eds.), HATJE CANTZ, KW Institute for Contemporary Art, Kunste-Werke, Berlin, e. V., 2008

alLuPiNiT, Vol. V
Hunter Reynolds / Survival AIDS 2011

Lia Gangitano

The occasion to return to Siglit Landau's 2001 untitled installation for New York's Thread Waxing Space coincides with the origin of our meeting, which for me began exactly one decade ago. Visiting Berlin en route to Kassel and Venice, it was Landau's 1997 solo exhibition at Berlin's Contemporary Fine Arts that served as guide to the outskirts of the monolithic exhibitions taking place in these cities, seeking further ruptures instigated by Landau. Although it h would take subsequent years of correspondence to arrive at the realization of our project, Landau's resolution aptly said bittersweet farewell to a decade-old alternative space, and to certain dreams that would also soon collapse.

What I experienced in Berlin in 1997 was a constellation of sculptures in which spaces of safeness-home, nest, tent, bed-turned rancid, damaged by accumulation, by excesses, for example of heat (charring, burning), dampness (mold, Fluids), or rubbing (gnawed holes or scratching). These early works posited monstrous heaps, charred tents, scratched doors, and other unsettling items amid typically austere architectural surroundings, corrupting their boundaries with her bold entries at the Venice Biennale and documenta X that endeavored to place topographically transformed cargo containers on exhibition grounds, Landau further established her status as disturbance. Resident Alien I was situated on the wrong side of the tracks, an obscure participant in the public sphere of the documenta exhibition. Excluded from the Biennale Garden, her Resident Alien II also resided on the periphery, an excursion from the ordered path of geographically delineated pavilions. Landau's detachedteritory was also a container, "its social content imprinted into the formal structure, emerging from the violent confrontation of ready-made sculpture." "A Bataille-like encounter with the real" was evoked by the excessive labor of the artist within the too-close limits of the hermetic container. 2

Written prior to the realization of Landau's project, "Rotten Sun," a text produced for her 2001 Thread Waxing Space exhibition, perhaps can now be seen as a prequel. 3 Drawing from Bataille and Julia Kristeva and their prescient thoughts on abjection and melancholy seemed adequate, in an immediate sense, to delineate the theoretical and aesthetic boundaries Landau sought to address. But with time and evolving context, it is disquieting to look closely, again, at the decomposition of latent meanings that Landau inscribed into this unprecedented work. What was perhaps veiled by sentimentality (regarding the intense collaboration whose realization would be a culminating project) and spectacle (of total reconfiguration and relative obliteration of a previously experienced space) was, in fact, just the place where we were heading.

An activated scale arena of pouring sugar make a crater of cotton candy. Soft floss melts into a rigid structure, still upside down. The mirror image position in which the structure evolves is the prologue for the eventual outdoor decline, flipped over into an urban puddle that mirrors itself, the city, with the first rain. 4

Initial readings of Landau's prior work described a conceptual engagement with specific issues of conflict, territory, occupation-insinuating maps. However, what becomes apparent, over time, is the emergence of expanded processes of deterritorialization and reterritorialization, or Landau's invocation of "a map and not a tracing," as described by Gilles Deleuze and Felix Guttari as a continuum of dissipation and maintenance, action and restraint. "what distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real…. It fosters connections between fields, the removal of blockages on bodies without organs, the maximum opening of bodies without organs onto a plane of consistency." 5 Borrowing a phrase from Antonin Artaud's radio play, to have Done with the Judgment of God, Deleuze and Guattari at times describe "the body without organs" as an unconstrained limit, whereby systems of regulation and control become indistinct, unrestricted, and a plane of consistency could suggest complete freedom, or sheer loss.

Now, from the midst of what Slajov Zizek would describe as a condition of endless war or prolonged state of emergency, to reflect on Landau's smudging of boundaries, her figuration of futile labor, un-nourishing food, and meaningless shelter, looks like the end result of many decades of surfeit, taking the shape of escalating violence and spiraling de-evolution due to habitual war, rapid climate change, and the increasingly de-contextualized events that occurred shortly after the sticky sweet summer of 2001. In retrospect, Bataille's rotten sun takes on other meaning, as chronic processes of expenditure, retrogression (bothered with an incessant energy that "sees the light of night" 6), rather than being cyclical, seem stuck in a holding pattern, in which "the summit of elevation is in practice confused with a sudden fall of unheard-of-violence." 7 Seeking to break this inert cycle, Landau stages intimate ordeals, ruminations in reverse, centripetal archaeologies, spaces in which hostile vomiting can also be a sign of love. (I love you so much I think I [h]ate you. 8)

The planetary systems that turn in space like rapid disks, and whose centers also move, describing an infinitely larger circle, only move away continuously from their own position in order to return to it, completing their rotation. Movement is the figure of love, incapable of stopping at a particular being, and rapidly passing from one to another. But the forgetting that determines it in this way is only a subterfuge of memory. 9

Preparations for Landau's installation at Thread Waxing Space were perhaps not unusual. Drawings and diagrams flowed from the fax machine, outlining plans. Research was directed, and excursions in search of materials, specifically air cargo containers, were exacted according to long distance instruction. That all preliminary planning would be abandoned upon Landau's arrival in New York, yielding an altogether different outcome, was yet unknown. Looking through the files, drawings of alien fruit, mutating vines, and congested containers bear a striking resemblance to the project that would inevitably follow; and unbeknownst to Landau, the material that would ultimately comprise this work was piling up in her studio in Tel Aviv during her absence. The Country, an installation at Alon Segev Gallery in 2002, would be populated by works made of paper and pulp from two years of the daily newspaper Haaretz, beginning with the outbreak of El-Aqsa Intifada in late September 2000, through early September 2002 when the exhibition opened.

Research for Thread Waxing Space involved a proliferation of cyclical diagrams, evolution ay miscellaneous speeds, and inscrutable wordplay, which preceded Landau's uncharted venture toward large-scale aggregation and imminent breakdown. She invoked the notion of centrifuge: any of various rotating machines that separate liquids from solids; any of various rotating devices for subjecting human beings or animal to varying acceleration. Occupying a second floor loft space above Broadway in SoHo, she described the proposed work as a spectacle of animal-like labor occurring in a space transformed into a runway that spirals into a large hemispheric negative - an immoderate cycle of production and consumption inaugurated by degraded processes of eating, expulsion. Remedial cannibalism, inordinate futile labor, the valuing of dead (unusable) matter, and a large-scale binge of sugar would announce that someone is hungry, but isn't being fed.

With the Thread Waxing Space installation, as with other works that would follow, Landau visualized the soon-to-disappear "jettisoned object" 10 as a corpse of her own production. In forms ranging from images in the video work Arab Snow to performances taking place inside the vast volume of sugar, Landau' mummification proved that too much sweetness produces well-spun remains. Surplus clogged the workers' shower and encrusted the artist's living quarters with unwholesome residue. A spectral video projection, slowed down, revealed images of sugar dispersed in all directions, a hanging body spun in floss, spider-like fibers being removed in reverse: vomited and licked. And perhaps what was not known, and what is retained most vividly as physical memory, is conjectured by the smell of burning sugar.

The ascendance of sight … is paralleled by the disqualification of smel. We find one repercussion of its primacy elaborated y the philosophy of Emmmanuel Kan: The beautiful does not smel …. Nenetheless, the primacy of the visible still requires the kitchen as its backdrop. That which smells muddles vision. But when withdrawn from vision, assingned to the register of the hidden, relegated to the junk room, far from simply disappearing, odor remains affirmatively inscribed in an economy of the visible. 11

Landau's visibility re-oriented spaces, along with their evocation of persistent odors, suggest mappings of territory's edges, "roofless situations," multiple entryways, belonging ad expulsion, and the flexible membranes that delineate such thresholds. Their actualization is deliberately misregistered: branching, spiraling, reversed, turned upside down. Her 2004 exhibition The Endless Solution (at the Tel Aviv Museum of Art) while addressing "abundance as the antithesis of Modernist and Minimalist idioms," 12 as well, caused visitors to enter through a cast cement structure modeled on the sewer pipes that filter into the Dead Sea. Entering the museum-as-sewer, one is consumed by procedures such as entries and exits, trash and waste removal systems, and then into a place replete with the refuse produced by a hostile atmosphere, in this case, objects crystallized by submersion in the Dead Sea.

Characteristic of her continued work, Landau stages such archaeological sites - halted in time for the examination of material remains. What she refers to as "speed archaeology" in terms of her own production was manifested at Thread Waxing Space in the form of the relics of petrifaction by sugar: and more recently, in The Endless Solution, with remains caused by petrifaction by salt. With The Dining Hall, unappeasable cravings are met with watermelon flesh served on a tablecloth of salt. Viewing Landau's work as a cyclic pattern, east to west, sweet to salty, instead of halting or repeating, discloses discontinuous points external to such binaries, indicating a necessary multiplicity, described in terms ofart as "a book all the more total for being fragmented" by Deleuze and Guattari: "The world has lost its pivot; the subject can no longer even dichotomize, but accedes to a higher unity. The world has become chaos, but the book remains the image of the world." 13

Notes /

1. The title comes from the final inter-title in The Deadman, directed by Peggy Awesh and Keith Sanborn (1990), 40 min., 16 mm.

2. Sarah Breitberg-Semel, Friction, exh. cat. Israeli Pavilion, Venice Biennale (Venice, 1997).

3. "If … one obstinately focuses on it, a certain madness is implied, and the notion changes meaning because it is no longer production that appears in light, but refuse or combustion, adequately expressed by the horror emanating from a brilliant arc lamp…. In the same way that the preceding sun (the one not looked at) is perfectly beautiful, the one that is scrutinized can be considered horribly ugly." George Bataille, "Rotten Sun," in Visions of Excess: Selected Writings, 1927-1939, trans. Alan Stoeckl (Minneapolis: University of Minnesota Press, 1985) pp. 57-58.

4. This quotation is from Siglit Landau's project descriptions in "Rotten Sun," in ex. cat. Thread Waxing Space, (New York, 2001).

5. Gilles Deleuze and Felix Guttari, "Introduction: Rhizome," in A Thousand Plateaus, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1987), p.12.

6. Alan Stoeckl, "Introduction," in Visions of Excess (see note 3) p. xiii.

7. Georges Bataille, :Rotten Sun," in Visions of Excess (see note 3), p. 58.

8. See note 4.

9. Georges Batalle, "The Solar Anus," in Visions of Exces (see note 3), pp. 6-7.

10. "The abject has only one quality of the object - that of being opposed to I. If the object, howver, through its opposition, settles me within the fragile texture of desire for meaning, which, as a matter of fact, makes me ceaselessly and infinitely homologous to it, what is abject, on the contrary, the jettisoned object, is radically excluded ans draws me toward the place where meaning collapses." Julia Kristeva, " Approaching Abjection," in Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia Univerity Press, 1982), pp 1-2.

11. Dominique Laporte, "the colonial thing," in History of Shit, trans. Nadia Benabid and Rodolphe el-Khoury (Cambridge, Massachusetts: The MIT Press, 2000), p. 38.

12. Mordechi Omer, "The Endless Solution," in exh. Cat. Siglit Landau: The Endless Solution, Tel Aviv Museum of Art (Tel Aviv, 2005) p. 40.

13. Gilles Deleuze and Felix Guttari, "Introduction: Rhizome," in A Thousand Plateaus (see note 5) p. 6.

Dolmen

2016-01-01T20:57:00.001-08:00

Dolmen

Jan. 2, 6-8pm

Philly Abe, Gypsy Joe, Hannah Buonguraro

Conrad, Gail, Rafael, Gene Frankel Theatre, 24 Bond Street, NYC

alLuPiNiT

Tarro de albañil con ligas rojas encontradas y un bombillo ...

Monuments

"What I did was, go out to the fringes. I picked a point in the fringes and collected some raw material. The making of the piece is really about collecting. The container is the limit it exists (in) within the room after I return from the outer fringes." -Robert Smithson

Double Bill

Curated by Redmond Entwistle

Art in General, January 22 - March 20, 2010

Jezus' Zoon

Wig Suitcase

Santiago de Compostella

REVOLVER

Ishtar

fall diptich

Spirits of Manhattan ...

IV Embrace: On Caregiving and Creativity

In The Power of Your Care The 8th Floor 17 West 17th Street, NYC IV Embrace: On Caregiving & Creativity – Thursday, July 14, 2016

crater

Not Over, 2013 / Tracings

cute cart disappeared

André Gide

Post title

Mail from Gypsy Joe

Vol. Vl : Gypsy Joe, USA

Link:http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/Dixon Place163 Chrystie St.Feb. 25, 7pm$10IN THE LOUNGEGERSHWIN LIVE: ALLUPINIT VOL. VL – THE POEMS OF GYPSY JOE

Edited by Rafael Sánchez & Kathleen White ABOUT THIS SHOW

ABOUT THE ARTISTS

Post title

Sound Texts @ Wild Project, Feb. 16 - March 5, 2016

¡ 新年快乐 !

St. Francis in Ecstasy

20,000 Leagues Beyond the Valley of the Dolls

questions

The Sun Remained'

Dolmen

In The Power of Your Care

The 8th Floor

17 West 17th Street, NYC

IV Embrace: On Caregiving & Creativity –

Thursday, July 14, 2016

Link:
http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/

Dixon Place163 Chrystie St.
Feb. 25, 7pm$10
IN THE LOUNGE
GERSHWIN LIVE: ALLUPINIT VOL. VL – THE POEMS OF GYPSY JOE

Edited by Rafael Sánchez & Kathleen White

ABOUT THIS SHOW