$2165*
Includes roundtrip flight from Colorado, lodging, daily breakfast, guided excursions, theatre performances, art events and one amazing way to earn college credit!

You can register for this course with SPRING 2010 registration in November, a $500 deposit is dur on November 30. ROLE OF THE VIEW will be led by Gallery of Contemporary Art director Caitlin Green & THEATREWORKS executive director Drew Martorella. More info on our FACEBOOK PAGE.

Questions? Call 255.3232 or email cgreen@uccs.edu.

*Does not include airport taxes and fees or tuition

A PUBLIC ART INSTALLATION BY VALERIE BRODAR
The Gallery of Contemporary Art at the University of Colorado at Colorado Springs (GOCA), the City of Colorado Springs and Mountain Metropolitan Transit are proud to announce a new public art installation, Bus Chronicles by renowned artist and UCCS faculty member Valerie Brodar. This project is part of the AWOL: Art Without Limits. A new program developed by GOCA to create new forums for discussion on art and culture through site specific installations, happenings and non-traditional exhibition spaces. Bus Chronicles will be the third project in this year-long series and is made possible, in part, by a generous grant from the Pikes Peak Community Foundation.
Bus Chronicles is a collection of eighty poems composed in seventeen lines. Each chronicle is a fictional narrative based on unobtrusive and celebratory observations of passengers who ride the Colorado Springs Mountain Metropolitan Transit fixed route bus system. The project has two components, visual texts on the windows of each bus and an audio collage of the poems in the Downtown Terminal.

Artist Statement
The rich visual narratives shaped from the barest of essentials in Japanese Haiku and Félix Fénéon’s Novels in Three Lines are the inspiration for this series. Haiku’s seventeen morae and Fénéon’s three lines are sparse, evocative, and visually precise texts ripe with humor, sorrow, longing, and reflection. Each bus chronicle is a voyeuristic contemplation on isolation within a crowd; the mundane moments of reverie; and on the gender, ethnicity, age, disability, and class dynamics enveloped within the complex choreography between arrival and departure. This practice of everyday life is revealed in slender poetic gestures. The date, time, and geographic position are notated in order to demarcate the locus of a fleeting experience. A passenger’s physical characteristics, posture, clothing, personal artifacts, and actions while situated within the spatial constraints of the bus become the fertile ground on which to create the chronicles. Although based on actual observations each fictional narrative contemplates the routine and the deviant, the ethereal and the grounded, the known and the unknown woven into an intricate tapestry of movement, connection, and memory.

Read full article at wemakemoneynotart.com

Bus Chronicles is a collection of eighty poems composed in seventeen lines. Each chronicle is a fictional narrative based on unobtrusive and celebratory observations of passengers who ride the Colorado Springs Mountain Metropolitan Transit fixed route bus system. The project has two components, visual texts on the windows of each bus and an audio collage of the poems in the Downtown Terminal.

Artist Statement
The rich visual narratives shaped from the barest of essentials in Japanese Haiku and Félix Fénéon’s Novels in Three Lines are the inspiration for this series. Haiku’s seventeen morae and Fénéon’s three lines are sparse, evocative, and visually precise texts ripe with humor, sorrow, longing, and reflection. Each bus chronicle is a voyeuristic contemplation on isolation within a crowd; the mundane moments of reverie; and on the gender, ethnicity, age, disability, and class dynamics enveloped within the complex choreography between arrival and departure. This practice of everyday life is revealed in slender poetic gestures. The date, time, and geographic position are notated in order to demarcate the locus of a fleeting experience. A passenger’s physical characteristics, posture, clothing, personal artifacts, and actions while situated within the spatial constraints of the bus become the fertile ground on which to create the chronicles. Although based on actual observations each fictional narrative contemplates the routine and the deviant, the ethereal and the grounded, the known and the unknown woven into an intricate tapestry of movement, connection, and memory.

The Gallery of Contemporary Art and THEATREWORKS are proud to host the world premier of the ENTIRE Autoteatro Series by Rotozaza, a UK-based performance group. Three works make up the series: ETIQUETTE, GURUGURU and WONDERMART. Tickets available soon…

ETIQUETTE by Ant Hampton and Silvia Mercuriali
Etiquette is a half-hour experience for two people in a public space. There is no-one watching – other people in the cafe or bar are not aware of it. You wear headphones which tell you what to say to each other, or to use one of the objects positioned to the side. There is a kind of magic involved – for it to work you just need to listen and respond accordingly. Etiquette is theatre at its most raw; it is live, insightful, philosophical and incredibly unique. The participants are both the actors and the audience, and the show offers the fantasy of being able to speak without having to think what to say.

GURUGURU by Ant Hampton with Joji Koyama and Isambard Khroustaliov
You have been told what to do every moment of the day, for years on end. The voice in your headphones has understood who you are and gives instructions which mirror what you’d be doing anyway. A life free of dither and uncertainty! In your job, this voice is a career-saver… but the day has come when you need to come ‘off the headphones’. You need help.

Five audience-participants enter a brightly lit room and discover chairs positioned for them around a screen. As they each follow different instructions via headphones, they find themselves at the centre of an oddly familiar dystopia, and that they’re wearing headphones permanently, ‘for their own good’. Proceedings are led by an on-screen, animated character whose twin roles of marketing and spiritual Guru are confused by his reliance on untested and accident-prone technologies. The overproduced, digital sheen of this focus-group world begins to crack, as the group edge towards the dangerous situation of having to think for themselves. In true Rotozaza style, a beautifully orchestrated chaos develops, exposing today’s consumer-mad inability to distinguish between what we want, and what we need.

WONDERMART by Silvia Mercuriali with Tommaso Perego and Matt Rudkin
Wondermart takes a mischievous swipe at the dominance of supermarket culture and consumerism. This interactive audio tour takes you on a journey of rediscovery through the familiar surroundings of the supermarket. Wearing headphones and anonymous behind your trolley, you are guided around the aisles immersed in a private world, as the carefully constructed soundscape overlays a fictional world that blurs the real with the imaginary.

Here’s what the press has to say:
“Wondermart is an absorbing journey into the heart of modern consumerism.” The List (Wondermart)

“The concept is clever and the result an altered engagement with the commonplace.” Irish Times (Wondermart)

“gripping… If the line between audience and performer seems blurred, Rotozaza’s Etiquette erases it entirely.” New York Times/Herald Tribune (Etiquette)

“This is a magical, unthreatening experience… the act of relinquishing responsibility for thought, word and action is unique and the effect is unmissable.” British Theatre Guide (Etiquette)

“Hugely entertaining… This smart, mysterious exercise in programmed thinking and collective chaos is strange but exhilarating.” The Times (GuruGuru)

“You may find yourself frantically looking for yourself again in the moments after the performance has finished.” The Guardian (GuruGuru)

MORE INFORMATION ON ROTOZAZA CAN BE FOUND ON THEIR WEBSITE: www.rotozaza.uk

The gent in the pink jumpsuit and clown mask is known as Shawn Crahan on his driver’s license. To metal fans, he is known as “Clown” (or sometimes “#6″), a percussionist in the Grammy winning band Slipknot. Three days ago, Crahan turned 40–a milestone for all of us, but especially so for a heavy metal musician. He celebrated “art, music and growing old” by staging a free, one-night exhibition of his photography and paintings at the Moberg Gallery in Des Moines, Iowa. As you have doubtless guessed, I think everyone should make art, so would like to offer both an “Atta boy” and a “Many happy returns” to Mr. Crahan.

Read more

IFF 2009 features award winning films and documentaries from Turkey, Iran, the Arab Middle East, and North Africa which explore the theme of women’s lives and experiences. The films document contemporary realities of the Middle East from honor killings to drug addiction and sexual abuse, from sharing intimate stories and frustrations in a beauty parlor to waiting for the return of one’s migrant working spouse. Experiences further include the challenges of pursuing one’s film studies in a war-torn city and getting married in a zone of conflict. Post-screening discussions/Q&As follow five out of the seven featured films and documentaries.

IFF 2009 is part of the University of Colorado at Colorado Springs (UCCS) support of cultural programming along the Front Range expanding an already vibrant fall film festival line-up. MORE INFORMATION.

We are pleased to be working with:

- ArteEast, a New York-based, international, non-profit organization supporting artists from the Middle East and North Africa
- Moon and Stars Project, a non-profit organization promoting Turkish culture and arts
- Fictionville Studio, LLC, a Brooklyn-based independent film production company
- Arab Film Distribution and Typecast Films, Seattle-based
- ANS International, Abdullah Oguz’s Istanbul-based production company

The SCHEDULE

Opening Night, Friday, October 16th at UCCS Dwire 121

6 PM
Opening Reception
6:45 PM
Welcome Statement – Dr. Carole Woodall, IFF Executive Curator
7 PM
Marjane Satrapi’s Persepolis (France 2007), 95 minutes
Discussion with Dr. Rashna Singh, Department of English / WEST at UCCS

Saturday, October 17th at UCCS Dwire 121

10:30 AM
Hiba Bassem’s Baghdad Days (Iraq/UK 2005), 35 minutes
Discussion with Dr. Aditi Mitra, Department of Sociology / WEST at UCCS
Screening held in conjunction with the 4th annual Woman-to-Woman Dialogue Series “Women’s Experiences: Surviving and Thriving” sponsored by the American Association of University Women and the Matrix Center.
Noon
Yasmine Kassari’s L’enfant Endormi [The Sleeping Child] (Morocco/Belgium 2004), 95 minutes
3 PM
Abdullah O?uz’s Mutluluk [Bliss] (Turkey/Greece 2007) 126 minutes
Discussion with Dr. Sölen Sanli, Department of Sociology at Metro State
6 PM
Hamid Rahmanian’s The Glass House (USA/Iran 2008), 92 minutes
Q&A with director, Hamid Rahmanian, and producer, Melissa Hibbard

Sunday, October 18th at the fine arts center

4:30 PM in the Music Room
Hany Abu-Assad’s Rana’s Wedding (Palestine 2002), 90 minutes
Discussion with Dr. Livia Alexander, Executive Director of ArteEast
6:30 PM in the Lobby
Closing Reception
7:30 PM in the Upper Gallery
Nadine Labaki’s Caramel (Lebanon/France 2007), 95 minutes

The Bureau of Land Management says the final environmental impact statement for the proposal by husband-and-wife artists Christo and Jeanne-Claude is scheduled for release in January 2011.

The artists say that means the earliest their “Over the River” project could be installed is 2013. They want to suspend about six miles of fabric over sections of the river, between Salida and Cañon City.

The artists’ previous projects include erecting thousands of fabric panels in Central Park in New York in 2005.

But the three-year-old collective is becoming known in the Philadelphia art world for its monthly exhibitions of work by its members and other artists. And “we actually get awesome turnout for our shows, considering the location and everything,” said Danielle Ruttenberg, one of 25 young artists who either pay for raw studio space in the building or take on chores in exchange for it. (The current exhibition, of bird-centric prints and drawings by a local artist named Tory Franklin, continues through Sept. 13.)

Read entire story.

We all have opinions about the yellow ribbon thing on the median at Cascade Avenue, the giant red paperclips on Tejon Street and the other 11 entries in this year’s “Art on the Street” project.

Now it’s time to let those artists know what you think.

For the first time, project organizer Community Ventures, a branch of the Downtown Partnership, will give a People’s Choice Award.

Read the entire article and see the pieces!

This is it. The art show where Y-chromosomal Adam meets mitochondrial Eve, giving birth to a whole new class of aesthetic imaginings.

It’s Flaunt “Evolution.” An exhibit that showcases the creations of three forward-thinking organizations–FutureSelf, the Gallery of Contemporary Art, and THEATREWORKS—in a quest to advance our species through original works whose ideological themes are life, growth, and sustainability. Live music, video art, performance art, dance, experimental music and fashion all have a place in this year’s event.

As a nod to Flaunt’s origins the concept of “fashion show” mutates with a presentation that will emerge as the evening progresses. Flaunt’s original visionary, Jackie Goode of Idoru, will be on hand to choose members of the audience who truly manifest the Evolution of Fashion to take their turn on the catwalk. Dress to impress.

Don’t be the missing link. Order your tickets online at FlauntSprings.com or reserve them by phone at 719.255.3232.

How far?

How about films projected on the walls, objects and trash of a downtown parking garage?

“Site specificity means taking film out of the black box, art out of the cube and theater off the stage,” said Green, director of the Gallery of Contemporary Art at the University of Colorado at Colorado Springs, which will present “Displacement: Cinema Out of Site,” a series of experimental cinema events today through Sunday. “There’s an element of discovery that I like, with that can come a conversation about the role of arts in the city.”

Her love of discovery is shared by Christopher May, director of The International Experimental Cinema Exposition, or TIE, a Denver-based nonprofit cinema group that’s collaborating with Green. May called the downtown parking garage at Nevada Avenue and Kiowa Street a perfect venue to explore expanded or displaced cinema, avant-garde films shot with 8- and 16-millimeter film.

“Expanded or displaced cinema is projected onto numerous surfaces from more than one projector,” he said. “The idea is three filmmakers projecting on whatever’s available. White concrete walls and broken glass will be creating new images and introducing new ways of viewing film,” Green said.

The subject of the films runs perfectly with that free-form theme: parkour.

Mainstream America glimpsed this free-form, running, vaulting thing in the movie “Casino Royale,” but it’s been a YouTube phenomenon for longer.

“Parkour is an athletic and spiritual practice of getting from Point A to Point B using urban obstacles,” Green said.

May said parkour is different from “freerunning,” a similar practice that highlights acrobatics.

“In parkour, you do everything to be useful; traceurs (parkour practitioners) emphasize the practice of becoming stronger to be useful to society. The practice is noncompetitive and community-based. There’s a firm belief in mentorship. The motto is ‘to be and to laugh.’”

In total, “Displacement” consists of a series of six lectures by filmmakers, theorists and traceurs, and a screening tonight that includes the work of three filmmakers.

There also will be an audio experimentalist who creates rhythm and melody with recordings of traceurs’ hands and feet slapping concrete.

“Displacement” is one of six projects under the gallery’s umbrella program “AWOL: Art Without Limits,” created by Green to bring art into the community.

“Community-based projects create a forum for discussion on public process and they invite participation from diverse audiences, expanding the population that interacts with the art,” Green said.

All of the “AWOL” projects invite discourse and rely on collaboration with other organizations, as well.

For “Flaunt: Evolution,” Green worked with Amber Coté, director of FutureSelf, and Drew Martorella, executive director of TheatreWorks, to create a multimedia fashion show with video art.

While dates have been set for “Displacement” and “Flaunt,” Green is still working to solidify details on the four remaining projects including “Etiquette,” an interactive project in which the participants follow directions from a pair of headsets, all within a public restaurant (Green has been talking to the owners of Shugas).

Green sees “AWOL” as an opportunity to break the barriers between gallery space and public gathering. “This program expands our mission to outside the gallery walls.

It has the opportunity to grow an interest in the arts and to facilitate a dialogue in the arts about community.”

Displacement:
cinema out of site
When: After dusk today
Where: Parking garage at Nevada Avenue and Kiowa Street
Admission: Free
Something else: Reception and lectures at City Hall, 6:30 p.m. today-Sunday

Flaunt: Evolution
When: 7-11 p.m. Sept. 12
Where: under Colorado Avenue Bridge
Admission: $30

But in his first sit-down interview since his nomination by President Obama, Mr. Landesman’s comments suggested that he may nevertheless raise hackles on Capitol Hill after he is sworn in in the next few days. Speaking recently in his office above the St. James Theater on West 44th Street, where Tony Awards abut baseball trophies — testament to his prowess as a producer and as a pitcher in the Broadway Show League — Mr. Landesman, 62, made clear that he has little patience for the disdain with which some politicians still seem to view the endowment, more than a decade after the culture wars that nearly destroyed it.
He was particularly angered, he said, by parts of the debate over whether to include $50 million for the agency in the federal stimulus bill, citing the comment by Mitt Romney, former governor of Massachusetts, on CNBC’s “Squawk Box” in February, that arts money did not belong in the bill. That kind of thinking suggests that “artists don’t have kids to send to college,” Mr. Landesman said, “or food to put on the table, or medical bills to pay.”
In American politics generally, he added: “The arts are a little bit of a target. The subtext is that it is elitist, left wing, maybe even a little gay.”

And while he praised the way recent endowment chairmen have carefully rebuilt the agency’s political standing, Mr. Landesman — who is known more as an independent entrepreneur than as a diplomatic company man — said he was not planning to follow too closely in their footsteps. While Dana Gioia, his immediate predecessor, made a point of spreading endowment funds to every Congressional district, for example, Mr. Landesman said he expected to focus on financing the best art, regardless of location.
“I don’t know if there’s a theater in Peoria, but I would bet that it’s not as good as Steppenwolf or the Goodman,” he said, referring to two of Chicago’s most prominent theater companies. “There is going to be some push-back from me about democratizing arts grants to the point where you really have to answer some questions about artistic merit.”
“And frankly,” he added, “there are some institutions on the precipice that should go over it. We might be overbuilt in some cases.”

Mr. Landesman does believe that the agency should be “perceived as being everywhere,” he said. “But I don’t know that we have to be everywhere if the only reason for supporting an institution is its geography.”
On the subject of the endowment’s budget, too, Mr. Landesman did not hold back. Though he would not put a dollar figure on his own fiscal goals, he called the current appropriation of $155 million “pathetic” and “embarrassing.” And he seemed to imply dissatisfaction with increases proposed by Congress and by the president, which both fall short of the agency’s 1992 budget of $176 million.

“We’re going to be looking for funding increases that are more than incremental,” he said.
As for grants to individual artists — which were eliminated in 1996 after years of complaints from conservative legislators about the financing of controversial art — Mr. Landesman said he would reinstate them “tomorrow” if it were up to him. (It’s up to Congress.)
Mr. Landesman said that as chairman he will focus on the potential of the arts to help in the country’s economic recovery.
“I wouldn’t have come to the N.E.A. if it was just about padding around in the agency,” he said, and worrying about which nonprofits deserve more funds. “We need to have a seat at the big table with the grown-ups. Art should be part of the plans to come out of this recession.”
“If we’re going to have any traction at all,” he added, “there has to be a place for us in domestic policy.”
He was less clear about the details of this ambitious agenda, though he talked about starting a program that he called “Our Town,” which would provide home equity loans and rent subsidies for living and working spaces to encourage artists to move to downtown areas.
“When you bring artists into a town, it changes the character, attracts economic development, makes it more attractive to live in and renews the economics of that town,” he said. “There are ways to draw artists into the center of things that will attract other people.”
The program would also help finance public art projects and performances and promote architectural preservation in downtown areas, Mr. Landesman added. “Every town has a public square or landmark buildings or places that have a special emotional significance,” he said. “The extent that art can address that pride will be great.”
Given the agency’s “almost invisible” budget, he said, goals like these would require public-private partnerships that enlist developers, corporations and individual investors — largely by getting them “to understand the critical role of art in urban revitalization.”

Such arrangements — which he said will be a “signature part” of his chairmanship — will play “right into the president’s wheelhouse,” Mr. Landesman added, speaking of Mr. Obama’s concerns about cities and economic development.
The new chairman said he already has a new slogan for his agency: “Art Works.” It’s “something muscular that says, ‘We matter.’ ” The words are meant to highlight both art’s role as an economic driver and the fact that people who work in the arts are themselves a critical part of the economy.

“Someone who works in the arts is every bit as gainfully employed as someone who works in an auto plant or a steel mill,” Mr. Landesman said. “We’re going to make the point till people are tired of hearing it.”
As for the former agency slogan, “A Great Nation Deserves Great Art,” he said, “We might as well just apologize right off the bat.”
Mr. Landesman said he realized he was not the obvious man for the job. “There are a lot of people whose résumés laid out a lot better than mine,” he said. “But I think the president is serious when he talks about change. I think he wanted to bring a new energy to this agency.”

Mr. Landesman’s own résumé starts with his upbringing in and around the cabaret theater his father and uncle ran in St. Louis, the Crystal Palace. Performers including the Smothers Brothers and Mike Nichols and Elaine May often headlined there during his childhood, some of them staying in the Landesman family’s basement apartment after their gigs.
Mr. Landesman, who has a reddish beard and lanky physique, did a lot of acting as an undergraduate at the University of Wisconsin, then went on to the Yale School of Drama, where he earned a Ph.D. in dramatic literature and criticism and stayed on as an assistant professor for four years, until 1978.
After leaving Yale, Mr. Landesman started a mutual fund, bought racehorses until he had amassed a dozen — one successful horse would enable him to purchase another — and about three years ago, he said, “came within about five minutes of buying the Cincinnati Reds.” (He lost out to another bidder at the last minute, which he said was “painful.”)
In 1985 he produced the Broadway musical “Big River,” which won that year’s Tony for best musical, at a theater owned by the Jujamcyn group, the third-largest of the big three New York theater companies, after Shubert and Nederlander. Two years later he was hired as the president of Jujamcyn Theaters, and in 2005 he bought the company; in his new position he will retain his ownership stake but will not participate in the company’s activities.

Jack Viertel, Jujamcyn’s creative director, described Mr. Landesman as smart, decisive and “a very entertaining person to be around,” but also “mercurial,” “unpredictable” and “an extraordinarily hardheaded businessman.”
Paul Libin, the producing director at Jujamcyn, said he was at first “taken aback” by the idea of Mr. Landesman’s leading the endowment, but that he has come to believe that the job requires “someone who is a general,” and that his boss fits the bill.
Mr. Landesman wasn’t tapped for the job. “I’d love to say the president drafted me, and I had to answer the call of duty, but no,” he said. “I put my hand up for this.”

“Everybody I talked to said, ‘This is the worst idea I’ve ever heard, put it out of your head immediately,’ ” Mr. Landesman said. “The idea of running a 170-person federal bureaucracy seemed crazy.”
But it’s an unusual moment in history, he said, and he wanted to be part of it. President Obama was “the first candidate in my memory who made arts part of the campaign,” Mr. Landesman said. “He had an arts policy committee and an arts policy statement and arts advisers.”

Cultural mavens like himself feel they “have one of their own” in the White House, he added. “It makes the arts community feel finally, for the first time in a long time, there might be some wind at their back.”

Only seven performances! Click here for more information.

The road kill toys come with their own plastic bodybag, and some have an “I Love RoadKill” bumper sticker, death certificates and toe tags.

Read on: http://www.artnewsblog.com/2009/07/roadkill-toys.htm

Displacement is the perfect marriage of a program and a project. The program, AWOL: Art Without Limits is about creating new forums for discussion on art through site specific installations, happenings and non-traditional exhibition spaces. The project, Displacement, is a conversation based on the art of displaced cinema. Both the program and project value the importance and effect of space, and both challenge traditional expectations of what an exhibition site can and should be. This project, a collaboration between GOCA and TIE, The International Experimental Cinema Exposition, will be presented on the top floor of the Kiowa & Nevada parking garage in downtown Colorado Springs. Lectures will be offered to further explore the discourse of expanded (or displaced) cinema, aural experimentation, spectatorship, the recontectualization of found-footage, and parkour (the art of movement).

Displacement: Cinema Out of Site is collaboration and presentation of film works by contemporary Argentine and North American avant-gardists to encourage an intercontinental dialogue between artists. These artists, writers and curators are presenting moving image and sound creations on the concrete structure of a public parking garage. To understand the presentation and its relationship to parkour we must understand displacement. Rachel Cole, a participating artist, wrote “Place isn’t lost, it is rather “displaced,” undone, emptied of meaning of itself, a location without linear measurement.” Displaced is not misplaced. The cinema and this program are not lost; instead they have been stripped of popular expectations for what they should be. Many would say art should be in a gallery and film in a theater. This project uses an existing space, urban architecture, to redefine the viewer’s experience of the work presented.

A series of three lectures featuring filmmakers, artists and curators accompany this one-night-only film presentation. Each lecture pairs two speakers each with keen insight into the philosophies and techniques explored through the films.

AUG. 7 CITY HALL Council Chambers (107 N. Nevada Ave.)
Christopher May and Jimmy Gable will discuss the notion of displacementand displaced cinema and the history and philosophy of parkour.

Displacement occurs when the Id wants to do something of which the Super ego does not permit. The Ego thus finds some other way of releasing the psychic energy of the Id. Phobias may also use displacement as a mechanism for releasing energy that is caused in other ways. See also: Fantasy, Projection, Expanded Cinema, Curatorial Daydreaming, Surrealism.

Parkour is a discipline, non-competitive in nature, with the focus on the ability to move over, below, around, through, or anything to get by an obstacle as quickly and as efficiently as possible, as if in pursuit, usually in an urban environment. It’s about having the control and the know-how to create movement through an environment efficiently.

AUG. 8 GAY & LESBIAN FUND FOR COLORADO (315 E. Costilla)
Pablo Marin and Gregg Savage will discuss found footage and people as instruments.

Found-footage, the practice of recontectualization of someone else’s audiovisual materials, has certainly come a long way since its almost uncertain beginnings in the twentieth century. In perfect symbiosis with the groundbreaking concept of ready-mades in the field of art, this tradition surpassed practically every film frontier, from documentary to fiction, to find its true place within the avant-garde, where its nature is constantly redefined by both conceptual and technological possibilities.

Making music from the sounds of traceurs in the field, Gregg will talk about the experience of creating the music and sound worlds for the event Displacement: Cinema Out of Site. He will explore why it is essential for techology and tradition to find a happy medium in creating art, why randomness and chaos are essential to creativity, and how the philosophy and inspiration of Parkour can be utilized in making music.

AUG. 9 GAY & LESBIAN FUND FOR COLORADO (315 E. Costilla)
Dan Mancini and Rachel Cole will discuss the Tetris Effect and on-site distraction.

As a recurring practice parkour takes root in the mind. An apposite analogy is the Tetris Effect, wherein after extended bouts of Tetris, people consistently report seeing the entire world, buildings and cars, as tetrominoic pieces to be fit together. Similarly, through the proclivity of parkour, walls and railings that traditionally herd people around become open ended, a canvas on which to apply new physical rules. This phenomenon exemplifies the neroplasticity of the human brain, by which parkour literally amends a tracer’s perception of physical spaces, and even abstract ideas.

Parkour and experimental film share the quality of continual disturbance: the land, the background, the scene, the figures enveloped in it are transiently in the frenzy of the un-locatable, fleeting present. Displacement asks us to locate ourselves and thus be physical, embodied, carnally un-whole as much as starkly self-conscious.

PARTICIPANTS
Christopher May is the founder and primary curator behind TIE, The International Experimental Cinema Exposition. In addition to his work with TIE, May has curated and presented a decade of film programs for museums, film societies and colleges including the Wexner Center for the Arts, the Austrian Film Museum, MALBA – Museo de Arte Latinoamericano de Buenos Aires, ICA-Boston, Cinemateca Uruguaya, and San Francisco Cinematheque. His (Super-8 & 16mm) film work currently explores the sensually visceral qualities of cinema and their topographical relationships with sub-cultural landscapes.

Pablo Marín was born in 1982 in Buenos Aires, Argentina. Besides teaching and writing on avant-garde film (laregioncentral.blogspot.com) he’s a film/video curator and filmmaker. His films were premiered at several TIE festivals and tour programs and shown at International Film Festival Rotterdam, London Film Festival, Starting from Scratch (Netherlands), Pleasure Dome (Canada), Avanto Festival (Finland), no.w.here (England), amongst others. In 2009 he was invited as visiting artist to FAC’s Found-footage Workshop in Montevideo, Uruguay.

Gregg Savage is a composer of guitar and computer music who enjoys challenging perceptions of harmony and dissonance. He brings his background in avant-garde sound art, film composing, and underground dance music to fuse together compositions from non-traditional sound objects. He has a BM from Berklee College of Music in Boston, MA where he studied guitar and music synthesis. His music was recently featured in the 3 panel film project Film (Parkour) in the Masterpieces of New American Avant-Garde Cinema program at the Austrian Film Museum. He lives in Colorado.

Rachel Cole is a fiction writer who grew up in Denver and the Appalachians. She received a BA in English with a minor in Continental Philosophy from the University of Denver and is currently enrolled in the Literary Arts Program at Brown University. She is particularly fascinated by corporeal philosophy, 20th century to present studies in linguistics, the politics of territory, and trauma in contemporary art. Her interest in experimental film is the instability of images, the event of spectacle, and the intimacy of beauty which ignites the sensuality of binaries as much as the crisis of boundaries. A curated text project is forthcoming from zingmagazine #22.

Jesse Kennedy is a writer and filmmaker. He currently works exclusively in Super 8, a format in keeping with his interest in what poet Eileen Myles has termed “pathetic technologies:” seemingly simple, neglected, and/or antiquated technologies (from conversation to VHS), through which one may, nonetheless, still explore the limits of the possible. He has a BA in Writing and Literature from Naropa University, in Boulder, CO. His poetry has appeared in Bombay Gin. His films have been previously exhibited by TIE. He currently lives in El Rito, New Mexico.

The WHITE PARTY: Clothed Entertainment in a Bare Naked Environment.
June 27, 7-10 P.M. at the Gallery of Contemporary Art.

GOCA is bidding farewell to the white walls of the UCCS gallery for a time, and venturing forth into the real world of Colorado Springs with our new public art-rage program, AWOL—Art Without Limits.

In celebration of this historic moment, we cordially invite you to join us for a colorful evening of music, food and spirits when we’ll offer a fond goodbye to what was, and a hearty hello for what will be.  BUY TICKETS ONLINE.

Wear your finest white apparel so you can sufficiently blend in with our beautiful, blank, white walls.

TICKETS (buy early, buy often)
ONLINE: $35
AT THE DOOR: $40

This event is the kick-off party / fundraiser for AWOL. Everything you give will go directly toward AWOL events, exhibitions and programs. We can’t do this without you.

White Party Images

* CLOSES JUNE 28,2009 *

Paul Slocum, New Media Gallery
Curated by Petra Sertic

Paul Slocum’s video You’re Not My Father is comprised of several reenactments of a short scene from the American television show Full House (1987–1995). Slocum recruited amateur participants through ads posted on Internet message boards and Craigslist and provided instructions on how to reshoot the scene with special attention to dialog and gestures. A musician as well as a visual artist, he creates an ominous effect in the video using sound loops, based on the scene’s original music. The work explores issues of defiance against authority, as presented by the characters, D.J. and Joey, and their different impersonators.

Anthony Goicolea, Photography Gallery
Curated by Cydney Payton

Related features the recent work of first-generation Cuban American Anthony Goicolea. Noted for his fantastic photographic narratives where he often acts out provocative charades and exploits, Goicolea now turns to inventing a conceptual family album. The exhibition is comprised of drawings and photographs that resemble portraiture from the mid-1800s, when the innovation of the tintype process transported image-making from the hand of the artist to the camera.

Shark’s Ink, Paper Works Gallery
Curated by Cydney Payton

This group exhibition features 82 prints by ten artists who have created works on paper with Master Printer Bud Shark of Shark’s Ink in Lyons, Colorado. The collection on view represents a survey of his studio since its inception in the mid-seventies. Shark has produced lithographs, monoprints, and woodcuts by renowned artists, largely from the US. The exhibition’s curator, Cydney Payton, has chosen to present artists who have worked with Shark for many years, engaging in a collaborative process that has resulted in works that are technically and visually innovative. The approach employed at Shark’s studio is unique to the creative process, as the artist and the printer work side-by-side to manifest beautiful works.

GOCA @ UCCS & I.D.E.A. @ COLORADO COLLEGE

Theme: Economic Creativity
Installation: Beginning, Thursday, June 18 at 5 PM
Reception: Friday, June 19, 5 PM at the FAC Modern (in the Plaza of the Rockies), 121 S. Tejon.

The Gallery of Contemporary Art at UCCS and IDEA @ Colorado College are excited to announce the second presentation 1440 Minutes, a joint public program supporting Colorado contemporary artists. 1440 Minutes is a twenty-four hour art installation and exhibition event, curated around the theme of “Economic Creativity.” Great innovations arise in times of crisis; these innovations drive future economic and cultural growth. Economic Creativity presents artists who examine how, during this time of great change, we can – and should – use or re-use elements of our personal, cultural, and material past to re-envision a healthy, sustainable future. Featured artists: atomic elroy & zelda bubbles, Phillip Faulkner, David Fodel and Melanie Grimes & Jocelyn Nevel.

Special thanks to the Fine Arts Center for generously allowing UCCS and CC to use the FAC Modern for this project. Installations will begin at 5 PM on Thursday, June 18 and must be completed by 5 PM on Friday, June 19, 2009 (the public is welcomed and encouraged to stop in on Friday and watch the installation).

The reception will be held on Friday, June 19, 2009, 5-8 p.m. COPPeR (The Cultural Office of the Pikes Peak Region), Bristol and Nosh are kindly sponsoring the evening’s festivities.

Three cash prizes of $500 will be awarded by a panel of jurors.

The Gallery of Contemporary Art at UCCS, FutureSelf and THEATREWORKS are excited to announce the third presentation Flaunt, a joint public program supporting arts organizations in Colorado Springs. The event will be held under the Colorado Avenue bridge.

The theme for this year’s event is Evolution. Flaunt is challenging artists to create works that emphasize life, growth and sustainability. From theme to materials, artists should explore economic / cultural / material relationships to vitality, adaptation, rehabilitation, survival and growth. Artists interested in submitting a project should indicate which of the following options is most appropriate for their work.

Formal Program
An hour-long, high-energy, fast-paced production of primarily video and performance art
or
Event Environment
Video/installation/conceptual/2D/3D art to create an immersive, thematically-relevant environment for the event

Submissions from individual artists and collectives are now being taken to participate in the program. Participation is open to regional artists. Transportation and lodging costs will be the responsibility of the artist(s). Submissions must be complete and received by the deadline in order to be considered. Artists will be responsible for installation, de-installation, and all associated labor and costs. Installation begins at 10 a.m. on Friday, Sept. 11 and must be completed by 3 PM on Saturday, Sept. 12.

Application and review process: Proposals will be reviewed by GOCA, FutureSelf and THEATREWORKS staff. A panel of jurors will award three cash prizes totaling $3000.

Please submit the following via email or postal mail by Friday, June 26, 2009. Those selected for inclusion will be notified by Monday, July 17, 2009.
• Project Proposal Description, 500 words maximum
• Resume/CV, artist biography and statement.
• Up to 5 digital images (jpg format only, up to 3 MB if emailing)
• Please save files as follows: firstnamelastname1.jpg
• Include a numbered image list with title, medium, and dimensions, corresponding to the numbers in the file names.
• Up to one video if applicable.

Send all materials to:
Gallery of Contemporary Art
ATTN: Caitlin Green
1420 Austin Bluffs Blvd
Colorado Springs, CO 80918
Email submissions to: cgreen@uccs.edu
Questions: 719-255-3504