Tag: victoria meyers

hMa Recommends: ARNO GIL MÜLLER NEUMANN SCHUMACHER – Modular collaboration for Eyebeam’s Main Space: Opening reception: May 10, 2012 6PM

May 10th, 2012

exhibition diagram from from www.eyebeam.org

ARNO GIL MÜLLER NEUMANN SCHUMACHER – Modular collaboration for Eyebeam's Main Space

Opening reception: May 10, 2012 6PM*
Open to the public: May 11-12, 12PM-6PM
EYEBEAM @ 540 W. 21st Street, New York, NY 10011

Within this collaboration, its participants develop and experiment with a hybrid between sound installation and live performance in Eyebeam's Main Space. Some elements happen in real-time, others are programmed or generated algorithmically. The participants engage in a process of systemic composition, which uses the space as an instrument, encouraging a “topological listening” practice. "Topological listening'" means that there is no focus on sound elements themselves, rather, sounds call attention to the potential for meaning in their relationships to each other, to the space and to the individual listeners engaging with them. A collaborative approach to creating these environments highlights complex interconnections which can hardly be reduced to a single narrative.

Participants:

GILL ARNO (small sound sources as localized islets; and subjective documentation through recordings made by the audience)

WOLFGANG GIL (spectral response, custom spectrum analysis/synthesis software),

CORNELIA FREDERIKE MÜLLER (individual space, headphone sculptures),

DANIEL NEUMANN (feedback apparatus consisting of multiple microphones, filters and delays, as well as large speakers and speaker objects),

MICHAEL J. SCHUMACHER (live response, guitar/synthesizer processed through custom multi-channel sound system)

*(Opening reception is in conjunction with http://eyebeam.org/events/exhibition-wired-frames)

Bios:

GILL ARNO was born in Italy, where he studied art and typography before moving to New York in 1997. His current work includes video, photography, print, sound recording and composition, installations and live performance.

In the project mpld old modified slide projectors are used in a live setting. Static images from found slides become pulsating and fade one into another, while the projectors' mechanical sounds are tapped and processed to reveal their musical possibilities.

Arnò often collaborates on- and off-stage with other artists. He publishes books, recordings and other multiples via his own imprint, unframed, and runs Fotofono, a small studio in Brooklyn where sometimes public events are held.

http://m-i-c-r-o.net/

WOLFGANG GIL is a New York-based Venezuelan sound artist using computer-generated sound and multichannel speaker systems to facilitate the creation of sonic environments. Gil’s aesthetic emphasizes the idea of a sonic environment and its physical correlation to sound, architecture, and audience. More specifically, he is interested in the transformation of sound as a direct consequence of architecture, as well as how audience members transform the sound by their physical presence inside the sonic environment. Gil has presented work in venues such as Diapason Gallery (Brooklyn, NY), Issue Project Room (Brooklyn, NY), the XXI Subtropics Biennial (Miami, Fl), and the Organización Nelson Garrido (Caracas, Venezuela).

For more info please visit http://www.wolfganggil.com/

CORNELIA FREDERIKE MÜLLER

Cornelia Friederike Müller aka CFM ist bildende Künstlerin und Soundkünstlerin, sie lebt und arbeitet in Leipzig.

Nach dem Studium der Philosophie und Psychologie, wandte sie sich als DJ, Redakteurin und Veranstalterin, während ihres Medienkunststudiums, intensiv der elektronischen Musik zu.

Seit 2002 produziert sie Musik, basierend auf Samples von Feldaufnahmen und dem Spiel auf der Midi-Klaviatur, die zum einen als melodische Minimal Music charakterisiert, zum anderen am besten als experimentelle Soundscapes oder Scores bezeichnet wird.

Als Künstlerin im Bereich Konzept-Kunst, schafft sie Objekte, (Klang-)Bilder und Installationen, die häufig gewohnte Sichtweisen, Begriffe und Zusammenhänge des gesellschaftlichen Lebens hinterfragen oder auch die Poesie des Alltäglichen aufspüren.

Das Hörspiel „Die Sicherheit einer geschlossenen Fahrgastzelle“, wofür sie die Musik komponierte, erhielt 2010 den Deutschen Hörspielpreis, den Hörspielpreis der Kriegsblinden und den Online Award der ARD.

CFM arbeitet/e mit FZML, Hof Klang, Gewandhaus zu Leipzig, Heike Hennig & Co, Hörbild Verlag Berlin, Kammerakademie Potsdam, Bühnen der Stadt Gera, MDR Figaro, Theater in der Josefstadt Wien, Bless Showroom Milano und veröffentlichte DJ Mixes, Remixes und eigene Tracks bei, Doxa Records, tellerrandmusik und nowthatiam.

http://www.corneliafriederikemueller.de/about-connie-muller/

DANIEL NEUMANN is a Brooklyn-based sound artist and audio engineer, originally from Leipzig, Germany. In Leipzig, besides getting his degree in media art at the Academy of Visual Art, he co-organized ‘AlulaTonSerien’, a platform for sound art and electro-acoustic music that featured concerts, workshops, soundwalks, CD releases and a radio show. He also studied electronic music composition under Emanuelle Casale in Catania, Sicily.

In his artistic practice he is using conceptual and mostly collaborative strategies to explore sound and sound material and it's modulation through space and media. Pieces are developed in different formats and variations as ongoing processes, which can result in performances, installations, or radio shows amongst others. The leitmotif for these processes is the development of a poetry of the fragile, and a skepticism towards demonstrations of power. Impermanence is understood as temporal fragility. For his collaborative practice Daniel coined the term ‘modular collaboration’, which describes a non-hierarchical and decentralized form of organization, where collaborators interact as equals. Context and site are important parameters and often used as a starting point.

MICHAEL J. SCHUMACHER is a composer, performer and installation artist based in New York City.

He works predominantly with electronic and digital media, making computer generated sound environments that evolve continuously for long time periods. In their realization, Schumacher uses multiple speaker configurations that relate the sounds of the installation to the architecture of the exhibition space. Architectural and acoustical considerations thereby become basic structural elements.

Schumacher was recently the Edgard Varèse guest professor at Berlin’s Technical University. While in Europe he had exhibitions at Q02 in Brussels, The Hermitage in St. Petersburg and at Ultraschall Festival in Berlin. Recent publications include a shared LP (with Jerome Noetinger) released by Entr’acte of London and a CD, and “Weave” also on Entr’acte. XI Records has published a DVD set of five sound installations as computer applications, playable on up to eight speakers, which may be installed on a computer to create sound environments in the home. Schumacher’s latest project is the band “Else” with Timur Yusef, drums and Nisi Jacobs, bass.

www.michaeljschumacher.com

www.diapasongallery.org
Pierogi Gallery at the Armory Show March 8th to 11th, 2012

February 28th, 2012
hMa Likes: Shonquis MorenoCultural Conversations with hanrahanMeyers architects

February 16th, 2012

hMa recommends writer/designer Shonquis Moreno and her website shonquismoreno.com

Here is a short profile on Shonquis, excerpted from her website:

Brooklyn-based journalist Shonquis Moreno has served as an editor for Frame, Surface and Dwell magazines and writes on a freelance basis for publications such as T The New York Times Style Magazine (travel and design), Whitewall, Wallpaper, Metropolis, American Craft and Interior Design, among others. The lead author of Marcel Wanders: Behind The Ceiling, the designer's first monograph, Forefront, a book surveying international window display design, Eat Out! Restaurant Design & Food Experiences and Out of the Box: Brand Experiences Between Pop-Up & Flagship, she has also contributed to books published by Gestalten, Birkhauser and Frame on subjects ranging from architecture, interiors and furniture to product and packaging design.
hMa Recommends David Teeple: Dialogue with a Collection “Thinking Water: Poetry Systems and Politics” at the University Museum of Contemporary Art

February 14th, 2012

David Teeple: Dialogue with a Collection "Thinking Water: Poetry, Systems and Politics"
February 1 – March 16
Tuesday – Friday, 11:00 AM – 4:30 PM, Saturday/Sunday 2 – 5 PM Closed Mondays and Spring Break
free

University Museum of Contemporary Art
Fine Arts Center University of Massachusetts
Amherst, MA 01003

Exhibition view: David Teeple "Mississippi River with Border, Farms and Triangles", 2012

This exhibition is a series of exhibitions at the University Museum of Contemporary Art in which artists are invited to integrate their own works with pieces they select from the museum's works-on-paper collection, which includes over 2600 contemporary prints, drawings, and photographs. It features work by David Teeple alongside works he has selected and placed in direct dialogue with his own sculptures and works on paper.

Exhibition view: (L) David Teeple "Mississippi / Louisiana Border 2", 2010 (R) David Teeple " Verb/Noun List – Emotions", 2012

Teeple’s works will reference rivers, aquifers and the hydrologic cycle in context to systems of economy, society, nature and science. It will include the construction of glass tanks containing water, video images, sculptural pieces derived from bathymetry, vector drawings based on satellite imagery, and laser cut objects. Moreover, the exhibition will include paintings and silk-screens of river systems to create interwoven patterns and structures.

David Teeple has been a practicing artist since 1980, and has created dozens of mid- and large-scale projects. His work can be found in public, private, and corporate collections both nationally and internationally. From 1996 until 2008 he was founder and president of Atelier Lumiere Inc., an art and architectural design, consulting, fabrication and installation firm. Teeple’s most recent work, Water Music, spans a rail-road bridge in downtown Northampton, MA.

Related Event:
March 2, 7 PM – Walking Water, a performance by David Teeple and seminal Fluxus work Drip Music by George Brecht, performed by members of Switch.

http://www.davidteeple.com
hMa Recommends Ward Shelley “Unreliable Narrator” at Pierogi Gallery – Opens 2/17/12

February 14th, 2012

Ward Shelley, People of the Book, Ver.1, (Detail), 2011, Oil and toner on mylar, 22 x 55 inches

WARD SHELLEY "Unreliable Narrator" Gallery 1 & 2
DATES | 17 February – 18 March 2012
LOCATION | Pierogi @ 177 North 9th St. (between Bedford & Driggs Aves)
DIRECTIONS | Take the L train to Bedford Ave stop. Walk 2 blocks to N. 9th St.
www.pierogi2000.com

PRESS RELEASE

Unreliable Narrator is about believers. In this exhibition of timeline paintings, Ward Shelley proposes that believers are people who depend on a collection of narratives to explain the world around them.

Facts are like dots on a graph. The narrative is the curve that connects them, that gives isolated data points meaning, and gives meaning shape. This graphical epistemology emerges naturally from the way Shelley creates timelines, which he considers pictures of narratives.

As actors in the world, according to Shelley, we need a world view, and a world view requires some construction. Narratives are what we construct — they are the basic building blocks for organizing our outlook and interpreting the world. Yet they are shaped more by belief than by fact.

We are all believers; it seems there is no way around it. But the voice in our head is that of an unreliable narrator.

To explore the structure of narrative, half of Shelley's paintings are being shown naked, stripped of the text. Words are like magnets for the eyes and in Shelley's text-laden images, they crowd to the front of the viewer's attention to tell the story. Beneath is a structure — and this structure is also information, as well as informational architecture. Is there a necessary structure to narrative?

We use different parts of our brains for reading and looking. Is it possible that legible graphics, which utilize very conventional forms, rely on some pre-existing structure for thought, a pre-existing structure not unlike the innate cognitive structures in the brain that linguists believe precedes language and make it possible? This exhibition suggests that the shapes of information carry messages.

The subjects of the works included in this exhibition range from teenagers and the history of science fiction, to a diagram of the fluxus movement, among others. This will be Shelley’s fifth one-person exhibition at Pierogi. His performance, installation, and timeline works have been shown widely in Europe and the US. He is the recipient of numerous prizes and residency fellowships including the Priz de Rome and a Joan Mitchell Foundation Award.
hMa Recommends NYT: “The Fluid Human Dance That Is Grand Central” (re-post)Cultural Conversations with hanrahanMeyers architects

October 5th, 2011

Between 8:30 and 10 a.m., enough people stand still, some in groups, to make the floor of the Grand Central Terminal look like an Italian piazza photo: Chang W. Lee/The New York Times

Excerpt from the article:

By ALASTAIR MACAULAY
Published: August 31, 2011

"Every city has its own choreography, formal or informal. The composer John Cage loved to point out how any street corner is theater of a kind; the dance critic and poet Edwin Denby wrote ardently of how daily life was full of things to see; and when one of Merce Cunningham’s dancers asked what a piece was about, he took her to the window, showed her the view of the sidewalk and said, “That.”

To observe large numbers of people moving and coexisting in complex simultaneity, I chose to make two visits to Grand Central Terminal in August. Its main concourse is among the city’s spectacular locales, giving you the chance to observe the complex patterns made by arriving and departing passengers. Its vast, tall rectangular block of space is framed by high windows, a ceiling embellished with constellations, and double staircases at either end. With its many arches leading to other parts of the station and its central, four-faced clock, it is more than the sum of its exits and entrances: it adds heroic drama to the very thought of travel."

Click here to read the full article on www.nytimes.com
hMa Recommends NYT: “Tax Plan to turn Old Buildings ‘Green’ Finds Favor” (re-post)

October 5th, 2011

A new type of financing will pay for a solar array at this California development. Photo: Peter DaSilva for The New York Times

Excerpt from the article:

By JUSTIN GILLIS
Published: September 19, 2011

"A business consortium that includes Lockheed Martin and Barclays bank plans to invest as much as $650 million over the next few years to slash the energy consumption of buildings in the Miami and Sacramento areas. It is the most ambitious effort yet to jump-start a national market for energy upgrades that many people believe could eventually be worth billions.

Focusing mainly on commercial property at first, the group plans to exploit a new tax arrangement that allows property owners to upgrade their buildings at no upfront cost, typically cutting their energy use and their utility bills by a third. The building owners would pay for the upgrades over five to 20 years through surcharges on their property-tax bills, but that would be less than the savings.

The consortium is led by a company called Ygrene Energy Fund of Santa Rosa, Calif., which has already won an exclusive contract to manage a retrofit program for a half-dozen communities in the Miami area, with the city expected to join in a few weeks. It is in the late stages of completing a contract with Sacramento, and is seeking deals in other cities."

Click here to read the full article on www.nytimes.com

Green Design by hanrahan Meyers architects : hMa's Digital Water Pavilion (Battery Park City Community Center) will acheive a Platinum LEED rating click here to see more of DWiP on www.hanrahanmeyers.com
hMa Recommends NYT : A Master of the Stone Wall Discusses the Perfect Fit

August 16th, 2011

photo of Andrew Pighills: Suzanne DeChillo/The New York Times

Here is an excerpt from the article:

"Andrew Pighills has devoted much of his life to stone walls. He began building them as a boy, on his father’s farm in the Yorkshire Dales, in north England. Now, at 56, he is the North American representative of the Dry Stone Walling Association of Great Britain, a group dedicated to the art and preservation of dry laid stone.

“A dry stone wall is a wall built without mortar,” he said. Unlike a mortared wall, which those in his profession refer to as a “wet wall,” he said, “only two things hold a dry stone wall together: gravity and friction.”

Mr. Pighills, who lives in southeast Connecticut, creates landscapes of garden and stone for private and public clients and teaches walling at workshops throughout New England. We spoke with him about his work.

Why did you start building stone walls?

I am the son of a farmer, and I had to build walls to retain the stock on the property. And having had to do it, I found that not only was I good at it, but I also enjoyed it.

What brought you to this country?

I came over to visit a friend, literally for a couple of weeks, and he said, “Oh, no, you should stay at least a month or more.” So I asked him if he knew anybody who might like some stonework done, to pay my way, and he put me through to a gentleman who had quite a large property. I did maybe a week’s work for him. He invited me back the following year to repair all the walls on his property, and while I was there I met my now-wife and eventually moved over here to live full time.

You hold workshops in New England, where there are lots of stone walls. Why is that?

The original walls were nothing more than a heap of stone that was cleared from the land so farmers could plant; they’re what I call clearance walls. Then they became boundaries. Farmers would build a little better than clearance walls to retain the stock, and then, as farming became more profitable and farmers had a little more time — it was probably second or third generation before they got to this stage — they started building actual walls. If you walk through the woods in New England, you will see all three types.

Click here to read the article in full on nytimes.com

Below are two views of hMa's Holley House in Garrison, New York, which incorporates an existing dry stone wall into its minimalist tableau. The house design features two stone landscape walls that grow out of the ground plane. To either side of this three-dimensional occupied wall, pavilions project into the landscape. The house is designed as an atmosphere of nature: the ancient stone wall in the landscape becomes a centering device for dwelling.

Holley House, photo by Michael Moran

stone wall at Holley House click here to see more photos of Holley House on hanrahanmeyers.com
hMa Recommends NYT : A Master of the Stone Wall Discusses the Perfect Fit

August 16th, 2011

photo of Andrew Pighills: Suzanne DeChillo/The New York Times

Here is an excerpt from the article:

"Andrew Pighills has devoted much of his life to stone walls. He began building them as a boy, on his father’s farm in the Yorkshire Dales, in north England. Now, at 56, he is the North American representative of the Dry Stone Walling Association of Great Britain, a group dedicated to the art and preservation of dry laid stone.

“A dry stone wall is a wall built without mortar,” he said. Unlike a mortared wall, which those in his profession refer to as a “wet wall,” he said, “only two things hold a dry stone wall together: gravity and friction.”

Mr. Pighills, who lives in southeast Connecticut, creates landscapes of garden and stone for private and public clients and teaches walling at workshops throughout New England. We spoke with him about his work.

Why did you start building stone walls?

I am the son of a farmer, and I had to build walls to retain the stock on the property. And having had to do it, I found that not only was I good at it, but I also enjoyed it.

What brought you to this country?

I came over to visit a friend, literally for a couple of weeks, and he said, “Oh, no, you should stay at least a month or more.” So I asked him if he knew anybody who might like some stonework done, to pay my way, and he put me through to a gentleman who had quite a large property. I did maybe a week’s work for him. He invited me back the following year to repair all the walls on his property, and while I was there I met my now-wife and eventually moved over here to live full time.

You hold workshops in New England, where there are lots of stone walls. Why is that?

The original walls were nothing more than a heap of stone that was cleared from the land so farmers could plant; they’re what I call clearance walls. Then they became boundaries. Farmers would build a little better than clearance walls to retain the stock, and then, as farming became more profitable and farmers had a little more time — it was probably second or third generation before they got to this stage — they started building actual walls. If you walk through the woods in New England, you will see all three types.

Click here to read the article in full on nytimes.com

Below are two views of hMa's Holley House in Garrison, New York, which incorporates an existing dry stone wall into its minimalist tableau. The house design features two stone landscape walls that grow out of the ground plane. To either side of this three-dimensional occupied wall, pavilions project into the landscape. The house is designed as an atmosphere of nature: the ancient stone wall in the landscape becomes a centering device for dwelling.

Holley House, photo by Michael Moran

stone wall at Holley House click here to see more photos of Holley House on hanrahanmeyers.com
Victoria Meyers interview on FIXr.com

February 8th, 2011

Victoria Meyers recently sat down for an interview with the FIXr.com blog. In the interview, Ms. Meyers discusses her inspirations, life as an architect in New York City, as well as several current projects including the recently completed Infinity Chapel in Greenwich Village, NYC and Digital Water Pavilion, a community center currently under construction in Battery Park City.

Read the full Interview on FIXr.com

Infinity Chapel – sanctuary view click here to see more photos of Infinity Chapel at hanrahanmeyers.com

DWiP: Digital Water Pavilion- looking north along interactive wall click here to see more photos of Digital Water Pavilion at hanrahanmeyers.com

Link to the full Interview on FIXr.com