Residency Period: May 2013

Disorientalism (Katherine Behar and Marianne M. Kim)

As the artist collaborative Disorientalism, Katherine Behar and Marianne M. Kim are participating in Cannonball’s visiting residency program. Disorientalism studies the disorienting effects of technologized labor, junk culture, and consumerism. Through live performance, video, and photographic projects, Disorientalism explores how these forces mediate race, gender, and bodies. In character, the Disorientals expose our hapless submersion in junk culture, and our failed attempts to rationalize it by mistakenly resorting to industriousness and work.

During their Cannonball residency, Disorientalism will participate in the 2013 Girls Summit, presented by Museum of Contemporary Art, North Miami, and Girl’s Club Collection, Ft. Lauderdale. Disorientalism is presenting their performance ”Brown Bagging: Quality is Our Recipe”  (from “The Food Group” Series) at Museum of Contemporary Art, North Miami on May 29th, 7:30 pm. Also in the frame of the Girl’s Summit, Disorientalism is exhibiting “Ready Mix”,  curated by Women on the Rise founder Jillian Hernandez,  at Girl’s Club Collection, in Ft. Lauderdale.

Recent solo exhibitions include Disorientalism: Brown Bagging at ArtSpace West at ASU in Phoenix (2012),Disorientalism: Ready Mix at the Feldman Gallery + Project Space in Portland (2011), and Disorientalism: The ABC’s at ArtSpace West at ASU in Phoenix (2008). Group exhibitions include Fire/Sky/Water…Reproduction at the de la Cruz Collection in Miami, Everyday Charms at O Cinema in Miami, Mediations at the Poznan Biennial, The Affect Factory at New York University, and Dis-Robed at The Wassiac Project. Behar and Kim have individually been supported with grants from the Franklin Furnace Fund, NEA/Dance USA, Meet the Composer, Arizona Commission on the Arts, Illinois Arts Council, and the U.S. Consulate General in Leipzig.

Marianne M. Kim is a Korean American interdisciplinary artist whose projects have been presented at venues including The Dance Film Association, The Singapore Arts Festival, Harlem Stage, PICA’s TBA 2012 Festival, Jumping Frames International Dance Video Festival in Hong Kong, Zendai MoMA in Shanghai, The Total Museum in Seoul, and Fundacion Ludwig de Cuba.  She is currently an associate professor at Arizona State University’s Interdisciplinary Arts and Performance Program in the School of Humanities, Arts and Cultural Studies.

Katherine Behar is an interdisciplinary artist based in New York City who works with video, performance, and interactive installation. Her most recent project, an evening-length interactive art concert, premiered at Judson Church in New York City in 2010. Katherine’s work has been presented at festivals, galleries, performance spaces, and art centers worldwide, in Dresden, Amsterdam, Leeds, Rome, Mooste, Halifax, Cluj-Napoca, New York City, Chicago, and numerous other cities throughout the U.S. Her work has been supported by the Franklin Furnace Fund, the U.S. Consulate General in Leipzig, the Illinois Arts Council, and the Cleveland Performance Art Festival. Katherine is Assistant Professor of New Media in the Department of Fine and Performing Arts at Baruch College, City University of New York, and, is the Digital Fellow at Art Journal, a publication of the College Art Association.

Residency Period: May 2013

Dave Tompkins, writer and cultural critic

Dave Tompkins visits Miami to research for his forthcoming publication, which speaks to properties of 808 Bass through a sub-history of ossified invertebrates, man-made beaches, riots, skate rinks, cocaine, coral reefs, sea cucumbers, and a U-boat attack in 1942. Tompkins’s first book, How To Wreck A Nice Beach: The Vocoder From World War II To Hip-Hop, is now available in paperback. Amazon named it entertainment book of the year in 2010. He has lectured on the vocoder in Poland, Norway, Germany, and at the NSA’s National Cryptology Symposium. He has contributed to Slate, Grantland, Paris Review, Oxford American, and The Wire, where he wrote a hip-hop column for eight years. Born in North Carolina, he currently lives in Brooklyn. For more crosstalk and mixes, go to howtowreckanicebeach.com.

Residency Period: June-September 2013

Adam Overton is an experimental artist living in Los Angeles. His work involves performance, writing, experimental music, massage, and workshops, in formats that involve audience participation in order to facilitate odd and intimate artist‐led experiences. Overton regularly connects with artists and peers through several collaborative platforms, including Signify, Sanctify, Believe (with Tanya Rubbak and Claire Cronin, and involving the contributions of over 70 semi‐secular artists), The Eternal Telethon, and UploadDownloadPerform.net. He works closely with Guru Rugu as co‐director of the experimental meditation center of los angeles and as a ghostwriter for Guru Rugu’s Experimental Meditation Hour on KCHUNG Radio.

The experimental meditation center of los angeles has no permanent location, and will be based in Miami throughout this summer. Adam Overton takes the role of artist-as-facilitator, offering small group meditation sessions, each of them of different nature. These sessions are not the traditional “therapeutic” meditations, but rather repurposed spiritual, religious, and physical forms of playful yet profound meditation, offering a safe environment for “something else” to happen. Experimental meditation sessions will be held at non-traditional locations throughout the City, and will be free and open to the public.

For more information abotu the artist, please visit plus1plus1plus.org

Machine Project is an informal, non-profit, educational institution located in a storefront space in the Echo Park neighborhood of Los Angeles. Consisting of a loose group of artist/performer collaborators, Machine Project hosts a variety of events—scientific talks, poetry readings,  musical performances, competitions, group naps, and cheese tastings—and educational workshops exploring electronics, sewing, pickling, computer programming, and car theft, among other topics.

In November and December (2012), four of Machine Project’s collaborators, Mark Allen, Juliana Snapper, Asher Hartman, and Corey Fogel, conducted research residencies at Cannonball. The resulting magic from their time in Miami materializes into a series of site-specific performances throughout town in March and April (2013). David Fenster will showcase the performances in a film, which will be projected at a major public event this summer. Check back soon for more details.

Juliana Snapper
Residency Period: April 2013

In April, Juliana Snapper will return to Miami to perform a sequence of original duets with local vocalists in ordinary workspaces such as tollbooths, truck cabs, and drawbridge towers. The duets, co-written by each collaborating pair, will reflect the particular collision of its singers: its sonic texture, character and mood, shaped by their physical instruments and the songs they have listened to and sung throughout their lives. The large windows in each tiny work booth-turned-theater look out onto the Miami landscape and offer a view in on the action. Each space, because of the glass surfaces and smallness, will bounce and amplify the duets in unpredictable ways.

Exiled from the opera houses of Europe and the Americas, Los Angeles soprano Juliana Snapper makes strange little operas in unlikely situations, often at great personal risk and invariably drawing her toward financial ruin. Playing at the acoustical, expressive, and interpersonal limits of the noisy body, she challenges her own and others’ voices to produce meaning in unexpected ways. Juliana earned her bachelor degree in vocal performance from the Oberlin Conservatory of Music, and graduate degrees in critical musicology from the University of California, San Diego. Her large-scale works are regularly part of international festivals. Closer to home she usually experiments on a smaller scale in venues like The Walker Art Center, Minneapolis, PS1/MoMA, New York, and REDCAT, Los Angeles.

For more information on the artist, please visit www.julianasnapper.org

Asher Hartman
Residency Period: April 2013

Asher Hartman is an interdisciplinary artist, independent curator, and psychic based in Los Angeles. His practice centers on the exploration of the self in relation to Western histories and ideologies. His work has been exhibited nationally and internationally, including shows at the Walker Art Center, Minneapolis;  Beijing Open Performance Festival, Beijing; Hayward Gallery, London; Cultural Center of the Philippines, Manila; Recontres International, Paris and Berlin;  Torrance Art Museum, CA; MIX, New York;  London Underground Film Fest and Images, UK; and in a number of Los Angeles venues including Machine Project, LACE, Sea and Space Exhibitions, Monte Vista Projects, Human Resources, and The Hammer Museum.

Hartman’s curatorial projects include Defense at the Sweeney Art Gallery in Riverside; Until We Come to One that Reminds Us, (with Amy Green), Monte Vista Projects, Los Angeles; Instruments of Risk (with Carol McDowell), Sea and Space Explorations, Los Angeles; and A Little Louder: Performance in Conversation, Kristi Engle Gallery, Los Angeles. As a member of the psychic duo Krystal Krunch (with Haruko Tanaka), Hartman has presented and performed at Machine Project, Los Angeles; Southern Exposure, San Francisco; Carnegie Mellon, Pittsburgh; The Hammer Museum, Los Angeles; Apiary Studios, London; Spaces, Cleveland; and California Institute of the Arts, Valencia, among other venues. Hartman received his BA from University of California, Los Angeles, and his MFA from California Institute of the Arts, Valencia.

For more information on the artist, please visit www.asherhartman.com.
For more information on Krystal Krunch, visit www.krystalkrunch.com.

The Florida Room
Written and directed by Asher Hartman

For his project in Miami, Asher Hartman writes and directs a new play titled The Florida Room. This two-hour live, public performance will take place at two private residences in the MiMo district of Miami and feature actors Franc Baliton, Rochelle Fabb, Michael Morrissey, Paul Outlaw, and Joe Seely. The play’s narrative follows a man who has becomes so alienated from himself at mid-life that he is split into beings, gradually becoming a deity whose creative and destructive impulses have a profound effect on his closest friends who’ve come to help him in the home he’s house sitting.  Beneath the mythically charged plot is a terse exploration of psychological violence, debt, friendship, and the American quest for security.  Audiences watch as the play unfolds around them. Musical, nastily funny, and haunting, The Florida Room makes us think about the deep emotional attachment we have to the material world. Contains adult content.

Corey Fogel
Residency Period: May 2013

Performance artist and drummer Corey Fogel looks to the architecture and grounds of Vizcaya Museum & Gardens as a platform to create an ephemeral, experiential work that invokes the museum’s authentic and timeless creative spirit. Fogel premieres Mending Mendl (Drapery conceals the unicorn table) at Vizcaya, where music, color, gesture, and material forms coalesce into a sensual exploration of the site’s culture, history, and, as suggested in Josiah McElheny’s recent film The Light Club of Vizcaya: A Women’s Picture, the notions of an experimental subculture.

For this live public performance, viewers will experience Vizcaya’s lush gardens in an alternative way by following a processional of individual performers and musicians, materials, and sounds. This daisy chain of sensory experiments will guide viewers to Vizcaya’s iconic stone barge in the Bay. Populated by a chamber ensemble of strings, horns, and percussion, the barge will pulsate with an original composition written by Fogel specifically for Vizcaya.

Based in Los Angeles, Corey Fogel performs and composes in rock, jazz, folk, and chamber music capacities. His solo work is based on spontaneous encounters with sounds, objects, personalities, textiles, and foods, and often incorporates video, dance, and installation. He has played for Missincinatti, The Mae Shi, Gowns, Cryptacize, Barbez, Monstro, The Curtains, Learning Music, Nowcloud, Dominique Leone, and 18 Squared. His work has been featured at Machine Project; Los Angeles County Museum of Art; Human Resources; The Wulf; The Hammer Museum; and REDCAT (all Los Angeles).

For more information on the artist, please visit knitdrums.tumblr.com.

Based in Paris, France, artists Raphaël Siboni and Franck Rivoire have been collaborating since 2008. Their current project, SUNSET, is a cross-collaboration between contemporary art and electronic music.

In their own words,
From Rave to Booty Bass, from Eurodance to Funeral Doom, from Dark Wave to Transe Goa, we all have grown up under the infinite dispersal of musical subgenres. For each one that emerged, we invented new rituals and changed our outfits. Each time we believed in the promise of a new world. We vibrated with the sound of new synthetic instruments and felt the power of their rises. But it was a mere pile of effects, and as these worlds collapsed one at the time, so did our beliefs. SUNSET is the synthesis of these deserted worlds. A concentration of sub-genres, reduced to their pure emotional intensity. SUNSET is the resurrection of our teenage mythologies, an attempt to reach a generic romanticism, echoing in the darkness of nightclubs. It’s a sunset that slowly crashes onto the ruins of our own subjectivity.

During their residency at Cannonball, the native French duo will complete their latest EP and offer a public lecture staged at a night club focusing on the history of DJing and techniques used by DJs to drive a crowd’s energy.

Raphaël Siboni

Born in 1981, Raphaël Siboni graduated from the Ecole Nationale Superieure des Beaux-Arts, and Ecole Nationale Superieure des Arts Decoratifs, followed by Le Fresnoy, the National Studio of Contemporary Arts, all in Paris.  Siboni, along with his regular collaborator, artist Fabien Giraud, have exhibited at the Palais de Tokyo, Centre Pompidou (both Paris); Moscow Museum of Modern Art, Russia; Honor Fraser Gallery, Los Angeles; and Galerie Loevenbruck, Paris. Their work has also been included in the Lyone Biennalle and the SITE Santa Fe Seventh International Biennal. The duo is represented by Loevenbruck Gallery in Paris, and will present a monographic exhibition in 2014 at The Casino Luxembourg.

Born in Neustadt, Holstein (Germany), Hannes Bend moved to Berlin in 2000, where he currently lives and works as an artist and independent curator. Since graduating in 2007 from Berlin-Weissensee College of Art, he has exhibited nationally and internationally, including shows at Souterrain, Berlin; Charest-Weinberg Gallery, Miami; Half Gallery, New York; Elizabeth Foundation for the Arts, New York; and Freies Museum, in Berlin. He has participated in artist residencies at Wassaic Project, New York and Fountainhead Residency, Miami. His work has been featured in serveral publications, such as Art21, Artnet, Inhabitat, The Huffington Post, taz.die tageszeitung, and The Art Newspaper.

In 2012, Hannes Bend presented Eclipse at Charest-Weinberg Gallery,  his first solo exhibition in Miami. The large-scale, multi-media installation featured car tires and video documentation of the artist removing them from the failed artificial Osborne Reef, an ecological catastrophe off the coast of Ft. Lauderdale, FL. Most recently, Bend’s work is featured in a solo exhibition, IN & OUT, 2004/2013, at Souterrain in Berlin.

For more information on the artist, please visit: www.hannesbend.com

In 2010, San Francisco-based artist Alison Pebworth launched her traveling exhibition and research project, Beautiful Possibility. Based on the nineteenth-century American traveling show, Pebworth engages participants in the exploration and discovery of what it means to be American. The interactive project combines art, history, and anthropology for an investigative look at obscured people, places, stories, and myths, and how they contribute to our collective identity as “Americans.”

In February, Pebworth’s Beautiful Possibility Tour stops at Cannonball in downtown Miami, Florida. Arriving in her travel trailer, Pebworth presents her traveling exhibition and conducts research on local histories and cultures. The exhibition consists of ten hand-painted banners and a large-scale map, which replaces today’s state and national borders in North America with pre-European native territories and charts the course of her own solo journey.

To follow Pebworth’s tour, please visit beautifulpossibilitytour.com.

Beautiful Possibility is on view during Cannonball’s public hours. Join us February 15 for a free, public opening reception and tasting of “Americanitis Elixirs.”

Alison Pebworth lives and works in San Francisco, California. She has exhibited and performed throughout the United States, including exhibitions at Southern Exposure, San Francisco; Salt Lake Art Center, Utah; Berkeley Art Museum, Berkeley; and Headlands Center for the Arts, Marin, CA; among others. Since 2010, her Beautiful Possibility Tour has been hosted by numerous exhibition spaces, such as Space Gallery, Portland, ME; Mildred’s Lane, Beach Lake, PA; Intermedia Arts, Minneapolis; and Spaces, Cleveland.

For more information on the artist, please visit www.alisonpebworth.com

Whoop Dee Doo is a non-profit organization that works closely with underserved youth, adolescents and adults through workshops, community collaborations and live variety shows. Through their programming, Whoop Dee Doo strives to not only break down stereotypes and barriers between age, gender, culture and sub-culture, but to form and foster unique collaborations between unlikely pairings of community members that ultimately blossom into exceptional and meaningful interactions. Through workshops, Whoop Dee Doo creates a wholesome environment for creative expression outside the boundaries of a classroom or museum, teaching children that art is a safe and appropriate outlet for feelings that may be difficult to articulate. Through their community programming, Whoop Dee Doo collaborates with performers and artists of all backgrounds and specialties- from science teachers and Celtic bagpipers to traditional clogging troupes, West African dance teams, Tibetan throat singers, bodybuilders, barbershop quartets, and Chicano punk bands. This chaotic mix creates an unexpected and endearing experience, and invites a cross-generational and cross-cultural dialogue.

Whoop Dee Doo has created commissioned projects for organizations including the Bemis Center for Contemporary Arts (Omaha), Deitch Projects (New York), the Smart Museum (Chicago), The Kemper Museum for Contemporary Arts (Kansas City), Loyal Gallery (Sweden), the Time-Based Arts Festival/Portland Institute of Contemporary Art (Portland, OR), the Pennsylvania Academy of Fine Arts (Philadelphia, PA), and City Arts/Maryland Institute College of Art (Baltimore, MD).

Whoop Dee Doo has been featured in New York publications including Artforum, The Wild Magazine, Interview, SPIN, Nylon, and Rhizome.org – the New Museum blog, as well as Foam International Photography Magazine (Amsterdam), The End Magazine (Milan), Kinki (Zurich), Sydsvenskan (Malmo), Art Lies (Houston), the Miami New Times (Miami), City Paper and Baltimore Magazine (Baltimore, MD) among others.

whoopdeedoo.tv

Christian Curiel’s figurative paintings,works on paper, and sculpture explore self-identity through latent memories of youth and maintain a central focus on self-discovery, relationships and, belonging. Through meta-surrealist depictions, Curiel uses various signifiers for illustrating the complexities of being and the xorrelation between self-identity and socio-psychological integration. Curiel makes a daring and aesthetic statement by presenting highly imaginative yet semi-autobiographical works that are at once detached yet eerily familiar. The figures are somewhat tragic but coming of age and in transition. The result is a shared experience in which his self-examination creates nostalgic paintings that explore the permanent nature of both identity and narrative through the use of storytelling. Our memories have a formative say in how we develop and his images open up the possibility of interpretation. Curiel recognizes that dreams remain a source of his art and that art itself is another form of dreaming.

Christian Curiel received an MFA from Yale School of Art in 2005. His works are in the collections of La Fondation Cartier pour L’art Contemporain, Paris; Frost Art Museum, Florida International Univeristy, Miami; Art in Embassies Program, United States Embassy, Brasilia; The Dean Valentine Collection, Los Angeles; Hort Family Collection, New York; Jean-Pierre Lehmann Collection, New York.

christiancuriel.com