RESONANCE: A Dual Play About Love, Madness and History

5/10/1996 – 5/25/1996

Curator(s): Papo Colo

Artists: Inigo Elizade, Jeff Gurecka, Elyas Khan, Yasira Nun, Heather Stephens

Event: A presentation of the Trickster Theater. RESONANCE was an experiment in the presentation of two plays at the same time. The theater space contained two separate seating areas such that each audience experienced one play more prominently than the other – radically different versions and views of the work. Flames was about a healer, tried as a witch during the Inquisition; Why is the Measure of Love Loss? explored the madness of a love affair in modern times. Both plays were performed simultaneously and each served as a background for the other.

COUNTERCULTURE: Alternative Information from the Underground Press to the Internet

2/24/1996 – 6/1/1996

Curator(s): Brian Wallis, Melissa Rachleff

Exhibition: Counterculture: Alternative Information from the Underground Press to the Internet was a comprehensive historical exhibition that examined the role of the alternative media in fostering social, cultural, and political change in America from 1965 to the present. The independent and underground press had its flowering in the United States during the 1960s and can be seen as a component of the “alternative” space movement. As such, Counterculture explored the function of alternative media as a site, a public space within popular culture that facilitates the formation of social groups through collective cultural practices. Counterculture not only documented these counter practices but also chronicled censorship battles and other conflicts over the control of information. Over 2,000 newspapers, magazines, ‘zines, and new digital publications, covering thirty years of media activism, were included in Counterculture. These publications featured an innovative approach to graphic design, technology, journalistic prose, and cultural politics.

Events: Newsreel, Paper Tiger and Beyond: Film Screening; Guy Debord’s The Society of the Spectacle, Screening; Peter Berg: A Public Talk; An Evening with Paul Krassner


6/15/1996 – 7/13/1996

Curator(s): Papo Colo and Jeanette Ingberman

Artists: Lynda Abraham, Yuval Adler, Brian Austin, Jonathan Bepler, David Henry Brown Jr., David Byrne, John Corbin, Scott Cunningham, Sue deBeer, Daniella Dooling, John Drury, Matthew Flower, Steven Gontarski, Jeff Gurecka, Elliott Green, Kate Howard, Kim Jones, Brad Kahlhamer, Dominic McGill, Warren Neidich, Edouard Pierre Louis, Laura Sansone, Lawrence Seward, Allison Smith, Tony Stanzione, Heather Stephens, Michael Tong, Javier Tellez, Miguel Trelles, Sergio Vega, Connie Walsh, Jeff Wyckoff

Exhibition: During the summer of 1996, Exit Art was an urban tropical paradise. Sweat was a group exhibition / experiment that dealt with beach fantasies, escape, heat, and the rituals inspired by the change of season. Sweat developed as a collaborative experiment among thirty-one artists and took the form of a collective installation as artists worked together with Papo Colo to tackle creative challenges and create an elaborate, hedonistic summer environment. Sun worship, water, inertia, leisure time, and tourism were some of the several themes that informed the art pieces and installation. Comprised of art objects, performance, and found ritual objects of the season – assembled and manipulated in-group efforts, the exhibition celebrated the season as a chaotic vision of Utopia of organized contradictions.

Event: July 20, 1996, Ambientheater was a 3-hour performance theater event. Twenty-two performance artists were invited to choose a specific work of art in the exhibition and to create a performance in response to that work and specific to the space it occupied. The performances were ongoing and occurred simultaneously over the course of the evening, creating a fusion of overlapping media: sculpture, performance and sound. The audience was equally implicated in determining the spectacle – free to walk and stop through the different performances in a way akin to the modern shopping mall experience. Performers included Lynda Abraham, Tanya Barfield, David Henry Brown Jr., Sue de Beer, Carlos Celdran, Patty Chang, Dean Street F.O.O, Deborah Edmeades, Inigo Elizalde, John Esteva Wilson, Gloria, Gavin Grace, Daniel Green, Jeff Gurecka, Matthew Flower, Yasira Nun, Adam Putnam, Heather Stephens, and Jeff Wyckoff.


9/21/1996 – 11/23/1996

Curator(s): Papo Colo and Jeanette Ingberman

Artists: Lynda Abraham, Wieland Bauder, David Hatchett, Joe John, Justin Ladda, Jaron Lanier, David Lewis, Paul Lewis, Charlie Morrow, Warren Neidich, Ursula von Rydingsvard, Lynn Sullivan, Jorge Tacla, Antenna Tool & Die Co., Byzar, Brian Eno, David First, Nicolas Collins, Robert Poss, Infant Reader, MultiPolyOmni, Ben Neill , Cultural Alchemy

Exhibition: The Shape of Sound was a dynamic exhibition/performance event that studied the blurring of distinctions between mediums that was made possible by new technologies and new sensibilities. The exhibition consisted of music and sound performances, both live and recorded, as well as installations. One of the main features was the interaction between the performances and the installations, between musicians and visual artists. The purpose of The Shape of Sound was to comprehend the different experiences of sound and music in common life, and the different ways artists and musicians fashion those experiences. It provided a forum for sound artists to present their works in an environment created by a group of visual artists. Every two weeks for eight weeks, two different musicians created sonic environments for the space, one musician per gallery. The musicians acted as curators/hosts and created their interpretations of what is going on in the field of ambient music. Over the period of the two weeks they combined recorded sound, music, and live performances, making Exit Art a laboratory for new ambient explorations – a kind of urban, dynamic, interactive and evolving sound environment.

The visual artists, spanning a gamut of sculptors, designers and conceptual artists, created environments in which the public could listen to music—by sitting, standing, leaning, reclining, etc. The visual interpretations of these environments ranged freely from the concrete to the conceptual, from the pleasure of listening to music to the necessity of the comfort of the body to listen to music. This presentation was a study of the environmental relationship of art, music, performance and design. The relationship between mediums – the translation from the intangible to the tangible – became a central issue of the show.

Events: The Shape of Sound Live Performances was a fundamental part of the exhibition. Each individual or group of participating sound artists programmed a live performance for one weekend evening at Exit Art. September 27, 1996, MultiPolyOmni; October 4, 1996, Byzar; October 5, 1996, David First; October 11, 1996, Robert Poss; October 12, 1996, Cultural Alchemy; October 18, 1996, Infant Reader; October 19, 1996, Antenna Tool and Die Company; October 22, 1996, Jaron Lanier; October 26, 1996, Ben Neill; November 2, 1996, Ambientheater: Shape the Sound was a collective spectacle of individual performances and sound events performed simultaneously. Thirteen performance artists choose specific works of art in the exhibition or locations in the gallery space to respond to through ongoing performances. Performers included David Henry Brown Jr., Antonina Canal, Laurel Carpenter, Patty Chang, Sue de Beer, D. Edmeades, Matthew Flower, Charlie Friedman, Nora Laudani, Dan Macguire, Miss Murphy, Eve Prince, and Adam Putnam.

TERRA BOMBA: A Performance View of Installation

12/7/1996 – 3/8/1997

Curator(s): Papo Colo and Jeanette Ingberman

Artists: David Henry Brown, Sue de Beer, Antonina Canal, Anita Chao , Patty Chang, Deborah Edmeades, Matthew Flower, Charley Friedman, Gavin Grace, Marisa Gallo, Eric Guzman, Kate Howard, Marianna, Dominic McGill, Yasira Nun, Sativa Peterson, Adam Putnam

Exhibition: Terra Bomba: A Performance View of Installation investigated the theatricality of installation art and the reality of performance art as installation. Performance artists used the gallery as a stage and created areas of acting that constituted a dynamic exhibition of installations with the purpose of performance. The public was encouraged to interact with the performers and their stage settings.

Each of the participating artists was asked to create a stage setting for their performance work and to create a new performance for the project. Their stage settings functioned as installation art works in which every Saturday the performance presentations took place. These performance events were free and open to the public. Audiences could come and wander through the environment and determined which performances to watch. They were encouraged to attend more than once in order to fully appreciate the extent of the show.