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EXIT HISTORY:
Counterculture: Alternative Information from the Underground
Press to the Internet
2/24/1996 - 6/1/1996
Curator(s): Brian Wallis
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.
Sweat
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.
Sweat provided the opportunity for a diverse group of artists to
transform the space with its vision and create work in a celebratory
spirit. Escaping was never easier as when the tropics and beach
fantasies found their way to SoHo in the summer of ‘96.
The Shape of Sound
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 has been 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.
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.
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