Assistant Professor Sabine Gruffat show opening at Flanders Gallery in Raleigh

BRAVE NEW WORLD

NOVEMBER 21 – JANUARY 15, 2014 | FLANDERS GALLERY

Opening Reception: Friday, November 21st
6 -10 p.m.

Flanders Gallery has moved to Blount Street!  Nestled in with Lump, the new location is close to the Lincoln Theater and Artspace.  Parking is available on streets and parking decks.
In our inagural exhibtion Sabine Gruffat will premiere Brave New World, a video that appropriates raw footage from Henry Ford’s 35mm film archive of Fordlandia, the automobile mogul’s failed rubber plantation in the Brazilian Amazon, to critique the violence inherent in the exploitation of land and natural resources.

Gruffat will also show work from her series Headlines and Video Animations. Headlines is a series of photographs and animated films Gruffat made while living in Detroit. In the photographs, news headlines from The New York Times are set against backdrops from the city of Detroit in an effort to collapse the visual space between media representation and the real situations or contexts in which the news is read and experienced. In the films, words from New York Times newspaper articles are rearranged and animated to create lyrical combinations.  Video Animations is a series of videos created by manipulating and layering analog video signals via electronic oscillators and feedback loops. This work essentializes video into pure signal, the noisy electronic pulses that travel across our wires.

Sabine Gruffat is an artist and filmmaker living and working in North Carolina. Currently she is Assistant Professor of Digital Art at the University of North Carolina – Chapel Hill. She works across media forms including photography, film, video, and interactive installation works that have been shown at the Zolla Lieberman Gallery in Chicago, Art In General, Devotion Gallery, PS1 Contemporary Art Museum, and Hudson Franklin in New York.

Gruffat’s films and videos have screened at festivals worldwide including the Image Forum Festival in Japan, The Ann Arbor Film Festival and Migrating Forms in New York. Her feature film I Have Always Been A Dreamer has screened internationally including at the Viennale, MoMA, Cinéma du Réel at the Centre Pompidou, and The Copenhagen International Documentary Film Festival.

Video from Associate Professor Glaire Anderson’s Summer Workshop in London now available

Presentations from “The Aghlabids & Their Neighbors: An Interdisciplinary Workshop on Art & Material Culture in Ninth-Century North Africa,” organized by Glaire Anderson, Associate Professor of Islamic Art History, and held at UNC’s Winston House in London in May 2014, are now available on the UNC Global Vimeo channel: http://vimeo.com/uncglobal.

The presentations are also available on the workshop website at: http://aghlabid.web.unc.edu/program/

Anderson Qayrawan GM Tunisia676 2

The Aghlabids & Their Neighbors: An Interdisciplinary Workshop on Art & Material Culture in Ninth-Century North Africa

Organised by Glaire D. Anderson (UNC-Chapel Hill), Corisande Fenwick (Leicester University) and Mariam Rosser-Owen (Victoria & Albert Museum), this two-day conference focused on the history and material culture of the Aghlabid dynasty of Ifrīqiya and their immediate neighbors in the region. The workshop was conceived as the beginning of a  conversation about North Africa in the ninth century, which considers the region not as a peripheral frontier whose artistic production was inferior to or derivative of trends in the ‘Abbasid heartlands of Iraq and Egypt, but as one of the vibrant centers of the early medieval Dar al-Islam. An international group of scholars from the US, Europe, and North Africa presented research on Aghlabid history, art, architecture, archaeology, urbanism, and numismatics. The essays, including additional contributions by colleagues who were unable to join us in London, will be published as a volume in Brill’s Arts & Archaeology of the Islamic World series.

Keynote
Hugh Kennedy (University of London, School of Oriental and African Studies) “Abbasid Networks in Ifriqiya and the origins of the Aghlabids”

Speakers

Ali Asgar Alibhai (Harvard University), An Effaced Memory: Aghlabid Hydraulic Works and the Medieval Islamic Regalia of Kingship

Azeddine Belakehal (Université Mohamed Khider, Biskra), Les Ambiances Lumineuses dans les Mosquées de la Période Aghlabide

Chafik T. Benchekroun (Université de Toulouse-le-Mirail), La fondation de la Qarawiyyīn:  un quiproquo entre l’historiographie et l’archéologie

Jonathan M. Bloom (Boston College), The Marble Mihrab Panels of the Great Mosque of Kairouan

Olivier Bobin, Max Schvoerer, Claude Ney (CIRAM/Université Bordeaux), The metallic lustre decoration of the Mihrab of the great Mosque of Kairouan (Tunisia, 9th century AD). Scientific investigations

Azaddin Bouyahiaoui and and Akila Djellide (Pr. Université d’Archéologie-Alger/ CNRPAH), Tahert- Tagdemt , site archéologique aux problématiques multiples

Chloé Capel (Université Paris –Sorbonne), Sijilmasa in the days of the Aghlabids: between saharian isolation and Kairouanese side-effects

Patrice Cressier (CIHAM-UMR 5648, CNRS, Lyon), Nakûr: un émirat rifain pro-omeyyade contemporain des Aghlabides

Caroline Goodson (Birkbeck, University of London), Kairouan and the formation of a ninth-century capital: a comparative perspective

Matthew Gordon (Miami University), Aghlabid-Tulunid relations: a brief survey

Khadija Hamdi (Université Paris -Sorbonne), Les aspects cachés des carreaux de la grande mosquée de Kairouan

Karim Ifrak (École Pratique des Hautes Études, Paris), Au-delà de l’être et du paraître. Le cas des livres manuscrits coraniques aghlabides

Jeremy Johns (University of Oxford), The Palermo Qur’ān (AH373/982–83AD) and the triumph of Malikism in Ifrīqiya

Riyaz Latif (Wellesley College), Negotiating the Metaphorical Frontiers: Aghlabid Ribāts in Ifrīqiyā

David Mattingly & Martin Sterry (University of Leicester), Zuwila and Fazzan in the seventh-tenth centuries AD

Alex Metcalfe (Lancaster University), History and historiography: the Aghlabids in Ifrīqiya and Sicily

Annliese Nef (Université Paris -Sorbonne), Sicily in the Aghlabid emirate

Stéphane Pradines (Aga Khan University, London), Qalat al-Kabsh and the fortifications of Egypt and Tunisia in the 9th century

Cheryl Porter (Freelance consultant in library collection management/Director, Montefiascone Project, Italy), Techniques and materials used in the making of the Blue Qur’an: a scientific analysis

Stuart Sears (Independent Scholar), Numismatic Evidence for the Origins of al-’Abbāsīya  and the Aghlabid State

Kordula Wolf  & Marco Di Branco (Deutsches Historisches Institut Rom), The Muslim Settlement Near the River Garigliano (883-915):  Historical and Archaeological Researches

Lien Truong Show at Dose Projects Space in Brooklyn

Stitch

Dose Projects Space

 300 Morgan Ave. Brooklyn, NY 11211

Reception: November 14, 2014 6:00pm – 9:00pm

http://doseprojects.com/

01LienTruong 03LienTruong

In Stitch, Lien Truong presents a series of paintings that examine contemporary appropriations of culture through textiles and plastic surgery. In 15th and 16th century Orientalism, the west appropriated fashion and aesthetics of the east, warranting Western supremacy and segregation, and eastern foreignness for the purpose of rendering Western dress richer and more exotic. Whereas historical turquerie and chinoiserie once inspired the seduction of faraway exoticism, these representations of the east in our modern-day environment are charged with ideas of the foreign as unsettling, to be avoided.

Truong’s paintings focus on forms that represent acts of assimilation. Through our contemporary lens, adopting culture encompasses and moves beyond the cloth, as surgical means give way to ethnic modification. Derived from mediated images from a specific time, articles of clothing and cultural icons become gestural strokes of oil paint, melting and fading into strokes of color. Stitch examines modern cultural appropriation in our transcultural world.

MFA candidate Eric Pickersgill selected for The Blue Library chapbook

Major congratulations to Eric Pickersgill, 2nd year MFA. His Soak (New Mexico) project (a few of which you may have seen in the hallway gallery as part of the Between the Eyes show) was selected by Tammy Mercure and The Blue Library in New Orleans. They are printing a chapbook of 40 color images from Soak and it will be on display with 29 other artists books during Photo NoLa. They will then add it  to The Blue Library collection as well as printing and sending a copy to the Indie Photobook Library.

New Sabine Gruffat film premiering at the Copenhagen International Film Festival

Sabine Gruffat and Bill Brown’s film Speculation Nation will have its World Premiere during the Copenhagen International Film Festival (CPH:DOX).

speculation_nation

The first screening on November 9th will be at the Danish Film Institute and is followed by a panel discussion with the filmmakers and experts on the European perspective on the Spanish crisis.

There will be a second screening with Q&A with the filmmakers on November 14th.

More information on CPH:Dox is here: http://cphdox.dk/en

More information about the film is here:

Speculation Nation

16mm film and HD video
Bluray and DCP, stereo mix
TRT : 74 minutes
Brown/ Gruffat 2014

Directed/ Produced by:
Bill Brown and Sabine Gruffat

Cinematography:
Bill Brown and Sabine Gruffat

Sound Design:
Bill Brown and Sabine Gruffat

Voices:
Ivan Ramirez Barrios, Isabel Concheiro, Aron Elias Jones, Dennis Krijt, Juanjo Garcia Marin, Toni Rodriguez, Juan Antonio Parra, Doris Perez, Marta Afuera Pons

Soundtrack:
Stephen Vitiello
Thank you: Taylor Deupree

Sound Mastering:
Paul Geluso

Mastering Facilties:
Harvestworks Digital Media Center

When the financial crisis hit Spain like a financial tsunami, the evidence was not only visible in tabloid headlines and the banks’ bottom lines. It left an indelible mark in the landscape and left behind the unfinished ghost towns of housing speculators, as evidence of the quixotic dreams that had created them. At the same time, thousands of people had to leave their homes, with no other resources than each other. And what do you do when you can no longer seek help from a state that was otherwise meant to protect you. You move into the empty houses and try to create a different society in the ruins of broken promises. But moving into empty buildings is not a straightforward affair, when the law and rules still follow a logic that belongs to the time before the crisis, the logic of housing speculators, banks and money men. ‘Speculation Nation’ gives us an empathetic portrait of a people that have lost faith in the system that failed them, and whose hope for the future rests on each other and the dream of an alternative, as opposed to a renewed economic upturn.

Jeff Whetstone mural photograph for Paul Green Theater

Please go by the Paul Green Theater and take a look at the largest photograph Jeff Whetstone ever made (or ever will, probably.)  Funded by the National Endowment for the Arts as part of the Into the Woods performance, the mural – New Hope X, 342″ x 207″ was installed by Ben Alper MFA 2014, Zoe Litaker BFA 2013, and Katie Frohbose BA 2011.

new hope

MFA candidate Willie Jones in group show at Manfest Gallery

7 November – 5 December
FACE FIRST
Exploring the Human Face

We consciously and unconsciously categorize identity based on the human face. It is, for most people, their social thumbprint and emotional signpost. Inevitably the face is the ‘I’ in first person statements.

As we stated four years ago when we last approached this theme, technology exacerbates people’s retreat into the upper limb of their body, encouraging portraiture on a mass scale in the form of social networks such as Facebook and Instagram with their flood of ‘selfies’. Facial recognition tools which help sort photos of friends and family based on images of their face, and video conference calling also put the focus on the front of the human head. The center of our humanity has coalesced into the mind, behind the face. When we think of each other, we (usually) start with the face first.

Manifest’s seven-member jury reviewed 613 works by 215 artists from 41 states, Washington D.C., and 7 countries. Thirty-seven works by the following 31 artists from 17 states and 2 countries were selected for exhibition and will also be featured in the Manifest Exhibition Annual publication (MEA) at the close of the season.

For more info, the exhibition site is here.