Press

For Immediate Release: Digimovies February Programming

2012-01-25T16:02:18Z

FOR IMMEDIATE RELEASE
FOR MORE INFORMATION: Aimee Chan-Lindquist
212-966-7745 ext 13/ aimee@exitart.org

Still from El Sicaro, Room 164

Digimovies February Programming
February 1, 22 and 29, 2012

NEW YORK- Exit Art�s Digimovies is pleased to announce its February schedule, a selection of exciting new digital cinema by veteran and emerging international filmmakers. The schedule features two of last year�s most formally daring documentaries -- El Sicario, Room 164 and Tape -- and the full program of shorts commissioned by the Jeonju International Film Festival�s Jeonju Digital Project 2011, which includes new works by European luminaries Claire Denis, Jos� Luis Guer�n and Jean-Marie Straub. Taken together, the selection observes how global auteurs are using digital filmmaking technology to push the language of cinema and further enrich their respective explorations.

El Sicario, Room 164
Wednesday, February 1 at 7:30PM
dir. Gianfranco Rosi, 85 min, 2010, U.S. and France, In Spanish w/ English subtitles

�El Sicario, Room 164, one of the most revealing and shocking documentaries ever made about the drug trade, is mostly a series of fixed shots of a masked man talking to a camera. The sicario's story is a familiar, eerily three-act rise-and-fall crime saga: A young poor child is seduced by a Mexican's cartel's vast power and gradually evolves from performing petty errands and crimes to kidnapping and torturing people for maddeningly vague reasons. Eventually tiring of the lifestyle's accompanying drug abuse and alcoholism, the assassin becomes a pariah in danger of winding up on the wrong end of a gun himself. There are haunting, inventive touches that quietly speak to the matter-of-factness of his dehumanization: The former killer sketches accompanying images on a pad while talking, and he occasionally rises from his chair to pantomime some of his more outrageous acts. These simple gestures, which speak of the effectiveness of elegantly pared filmmaking, suggest a truth, and a disturbing empathy, that more enraged, self-righteous documentaries rarely manage: the terrifyingly casual roots of evil." �Chuck Bowen, Slant Magazine

Winner, FIPRESCI Prize and Orizzonti Documentary Award, Venice International Film Festival

Winner, Best Documentary, City of Lisbon Award, DocLisboa, Lisbon, Portugal

"A minimalist study in maximum violence, Gianfranco Rosi's El Sicario, Room 164 offers viewers the rare chance to meet a Mexican narco hitman and to live to tell the tale." �Jordan Mintzer, Variety

�Instead of a psychological profile of a killer, Rosi instead offers us the paradox of a truth-teller whose insights into the savage capitalism of the cartels is conveyed entirely through performance.� �Richard Porton, Cineaste

Tape
Wednesday, February 22 at 7:30PM
dir. Li Ning, 168 min, 2010, China, In Mandarin w/ English subtitles

Performance artist Li Ning turns his life into art in this epic work of experimental documentary. For five grueling years, Li documents his struggle to achieve success as an avant-garde artist while contending with the pressures of modern life in China. He is caught between two families: his wife, son and mother, whom he can barely support; and his enthusiastic but disorganized guerilla dance troupe. Li�s chaotic life becomes inseparable from the act of taping it, as if his experiences can only make sense on screen. Tape shatters documentary conventions, utilizing a variety of approaches, including guerilla documentary, experimental street video, even CGI. The film captures a decade�s worth of artistic aspirations and failures, while breaking new ground in individual expression in China. Synopsis courtesy of dGenerate Films.

Official Selection, International Film Festival Rotterdam

Official Selection, Beijing Independent Documentary Film Festival

Official Selection, MoMA Documentary Fortnight

�A riveting portrait of an artist�s attempts at expression and conflicts with societal norms.� � Museum of Modern Art

JEONJU DIGITAL PROJECT 2011
Wednesday, February 29 at 7:30PM

Since its launch in 2000, the Jeonju Internaional Film Festival in South Korea has furnished its reputation as one of the world�s most forward-thinking film festivals, not just by programming vital new international cinema but commissioning it as well. Each year, the festival�s Jeonju Digital Project produces and distributes three short digital films from some of the world�s most exciting, uncompromising filmmakers. Initially focused on supporting works by emerging talent around Asia, the festival expanded the Project in 2007 to include directors from Europe, Africa and the U.S. Past participants in the Project have included such key directors as Jia Zhangke, James Benning, Hong Sang-soo, Mahamat-Saleh Haroun, Pedro Costa, Harun Farocki, Naomi Kawase, Lav Diaz and many more. The Project�s most recent program includes works by three fascinating European directors: adventurous French maverick Claire Denis (Beau Travail (1999), White Mater ial (2009), 35 Shots of Rum (2008)), radical literary-materialist Jean-Marie Straub (Moses und Aron (1975), Sicilia! (1999)) and the endlessly curious Jos� Luis Guer�n (In the City of Sylvia (2007)).

To the Devil � NYC Premiere!
dir. Claire Denis, 45 min, 2011, South Korea, In English and French w/ English subtitles

�Denis� latest work is a digital short that combines documentary, autobiography and essay film. As research for an upcoming feature, Denis travels to French Guiana to meet Jean Bena, a notorious figure celebrated by some and demonized by others. She brings with her the young actor who will play the Bena character in her film. In the process, she weaves in the history of the nearby Aluku, an isolated tribe descended from African slaves who fled into the jungle rather than be pressed into work in the gold mines.� Synopsis courtesy of the Harvard Film Archive.

Memories of a Morning � NYC Premiere!
dir. Jos� Luis Guer�n, 45 min, 2011, South Korea, In Catalan and Spanish w/ English subtitles

�The most successful of the 2011 project is by the least well-known of the three directors. Jose Luis Guerin produced a very personal film about a tragic suicide in his own neighborhood that also works beautifully as a portrait of these people. The result is a moving work, both in its sadness and also in the joy found in the lives of the local residents. What emerges is a portrait of a cold neighborhood where no one says hello to each other that is, Guerin discovers, full of warm relationships and people. Nevertheless, they couldn�t alleviate the loneliness that drove the man to take his life, and in fact may be part of the alienated modern world that caused the man�s death, since we learn there have been many other suicides in recent years. The only small weakness is that Guerin seems to have too many endings, unable to choose one effective note to conclude and instead throwing everything in. But this film certainly makes me curious to see more of his films.� �Marc Raymond , The One One Four

An Heir
dir. Jean-Marie Straub, 22 min, 2011, South Korea, In French w/ English subtitles

�Un H�ritier (An Heir) compresses Barr�s�s 1905 novel In Germany�s Service to profoundly moving effect. An account of an Alsatian�s life under German occupation, it begins with two men walking through a wood. The older (played by Straub), from Lorraine, asks the younger why he remains in Alsace, where he suffers. �I am an heir,� Monsieur Ehrmann replies, recounting his familial and professional ties in long monologues (eloquently delivered by actor Joseph Rottner). He is a doctor devoted to the people, even to the husband who assaulted him when he tried to save the man�s wife. He recalls the humiliations and punishments to which French-speaking Alsatian schoolchildren were subject. Straub moves from a tracking shot in the first section to long shots and close-ups; finally, he alternates between black leader and Rottner�s readings�a catalogue of film syntax as minimal as it is replete. By the end, the weight of history lived through the individual is more c omplete than in any imaginable reconstruction of the novel. Ehrmann�s remark that he is �assaulted by speeches that arise out of the earth� could easily describe Straub�s incomparable aesthetic and consummately beautiful images, in which sunlit faces, rocks, and trees are at one with the colors and music of the words spoken in their presence.� �Tony Pipolo, ArtForum

Tickets
Tickets are $10 general admission. Tickets are available for purchase at the box office 30 minutes before each screening or anytime on Exit Art�s website HERE .

ABOUT DIGIMOVIES
Digimovies is Exit Art's ongoing, curated showcase of international digital cinema presented in our new movie theater. Programming covers various cinematic genres (drama/fiction, documentary, non-narrative/experimental) and emphasizes the work of emerging directors who are challenging cinematic conventions in provocative and exciting ways. Screenings regularly include in-person and virtual discussions with directors and other guests. In addition to screenings and Q&As, Digimovies presents video production workshops with accomplished directors and video artists.

ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture that is prepared to react immediately to important issues that affect our lives. We present experimental, historical and unique programming of aesthetic, social, political and environmental issues. Founded in 1982 by Directors Jeanette Ingberman and artist Papo Colo, Exit Art has grown from a pioneering alternative art space into an innovative cultural center that is committed to supporting artists whose work reflects on the socio-political transformations of our time. Exit Art is internationally recognized for its unmatched spirit of inventiveness, curatorial innovation and depth of programming in diverse media. Exit Art is always changing.

EXHIBITION SUPPORT
Digimovies is made possible by a major grant from the Rockefeller Foundation Cultural Innovation Fund with additional support provided by New York City Department of Cultural Affairs.
General exhibition support provided by the Andy Warhol Foundation for the Visual Arts; Bloomberg LP ; Foundation for Contemporary Arts; The Greenwall Foundation; Jerome Foundation; Lambent Foundation; Lily Auchinclose Foundation; New York City Department of Cultural Affairs and City Council Speaker Christine C. Quinn; and public funds from the New York State Council on the Arts.

Exit Art, 475 Tenth Ave @ 36th Street, 212.966.775, www.exitart.org

For Immediate Release: Exit Art Closing and Final Exhibitions and Events

2012-01-19T15:20:01Z

FOR IMMEDIATE RELEASE
FOR MORE INFORMATION: Aimee Chan-Lindquist
212-966-7745 ext 13/ aimee@exitart.org

Co-Founders Jeanette Ingberman and Papo Colo, Exit Art 2011

NEW YORK- After 30 amazing years, Exit Art will be closing end of May 2012. Exit Art has supported and fostered a vibrant, interdisciplinary artistic community in New York, organizing over 200 exhibitions, events, festivals and programs, featuring more than 2,500 artists. Founded in 1982 by Executive Director, Jeanette Ingberman and Artist Director, Papo Colo, Exit Art has grown from a pioneering alternative art space into an innovative cultural center that is committed to supporting artists whose work deals with the socio-political transformations of our time. Exit Art is internationally recognized for its unmatched spirit of inventiveness, curatorial innovation and depth of programming in diverse media.

For the remainder of 2012 we will be devoting our programming primarily to �The Legacy Project�. �The Legacy Project� consists of the 30 year retrospective, EVERY EXIT IS AN ENTRANCE; two forthcoming publications, Alternative Histories, to be published by MIT Press and Unfinished Memories: 30 Years of Exit Art; and the relocation of our archives to Fales Library Downtown Collection at New York University. �The Legacy Project� will be a unique contribution to the New York alterative arts movement founded in the 1980s.

UPCOMING PROGRAMS AND EVENTS

EXIT WITH A BANG!
Final Gala and Auction
Tuesday, March 6, 2012 / 7-11PM
Exit Art will be hosting a final gala and auction honoring Co-Founders, Jeanette Ingberman and Papo Colo. This year�s Gala features Master of Ceremonies Martha Wilson as Barbara Bush; Illusionist JB Benn; and super band, Entering Binocular Mode, comprised of musicians, Ernie Brooks (Modern Lovers,Rhys Chatham), Peter Zummo (Lounge Lizards,Downtown Ensemble), Joyce Bowden (Tom Tom Club, Joey Ramone), Bill Ruyle (Arthur Russell, Spiderman), Dan Archer (Phish producer,Pork Tornado guitarist), with special guest Jerry Harrison (Talking Heads, Modern Lovers).

Many distinguished artists have generously donated work to this year�s auction, including Ida Applebroog, Sanford Biggers, Bruce High Quality Foundation, Tehching Hsieh, Julie Mehretu, Tom Otterness, Cindy Sherman, Swoon, William Wegman, Lawrence Weiner, and a special cake baked by Will Cotton. As this will be our final gala and benefit, Exit Art�s entire Board will be hosting the gala as the benefit chairs. Exit Art�s Board consists of Charles Kremer, Board Chairman; Alberta Arthurs, Board President; Ida Applebroog, Neal Baer, Deborah Colton, Papo Colo, Marilynn Donini, Fairfax Dorn, Mark L. Epstein, Frayda Feldman, Ronald Feldman, Peter F. Frey, Stuart Ginsberg, Jenette Kahn, Eileen Kaminsky, Jerry Kearns, John Koegel, Richard J. Massey, Leslie Moran, Amy Newman, Yigal Ozeri, Mary Anne Staniszewski.

This event is being held to raise funds for Exit Art's �The Legacy Project�.

EVERY EXIT IS AN ENTRANCE: 30 YEARS OF EXIT ART
March 23-May 25, 2012
Public Events TBA

Exit Art has consistently challenged social, political, aesthetic and curatorial norms. For 30 years Exit Art has organized historical exhibitions; presented the work of young, emerging, under-recognized and mid-career artists; challenged curatorial models; produced experimental theater and performance; and organized national and international film and video programs. Committed early on to experimenting with the convergence of film, video, performance, music, publications, design and visual art, Exit Art remains steadfast in its mission to provide new possibilities and opportunities for both artists and audiences alike.
At the heart of Exit Art is the relationship between co-founders Ingberman and Colo, who met in the late 1970s during a studio visit, fell in love, founded Exit Art, and dedicated their lives to nurturing a cultural center that responded to some of the most prescient issues of our time. EVERY EXIT IS AN ENTRANCE: 30 Years of Exit Art explores this rich history, from its founding in a loft apartment on Canal Street in 1982 to its years in SoHo at 578 Broadway (1984-1992); from its ten years at 548 Broadway (1992-2002) to its third decade in its current Hell�s Kitchen location.

The retrospective exhibition will feature extensive documentation from Exit Art�s archives, including posters, promotional and programming graphics, and photographs (and elements) of the innovative in-house exhibition designs employed in past exhibitions, as well as the work of a selection of artists championed over the years. In conjunction with the exhibition, Exit Art is organizing a series of events: film screenings, documented programs of theater and performance, live performance and music, artist talks, curatorial presentations, panel discussions and more. Also included in the exhibition is a reading library of materials Exit Art has published over the years. Co-founder Papo Colo is organizing a personal exhibition of photographic materials that celebrate the spirit of Exit Art, with a focus on the life of co-founder Jeanette Ingberman.

EVERY EXIT IS AN ENTRANCE: 30 Years of Exit Art curated by Senior Curator Rachel Gugelberger and Assistant Curator Lauren Rosati in collaboration with Artistic Director Papo Colo, with film programming organized by Curatorial Assistant Candice Strongwater.

COLLECTIVE PERFORMANCE
March 23-May 25, 2012
Artists, Organizations, and Performances TBA

COLLECTIVE PERFORMANCE explores the history of collective practices; the importance of the viewer/audience in achieving the work�s goals; the role of documentation, as well as the role that new technologies play in the formation of collective strategies and interaction with the public. By highlighting past performances through the lens of seminal performance artists, commissioning new works and collaborating with non-profit organizations, the exhibition identifies new trends in contemporary performance practices all the while exploring the concept of collective engagement.

Consulting with pioneering performance artists who have exhibited or performed at Exit Art, the exhibition examines the historical precedents, concepts and themes that have shaped collective practices in contemporary performance. With a focus on works that require engagement with an audience or �viewer participation,� the exhibitionconsiders the extent to which engagement and interaction with audiences, as well as collaboration - in theory and/or practice -has shaped collective performances in regards to this common goal.

Exit Art has commissioned artists, alternative spaces, a blog on contemporary art and culture, and a curatorial collective to create collective projects at Exit Art for the duration of one week each, providing many with the opportunity to work in a collective manner for the first time. In addition, we will partner with four organizations invited to coordinate their own collective projects. Both artists and organizations are required to utilize the space during gallery hours, Tuesday - Saturday as necessary for their respective projects--as an office, studio, hub, production center, exhibition space, platform, stage, etc. These projects expand notions of collaborative practices in the arts and beyond, and participants are encouraged to culminate their residency with a collective event or performance on the Saturday.

COLLECTIVE PERFORMANCE was conceived by Jeanette Ingberman and Papo Colo, co-founders and curators of Exit Art and is curated by Senior Curator, Rachel Gugelberger; Assistant Curator, Lauren Rosati with curatorial assistant Verity Combe.

ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture that is prepared to react immediately to important issues that affect our lives. We present experimental, historical and unique programming of aesthetic, social, political and environmental issues. Founded in 1982 by Directors Jeanette Ingberman and Papo Colo, Exit Art has grown from a pioneering alternative art space into an innovative cultural center that is committed to supporting artists whose work reflects on the socio-political transformations of our time. Exit Art is internationally recognized for its unmatched spirit of inventiveness, curatorial innovation and depth of programming in diverse media. Exit Art is always changing.

COLLECTIVE PERFORMANCE SUPPORT
Collective Performance is made possible by a major grant from the National Endowment for the Arts.

GENERAL EXHIBITION SUPPORT
Provided by the Andy Warhol Foundation for the Visual Arts; Bloomberg LP ; Foundation for Contemporary Arts; The Greenwall Foundation; Jerome Foundation; Lambent Foundation; Lily Auchinclose Foundation; New York City Department of Cultural Affairs and City Council Speaker Christine C. Quinn; and public funds from the New York State Council on the Arts.

Exit Art | 475 Tenth Ave @ 36th Street, New York, NY 10018 | 212.966.7745 |
www.exitart.org | A, C, E to 34th Street Penn Station

Open Tuesday-Friday 10-6 PM and Sat 12-6 PM. Open late Wednesday until 7:30 PM. Closed on Sunday and Monday. $5 suggested donation.

DIGIMOVIES' January series, REMAKING THE AMERICAN CITY, starting Jan 4, 2012

2011-12-21T13:08:23Z

FOR IMMEDIATE RELEASE
FOR MORE INFORMATION: Aimee Chan-Lindquist
212-966-7745 ext 13/ aimee@exitart.org

Still from Detroit Wild City

Remaking the American City
Every WEDNESDAY in January starting January 4, 2012

NEW YORK- Exit Art�s Digimovies is pleased to announce Remaking the American City, a series of new documentaries on urban development in the U.S. The films presented in the series explore some of the profound changes that are re-shaping American cities, the urban renewal projects that cities are undertaking in response to those changes, and how communities are responding to those efforts. By examining subjects like gentrification and public housing, these films illustrate how the controversies and debates surrounding city planning give visibility to many of the larger problems plaguing the U.S., such as recession, political and real estate corruption, the decline of industrial production, and class and racial inequality.

THE BATTLE FOR BROOKLYN
dir. Michael Galinsky and Suki Hawley, 93 min, 2011, U.S., In English

Wednesday, January 4 at 7:30 PM
Q&A with directors Galinsky and Hawley

Chronicling the civic debate surrounding the controversial Atlantic Yards project, Battle for Brooklyn follows the story of reluctant activist Daniel Goldstein as he struggles to save his home and community from being demolished to make way for a new basketball arena and the densest real estate development in history. Over the course of seven years, Daniel spearheads the movement against the development plan as he and the community fight tenaciously in the courts, the streets, and the media to stop the abuse of eminent domain and reveal the corruption at the heart of the plan.

Shortlisted for the 2012 Academy Award for Best Documentary Feature.

�An engrossing history lesson.� � Neil Rosen, NY1

�A deft look at a reluctant crusader and how financial sway and political override can so effectively trump the power of the average citizen.� � Gary Goldstein, Los Angeles Times

FOREIGN PARTS
dir. V�r�na Paravel and J.P. Sniadecki, 80 min, 2010, U.S., In English, Spanish and Hebrew w/ English subtitles

Wednesday, January 11 at 7:30 PM
Q&A with co-director V�r�na Paravel

With support from Harvard University's Sensory Ethnography Lab, anthropologists Sniadecki and Pereval spent two years in Willets Point, Queens filming this unforgettable portrait of the scrapyards and auto repair shops that lie in the shadow of the New York Mets' Citi Field stadium and its hardscrabble community of workers who face the threat of eminent domain. Unobtrusive yet precise, the film discovers a neighborhood hiding in plain sight, immersing us in the hustle and bustle of this strange and fascinating industrial enclave where wrecks, refuse and recycling form a thriving commerce. One of the best films of the year, Foreign Parts is an extraordinary document of a neighborhood facing its inevitable demise under the capitalization of New York�s urban ecology.

Winner of the Best First Feature prize at the 2010 Locarno International Film Festival

.�..utilizes incisive, striking aesthetics to elicit potent subcultural immersion.� -- Nick Schager, Village Voice

THE PRUITT-IGOE MYTH
dir. Chad Friedrichs, 83 min, 2011, U.S., In English

Wednesday, January 18 at 7:30 PM

Pruitt-Igoe was a low-cost segregated public housing project in St. Louis, MO. First occupied in 1954 only to be demolished eighteen years later, this ambitious project (designed by World Trade Center architect Minoru Yamasaki) has achieved legendary status as a failure amongst architects, politicians and policy makers. But what can we learn from its story beyond simplistic conclusions about public housing? Using poignant testimonies from some of the project�s residents, insights from journalists and sociologists and a wealth of vivid archival footage, director Chad Friedrichs traces the complex story of Pruitt-Igoe from its hopeful beginnings through its violent decay to its notorious implosion. Taking an expansive approach to the project�s history, Friedrichs explores the social, economic and legislative issues behind the birth and decline of conventional public housing in post-WWII American cities and the personal narratives of those who lived th rough it.

�[The film] combines concise but thoroughgoing sociological-historical analysis and elegant cinematic resources in service of an uncommonly artful example of film journalism.� � Robert Koehler, Variety

DETROIT WILD CITY
dir. Florent Tillon, 80 min, 2011, France, In English

Wednesday, January 25 at 7:30 PM

This documentary about the life, death, and rebirth of Motor City tells its story through haunting images of urban decay and interviews with residents who are reinventing the city�s future. The stunning post-apocalyptic landscape of abandoned skyscrapers, empty streets and crumbling factories stand in stark contrast to past images of a thriving metropolis. Residents describe the transformation they witnessed over their lifetime, and explain how the collapse of industry and infrastructure continues to thwart renewal. Still, they have found creative ways to survive, and the proliferation of urban farms, wild animals, and micro economies based on barter and trade suggests that Detroit has returned �back to nature� for a second lease on life.

Synopsis courtesy of Chicago Filmmakers.

�a hypnotic visual exploration of Detroit�s urban landscape� � Peter Knegt, indieWIRE

�An incredibly potent rendering of urban decay. Easily the most exceptional new film I saw at the Rencontres Internationales du Documentaire de Montr�al this year. � John Semley, Maisonneuve

Tickets
Tickets are $10 general admission. Tickets are available for purchase at the box office 30 minutes before each screening or anytime on Exit Art�s website HERE.

General exhibition support provided by the Andy Warhol Foundation for the Visual Arts; Bloomberg LP ; Foundation for Contemporary Arts; The Greenwall Foundation; Jerome Foundation; Lambent Foundation; Lily Auchinclose Foundation; New York City Department of Cultural Affairs and City Council Speaker Christine C. Quinn; and public funds from the New York State Council on the Arts.

Exit Art, 475 Tenth Ave @ 36th Street, 212.966.775, www.exitart.org

For Immediate Release: A Tribute to Jafar Panahi and Mohammad Rasoulof

2011-11-16T13:53:27Z

FOR IMMEDIATE RELEASE
FOR MORE INFORMATION: Aimee Chan-Lindquist
212-966-7745 ext 13/ aimee@exitart.org

Good Bye directed by Mohannad Rasoulof

FOR IMMEDIATE RELEASE: A TRIBUTE TO JAFAR PANAHI
AND MOHAMMAD RASOULOF
December 6 and December 14, 2011

NEW YORK- Exit Art�s Digimovies is pleased to announce FOR IMMEDIATE RELEASE: A TRIBUTE TO JAFAR PANAHI AND MOHAMMAD RASOULOF, a pair of screenings to mark the one-year anniversary of the Iranian government�s imprisoning and silencing of two of its most politically outspoken and internationally revered filmmakers. The program includes the NYC premiere of Rasoulof�s newest film Good Bye on December 6 and a screening on December 14 of The Accordion, Jafar Panahi�s most recent short film and a selection of short films made for Cine Foundation International�s international campaign to protest Panahi�s imprisonment. The screening on December 14 will be followed by a discussion with representatives from the CFI and select filmmakers who contributed works to the organization�s campaign.

Both vocal supporters of Iran�s Green Movement, Panahi and Rasoulof were arrested and detained in March 2010 while working on a documentary about the 2009 re-election of Mahmoud Ahmadinejad and the subsequent protests. Rasoulof was released later that month while Panahi was released in June on 200,000 Rials bail. That December, the Iranian Revolutionary Court issued them a verdict of six years in prison for �assembly and collusion� and producing �anti-regime propaganda.� In addition to the six-year prison sentence, Panahi and Rasoulof received a 20-year ban from filmmaking, screenwriting, traveling abroad, and granting interviews to local and foreign media.

FOR IMMEDIATE RELEASE: A TRIBUTE TO JAFAR PANAHI AND MOHAMMAD RASOULOF screens shortly after the Iranian government�s decision on October 17, 2011 to uphold Jafar Panahi�s six-year prison sentence and 20-year ban from filmmaking. While the Iranian regime reduced Rasoulof�s prison sentence to one year, his 20-year employment ban remains in place.

PROGRAM SCHEDULE
DIGIMOVIES screenings are on WEDNESDAYS at 7:30 PM, unless otherwise noted.
All non-English language films contain English subtitles, unless otherwise noted.

Tuesday, December 6 at 7:30 PM - NYC debut!
dir. Mohammad Rasoulof, 2011, 100 min, Iran, In Farsi w/ English subtitles

A suspenseful and ideologically charged expos� about an activist female lawyer attempting to exit her country, Good Bye illuminates the Iranian regime�s machinations of oppression with eerie austerity. Our protagonist, Noora, is a stark reminder of the struggles for a young woman's basic freedom as she tries to obtain a visa that that will allow her to leave Iran. The last film made by Iranian filmmaker Mohammad Rasoulof before his 2010 arrest, Good Bye resonates prophetically as a courageous work of resistance and an unsettling chronicle of the oppressive conditions that afflict the women of Iran.

Cine Foundation International protest shorts + Jafar Panahi�s THE ACCORDION
Wednesday, December 14 at 7:30 PM

THE ACCORDION
dir. Jafar Panahi, 2010, 9 min, Iran, France, Brazil, Italy and Switzerland,
In Farsi w/ English subtitles
Panahi�s last finished film before his arrest in 2010 is about two young buskers in Tehran, a boy and a girl, who have their accordion confiscated in front of a mosque.
The Accordion was produced for the international omnibus film Then and Now: Beyond Borders and Differences, commissioned by Art of the World, an NGO associated with the United Nations Department of Public Information.

In January 2011, Cine Foundation International, a human rights NGO aiming to �empower open consciousness through cinema,� launched a campaign calling for the release of Jafar Panahi. The following program is a selection of shorts made for that campaign hailing from countries such as Russia, Spain and the UK.

UNTITLED
dir. Anonymous, 2011, 10 min
The first film submitted to Cine Foundation calling for the release of imprisoned film directors Jafar Panahi and Mohammad Rasoulof came from an anonymous filmmaker in Iran. The last moments of all of Jafar Panahi�s features interweave silently over clam and meditative images and sounds of water, ending on the transfixing bounce of a bouy.

FOR JAFAR PANAHI AND MOHAMMAD RASOULOF
dir. Jimmy Bontatibus, 2011, 6 min, U.S.
After a movie sudden stops running due to �technical difficulties�, a girl decides to venture to the projection booth to see for herself why the film stopped.

ONE WHITE BALLOON
dir. Peter Rinaldi, 2011, 9 min, U.S.
In an homage to the films of Jafar Panahi, a white balloon (a symbol of the man himself) is transported through the streets of New York City en route to its attempted destinations � the Iranian Embassy and the United Nations.

BLIND ARTIST PAINTING A RED SEA
dir. Tobe Morgan, 2011, 7 min, UK
In Rasoulof's film The White Meadows (2009) an artist is blinded by indoctrinated, ignorant people for painting the sea red. Morgan�s film seems to depict this artist�s vision. It is dedicated to Mohammad Rasoulof and Katayoun Shahabi, an international film sales agent who has been accused of collaborating with the BBC and is now in prison.

VOICE FOR PERSIAN CINEMA (VOZ PARA EL CINE PERSA)
dir. Sergio Ortiz Borbolla, 2011, 1 min, Mexico
A woman defiantly stares into the camera as she removes the 35mm film wrapped around her head and face, followed by the removal of her hijab, an act strictly forbidden on film in Iran.

FOR JAFAR PANAHI AND MOHAMMAD RASOULOF
dir. Irina Shatalova, 2011, 4 min, Russia
The incredible images captured from a free flying hot air balloon is followed by Jafar Panahi�s full letter to the Berlin film festival earlier this year.

Film descriptions courtesy of Cine Foundation International. Special thanks to Peter Rinaldi (CFI).

Tickets
Tickets are $10 general admission. Tickets are available for purchase at the box office 30 minutes before each screening or anytime on Exit Art�s website HERE.

ABOUT DIGIMOVIES
Digimovies is Exit Art's ongoing, curated showcase of international digital cinema presented in our new movie theater. Programming covers various cinematic genres (drama/fiction, documentary, non-narrative/experimental) and emphasizes the work of emerging directors who are challenging cinematic conventions in provocative and exciting ways. Screenings regularly include in-person and virtual discussions with directors and other guests. In addition to screenings and Q&As, Digimovies presents video production workshops with accomplished directors and video artists.

ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture. We are prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 29-year-old cultural center in New York City founded by Directors Jeanette Ingberman and artist Papo Colo, that has grown from a pioneering alternative art space, into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.

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2011-11-03T17:23:26Z

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Announcing NEW MONEY: Business Models for a Sustainable Future

2011-09-15T10:33:43Z

FOR IMMEDIATE RELEASE
FOR MORE INFORMATION: Aimee Chan-Lindquist
212-966-7745 ext 13/ aimee@exitart.org

141 Eyewear, Jiasian, Taiwan Eye Clinic, Photo courtesy of Kyle Yamaguchi and 141 Eyewear

NEW MONEY: Business Models for a Sustainable Future
a project of SEA (Social Environmental Aesthetics)
September 30-November 23, 2011
Opening Friday September 30, 2011/7-9pm

NEW YORK - Exit Art is pleased to announce NEW MONEY: Business Models for a Sustainable Future, a project of SEA (Social Environmental Aesthetics). This exhibition of videos, photographs, and socially conscious products highlights more than a dozen companies with business models that have environmental and social consciousness at their core, emphasizing sustainability and social responsibility. The companies and organizations included in the exhibit approach markets in new and innovative ways that foster cooperation, awareness, social and environmental justice, sustainability, philanthropy, stewardship, and humanitarianism.

BUSINESSES AND ORGANIZATIONS INCLUDED IN EXHIBITION:
141 Eyewear; a.d.o.; Ahkun; Amani; Ecoigo; Ecoist; Ecovative; Interface; Kiva; Microplace; Mr. Ellie Pooh; MYC4; Of Rags; Our Goods; Out of Print; Playback; Raise India; UniquEco; WeWood; Zambikes

The One for One business model is as simple as it sounds: for each good purchased, a good is donated to those in need. With this �buy one, give one� philosophy, businesses enable their consumers to give something back in a transparent manner. Unlike other charity concepts, the One for One idea incorporates a form of philanthropy directly into its business model, proving that profitability and charity don�t have to be mutually exclusive. Though this concept may seem economically risky, many One for One businesses have been successful in pinning their hopes on the consumer�s conscience and willingness to pay more for their product in order to support a cause.

Building on human rights, Fair Trade businesses aim to ensure fair wages for producers in developing countries, which enable them to cover the basics of food, shelter, clothing, education, and medical care. By doing so, Fair Trade businesses directly counter poverty, the exploitation of workers, and �race to the bottom� practices. The Fair Trade model not only fosters direct person-to-person connections between businesses and producers but also intends to strengthen communities involved in the production of their goods. Many Fair Trade businesses support cooperative systems, in which producers hold shares in the business, enjoy equal returns from the market, and contribute to the decision making process. Often, revenues are reinvested into community development projects and education and empowerment programs.

Bartering networks enable individuals to offer their own resources in exchange for things or services they need. Instead of isolated competition, this business model strengthens the power of sharing and fosters a respect for skills and service. It also establishes a system for the reuse of goods based not on their monetary value but on the individual�s appreciation and need for the product. Mutual respect and trust are therefore key elements in the bartering system. While the monetary system has made exchange infinitely easier than the difficult task of matching one person�s needs with another�s resources in a small community, the rise of the Internet has enabled bartering networks to create larger markets where it is much simpler to match trading partners.

The impact of enormous economic and population growth, urbanization, and rapid consumption have led to climate change, ozone depletion, the fouling of natural resources, and the loss of biodiversity. Businesses built around the concept of sustainability make an enduring commitment to ecological principles in order to stop this environmental exploitation. By incorporating environmentally friendly practices into their production processes, these �green� enterprises strive to have little or no negative impact on the global or local environment. Instead the aim is to establish a balanced and non-exploitative relationship with the ecosphere, in which waste is properly disposed of and harmful emissions are reduced.

The majority of formal banks provide few financial services to low-income individuals. In some countries, more than 80 percent of the population has no access to financial services, making it difficult to start a business, buy a home, or attend school. Microfinancing attempts to fill that gap, by offering a way for individuals to lend money to impoverished people in order to help with sudden needs. Average people who want to support a specific project provide micro-loans; the microfinancing organization serves as an intermediary between recipient and lender and provides accountability and transparency for the transactions. By supporting an emerging low-income business, the lender receives his or her money back with an interest rate.

Social Economy Networks are development projects that form the missing link between different types of sustainable businesses. Committed to establishing an alternative economy, these networks aim to strengthen the relationships between bartering networks, fair trade shops and socially just businesses. Whereas some Social Economy Networks function as platforms for partnerships, others share their expertise and develop business models that serve as inspiration for other enterprises. Through education programs, lectures, or trade shows, they also raise awareness about sustainable business practices and demonstrate that a social and sustainable economy is possible.

NEW MONEY: Business Models for a Sustainable Future was conceived by Wilson Duggan and organized by Lauren Rosati and Verena Straub.

ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture. We are prepared toreact immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 29-year-old cultural center in New York City founded by Directors Jeanette Ingberman and artist Papo Colo, that has grown from a pioneering alternative art space, into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.

ABOUT SEA (Social-Environmental Aesthetics)
SEA is a diverse multimedia exhibition program that addresses social and environmental concerns. It assembles artists, activists, scientists and scholars through presentations of visual art, performances, panels and lecture series that communicate international activities concerning environmental and social activism. It provides a vehicle through which the public can be made aware of socially- and environmentally-engaged work, and a forum for collaboration among artists, scientists, activists, scholars and the public. SEA functions as an initiative where individuals can join together in dialogue about issues that affect our daily lives. Conceived by Exit Art Co-Founder / Artistic Director Papo Colo.

EXHIBITION SUPPORT
General exhibition support provided by the Andy Warhol Foundation for the Visual Arts; Bloomberg LP; Jerome Foundation; Lambent Foundation; Pollock-Krasner Foundation; New York City Department of Cultural Affairs and City Council Speaker Christine C. Quinn; and public funds from the New York State Council on the Arts.

EXIT ART 475 Tenth Ave at 36th St NYC / 212-966-7745 / www.exitart.org
Open Tu�Th, 10am�6pm; Fr, 10am�8pm; Sa, 12�6pm. $5 suggested donation.

Announcing RICO GATSON: Three Trips Around the Block, Opening Friday September 30, 2011/7-9pm

2011-09-14T14:54:30Z

FOR IMMEDIATE RELEASE
FOR MORE INFORMATION: Aimee Chan-Lindquist
212-966-7745 ext 13/ aimee@exitart.org

Rico Gatson, Untitled (L.A. Riots), 2011, paint and glitter on wood panel, 48.5 x 49.5 inches

RICO GATSON: Three Trips Around the Block
September 30-November 23, 2011
Opening Friday, September 30, 2011/ 7-9pm

Exit Art is pleased to present RICO GATSON: Three Trips Around the Block, a 15-year retrospective of work by New York artist Rico Gatson. This exhibition is the third in Exit Art�s SOLO program, aimed at providing public visibility for under-recognized, mid-career artists though one person shows at Exit Art.

Brooklyn-based Rico Gatson was born in 1966 in Augusta, Georgia and raised in Riverside, California. His work generates collective memory through the exploration of symbols and images culled from popular culture and the mass media, questioning issues of identity, racial intolerance, and the status quo.

Three Trips Around the Block is a survey of Gatson�s sculpture, painting, video, drawings, and installations, including several new pieces created for the exhibition. The title of the retrospective stems from a powerful experience Gatson had with his brother who, after spending fifteen years in prison, reconnected with the artist by taking a long walk around the block. The conversation that occurred during their �trips around the block� inspired Gatson to creatively explore their own disparate lives � a personal excavation made public in this poignant and provocative exhibition.

In Two Heads in a Box (1994), the earliest work included in the exhibition, Gatson inverts the racial stereotype made popular by the white American singer Al Jolson, who performed in blackface during the 1920s and �30s. The artist, in whiteface and adorned with a white smile and cardboard tie, tirelessly sings the lyrics to �Let Me Sing and I�m Happy� until his exhaustion is visible. A compelling and haunting endurance test, Two Heads in a Box marks the beginning of Gatson�s exploration of racial and identity rhetoric.

Merging history, current events, and mass culture, Gatson�s videos, paintings, and sculptures are politically and racially charged commentaries on American culture. His two- and three-dimensional works are as thought provoking as his videos�abstractions in black and white become politically loaded symbols, and sculptures turn to totems of racism and hate. In the newly commissioned work, Gatson creates landscapes that harness the power and energy of the 1965 Watts riots, which spawned the Black Panthers and other social organizations of the 1960s. Critic Ida Panicelli wrote in Artforum: �Gatson works with precision, exploring power symbols as elements of collective imagination and bringing to light their potential for manipulation.�

Rico Gatson received a BA in Studio Art from Bethel College, St. Paul, MN and an MFA from Yale University. His work has been shown at Prospect.1 Biennial, New Orleans, LA; New Museum, New York, NY; Brooklyn Museum, Brooklyn, NY; Cheekwood Museum, Nashville, TN; and in two seminal exhibitions at the Studio Museum in Harlem, NY that traveled to The Santa Monica Museum of Art: Black Belt and FREESTYLE. His work is included in numerous public and private collections: the Denver Art Museum, Norton Family Foundation, and The Studio Museum of Harlem, among others. He is represented by Ronald Feldman Fine Arts and teaches at Sarah Lawrence College and New York University.

PUBLIC PROGRAM

Friday, October 14 / 7:30pm
RICO GATSON: Video Works
This one-night only program compiles Rico Gatson�s complete discography of single-channel videos and presents a special single-channel version of Gatson�s important work �Spirit, Myth, Ritual and Liberation� (2008). A mini-retrospective, the 15-years of videos represented here reflect themes of racial antagonism, social rhetoric, and political commentary.

1994            Funny Faces
1999            Fenced In
1999            Invisible
1999            Fire
2001            Arrival
2001            Celebration
2001            Departure
2001            Gun Play
2001            Jungle Jungle
2002            Kindred
2003            Beef
2003            Flaming Hood
2004            If He Hollers
2005            System Failure
2008            Spirit, Myth, Ritual and Liberation (special one-channel version)
2011            Untitled work in progress

Q&A with the artist after the screening.
$5 general admission. Cash bar.

ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture. We are prepared toreact immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 29-year-old cultural center in New York City founded by Directors Jeanette Ingberman and artist Papo Colo, that has grown from a pioneering alternative art space, into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.

EXHIBITION SUPPORT
This exhibition was made possible thanks to the generous support of the Jacques and Natasha Gelman Trust.

General exhibition support provided by the Andy Warhol Foundation for the Visual Arts; Bloomberg LP; Jerome Foundation; Lambent Foundation; Pollock-Krasner Foundation; New York City Department of Cultural Affairs and City Council Speaker Christine C. Quinn; and public funds from the New York State Council on the Arts.

# # #

EXIT ART 475 Tenth Avenue (at 36th Street), New York, NY 10018
212-966-7745 / www.exitart.org / A, C, E to 34th Street / Penn Station

Open Tue.�Thu., 10am�6pm; Fri., 10am�8pm; and Sat., 12�6pm.
Closed Sun. and Mon. $5 suggested donation.

EXIT ART announces the opening of DIGIMOVIES and the first selection of screenings beginning OCTOBER 5, 2011!

2011-09-01T17:13:43Z

FOR IMMEDIATE RELEASE
FOR MORE INFORMATION: Aimee Chan-Lindquist
212-966-7745 ext 13/ aimee@exitart.org

EXIT ART ANNOUNCES THE OPENING OF ITS NEW CINEMA VENUE AND FIRST SELECTION OF SCREENING!

LAUNCH PARTY: THURSDAY, NOVEMBER 10, 2011

With Screenings every Wednesday evening/7:30pm
Beginning October 5, 2011

NEW YORK-Exit Art is pleased to announce the launch of Digimovies, an ongoing curated showcase of international digital cinema presented in the gallery's brand new movie theater. Beginning October 5, Exit Art will present weekly screenings of digitally produced films from the U.S. and abroad. Programming will cover various cinematic genres (drama/fiction, documentary, non-narrative/experimental) and emphasize the work of emerging directors who are challenging cinematic conventions in provocative and exciting ways. Screenings will regularly include informative in-person and virtual (i.e. Skype) discussions with directors and other guests. In addition to screenings and Q&As, Digimovies will present video production workshops with accomplished directors and video artists.

Screenings, discussions and other events will take place in Exit Art�s intimate Digimovies theater. Located in the gallery�s lower level, the theater joins the Trickster Theater and SEA (Social-Environmental Aesthetics) gallery to further fulfill Exit Art�s role as a dynamic interdisciplinary arts space. The auditorium features a 7�x12� micro-perforated screen, a 5.1 surround sound audio system and a projection booth that includes a 4,000 lumen 1080p HD projector and decks to show a variety of formats including HDCam, Blu-ray, DigiBeta, BetaSP and DVCam. The room is outfitted with couches to comfortably seat an audience of up to 70 people. Before and after screenings, audiences may enjoy beer, wine and other beverages in the lobby directly outside the theater.

DIGIMOVIES LAUNCH PARTY
THURSDAY, NOVEMBER 10, 2011

PROGRAM SCHEDULE

DIGIMOVIES screenings are on WEDNESDAYS at 7:30 PM, unless otherwise noted.
All non-English language films contain English subtitles, unless otherwise noted.

SUBWAY PREACHER(October 5) - Opening night film! NYC Premiere!
Screening followed by a Q&A with Dennis W. Ho and reception
Directed by Dennis W. Ho, 2010, 78 min, HDCam, US, In English

Photojournalist Dennis W. Ho�s highly accomplished debut feature SUBWAY PREACHER is a taut, funny and frequently hair-raising documentary portrait of an unemployed, born-again Christian pastor who runs a 24-hour makeshift ministry on the busy corridor of the 42nd Street - Times Square subway station. In true indie fashion, Ho directed, shot, edited, and scored the film himself.

�Three years in the making, Ho�s robust debut film cut from over 350 hours of raw footage offers an intimate rabbit hole journey through a small world tucked deep in the folds of New York City. A timeless story of human flaws and pedestrian wisdom, SUBWAY PREACHER provides a bridge between documentary and narrative cinema, revealing in microcosm a modern day parable.� - No Pictures

AARDVARK (October 12)
Directed by Kitao Sakurai, 2010, 80 min, US/Argentina, In English

�AARDVARK is perhaps the first fiction film to star a man blind since birth. In a role inspired by his own life, Larry Lewis plays a solitary man recovering from alcoholism. When he joins a Jiu-Jitsu academy he becomes friends with his instructor, Darren. But, as Darren�s hidden life is revealed Larry finds himself faced with a horrific act of violence.� - FiGa Films

�A cinephile, Sakurai makes highly original use of his influences � European (especially Fassbinder), Asian and American � and creates a riveting atmosphere, enhanced by superb cinematography.�- Olivier Pere, Locarno International Film Festival

INSECTS IN THE BACKYARD (October 19)
Directed by Tanwarin Sukkhapisit, 2010, 93 min, Thailand, In Thai

Campy, acerbic and somber, Thai director Sukkhapisit�s debut feature tells the story of a kathoey widow (played by Sukkhapisit) raising her teenage son and daughter while all three come to terms with their sexuality. The film became an object of controversy last year when Thailand�s board of censors banned it from commercial release due to its taboo subject matter and explicit sex scenes.

�Tanwarin finds the roots of family dysfunction in Thai attitudes to sexuality and prostitution, but his sense of framing, colour and pace gives the film larger resonances. Universal ones, in fact.� - Tony Rayns, Vancouver International Film Festival

OXHIDE (October 26)
Screening followed by a Q&A with Liu Jiayin
Directed by Liu Jiayin, 2005, 110 min, China, In Mandarin

Considered one of the best debut features of the past decade, Oxhide is a deeply moving portrait of one working-class family�s solidarity under financial duress. Audaciously fusing personal documentary and fiction, director Liu casts her parents and herself as fictionalized versions of themselves and shoots the scripted proceedings in their cramped Beijing apartment. With twenty-three static, tightly framed shots, Liu�s small DV camera magnifies the microscopic details of her family�s daily urban life on a widescreen canvas, giving their story an epic dimension.

�The most important Chinese film of the past several years�and one of the most astonishing recent films from any country.� � Shelly Kraicer, Cinema Scope

�Liu takes the visual language of �realism� in an entirely new direction.� - Tony Rayns, Vancouver International Film Festival

OXHIDE II (Thursday, October 27 at 7:30 PM)
Directed by Liu Jiayin, 2009, 132 min, China, In Mandarin

�Breaking new ground in cinematic art, Liu Jiayin�s follow-up to her masterful debut OXHIDE turns a simple dinner into a profoundly intimate study of family relationships. Liu once again casts herself and her parents in scripted versions of their life in a tiny Beijing apartment. Liu takes her uncompromising artistry to the extreme, setting all of the action around the family dinner table, which doubles as her father�s leather-making station. As the workbench is cleared for the family to make a dinner of dumplings, the camera catches every meticulous detail of the action in real time. Small moments between family members reveal deep insights into the mysteries of family relations and the art of everyday living.� - dGenerate Films

�A masterpiece...inventive, quietly virtuosic.� - David Bordwell, Observations on Film Art
�A direct, honest, miniature epic.� - Daniel Kasman, MUBI Notebook

AN EVENING WITH LEIGHTON PIERCE (November 2)
Veteran film and video artist Leighton Pierce, one of the foremost practitioners of digital cinema working today, visits Digimovies to present a selection of his serene, impressionistic new video pieces. Selections TBA.

�Rarely does a filmmaker appreciate and explore the complexities of sound and image as equally -- and deeply -- as Leighton Pierce.� - Harvard Film Archive

�I make films and videos that are short experiences in transformative time. I strive to capture an active and immediate emotional state during shooting, often by photographing seemingly mundane activities. In editing, I distill the images to get what I call �emotionally charged nodes.�� - Leighton Pierce

SOUND DESIGN WORKSHOP WITH LEIGHTON PIERCE(Saturday, October 5 at 2:00 PM)
Moving image makers are invited to attend a workshop given by Leighton Pierce on the creative uses of sound design in film and video production.
$12 general admission
Please RSVP to Aimee Chan-Lindquist HERE

POPULAR UNREST(November 9)
Screening followed by a Q&A with Melanie Gilligan
Directed by Melanie Gilligan, 2009, 60 min, Blu-ray, UK/Canada, In English

Inspired by the recent global economic crisis, Melanie Gilligan�s dystopian multi-episode mystery-cum-satire uses a snappy televisual style, physical performances and visceral horror to �explore a world in which the self is reduced to physical biology, directly subject to the needs of capital.�

DIRTY OLD TOWN(November 16)
Screening followed by a Q&A with filmmakers Furst, Levin, and Nason and select cast members
Directed by Jenner Furst, Daniel Levin and Julia Willoughby Nason, 2010, 90 minutes, HDCam, US, In English

�In this gonzo tone poem, Bowery Billy Leroy has 72 hours to save his star-crossed, Lower East Side junk store from its bitter end. Facing extinction, his ramshackle tent of antiquities lures a troop of misfits, freaks and renegades who form a tableaux full of carnival pageantry, white lies and victimless crime in a fleeting glimpse of Downtown New York.� - Blowback Productions

�A vibrant, visceral portrait of the streets of New York at their most sublime.� - W

�It�s much more street than Mean Streets, and makes Taxi Driver seem like it was shot in Ohio.� - Black Book

�A Low-Budget Ode to No-Budget NY. Levin�s lyrical camera work limns a beguiling, modestly Wong Kar-wai-ish rhapsody.� - Village Voice

�Oddly touching�- Jim Jarmusch

SCREENING on November 30 - TBA

Tickets
Tickets are $10 general admission

Tickets are available for purchase at the box office 30 minutes before each screening or anytime on Exit Art�s website HERE.

ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture. We are prepared toreact immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 28-year-old cultural center in New York City founded by Directors Jeanette Ingberman and artist Papo Colo, that has grown from a pioneering alternative art space, into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.

EXHIBITION SUPPORT
Digimovies is made possible by a major grant from the Rockefeller Foundation Cultural Innovation Fund with additional support provided by New York City Department of Cultural Affairs.

General exhibition support provided by the Andy Warhol Foundation for the Visual Arts; Bloomberg LP; Jerome Foundation; Lambent Foundation; Pollock-Krasner Foundation; New York City Department of Cultural Affairs and City Council Speaker Christine C. Quinn; and public funds from the New York State Council on the Arts.

# # #

EXIT ART 475 Tenth Avenue (at 36th Street), New York, NY 10018
212-966-7745 / www.exitart.org / A, C, E to 34th Street / Penn Station
Open Tue.�Thu., 10am�6pm; Fri., 10am�8pm; and Sat., 12�6pm.
Closed Sun and Mon.

Jeanette Ingberman: In Memoriam, In Love

2011-08-25T17:23:22Z

FOR IMMEDIATE RELEASE
FOR MORE INFORMATION: Aimee Chan-Lindquist
212-966-7745 ext 13/ aimee@exitart.org

Jeanette Ingberman, January 23, 1952-August 24, 2011, photos from 1979 to 2011

NEW YORK- Jeanette Ingberman, the charismatic Co-Founder and Executive Director of the New York City non-profit cultural center Exit Art, died on August 24, 2011 in New York City from complications of leukemia. She was 59.

Ingberman championed the careers of innumerable artists, performers, poets, film and video makers, and musicians. Collaborating with her husband and Exit Art Co-founder and Artistic Director, Papo Colo, Ingberman curated and produced over 175 visual art exhibitions, film and video festivals, and theater pieces that were distinguished by their innovation, creativity, and timeliness. She has overseen the publication of over 30 catalogues, often writing introductions or essays for them. In 1982, Ingberman and Colo established Exit Art as an alternative space, and it is now an organization with galleries, a small theater, and a film auditorium that presents programming distinguished by a diversity that ranges from highly aesthetic art to activist-inspired work exploring environmental, political, and social issues. The history of Exit Art is testimony to Ingberman's intellectual and artistic vision and daring, all of which was matched by her dramatic sense of style and he r magnanimous personality and spirit.

Ingberman was born in Brooklyn on January 23, 1952 to Halina (Helen) and Abraham Ingberman, both �migr�s to the United States and survivors of the Holocaust. A native New Yorker of Polish-Jewish descent, Ingberman spoke fluent Yiddish.

Education
Ingberman attended Flatbush Yeshiva High School, received her B.A. in Art History and Studio Art from Brooklyn College, later attending the New York Studio School for Painting and Sculpture to continue her studies in fine arts. While a student, Ingberman was awarded the Helena Rubinstein Fellowship in Museum Studies at the Whitney Museum in 1975. In 1976, she entered Columbia University�s Art History department with plans to study Egyptian art. Upon taking an elective course with the art historian Meyer Schapiro, Ingberman re-oriented her studies to concentrate on Modern Art. Upon receiving her Master�s Degree from Columbia University, she entered the Ph.D. program at the Graduate Center of the City University of New York and studied with art historians Linda Nochlin and Rosalind Krauss.

Early Career
While attending graduate school, Ingberman held a number of curatorial positions in New York City cultural institutions. From 1976-1977, Ingberman was an Assistant Curator at the International Center of Photography where she worked with Cornell Capa on the Roman Vishniac photography archive. Ingberman then joined the Brooklyn Museum as a research consultant for one year, and in 1978, was hired by Luis Cancel as the Chief Curator at the Bronx Museum of Art. In 1979, while researching a contemporary art exhibition titled �Private Icons� for the Bronx Museum, Ingberman met artist Papo Colo on a studio visit. It was, as they would recount to friends over the years, love at first sight. United over a shared passion for current issues and contemporary art, Ingberman and Colo began what would become their life-long project of re-inventing �cultural space.� Under the name Exit Art, their first projects together took place in Papo Colo�s studio on Canal Street, beginning in 19 80.

Exit Art: A Love Story
In a 2007 interview, conducted for Exit Art�s 25th anniversary year, Ingberman recalled Exit Art�s artistic beginnings as part of the alternative space movement:

Exit Art first came about when I met Colo while curating a show at the Bronx Museum� The rest is history�. we were in love. We started by doing a series of mail art pieces. It was an edition of two hundred or so� We had this list of curators and art critics--imagine, the art world was so small then� "Octopus" was our first large-scale project� Colo and I invited about 30 artists and poets, people that are now very well known, people like David Hammons, Tehching Hsieh, Vito Acconci, Komar and Melamid, and Quincy Troupe, as well as poets like Pedro Pietri.

And then we did "Illegal America," our first exhibition� The show materialized from our personal research about illegality and censorship�. I had done my master�s thesis at Columbia about art and law.... Here we were, a barely-in-existence organization, and we get a call from the New York Public Library. They were doing a big project on censorship, and we were just little-known, obscure Exit Art. From the beginning we did this major project with the New York Public Library.� So that�s how we started. The alternative space scene had begun about ten years before that, and it was a very exciting moment, to be downtown in SoHo�. Our early shows like "Illegal America" and "Dirty Pictures" were really about specific ideas and issues, and we felt that the ideas we were interested in were not happening in the alternative space scene as it was.

From 1982 to 1984, Ingberman collaborated with Colo on a series of exhibitions that included "llegal America" and "Dirty Pictures," and they found Martha Wilson�s Franklin Furnace in Tribeca an important venue for their ideas. Exit Art's programs were premised on a commitment to racial, ethnic, gender, and sexual diversity, an approach that they felt filled a void in New York�s contemporary art community. They also featured under-examined cultural topics, providing an alternative history of 20th century art. �Illegal America� (1982), a historical exhibition dealing with the censorship of works by artists and poets, exemplifies these concerns. An Artforum reviewer noted: �Ingberman�s survey affords a certain temporal perspective. It shows, for example, that art�s legality or illegality is fluxional, both dependent on and indicative of the morality of the society at a given time.�

SoHo: 1984-1992
In 1984, Ingberman signed a lease for a 5,000 square foot space on the 8th floor of 578 Broadway, between Houston and Prince Streets. During this period, Exit Art mounted a series of critically acclaimed retrospective exhibitions of emerging artists, many of whom have since become established figures, such as Ida Applebroog, Willie Birch, Jimmie Durham, Jane Hammond, David Hammons, Hachivi Edgar Heap of Birds, Nancy Grossman, Jerry Kearns, Tehching Hsieh, Adrian Piper, Ursula von Rydingsvard, Juan Sanchez, Krzysztof Wodiczko, David Wojnarowicz and Martin Wong. These projects led to an ambitious undertaking, �Parallel History: The Hybrid State� (1991), a project that examined the impact of multiculturalism on mainstream American culture and featured a number of artists whose careers Ingberman had fostered. �Parallel History� also proved to be a metaphor for Ingberman and Colo�s relationship, and for the unique relationships they cultivated with artists: �We come from t wo different continents, two different religions, speak different languages,� Ingberman said. �It�s not supposed to work, but we work very well together. Because of that attitude, the artists too are very collective and collaborative. We create the stage for them to [work together], and they do in a very beautiful, positive way."

Exit Art / The First World: 1992-2002
In 1992, Exit Art expanded into an entire floor of a loft building at 548 Broadway, and changed its name to Exit Art/The First World, a critique of the perception that multicultural artists are marginalized as �third world.� Ingberman and Colo turned their attention to a new generation of artists by visiting more than 100 artist studios over a six-month period and selecting more than 30 for inclusion in Exit Art/The First World�s inaugural show �Fever� (1992). Michael Kimmelman said of the exhibition in a 1992 article for The New York Times: �The event has about it a sense of optimism and experimentation. And in its scale, eclecticism and riskiness, it is an ideal show to inaugurate the new gallery.�

Among the artists that Ingberman followed over a decade, and featured frequently in exhibitions, were Patty Chang, Nicole Eisenman, Inka Essenhigh, Rachel Harrison, Julie Mehretu, Shirin Neshat, Roxy Paine, David Sandlin, Seth Tobocman, Fred Tomaselli, and Rirkrit Tiravanija. At the same time, Ingberman began collaborating with Colo on a new in-residence theater project, Trickster Theater, whose performances sometimes merged with the exhibition program. Ingberman also staged some of Exit Art�s most provocative projects, particularly �Let the Artist Live� (1994) and �La Tradic�on: Performing Painting� (1997), for which artists used the gallery as their home and studio for the duration of the exhibitions. Ingberman�s interest in process informed one of her most widely acclaimed exhibitions, �Endurance� (1995), which focused on performance actions that tested the body�s mental, physical, and emotional limits. The year that it opened, �Endurance� won an Obie Award for Be st Exhibition in an Alternative Space. Ingberman also organized the celebrated 2002 exhibition �Reactions,� which collected 2,500 letters, drawings, emails, and faxes from people around the world in a collective response to the events of September 11. Exit Art later donated the contents of the exhibition to the Library of Congress.

Exit Art in Hell�s Kitchen: 2003-2011
With the cost of real estate in SoHo proving untenable, Exit Art moved to a ground floor space on Tenth Avenue in Hell�s Kitchen, opening with the exhibition �Reconstruction,� for which nearly 50 artists created site-specific projects that evolved continually over the duration of the show. The New York Times called �Reconstruction� one of the 10 best shows of 2003 and wrote of Exit Art�s new venue: �Some art centers are born with well-defined missions in mind and sizable budgets to help make their most ambitious programming dreams come true. Others are fueled more by can-do spirit and make-do inventiveness� And then there are the offbeat, sometimes more impulsive art outposts that pop up and, despite the odds, hang on for years and unexpectedly become important, even treasured institutions. Exit Art/The First World is one such irascible survivor.�

In the years following Exit Art�s move, Ingberman and Colo sought to expand the boundaries of their explorations of contemporary culture and to incorporate more international artists into their programming. Using the Internet as a tool, Ingberman and Colo formed exhibitions utilizing their new curatorial method, ConceptPlus, whereby artists submitted a proposal in response to a given theme. In this way, the exhibition program became more broadly inclusive, democratic, and experimental. ConceptPlus exhibitions, such as �L Factor� (2003), �Terrorvision� (2004), �The Presidency� (2004), �Homo Museum� (2005), and �The Drop� (2006) brought together groups of established and under-recognized artists. Solo exhibitions of artists Charles Juhasz-Alvarado (2008) and Regina Jose Galindo (2009), as well as a forthcoming show of work by Rico Gatson, are examples of Exit Art�s continued commitment to presenting the work of important mid-career artists. Ingberman and Colo also coll aborated with local and international curators, mounting exhibitions from such areas as Russia, Korea, and the Balkans, as well as large-scale historical shows, such as �Counterculture: Alternative Information from the Underground Press to the Internet� (1996) and �Signs of Change: Social Movement Cultures 1960s to Now� (2008), which reflected Exit Art�s interest in documenting political concerns and the power of art to transform society. Exit Art even turned an eye on its own history, organizing the celebrated 2010 exhibition �Alternative Histories,� which chronicled New York alternative art spaces since the 1960s.

Continuing the exhibition program and projects of the Trickster Theater, Ingberman and Colo began a second gallery initiative, SEA (Social-Environmental Aesthetics), which focuses on artists and activists whose work addresses environmental questions and social responsibility. Most recently, they fulfilled their vision to establish a new destination for digital cinema in Manhattan, launching Digimovies, a 70-seat digital theater in Exit Art�s basement space.

Visions for the Future
Beginning in 2008, Ingberman and Colo merged art, environmental awareness, and their love of his native Puerto Rico, by constructing a sustainably built, retreat center near El Yunque, a tropical rain forest in Puerto Rico. Jeanette's dream was to establish the center as a meditative meeting place for activists, scientists, artists, scholars, and writers for reflection and inspiration�a goal which her friends and colleagues are committed to completing.

Of her long-term partnership with Papo Colo, Ingberman said, �For me, one of the lucky things about partnering with an artist, or maybe I should just say with Colo, is that was always able to see way beyond. So I thought we were jumping off a cliff, but he thought we were just continuing. It still feels like we�re constantly jumping off a cliff.�

Jeanette Ingberman is survived by her husband, the artist Papo Colo; a brother, Israel Ingberman and sister-in-law Terry Ryan; nieces; nephews; and numerous friends and colleagues.

Jeanette Ingberman's funeral will be held in Puerto Rico. A public memorial will be held in the future at a date to be announced.

In lieu of flowers, donations can be made to Exit Art on behalf of the El Yunque Rain Forest Project. Dontations can be made HERE.

Trickster Theater presents "The Vortex" and "Confessions of the Face" premiering Friday, August 19, 2011

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FOR IMMEDIATE RELEASE
FOR MORE INFORMATION: Aimee Chan-Lindquist
212-966-7745 ext 13/ aimee@exitart.org

Trickster Theater Performances are free and open to the public. �Theater is free, because art should be free� -Papo Colo, Artistic Director

Trickster Theater programs are free to the public thanks to the generous support from the Lambent Foundation Fund of the Tides Foundation.

NEW YORK �Exit Art in-residence Trickster Theater is pleased to premiere a new original work and a special late night performance event directed and conceived by Artistic Director, Papo Colo this August.

Trickster Theater is creating new works that reflect the diverse audiences and influences of New York City. Trickster�s mission is to produce experimental performance theater works that challenge the formal canon and expand the audience�s notion of contemporary theatre.

VORTEX is a view of the Americas via the lens of two iconic poets, Pablo Neruda and Walt Whitman. Crisscrossing historical and geographical landscapes, wrapped in Pablo Casals� Bach suites, Whitman and Neruda find the most supreme versions of themselves as they interconnect between English and Spanish, and North and South America in a dance-theatre conversation about where we�ve been as a continent. The VORTEX attempts to re-imagine what modern Americana means: a stage that represents the complexity and diversity of contemporary America with a new use of poetry in a context of dramatic texts and extraordinary set design.

CONFESSIONS OF THE FACE is an intimate, late-night theatrical experience presenting Trickster actors, playing themselves, confessing to an audience. These confessions are given dramatic context by the ceremonial process enacted in this unique performance event. Actors are guided to embrace the musicality of language and the performative religiosity of confessing. These late night Confessions will produce volition on the part of the actor, creating a space for the performers to intimately share with their audience.

THE VORTEX PERFORMERS: Mauricio Leyton*, Ernesto Nodal, Elinor Thompson

CONFESSIONS OF THE FACE PERFORMERS: Shannon Altner, Megan Branch, Cara Loften,
Siobhan O�Loughlin, Alexa Thorson, and Hannah Scott

THE VORTEX and CONFESSIONS OF THE FACE conceived and directed by Papo Colo.

* This actor is appearing courtesy of Actor�s Equity Association

ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture. We are prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 29-year-old cultural center in New York City founded by Directors Jeanette Ingberman and artist Papo Colo, that has grown from a pioneering alternative art space, into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.

Escape the heat and enjoy these performances in Trickster Theater�s fully air conditioned space!

ABOUT TRICKSTER THEATER
Papo Colo founded Trickster Theater in 1998. Since its inception, an important aspect of the Trickster Theater is its role as a multilingual and multinational theater, creating theater as global and local as its audience. Trickster Theater investigates the American language and the relationship of different accents and tonalities. The theater has a history of bilingual productions that tackle issues of translation in the dramatic arts. Trickster has produced a range of shows including Praying Project, Wild Nights, Tropical Area, Cannon Dialogues, Confessions of the Face, Somehow, Still Life, and Distant Sex, which can be viewed on Exit Media and Trickster Theater's website.

To view last year�s performance of Distant Sex, please click HERE.

EXIT ART AND TRICKSTER THEATER SUPPORT
Exit Art and Trickster Theater programming support provided by Bloomberg Philanthropies, The Ford Foundation�s Good Neighbor Committee, Lambent Foundation Fund of the Tides Foundation, New York City Department of Cultural Affairs and City Council Speaker Christine C. Quinn; and public funds from the New York State Council on the Arts.

EXIT ART 475 Tenth Ave at 36th St NYC / 212-966-7745 / www.exitart.org
Open Tu�Th, 10am�6pm; Fr, 10am�8pm; Sa, 12�6pm. $5 suggested donation.

WIN THIS ONE OF A KIND BEDAZZLED BICYCLE BY DAVID BYRNE designed for EXIT ART!

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David Byrne: http://www.davidbyrne.com

To purchase raffle tickets online at: http://www.exitart.org/support/bike_raffle

All ticket holders will be invited to an exclusive outdoor terrace party in New York City on July 14, 2011 for the live drawing. You do NOT have to be present to win. Winner will pick up bicycle at Exit Art after drawing. If you are outside the New York area and shipping needs to be arranged, winner will be responsible for all costs associated with shipping including packing and insurance.

All proceeds go to benefit Exit Art's unique programming!

Exit Art is an independent vision of contemporary culture prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 29-year-old cultural center in New York City founded by Directors Jeanette Ingberman and Papo Colo. It has grown from a pioneering alternative art space into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always cha nging.

To purchase advance tickets to DIGIMOVIES click HERE