Gareth Long, A More Precise Distance Between the Reader and the Ultimate Visions (2013)

Gareth Long, A More Precise Distance Between the Reader and the Ultimate Visions (2013)

The Temptation of AA Bronson

Opening: Thursday 5 September 2013, 5 – 8 PM
Performance by AA Bronson at 0:01 AM
Performance by Michael Bühler-Rose at 7 AM
Performance by Chrysanne Stathacos from 2 to 6  PM
Performances by Nils Bech, Michael Dudeck, Bradford Kessler, Sands Murray-Wassink, and Sébastien Lambeaux from 5 to 8 PM
Queer Zines panel discussion with Philip Aarons (zine collector), AA Bronson, Raymond Cha (editor of Queer Zines), Jessica Gysel (editor and publisher of GIRLS LIKE US), and Scott Treleaven (artist) from 6 to 7 PM

Sunday 20 October 2013
Flag of Ecstasy
Films by Charles Henri Ford,  selected by Stuart Comer (Chief Curator of Media and Performance Art, MoMA): Poem Posters (1967) and Johnny Minotaur (1973)
Time and venue: 4pm, WORM, Rotterdam

Saturday 2 November 2013
ritual of queer rituals
Convened by AA Bronson and Carlos Motta
With Ron Athey, AA Bronson, François Chaignaud, Carlos Motta, Sands Murray-Wassink, Elizabeth Povinelli and Linn Tonstad
Venue: Witte de With Center for Contemporary Art. Start at sunset, 5:10 PM

AA Bronson (b. 1946, Vancouver) is both artist and curator, subject and object, in this hybrid project that includes his recent solo work, his collaborations with younger artists, and works by friends, both queer and not. Also included are two of his curatorial projects: Queer Zines, incorporating more than 100 queer zines from the punk era until today; and Ancestors, a personal archive of books, editions, and ephemera that form a fragmentary and incoherent historical underpinning to the overall project.

Themes of body, spirit, sex, religion, community, death, ritual, and magic collide throughout The Temptation of AA Bronson in sigils, crystals, mirrors, nudity, and bodily fluids. Moving up through the old school rooms of Witte de With, the style of exhibition moves back in time: the white cube gives way to the immersive environment of the surrealist exhibition, and to the cabinet of curiosities, to finally arrive at the threshold of magic: the phantasm of images, smells, sounds, and action that contains the potential for healing.

The exhibition features a new commission by AA Bronson and Michael Bühler-Rose, The City of Nine Gates, consisting of two large cubes, each containing the remains of a performance. Bronson’s Invocation of the Queer Spirits (Rotterdam) will be enacted privately by a small group of invited participants at midnight prior to the opening. Bühler-Rose’s ritual, Invocation by Fire, is open to the public a few hours later at dawn.

A new iteration of Marina Abramović’s major installation Transitory Objects: Beds for Human and Spirit Use invites visitors to don white laboratory coats and earphones, and to lie down on wooden tables to experience the healing energy of crystals, which she calls “the most simplified computers of the planet.” Abramović says: “If you put in any impulse—that’s how you get digital watches—the impulse never leaves the crystal. […] They’re regenerators.”

During the opening, The Temptation of AA Bronson will be baptized with a confusion of simultaneous and continuous performances by Chrysanne Stathacos, Michael Dudeck, Nils Bech, Sands Murray-Wassink, and Sébastien Lambeaux. 


The title The Temptation of AA Bronson alludes to Gustave Flaubert’s The Temptation of Saint Anthony, the many references Flaubert’s tightly-knit text brings together, and its subsequent reverberations in art, literature, and theory. Flaubert began writing The Temptation of Saint Anthony in his twenties in the 1840s, and published three versions over his lifetime, the last in 1874. It was his Gesamtkunstwerk, his life’s work, and remained incomplete and inchoate. Michel Foucault describes it as the first modern text, the text that activates modern literature, that sets the library on fire: we look over Saint Anthony’s shoulder and witness a kind of movie within a movie enacted on the Egyptian desert and indexing the temptations which form our physical, moral, intellectual, and emotional life, sourced from the paintings and books of Flaubert’s world, and founded in The Bible, “The Book” itself. Like Freud, Flaubert could not escape sexuality, he spent his life immersed in cataloguing the perversions of humanity.

Saint Anthony was a very particular figure, the father of the desert fathers, the hermits who prefigure monks. He lived in North Africa at the end of that mostly undocumented period when Christianity centered in Africa, and Christians were primarily black. He died in 356, two decades after the center of Christianity was moved from Alexandria to Constantinople (Istanbul today) in Asia Minor. Only 1000 years later did the center of Christian power move to Rome, that is, to Europe.

Flaubert freely wrote of his own sexual encounters with prostitutes, mostly in Egypt and Turkey, both male and female, even with boys. He shared a history with Saint Anthony, not only of life in Egypt and Asia Minor, but also a life lived in continuous dialogue with temptation.

Salvador Dalí created his seminal painting The Temptation of Saint Anthony in 1946, using classicism, eroticism, and Surrealism to invoke the intermediaries between heaven and earth. It was his first painting on a religious theme and has become one of his most ubiquitous images. It is included in the exhibition in the form of a jigsaw puzzle.

Saint Anthony, Flaubert, and Salvador Dalí share a particular skill in representing a practice through personae. Their life work is not constructed as a sequence of cultural products or even achievements; rather, each represents a practice encapsulated in lifelong dedication to being present in the world.


The exhibition includes works and performances by thirty artists from eleven countries, in addition to the many artists and writers included in Queer Zines and Ancestors.

The Living:

AA Bronson, Bradford Kessler, Carlos Motta, Chrysanne Stathacos, Elijah Burgher, Gareth Long, Jeffrey Vallance, K8 Hardy, Louwrien Wijers, Mr. and Mrs. Keith Murray, Marina Abramović, Matthias Herrmann, Michael Bühler-Rose, Michael Dudeck, Nicolaus Chaffin, Nils Bech, Oisin Byrne, Reima Hirvonen, Ryan Brewer, Sands Murray-Wassink, Scott Treleaven, Sébastien Lambeaux, Terence Koh, TM Davy, Tom de Pékin

The Dead:

David Buchan, Derek Jarman, Mike Kelley, General Idea, Robert Flack


The collaboration between AA Bronson and Witte de With started with ‘AA Bronson Blessing’ on 14 March 2012 at the time of the waning half moon, when Bronson led a ritual blessing, with no audience, to inaugurate the program of Witte de With’s Director, Defne Ayas, who invited AA Bronson to create an exhibition for Witte de With.

This exhibition was commissioned by Defne Ayas (Director, Witte de With) and organized together with Witte de With’s Amira Gad (Associate Curator), with the assistance of Samuel Saelemakers (Assistant Curator) and Vincent Simon (assistant to AA Bronson).


Support for participating artists in The Temptation of AA Bronson has been provided by the Alberta Foundation, The Canada Council for the Arts, Office for Contemporary Art (Norway) and the Austrian Ministry of Culture. For the presentation of K8 Hardy’s work Witte de With thanks Hans Boodt for their kind support. A ritual of queer rituals is co-sponsored by The Institute for Art, Religion, and Social Justice, Union Theological Seminary and the city of  Rotterdam.  Flag of Ecstasy is presented in collaboration with WORM and Peter Taylor. Special thanks to Philip Aarons and Shelley Fox Aarons, Nature Morte (Berlin), and Esther Schipper (Berlin) for their generous contributions.


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About the participants
AA Bronson AA BRONSON (b. 1946, Vancouver) is an artist living and working in Berlin and New York City. In the 1960s, he left university with a group of friends to found a free school, a commune, and an underground newspaper. This led him into an adventure with gestalt therapy, radical education, and independent publishing. In 1969 he formed the artists’ group General Idea with Felix Partz and Jorge Zontal; for the next twenty-five years they lived and worked together to produce the living artwork of being together, undertaking over 100 solo exhibitions, and countless group shows and temporary public art projects. They were known for FILE Megazine (1972 – 1989), their unrelenting production of low-cost multiples, and their early involvement in punk, queer theory, and AIDS activism. Since his partners died in 1994, AA Bronson has explored the subjects of death, grieving, and healing, most recently in his performance series Invocation of the Queer Spirits. He has had solo exhibitions at the List Visual Arts Center at MIT (2002), Cambridge; The Museum of Contemporary Art, Chicago (2001); The Power Plant, Toronto (2003/2004); and the Secession, Vienna (2000), among other venues. In 2008 he was made an Officer of the Order of Canada, and in 2011 named a Chevalier de l’ordre des arts et des lettres by the French government. He is represented by Esther Schipper, Berlin. AA Bronson’s work—as an artist, healer, curator, and educator—is dominated by the practice of collaboration and consensus. From his beginnings in a free school and commune, through his twenty-five years as one of the artists of General Idea, in his deep involvement with founding and developing collaborative and social structures such as Art Metropole, the NY Art Book Fair, and The Institute for Art, Religion, and Social Justice, and through his current collaborations with younger generations, he has focused on the politics of decision-making and on living life radically. Tent of Healing by AA Bronson at the Stedelijk Museum Amsterdam From December 10th to 15th (between 2 and 5 PM), AA Bronson will be performing Tent of Healing at the Stedelijk Museum in Amsterdam. For more information, please click here.
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Abramović, Marina Marina Abramović (b. 1946, Yugoslavia) lives and works in New York City. Since the beginning of her career in Yugoslavia during the early 1970s, where she attended the Academy of Fine Arts in Belgrade, Abramović has pioneered the use of performance as a visual art form. The body has always been both her subject and medium. Exploring her physical and mental limits in works that ritualize the simple actions of everyday life, she has withstood pain, exhaustion and danger in her quest for emotional and spiritual transformation. She has presented her work at major institutions in the U.S.A. and Europe, including the Van Abbemuseum, Eindhoven (1985); Centre Pompidou, Paris (1990); Neue National Galerie, Berlin (1993); and the Museum of Modern Art, Oxford (1995). She has also participated in large-scale international exhibitions including the Venice Biennale (1976 and 1997) and documenta 6, 7 and 9, Kassel (1977, 1982 and 1992). Recent performances include The House With The Ocean View at Sean Kelly Gallery, New York City (2002), and 7 Easy Pieces at Guggenheim Museum, New York City (2005). In 2010, Abramović had her first major U.S.A. retrospective and simultaneously performed for over 700 hours in The Artist is Present at Museum of Modern Art, New York City. Abramović is planning to open the Marina Abramović Institute for the Preservation of Performance Art (MAI) in Hudson, New York City, in 2014.
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Bech, Nils Nils Bech (b. 1981, Norway) lives and works in Oslo. Bech is a singer and a performance artist who explores the tensions between art, contemporary music and pop music by working with voice, music, movement, and text. He has had concerts and performances in galleries all over the world since his debut album Look Back appeared in 2010. His second album Look Inside was released in 2012 in Norway and in 2013 in the rest of Europe and the United States. Bech has performed at the 54th Venice Biennale, Venice (2011); Grazer Kunstverein, Graz (2013); Sculpture Center (2013) and The New Museum (2011), New York City; The Institute of Contemporary Art (2013) and Frieze Foundation (2010), London; Performa 09 and 11, New York City (2009 and 2011); and Kunstverein Munich (2010); amongst others. In Norway he has performed at the Øya Festival (2009 and 2013), Kunstnernes Hus (2012), The Norwegian Opera House (2012), Kunsthall Oslo (2011 and 2012), Office for Contemporary Art Norway (2010), and Ultima Oslo Contemporary Music Festival (2008), Oslo; and at the Henie Onstad Art Center, Høvikodden (2012). In the autumn of 2013 he is presenting a commissioned piece for the Ultima Oslo Contemporary Music Festival and a performance for the exhibition Riotous Baroque at the Guggenheim Museum, Bilbao.
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Brewer, Ryan Ryan Brewer (b. 1985, U.S.A.) is a New York-based interdisciplinary artist. He works primarily in sculpture and performance, focusing on issues of contemporary queer mythology in collision with Jungian archetypes and occult mysticism. Brewer received his BFA with honors from Parsons The New School for Design. In 2011, he was awarded a residency at the Fire Island Artist Residency, the first artist-in-residency program for emerging LGBT artists in the United States. Brewer began showing collaboratively with AA Bronson in the fall of 2011. Brewer has exhibited internationally at venues such as MoMA PS1, Long Island City (2013); Parade Ground, New York City (2013); Esther Schipper, Miami Beach and Basel (both 2012); Witte de With, Rotterdam (2012); Fred Gallery, London (2012); NoFound Photo Fair, Paris (2011); Esther Schipper, Berlin (2011); The New School, New York City (2009-2011); Envoy Enterprises, New York City (2009); and 3rd Ward, Brooklyn (2009), among others.
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Buchan, David David W. Buchan (1950-1994, Canada). Between 1975-85, he was primarily employed at Art Metropole. His association with Art Metropole and especially with its founders, General Idea, would continue to be a vital source of personal and professional support throughout his life. During the mid-1970's to mid-1980's Buchan's artistic production was largely performance based and consisted of multi-media productions. In addition to performance art, Buchan produced photo-text works and works in the form of magazine pages which featured parodies of post-war advertising, and in keeping with his performance pieces, functioned as popular culture commentaries. Beginning in 1984, Buchan began to produce cibachrome transparencies, cibachrome prints and duro-transparencies, often working on a large scale. These photographic works represent a continuation of Buchan's earlier work in terms of their interest in visual and popular culture. In producing these photo-based works Buchan used contemporary advertising as well as historical paintings as source images. Throughout his artistic career Buchan produced work that contains autobiographic points of reference and employed not only himself, but also friends, as models. In conjunction with his artistic career Buchan worked as a graphic designer, for twelve years producing a variety of publications and exhibition related material for numerous individuals and organizations in the Toronto milieu.
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Bühler-Rose, Michael Michael Bühler-Rose (b. 1980, U.S.A.) lives and works in New York City. Bühler-Rose has been a student of the Vaishnava branch of Hinduism since the age of 14. Having studied Sanskrit and philosophy for many years in India, he is today an ordained Brahmin priest. He received his BFA from the School of the Museum of Fine Arts, Boston (2005), and his MFA from the University of Florida, Gainesville (2008). He is both a Critic in the Department of Photography at the Rhode Island School of Design and purohita (Hindu priest) and his work on these platforms influence his artistic production. His study and practice of Vaishnavism, Sanskrit, kalpa (ritual), and philosophy have prompted extended stays in India, including one as a Fulbright Fellow. In his photographs, videos and installations he explores the relationship between the art object and the artist, as a parallel to a venerated deity and a priest, and aesthetic experience as ultimately religious. Bühler-Rose has exhibited work at the Museum of Fine Arts, Boston (2005 and 2010); Indira Gandhi National Centre for the Arts, Delhi (2006); Bose Pacia, New York City (2008 and 2009); Carroll and Sons, Boston (2010); Chatterjee and Lal, Mumbai (2011); Arthur M. Sackler Museum, Harvard University, (2012); Nature Morte, Delhi (2012) and Berlin (2013); as well as with SK Stiftung Kultur/Die Photographische Sammlung at Art Cologne (2007). His work is held in the Harvard Fogg Museum, Cambridge; Sammlung Goetz, Munich; and in the Die Photographische Sammlung, Cologne.
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Burgher, Elijah Elijah Burgher (b. 1978, U.S.A.) lives and works in Chicago. Burgher is an artist and occasional writer who aims to contribute to the strain of countercultural queer mysticism exemplified by figures such as Jean Genet, Kenneth Anger, and Hakim Bey. His works, mostly drawings, have their sources in imagination, found stories, historical artworks, but take root in the artist’s daily life and personal history. Beside figurative drawings, where men are engaged in ritual activities, he creates sigils, magical emblems conceived after an historical method of spell casting developed by occultist Austin Osman Spare (1886-1956), in which the letters spelling out a wish are combined into a new symbol. Thus he creates icons that utilize the language and history of abstraction. He has exhibited in solo shows at Western Exhibitions, Chicago (2012); 2nd Floor Projects, San Francisco (2011); and Shane Campbell Gallery, Oak Park (2010); and two-persons shows at Lump, Raleigh (2012); and Peregrine Program, Chicago (2009). Recent group shows include exhibitions at H.F. Johnson Gallery of Art, Kenosha (2012); 92YTribeca (2012), Anna Kustera (2011), and Envoy Enterprises (2010), New York City; Famous Accountants, Brooklyn (2011); and Noma, San Francisco (2011). Burgher has taught in Contemporary Practices and Painting and Drawing since Fall 2010. He received a MFA from the School of the Art Institute of Chicago in 2004, and a BA from Sarah Lawrence College, Bronxville, in 2000, where he studied Literature.
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Byrne, Oisin Oisin Byrne (b. 1983, Ireland) lives and works in Dublin. His practice incorporates drawing, portraiture, performance, installation, and film. His work – often collaborative in nature – documents, engages and activates a broad community, testing the limits of mutuality. His large scale portraits were included in an Irish State Collection tour of European embassies. His newest "portrait flags", including Lilac Flag (AA) will be exhibited in The Line of Beauty exhibition at the 2013 reopening of the Irish Museum of Modern Art (IMMA). Byrne's collaboration with the Head of Astrophysics at Princeton University, Professor JR Gott, UNIVERSE CUBED has been exhibited at Cornell University, Ithaca; The Science Gallery, Dublin and is permanently installed in the Princeton University Library. Byrne’s work is in numerous collections both public and private, and is substantially represented in the Irish State Collection. Selected exhibitions include Irish Museum of Modern Art, Dublin (2013), Kevin Kavanagh Gallery, Dublin (2012); Gracelands, EV+A International, Limerick, (2012); Cornell University, Ithaca, (2012); The Model, Sligo (2012); RHA Gallery, Dublin (2010); Radical Love, Blessington (2010); and Princeton University, New Jersey (2010). Byrne completed his BA at the National College of Art and Design, Dublin.
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Chaffin, Nicolaus Nicolaus Chaffin (b. 1978, U.S.A.) lives and works in San Francisco. He is a multi-disciplinary artist who received his BFA from The School of the Art Institute of Chicago (2004). Chaffin’s work draws upon queer history’s socially selective visibilities as well as upon observations of pleasure as locations of both problematic residence and emotional sanctuary. His multi-disciplinary practice ranges from various modes of portraiture, archive, performance, sculpture and illustration - addressing anxieties concerning queer erasure, object as witness, and visceral evidence of queer magic. Chaffin has shown in group exhibitions in Chicago, London, New York City, and San Francisco. Chaffin has taken part in the group exhibition Translocura at The Marin Headlands Center for the Arts, Sausalito, and will be shown in the group exhibition Bodies Are Inherently Valid in the winter of 2015 at the Leslie Lohman Museum of Gay and Lesbian Art, New York City. His work has most recently appeared in publications Paramour Zine (2012) and Number Two (2013). Chaffin was selected to participate in the Fire Island Artist Residency (2012) where he collaborated with AA Bronson.
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Davy, TM TM Davy (b. 1980, U.S.A.) lives and works in New York City. Davy works primarily from life, allowing the act of painting to be a direct engagement with intimate relationships and personal meaning. Within this practice, light is observed and depicted as a conceptual describer of form and feeling. His most recent body of work, Candela, engages the candle as a source and system for understanding light as weighed by the spectral sensitivity of the human eye. Through this unit of perception, histories, loves, domesticity, nature, space, and inner spaces are explored. Davy has exhibited in solo shows at Eleven Rivington, New York City (2010); Exile, Berlin (2011); and Liste, Basel (2012). Recent group shows include exhibitions at Susanne Tarasieve Gallery, Paris (2012); ARos Aarhus Kunstmuseum, Aarhus (2011); Leonard Natman Room, New York City (2011); Tate Modern, London (2010); and Centro Galego de Arte Contemporánea, Santiago de Compostela (2010). In 2002, he received a BFA from the School of Visual Arts, New York City.
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de Pékin, Tom Tom de Pékin (b. 1963, France) lives and works in Paris. He studied at the École des Beaux-Arts in Valence, France, from 1982 to 1987. De Pékin founded and ran the book publishing house Éditions des 4 mers from 1994 to 2000, together with the artist Guillaume Dégé. Since 2000, he has been working in drawing, video, performance, and printed art under the name Tom de Pékin. As an activist, artist, graphic designer, and film director, he is interested in the relationship between words and images, making graphic diversions in an erotic and playful manner. His films are an extension of his graphic work in a different medium, be it a cartoon or a film staging living performers. He recently directed a film after his graphic book Haldernablou (after Alfred Jarry’s piece), the first episode of a series of film conceived in collaboration with choreographers. De Pékin has held solo exhibitions at Pôle d’art contemporain, Orléans (2011); Centre d’art contemporain, Emmetrop (2009); Galerie Christophe Daviet-Thery and Parti Communiste Français, Paris (2009); and Festival Creativa, Bologne (2006). Recent group exhibitions include Galerie Sunday Issue, Tokyo (2013); Galerie Lavignes Bastille and Point Éphémère, Paris (2012); nofound photo fair, Paris (2011); and Lieu Unique, Nantes (2010).
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Dudeck, Michael Michael Dudeck (b. 1984, Canada) lives and works in Winnipeg, Canada. Dudeck is an artist and cultural engineer whose work spans multiple media and forms, including performance art, video/film, drawing, sculpture, web-projects, publications, text-work, and installation. Dudeck was an Intern at the Institute for Art, Religion and Social Justice at Union Theological Seminary in New York City and two months as the Shaman-In-Residence for Marina Abramović’s large scale performance retrospective at the Museum of Modern Art. His work involves inventing his own queer religion and presents aspects of that religion in installations, rituals, performances, video works, and publications. This religion re-imagines mythic and religious symbology from a queer perspective. Dudeck has attempted to allow for this alternate religion and prehistory to inhabit a state of flux : constantly changing parameters and dimensions in relation to the culture. He has undergone durational vows of silence (VOWS at The Watermill Center, New York and Gallery Connection, Fredericton, Canada), had solo exhibitions at multiple institutions including Parthenogenesis and Messiah at Pari Nadimi Gallery, Toronto, and Amygdala at Aceartinc, Winnipeg, as well as group exhibitions at John Connelly Presents, New York; The Winnipeg Art Gallery, Winnipeg, Canada; and participated in performance festivals in Edmonton, Canada and Chicago. He is a Summer Fellow in September 2013 at the Insel Hombroich, Germany, and the 2013 recipient of the Brucebo Foundation European Travel Scholarship. In 2014 he is artist in residence at Union Theological Seminary, in New York, and is in the final stages of completing an Individualized Master’s Degree at Concordia University, in Montreal, Canada.
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Flack, Robert Robert Flack (1957-1993, Canada) studied at York University. After graduating in 1980 he worked at Art Metropole, as well as assisting on several General Idea-related projects such as FILE Megazine. Flack worked in painting, mixed media, and specifically photography. During the 80's he exhibited extensively in Canada at artist-run centres and public galleries, the Cold City Gallery artist collective, and the S.L. Simpson Gallery. By 1990 he was exhibiting internationally, in Paris, Barcelona and Amsterdam, and was represented in New York City at Feature Inc. and in Toronto at Garnet Press. Often characterized by his use of psychedelic colors, spiritual subject matter, and relationships with the body, Flack was heavily influenced by his own quickening mortality, having been diagnosed with HIV in the early 1990s. His work was included in the touring group exhibition Corpus Part II curated by Bruce Grenville in 1993 for the Mendel Art Gallery in Saskatoon. A survey exhibition was curated by Nancy Campbell at the MacDonald Stewart Art Centre in 1993. In 1997 Philip Monk included Flack's work in Rococco Tattoo: The Ornamental Impulse in Toronto Art at the Power Plant. In 1999 the National Gallery of Canada celebrated Flack's work to commemorate A Day Without Art, December 1999 - January 2000.
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General Idea The artist collaborative General Idea (1969-1994) produced a vast body of work in a variety of media: video, performance, installation, painting, sculpture, and photography. In twenty-five years of living and working together, they held 123 solo exhibitions and were included in 149 group exhibitions internationally, including the Paris, Sydney, Sao Paulo, and Venice biennales and Documenta 10. In 2011, a retrospective was presented at the Musée d’art modern de la Ville de Paris. General Idea first came together as a casual relationship between AA Bronson, Felix Partz, and Jorge Zontal in Toronto in the late 1960s. By 1969 they were sharing a house, found common interests in mass media and popular culture, and began their legendary association. Early on, they assumed noms de plume to reflect new identities as collaborators: Michael Tims (b. Vancouver, 1946) became AA Bronson; Ronald Gabe (b. Winnipeg, 1945 - d. Toronto, 1994) became Felix Partz; and Slobodan Saia-Levi (b. Parma, 1944 - d. Toronto, 1994) became Jorge Zontal. General Idea was active in promoting and disseminating work by other artists. They published 26 issues of FILE Megazine (1972-1989), which centred on artists' projects. In 1974 they founded Toronto's Art Metropole as a publishing and distribution centre for artists. They assembled a large collection of over 13,000 artists' books, multiples, and other materials, which became the Art Metropole Collection, donated to the National Gallery of Canada in 1999 by Jay A. Smith of Toronto. Their many awards include the Lifetime Achievement Award, City of Toronto (1993); the Jean A. Chalmers Award for Visual Arts, Toronto (1994); and the Bell Canada Award for Video Art, Bell Canada and the Canada Council, Ottawa (2002).
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Herrmann, Matthias Matthias Herrmann (b. 1963, Germany) lives and works in Vienna and Riparbella, Italy. Herrmann is an artist whose photographic practice deals with questions of identity and (homosexual) desire, often choosing artist books as main carrier for the work. The series The Cum Pieces (1994 to the present) is a meditation on photography as such and links the medium directly to a body discourse. Herrmann was President of the Vienna Secession from 1999 to 2006 and Professor for Art and Photography at the Academy of Fine Arts in Vienna from 2006 to 2011. He recently had a mid-career survey show at the Museum der Moderne, Salzburg (2013) and has held solo exhibitions at various galleries in Europe and the United States. Recent group exhibitions include Museum Ludwig, Budapest (2013); Oberes Belvedere and Leopold Museum, Vienna (2012); Andrew Roth, New York City (2010); and Fotomuseum Winterthur, Winterthur (2008). In 2013 he was awarded the Otto Breicha/Rupertinum Preis für Fotografie and in 2012 the Kunstpreis fürkünstlerische Fotografie by the Republic of Austria.
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Hirvonen, Reima Reima Hirvonen (b. 1963, Finland) lives and works in Eno, Finland. Hirvonen graduated in 1982 from the lukio (high school), Eno, finished his study in Business and Administration in 1984 at the Lieksanjoki Business College, Lieksa, and in Art in 2003 at the Free Art School, Helsinki. Since 1989, he is engaged in shamanic studies. As an actor Hirvonen worked from 1990 to 1998, starting as an visual artist in 2003. Hirvonen has held solo exhibitions at Kluuvin Gallery, Helsinki (2006); Ekokeskus, Eno (2003 and 2005); Taidetalon Gallery, Kajaani (2005); Taidekeskus Art Center, Joensuu (2004); and Gallery Rajatila, Tampere (2004). Group exhibitions include Art Museum, Imatra (2012); Peace-Pau-Pax, Arenys de Mar (2009); Gallery 3Huonetta+keittiö, Pori (2007); Gallery Kohina, Joensuu (2006); Käytävä Gallery, Eno (2006); Jetty Barracks Gallery, Helsinki (2005); Porvoo Art Factory, Porvoo (2005); and Rovaniemi Art Museum, Rovaniemi (2004); amongst others.
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Jarman, Derek Derek Jarman (1942-1994, United Kingdom) was a leading avant-garde British filmmaker whose visually opulent and stylistically adventurous body of work stands defied the established literary and theatrical traditions of his national cinema. With influences ranging from the eccentric writing-directing team Michael Powell and Emeric Pressburger to seminal gay aesthetes Jean Cocteau and Kenneth Anger, Jarman advocated a personal cinema more dedicated to striking imagery and evocative sounds than to the imperatives of narrative and characterization.
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K8 Hardy K8 Hardy (b. 1977, U.S.A.) lives and works in New York City. K8 Hardy works through performance without allegiance to any particular medium. Her palette draws on the tropes of fashion advertising, combining some of its most recognizable modes into an abstraction of the genre. She mines pop culture for material and eschews craft based virtuosity in photography, sculpture and video. Hardy believes in the power of flamboyant and bold gestures, and in conversations of play, which constitute her endeavours toward total expression. Hardy is a founding member of the queer feminist journal and artist collective LTTR, and has directed music videos for groups including Le Tigre, Lesbians on Ecstasy, and Men. Her work is included in the permanent collection of the Whitney Museum of American Art, and has been exhibited and performed internationally at venues including MoMA PS1 and Artists Space, New York City (both 2010); Gallery Sonja Junkers, Munich (2010); and The Tate Modern, London (2006 and 2007); amongst others. K8 Hardy is represented by Reena Spaulings Fine Art. She holds a BA in Film and Women’s Studies (2000) from Smith College in Northampton, studied at the Whitney Museum of American Art Independent Study Program (2003) in New York City, and holds a MFA (2008) from the Milton Avery Graduate School for the Arts at Bard College in Annandale-on-Hudson.
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Kelley, Mike Mike Kelley  (b. 1954 - 2012, U.S.A.) created a legacy that encompasses painting, sculpture, works on paper, installation, performance, music, video, photography, collaborative works and critical texts. He studied at the California Institute of the Arts and the University of Michigan. Major solo exhibitions include Catholic Tastes, Whitney Museum of American Art, New York and Los Angeles County Museum of Art (1993); Mike Kelley, Museu d'art Contemporani, Barcelona (1997); Framed and Framed, Test Room, Sublevel, MAGASIN, Grenoble (1999); The Uncanny, Tate Liverpool and Museum Moderne Kunst Stiftung Ludwig, Vienna (2004); Profondeurs Vertes, Musée du Louvre , Paris (2006); Educational Complex Onwards: 1995-2008, WIELS Centre d'Art Contemporain, Brussels (2008) and Mike Kelley: Themes and Variations from 35 Years, Stedelijk Museum, Amsterdam, The Netherlands (2012).
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Kessler, Bradford Bradford Kessler (b. 1982, U.S.A.) lives and works in Brooklyn. After receiving a BFA in sculpture from the University of Kansas in 2005, Kessler relocated to Asia living in both Tokyo and Beijing where he was a studio assistant to the artist Ai Weiwei. In 2010, he moved to New York City and graduated from the MFA Art Practice program at the School of Visual Arts in 2013. Kessler is an artist working within a variety of media that includes sculptures, performances, installations, photographs, zines, and web work. His work has been exhibited internationally at such venues as The Geffen Contemporary at MOCA, Los Angeles (2013); RARE Gallery (2013) and Electronic Arts Intermix (2012), New York City; The Temple (2011) and Three Shadows Photography Center (2010), Beijing; Taipei Film Archive, Taipei (2008); Central Academy of Fine Arts, Beijing (2008); and Tokyo Big Site, Tokyo (2006). His collaborations with AA Bronson have been shown at Art Basel Miami with Esther Schipper, Berlin; and Anthology Film Archives, New York City. Kessler is currently an adjunct professor at Parsons the New School for Design, New York City.
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Koh, Terence Terence Koh (b. 1977, China) lives and works in New York City. The oeuvre of Koh employs a diverse range of media, including drawing, sculpture, video, performance, and the internet: Koh’s web presence is his longest continuous artwork to date. Originally working under the alias asianpunkboy, Koh designed zines and custom-made books. By 2004, he was creating work under his real name and had developed a public persona of enigmatic behaviour. Koh’s work has been presented internationally in venues such as The Garage Center for Contemporary Culture, Moscow (2011); The New Museum and Steven Kasher Gallery, New York City (both 2010); Ullens Center for Contemporary Art, Beijing (2010); Yokohama Triennial, Yokohama (2008); and Whitney Biennial, New York City (2004). He was the subject of solo exhibitions at the Venice Biennale (2011); MUSAC, León (2008); Schirn Kunsthalle, Frankfurt (2008 and 2011); Whitney Museum of America Art, New York City (2007); Kunsthalle Zürich (2006); and the Vienna Secession (2005); amongst others. His work is in the permanent collections of notable institutions like the Museum of Modern Art, New York City; the Whitney Museum of American Art, New York City; and the Tate Modern, London. He received his BFA at the Emily Carr Institute of Art and Design, Vancouver.
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Lambeaux, Sébastien Sébastien Lambeaux (b. 1975, France) lives and works in Paris. He is primarily self-taught but also did scientific research on sustainable development. In his performances Lambeaux practices shamanic rituals wearing self-made shaman costumes. Entering a trance lasting a few minutes to several hours, he dances and manipulates fetishes with incantatory actions. Close to witchcraft in the African sense, Lambeaux defines himself as a shaman, a wizard caster, a marabout, or a voodoo priest. As part of a fetish practice related to the world of football, he creates his costumes and tools from materials of sports equipment ̶ sewing them together, covered with mud, he adds various animal’s trophies. These fetishes are pretexts to establish new rituals, by repeating strong symbolic potential actions. Feeling close to nature, Lambeaux spends a lot of time in natural environments such as woods, marshes and caves, where he performs ceremonies. Recently Lambeaux’s work and performances have been presented in venues such as Galerie Mondapart, Boulogne-Billancourt (2013); Galerie Talmart (2012), Galerie Favardin-Mistre (2011-2012), l'Eagle (2011), Salon Nofound_Photofair (2011), La Place Forte (2010), and Le Klub (2010), Paris; and 16th Biennale of Contemporary Ceramic Art, Châteauroux (2011).
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Long, Gareth Gareth Long (b. 1979, Canada) lives and works in London and Vienna. Long’s work centres on processes of transference, translation and collaboration as a means to question authorship and the mechanisms of cultural and knowledge production. In much of his previous work, he has explored the cross-translation of artistic forms, non-linear narrative tropes and gestures de-stabilizing medium specificity. Frequently, these explorations lead to a revised understanding of Modernism as it relates to artistic and literary traditions and the history of design, particularly book publishing. Long has held solo exhibitions at Kate Werble Gallery, New York City (2012); Michael Benevento, Los Angeles (2012); Torri, Paris (2011 and 2012); The Southern Alberta Art Gallery, Lethbridge (2011-2012); Oakville Galleries, Oakville (2008-2009); and Leo Kamen Gallery, Toronto (2005 and 2006). His work has been shown at various institutions including Witte de With, Rotterdam (2012); Wiels, Brussels (2011); Casey Kaplan Gallery (2011), MoMA PS1 (2009 and 2010), and Artists Space (2008 and 2009), New York City; Flat Time House, London (2010); Badischer Kunstverein, Karlsruhe (2009); Mercer Union Centre for Contemporary Art, Toronto (2009); and Musée d'Art Contemporain de Montréal, Montreal (2005). He holds an honours BA in Visual Studies and Classical Civilizations (2003) from the University of Toronto and a MFA in Sculpture (2007) from Yale University.
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Motta, Carlos Carlos Motta (b. 1978, Colombia) lives and works in New York City. Motta is a multi-disciplinary artist whose work draws upon political history in an attempt to create counter narratives that recognize the inclusion of suppressed histories, communities, and identities. He is a graduate of the Whitney Independent Study Program (2005/2006), received his BFA in Photography (2001) from The School of Visual Arts, New York City, and his MFA (2003) from the Milton Avery Graduate School of the Arts at Bard College, New York City. Motta is part of the faculty at Parsons The New School of Design and the Milton Avery Graduate School of the Arts at Bard College. Motta’s work has been presented internationally in venues such as Galeria Filomena Soares, Lisbon (2013); Tate Modern, London (2013); The New Museum (2012), The Guggenheim Museum (2011) and MoMA/PS1 Contemporary Art Center (2009), New York City; San Francisco Art Institute, San Francisco (2011); Hebbel am Ufer, Berlin (2010); Museo de Arte del Banco de la República, Bogotá (2010); Serralves Museum, Porto (2010); National Museum of Contemporary Art, Athens (2010); Institute of Contemporary Art, Philadelphia (2008); and CCS Bard Hessel Museum of Art, Annandale-on-Hudson (2008). Motta guest edited (Im)practical (im)possibilities, e-flux journal's issue #44 and in spring 2013 he was an artist in residency at The Institute for Art, Religion and Social Justice, part of Union Theological Seminary in New York City.
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Mr and Mrs Murray, Keith Mr & Mrs Keith Murray (b. Calgary, Alberta, Canada) spend most of their time on unceded native territories in Vancouver, working as an artist, designer, mental health worker and social activist. Murray is obsessed with examining the trans-gendered nature of Spirit/Reality: the paradox of duality within the non-dual. Often using and abusing the conventions of religion, myth and fable, pop-culture, the kitsch and the carnavalesque, Murray’s performative video and new media practice is illuminated by visions and visitations of various archetypal beings. In 2008, at the inaugural exhibition of the Erotic Heritage Museum in Las Vegas, Murray married him/herself -officiated by Elvis, with drag queen flying nuns to witness. The honeymoon was spent in Japan, where Murray presented at the Hiroshima Animation Biennial. Keith was artist in residence with AA Bronson’s Institute for Art Religion and Social Justice in New York City, where they shat glitter with their gay-ghost-twin, Canadian artist Anthea Black, all over Central Park, and again later down Market Street in SF. His/her DIY porno has unsettled audiences on IMAX, and their luminous incarnation as Dolly has screened at the MoMA in New York City. Recent screenings and performances include the National Queer Arts Festival in San Francisco, La Mutinerie in Paris, and Villa Magdalena in Hamburg.
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Murray-Wassink, Sands Sands Murray-Wassink (b. 1974, Topeka, U.S.A.) lives and works in Amsterdam. After studying at the Pratt Institute (1992-1994) in Brooklyn, Murray-Wassink moved to the Netherlands in 1994 for an exchange program at the Rietveld Academy in Amsterdam for four months. For the next two full years (1995-1996) he studied at De Ateliers, Amsterdam. His objects/paintings and especially his performances blur the borders between art and life. Murray-Wassink is heavily influenced by feminist models, including his former teacher and long-time friend Carolee Schneemann. His gay sexuality, the lustful body, but also his long-term depression, his anger at the pain of life and therapeutic personal emancipation are themes in his work. Recent exhibitions include Cokkie Snoei Galerie, Rotterdam (2008, 2012 and 2013); SMART Project Space, Amsterdam (2012); Robert Miller Gallery, New York City (2011); Transgender Film Festival, Amsterdam (2011); Galerie Paul Andriesse, Amsterdam (2011); A.I.R. Gallery, Brooklyn, New York City (2009); COCO Art Space, Vienna (2009); Amstel 41, Amsterdam (2009); and Lothringer13/Städtische Kunsthalle München (2007-8). Public collections include the Stedelijk Museum, Amsterdam.
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Stathacos, Chrysanne Chrysanne Stathacos (b. 1951, U.S.A.) lives and works in Toronto and New York City. Originally trained as a print-maker, Stathacos brings together printmaking, photography, video, and installation in various ways, often creating participatory public art projects. She aims to make new connections between cultures, historical periods, technologies, and environmental issues, which mirror the human processes of change, hope, healing, and mortality. Stathacos has exhibited over 25 installations and art works in museums, galleries, and public venues in Canada, U.S.A., Europe, and Asia, and has received awards from Art Matters, the Japan Foundation, the Canada Council, and the Adolph and Esther Gottlieb Foundation. In 2006 she created a Rose Mandala for H.H. the Dalai Lama’s first U.S. law school conference entitled, Law, Buddhism and Social Change at the University of Buffalo. Most recently, she initiated MOMMY, a collaborative art blog with artist Susan Silas. Recent public art works include The Wish Machine for48*C, Public, Art, Ecology, Khoj and Goethe Institute, Delhi (2008); Natural Wishing for the DC Commission on the Arts, Washington(2012); and Three Wishing Trees for the Bundesgartenschau, Koblenz, Germany (2011). Major works by Stathacos include 1-900 Mirror Mirror (1994), The Wish Machine (1995-2009), The Aura Project (1999 to present), and Refuge, a Wish Garden (2002-2011). Solo exhibitions include Galerie Heike Strelow, Frankfurt (2008); Anderson Gallery, Buffalo (2006); Nature Morte, Delhi (2005); and PS122, New York City (2005).
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Treleaven, Scott Scott Treleaven (b. 1972, Canada) lives and works in New York City. He attended York University (1991-1992), Ontario College of Art and Design (1993-1996), and University of Toronto (1998-1999). Treleaven's work centres around atypical cultural phenomena and marginal cultures and he first came to attention in 1996 with his initial foray into filmmaking, Queercore: A Punk-U-Mentary. After the success of the film, he began working on a serial publication entitled This Is The Salivation Army (1996-1999), the first "queer punk pagan" zine. In 2006, on the tenth anniversary, a compendium of the zine was jointly published in book format by Printed Matter and Art Metropole. Treleaven has had solo exhibitions at Invisible-Exports, New York City (2013); Marc Selwyn Fine Art, Los Angeles (2010); Kavi Gupta Gallery, Chicago (2009); and The Breeder, Athens (2009). Recent group exhibitions include White Petals Surround Your Yellow Heart, Institute of Contemporary Arts (ICA), Philadelphia (2013); Dark Cube, Palais de Tokyo, Paris (2012); In Numbers, Institute of Contemporary Arts (ICA), London (2012); AYE Dunkelblau, Künstlerhaus Stuttgart (2012); Male, Maureen Paley, London (2010); and The Art on Paper Biennial, Weatherspoon Art Museum, New York City (2010).
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Vallance, Jeffrey Jeffrey Vallance (b. 1955, U.S.A.) lives and works in Los Angeles. Vallance's work encompasses object-making, installation, performance, curating and writing. His work engages religious and secular aspects of pop culture in peculiar and particular ways. Critics have described his work as an indefinable cross-pollination of many disciplines. Recent solo exhibitions include Centre d'édition contemporaine, Genève (2012); Tanya Bonakdar Gallery, New York City (2010); Ájtte Sámi Museum, Jokkmokk (2009); Grand Central Art Center, Santa Ana (2007); and De Vleeshal, Middelburg (2007). Vallance has participated in group exhibitions at Marlborough Chelsea, New York City (2012); Museum of Contemporary Art, Los Angeles (2010-2011); The Armand Hammer Museum of Art, Los Angeles (2009); University Art Gallery, San Diego State University, San Diego (2009); Barbican Art Gallery, London (2008); and CCA Wattis Institute for Contemporary Arts, San Francisco (2008); amongst others. Currently Vallance is a Visiting Assistant Professor in New Genres at the University of California in Los Angeles. He received a BA in Art from the California State University, Northridge (1979) and a MFA from the Otis Art Institute of the Parsons School of Design, Los Angeles (1981).
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Wijers, Louwrien Louwrien Wijers (b. 1941, Aalten, the Netherlands) is a writer and visual artist whose practice revolves specifically around sculpture, both mental and material. From 1968 to 1986, Wijers worked closely to Joseph Beuys, when she was trained to look at, write, and speak ‘like’ a sculpture. In 1981, Beuys asked her to introduce him to HH the Dalai Lama, whom she had interviewed in length following a request by Andy Warhol. Wijers most important mental sculpture to date titled Art meets Science and Spirituality in a changing Economy (1990/1996)is a direct result of the Beuys/Dalai Lama meeting she organized  in Bonn in 1982. From 1998 to 2005, the artist focused on the work Compassionate Economy which led her to the conclusion that 'satisfying not maximizing' was the current economic trend, and that "No Lying/No Stealing/No Killing//Grains/Vegetables/Beans" was a firm basis for a successful worldwide household and a new world economy. The influence of food in our future is now her main topic: "In order to build a stable society it is important that nobody goes to bed hungry" and "Hunger is the only true dictator," to quote Mahatma Gandhi.
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