Friday, March 30, 2012

Q.E.D. | Part 1. Things Unsaid


Join us for the first installment of Q.E.D. - a short series of long conversations on queer art and literature.

How do we articulate without articulating?
What are the negative spaces that form and inform your work?





Wednesday | April 11, 2012 | 7:00 p.m.

MAK CENTER FOR ART & ARCHITECTURE AT THE SCHINDLER HOUSE
835 N. Kings Road
West Hollywood, CA 90069


FEATURING:

Melissa Buzzeo
Patrick Greaney
Simon Leung

Moderated by Vanessa Place

$7 General; Free for Friends of the MAK Center and Members of Les Figues Press with RSVP (office [at] makcenter.org).

Q.E.D. is a short series of long conversations on queer art and literature. The series includes three events over the course of three months (April 11, May 9 & June 13, 2012); each evening features a writer, an artist and a critic in a conversation about contemporary issues and conditions of queer art and literature. The series is hosted and moderated by Les Figues Press Co-Director Vanessa Place, and will be recorded and made available online. The program is curated by Les Figues Press and supported through a Cultural Resource Development Grant from the City of West Hollywood.

Q.E.D. takes its name from a novel by Gertrude Stein; Q.E.D. (Quod Erat Demonstrandrum, or Things as They Are) was one of the earliest coming stories, written in 1903 though not published until 1950, after Stein’s death.

ABOUT THE PARTICIPANTS

Melissa Buzzeo is the author of three full length books: What Began Us (Leon Works 2007), Face (Bookthug 2009) and the forthcoming For Want and Sound (Les Figues 2012). Her current work Chasm explores negation, the legacy of performance art and the concept of the social body. She has taught at Brown, Iowa, Pratt and Naropa and currently lives in Brooklyn.

Patrick Greaney is the author of Untimely Beggar: Poverty and Power from Baudelaire to Benjamin (University of Minnesota Press, 2008) and articles on modern and contemporary art and literature. His co-translation of Heimrad B├Ącker’s transcript was published by Dalkey Archive Press in 2010, and his translation of Urs Allemann’s The Old Man and the Bench: A Five-Month Twaddle will be published by Dalkey in 2013. He is Associate Professor of German Studies and Comparative Literature at the University of Colorado at Boulder, where he also directs the Graduate Program in Critical Theory. www.patrickgreaney.com

Simon Leung is an artist who works across disciplines and mediums. His projects include an opera set in Los Angeles’s Griffith Park; a live/video performance addressing the psychological, philosophical, and political dimensions of AIDS in the figure of the glory hole; a trilogy on “the residual space of the Vietnam War;” and an extended project reposing Duchamp’s oeuvre as a discourse in ethics. His work has been presented internationally, including at the Guangzhou Triennial (2008); the Venice Biennale (2003); the Whitney Biennial (1993); the Museum of Modern Art; the Museum of Contemporary Art; the Generali Foundation (Vienna); and 1A Space (Hong Kong). Leung’s recent exhibitions include “POE” at Las Cienegas Projects and “91 92 93” at the MAK Center in Los Angeles; “Regress Progress” at the Ujazdowski Castle in Warsaw; and “War After War” at the CUE Art Foundation in New York. He has received fellowships from the Guggenheim Foundation, the New York State Council on the Arts, the New York Foundation for the Arts, and the City of Los Angeles, as well as the Art Journal Award for his essay “The Look of Law.” He is Professor of Studio Art at the University of California, Irvine.

Of Vanessa Place and Robert Fitterman’s Notes on Conceptualisms, Mary Kelly said, “I learned more about the impact of conceptualism on artists and writers than I had from reading so-called canonical works on the subject.” Kenneth Goldsmith said Vanessa Place’s work was “arguably the most challenging, complex and controversial literature being written today.” Rae Armantrout said, “Vanessa Place is writing terminal poetry.” Bebrowed’s Blog said Vanessa Place is “the scariest poet on the planet.” Anonymous on Twitter said, “Vanessa Place killed poetry.”

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