The ap-ART-ment finished it's two week residency with a dark and complicated film from 1974, The Night Porter in which a young female survivor of the Holocaust becomes re-involved sexually and psychologically with a man who had been her Nazi captor and torturer in a concentration camp. Made by Liliani Cavani, an Italian female director in the 1970's, The Night Porter was introduced by Laura Wittman, professor Italian and French Language and Literature at Stanford University. As a group we spoke frankly after the film about the presence of a glorified Nazi presence in the film, the lack of a seemed free-will-to-act by any subject in the film, and the complicated development of Charlotte Rampling's character's youthful sexuality in terms wholly restricted by the context in which it occurred: the concentration camp in Nazi Germany.
We appreciated Wittman's introduction and her guidance after in unpacking what had been presented in the film.
Again, thanks to everyone who arrived at the ap-ART-ment to listen and interact with new artists and to rethink a domestic space with us.
Cathy and Laura
To presume that this performance was only social would miss the point. This piece was in addition political, requiring more than a nod to the status of our current lives: most people recognize the term 'fetus' existing in the limited capacity of an abortion debate. An entire evening of drinking whole milk and eating white flour and sugar additionally brought the discussion of American diet and from that a conversation about our food sources.
We watched amazing videos and had great discussions about them on Thursday night. At the end of the evening, we couldn't help but reflect on the amazing happenstance (or was it?) concerning the videos shown (especially concerning the common themes of identity and body). Sometimes things just work out beyond the expectations with which they were planned.
Hannah Piper Burns
the post(?) feminist dissonance project
the post(?) feminist dissonance project uses a quote by kathleen hanna as a prompt, a voicemail box as an interviewing device, found footage as a tool, and text as a character. it is a study in the cacophony of the inner life tuned against the perception of reality. i made this piece to see if i was alone, and i discovered that for better or for worse, i am not. this is above all about the process, not the resolution.
Approximately 5 minutes (made as a ten channel installation piece, for tonight’s screening the piece is edited as a single channel)
In a world not too dissimilar to our own, the worst things happen to the best robots...
16mm short film (projected digitally)
Approximately 3 minutes
“The existing order’s uninterrupted monologue of itself” writes its unilateral message upon us— a sharp tongue of ideology lacerating our bodies, both corporeally and psychologically. Thus, now more than ever, we must reposition ourselves to understand this call and to make utterances in turn.
Recruiting the dissonant energies of stop-motion animation with hand-painted, marked, and processed 16 mm film, Crescenzi is an attempt to not only shed light upon those representational systems into which we become speaking subjects in a symbolic order, but to also underscore the precarious nature of such (de/en)coding.
Philip Benn, Peter Belkin, Percy Cannon
Video Documentation by Hava Liberman
Shout out to Pat Augsberger, who at this moment is on her way to Kenya to start her thesis research on the conga. Watch for her blog on this project, go to her website here.
She came to ap-ART-ment and baked us challah bread one day, and sewed some booties that Claire Jackel wore at the roundtable with Margaret Tedesco and Susan Miller. Thanks again Pat. ap-ART-ment loves Pat.
Tonight's film, The Night Porter, will be lightly introduced by Laura Wittman, Professor of Italian and French Language and Literature.
Ruth will be blowing eggs, and we'll be eating them. Everything egg will be available as 90 eggs need to be emptied. There will be french toast, bread pudding, egg creams, and heart-shaped omelets. Ok, no egg creams. RSVP quick and join us for this limited seating breakfast with your favorite professor at SFAI, artist John Defazio.
Artist Elinor J.D. Diamond's one night performance, Meet Your Maker, a night of fetal cookie debauchery, where the artist bakes and decorates to her liking, a cookie named by each participant. Come with original names or be prepared to file a lawsuit for your stolen embryonic baked dough.
Sieve the sheer bulk of baby names on either of the two online work stations provided, or come with your own maternal or paternal naming instincts. Come hungry, eat a lot of cookies, leave sick.
Retained Bakery Lawyers on site.
Advice Hotline is a site-specific performance piece inspired by the interior architecture of my own apartment. A seat pulls down near an alcove designated for landline conversations, a charming albeit obsolete element in my San Francisco home. I have a home phoneline mostly for the nostalgic aesthetic, its only purpose to ring in visitors. Advice Hotline allows me the space to exist in the nostagic, in a sense of time travel. Along with specifics of architecture, conversation is an aspect of our culture to be nostalgic for. Contemporary forms of telecommunication create a significant and isolating distance. I am interested in "the art of conversation," the subtle changes in voice and tone, what it means to listen to someone's story in their own words. This past Friday saw the first realization of Advice Hotline, I received calls from Portland OR, NYC, Boston MA, Berlin Germany, as well as the historic Dogpatch district of San Francisco to name a few. Participants called with all sorts of questions and issues ranging from: the everday, job advice, to specific artistic critiques of work.
by Nicole Lattuca
Fridays, July 17th and 24th from 1-5pm
Ap-ART-ment is pleased to announce Advice Hotline by Nicole Lattuca, on Fridays throughout this residency.
Call 415-931-2498. Ask questions, get answers. Let Nicole solve your problems.
Thank you to everyone who joined us for our long distance dinner party with Dori Latman last night and for the viewing of her installation Love Portraits in ap-ART-ment. Through Dori's cooking and baking instruction, awkward time lapse exchanges via Skype, Dori's Skype image projected on the wall in the kitchen like big brother or in this case big sister watching over our actions, the evening was filled with food and food for thought.
We are collaborating on a meal with Dori Latman this evening at 7pm at ap-ART-ment. She has given us ingredients and will join us from the East Coast via Skype to direct our cooking/baking. If you are interested in joining us for a long distance , please RSVP to firstname.lastname@example.org. Space is limited.
We had a wonderful evening on Monday- people making new friends or getting to know each other better. We projected the exquisite movie Orlando onto the wall, ate popcorn, and drank champagne. A great start to what will hopefully be a continually morphing two week residency.
We look forward to tonight's project with Dori Latman.
As the other collaborator in this project I check this blog religiously, more often than I pet my cats these days. I've reread each entry that I've made (quickly noting my errors), and the ones Laura has posted and I thought it was time for me to respond to the question Laura posed one day, "Why we are doing this project?"
Though the project description is right there for anyone to read, it doesn't really explain our motivations. Originally I wanted to make work in an empty domestic space. I have drawings of ideas for pieces and works that look just so. A drawing for a bed: you never have to make it! I had been making work in my living space for 3 and a half years and the idea of an empty domestic space seemed like a dream. Albeit a rather average dream, it's not like I dreamed of working in a 5000 sq. ft. loft in midtown Manhattan.
The project of making art among your life's belongings has been written about a lot: see any writing about Kiki Smith and you'll read something more prophetic than I can attempt. What I can say is that to make work in an un-blank place is tricky and convoluted, but no more so than it is to just make art in your studio. Neither is more right, or more wrong, but as an antidote to the constant studio time commensurate with an MFA we wanted to alter our path. We wanted to make work for 2 hours then fold someone's laundry. We wanted to watch our friends neighbor's smoke illegally on her fire escape while we were trying to decipher critical theory.
We have both been long fascinated with the major themes of domesticity, feminism, and modernism and many other ism's(!). Our approach to work is decidedly opposite: I am sloppy and fast and regularly don't remember the title that I passionately gave a piece even two days ago. Laura is skilled and patient and gifted and, yes, slow but tends to actually know how to use tools. We thought these opposites should lean on each other for a while.
I hope all manner of mess and work and writing can come from this ap-ART-ment. I hope many friends and colleagues and lucky strangers happen upon us in these next two weeks as we make our first go round. Our plan is to look back in order to actually answer the question of why we are doing this and many other questions: Why not make this domestic art in our own apartments? Why should we choose someone's apartment we know, but not someone we know well? Why does Nicole Lattuca trust us with all of her worldly belongings, keepsakes? What is there to investigate in her home? How can this process teach us to look critically at things so personal?