Archive for the ‘Past Exhibitions’ Category

“32,000 Light Brigade, FistFighting, or How I Came Back to”

Tuesday, October 12th, 2010

New Work by Rebecca Gaffney, featuring performances by Enoch: A.L.N.

October 22-November 2

Opening Reception Friday, October 22, 7-11
Closing show at Secret Project Robot, November 3

New Work by Rebecca Gaffney featuring Mirror-Video Church Installation, performances by Enoch: A.L.N. and sound installation by Rebecca and Eric Hubel.

Opening performances by Enoch: A.L.N. (Rebecca Gaffney, Michael Mahalchick, Jon Williams, Jon Winfield Nicholson, Chris Anderson, Todd Pendu, Wolfgang Mayer)

“Experiments in teleportation/transnegotiation, elation, mountaineers, and l-t rotations strikingly shining and sh-t…”

Bring sunglasses. If you forget, we’ve got you covered.

Several performances and events will take place at neighboring locales during the run of this show, culminating in a final jam at Secret Project Robot in the Williamsburg neighborhood of Brooklyn, NY.

Rebecca Gaffney is a Brooklyn based artist working primarily in video, sculpture, and improvised music. She is obsessed with out of phase strobelight, aerial views, reflections and amplifying the ephemeral qualities of light and sound waves. Enoch A.L.N. is her project with Michael Mahalchick,  Jon WIlliams, and a rotating cast of chums.  Rebecca and Enoch has performed at and curated work for CANADA Gallery and at BronxArtSpace in NYC and St. Cecilia’s Convent and Monkeytown (R.I.P.) in Brooklyn. Upcoming exhibitions for Rebecca/Enoch include shows with Art Fag City’s “Sound of Art”, Pendu Gallery and Secret Project Robot.

Above photo by Nathan Cearly


Raw Stock: No Wave Films from Downtown NYC, 1976-1984 Part Two

Tuesday, October 5th, 2010

Curated by: Vanessa Roworth, Sabine Rogers & Celine Danhier, director
of the documentary “Blank City”

Part 2: Oct 8th, 7-11 PM

Screening begins promptly at 8pm

Q and A with Michael Holman, James Nares and Robin Crutchfield at Intermission and following films.

The second in two nights of selected screenings from New York’s own explosive yet fleeting era of filmmaking known as “No Wave” Cinema associated with filmmakers such as Amos Poe, Eric Mitchell, James Nares, Becky Johnston, Vivienne Dick, Beth B & Scott B, and more. Rising from the ashes of a bankrupt and destitute 1970’s Manhattan, and reacting to the modernist aesthetic of 1960’s avant-garde film, No Wave filmmakers threw out the rules and embraced their own brand of vanguard moviemaking. Inspired by the films of Warhol, Jack Smith, John Waters and The French New Wave many of the films combined elements of documentary and loose narrative structure with stark, at times confrontational imagery. Much like the No Wave music of the period from which the movement garnered its label, these filmmakers freed themselves of the constraints of formal training and pillaged the nascent East Village arts scene for co-conspirators in the likes of Lydia Lunch, James Chance, Jean-Michel Basquiat, Debbie Harry, Richard Hell, Vincent Gallo, Steve Buscemi, Nan Goldin, Cookie Mueller and many others. With wildly varying styles, they shared the common mindset of fast and cheap, and were catalyzed by collaboration. Equipment could be begged, borrowed or stolen, your friends could be your actors and the city, abandoned and free to roam, could be your set.

Short films by James Nares 26 mins

Selected shorts from artist, painter, filmmaker and one time Contortions guitarist James Nares. Nares has been a fixture on the NY art scene since his move here in the mid 70s and his signature brushstroke paintings can be found in esteemed collections around the world and at the Paul Kasmin Gallery in New York. Films will include “Pendulum”, “Steel Rod”, “Block”, and “Waiting for the Wind.” For more information on James Nares please visit

Short films by Michael Holman 23 mins

Selected shorts from filmmaker and musician Michael Holman. Holman’s musical career includes such bands as The Tubes and Gray which he formed in 1979 with artist Jean-Michel Basquiat Also an early Hip Hop journalist and impresario, Holman hosted the first televised Hip Hop music program Graffiti Rock in 1984. Films will include “Stilwend”, “Pesceador” a tribute to Jean- Michel Basquiat, “Catch a Beat”, “Dream Crush” and more. All with original scores composed by Holman and his band Gray.

Short films by Robin Crutchfield (1980) 17 mins

Selected shorts from musician, filmmaker, and writer Robin Crutchfield. Crutchfield was an original member of DNA, playing keyboards in the band, before he departed to concentrate on his own project, Dark Day. Films will include, “Dead Dog Floating”, “Fire In The Ashes” a bookburning torched by Tuxedomoon’s Steve Brown in searing color, “Young Laundry” featuring Eric Mitchell, Diego Cortez, Lydia Lunch, Bradley Field and Gordon Stevenson of Teenage Jesus & The Jerks, “Dark Day in Amsterdam”, and “General Accident” featuring Dark Day with Kathy Acker and Adele Bertei. For more information on Robin Crutchfield please visit

“Guérillère Talks” directed by Vivienne Dick (1978) 24 mins

Comprising seven rolls of unedited Super-8 film, the film is a series of portraits of women, all of whom are associated with the No Wave music and art scene. The film features a punk playing pinball, Beate Nilsen, Ikue Mori, Lydia Lunch, Pat Place, Adele Bertei, and Anya Philips. The filmmaker’s presence is felt through the expressive camera movements which contribute an energy and intensity to this exploration into notions of identity, as performers perform themselves. More of Vivienne Dick’s work can be seen at upcoming screenings at Artists Space in late October curated by Light Industry.

Plus guest DJs playing New York Punk and No Wave..

Raw Stock: No Wave Films from Downtown NYC, 1976-1984 Part One

Friday, September 17th, 2010

Oct 1st, 7-11 PM

Curated by: Vanessa Roworth, Sabine Rogers & Celine Danhier, director of the documentary “Blank City”

Selected screenings from New York’s own explosive yet fleeting era of filmmaking known as “No Wave” Cinema. Rising from the ashes of a bankrupt and destitute 1970’s Manhattan, and reacting to the modernist aesthetic of 1960’s avant-garde film, No Wave filmmakers threw out the rules and embraced their own brand of vanguard moviemaking. Inspired by the films of Warhol, Jack Smith, John Waters and The French New Wave many of the films combined elements of documentary and loose narrative structure with stark, at times confrontational imagery. Much like the No Wave music of the period from which the movement garnered its label, these filmmakers freed themselves of the constraints of formal training and pillaged the nascent East Village arts scene for co-conspirators in the likes of Lydia Lunch, James Chance, Jean-Michel Basquiat, Debbie Harry, Richard Hell, Vincent Gallo, Steve Buscemi, Nan Goldin, Cookie Mueller and many others. With wildly varying styles, they shared the common mindset of fast and cheap, and catalyzed by collaboration. Equipment could be begged, borrowed or stolen, your friends could be your actors and the city, abandoned and free to roam, could be your set.

OCT 1st

Minus Zero (1979)

Directed by Michael Oblowitz, 45 mins

A psycho noir shot in high contrast black & white where stalkers, terrorists and government agents collide. “It promised pleasure and delivered death… nothing ever happened to her class… there was no reason to feel nervous even in the heart of New York… you push the fourth button and arrive at the fourth floor… she was one more person in personville was one more person too many…”  Starring Rosemary Hochschild, Ron Vawter, Will Patton & Eric Mitchell.

Barbie (1977)

Directed by Tina L’Hotsky, 10 mins

Witty commentary on female objectification. It’s a doll eat doll world.

She Had Her Gun All Ready (1978)

Directed by Vivienne Dick, 28 mins.

With Lydia Lunch and Pat Place, and set in the Lower East Side, NYC, this is a film about unequal power between two people (of any gender), or the repressive side of a person in conflict with the sexual powerful side. Karyn Kay calls it…’The contemporary unspeakable: women’s anger and hatred of women at the crucial moment of overpowering identification and obsessional thralldom.’ – Rod Stoneman in The Directory of British Film and Video Artists (John Libbey 1994)

PLUS Celine Danhier DJing New York Punk and No Wave…

Aboveground Animation

Friday, July 9th, 2010

August 20

Reception: 7PM, screening follows at 8PM

Q & A with Martha Colburn and Erin Dunn

Still from "Heart of the Sparrow" by Barry Doupe

Sarah Chacich, Martha Colburn, Kathleen Daniel, Bruno Dicolla, Barry Doupe, Erin Dunn, Casey Jane Ellison, Steve Emmons, Lauren Gregory, Clara Kim, Amy Lockhart, Seth Scriver, Jim Trainor, and Lale Westvind

Aboveground Animation at Louis V.E.S.P. gallery presents an eclectic compilation of visually stunning animated shorts by talented contemporary animators. The screening will consist of a cross-section of experimental work ranging from Chicago Underground Film Festival winner Martha Colburn’s violent and chaotic take on American culture, to Canada-based Barry Doupe’s ritualized and dream-like world constructed in 3D landscapes with everything in between. Aboveground Animation continues its tour around the country landing in Brooklyn this summer.

$5 suggested donation  / Food and Drinks!

"Walk for Walk" by Amy Lockhart

Warren Neidich: Cindy Unveiled

Thursday, June 10th, 2010

June 18-25 by appointment. Email

Opening Reception: June 18, 7-10PM

Warren Neidich:  Getting back to past work, Could you talk about how performance art affected you?

Cindy Sherman:  Performance art was one of the big influences on my art, especially in my earlier school years. I was very influenced by seeing Vito Acconci.  You know, He did a performance up in Buffalo where I was going to school, and there were a lot of people like Chris Burden whose performance art I found much more interesting then their static work. When I am working, I think I get more out of my art by making the work than I do by seeing it…. I used to not think that I was really an actress, because that would be sort of like admitting that I didn’t think I could be a real actress so I have to make excuses to act. But in a way, I am starting to think that its really what I would like to do mostly in my art.

Warren Neidich,  51 Walker Street, An Interview with Cindy Sherman, Cliché Magazine #31, November, 1986, pages 48-51

In 1986 the artist Warren Neidich, then acting as American Editor of the Belgian photography magazine Cliché visited Cindy Sherman in her studio at 51 Walker Street.  The banal photographs exhibited at Louis V E.S.P were the result of this meeting. Cindy Sherman is seen without the equipment of her trade. She is without make up and with out costume.  She is unmasked.  She is in between acts and as such the seven photographs shot from this encounter are more about her state of readiness then her state of being. They capture her desire to be invisible in front of the camera of the other, to be something else besides that which we have become familiar with. What we know of her. What her self- portraits depict; the female impersonator of the feminized persona of the filmic still.  These portraits are then contradictions to the self-portraits. They are in the Lacanian sense of the Object a, the image of lack.

Warren Neidich is an artist and writer living between Berlin and Los Angeles whose work has been exhibited internationally. He is the recipient of the Vilem Flusser Theory Award, 2010. Selected future exhibitions 2010 include Bringing Up Knowledge, MUSAC, Leon, Spain, Kunsthalle Athens, Athens, Greece, Book Exchange, Glenn Horowitz, East Hampton,New York, Circuit, Center For Contemporary Art Lausanne, Switzerland, Hidden Publics, Kunsthalle Palazzo, Liestal, Switzerland, Love Letter for a Surrogate, Torrence Art MuseumTorrence, CA.,  UKS-Unge Kunstneres Samfund/Young Artist Society, Oslo, Norway and Gallery Moriarty, Madrid, Spain.  His recent monograph of drawings entitled Lost Between the Extensivity/Intensivity Exchange was recently published by Onomatopee, Eindhoven, The Netherlands. Cognitive Architecture: From Biopower to Noo-power is forthcoming and will launch at this years Venice Biennial for Architecture at the Dutch Pavilion.  He is currently Visiting Scholar and Artist in Residence at the TU Delft School of Architecture, Delft, The Netherlands.

36 Dramatic Situations

Monday, May 10th, 2010

May 28th-June 11

Opening Reception, May 28th, 7-10 PM

The 36 Dramatic Situations

SupplicationDeliverance ♦ Crime pursued by vengeanceVengeance taken for kin upon kinPursuitDisasterFalling prey to cruelty/misfortune ♦ Revolt ♦ Daring enterpriseAbductionThe enigmaObtainingEnmity of kinRivalry of kinMurderous adulteryMadnessFatal imprudenceInvoluntary crimes of loveSlaying of kin unrecognizedSelf-sacrifice for an idealSelf-sacrifice for kinAll sacrificed for passionNecessity of sacrificing loved onesRivalry of superior vs. inferiorAdulteryCrimes of loveDiscovery of the dishonour of a loved oneObstacles to loveAn enemy lovedAmbitionConflict with a godMistaken jealousyErroneous judgementRemorseRecovery of a lost oneLoss of loved ones

Organized by Scott Kiernan

Alisa BaremboymAnia Diakoff / Anne Yalon / Cigdem Kaya /  Colby BirdDeric Carner / Derek Larson /  Elena BajoEric AnglesEthan MillerGeorgia Sagri / Gregory Edwards / J Parker ValentineJakob Schillinger Jen Liu / Joshua Smith / Justin CraunJustin Samson Katrina LambLily BensonLisa Oppenheim / Maya Kishi-Andersen / Nuno RamalhoPeter Coffin / R. VenticinqueScott KiernanShinsuke AsoSreshta Premnath / Tova Carlin


Peter Coffin: "3D God's Eye"

Deric Carner "Misfortune Comes"

Elena Bajo

Elena Bajo

Colby Bird, "Stepped On"

L to R: Justin Samson, Peter Coffinm Tova Carlin, Justin Craun

Peter Coffin: "3D God's Eye"

Lisa Oppenheim: "Tilted House, Galveston, 1900"

Gregory Edwards: "Floral Revival 2 (Hyacinth)"

Anne Yalon: "On Longing", "Reverberating Waves"

Lily Benson: "Cell Phone Ladder"

Alisa Baremboym: "Untitled"

Ethan Miller: "Kin"

Scott Kiernan: "Monday Night Madness"

Ania Diakoff: "Smoking Lounge"

More photos here

Meat: two videos by Luther Price

Wednesday, May 5th, 2010

Friday, May 7, 9-11 pm

Organized by Bradford Nordeen

Meat (1990, 1992) is part assemblage, part document, part fiction and part performance. Meat is psychodrama, restaging a surgical nightmare endured by Boston-based filmmaker, Luther Price. The changed body is a product of a singular traumatic event, repetitive medical routines, and a total revision of self-consciousness. The mark, however “healed”, becomes a stranger. Luther Price’s film hosts a psychology all its own, a state that the viewer enters into, totally affected by this heart (and gut) wrenching body horror. Louis V E.S.P. will host an installation of performance documentation and a screening of the 60 minute film at 9pm, on May 7th.

The installation, organized by Bradford Nordeen, will be accompanied by a publication of images, illustrations, and artist writings.

“MEAT is viscerally consuming in its sterile, antiseptic and static giving over of the flesh. Poked, prodded, pinched and disgraced, the humiliated body is sacrificed and the metamorphosis begins … the fly becomes the shit … the maggot becomes the bone … the bone becomes the food … the food becomes shit and the body becomes the wound … the institution becomes teeth … throat and stomach.” Luther Price via Canyon Cinema

The sh sound was difficult

Thursday, April 8th, 2010

Curated by Deric Carner

Opening Reception: April 30, 2010: 7-10 PM

Fanny Allié
Nathan Austin
Renata Espinosa & Ryan Saylor
Gregg Evans
Erik Scollon
Sally Szwed & Michelle Levy
Zefrey Throwell
Alisha Trimble

A performance / event / situation … mixed situation in which artists respond to the riddle what is no sooner spoken than broken.
Expect a few objects, no videos and live and ambient situations themed around awkward silences, broken promises, oversharing, and underperforming.
(The answer to the riddle is silence or a secret.)

Gregg Evans, Untitled (Nate and I), 2010, Digital C-Print, 20 x 20"

Works in show:

Fanny Allié
An installation which alludes to ephemera and to the easily damageable aspects of things and situations.

Nathan Austin
A text based on captions and other forms of “non-writing” or “ambient writing” (in Tan Lin’s terms).

Renata Espinosa & Ryan Saylor
Script based on online comments from a NY TImes magazine piece by blogger Emily Gould which incited thousands of comments directed toward her “oversharing” piece (which revealed, ironically of course, that everyone is guilty of oversharing even as they’re criticizing it).

Gregg Evans
Three photographs from the series “I’ll Take Care Of You”.

Erik Scollon
“fingers, how many can you take?”

Porcelain fingers will be scatted throughout the space and offered for the taking.

Sally Szwed & Michelle Levy
A collection of micro-scripts for audience enactment

Zefrey Throwell
Zefery leads a game where participants will act out animal behaviors…?

Alisha Trimble
An original rap song comprised of all the promises ever made to the artist.

Paper Sculpture by Fanny Allie

Curator, Deric Carner

Renata Espinosa

Gregg Evans