MoMA
PS1
Call
for applications
Summer
School 2012 at MoMA PS1Call for student applications for Summer School 2012 with Marina Abramović, Steve Paxton, and Genesis Breyer P-Orridge
www.momaps1.org/summerschool
MoMA
PS1’s hugely popular educational program Summer
School
returns in August for its second iteration. Summer
School is
an annual series of workshops, lectures, and discussions that bring
students together for a conversation centered on contemporary
practice with artists, authors, musicians, curators, theorists, and
scholars who have made profound contributions in their respective
fields. Modeled
after European summer academies and especially relevant to MoMA
PS1—an institution housed in a former public school—Summer
School turns
the museum grounds into a campus during the summer months.
For
Summer School 2012, Marina Abramović, Steve Paxton, and Genesis
Breyer P-Orridge will each teach weeklong Master Classes to a
selected group of art students. Each class will culminate in a
presentation open to the general public at MoMA PS1 on September 9.
A pioneer of performance art, Marina Abramović (b. Yugoslavia, 1946) has been using her own body as the subject, object, and medium of her work since the early 1970s. In her art she is exploring the relationship between audience and performer, the limits of the body, and the possibilities of the mind. At MoMA PS1 Abramović will be joined by two assistants to teach The Abramović Method, a technique developed to train students in arriving at a clear state of mind in order to develop ideas for their own work.
Steve
Paxton
(American, b. 1939) is regarded as one of the most significant
choreographers of his generation. He indelibly transformed the
vocabulary of dance through his contributions to the Judson Dance
Theatre in the 1960s, and in his development of Contact Improvisation
in 1972. For Summer
School
Paxton will teach his seminal postmodern works,
Satisfying Lover
(1967) and State
(1968), to be publicly performed in conjunction with the dance
series, Some
sweet day
at The Museum of Modern Art in October.
Genesis Breyer P-Orridge (b. Great Britain, 1950) has been testing the limits and conventions of music, language, art, and identity for almost forty years. As a founding member of the 1970s British avant-garde performance collective COUM Transmissions which morphed into the seminal industrial band Throbbing Gristle, P-Orridge made art and music history. More recently, in collaboration with his late partner Lady Jaye, the artist started an ongoing experiment in body modification aimed at creating one “pandrogynous” being. Participants in this workshop will be expected to look with great honesty and openness at the emotional journeys of their life to date to explore the creation of an intimate, personal magical language.
MoMA
PS1 is currently accepting applications for the Summer
School 2012 sessions.
Class
space is extremely limited and by application only; all current art,
poetry, film, writing, music, and drama students are encouraged to
apply.
Applicants must be current students with majors or emphases in art or an art-related discipline and must provide proof of current enrollment with their application. Participants should be available during the day and will be notified of class dates upon acceptance.
Application Instructions
To apply for Summer School 2012, please send a completed application to: MoMAPS1SummerSchool@moma.org.
In
order to be considered, you must include all
the following materials as attachments (PDF or Microsoft Word format
only) in a single email:
- A resume
- A 250-500 word statement of intent
- An academic letter of reference
- A clear, legible image of your school ID
Please note in the header of the email which course you’re applying to (e.g. Application for Summer School with Steve Paxton).
If you would like to apply for more than one of the Summer School 2012 courses, you must submit a separate application for each.
No applications sent via fax will be accepted. No phone calls, please.
For more information please visit momaps1.org/summerschool.
Deadlines
for applications: July 20, 2012
Summer
School 2012 at
MoMA PS1 is organized by Jenny Schlenzka, Associate Curator, with
curatorial assistance from Matthew Evans, Lizzie Gorfaine, and
Jocelyn Miller.
MoMA
PS1
22-25 Jackson Avenue
Long Island City, NY 11101
www.momaps1.org
Press Contact:
Rebecca Taylor
(718) 786-3139
rebecca_taylor@moma.org
*No student calls or emails please.
STATEMENTS FROM GENESIS ON THE CONTENTS OF THESE WORKSHOPS:
During this
workshop exploration we will look at art as the oldest form of
creative expression. Pictographs and cave paintings were functional
magick. Usually to maximize success of the hunter’s skills, to
invoke good weather conditions and, of course, animals to hunt.
Sometimes they were part of an initiation. From adolescent to hunter,
or from trainee shaman to tribal wise person. Art began as magick, as
initiation, as ritual. To make things desired happen. All art unfolds
from there. Ritual magic, sympathetic magic, healing magic and, of
course magic for victory in war which leads to political magick. And
through them all run the undercurrents of sexual magick and
psychedelic and narcotic magick.
We will
trace the story of Art as magick. How it centred our relationship
with the Natural world, the stars, the qualities of herbs and various
plants. A world based upon meticulous observation. So precise the
Mayan’s calendars are reborn into significance right now. Magick
was seen as so potent that conquerors before the Romans until
contemporary times, erased the old wisdoms. Planted their own totems
on the sites of those vanquished. The most vicious of these military
victors built the greatest magickal monolith of them all…The Holy
Roman Empire! Whose crimes against humanity are responsible for tens
of millions of deaths, easily 6 million wise women shamanesses in the
Dark Ages onwards that continue to this day via the starvation caused
by unlimited procreation forced upon women by their terror of eternal
damnation.
Artists have
always worshipped Creation, the act of creation, the Divine calling
ability to make something unique that had never existed before. Art
is the ability to direct our gaze towards something mundane and
change our means of perception so we experience a revelation and see
a miracle.
All Art is
action, is movement, performance. The intricate ballet of Jackson
Pollock or the vibrant sweeps of carnage by Hermann Nitsch. The body
is always involved.
As the
tyranny of Christian Church and States imprisoned the artist’s
imagination on fear of torture and death, Priests and Politicians
painted history with war upon war, millions upon millions in
monstrous blood sacrifices.
GENESIS
BREYER P-ORRIDGE Workshop:-
Shamanism,
tribal magick has almost always included trial by pain, or endurance
or both. Often with a marking, scar, or tattoo as a recognition
symbol of spiritual achievement. Just as a warrior may get a medal or
stripe for courage and/or killing. Certain materials recur in
functional magick. Saliva, blood, semen, orgasmic fluid from male or
female, hair, skin, finger and toenails.
We will look
at the essence of shamanism and magick in history ( we prefer
Astory). In particular its re-emergence as both an explosion of
Occult ordersin the late 19th
and early 20th
Century that continues to this day. And the parallel re-introduc tion
of the occult into Art at the same time. With its awful background of
the Great War just as Dada and Surrealism smash into cultural
awareness.
The artworks
and magickal techniques of Austin Osman Spare, which he called
“Sigils”, touching upon Yoruban systems of functional magics
(better known in the USA as “Santeria”) will be explored in
combination with the Cut-Up experiments of W.S. Burroughs and Brion
Gysin and their apparent quality of psychic efficacy and even
prophecy.
The artist
will reclaim their place as the curandero of society. Creating “art”
NOT for aesthetic reasons, but for the psychological and moral health
of our human species. To make things happen. To tell the stories
happening all around us. To re-integrate the spiritual with the
tactile via the human body. How we see, how deeply we feel IS our
art.
SIGILS, THE CUT-UP AND INTUITIVE MAGICK AS TOOLS TOWARDS FUNCTIONAL AND SPIRITUAL PERFORMANCE PROCESSES
We will
examine the pre-Astoric origins of ritual workings designed by our
ancient ancestors to develop a sustainable relationship with both the
seasonable processes of Nature and the unpredictable environment. In
particular how rituals are created, their gradual empowerment by
repetition and the deep significance of the “discovery” by women
of linear TIME ushering a long period of prophecy and Oracle and
female dominance of cultic “wisdom”.
Then we will
see how Western cultural acceleration of a dogmatic church that
co-opted ritual shamanism and paganism directly into it’s sham
services using a single “God” to ratify the ever more blatant
integration of political power, spiritual intimidation by codified
religion and Fear as social control. This imposition by force of
bureaucratic dogma and belief, splitting ecstatic revelation,
expansion of consciousness, spiritual healing, the care and
well-being of the tribe’s psychic hygiene and the sacred role of
artist as Priest, healer and conscience of their people for hundreds
of years.
In the 20th
Century Dada, Surrealism, Futurism in particular began to declare
that affirmation of Life, of Creation as a chosen Holy and spiritual
path was central in the search for truth, for a renewed sense of our
place in Nature. The Artist is once more recognized as the shaman,
healer, therapist and magician. Life and Art are inseparable and to
find healing meaning in our 21st
Century insanity of cultural acceleration, and a blind acceptance of
global technologies all structured to serve this new monolithic
religion…MONEY!
The Artist
is a living, breathing organism, a virus released into the social
matrix. It is our Holy task to find ways to “short circuit control”
as W.S. Burroughs said. To re-invent new rituals that examine
contemporary environments. To address the psychic hygiene of our
chosen clan. To subvert the apathetic surrender to new technologies.
To re-invent what being “human” even means in this age of genetic
engineering and biological mutability.
We will work
with our students to develop magickal rituals, proposals for new
“tribes” built as autonomous collectives centred on Creation. We
will examine and use ancient methods for focusing the deep mind,
re-programming our decision making and nervous system to actually
affect the material world and our trajectory and successes within it.
(Magick). Can human beings REALLY change their DNA programming? Can
we bump start a new evolutionary stage of humane Beings? Are Art,
Magick, Quantum Physics, psychedelics, Meditation and Cut-Ups all
merely tools put into the hands of artists for us to take the first
steps, the first ACTIONS ? When in doubt, be extreme!
VIVA LA
EVOLUTION !
(n.b. Do not
sign up for this course if you are afraid of your naked body).
During this
workshop exploration we will look at art as the oldest form of
creative expression. Pictographs and cave paintings were functional
magick. Usually to maximize success of the hunter’s skills, to
invoke good weather conditions and, of course, animals to hunt.
Sometimes they were part of an initiation. From adolescent to hunter,
or from trainee shaman to tribal wise person. Art began as magick, as
initiation, as ritual. To make things desired happen. All art unfolds
from there. Ritual magic, sympathetic magic, healing magic and, of
course magic for victory in war which leads to political magick. And
through them all run the undercurrents of sexual magick and
psychedelic and narcotic magick.
We will
trace the story of Art as magick. How it centred our relationship
with the Natural world, the stars, the qualities of herbs and various
plants. A world based upon meticulous observation. So precise the
Mayan’s calendars are reborn into significance right now. Magick
was seen as so potent that conquerors before the Romans until
contemporary times, erased the old wisdoms. Planted their own totems
on the sites of those vanquished. The most vicious of these military
victors built the greatest magickal monolith of them all…The Holy
Roman Empire! Whose crimes against humanity are responsible for tens
of millions of deaths, easily 6 million wise women shamanesses in the
Dark Ages onwards that continue to this day via the starvation caused
by unlimited procreation forced upon women by their terror of eternal
damnation.
Artists have
always worshipped Creation, the act of creation, the Divine calling
ability to make something unique that had never existed before. Art
is the ability to direct our gaze towards something mundane and
change our means of perception so we experience a revelation and see
a miracle.
All Art is
action, is movement, performance. The intricate ballet of Jackson
Pollock or the vibrant sweeps of carnage by Hermann Nitsch. The body
is always involved.
As the
tyranny of Christian Church and States imprisoned the artist’s
imagination on fear of torture and death, Priests and Politicians
painted history with war upon war, millions upon millions in
monstrous blood sacrifices.
Shamanism,
tribal magick has almost always included trial by pain, or endurance
or both. Often with a marking, scar, or tattoo as a recognition
symbol of spiritual achievement. Just as a warrior may get a medal or
stripe for courage and/or killing. Certain materials recur in
functional magick. Saliva, blood, semen, orgasmic fluid from male or
female, hair, skin, finger and toenails.
We will look
at the essence of shamanism and magick in history ( we prefer
Astory). In particular its re-emergence as both an explosion of
Occult orders in the late 19th
and early 20th
Century that continues to this day. And the parallel re-introduction
of the occult into Art at the same time. With its awful background of
the Great War just as Dada and Surrealism smash into cultural
awareness.
The artworks
and magickal techniques of Austin Osman Spare, which he called
“Sigils”, touching upon Yoruban systems of functional magics
(better known in the USA as “Santeria”) will be explored in
combination with the Cut-Up experiments of W.S. Burroughs and Brion
Gysin and their apparent quality of psychic efficacy and even
prophecy.
The artist
will reclaim their place as the curandero of society. Creating “art”
NOT for aesthetic reasons, but for the psychological and moral health
of our human species. To make things happen. To tell the stories
happening all around us. To re-integrate the spiritual with the
tactile via the human body. How we see, how deeply we feel IS our
art.
All my life
we’d fought against all kinds of status quo, all kinds of
establishments. We didn’t do any of this for spite, to be
different to shock or generate extreme responses, though that’s
what tended to happen. We were simply trying to find ways and means
to describe what we saw, how we perceived our experiences of being
alive, thinking, sentient and convinced the stories we were
conditioned to accept as History, were inadequate and flawed.
Each
individual is the ONLY person present in their life every second from
B-Earth to death. Every human being’s story is unique, in a sense
we each inhabit our own Universe. Hence we use Astory. It’s
non-gender specific, not reactionary (i.e. switching to Herstory
doesn’t remedy the linguistic error.) We learned to defend ourself,
but never to respond to praise of any kind.
ANGELIC
BODY:
Has no
NAVEL.
Has genitals
of both genders.
TRANSGENDERED
PEOPLE in 2012:
Represent
precursors that signify the Divine Hermaphrodite
Returning.
Completing the L-if-E Loop from Eden (hence TOPY use of Eden). Also
signify the Divine next Evolutionary nature of our HumanE Species.
HINDU:
ESHE/NAGA
Eshe is a
male/female deity according to Trilochan.
Naga is a
cobra/protector/expression in bio-form of
Shiva.
Shiva is
destruct
No comments:
Post a Comment