PS 1010 – Road Felt – Opening Sept. 13th 8pm

PS 1010: Road Felt 
Exhibition Opening Reception -
Sept. 13th, 8pm.
With ethnographic field recordings/music performances 

9pm The Sound Ethnography Project
10pm Bitter Party 
11pm DJ Xandão

Feeling and the Document
Communal Table Discussion - Sept. 15th, 2pm.
With Chris Kraus, Marie Shurkus, Jon Wagner, Jean Rasenberger and David Frantz
To be followed by dinner.

R1-03879-025A

Our collective just got back from a research adventure, living in a teal school bus rattling across the country. The bus housed a library, a photocopy machine, a propane burner, beds, many milk crates, snacks, a samurai sword, two curtains, cameras, recording devices, and various configurations of artists and writers. We traveled from LA to New Orleans to Memphis to Oakland and many places in between. We’ve returned with a mess of memories and documents (photos, notes, soil samples, rips in our clothes). Somewhere in between memory and this documentation is our archive.

We are beginning to organize our archive by feeling.

The authority of the document has been embossed in the fibers of the paper (the watermark). Reacted in silver for photographs (empirical substrate). Dripped over their enclosures to seal them in wax (the family crest). The authority of the document has also been denied to those who cannot sign them (slaves sign with an X).

How to then critically wield documents, documentation, documentary?

Feeling is a peculiar mode of organization. It can’t be disagreed with, like place or date. But unlike intuition or chance, it can be explained, explored, and justified. Feeling is neither subjective nor objective—a contradiction the difference between emotion and affect is supposed to clarify. Rather, feeling mediates the divide—a feature that capital enjoys poaching as a technology and a commodity.

Our archive exists someplace between starter fluid and surprise. Milk crates and ambivalence. Water and resentment. Walmart and confidence.


Road Felt is this archive. An exhibition where narrative and memories build the framework for ordering objects, where stories become files and feelings become filing cabinets.

To help us along (this archive is open), we’ve decide to extend the conversation and sit down with some people we’d like to learn from.

Feeling and the Document is a communal table discussion. A Sunday – where we will discuss radical archiving processes, documentary practices and educational methodology (returning to PS 1010’s departure point). We will also discuss affect theory and practice, both as a critical methodology but also as a cornerstone of the service economy that plays out through immaterial and de-materialized labour practices. And after all that, we’ll eat together, probably a kale salad and ice cream.

With Chris Kraus, Marie Shurkus, Jon Wagner, Jean Rasenberger and David Frantz.


Chris Kraus is a writer, filmmaker, and professor of film at European Graduate School in Saas-Fee, Switzerland. Her books include I Love Dick, Aliens & Anorexia, and Torpor. Video Green, Kraus’ first non-fiction book examines the explosion of late 1990s art by high-profile graduate programs that catapulted Los Angeles into the center of the international art world. Her films include Gravity & Grace, How To Shoot A Crime, and The Golden Bowl, or, Repression.

Marie Shurkus is a Los Angeles-based contemporary art historian and media theorist. Her research and teaching interests focus on the intersection of contemporary art, media and continental philosophy; she is particularly concerned with investigating issues of representation, subjectivity, labor and perception. Currently, she is a Visiting Assistant Professor of Media Studies at Pomona College, Claremont, CA. She has been a core faculty member of the MFA in Visual Arts Program at Vermont College of the Fine Arts since 2003. She has published essays dealing with the work of Michael Asher, Eugenia Butler, Jack Goldstein, Zoe Leonard, Allen Ruppersberg, The Feminist Art Workers, and others. She was an editor and contributing author for the Pacific Standard Time catalogue: It Happened Here: Art at the Edge of Los Angeles (1969-1973).

Jon Wagner (Ph.D. Critical Studies, USC), is a scholar, translator and poet, who helped establish the MFA Writing Program at CalArts with Dick Hebdige in 1994 and served as associate director of the program from 1996 to 2002, when he assumed directorship through Spring 2005. With his two writing partners, Lynne Goodhart and Tracy Biga MacLean he has published a number of books and articles in the fields of literary and cinema studies.  With Goodhart, he edited, translated, and introduced the book of selected poems Andre Chedid: Fugitive Suns (Green Integer Books, 1999), and published a series of essays on French poetry, cinema, and literature in Cargo, Cincinnatti Romance Review, and Mosaic.  His book with Tracy Biga MacLean, Television at the Movies: Cinematic and Critical Responses to American Broadcasting (Continuum, 2008), offers a definitive analysis of the relationship between television and cinema.

Jean Rasenberger’s videos and photographs are an inquiry into portraits such as those found in nudie magazines, real estate listings, ethnographic films, paleontological sites, abandoned prisons and the headstones of dead revolutionaries. Her work explores the narrative matrixes and sinkholes of tropes and cues that potentially lead to subterranean passages and free-floating repositories of subject formation. Rasenberger’s work has been exhibited internationally in museums and galleries, notably the Museum of Modern Art, New York; the Louisiana Museum of Modern Art, Kunstforeningen, Copenhagen; Renaissance Society, University of Chicago; Centro Colombo-Americano, Bogota; and the Long Beach Museum of Art. She has been awarded grants through such venues as the national Endowment for the Arts, Mid-American Arts Alliance, Brody Foundation and Long Beach Museum. She has also been the recipient of an Art Center Great Teacher Award.

David Frantz is the curator of ONE National Gay & Lesbian Archives, which is the oldest active Lesbian, Gay, Bisexual, Transgender, Queer, Questioning (LGBTQ) organization in the United States and the largest repository of LGBTQ materials in the world. Founded in 1952, ONE Archives currently houses over two million archival items including periodicals, books, film, video and audio recordings, photographs, artworks, organizational records and personal papers. The collections at ONE Archives are a part of the University of Southern California Libraries.

Bitter Party celebrates the melancholy of life. Based in Los Angeles, they experiment with the concept of “ghost pop,” while immersing in the rich repertoire of pop, folk, and obscure tunes from Asia. With Madonna mics and whatever music technology at their disposal, they thrive on musical adventures across media. Parsing and mixing dusty tapes, vinyls, songbooks, and Youtube channels, they enliven song memories across the Pacific to haunt their post-cosmopolitan, post-digital living.

Alexandra Lippman is an anthropologist and ethnographic filmmaker finishing her PhD at the University of California, Irvine. Her research explores alternative authorship and ownership practices in Brazilian dance music and the politics of soundscapes in Rio de Janeiro. Tonight she presents a live mix of field recordings from the Sound Ethnography Project, which she founded. This ongoing collaborative project invites experiments into sonically based research methods exploring relationships between sound and space. Listen close. Later, Alexandra will be DJing a set of funk carioca, cumbia, champeta, and more music gleaned from CDR gifts, pirated MP3 discs, and dusty records accumulated while doing fieldwork in South America. Noise in the archive.

R1-07404-014A

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