TRIPLE CANOPY IN TEXAS WILL SOUND A LOT LIKE THIS.

On April 9, editor Alexander Provan is on a panel at the Modern Art Museum of Fort Worth; and on April 10, he joins Peter J. Russo and William S. Smith in a classroom at Southern Methodist University.

Above: John Cage playing an amplifed cactus with a feather, via emergentseas.

Double Features: Title TK and Marco Fusinato  Wednesday, February 13 @ 7:30pm 155 Freeman St, Brooklyn, NY Triple Canopy presents Double Features, an evening of audio-visual exchange with Title TK and Marco Fusinato. Double Features is organized by sound artist and composer C. Spencer Yeh; this performance marks the return of the series after a hiatus of nearly two years. As is the Double Features standard, Title TK and Marco Fusinato will each perform alongside one film or video work. Title TK has chosen David Fincher’s The Social Network (2010). Fusinato has chosen the YouTube user BermudaRao’s Jan Vermeer (1632-1675): Une vidéo sur l’art du peintre hollandais (2012).
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Double Features: Title TK and Marco Fusinato 

Wednesday, February 13 @ 7:30pm

155 Freeman St, Brooklyn, NY

Triple Canopy presents Double Features, an evening of audio-visual exchange with Title TK and Marco Fusinato. Double Features is organized by sound artist and composer C. Spencer Yeh; this performance marks the return of the series after a hiatus of nearly two years. As is the Double Features standard, Title TK and Marco Fusinato will each perform alongside one film or video work. Title TK has chosen David Fincher’s The Social Network (2010). Fusinato has chosen the YouTube user BermudaRao’s Jan Vermeer (1632-1675): Une vidéo sur l’art du peintre hollandais (2012).

Above: A page from Samuel Beckett’s notebooks containing what would become Watt. (via: invisiblestories) For more Beckett, join Triple Canopy on Monday, June 4 at 8pm for a performance of The Fizzles, an adaptation of Samuel Beckett and Jasper Johns’s Foirades/Fizzles by the Piehole theater group. @ 155 Freeman, in Greenpoint.
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Above: A page from Samuel Beckett’s notebooks containing what would become Watt. (via: invisiblestories)

For more Beckett, join Triple Canopy on Monday, June 4 at 8pm for a performance of The Fizzles, an adaptation of Samuel Beckett and Jasper Johns’s Foirades/Fizzles by the Piehole theater group. @ 155 Freeman, in Greenpoint.

The Fizzles An adaptation of Samuel Beckett and Jasper Johns’sFoirades/Fizzles by the Piehole theater group 155 Freeman Street, Brooklyn, NY June 4, 2012 Doors 7:30 p.m., performance 8:00 p.m., $7 suggested donation  In 1973 and 1974, Samuel Beckett translated a set of his prose poems, Foirades, into English as Fizzles. (The French “diarrhea” or “shit” becomes a slightly more ambiguous English.) Foirades/Fizzles entered into limited circulation as an elegant collaboration with Jasper Johns, published by Petersburg Press; in 1976, Grove Press produced an expanded run. Johns’s etchings emphasize his calligraphic and repetitive style. Of one fizzle, Marjorie Perloff has commented that the “phrasing is that of a telegram.” On June 4, Triple Canopy will host an hour-long interpretation of Beckett and Johns’s artist book by the New York–based Piehole theater group. Incorporating theater, dance, electroacoustic sound, and live and recorded video projection, Piehole’s The Fizzles promises a compellingly imperfect meeting of media.  Above: Two works by Jasper Johns from Foirades/Fizzles, 1976.
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The Fizzles

An adaptation of Samuel Beckett and Jasper Johns’sFoirades/Fizzles by the Piehole theater group

155 Freeman Street, Brooklyn, NY 
June 4, 2012 
Doors 7:30 p.m., performance 8:00 p.m., $7 suggested donation 

In 1973 and 1974, Samuel Beckett translated a set of his prose poems, Foirades, into English as Fizzles. (The French “diarrhea” or “shit” becomes a slightly more ambiguous English.) Foirades/Fizzles entered into limited circulation as an elegant collaboration with Jasper Johns, published by Petersburg Press; in 1976, Grove Press produced an expanded run. Johns’s etchings emphasize his calligraphic and repetitive style. Of one fizzle, Marjorie Perloff has commented that the “phrasing is that of a telegram.” 

On June 4, Triple Canopy will host an hour-long interpretation of Beckett and Johns’s artist book by the New York–based Piehole theater group. Incorporating theater, dance, electroacoustic sound, and live and recorded video projection, Piehole’s The Fizzles promises a compellingly imperfect meeting of media. 

Above: Two works by Jasper Johns from Foirades/Fizzles, 1976.

Source: canopycanopycanopy.com

From March 3 to May 27, artist Zoe Beloff and a rotating team of performers have been rehearsing scenes from Bertolt Brecht’s The Days of the Commune in and around Zuccotti Park and other public spaces in New York City.

Final performances May 26 (at the NYPL Main Branch, 42nd St) & May 27 (on Governors Island)

In “French Lessons,” Triple Canopy’s Jessica Lee and Kathryn Sonnabend spoke to Beloff, whose “Bodies Against Time” appeared in issue 15 of the magazine. They discussed the process of adapting Brecht’s play, the artist’s role in a contemporary occupation, and what Occupy can learn from the Paris Commune.

Source: vimeo.com

Join Triple Canopy on May 10 at 7pm for the fourth evening of Cage Transmitted: Celebrating + Playing John Cage. The evening will feature two rarely seen performances reflecting on Cage’s relationship to Marcel Duchamp. Robert Whitman will perform a theater piece incorporating slides and film, Inside Out, which has never before been performed in New York, followed by the first public screening of a video of Cage reading Marcel Duchamp, James Joyce, Erik Satie: An Alphabet, a radio play from 1982.  155 Freeman Street, Brooklyn, NY. May 10, 2012. Doors 7pm, performance 7:30pm. $5 suggested donation.  Above: Richard Hamilton, John Cage, Teeny Duchamp and Marcel Duchamp (background: Jasper Johns) looking at the set of Merce Cunningham’s Walkaround Time (Jasper Johns based his set design on Duchamp’s The Large Glass), 1968. Photo by James Klosty.
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Join Triple Canopy on May 10 at 7pm for the fourth evening of Cage Transmitted: Celebrating + Playing John Cage. The evening will feature two rarely seen performances reflecting on Cage’s relationship to Marcel Duchamp. Robert Whitman will perform a theater piece incorporating slides and film, Inside Out, which has never before been performed in New York, followed by the first public screening of a video of Cage reading Marcel Duchamp, James Joyce, Erik Satie: An Alphabet, a radio play from 1982. 

155 Freeman Street, Brooklyn, NY. May 10, 2012. Doors 7pm, performance 7:30pm. $5 suggested donation. 

Above: Richard Hamilton, John Cage, Teeny Duchamp and Marcel Duchamp (background: Jasper Johns) looking at the set of Merce Cunningham’s Walkaround Time (Jasper Johns based his set design on Duchamp’s The Large Glass), 1968. Photo by James Klosty.

Source: canopycanopycanopy.com

Sanja Iveković, video still from Personal Cuts, 1982,  “In 1982 Iveković presented Personal Cuts on prime-time Yugoslavian national television, on TV Zagreb’s 3, 2, 1 – Action! In it she confronts the camera wearing a translucent black stocking mask pulled over her head, terrorist-style. Using scissors she cuts one hole after another into the mask, revealing one section of her face at a time, and each cut is followed by a short sequence of archival footage culled from a television program on the history of Yugoslavia, produced by the state shortly after Marshal Tito’s death, in 1980, and chronicling 20 years of the socialist republic.”—Sanja Iveković: Sweet Violence
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Sanja Iveković, video still from Personal Cuts, 1982, 

“In 1982 Iveković presented Personal Cuts on prime-time Yugoslavian national television, on TV Zagreb’s 3, 2, 1 – Action! In it she confronts the camera wearing a translucent black stocking mask pulled over her head, terrorist-style. Using scissors she cuts one hole after another into the mask, revealing one section of her face at a time, and each cut is followed by a short sequence of archival footage culled from a television program on the history of Yugoslavia, produced by the state shortly after Marshal Tito’s death, in 1980, and chronicling 20 years of the socialist republic.”—Sanja Iveković: Sweet Violence

(via fyeahwomenartists)

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