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Table of Contents:
ZKM newsletter 7/01
redaktion@zkm.de
call for entries
"Carolina Fuentes Ibarburu" <cifibarburu@hotmail.com>
Martha Graham is still in danger
Yukihiko Yoshida <yukihiko@sfc.keio.ac.jp>
------------------------------
Date: Mon, 02 Jul 2001 16:11:48 GMT
From: redaktion@zkm.de
Subject: ZKM newsletter 7/01
Der ZKM_Newsletter erscheint 1 x monatlich mit Ausstellungsankündigungen, Linktipps und Termin-Hinweisen vom und aus dem ZKM. Wenn Sie ihn künftig nicht mehr bekommen möchten, antworten Sie einfach auf diese Mail mit dem Wort "abbestellen" in der Betreffzeile.
° Aktuelle Ausstellungen
- - > Olafur Eliasson : »Surroundings Surrounded«
- - > Sylvie Fleury : »49000«
- - > ars viva
° Ausstellungsvorschau
- - > Keith Haring: »Heaven & Hell«
- - > CTRL [SPACE]
° Veranstaltungen
- - > upDate : Martin Schüttler
- - > Rundgang 01
- - > Laura Cottingham
- - > Jochen Becker: »B I G N E S ?«
- - > Z_KinoMittwoch im ZKM
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
° Aktuelle Ausstellungen
- - > Sylvie Fleury: »49000«
02.06.-26.08.2001
+++ Die Genferin Sylvie Fleury ist bekannt für ihre Inszenierungen des Glamour
der Mode sowie der Luxusartikel der modernen Warenwelt. Wirken ihre Werke auf
den ersten Blick wie eine deutliche Bestätigung der Wertmaßstäbe der
Konsumgesellschaft, so leistet Fleury jedoch immer eine subtile Kommentierung
des schönen Scheins. Die Auswahl der über 60 präsentierten Arbeiten umfaßt
neben einigen Klassikern aus den 90er Jahren im wesentlichen Werke der letzten
zwei Jahre, u.a. raumbezogene Ensembles, die eigens für das Museum für Neue
Kunst | ZKM entworfen wurden.
<http://on1.zkm.de/mnkmnl/stories/storyReader$10>http://on1.zkm.de/mnkmnl/stories/storyReader$10
- - > Olafur Eliasson: »Surroundings Surrounded«
31. 05. - 26.08.2001
+++ Im Zentrum der Arbeit des in Dänemark geborenen isländischen Künstlers
Olafur Eliasson steht die Auseinandersetzung mit Faktoren der menschlichen
Wahrnehmung im technologischen Zeitalter auseinander. Das ZKM stellt in dieser
Personale, die sich über die gesamte Ausstellungsfläche in Lichthof 8 und 9
erstrecken wird, das reichhaltige Werk dieses jungen Künstlers mit früheren
sowie mit speziell für diese Ausstellung geschaffenen Werken dem Publikum vor.
Eliasson war 1999 auch bei der Biennale von Venedig und 2000 als nominierter
Künstler beim Preis für junge Kunst der Nationalgalerie Berlin vertreten.
<http://on1.zkm.de/zkm/stories/storyReader$1805>http://on1.zkm.de/zkm/stories/storyReader$1805
- - > ars viva 00/01 : Kunst und Wissenschaft
19. 05. - 27. 07.2001
+++ Unter dem Thema »Kunst und Wissenschaft« präsentiert Ausstellung »ars
viva«, die jährlich die Förderpreisträger des Kulturkreises der deutschen
Wirtschaft vorstellt, Arbeiten von Hörner| Antlfinger, Christoph Keller,
Natascha Sadr Haghighian, Jeanette Schulz.
<http://on1.zkm.de/zkm/ausstellungen/arsviva>http://on1.zkm.de/zkm/ausstellungen/arsviva
- - > Paysages-passages
22. 06. - 01.07.2001
+++ Robert Cahen und das Architekturbüro »R&Sie.D/B:L« präsentieren in dieser
Ausstellung aktuelle künstlerische Formen der Auseinandersetzung mit der
Landschaft, einem der zentralen Themen der bildenden Kunst.
<http://on1.zkm.de/zkm/stories/storyReader$1945>http://on1.zkm.de/zkm/stories/storyReader$1945
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
° Ausstellungsvorschau
- - > Keith Haring: »Heaven & Hell«
09| 2001 - 01| 2002
[MNK | ZKM]
- - > CTRL [SPACE]
12. 10. 2001 - 02| 2002
+++ Die Ausstellung setzt sich mit Rhetoriken der Überwachung auseinander.
Gastkurator: Prof. Thomas Y. Levin [Princeton University, USA]
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
° Veranstaltungen
- - > upDate : Martin Schüttler
04. Juli 2001
+++ Martin Schüttler [* 1974], seit Oktober letzten Jahres Gastkünstler am
ZKM_Institut für Musik und Akustik, stellt seine am ZKM entstandene Komposition
»blasses Objekt [-himmelblau-]« für Violoncello und Live-Elektronik vor [UA]
sowie die Arbeit in »Pink Fantasy Island« für 4-kanaliges Tonband.
<http://on1.zkm.de/zkm/stories/storyReader$2013>http://on1.zkm.de/zkm/stories/storyReader$2013
- > Rundgang 01
12. Juli 2001
+++ In einer viertägigen Ausstellung präsentieren die Studierenden der
Hochschule für Gestaltung ihre Arbeiten erstmals in den gerade fertig
gestellten Lichthöfen und Studios im Hallenbau einer breiten Öffentlichkeit.
Das Programm beinhaltet Vorträge, Filmvorführungen, Performances, Streamings,
Diskussionen. [12.07. - 15.07.2001; Detaillierte Informationen:
www.hfg-karlsruhe.de]
<http://on1.zkm.de/zkm/stories/storyReader$2014>http://on1.zkm.de/zkm/stories/storyReader$2014
- - > Jochen Becker: »B I G N E S ?«
12. Juli 2001
+++ Vortrag und Filmbeispiele zur Neuerscheinung »BIGNES?. Size does matter.
Image/Politik. Städtisches Handeln. Kritik der unternehmerischen Stadt« von
Jochen Becker.
[HfG Karlsruhe, Blauer Salon]
<http://on1.zkm.de/zkm/stories/storyReader$2015>http://on1.zkm.de/zkm/stories/storyReader$2015
- - > Laura Cottingham
13. Juli 2001
+++ Die Kritikerin und Videomacherin Laura Cottingham [New York] stellt ihre
zwei neuesten Videofilme vor: »Not for sale: Feminism and Art in the USA during
the 1970s« [1998] und »The Anita Pallenberg Story« [2000].
<http://on1.zkm.de/zkm/stories/storyReader$2017>http://on1.zkm.de/zkm/stories/storyReader$2017
- - > Z_KinoMittwoch im ZKM
18. und 25. Juni 2001
+++ Im Juli und August steht das Kinoprogramm im ZKM unter dem Motto
»Wissenschaft«. Die in Zusammenarbeit mit der Kinemathek Karlsruhe
zusammengestellte Filmauswahl, die das Thema in seiner ganzen Bandbreite
auslotet, umfaßt im Juli u.a. : am 18. Juni Kurzfilme von Jean Painlevé
[»Methusalem«, 1925; »Hyas et Sténoriques«, (1929), »L’Hippocampe«, 1923;
»Le Vampire«, 1939-45] und »To Lavoisier who dies in the reign of terror«
[1991] von Michael Snow sowie am 25. Juni »Stadt der verlorenen Kinder« [1995]
von Jean-Pierre Jeunet und Marc Caro.
<http://on1.zkm.de/zkm/stories/storyReader$2018>http://on1.zkm.de/zkm/stories/storyReader$2018
- - > Die gesamte Veranstaltungsübersicht des Monats Juli:
<http://on1.zkm.de/zkm/stories/programm>http://on1.zkm.de/zkm/stories/programm
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
------------------------------
Date: Tue, 03 Jul 2001 08:58:01 -0400
From: "Carolina Fuentes Ibarburu" <cifibarburu@hotmail.com>
Subject: call for entries
FIFTH BIENNIAL OF VIDEO AND NEW MEDIA OF SANTIAGO-CHILE
5-11 NOVEMBER 2001
VIDEO, CD-ROM, WEB, INSTALLATIONS AND MULTIMEDIA INSTALLATIONS
www.bienaldevideo.cl
contacto@bienaldevideo.cl
bienaldevideo@manquehue.net
nestorolh@terra.cl
cifibarburu@hotmail.com
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
------------------------------
Date: Sun, 01 Jul 2001 15:55:34 +0900
From: Yukihiko Yoshida <yukihiko@sfc.keio.ac.jp>
Subject: Martha Graham is still in danger
Hi list and networks.
I had recieved this petition last year.
In fact,I wrote japanese webpage for this petition.
(The page is in japanese
http://www.sfc.keio.ac.jp/~yukihiko/graham.html)
But this trouble has not finished yet.
At that time,I did not know this list.
Then I could not send this to the list.
But I send this to the list now.
You can see what happens and the processes of trouble in
http://www.danceinsider.com/
Martha Graham is one of important dance company in modern dance.
If we lost their works and their company, it will be big damage
to whole art world.There exists traditon and wisdom from many fields
in 20th century.
If you can support them,please send any message and support them.
Best Wishes from TOKYO
Yukihiko YOSHIDA
Their websites:
http://www.marthagrahamcenter.com Old Page
http://www.marthadancers.org NewPage
http://www.danceinsider.com/
You can see some infomation and the processes of trouble
http://www.danceinsider.com/
===== the text which released one year ago =======
Dear Friends and Colleagues
The future of Martha Graham's body of work, universal in its scope is in grave
danger, and faces the very real prospect of extinction. We, the dancers of the
Martha Graham Dance Company and many of the dancers who preceded us, believe
this tragedy is avoidable and that immediate, concerted action by the
international artistic community is essential. Martha's work has been our life
- and her Company our livelihood. We now ask for your support in our struggle
to revive the Company and to rescue the precious legacy of Martha Graham. For
that to happen, we believe certain issues must be understood and candidly
addressed.
On May 25, 2000 the Board of Trustees of the Martha Graham Center for
Contemporary Dance voted to suspend operations of the Martha Graham Dance
Company, the Martha Graham School and its Ensemble. Since the death of Martha
Graham in 1991 a gulf has grown between The Center whose function it is to
perform and teach the Graham works and Mr. Ron Protas who recently established
the Martha Graham Trust to administer his rights to the works of Martha Graham.
The May 25th decision was a direct consequence of the Board's inability to
raise funds because of the intractable, longstanding conflict over artistic
issues and finances between the Center and Mr. Protas. This and the failure
of Mr. Protas to honor an agreement to step down as artistic director of the
Company are at the core of the tragic situation imperiling the survival of the
entire Center.
Mr. Protas inherited Martha Graham's works and it is apparent to us that his
exploitation of this position has alienated presenters, sponsors and members of
the philanthropic community thus preventing the Center from receiving the
grants and funds necessary to ensure its survival. He also has a history of
adversarial, contentious relationships with past and present dancers and staff
that has produced a destructive working environment. In addition, he has now
announced that he has withdrawn permission for the Martha Graham Dance Company
to perform all the ballets she created on the Company ? while at the same time
continuing to license those works to other companies. These actions and his
egregious behavior have created the untenable situation that undermines the
Company and threatens the legacy of Martha Graham. We believe that renewed
negotiations between the Trust and the Center to restructure the relationship
between them are necessary. Such a restructuring must ensure a respectful,
constructive, artistically driven working environment with complete autonomy
for the Center and allow invaluable contributions of past and present artists
of the Graham Company and School to be respected and utilized.
If other companies are to license the ballets from the Trust WITHOUT the
Company existing to set the standard for Martha Graham's works, the aesthetic
values she devoted her life to will be gravely and forever diminished.
Throughout the Company's existence and its many generations of dancers, runs
the deep commitment to the Martha Graham technique and theater necessary to the
mastery of her work. This continuity and commitment makes the Martha Graham
Dance Company the repository of the vast knowledge embodied in her work. It is
imperative that the entire dance community, including Mr. Protas, realize that
should this Company and School close, the world would be deprived of the home
Martha Graham created nearly 75 years ago uniquely dedicated to the creation
and continued performance of her work. To preserve the integrity of Martha
Graham's work until the Martha Graham Center can be revived, we ask all other
dance companies and institutions to refrain from licensing and performing any
Graham work. We ask all artists to refrain from participating in the mounting
of any Graham work. We ask all dancers to refrain from accepting engagements
to perform any Graham work.
All of us know the cost of acting on this statement. We do so because our
Company and its legacy face extinction. It is our hope that this tragedy wi ll
give birth to a new and sustainable future for the Company and School uniquely
dedicated to presenting the genius of Martha Graham. We acknowledge that Mr.
Protas devoted a significant part of his life to Martha Graham and ask that he
honor his commitment to Martha's work by negotiating a new licensing agreement
with the Center to ensure the life of the Company and School.
Prominent individuals and organizations in the arts and cultural world have
come forward to offer their support to the Company in this emergency. The
American Guild of Musical Artists, representing 5,000 dance and operatic
artists worldwide, the Martha Graham Center's professional staff and the Board
of Trustees, support our efforts. We now call upon the international artistic
community to stand with us to bring about these changes to preserve some of the
most profound dance art created in the modern world.
NewYorkTimes/0707/2000
Bitter Standoff Imperils a Cherished Dance Legacy
By DOREEN CARVAJAL
Things looked bleak for the Martha Graham dance company six weeks ago when it
canceled its scheduled performances for the year, suspended operations of its
school and acknowledged that it was virtually bankrupt.
Now they look even bleaker.
The company board has changed the locks on the warehouse where it keeps its
costumes and scenery out of fear that its former artistic director would take
them. That artistic director, Ron Protas, whom Graham herself chose to carry on
her work, operates by cell phone from a location he refuses to reveal and is
working to prevent the company from performing any of Graham's dances.
Many of the troupe's 17 members have been discussing whether to organize a
boycott of the modern dances they have worked so hard to master and perform, to
choke off Mr. Protas's ability to license them to other companies. And Mr.
Protas is talking of establishing a new company to supplant the one that Martha
Graham left him in charge of.
The undancerly wrestling match at times takes on aspects of an op$BqS(Ba
bouffe, but for many in the dance world too much is at stake for any laughter.
Hanging in the balance, they say, is the legacy of America's great master of
modern dance, which, without a school to teach her particular technique or a
permanent company to display her oeuvre, could become the stuff of textbooks
for dance history courses.
"It is an end of an era," said Chrystelle Bond, a dance historian at Goucher
College in Maryland. "It's a very sad commentary when people destroy the art in
the process of trying to save it. Dance is a living tradition, and once you
kill the school, there's a danger that the repertory could be lost in just a
few years." The school has 500 students.
In her autobiography, published at the end of her long life, Graham left no
doubt about whom she would place in control of her choreography, her company
and her extraordinary legacy, which spanned most of the 20th century.
It would be Mr. Protas, she wrote, the untiring acolyte who for nearly 25
years shadowed her on rehearsals and tours with a yellow legal pad and dark,
oversize glasses, scribbling down her dance commentary and absorbing her
technique. He was the devoted aide who nursed her back from serious illness and
bouts of alcohol-induced isolation and depression, enabling her to create and
produce more dances when the prospects for this seemed dim. It was this man,
she wrote, to whom she "entrusted the future of the compan Now, nearly 10 years
later, the Martha Graham Center of Contemporary Dance, encompassing the Graham
dance company, school and junior troupe, is struggling to survive the
internecine warfare.
Mr. Protas, who was ousted as artistic director and as a board member, still
owns the rights to Graham's works and controls the Martha Graham Trust, which
licenses the Graham dances. both to the center and to others.
All of this puts Mr. Protasat the center of the storm. His scornful critics
say that his mercurial personality makes him the most reviled man in dance.
That is a tough label for a person with the charm to joke that he doesn't dance
a step except for the merengue he mastered decades ago at a Fred Astaire
school.
"I'm not a saint, but they seem to blame everything but the Crucifixion on
me," he observed dryly. At 59 he is zealous and sometimes prickly in seeking to
guard Graham's image and the more than 180 dances that established her as a
revolutionary modern dancer and choreographer. Graham, who died at 96 in 1991,
started what is now the nation's oldest dance company in 1926 and created stark
dances and highly dramatic ones that used her movement vocabulary, the Graham
technique.
Mr. Protas, a restless man with tight tousled curls and a voice that dips into
a slow whisper to punctuate points, took over full control as artistic director
of the company after Graham's death. That meant he made critical decisions
about casting, selection of the season's ballets and appointment of the
rehearsal directors who coach dancers. The company long had an international
artistic reputation, but it also had a checkered financial history and a
touring schedule that was declining in the last years of Graham's life.
The son of a New York businessman and a housewife with a passion for theater,
Mr. Protas met Graham in the late 60's when he was a freelance photographer and
was intermittently attending law school, which he never finished.
The relationship, he said, grew as he tended her while she was hospitalized
in her 70's for diverticulitis. It was a dark period in her life when, she
wrote, she stopped dancing and started brooding alone, drinking too much and
eating too little.
Today even Mr. Protas's fiercest critics give him credit for helping to revive
Graham's interest in her career. But Mr. Protas said he knew that company
members mocked the relationship by calling him and Graham the Harold and Maude
of dance.
"Her act of choosing me created jealousy and animosity because all the other
dancers felt that they should have been chosen by her, and that is a big part
of it," Mr. Protas said.
His opponents portray the dispute in other ways. "Ron thinks that because
Martha was treated as an icon that he would get the same treatment as her
heir," said Judith G. Schlosser, a Graham Center board member for more than 20
years. "It took us several years to figure out how to pass on the torch." She
said that the board's goal was to make the company more businesslike to appeal
to previously reluctant donors.
Encoded in the word "businesslike" is a sharp critique, by Ms. Schlosser and
many others, of Mr. Protas's perceived way of doing business and dealing with
dancers. He has alienated some potential contributors and theater presenters,
who complain that in his zealousness to preserve the Graham legacy he became
erratic and difficult and constantly sought to renegotiate matters that had
already been decided.
"I cannot work with Ron Protas again," said Ken Fischer, president of the
University Musical Society at the University of Michigan, which organized a
Martha Graham festival in 1994. "I have another major project that I want to do
with a Martha Graham dance in 2001. I've got the space reserved and the support
identified. But I don't feel I can do it if I have to work with Ron. It's just
too much dealing with him. He's always changing his mind."
Mr. Protas has also faced an undercurrent of derision because he does not
dance himself. Critics say that resentment increased because of his brusque
treatment of dancers, who were frequently reduced to tears by his critiques.
"How can he be coaching about movement if he has never done it?" said Camille
Brown, who quit the company in 1994. "It's like talking about the ocean if you
have never seen it."
Ms. Brown quit the company soon after filing a complaint with the American
Guild of Musical Artists, the dancers' union, in connection with a rehearsal
incident involving Mr. Protas. She did not pursue the complaint after the
filing.
She said she was preparing for a role when Mr. Protas tied her hands loosely
with rope because, he told her, the piece was about being bound and trapped.
And, she said, he added that he would be back with duct tape.
"It was so humiliating," Ms. Brown said. "And there was no one in the building
who would say, 'You can't do these things.' "
Mr. Protas said that this rehearsal method was used by Graham herself for the
piece, "Errand Into the Maze," as a way to connect with the experience of being
restrained, which he said he told Ms. Brown.
Critics say as many as 30 dancers, administrators and support staff have left
over the years because of Mr. Protas's management style. Mr. Protas maintains
that turnover is natural in any arts organization and that it had been
heightened by the company's financial turmoil. Those who have left include a
former managing director, Todd Dellinger.
He left this year and broke into choking sobs recently when he recalled a
"sick environment" in which "a bunch of addictive, high-strung personalities
were living in a very dysfunctional office." At the top of the heap, he said,
was Mr. Protas.
By all accounts, the strains between Mr. Protas and the board created warring
camps and an atmosphere of deep suspicion, with differing accounts about who
was responsible for the growing budgetary problems.
Mr. Protas maintained that in the last two years he had disengaged himself
from the administrative management of the company to concentrate on artistic
matters. "They kept saying if you would just go away, everything will be fine,"
he said. "And I turn over management to them, and look what happens."
But Mr. Dellinger said that Mr. Protas had a hand in major transactions and
decisions as small as selecting the company's postcards.
The feuding ranges beyond the deficit that brought the suspension of
operations in May, to issues as serious as Mr. Protas's maneuvers to replace
the board's chairman and as small as his irritation with a consultant's
penchant for open-toed sandals and napping on the office floor.
("He was a very good organizer and helped the board like never before,"
Francis Mason, the acting chairman, said of the consultant. But, he conceded,
"Maybe he was sleeping under the desk.")
In the end, the board feared that donations would dry up if Mr. Protas
continued in any management role. The Harkness Foundation for Dance had already
withdrawn its support.
And so, last month, with the school and company shut down, another crucial
showdown was set over what is perhaps Mr. Protas's most powerful hold on the Gr
The board tried to negotiate a new agreement that would allow the company to
perform the dances for 10 years with minimal involvement from Mr. Protas in
return for an annual fee about equal to his $100,000 salary as artistic
director. But when his lawyer insisted that Mr. Protas keep some form of
artistic control, the trustees countered with his removal from the board.
After that vote, four of Mr. Protas's supporters on the board resigned. "I
don't know why they make Ron the b$BsU(Be noire, the scapegoat. I have no
idea," said one of them, Princess Moune Souvanna Phouma of Laos. She added that
at every meeting she attended it appeared the board was more intent on
destroying Mr. Protas than on confronting its own financial shortcomings.
Some Graham dancers and teachers appealed to Mr. Protas to renegotiate despite
the turmoil. When they got no response, they said, the dancers began to discuss
the plan to boycott Graham's dances by other companies as long as they were
licensed through Mr. Protas.
New battles may be brewing. No one is quite sure what will happen to the
Joffrey Ballet's plans to rent costumes for a scheduled performance of Graham's
"Appalachian Spring" in October. Mr. Protas said the costumes were his to rent,
but the Martha Graham Center pays for storage in a warehouse that it has
outfitted with new locks. Mr. Protas does not have the keys.
In the meantime the company does not have enough money to move into its
planned quarters in the vast basement of a new building rising on East 63rd
Street on the former site of the company's school, which was sold to reduce
debt.
The center began trying to organize classes at an alternative studio after
plans for classes at the 92nd Street Y fell through for lack of money.
"You can't open a school without a dollar for teachers or the accompanist,"
said Pearl Lang, a former company dancer and noted choreographer. "It just
makes me sick. If I work with one group, it seems as if I'm at war with the
other."
From his office, Mr. Protas holds out the possibility that he might open a new
school.
For those who have watched the warfare and sometimes been caught up in it,
there is nothing less at stake than a language of dance.
Janet Eilber, whom the company hopes -- money permitting -- to name as Mr.
Protas's successor, contends that the mess has to be fixed before the Graham
technique becomes a memory. "Martha could be consigned to a history class in 10
years unless there are new talent and new disciples," she said. "It will happen
incredibly fast. In fact, it's already been happening."
------------------------------
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