D U R I N G
MUSIC/VISUAL PERFORMANCE
SATURDAY OCTOBER 2ND 8-10PM
"WILL YOU PLEASE TURN THE NAUMAN ON"
WEDNESDAY SEPTEMBER 15TH 7-10PM
RYAN COFFEY/SOME NEW SHIT
PLEASE JOIN US FOR OUR MONTHLY READING SERIES
SATURDAY, SEPTEMBER 4TH 7-10PM
RUSSELL DILLONMARY DONNELLY
MATT HART
NATE PRITTS
Russell Dillon was born in New York during the mid '70s and hasn't been able to get over it. However, in an effort to put the past behind him, he's attended a number of schools in various places, learned things at each one of them, and received degrees from Emerson College and the Bennington Writing Seminars. His work has appeared or is forth coming in Parthenon West, Big Bell, Forklift, Ohio, 5A.M. and Tight, among others. He currently lives in San Francisco, where he does almost everything life asks of him. A chapbook, Secret Damage, was released like wounded pigeons from the breast of Forklift, Ink... and ever since he has been running in circles trying to manuscript.
Mary Donnelly’s poems have appeared in The Brooklyn Rail, The Hat, The Iowa Review, Indiana Review and most recently in Scapegoat Review and The Portable Boog Reader 4: An Anthology of New York City and D.C. Area Poetry. She is Senior Poetry Editor for the online journal failbetter and teaches through Gotham Writers’ Workshop.
Matt Hart is the author of the poetry collections Who’s Who Vivid (Slope Editions, 2006) and WOLF FACE (forthcoming, H-NGM_N Books, 2010), as well as several chapbooks, including The Hours (Cinematheque Press, 2010) and Late Makeup Years and Decline (1979-1983) (Hell Yes! Press, 2010), which he wrote in collaboration with Dobby Gibson. A third full-length collection, LIGHT-HEADED, will be published by BlazeVOX in Spring 2011. A co-founder and the editor-in-chief of Forklift, Ohio: A Journal of Poetry, Cooking & Light Industrial Safety, he teaches at the Art Academy of Cincinnati.
Nate Pritts is the author of four full-length books of poems - The Wonderfull Yeare (Cooper Dillon Books, 2010), Honorary Astronaut (Ghost Road Press, 2008) & Sensational Spectacular (BlazeVOX, 2007), & the forthcoming Big Bright Sun (BlazeVOX). His poetry & prose have been published widely, both online & in print, in journals such as The Southern Review, Jacket, Gulf Coast, DIAGRAM, Rain Taxi Review of Books, Octopus, & Forklift, Ohio among many others.
AUGUST 27 - SEPTEMBER 11E.A. Bethea makes comics, writes, collects records and ephemera, and lives in Brooklyn, NY.
gentlebear.wordpress.com
HELIOPOLIS PROUDLY PRESENTS :
OUR MONTHLY READING SERIES
STARRING
GREG FUCHS
JASON MORRIS
JOHN COLETTI
FRIDAY, AUGUST 6TH 7 - 10PM
Greg Fuchs is the author of numerous books of poetry and is included in a variety of anthologies. His latest is Moving Pictures, published by Lew Gallery, a San Francisco-based small press. Fuchs has published articles, essays, and interviews in many journals and magazines. Recently he has written an interview with Eileen Myles, a memorial of painter Michael Goldberg, and a brief history of University Woods Park in the Bronx. He is currently writing a series of poems located in the Morris Heights section of the Bronx, the legendary home of hip-hop. He is a member of Subpress publishing collective. He is co-editor of Open 24 Hours, which publishes poetry in the spirit of the mimeo-revolution of the 1960s. Fuchs serves as the President of the Board of Directors of the Poetry Project. He was born and raised in New Orleans, where he maintains strong roots through friends and family. Fuchs lives in the Bronx with his wife, the artist, Alison Collins, and their son, Lucas Raphael Collins-Fuchs.
Jason Morris is from Vermont. Poems & essays have appeared in The Tsatsawassans, Eleven Eleven, Forklift Ohio, Ping Pong, Mirage #4 Period(ical), TRY!, Salt Hill, Jacket, and elsewhere. His chapbook Spirits & Anchors was published by Auguste Press in 2010. He lives in San Francisco where he edits Big Bell.
PLEASE JOIN US FOR AN EXTRAORDINARY GATHERING OF THE FILAMENTS! OPENING RECEPTION SAT. JULY 24TH 7PM - 11PM
LILLIE FURMAN
NIKKI ALEXANDER FLORES
MACHINE
SHAN RAOUFI
JANIE WOODBRIDGE
JOIN US THIS SUNDAY FOR A REVIVAL OF THE LEGENDARY JUNK SHOP MARTY'S COOL STUFF
AT HELIOPOLIS THIS SUNDAY JUNE 20TH 10AM - 6PM
"IF EDIE BEALE OPENED A STORE..." Check out this great review of Marty's Cool Stuff in the Village Voice: http://www.villagevoice.com/bestof/2006/award/best-public-junk-collection-492076/
WATCH MAN - A DUAL SHOW STARRING
WITTS AND DAVE MISHALANIE
OPENING RECEPTION: FRIDAY JUNE 4TH 7-10PM
CURATED BY GEORGIA ELROD
![]()
WATCH MAN
Witts
Dave Mishalanie
Heliopolis / Sun City Project Space: June 4th – 18th, 2010
Thoughts and Questions from Georgia Elrod
Dave Mishalanie and Witts have some curious connections in their work. Mysterious narratives, bizarre characters, perhaps even a sense of apocalypse. There are both figures and grounds. There is a certain humor lurking, a comic-book kind of finesse.
1. Where does your imagery come from?
Dave: As an ineluctable part of our media-saturated culture, imagery circulates. It’s part of the praxis of the so-called information age. Problems surrounding art’s relationship to narrative and mediation (e.g. historical, social-political, personal, etc.) are compelling to me, and so I’m often looking for images that refer to the process by which they circulate. A postcard, for instance. The idea of ephemera has been a useful way to consider relationship between the sources to which I find myself referring. For “Watch Man”, there is a nod both to painted backdrops, as found in portrait photography circa mid-19th Century, as well as to the idea of ephemeral architecture.
Witts: My imagery stems from multiple sources such as comic books/graphic novels, historical readings and image depictions, iconographic images from the past and present and every day happenings that I might be exposed to in person or though mass media. This exposure usually results in ideas or the manipulated images surfacing in my dreams. Typically I wake up from a dream with the notion of a new sculptural presence or image that needs to be constructed into the third dimension.
2. Are you watching the art or is it watching you?
Witts: I believe that we are watching each other. Especially art that hasn't been created yet...I have a feeling that it is swimming around above me somewhere waiting for its moment to become the viewed participant and not the voyeur.
Dave: Hopefully, you’re watching. The 2-D work represents a series of vignettes that invite looking, and tries to offer up a visual equivalent of ambient space – of ‘ground’, in the sense of figure/ground polemics. If you’re looking for a version of modernism that aims to exploit its audience, to diminish the authority of the viewer/ society, you probably won’t find those politics here.
3. Can art be funny and beautiful? Is that even relevant?
Dave: Assuming that we’re operating with a fairly expanded definition of what beauty can be, it is possible to find the humorous and beautiful coexisting within a sensibility. I’ve never read Voltaire, but I’ve always imagined that that’s the effect his writing has. With irony being so familiar as to be basically indispensible to our way of life in the good old U.S. of A., it’s a wonderfully messy affair to try to even venture a notion about how the effect of humor or the beautiful are produced in a viewer/oneself. After all this time, does it come back to art negotiating feelings?
Witts: Humor is a powerful aspect to humanity. Beauty is a subjective understanding of what isn't ugly. I think it is important to be funny and serious while also being ugly and beautiful at the same time. Duality is whats keeps things interesting.
4. Say something about your collaboration.
Witts: Unexpected for starters. But, inherently concise and cohesive once the works were put together in the space. I think this was a new step for both of us, allowing each other to consider issues that we might usually neglect or over look, especially since we work in different mediums, and dimensions of space. The best part of the experience was when we physically combined one of my sculptures and one of Dave's paintings. The new meaning and perspective that was created was enlightening and exciting. I think it opened new readings into his piece and my piece separately and in unison.
Dave: In an effort to draw up parameters for a show of painting and sculpture (or sculpture and painting, if you prefer), and (all pejorative connotations suspended) fairly conventional approaches at that, the basic figure/ground duality became salient. It provided a way to allocate voices, to key up conceptual and material dynamics, and to create a framework wherein the parts can variously add up to a larger narrative. Theatricality was mentioned as a possible effect, with figure/ground being the allegorical foil, and (love ‘em or leave ‘em) dialectical relationship being exploited pretty much everywhere.
5. Which would you rather have, five eyeballs or five hands? (Fully functioning of course)
Dave: I’d like four completely demure clones of myself to do all the work that neither only five hands nor eyes could afford.
Witts: Definitely hands. I couldn't imagine the new headgear/glasses that would be necessary...too many contacts to put in every day. With five hands, I could finally stop having to ask people for a 'hand' when trying to attach/saw/weld/glue/move/
WITTS AND DAVE MISHALANIE
OPENING RECEPTION: FRIDAY JUNE 4TH 7-10PM
CURATED BY GEORGIA ELROD
WATCH MAN
Witts
Dave Mishalanie
Heliopolis / Sun City Project Space: June 4th – 18th, 2010
Thoughts and Questions from Georgia Elrod
Dave Mishalanie and Witts have some curious connections in their work. Mysterious narratives, bizarre characters, perhaps even a sense of apocalypse. There are both figures and grounds. There is a certain humor lurking, a comic-book kind of finesse.
1. Where does your imagery come from?
Dave: As an ineluctable part of our media-saturated culture, imagery circulates. It’s part of the praxis of the so-called information age. Problems surrounding art’s relationship to narrative and mediation (e.g. historical, social-political, personal, etc.) are compelling to me, and so I’m often looking for images that refer to the process by which they circulate. A postcard, for instance. The idea of ephemera has been a useful way to consider relationship between the sources to which I find myself referring. For “Watch Man”, there is a nod both to painted backdrops, as found in portrait photography circa mid-19th Century, as well as to the idea of ephemeral architecture.
Witts: My imagery stems from multiple sources such as comic books/graphic novels, historical readings and image depictions, iconographic images from the past and present and every day happenings that I might be exposed to in person or though mass media. This exposure usually results in ideas or the manipulated images surfacing in my dreams. Typically I wake up from a dream with the notion of a new sculptural presence or image that needs to be constructed into the third dimension.
2. Are you watching the art or is it watching you?
Witts: I believe that we are watching each other. Especially art that hasn't been created yet...I have a feeling that it is swimming around above me somewhere waiting for its moment to become the viewed participant and not the voyeur.
Dave: Hopefully, you’re watching. The 2-D work represents a series of vignettes that invite looking, and tries to offer up a visual equivalent of ambient space – of ‘ground’, in the sense of figure/ground polemics. If you’re looking for a version of modernism that aims to exploit its audience, to diminish the authority of the viewer/ society, you probably won’t find those politics here.
3. Can art be funny and beautiful? Is that even relevant?
Dave: Assuming that we’re operating with a fairly expanded definition of what beauty can be, it is possible to find the humorous and beautiful coexisting within a sensibility. I’ve never read Voltaire, but I’ve always imagined that that’s the effect his writing has. With irony being so familiar as to be basically indispensible to our way of life in the good old U.S. of A., it’s a wonderfully messy affair to try to even venture a notion about how the effect of humor or the beautiful are produced in a viewer/oneself. After all this time, does it come back to art negotiating feelings?
Witts: Humor is a powerful aspect to humanity. Beauty is a subjective understanding of what isn't ugly. I think it is important to be funny and serious while also being ugly and beautiful at the same time. Duality is whats keeps things interesting.
4. Say something about your collaboration.
Witts: Unexpected for starters. But, inherently concise and cohesive once the works were put together in the space. I think this was a new step for both of us, allowing each other to consider issues that we might usually neglect or over look, especially since we work in different mediums, and dimensions of space. The best part of the experience was when we physically combined one of my sculptures and one of Dave's paintings. The new meaning and perspective that was created was enlightening and exciting. I think it opened new readings into his piece and my piece separately and in unison.
Dave: In an effort to draw up parameters for a show of painting and sculpture (or sculpture and painting, if you prefer), and (all pejorative connotations suspended) fairly conventional approaches at that, the basic figure/ground duality became salient. It provided a way to allocate voices, to key up conceptual and material dynamics, and to create a framework wherein the parts can variously add up to a larger narrative. Theatricality was mentioned as a possible effect, with figure/ground being the allegorical foil, and (love ‘em or leave ‘em) dialectical relationship being exploited pretty much everywhere.
5. Which would you rather have, five eyeballs or five hands? (Fully functioning of course)
Dave: I’d like four completely demure clones of myself to do all the work that neither only five hands nor eyes could afford.
THIS FRIDAY MAY 21 PUT YOUR HANDS TOGETHER FOR MR. BILL ABDALE
OPENING RECEPTION 7 - 10 PM
THE LATEST:
HERE NOW!
THIS SATURDAY MAY 15th 7 - 10PM
E. Swann presents SUPERNATURE PT. 1
A collection of small works dedicated to the investigation of man's relationship to nature as tension between the finite human body and the Absolute.
THE INDUSTRIOUS REVOLUTION
Almost overnight our world was transformed by the emergence of flat technology and 2.0 media. In “the industrious revolution” the artist uses the gallery as a reflective space for the viewer to slow down and experience an alternative tactile world- one meant for our senses. The work is a meditation on the process of production removed from technology. The artist creates an environment with her own hands and a home sewing machine, relying on time honored crafting methods that are both labor and time intensive.
We are invited to stay a while and make our selves at home.
THIS BELTANE JOIN US FOR: THE BIG BELL #4 RELEASE PARTY
TWO PART READING SERIES
Thursday 7 - 10pm*John Coletti
* Matvei Yankelevich
*Ashley Powers
*Jay Riggio
Saturday 7 - 10pm
*Anne-E. Wood
*Evan Rehill
*Leigh Gallagher
*Ryan-Daniel Healy
We will be throwing a release party for the brand new edition of Big Bell - with 200 handmade artist edition covers - edited by Jay Morris, along with a display of small press editions.
THIS SUNDAY THE 28TH OF MARCH WE ARE PLEASED TO ANNOUNCE OUR MONTHLY SMALL PRESS/READING SERIES
Bring your records, posters, zines, editions, small press books, and other ephemera for our monthly book swap/sale.
Starring special guest readers:
Jay Riggio
Mary Austin Speaker
and Kendra Urdang
Sunday March 28th 5 - 8pm.
Readers begin at 6:30
** SUNDAY MARCH 21ST
CELEBRATE THE EQUINOX WITH E. SWANN'S TAROT HEALING SUNDAYS
Join Eliza for a special tarot healing Sunday from 6pm - 10pm, which will include the joint creation of an intention candle as a special Equinox gift. LET US GATHER TOGETHER IN THE EQUAL NIGHT
Please e-mail us at suncityprojectspace@gmail.com to make an appointment.
SATURDAY MARCH 6TH 2010
Come experience a night of Levitation of the Sun! Christian Toscano will be debuting her recent work on paper along with a limited edition album. The works on paper combine elements of collage, painting, embroidery and photo transfer. These pieces investigate reflections of the cosmos through pattern and a person's connection to them.
"With a sun disk in my ear I focused on all the internal sounds from beyond the sun disk. After visualizing the five flames spinning from the center, it opened and I past through this portal of light. Beyond the sun disk- a celestial wind. I carried this wind in my left ear where all the personality of myself resided. I went beyond the solar disk and drank in the solar light through my heart. There existed the ring of energy, the ring of love."
The album by Christian & Adam is the product of them harnessing and interacting with atmospheric sounds. These improvisational soundscapes are the product of being attuned to each other in combination with the sounds that always surround. With an emphasis on the use of vocals, harmonium, bells, guitar, flutes and vocals they aim to change your concept of time through experience in the moment.
Sunday Feb. 28th 7pm - 10pm
Tarot Healing and herbal tea with Eliza Swann
Followed by a screening of Red Sonja at 10:30pm
