1. Cauleen Smith on "Crow Requiem" at UVP

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    SPECULATIONS: https://www.facebook.com/events/1406489519659747/ Crows are well known for their mythological reputation as tricksters and harbingers of death, but less for the reality that they are creatures of remarkable intelligence who lead complex social lives. Smith became fascinated by these misunderstood animals when she noticed the massive flock of crows roosting outside her bedroom window during her artist residency at Light Work. She learned that the native population of crows circulates between Syracuse and nearby Auburn, NY; and that this migration is partly in response to harassment and, at times, state-sanctioned violence at the hands of a human population who view them as a nuisance. Smith interweaves the figure of the crow through the histories of these two cities, both of which were key stations on the Underground Railroad and innovators in early cinematic and 3D optical technologies. “Crow Requiem” connects this history to recent and ongoing violence against people of color at the hands of the state. Shot on location in Central New York, and featuring selections from Onondaga Historical Association’s extensive archive of 19th century stereoscopic images. From the artist: “A Speculation: Humans are estranged from our origins. We left the commonwealth of Animals and declared ourselves the custodians of that dominion. And now We are Man; and all else is Other. Our knowledge of ourselves is a fog that consumes us. We cannot see past it, because we do not want to look into it. There are more than two points of view, but the fog makes it difficult to see. This is a sad song, a blues song, an elegy for the past sphere of consciousness we abandoned in favor of eating our own young.” About the Artist Cauleen Smith’s interdisciplinary practice merges improvisational music, speculative fiction, African-American history, and processional forms to create temporal and spatial ruptures that make room for new affinities, empathies, and consciousnesses. Smith’s films, objects, and installations have been featured in group exhibitions at the Studio Museum of Harlem, NY; Houston Contemporary Art Museum, TX; the Blanton Museum of Art, Austin, TX; San Diego Museum of Contemporary Art, CA; D21 Leipzig, Germany; Yerba Buena Center for Arts, CA; and the New Museum, NY. She has had solo shows at The Kitchen in New York City, MCA Chicago and Threewalls in Chicago; and Women & Their Work in Austin, TX. Her work has also been featured in such high profile festivals as Sundance and screened twice by demand at the prestigious Robert Flaherty Film Seminar Exhibition. In 1999, she was selected as one of Ten Directors to Watch by “Variety” magazine. Smith is the recipient of several grants and awards including a Creative Capital grant, the Rockefeller Media Arts Award, Chicago 3Arts Grant, and the Foundation for Contemporary Arts. Smith earned an MFA from the University of California, Los Angeles. She currently lives in Chicago while teaching at the Vermont College of Fine Art low-residency MFA program. More information: www.cauleensmith.com

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    • Insights: Jeannette Ehlers on "Black Bullets" at UVP

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      For more information on Jeannette Ehlers' exhibition at Urban Video Project (UVP), go to: http://www.urbanvideoproject.com/?p=2550 Or look for UVP on Facebook at: https://www.facebook.com/urbanvideoproject Jeannette Ehlers discussed her work as part of a panel talk following the screening of Black Radical Imagination II, curated by Erin Christovale & Amir Geogre, held at Community Folk Art Center in partnership with UVP in Syracuse, NY on Feb. 10, 2015. This event was held in conjunction with the exhibition of "Black Bullets" at Urban Video Project from Feb. 10 - March 28, 2015. This video features short excerpts of Ehlers' discussing her work and footage of "Black Bullets" projected onto the facade of the Everson Museum of Art in Syracuse, NY by Urban Video Project. This exhibition is part of "Celestial Naviagation: a year into the afro future", a year long program of exhibitions and events at UVP and partner organizations that takes afrofuturism as its point of departure. ABOUT THE WORK Jeannette Ehlers’ haunting piece “Black Bullets” is inspired by the Haitian Revolution of 1791, which resulted in the world’s first black republic. Filmed on location at La Citadelle in Haiti, the piece is a tribute to the act of revolt. PORTRAIT PHOTO CREDIT: Matthew Pevear Insights Video Edit: Neven Lochhead for Urban Video Project

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      • Jeannette Ehlers at UVP: Black Bullets

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        For more information on Jeannette Ehlers' exhibition at Urban Video Project, go to: http://www.urbanvideoproject.com/?p=2550 Or look for UVP on Facebook at: facebook.com/urbanvideoproject Urban Video Project (UVP) and parent organization Light Work are pleased to announce the exhibition of “Black Bullets” (2012) by Danish artist Jeannette Ehlers from February 10 – March 28, 2015 as an architectural projection on the north facade of the Everson Museum of Art. In conjunction with the exhibition, UVP, in collaboration with Community Folk Art Center, hosted a screening of "Black Radical Imagination" on Feb. 10, 2015, which included both "Black Bullets" and "Black Magic in the White House", both by Ehlers, among several other pieces. Following the screening, Ehlers joined in a panel talk with Black Radical Imagination curators, Erin Christovale and Amir George, and fellow participating artists, Ephraim Asili and Lewis Vaughn. Ehlers was able to join us through the generous support of the Danish Consulate. For more information, and to view the full line-up, go to: http://www.urbanvideoproject.com/?p=2517/ This exhibition is presented as part of “Celestial Navigation: a year into the afro future”, a year-long program of exhibitions and events at Urban Video Project and partner organizations that takes afrofuturism as its point of departure. ABOUT THE WORK Jeannette Ehlers’ haunting piece “Black Bullets” is inspired by the Haitian Revolution of 1791, which resulted in the world’s first black republic. Filmed on location at La Citadelle in Haiti, the piece is a tribute to the act of revolt. ABOUT THE ARTIST Jeannette Ehlers is based in Copenhagen, Denmark. A 2006 graduate of The Royal Danish Academy of Fine Arts, Ehlers’ works revolve around the Danish slave trade in the colonial era. She is of Danish and Trinidadian parentage. For more information on Jeannette Ehlers, go to: www.jeannetteehlers.dk

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        • Xaviera Simmons at UVP: Number Sixteen

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          TRT: 1:13:00 2013 Light Work and Urban Video Project (UVP) are pleased to present "Accumulations" and "Number Sixteen", concurrent exhibitions featuring the work of Xaviera Simmons, whose multidisciplinary artistic practice includes photography, sculpture, installation, sound art, video, and performance. "Number Sixteen" will be on view at UVP Everson from January 15 through January 31, and "Accumulations" will be on view at Light Work from January 12 through March 5, 2015. Simmons’ multidisciplinary work explores the sculptural and performative through a photographic lens. Simmons contextualizes her practice through her theatrical background, stating, “Great actors understand themselves. My work is about what brings me joy and breaks my heart.” "Number Sixteen" is an hour-long, unedited video documenting a performance produced without an audience that engages endurance, abstraction and the energies beneath abstraction. In the video, a vocalist and performer work together in a studio space. The video’s audience becomes witness to a layered convergence: materials and texts, script and chance, sound and image, time and space, the body and its limits. Like the photographic and sculptural works in "Accumulations", "Number Sixteen" reveals a complex network of accumulated inspirations, cultural allusions and visceral histories. For more information about "Accumulations", go to: http://www.lightwork.org/archive/xaviera-simmons-accumulations/ For more information about Urban Video Project, go to: urbanvideoproject.com Or, look for us on Facebook at: https://www.facebook.com/urbanvideoproject And follow us on Twitter at: https://twitter.com/syracuseuvp

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          • Xaviera Simmons: Accumulations

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            January 12 – March 5, 2015 Kathleen O. Ellis Gallery and UVP Everson Artist Talk: Tuesday, January 27, 6:30pm Reception: Wednesday, January 28, 5-7pm Light Work and Urban Video Project are proud to present Accumulations and Number Sixteen, concurrent exhibitions featuring the work of multidisciplinary artist Xaviera Simmons.The works within these exhibitions present an artist working with— and through— formal languages of performance, video, sculpture, photography, and social and art histories. Accumulations presents a group of photographs from Simmons’s Index/ Composition series. At first glance, the images emerge as a series of complex and abstract sculptural collages. Closer inspection reveals something else: textiles pulled taught over what appears to be a torso, with a barrage of objects hanging from the body. Fabric, a cache of photographic texture and imagery, feathers, palm fronds and other diverse materials tumble across the center of each photograph—composing an explosion referent to the sculptural within the photographic. Accumulations works to both obscure and define the formal qualities of photography by using elements of sculpture, assemblage, chance, and other methods to produce the works. Number Sixteen is an hour-long, unedited video documenting a performance produced without an audience which engages endurance, abstraction, and the energies beneath abstraction. In the video, a vocalist and performer work together in a studio space. The video’s audience becomes witness to a layered convergence: materials and texts, script and chance, sound and image, time and space, the body and its limits. Like the photographic and sculptural works in Accumulations, Number Sixteen reveals a complex network of accumulated inspirations, cultural allusions, and visceral histories. http://lg.ht/XavieraSimmons — Xaviera Simmons received her BFA from Bard College in 2004 after spending two years on a walking pilgrimage retracing the Trans Atlantic Slave Trade with Buddhist Monks. She completed the Whitney Museum’s Independent Study Program in Studio Art in 2005 while simultaneously completing a two-year actor-training conservatory with The Maggie Flanigan Studio. Simmons has exhibited nationally and internationally. Major exhibitions and performances include The Museum of Modern Art, NYC; MoMA PS1, NYC; The Studio Museum In Harlem, NYC; The Contemporary Arts Museum Houston, Houston, TX; The Public Art Fund, NYC; David Castillo Gallery, Miami, FL; among many others. Her works are in major museum and private collections including Deutsche Bank, UBS, The Guggenheim Museum, The Agnes Gund Art Collection, The Museum of Contemporary Art Chicago, The Studio Museum in Harlem, MOCA Miami, and The Perez Art Museum, Miami. http://davidcastillogallery.com/xaviera-simmons — Special thanks to Marcia Duprat http://marciaduprat.com Light Work http://lightwork.org Urban Video Project http://urbanvideoproject.com

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            • Insights: Sanford Biggers on "Shuffle & Shake" at UVP

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              For more information on Sanford Biggers' exhibition at Urban Video Project, go to: urbanvideoproject.com/?p=2364 Or look for UVP on Facebook at: https://www.facebook.com/urbanvideoproject Sanford Biggers gave an artist talk followed by a reception at UVP Everson on Nov. 11, 2014 in conjunction with the exhibition of his works "Shuffle" (2009) and "Shake" (2011) at Urban Video Project (UVP) from Nov. 6 - Dec. 27, 2014. This video features short excerpts of that talk and footage of the videos projected onto the facade of the Everson Museum of Art in Syracuse, NY by Urban Video Project. This exhibition is part of "Celestial Naviagation: a year into the afro future", a year long program of exhibitions and events at UVP and partner organizations that takes afrofuturism as its point of departure. ABOUT THE WORK "Shuffle" and "Shake" form the first two parts of Sanford Biggers' Odyssean trilogy about the formation and dissolution of identity. Both works feature the electric presence of Ricardo Camillo -a Brazil-born, Germany-based choreographer, stuntman, clown and DJ. "Shuffle" explores how we matriculate through society, often masking our insecurities, pain, longing, and the internal schizophrenia of the id. The original soundtrack is composed from the artist's field recordings made in Indonesia. In "Shake," the second video of the trilogy, Camillo walks from the favelas (or shantytowns) of Brazil, to the ocean before finally transforming into an androgynous silver-skinned figure. Biggers' imagery and narrative simultaneously reference Greek mythology and the quintessential afrofutrist aesthetics of Parliament Funkadelic. Insights Video Edit: Neven Lochhead for Urban Video Project

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              • Insights: Ann Hamilton on "table" at UVP

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                For more information on Ann Hamilton's exhibition at Urban Video Project, go to: http://www.urbanvideoproject.com/?p=2016 Or look for UVP on Facebook at: https://www.facebook.com/urbanvideoproject Ann Hamilton gave an artist talk followed by a reception at UVP Everson on April 8, 2014 in conjunction with the world premiere of her piece "table" at Urban Video Project (UVP) from April 8 - May 31, 2014. This video features short excerpts of that talk and footage of the videos projected onto the facade of the Everson Museum of Art in Syracuse, NY by Urban Video Project. ABOUT THE WORK Can the weight in the touch of a percussionist’s hand be visualized? How can a recording reveal the many subtle actions that bring forth musical virtuosity? What is the space between hearing and seeing, and how do we—the viewer-hearers—occupy this space? Inspired by the variety shows of his youth, composer David Lang envisioned a nearly impossible synchronization of two percussionists when he originally wrote the composition, “Table of Contents”. After seeing a performance in 2011 by percussionists Susan Powell and Joseph Kryger, who were the first to perform the work as Lang originally envisioned, Hamilton imagined attaching an array of low-resolution mini surveillance cameras to the hands of the percussionists and instruments. In the resulting video piece, Hamilton’s table, the cameras occupy the gap between hearing and seeing, and the edit generates a counter rhythm, a back-and-forth that brings us intimately into “impossible” virtuosity. CREDITS: Music composed by David Lang Musicians: Pendulum Percussion Duo (Susan Powell and Joseph Krygier) Editing: Jason Mulhausen and Daniel Shellenbarger Sound Engineer : Mark Rubinstein Insights Video Edit: Neven Lochhead for Urban Video Project

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                • Sanford Biggers at UVP: Shuffle & Shake

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                  Sanford Biggers will give an artist talk followed by a reception at UVP Everson on Nov. 11, 2014. For more information, join the Facebook event: https://www.facebook.com/events/527058360770901/ Biggers' talk is held in conjunction with the exhibition of his works "Shuffle" (2009) and "Shake" (2011) at Urban Video Project (UVP) from Nov. 6 - Dec. 27, 2014. This exhibition is part of "Celestial Naviagation: a year into the afro future", a year long program of exhibitions and events at UVP and partner organizations that takes afrofuturism as its point of departure. For more information on the exhibition at Urban Video Project, go to: http://www.urbanvideoproject.com/?p=2364 ABOUT THE WORK "Shuffle" and "Shake" form the first two parts of Sanford Biggers' Odyssean trilogy about the formation and dissolution of identity. Both works feature the electric presence of Ricardo Camillo -a Brazil-born, Germany-based choreographer, stuntman, clown and DJ. "Shuffle" explores how we matriculate through society, often masking our insecurities, pain, longing, and the internal schizophrenia of the id. The original soundtrack is composed from the artist's field recordings made in Indonesia. In "Shake," the second video of the trilogy, Camillo walks from the favelas (or shantytowns) of Brazil, to the ocean before finally transforming into an androgynous silver-skinned figure. Biggers' imagery and narrative simultaneously reference Greek mythology and the quintessential afrofutrist aesthetics of Parliament Funkadelic. Promo Video Edit: Neven Lochhead for Urban Video Project

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                  • Insights: Isaac Julien on "Western Union: Small Boats (The Leopard)" at UVP

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                    Some excerpts from Isaac Julien's UVP artist talk on Oct. 3, 2014 and documentation from the exhibition of his work, "Western Union: Small Boats (The Leopard)" projected by Urban Video Project (UVP) onto the Everson Museum of Art from Sept. 11 - Oct. 25, 2014. ABOUT THE WORK “WESTERN UNION: Small Boats (The Leopard)” concerns journeys made across the seas of the Mediterranean by so-called “clandestines” who leave Libya, escaping wars and famines. They can be seen as economic migrant workers, along with certain Europeans—“Angels” in Walter Benjamin’s terms—who bear witness to modernity’s failed hopes and dreams, and who now travel across oceanic spaces some never to arrive or return. This exhibition is part of "Celestial Naviagation: a year into the afro future", a year long program of exhibitions and events at UVP and partner organizations that takes afrofuturism as its point of departure. For more information on the exhibition at Urban Video Project, go to: urbanvideoproject.com/?p=2307

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                    • Isaac Julien at UVP: "Western Union: Small Boats (The Leopard)"

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                      Isaac Julien will give an artist talk followed by a reception at UVP Everson on Oct. 3, 2014. For more information, join the Facebook event: http://on.fb.me/1romyJp Julien't talk is held in conjunction with the exhibition of his work, "Western Union: Small Boats (The Leopard)" at Urban Video Project (UVP) from Sept. 11 - Oct. 25, 2014. This exhibition is part of "Celestial Naviagation: a year into the afro future", a year long program of exhibitions and events at UVP and partner organizations that takes afrofuturism as its point of departure. For more information on the exhibition at Urban Video Project, go to: http://www.urbanvideoproject.com/?p=2307 ABOUT THE WORK “WESTERN UNION: Small Boats (The Leopard)” concerns journeys made across the seas of the Mediterranean by so-called “clandestines” who leave Libya, escaping wars and famines. They can be seen as economic migrant workers, along with certain Europeans—“Angels” in Walter Benjamin’s terms—who bear witness to modernity’s failed hopes and dreams, and who now travel across oceanic spaces some never to arrive or return.

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