All posts tagged Paul D’Agostino

Norte Maar, Cage Transmitted, John Cage, Bushwick

Norte Maar in collaboration with Experiments in Art and Technology (E.A.T.) announces the final Cage Transmitted Event celebrating an ambitious year of programming around the life, work and influence of John Cage in this the artist’s centennial year.

The event also coincides with the last day of the Mayan Calendar, which is supposed to bring about the end of the world.

In this final event we’ll be having a huge party at one of Bushwick’s coolest art houses, English Kills! We’re inviting artists, historians, and performers who participated in the Transmitted series throughout the year to join us once again (and possibly for the last time) in one single spontaneous 45 min theatrical event. Poets will read, dancers will dance, artists will create on spot and musicians will too. This event is a fundraiser to balance Norte Maar’s books … before it’s too late!

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It is hard to believe that Norte Maar’s original ballet The Brodmann Areas has finished its final run at the Center For Performance Research. With a cross-genre, multi-media collaborative approach to developing the original ballet – and its accompanying visual and audio components – the countdown to opening was highlighted in the advance press:

Bushwick Daily featured a preview that included a conversation with choreographer Julia Gleich, which can be found here. Joined by director Jason Andrew, as well as the Brodmann‘s crew of dancers, Gleich also spoke with WNYU’s CityWide arts and culture program. CityWide stopped by during the last day of rehearsal to get the details on what host Lucas Green calls “a particularly visceral collaborative product.” For audio, please click here.

Norte Maar thanks all who attended, and appreciates the overwhelmingly positive reviews of the project. As ARTINFO‘s Benjamin Sutton commented after attending opening night, “the resulting brain (and eye) candy forms a wildly varied but consistently nourishing whole that manages to integrate contemporary ballet, classical and modern (and postmodern) music, visual and performing art wonderfully.”

Critic James Panero of The New Criterion also found plenty to ponder in this brainy performance. His review of Brodmann Areas in the May Issue of the publication offers a comparison with last years ballet:

“With visual artists, sound artists, and dancers all coming together, last year was something of a celebratory free-for-all, a sprawling jam session with one guitar hero after the next compounding the awesomeness until your thoughts turned to the line at the Porta-John. “Brodmann,” in contrast, took on the subject of cognition and didn’t dance around the big thoughts. Tight, far more spare than a year before, the performance brought the dance up front while still collaborating with Bushwick artists such as Paul D’Agostino, who created rapid projections out of his triptych cardboard collages. This time Ryan Anthony Francis, as musical director, also arranged a score to link the various parts into a coherent theme.”

Panero ends with a nod to the collaboration between director/choreographer Julia Gleich and neural scientist Denis Pelli on peripheral vision. Panero’s complete review can be found here. For Panero’s review from last year’s production,  In the Use of Others for the Change click here.

The Brodmann Areascomplete program, including more information about the artists and performers involved, can be found here.

With only a week until opening night, people are already talking about Norte Maar’s original ballet The Brodmann Areas.  “You can’t go wrong with so many brilliant artists working together,” says our director Jason Andrew, as quoted by reporter Aaron Short in his preview for The Brooklyn Paper

The Brodmann Areas, choreographed by our president Julia Gleich, thinks conceptually the gaps and synapses that define the 52 areas designating the regions of the cerebral cortex of the brain. Conjuring a cross-disciplinary vision as Norte Maar continually pursues, Brodmann combines the work of not only a team of dancers, but the visual artsits on set and costumes design. In his piece for The L Magazine, “This Is Your Brain on Dance,” Paul D’Agostino asks, “sounds like a mindful mind-full, no?”

The Brodmann Areas runs April 12 through 15, at the Center for Performance Research, 361 Manhattan Avenue 11211. TICKETS still available.

Norte Maar is thrilled to announce our spring ballet, a new collaborative project entitle The Brodmann Areas, choreographed by our president Julia K. Gleich. With the help of artists Paul D’AgostinoAudra Wolowiec, and Margo Wolowiec, the work presents a movement based exploration of dives the gaps and synapses that define the 52 areas designating the regions of the cerebral cortex of the brain. For the evenings of April 12, 13 and 14, as well as the afternoon of April 15, Norte Maar will take over the Center for Performance Research

A portion of Brodmann will premiere at this Monday at Norte Maar’s first ever benefit event, hosted by Mitchell-Innes & Nash. In the following weeks, the team of dancers developing this new ballet will on continue to work towards the April premiere. Read more=>

PURCHASE TICKETS

 

Pocket Utopia Returns!

Artist Austin Thomas, whose sketchbook is currently on display at Norte Maar, recently relaunched her exhibition space Pocket Utopia. “Pocket Utopia has long been a matter of resourcefulness and recycling, reenvisioning and reappropriation, ever an endeavor to make and remake and not waste—and always with variant notions of space and place,” writes Paul D’Agostino in a preview for The L Magazine. After a two year hiatus, Pocket Utopia has reinvented itself anew: last with a successful and well attended one night show of Donald Steele’s photographs housed in a new location on the Lower East Side.

Pocket Utopia will officially reopen on April 29th with the exhibition, in collaboration with C. G. Boerner, Portraits of Artists: 18th Century French Engravings.

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(image via Hyperallergic.com)

Norte Maar has been a proud member and facilitator, uniting artists and defining the creative neighborhood of Bushwick. Last Thursday The Bogart Salon hosted the first of what was announced to be a series of panels discussing the Bushwick art scene. Hosted by Peter Hopkins of Bogart Salon and moderated by Hrag Vartanian of Hyperallergic, guests panelists include Deborah Brown, artist and owner of StorefrontBushwick gallery, Thomas Burr Dodd, owner of Brooklyn Fireproof, culture writer Carolina A. Miranda of C-Monster fame and Marco Antonini, the gallery director of Nurture Art.

L Magazine in reporting on the panel quoted Norte Maar Director Jason Andrew:

How, then, to preserve this community in the midst of such rapid and widespread change? “If you want a cautionary tale,” [William] Powhida said, “Pierogi (in Williamsburg) is a place that has stayed true; it wasn’t washed away in the tide of money.” Jason Andrew, who runs the arts organization and gallery Norte Maar in his apartment, concurred with this sentiment about staying true to a scene’s origins. He warned: “The one thing that kills Bushwick is organization [...] What keeps Bushwick interesting is the spontaneity.”

Art critic James Panero of The New Criterion commented from the audience that he hoped to see the continuation and preservation of the apartment gallery community. Speaking of apartment galleries, Paul D’Agostino of Centotto had the most poignant comment of the evening stating, “I’ve heard it said that ‘history doesn’t repeat itself, but it rhymes,’ and I think that’s relevant here.”

As the neighborhood continues to change, Norte Maar will continue to do what it does for as long as it can with spontaneity and collaboration at it’s heart!

For additional reports on the panel follow the links below:

L Magazine / “Bushwick Confronts Itself in Panel on Art Scene’s Future,” by Benjamin Sutton

Hyperallergic / “Reports from Last Night’s Bushwick Panel,” by Hrag Vartanian

artnet.com / “Bigfoot in Bushwick,” by Rachel Corbett

bushwickdaily.com / “Confronting Bushwick 2.0,” by Katarina Hybenova

Left Bank Art Blog / “Panel on the Bushwick Art Scene,” by Charles Kessler

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