The Mini Micro Cinema
1329 Main St, Cincinnati, OH, 45202
Tuesday April 23. Doors are at 7, screening 7:30.
Rachel Rampleman presents Hyper-muscularity & Femininity on Film; A Screening of Media Portrayals of Women Bodybuilders from the 1980s and 1990s aka The Most Awesome Female Muscle Celebration In The World. This program takes the latter part of its title from an event by the same name held in NYC in 1995, which showcased top-name women bodybuilders of that time displaying their physiques by doing different individually choreographed performances (as warriors, queens, pop stars) - as opposed to the normal mandated posing routines they performed for professional competitions. This selection of obscure and riveting clips was culled from Women's Physique World's extensive documentary archive of 80s-90s women's bodybuilding competitions and post-competition interviews (as well as curious staged encounters with the women in hotel rooms wearing only wigs, bikinis, and pumps - and clips from the afore mentioned 1995 NYC celebration), and the movie Pumping Iron II: The Women, a 1985 "documentary" about female bodybuilding which focuses on several women as they prepare for and compete in the 1983 Caesars World Cup, and addresses the (still ongoing in 2019) argument of how much muscle is too much muscle when it comes to judging professional women bodybuilders - which has never been an issue in the men's competitions.
Curated by Peter Clough
Organized by Re: Art Show (Erin Davis / Max C Lee)
630 Flushing Ave, Brooklyn, NY, 11206
September 22 - October 21, 2018
Erin Davis / Max C Lee are pleased to announce The Unspeakable, the twenty-third iteration of Re: Art Show, curated by Peter Clough. The Unspeakable is a large group show in a defunct portion of the former Pfizer Pharmaceutical factory in Bedstuy, Brooklyn, opening on September 22. The space is wild and strange, and not at all like a traditional gallery. Old industrial equipment has been left behind, disused debris scattered across the floor, in a labyrinthine layout of strange rooms and spaces. Works are installed inside industrial freezers, mounted directly to stainless steel mixing vats, and projected inside disused sanitation booths. The show is presented in total darkness, and viewers are invited to explore this massive exhibition by way of flashlight.
The Unspeakable features works by more than 40 artists focusing on taboo, transgression, desire, and the body—and on experiences of the body that fall outside our collective capacity for communication, comprehension, and language. These topics are linked closely to our current political moment and the works that emerge here are urgent, angry, gooey, messy, divulgent, sexy, and maybe a little embarrassing. Durational performance is a focus, as strange creatures carry out their obsessive fantasies in this dark and brooding space. Sound, smell, video, sculpture, installation, drawing, painting, and photography are all included as well.
In Samuel R. Delany’s incredible On the Unspeakable, a theory text set in a porn theater written as a mobius strip, Delany characterizes the unspeakable like this: “[It] is always in the column you are not reading. At any given moment it is what is on the opposite side of the Mobius text at the spot your own eyes are fixed on. The unspeakable is mobile; it flows; it is displaced as much by language and experience as it is by desire.” The artworks in The Unspeakable function according to this logic: they flow; they “recede before us as a limit of mists, and vapor.”
The Unspeakable is the twenty-third iteration of Re: Art Show, an ever-evolving, recurrent, curatorial project spearheaded by Erin Davis and Max C Lee. Roving within sections of the former Pfizer Pharmaceutical factory in Brooklyn, Re: Art Show brings together an abnormally wide breadth of artists in an abnormal environment. Existing mostly outside of established art institutions and embracing a DIY aesthetic, this space can be a platform to present works that might not be possible to present within mainstream museums and galleries. DIY is a form of resistance to dominant norms and conventions. Through the embrace of chance, ad-hoc adaptation, and experimental collaboration (both with the environment and the artists themselves), each iteration acts as a fluid network of ideas whose connections are, at once, coincidental and directed. For every iteration, another Re: is added to the show’s title.
VAN EVERY / SMITH GALLERIES AT DAVIDSON COLLEGE
INAUGURAL VIDEO WALL EXHIBITION PROJECT
Davidson College, E. Craig Wall, Jr. Academic Center
325 Concord Road, Davidson, North Carolina, 28036
September 15, 2018 through October 31, 2019
Over the next year, the large scale (approximately 9 feet tall x 16 feet wide) video wall at the E. Craig Wall, Jr. Academic Center will present my piece "Bodybuilder Vignettes", selected by a jury panel including members of the Art Collection Advisory Committee and Davidson College faculty and staff. The Van Every / Smith Galleries play a fundamental role in the life of Davidson College. The Galleries provide a challenging forum for the presentation, interpretation, and discussion of primarily contemporary artworks in all media for students and members of the Davidson community, as well as for national and international visitors to the campus. An ongoing series of exhibitions and lectures by visiting artists and scholars nurture individual thinking, develop visual literacy, and inspire a lifelong commitment to the arts. Video wall: The Galleries manage a video wall comprised of 16 screens at the E. Craig Wall Jr. Academic Center, showing the work of professional artists at this hub for transdisciplinary learning on the campus of Davidson College.
NO TIME FOR UTOPIA
Curated by Jan Van Woensel
Zbrojnická 7 vchod přes kavárnu Emily Plzeň,326 00 Plzeň, Czechia
August 29, 2018
The international group exhibition NO TIME FOR UTOPIA brought together art & music video, animation film and documentary work that each in their own way relates to the absence, failure or collapse of the utopian concept. While most of the selected art works resonated feelings of irreversible loss and post-apocalyptic grief, the undercurrents in other videos downheartedly carried ideas of escapism, nostalgia and hope.
By Ekin Erkan
Published in ÆQAI August 26th, 2018
Excerpt only below, to read the full review,
please click here: Link to full article
... Rachel Rampleman’s “Bodybuilder Vignettes” (2016) and “Red Room Studies” (2017) operatively conciliate auteurism with theory. Both works are ten-channel video installations displayed on a tower of kindle tablets. “Bodybuilder Vignettes” showcases female bodybuilders while “Red Room Studies” contends burlesque performers. As with “Dancing Backwards in High Heels” (2017) and “Times Square” (2016), the multimedia artist continues to mend acerbic video art that challenges gender stereotypes and femme identity via documentary-viewership. However, these two works also contemplate the hypnotic poetry of voyeurism, a theme less recognized by commentators. As the oiled bodybuilders flex their muscle groups, turning away from the camera, they divide space and format a dance, belying traditional signification systems. Similarly, the burlesque performers coyly reveal illuminated body parts while blanketed by the illustrious reflective hues of crimson curtains and reflective satin garments.
A closed and surface level reading might underscore Rampleman’s obvious feminist considerations – she aestheticizes, extols, and celebrates non-conforming female bodies; these bodies deconstruct gender and, hence, the male gaze. However, such readings simplistically identify Rampleman’s work with her case studies, as critics have lauded her “subjects…often exuberantly bold and irrepressible female/femme personalities who revel in challenging outdated expressions of identity” (Seda-Reeder) and the “marginalized populations who take on a powerful stance repossessing language” (Albury). This is a reductive disservice to Rampleman’s operational faculties and her camera/editing choices. Rampleman’s camera posits viewers as inherent voyeurs, inviting existential qualms, therewith.
In Being and Nothingness, Jean-Paul Sartre describes the story of a man who gazes through a keyhole, absorbed by the scene (56). Sartre’s voyeur, immersed in the pleasure of looking, is suddenly startled by a sound – a nearby and unidentifiable clammer in the hallway or the rustle of leaves; suddenly, the voyeur believes he (too) is being watched. Sartre posits that the sound makes the voyeur aware of his own voyeur-ship and that it is precisely this realization—that someone else has been looking at him—which allows him to enter into Being. As Sartre identifies human relations by this battle of voyeur-ship and concealment, Rampleman’s cinematic lens allots us the perturbed poetry of prying. In both works, it appears as if the spectators are not aware of their voyeurs: although the bodybuilders are performing poses, their backs are often turned away from the spectator and the burlesque performers never make eye contact with the camera. The videos are devoid of audience or sound. Requisite and compact, Rampleman’s Kindles serve as voyeur-windows to observe spectacle, replete with the meditative pleasure of observing the performers’ dancerly loops. There subsists an uncanny peaceful quality to Rampleman’s works, as the screens are looking-glasses.
Rampleman’s “moment of interruption” (read: Sartre’s voyeur as he hears the hallway clammer) is sly and comic – a product of Rampleman’s sculptural concerns. Her towering stack of ten kindles – or ten keyholes – before an appropriated open ballroom space fit with art installations’ functions as a constant reminder that we are not alone when engaging in the spectator/spectacle relationship. Furthermore, the sinuous, impenetrable snake pit of coils below the tablet towers adds an affective tinge to Rampleman’s multi-channel video piece, disruptively inviting tangible dimensionality within the relatively enshrined and quiet privilege of video-viewership. Rampleman’s pieces are keen and clever, carefully balancing theory with personal aesthetics.
1225 Elm Street, Cincinnati, OH, 45202
July 27 - August 24, 2018
Video Art by Cynthia Greig, Rachel Rampleman, Alan Rath
Organized by Michael Solway
Carl Solway Gallery’s director Michael Solway organized the first installation of video art and kinetic sculptures at Cincinnati’s newly and ornately restored Memorial Hall ballrooms. The intermedia exhibition, titled Body Language, featured a myriad of carnal moving images and works by Detroit artist Cynthia Greig and Cincinnati natives Rachel Rampleman and Alan Rath. The experiential and observational new media installations, shown in seamless conjunction, featured aural soundscapes of droning electronic melancholia with video projections and moving sculptures. Patrons were provided with glimpses into each artist’s thematic take on framing the human body with digital referents. Greig invited “visual mistakes” into the ballroom halls, exploring the nuances between phenomenology and perception, drawing on the artist’s background in photography and print-media alongside art historical surveys. While Greig’s wall-sized projections set the foreground for Body Language, Rampleman’s multi-channel vignettes and layered subject-studies of femme personalities boldly negotiated activism with voyeurism. Alan Rath’s biomechanical kinetic sculptures fragmented the human body in computer-animated still images, thus linking theoretical considerations (read: commodity fetishism and organizational control).
ALTERED VIEWS: EXPERIENCING
THE CONTEMPORARY LANDSCAPE
LEXINGTON ART LEAGUE AT THE LOUDOUN HOUSE
209 Castlewood Drive, Lexington, KY 40505
June 25 - July 27, 2018
SINGLE CHANNEL: VIDEO ART FESTIVAL
ANTHOLOGY FILM ARCHIVES
Anthology Film Archives
32 2nd Avenue
New York, NY 10003
May 12 - 13, 2018
A NON-ZERO-SUM GAME: SPORTS, ART AND THE MOVING IMAGE AT OTHER CINEMA
AT ARTISTS' TELEVISION ACCESS
992 Valencia St, San Francisco, CA 94110
March 3, 2018
The newest issue of Incite Journal of Experimental Media launches with a series of events in San Francisco - including screenings, exhibitions, and discussions at Kadist, YBCA, Adobe Books, and Other Cinema. The 344-page double-issue examines the intersections of sports, politics, popular culture, experimental media, and performance in the context of residual and contemporary media practices – the first volume of its kind. Contributors include 41 up-and-coming and established artists, writers, critics, scholars, historians, and athletes.
INCITE: Journal of Experimental Media
Editors: Astria Suparak and Brett Kashmere
Layout and Design: Stripe SF / Jon Sueda
Incite Journal of Experimental Media is an artist-run publication dedicated to the culture, community, and discourse of experimental video, film, and new media. Since 2008, INCITE has produced yearly thematic print issues containing artists’ writings, interviews, original artwork, manifestos, scholarly articles, and photo and comics dossiers; as well as an online interview series, artist multiples, a DVD compilation, and public events.
Other Cinema is a long-standing bastion of experimental film, video, and performance in San Francisco's Mission District. Curating legendary programs at Artists' Televison Access for 25 years!
20/92 VIDEO FESTIVAL
ICEBOX PROJECT SPACE AT CRANE ARTS
400 N American Street, Philadelphia, PA 19122
March 9, 2018
The 20/92 Video Festival was a rare opportunity to exhibit my work in a contemporary gallery environment, at unique scale and format. The Icebox Project Space is one of the largest exhibition spaces in the city at nearly 3,500 sq.ft. and has a dedicated projection system which allows for a continuous image to be cast upon its eastern and northern walls, at a maximum size of 20’ x 92’ with a resolution of 3646 x 768. Submissions were juried by Icebox directors Timothy Belknap and Ryan McCartney.
PAUL ROBESON GALLERIES
350 Martin Luther King Jr Boulevard
Newark, NJ, 07102
February 15 - March 28, 2018
Each year Women In Media – Newark presents a thematic exhibition of works by visual artists that coincides with their annual film festival. This year’s theme is Women in Transition. On view at the Paul Robeson Campus Center Gallery from February 15 to March 28, Transitions features work from 20 artists in a range of media, curated by Adrienne Wheeler and Gladys Grauer. The exhibition attempts to examine the ways in which transitions or the state of transitioning impacts the works of women artists. These transitions are inclusive of, but not limited to gender identity transition, transition to motherhood, transition in aging, transition in work, transition through loss, transition in grief, transition in death.
SHOESTRING PRESS ART GALLERY
633 Classon Ave, Brooklyn, NY 11238
February 16 - March 16, 2018
(Still) Life presents work that draws on the many ways in which the stillness of the photographic image can bring the viewer into contemplation of a frozen moment of life. Whether through the traditional vocabulary of the still life as a reflection on mortality, the documentary impulse to make life hold still for the eye, or the essential message that we are still here, still alive, the wider senses of the still life are deeply embedded in the practice of photography. For (Still) Life, Shoestring Press showcases photographs that explore the many ways in which the photograph works to hold life’s ceaseless motion still for the eye.
HARD: SUBVERSIVE REPRESENTATION
UNIVERSITY HALL GALLERY
UNIVERSITY OF MASSACHUSETTS BOSTON
100 Morrissey Blvd.
Boston, MA 02125
January 22 - April 19, 2018
Curated by Samuel Toabe
HARD is a group exhibition that brings together artworks from self-identified female artists who take different approaches to representing female subjects, often through subversive frameworks. With artworks spanning 1923–2018, it argues that Contemporary, Post-Modernist, Modernist, and Feminist artistic approaches have and continue to expand the dynamism of the feminine image, pushing beyond stereotypical, reductive, and unrealistic visions of women.
This exhibition contextualizes artists from Boston within a cast of national and international artists of the past and present. Artworks focus on gender politics, identity, and intersectional feminism through figurative and abstract representations. Complex and compelling images and sculptures present depictions of transgender, cisgender, and non-gender normative female subjects to expand upon our view of the female experience.