Artist Organized Art Non-Profit Works With Artists & Institutions To Support Artist Organized Media, Events & Cultural Education By Strategic, Collaborative & Financial Means

Poet Walk; The Dove
Jessica Higgins at Casa De La Mujer

Poet Walk; The Dove. Jessica Higgins, 2004. Casa De La Mujer, Solo exhibition, main space. Zaragoza Spain, May, 2004. Inaugural performance and installation for Cambio Constante V. Artist organized by Arte En Orbita.

Artist: Jessica Higgins, Room installation, Performance, Video. Collaboration: Video piece produced by film maker George Souladze

Jessica Higgins brings us Poet Walk; The Dove an intermedia performance and installation derived from Poet Walk, an on-going work which spacializes the metrics of verse, in this case Haiku.

The viewer encounters suspended branches framing a forest of hanging text particles derived from original haiku works. As we move through the space, new texts randomly assemble themselves before us. The traditional five seven five metrics of Haiku are mapped to triangular zones of poem-space. Ms. Higgins performs with two large piece of cloth as wings moving through particles of texts.

A video work by Jessica Higgins and produced by film maker George Souladze, is projected showing Ms. Higgins moving within a web of tangled Haiku texts. The two have previously collaborated on several video pieces for major festivals and art venues. Black lines and pieces of words are deconstructed into new forms against recorded natural sound. This message of peace expresses how another world becomes possible and leaves behind the finishing touches to her installation. source: Arte En Orbita, Cambio Constante V

*21st CENTURY WORLD PREMIERE*

CabAreT VolTAirE

on its 88th rebirthday! — February 7, 2004 5:00pm

Performed at Cabaret Voltaire – Arts Center, 358 Main Street Poughkeepsie, NY 12601

Founded And Directed by Artist: Sukran Aziz

Organized by Sukran Aziz and Fuat Yalin

Opening February 7, 2004

Participants to the Event:

Joshua Selman Fuat Yalin Cigdem Tankut Alan Scarrit Riva Rischner Susan Quasha George Quasha Matt Pzorsky Jeff Perkins Franc Palaia Ilhan Mimaroglu Julia Mclaughlin Buzz McCall Gabriel Ariel Levicky Elke Lehmann Richard Lanham Alison Knowles James Byron Cathey Krystina Borkowska Sukran Aziz Kathleen Anderson Jessica Higgins

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Well done!!!!!!!!!

This past time I was in Utrecht, Holland to make a fluxus concert and
another concert for Amsterdam. It is very healthy to look at younger
artists doing these event scores, and then with enthusiasm galore, they start to make up their own pieces. The hit of the student show was ” Switchin’ Sweaters”. The piece rolled beautifully and finally the whole audience had changed sweaters with someone else. Actually I liked the one I had appropriated better than the one I arrived in! There were many fine pieces that evening organized by the artists and performed by the audience with some assistance from the Fluxus performance troupe.
A few days ago Larry Miller did a Fluxus show in Cambidge, Mass. This was called” Do It Yourself Fluxus.” The show was very simply a marathon of fluxus activities, one day and some of a night. Walking into the gallery people were eating, sweeping, pouring water into buckets, hanging violins from the rafters to catch the daylight, things like that, but they kept at it all day. When people entered the gallery they proceeded through rustling papers by myself, a labrinth by Larry Miller modeled after the one in Berlin designed by George Maciunas, food was felt with gloves on, hats were available with Ben Vautier ideas in white on black, things like that.

The other things to mention for the month of October as it melts into the past, is the Work Ethic show at the Baltimore Museum of Art. The proposition here was to have other people make the art works, or become artworks. Irwin Wurm presented clothing with extra legs and arms that one could put on in the museum, Sol Lewitt had his works presented that had been done by others following his plan, Gabriel Orozco presented an office overgrown like a jungle. Even hand made snowballs were shown from an exhibition of snowballs on 2nd avenue.Hugh Pocock drilled for water in the musuem garden and after serveral days accomplished this to everyone’s delight. I made a salad for a great many people tossing it with a canoe padel and stirring it up in a rubbermaid vat with yummy organic greens served up with Mozart on either side of the event: My hope was to have it perceived as music rather than visual art. It was a great day. Now I am resting. Artists organizing then producing and presenting is alot of work. There is no question that we have to be in charge of the whole proceedure with some help from our friends. Art institutions are helpful from time to
time. However, the responsibility for action rests on you know who!

War driven mongers I will not become you beckening you into outer spheric multitudes. WARing WARing into dust of intellectual properties gone off course to some insomniacs room full of dread and bread and butter. 600 horse power machine walking blindly to the sun of ancient civilizations not caring or daring to see their point of view. Someone somewhere talk to me. Tell me unsung thoughts of unmarried youth devouring history like a flower’s sweet smell at dawn. Come before me. Don’t scare me at night with unknown blasts of misunderstanding.

MORE AND MORE I FEEL THAT THE TIME HAS ARRIVED TO ESTABLISH A POLITICAL PARTY WHICH CAN BE CALLED ARTIST ORGANIZED ART. BEFORE WE FOCUS ON ART ISSUES WE WOULD HAVE TO START A GRASS ROOTS MOVEMENT TO REMOVE A DANGEROUS GROUP OF PEOPLE WHO MANAGED TO GET TO THE WHITE HOUSE.

*21st CENTURY WORLD PREMIERE*

Dick Higgins

The Thousand Symphonies, 1968

Performed at Rutgers University on October 4, 2003

Conducted by Philip Corner

Organized by Artists Geoffrey Hendricks and Philip Corner

“So that’s what artist organized music can sound like…”

“I’ve never heard anything like this played here…”

• Stalin would have hated its meaning
• Wagner would have been jealous of its process
• Wourinen would have denounced the composer
• Bush would have sent the terror alerts to code red
• Hollywood would have classified the event as an obscenity
• McCarthy would have blacklisted the entire audience
• Senator Helmes would have put Rutgers University under a permanent embargo
• The Guggenheim would have preferred a symphony by Armani
• Deutsche Gramophone would have re-melted all of the work’s warehoused recordings
• The surrealists would have commodified the piece under their trademark
• The Police would have screamed bloody murder
• Cage would have asked for at least a second chance
• Bard College would have slept through it

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These two dozen roses are reserved for The Thousand Symphonies, 1968 by Dick Higgins

THAI PROJECT

“Last month I attended the “Overseas International Workshop” In Bangkok Thailand. The project brought together 4 Thai artists with 4 overseas artists with the intention of creating bonds between artists of diverse cultures but overlapping visions/work practises. as with many AOE’s it was as much about dialogue, kinship and shared experience as it was about discrete objects and their display.

This project was not strictly speaking an “artist organised event”, as it was funded by Silpakorn University, but in the absence of a central curatorial direction it did turn into one! Interesting to see how issues which would in the traditionally structured art event be resolved by the curator were resolved by the artists. My project was a collaborative work with renown Thai artist Kamol Phaosavardi, we spent 2 weeks excavating roots around trees in the garden and then used the clay to remodel root networks in the gallery space. To take a look at the work, go to: www.richardthomas.com.au/roots.htm Kamol and I were fortunate to have the very capable presence of New York based curator Karen Lim, who initially invited me to the show and became a defacto co-ordinator. We also had 3 wonderful assistants who dedicated themselves to the project for the duration. As has been my experience in previous AOE’s such as Construction in Process (I co-ordinated ‘Construction in Process (The Bridge)’ in 1998 and Cambio Constante, the artists in this project quickly formed empathy and repoire -a sense of being a small provisional community.

To attend projects such as this periodically reaffirms our strength and creativity as artists. The sense that we are part of a global brother and sisterhood is the great gift of such events, and allows us to return home renewed and refreshed and able to continue despite the mundanity and possibly isolation of our daily lives.

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