[img]http://www.exitart.org/Resist.Colonization_7852_small.jpg[/img]
[b]September 20 – November 22, 2008
Opening Reception: Saturday September 20, 2008, 7-10 pm[/b]
[b]
January 23 – March 8, 2009
Miller Gallery at Carnegie Mellon University, Pittsburgh, PA[/b]
NEW YORK -- In [i]Signs of Change: Social Movement Cultures 1960s to Now[/i] hundreds of posters,
photographs, moving images, audio clips, and ephemera bring to life over forty years of activism,
political protest, and campaigns for social justice. Curated by Dara Greenwald and Josh MacPhee as
part of Exit Art’s Curatorial Incubator Program, this important and timely exhibition surveys
the creative work of dozens of international social movements.
Organized thematically, the exhibition presents the creative outpourings of social movements, such
as those for civil rights and black power in the United States; democracy in China; anti-apartheid
in Africa; squatting in Europe; environmental activism and women's rights internationally; and the
global AIDS crisis, as well as uprisings and protests, such as those for indigenous control of
lands; against airport construction in Japan; and for social change in France. The exhibition also
explores the development of powerful counter-cultures that evolve beyond traditional politics and
create distinct aesthetics, life-styles, and social organizations.
Although histories of political groups and counter-cultures have been written, and political and
activist shows have been held, this exhibition is a groundbreaking attempt to chronicle the
artistic and cultural production of these movements. [i]Signs of Change[/i] offers a chance to see
relatively unknown or rarely seen works, and is intended to not only provide a historical framework
for contemporary activism, but also to serve as an inspiration for the present and the future.
During the exhibition, there will be ongoing screen printing workshops with guest artists and
activists in collaboration with the Lower East Side Printshop as well as the following programs and
events.
[u][b]WEEKLY SCREENING SERIES[/b][/u]
(schedule and program is subject to change)
Tuesday, Wednesday, Thursday at 3:30 pm
Friday and Saturday at 5:30 pm
[b]WEEK ONE: September 23 – 27 [/b]
Newe Segobia is Not for Sale: The Struggle for Western Shoshone Land (1993)
The Land Belongs to Those Who Work It / La tierra es de quien la trabaja (2005)
To Walk Naked (1995)
Break and Enter (1970)
[b]
WEEK TWO: September 30 – October 4[/b]
Stronger than Before (1983)
Carry Greenham Home (1984)
[b]WEEK THREE: October 7 – 11[/b]
Korea: Until Day Break (Excerpt from ...will be televised) (1990)
Un Poquito de Tanta Verdad / A Little Bit of So Much Truth (2008)
[b]WEEK FOUR: October 14 – 18[/b]
What the Fuck Are These Red Squares? (1970)
The Columbia University Divestment Struggle: Paper Tiger at
Mandela Hall (1985)
Standing with Palestine (2004)
[b]WEEK FIVE: October 21– 25[/b]
Films TBA.
[b]WEEK SIX: October 28 – November 1[/b]
Five Days for Peace (1973)
Indonesia: Art, Activism, Rock ‘n’ Roll (2002)
People’s Park (1969)
[b]WEEK SEVEN: November 4 – 8[/b]
Excerpt from Lanesville Overview I
Be a DIVA (1990)
I the Film (2006)
[b]WEEK EIGHT: November 11 – 15[/b]
Films TBA.
[b]WEEK NINE: November 18 – 22[/b]
A Very Big Train Called the Other Campaign / Un tren muy grande que se llama: La Otra
Campaña (2006)
Crowd Bites Wolf (2001)
Fourth World War (2003)
SCREEN PRINTING WORKSHOPS
In collaboration with the Lower East Side Printshop the exhibition will feature ongoing screen
printing workshops with guest artists and activists. Check www.exitart.org for schedule and
participating artists.
ELECTION NIGHT AT EXIT ART Save the date November 4, 2008. Please check www.exitart.org for more
details.
[b][u]SPECIAL PROGRAMS[/u]
SATURDAY, September 20, 7-10 pm[/b]: Opening Reception
with live screen printing and ice cream from the Tactical Ice Cream Unit
[b]TWO-PANEL SYMPOSIUM
THURSDAY, September 25[/b]: Signs of Change Symposium
6 pm: Producing and Distributing Social Movement Culture
Panelists include: Yustoni Volunteero/Taring Padi Collective (Indonesia), illcommonz (Japan),
Favianna Rodriguez/Tumis Design (Oakland, CA) and others TBA. Moderated by Gregory Sholette,
Assistant Professor Queens College Department of Art, Co-Founder PAD/D & REPOhistory/New
York.
8 pm: Assessing the History and Future of Social Movement Culture:
A Critical Analysis
Panelists include: Sasha Roseneil/Professor of Sociology and Social Theory, Director, Birkbeck
Institute for Social Research, Birbeck, University of London (UK), Sandy Kaltenborn/image-shift
berlin (Germany), and others TBA. Moderated by Kazembe Balagun, Brecht Forum/blogger:
blackmanwithalibrary.com (New York, NY).
[b]COLUMBUS DAY WEEKEND
Saturday, OCTOBER 11 to Monday, OCTOBER 13:
[/b]Weekend of Screenings and Discussion, co-sponsored by 16beaver group
The Signs of Change Weekend of Screenings and Discussion brings together films and videos from the
past 40 years that raise questions about what it means to participate in both cultural production
and political action. Discussions will follow each screening. Curated in collaboration with Benj
Gerdes and Paige Sarlin of 16beaver group.
SATURDAY, October 11 at Exit Art
4 pm: Finally Got the News (1970, 16mm, League of Revolutionary Black Workers).
7:30 pm: Narita: The Peasants of the Second Fortress (Sanrizuka: Dainitoride no hitobito) (1971,
B&W, 143 min., 16 mm, Ogawa Pro).
In Japanese with English subtitles.
Introduced by Sabu Kohso, Japan-born writer and activist, and Barbara Hammer, filmmaker.
In 1966, the Japanese government seized land and farms to build a larger airport near Narita. Local
peasants, framers and activists created a powerful resistance movement, delayed construction for
years, and disrupted the building process and airport's opening. Although the government prevailed,
for many in Japan, the Narita revolt is remembered as a heroic moment. This absorbing and rare
documentary film chronicles this story. $5 at the door.
Screening co-sponsored by Asian/Pacific/American Institute and Tisch Department of Photography
& Imaging at NYU in conjunction with The Uses of 1968: Legacies of Art and Activism Symposium
and 1968: Then and Now Exhibition.
SUNDAY, October 12 at 16beaver group
12 pm – 9 pm; $5 – $10 donation
Featuring Diva TV (1989); Queen Mother Moore Speech at Green Haven Prison (1971); Winter Soldier
(1972); Winter Soldier: Iraq and Afghanistan (2008); Stronger Than Before (1983); Fourth World War
(2003) and others TBA. Discussions to follow.
MONDAY, October 13 at 16beaver group
12 pm – 9 pm; $5 – $10 donation
Featuring Happy Anniversary San Francisco, March 20-21 (2003); What the Fuck Are These Red Squares?
(1970); U.S. Premiere of Five Days for Peace (1973); Crowd Bites Wolf (2001); A Very Big Train
Called the Other Campaign (2006); U.S. Premiere of What Would It Mean to Win? (2008); Kanehsatake:
270 Years of Resistance (1993); and others TBA. Discussions to follow.
For more information on the programs at 16Beaver, please visit www.16beavergroup.org or call
212-480-2093. 16beaver group is located at 16 Beaver Street, Fourth Floor, New York City.
[b]FRIDAY, October 24, 6–8 pm[/b]:
Premiere screening of newly subtitled short films and footage of the 1960s Dutch Provo movement,
and book release of Richard Kempton’s Provo: Amsterdam’s Anarchist Revolt (in
collaboration with Autonomedia Press).
[u][b]LENDERS[/b][/u]
All Of Us Or None (AOUON) Archive; American Friends’ Service Committee; Archivo Arnulfo
Aquino; Athénée Français Cultural Center; Autonomedia; Beehive Design
Collective; Benton Gallery at University of Connecticut; Big Noise Films; Fabrizio Billi/Archivio
Storico della Nuova Sinistra Marco Pezzi; Boston Women’s Video Collective; Boyd; Bread &
Puppet Theatre; Breakdown Press; Bristle Magazine; Bullfrog Films; Kevin Caplicki; Center for the
Study of Political Graphics (CSPG); Chiapas Media Project; CIRA (Japan); Tony Credland/Cactus
Network; Cultureshop.org; Lincoln Cushing; Chicago Women’s Liberation Union Herstory Project;
Tano D’Amico; Mariarosa Dalla Costa; Deep Dish TV; Jesse Drew; El Fantasma de Heredia;
Escuela Mártires del 68 and Sublevarte Colectivo; Tracy Fitz; Freedom Archives; William
Gambetta/Centro Studi Movimenti; David Goodman; HKS 13; Ilka Hartmann; Chris Hill and Bob Devine;
Hoover Institution Archives; R. Howze; Roger Hutchinson; Ilaria La Fata/Centro Studi Movimenti;
illcommonz; International Institute for Social History (IISH); image-shift berlin; Indymedia
Brazil; Inkworks; Institute for Applied Autonomy; Interference Archive; Iraq Veterans Against the
War; Irregular Rhythm Asylum; It's All Lies; Magdalena Jitrik; John Jordan; Kartemquin Film
Collective; Judi Kelemen; Last Gasp; John Law; Jessica Lawless; Lesbian Herstory Educational
Foundation, Inc.; The Linen Hall Library; Raphael Lyon; Matthew Meyers; Marcom Projects; Middle
East Division of Harvard’s Weiner Library; National Gallery of Australia, Parkes Place; NATO
Arts; Neue Slowenische Kunst (NSK); Katie Orlinsky; Political Art Documentation/Distribution
(PAD/D) Archives at the Museum of Modern Art; Panopticon Gallery of Photography; Paper Tiger TV;
Mary Patten; Roger Peet; Darko Pokorn; Jill Posener; Endi Poskovic; Radio Zapatista; Oliver Ressler
and Zanny Begg; Bill Rolston; Rachael Romero; Sasha Roseneil; Roz Payne Archives; Leonel
Sagahón; Rafel Seguí i Serres; Joel Sheesley; Greg Sholette; South African History
Archive; Stanford University; David Tartakover; Third World Newsreel (www.twn.org); Eric
Triantafillou; Undercurrents; Nils Vest; Video Data Bank; Videofreex Partnership; Yustoni
Volunteero/Taring Padi Collective; Stacey Wakefield; Sue Williamson; Women’s Library; Women
Make Movies; and others. We sincerely apologize if we have neglected to include anyone on this
list. As of press time, and to the best of our knowledge, this is a complete list.
[u][b]COUNTRIES REPRESENTED[/b][/u]
Argentina, Australia, Austria, Bosnia, Brazil, Myanmar (formerly Burma), Canada, Chile, China,
Colombia, Croatia, Czech Republic (formerly Czechoslovakia), Denmark, El Salvador, France, Germany,
Greece, Indonesia, Iran, Israel, Italy, Japan, Mexico, Mozambique, Northern Ireland, Netherlands,
Nicaragua, Palestine, Poland, Portugal, Puerto Rico, Romania, Serbia, Slovenia, South Africa, South
Korea, Spain, Switzerland, United Kingdom, United States and others.
[b]
[u]ABOUT THE CURATORS[/b][/u]
Dara Greenwald is a media artist and PhD Candidate in the Electronic Art Department at Rensselaer
Polytechnic Institute. Her collaborative work often takes the form of video, writing, and cultural
organizing around themes of social movements. She worked at the Video Data Bank from 1998-2005 and
taught DIY exhibition at the School of the Art Institute of Chicago 2003-2005.
Josh MacPhee is an artist, curator and activist currently living in Brooklyn, New York. His work
often revolves around themes of radical politics, privatization and public space. His most recent
book is Reproduce & Revolt/Reproduce Y Rebélate (Soft Skull Press, 2008, co-edited with
Favianna Rodriguez). He also organizes the Celebrate People's History Poster Series and is part of
the political art cooperative Justseeds.org.
[u][b]EXHIBITION SUPPORT[/b][/u]
Signs of Change is supported by a major grant from the Andy Warhol Foundation for the Visual
Arts.
Additional support provided by the Museum program at the New York State Council on the Arts, a
State agency, and the Starry Night Fund at The Tides Foundation.
Public programs are supported by the New York City Department of Cultural Affairs. Material support
for the screen printing studio provided by the Lower East Side Printshop, New York. General
exhibition support provided by Bloomberg LP; Carnegie Corporation; Jerome Foundation;
Pollock-Krasner Foundation; Exit Art’s Board of Directors and our members. We gratefully
acknowledge public funding from the National Endowment for the Arts, New York City Council Speaker
Christine C. Quinn and New York State Senator Thomas K. Duane.
Sponsoring partners of Signs of Change are The Center for the Study of Political Graphics (CSPG) in
Los Angeles and the International Institute of Social History (IISH) in Amsterdam.
[u][b]CURATORIAL INCUBATOR[/b][/u]
The inaugural exhibition of Exit Art's Curatorial Incubator Program is Signs of Change: Social
Movement Cultures 1960s to Now, curated by Dara Greenwald and Josh MacPhee. The program expands
Exit Art's commitment to young and emerging curators and scholars in contemporary art, by giving
material, financial, and human resources to developing curatorial talent. Working with Exit Art
directors and staff, fellows curate large-scale exhibition projects, learn fundraising, develop
outreach and educational programs, and co-publish a catalogue. Access to Exit Art's acclaimed
archives facilitates these curatorial fellows' abilities to contextualize their projects within
international and historical frameworks. The second show of the Curatorial Incubator Program will
open in February 2008. Corpus Extremus, curated by artist Boryana Rossa, will present work by
artists who investigate the revolutionary changes taking place in technological and scientific
research. Curatorial Incubator Director: Mary Anne Staniszewski.
[u][b]ABOUT EXIT ART[/b][/u]
Exit Art is an independent vision of contemporary culture. We are prepared to react immediately to
important issues that affect our lives. We do experimental, historical and unique presentations of
aesthetic, social, political and environmental issues. We absorb cultural differences that become
prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 25 year old cultural
center in New York City founded by Directors Jeanette Ingberman and Papo Colo, that has grown from
a pioneering alternative art space, into a model artistic center for the 21st century committed to
supporting artists whose quality of work reflects the transformations of our culture. Exit Art is
internationally recognized for its unmatched spirit of inventiveness and consistent ability to
anticipate the newest trends in the culture. With a substantial reputation for curatorial
innovation and depth of programming in diverse media, Exit Art is always changing.
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