Mariana Valencia, ALBUM
Document Series #1
6 x 8.25 in.
80 pp., b/w and color illustrations
Edition of 400
Printed in Michigan
Mariana Valencia’s solo performance ALBUM assembles song, text, and dance into a multifaceted album that draws from choreographic methodology, personal narrative, herstorical and intergenerational kinship, and popular culture. The first title in Wendy’s Subway’s Document Series, ALBUM expands on Valencia’s performance to include her spoken script in its entirety alongside choreographic descriptions and new annotations, original song lyrics, diagrams, drawings, and visual representation. Navigating childhood memory, mourning, framily, and vampires through factual, humorous, and grave observations, Valencia archives and performs a self herstory as an album in image and song.
The Document Series highlights the work of performance- and dance-makers in printed form.
Mariana Valencia is a dance artist based in Brooklyn, New York. Her work has been presented at Danspace Project, Roulette, the Center for Performance Research, The New Museum, The Women and Performance Journal, the Portland Institute for Contemporary Art, the Hirshhorn Museum and Sculpture Garden, and AUNTS. Internationally, her work has been presented in Serbia and Macedonia. As a performer, Valencia has worked with Lydia Okrent, Jules Gimbrone, Elizabeth Orr, Kate Brandt, AK Burns, Em Rooney, robbinschilds, Kim Brandt, Fia Backstrom and MPA. Valencia is a Bessie Award recipient for Outstanding Breakout Choreographer (2018), a Foundation for Contemporary Arts Award to Artists grant recipient (2018), a Jerome Travel and Study Grant fellow (2014-15), a Yellow House Fund of the Tides Foundation grant recipient (2010-13) and a Movement Research GPS/Global Practice Sharing artist (2016/17). She is a founding member of the No Total reading group (2012-2015) and she has been the co-editor of Movement Research’s Critical Correspondence (2016-17). Valencia has held residencies at Chez Bushwick (2013), New York Live Arts Studio Series (2013-14), ISSUE Project Room (2015), Brooklyn Arts Exchange (2016-18) and the Portland Institute for Contemporary Art (2018). Valencia holds a BA from Hampshire College in Amherst, MA (2006) with a concentration in dance and ethnography.
Sara Magenheimer, Beige Pursuit
Document Series #2
152 pp, 4 5/8 x 7 in, 6 color plates
Designed by Joseph Logan and Brian Hochberger
Printed in Michigan
Edition of 500
A character called X journeys through a present that is neither here nor there, but feels oddly proximate. She moves through landscapes of words, ever-shifting to host the groundless present, a place and time driven by her motivated, yet contextless pursuit. Narrative is always under construction. The preferred medium for X’s peregrinations: a sentence, as capacious as a three-second video, a ten-year nap, or an unexplored hard drive. In this suspended world, X’s sensorium is curious and alert, but also anguished, hesitant, and precarious: she feels around for sympathetic energies and familiar faces along the way. Along what way? A book like a body might be a room for waiting, a machine for memory, a sensuous thing, an image quickly glimpsed, a performance still ongoing...
You can change your rhythm in order not to panic I learned from Beige Pursuit, a marvel of a book that fuses and transforms various overlapping wildernesses—that of the body subject to transformation, that of the anxiety of our current shared predicaments & the ways that anxiety is fueled to deaden response, & that of the imagination, prone to serious irreverent examination, having to constantly move within its own unfolding in words. X, pregnant, and our guide, is told by talking peonies describing the intimacy gradient that she can’t enter her own home, & so it goes—it being the ordinary blasted bureaucratic temperament of the present. A present Sara Magenheimer illuminates by amplifying and grounding its absurdities in the daily chaotic filters of refusal and admission. —Anselm Berrigan
Is X pure data? There is mention of her bossy body, but is that body the whole wide world? The cosmos? The singularity? X is a mother, newly, but more pressingly, X is a blinking cursor; the promise of a word. X might be predictive text, but she herself is unpredictable. Is X atmosphere or algorithm? What’s the big diff? Are you my (biological) father, the peonies might ask the mushroom cap, whose answer could be, “Oh.” Rosemarie Waldrop has lunch in the ether with Lewis Carroll then meets Renee Gladman on a shopping mall escalator to dish. I trust this lysergic logic, shimmering through our present din. —Corrine Fitzpatrick
Working across a range of media including video, sound, performance, sculpture, collage, and installation, New York-based artist Sara Magenheimer disrupts, manipulates, and defamiliarizes language with bold combinations of image and text. Her videos incorporate traditional filmic editing techniques alongside those inspired by music and collage. In syncopated progressions of pictures and words, Magenheimer pushes against the bounds of narrative, charting circuitous storylines through vernacular associations that invite individual interpretations. Recent solo exhibitions include The New Museum, New York (2018), Portland Institute for Contemporary Art, Portland, OR (2017); The Kitchen, New York (2017); Chapter NY (2017): Art in General in partnership with kim?, Riga, Latvia (2016); the Center for Ongoing Research & Projects (COR&P), Columbus, OH (2016); JOAN, Los Angeles (2015); and Recess, New York (2015). Her videos have been screened at the Flaherty Seminar (2019), International Film Festival Rotterdam (2018), Brooklyn Academy of Music (2017); the New York Film Festival (2017, 2015, 2014); Images Festival, Toronto (2018, 2017, 2016, 2015); Anthology Film Archives, New York (2016); EMPAC, Troy, NY (2016); and the Museum of Contemporary Art Chicago (2015).
Matty Davis and Ben Gould, Carriage
Document Series #3
160 pp., 4.25 x 7 inches, 98 b/w illustrations
Edited and designed by Studio Ayham Ghraowi with Matt Wolff
Co-Published with the Miller ICA at Carnegie Mellon University, Pittsburgh, PA
Printed at Graphius, Belgium
Edition of 300
Carriage is a site-responsive performance by Matty Davis and Ben Gould that radically explores control and empathy. Informed by evolving senses of the body, from injury to trauma, healing, and growth, the work draws from the variance of Davis and Gould’s distinct physicalities to develop a shared language of movement. In this language, empathy is a physical tool, resistance offers stability, and a space is created in which everything is leveled, bringing real fear, awakening, and responsibility.
Created in collaboration with designers Ayham Ghraowi and Matt Wolff, this publication includes writing, photographs, and drawings to evoke the urgent physical and interpersonal landscape of Carriage. The artists bear witness to themselves and to each other as they undergo a wide range of physical and emotional dynamics that navigate trust, need, difficulty, and joy. The temporal and spatial experience of Carriage is resituated on the page, as are Davis and Gould's voices, which build off of each other, overlap, and merge as first person singular and plural meet. Their voices are joined by reflections from audience members who attended Carriage in its various locations— aboard a moving vessel on the Chicago River, in a limestone cave network in Kansas City—which offer insight into the viewers’ own bodies and unique physical and psychological spaces. As these voices combine and accumulate, a broader portrait emerges, not only of a performance, but of the intricacies of human vulnerability, challenge, and care.
Carriage is co-published with the Miller ICA at Carnegie Mellon University in Pittsburgh, PA on the occasion of the exhibition This Skin of Ours, curated by Liz Park (October 12﹣November 17, 2019).
Carriage has been workshopped at Judson Church, the Watermill Center, the Edward F. Albee Foundation, the Philadelphia School, and Queenslab. It was supported through a Space Grant from Queenslab, a residency at Kickstarter’s Headquarters, and was the recipient of a Foundation for Contemporary Arts Emergency Grant. It has been presented by the Palais de Tokyo, Paris; Human Resources, Los Angeles; The Chicago Cultural Center; Creative Growth, Los Angeles; and Queenslab, New York; as well as at a former military battery, in a limestone cave network, and aboard a moving vessel on the Chicago River.
Matty Davis is an artist and choreographer from Pittsburgh. Often collaborative, his projects begin with movement, mining and cultivating the body’s resources. For Davis, empathy, trust, and coordination are key improvisational tools in the navigation of unpredictable relationships and undertakings. His work has been presented at the Art Institute of Chicago; the Museum of Contemporary Art, Chicago; the Palais de Tokyo, Paris; Max Ernst Museum, Brühl, Germany; Printed Matter, New York; Pioneer Works, Brooklyn, NY; Steppenwolf Theater, Chicago; and the 92nd St. Y, New York, among others. In 2016, Davis was awarded a Visual Arts Fellowship by the Edward F. Albee Foundation and nominated by Robert Wilson to present his work at the Arts Arena in Paris, France. In 2019, he was named “1 of 25 Artists to Watch” by Dance Magazine.
Ben Gould is an artist currently based in New York City. Grounded in performance, his multidisciplinary practice is built upon collaboration, intimacy, and urgency, cultivated by a deep interest in how energy is directed, rerouted, transformed, and transferred. After developing Tourette Syndrome in 2015, Gould’s studio practice has come to harbor a growing investment in the body—exploring limits, resistance, and the loss of control. With this condition as a generative force, Gould considers the syndrome as material and motor for movement-based performance. He was a 2015 Ox-Bow Fellow, and has been an artist-in-residence at Queenslab, Kickstarter Headquarters, Lightbox Detroit, and the Haystack Mountain School of Crafts.
About Miller ICA
Miller ICA is Carnegie Mellon University's contemporary art institute providing transformative experiences with contemporary art through exhibitions, conversations, and exchange in a free and open public space.
Morgan Bassichis, The Odd Years
Document Series #4
128 pp, 7.5 x 12 inches, 104 color plates
Designed by Brian Hochberger
Printed by KOPA, Lithuania
Edition of 500
About The Odd Years
Every Monday in 2017 and 2019, comedic performance artist Morgan Bassichis created a to-do list. The Odd Years is a collection of those lists, which served both as a way to generate material for live performances and as a place to archive the logistical, emotional, and political business that just kept piling up throughout this two-year project. A record of routine and impossible tasks—some completed and others left unfinished—The Odd Years is one response to the oddness of times in which intensified crisis becomes ordinary.
About Morgan Bassichis
Morgan Bassichis is a comedian and musician living in New York City. Morgan’s performances include “Nibbling the Hand that Feeds Me” (Whitney Museum, New York 2019), “Klezmer for Beginners” (Abrons Arts Center, New York, 2019), “More Protest Songs!” (Danspace Project, New York, 2018), and “The Faggots & Their Friends Between Revolutions: The Musical (New Museum, New York, 2017). Morgan was featured in the 2019 Whitney Biennial and the 2015 Greater New York at MoMA PS1, and has presented work at the Brooklyn Museum, Hirshhorn Museum (Washington D.C.), and the Portland Institute of Contemporary Art. Morgan has released two albums, March is for Marches, a collaboration with Ethan Philbrick, published by Triple Canopy in 2019, and More Protest Songs!, a live album recording at St. Mark’s Church in 2018. Morgan’s writing has appeared in Artforum, Captive Genders, and in Nightboat Books’ 2019 reprint of The Faggots & Their Friends Between Revolutions. Morgan has received support from the Lower Manhattan Cultural Council, the Robert Rauschenberg Foundation, and Art Matters, and attended Brown University.