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The Project Room 2010


June - December


An exhibition program launched by Google NYC and The Project Room for New Media/CAM, from June 11 to December 31, 2010, to engage Googlers with the art world and promote creativity with digital technology. (Press release) Exhibitions and artist talks were held at Google headquarters, NYC.

The exhibition program was initiated at Google by Josh Mittleman, User Interface Software Engineer, and supported by the Google Community Affairs committee at Google NYC. Digital Art @Google NYC 2010 was curated by Nina Colosi, Curator of The Project Room for New Media at CAM and founder of the public art program, Streaming Museum.  Support for Digital Art @Google provided by the Google, Inc. Charitable Giving Fund of Tides Foundation

Ancient Stories with Modern Technology (October 28 - December 31) Artists: Chris Rainier, Paul D. Miller (aka DJ Spooky) and Andrew Senior.

Mark Amerika, Rachel Armstrong/Michael Simon Toon, Marc Barasch, Ed Bilous, etoy, Mitchell Joachim, Eduardo Kac, StudioIMC-Tunick/Elston/Schiller, Jack Toolin/C5, Marina Zurkow, Google UK, Clean Energy 2030, Andrew Senior/Cordero/Weston 

Data Poetics (June 11 - August 13) 

Artists: Scott Draves, R. Luke DuBois, Aaron Koblin, Mark Napier, W. Bradford Paley, Lincoln Schatz, John F. Simon, Jr., Thomson and Craighead, Martin Wattenberg and Fernanda Viegas 


PERFECT VIEW by Jack Toolin

Opening Reception: “Perfect View” by Jack Toolin / C5

August 5 – September 2, 2010

Artist Talk: August 26, 6-8pm 

Perfect View exposes sublime landscapes across the United States creating connections between diverse geographical regions and cultures through the use of new media technology, known as ‘geocaching’. 

Press Release

The Project Room for New Media at Chelsea Art Museum, Home of the Miotte Foundation, is pleased to announce an exhibition of experimental geography created by Jack Toolin/C5. Perfect View is part of the C5 Landscape Initiative, a suite of four projects that address the perception of landscape in light of GPS technology. The Perfect View exhibition will feature six large-scale triptychs, video documentation, expedition artifacts, and the interactive C5 GPS Media Player. 

Jack Toolin is an artist whose work spans new media. He been exhibited nationally and internationally at venues including the Whitney Museum of American Art, New York (2002 Whitney Biennial); San Francisco Camerawork; The Walker Art Center, Minneapolis; and Foxy Production, New York City. He is a Visiting Assistant Professor at Pratt Institute and an adjunct professor at the Polytechnic Institute at NYU. 

Perfect View is a project initiated in a request made to those who participate in the growing activity of ‘geocaching’ (known as ‘geocachers’) to capture the beauty, serenity and sublime quality of selected landscapes around the United States ranging from riverbeds to rocky outcroppings. The process of geocaching includes placing ‘caches’ in hidden locations to record the latitude/longitude coordinates, which are publicized on the web and enabling others to seek out their positions. 

The triptychs documenting the sites consist of large-scale photographs, satellite imagery, and computer-generated renderings. These three technologies provide for distinctly different ways of representing topography, which insinuate the viewers experience and interpretation of the landscape. Video documentation presents interviews with three of the ‘geocachers’ who contributed sites to the project – their enthusiasm insights into both the communal aspect of the activity and the rewards of exploration. The C5 GPS Media Player presents some of the expedition routes – in the form of GPS tracklogs – from Perfect View as well as photographic and video documentation associated with them. 

Perfect View delves into our increasingly technological methods of exploring, evaluating, and sharing our experience of topography. While ostensibly about landscape imagery, Perfect View addresses parallels between technological and philosophical developments during the Enlightenment and modern technology. Not only does current technology enable multiple, simultaneous representations, it permits peer-to-peer sharing, linking vast geographic regions and cultural differences. Technology is often seen as antithetical to nature, Perfect View represents a respectably large community of users who engage with GPS technology precisely for the fascination of exploring little-known areas in the natural world.

The Project Room for New Media and Performing Arts at CAM is an incubator of new ideas, showcasing groundbreaking concepts in all art mediums, and the intersection of the arts through technology. Initiated in 2003 at Chelsea Art Museum by curator, Nina Colosi, over 350 international emerging and established artists have been presented in exhibitions, performing arts, symposiums, meet-the-artist programs, and workshops. Many of these artists are also exhibited in the innovative public art project, Streaming Museum.



LISA (Leaders in Software in Art) Salon in The Project Room For New Media


Thursday, August 12th at the Chelsea Art Museum RSVP: - please bring a fascinating friend!

Strict Timing: 6:00 - 7:00 – Wine, beer, soft drinks, hors d'oeuvres 7:00 Sharp - 8:00 – Presentations and discussion 8:00 - 10:00 – Gather informally nearby to continue the conversation.

Date: Thursday, August 12, 2010

Address: Chelsea Art Museum, 556 W 22nd St. at 11th Ave (West Side Hwy). Subway to 23rd St. (c/e is closest, 1 train is walkable, fv/rw are a little far)

Benton-C Bainbridge - Live visual performances with custom digital systems

Daniel Beunza - Leading expert on financial visualization, director of Columbia University’s Center for Organizational Innovation

Ursula Endlicher - Web Spider weaving physical networks out of virtual links

Jack Toolin - New media, digital imaging, and performance artist

Presenters: - Ursula Endlicher’s work resides on the intersection of Internet, performance and multi-media installation. Her focus lies in analyzing the social and structural components of the Web while translating its hidden architectures and languages - such as HTML - into choreography for performances, into layouts for visualizations, installations or objects, or into notation for music.

- Daniel Beunza obtained his Ph.D. from New York University and taught in Barcelona and at Columbia Business School in New York City before joining the London School of Economics as a lecturer in management. His work examines the ways in which social relations and technology shape value within Wall Street. As part of the 3-man collaborative Derivart, he examines concepts like floating, trading, rising, or crashing, and investigates variables like correlation, volatility, or liquidity.

- Benton-C Bainbridge makes movies, installations, and live visual performances with custom digital, analog and optical systems of his own design. He has performed in museums worldwide and co-founded several live video collectives and is known for pioneering VJing on tours across 5 continents, collaborating with scores of artists around the world. Currently, Benton-C Bainbridge is making slow motion video paintings and exhibiting in New York and Buenos Aires.

- Jack Toolin is an artist whose work spans new media installation, digital imaging, and performance. He works both independently and collaboratively and has been exhibited nationally and internationally at venues including the Whitney Museum of American Art, New York (2002 Whitney Biennial); San Francisco Camerawork; The Walker Art Center, Minneapolis, MN; the Museo Nacional de Bellas Arte, Buenos Aires,

Argentina; Foxy Production, New York City, and more.

Image above from the Landscape Initiative by Jack Toolin.

September's salon will be held Tuesday, September 14th at the Diapason

Gallery in Brooklyn.

Guest List: LISA is for scintillating people who make a living collecting, creating and/or discovering the best new art and/or software. If you know someone like this, please forward this note to them or give me their email. This is a private gathering, so please limit distribution.

Date: Thursday, July 8, 2010

Address: Chelsea Art Museum, 556 W 22nd St. at 11th Ave (West Side Hwy). Subway to 23rd St. (c/e is closest, 1 train is walkable, fv/rw are a little far)

Presenters: - Mark Napier has been commissioned to create net artwork for SFMOMA, the Whitney Museum, the Guggenheim, and more, and is represented by Bitforms. He combines his training as a painter with 15 years of expertise as a software developer to create “art interfaces”, software that addresses issues of authority, ownership and territory in the virtual world.,

- Paul Amitai is a visual and sound artist whose work has been presented internationally at venues such as Scope Art Fair (New York), Art Chicago, and Manchester Exchange Square (UK). He has performed electronic and improvisational music with the likes of Run-DMC and the Skatalites; is a curator of film, music, and art for venues like the Knitting Factory and Eyebeam; and has written about arts and culture for publications like Signal to Noise and The Onion.

- Marty St. James is a London-based artist who has concentrated on performance art, video and installation art (time based-media) and digital works since the 1980’s. He exhibits internationally and his work has been shown, among other places, in a one-man show at the National Contemporary Arts Centre in Moscow and alongside alongside major works by Picasso, Bacon, Warhol, Freud, and Warhol at the National Portrait Gallery in London.

- John F. Simon Jr. has been producing art professionally for nearly 20 years and has seen his work acquired by the Whitney, the Guggenheim, MoMA, SFMOMA, LACMA, and many others. He has exhibited internationally and is represented by the Gering and Lopez Gallery.

The main way that he shows his software art is through sculptural wall hangings with LCD screens he calls “art appliances” which he has made and sold since 1999.

The attached images are stills from Pam Standing by Mark Napier and the Invisible Man by Marty St. James.

Pam Standing by Mark Napier

Invisible Man by Marty St. James

Birthday Series

Schumann at 200: Three Perspectives

TUESDAY, JUN 22, 2010

New York Times review by Allan Kozinn

Argento inaugurates its Birthday Series with three perspectives on Robert Schumann at his 200th. Argento pianist Joanna Chao will perform Liszt’s stunning arrangements of two Schumann songs. In György Kurtág’s “Homage a R. Sch.,” music emerges from silence to a powerful climax as the imaginary Robert Schumann brings a small pantheon of characters in his circle back to life. Argento completes the concert with the premiere of Schumann’s Second Symphony in an 11-player chamber arrangement by Kimmy Szeto.


Robert Schumann - Widmung arr. Franz Liszt for solo piano Joanna Chao, piano Robert Schumann - Frühlingsnacht arr. Franz Liszt for solo piano Joanna Chao, piano György Kurtág - Hommage à R. Sch., op. 15d for clarinet, viola and piano Robert Schumann - Symphony No. 2 in C Major arr. Kimmy Szeto for chamber ensemble world premiere (1st/4th mvts); U.S. premiere (2nd/3rd mvts.)

Performing Arts at CAM is a highly acclaimed concert and dance performance series curated by Nina Colosi, featuring internationally renowned, as well as emerging, artists. In the spirit of Jean Miotte’s commitment to cultural exchange, Performing Arts at CAM presents a diverse range of genres and cultural traditions – classical and contemporary music concerts, sound art installations, dance and physical theater works by artists from around the world.

Fred Kirshnit, The New York Sun -  "Some of the most adventurous contemporary music is being performed downtown…at the Chelsea Art Museum.“  

Anthony Tommasini, New York Times - “At Chelsea Art Museum new music gets a setting to match…. There is something about hearing new music amid new paintings in a bright, airy and spacious contemporary art museum that fosters receptivity to both music and art.”  

Yamaha Disklavier is the official piano of Performing Arts at CAM. Tickets are $15 / $10 students and seniors / Free for CAM Members




May 26 at 7 pm

Dante Project Premiere Concert

Shiau-uen Ding, pianist

Miranda Cuckson, violinist

Franz Liszt - Après une Lecture de Dante - Fantasia quasi Sonata Christopher Bailey - To Those Who Would Crush My Will Michael Ippolito - Liszt It Is Mario Davidovsky - Duo Capriccioso (with violinist Miranda Cuckson) Bela Bartok - Sonata No. 2 (with violinist Miranda Cuckson)

The Dante Project was conceived in the fall of 2007, right after I graduated from Cincinnati College-Conservatory of Music. Two Californian composers wanted to embark on a joint project with me as a performer. A lengthy discussion ensued, and I eventually consulted one of my mentors, Dr. Joel Hoffman. He suggested a call-and-response for a piece that was significant to me. I immediately thought of Liszt’s Dante Sonata ; it was the piece that inspired me during a difficult time and helped me reach a breakthrough in my technique. I commissioned composers to write responses to this piece. This concert includes two of them. “ –Shiau-uen Ding

Shiau-uen Ding has been called a “daredevil” by the New York Times for her performance at Bang on a Can Marathon. A native of Taiwan, she has performed throughout the US, Asia and Europe, and is at home in traditional as well as contemporary music. For her Dante Project, she commissioned up-and-coming young composers to write responses to Franz Liszt’s Après une lecture de Dante, fantasia quasi una sonata, also known as the Dante Sonata.

In addition to the Dante Sonata, this premiere concert of the Dante Project features Christopher Bailey’s To Those Who Would Crush My Will, Keith Kirchoff’s Piano Sonata and Michael Ippolito’s Liszt It Is. In Bailey’s To Those Who Would Crush My Will, bits from the Dante Sonata are re-arranged, transposed and composed into something new. Kirchoff’s Piano Sonata is a set of variations on a theme derived from the Dante Sonata; each of the nine variations is divided into several micro-variations. Ippolito’s Liszt It Is is a collection of different scenes with characteristics from the Dante Sonata; the pianist hums and shouts as Ippolito imagines Liszt in the act of composing.

Shiau-uen Ding is joined by Miranda Cuckson, who has recently been praised as “fiercely gifted” by Time Out NY and as “a brilliant young performer who plays daunting contemporary music with insight, honesty, and temperament” by the New York Times. A native of New York City, she is a member of the Argento Chamber Ensemble, counter)induction, Sequitur, Lost Dog Ensemble, ACME, and her series Transit Circle. Cuckson and Ding will perform Béla Bartók’s Sonata for Violin and Piano No. 2 as well as Mario Davidovsky’s Duo Capriccioso.


Raphaele Shirley, 0910 Light Shots

Dynamic minimalist laser environment 

May 21 – June 19, 2010

Opening Reception: May 20, 6 – 8pm

Raphaele Shirley, Shooting Stair. Published by Dorfman Projects, 2009 

The Chelsea Art Museum is pleased to present 0910 Light Shots by Raphaele Shirley, a site-specific multi-media artwork for The Project Room for New Media. In this new work Raphaele displays her dexterity in use of diverse mediums and materials such as light, fog, sensors and mirrors by which she carves ephemeral sculptures in time and space, re-evaluating elemental yet elusive aspects of the world around us.  

0910 Light Shots is a continuation of her light based multi-media work such as Jewels of Kvinesdal in Norway (2009) and Shooting Stair (2009) published by Dorfman Projects in NY.  In these recent works Raphaele mingles the spatial clarity and structure of minimalism with the dynamic and virtual qualities of new media and technology.  Using light beams to draw lines and planes in space, she constructs both the visible evidence of basic geometry and the invisible and undefined structures of space into which these exist and extend. The piece created for the Project Room for New Media will be at once a site-specific ephemeral object and an interactive installation; the composition evolving in color and perspective according to the viewer’s position within. The electric presence of this irradiant sculpture takes root in basic physics, creating an arrestingly essential visual space and an environment for contemplation and reflection, whilst underlining primary phenomena intrinsic to our surroundings and exploring principles of perception.    


"The Poetics of Code", John F. Simon, Jr., Eduardo Kac

John F. Simon, Jr. and Eduardo Kac which is on view throughout  Streaming Museum’s network in cyberspace and public space on 7 continents 

Reception - May 6, 6 to 8 PM. Meet John F. Simon, Jr. On view May 6-June 19



Friday, May 7 at 8pm  Sunday, May 9 at 3pm

The Look & Listen Festival is an annual event dedicated to presenting new music in art galleries. The Festival seeks to expand and engage audiences of 20th and 21st music by providing a unique opportunity to simultaneously experience a stimulating visual environment for new music and a vibrant aural context for contemporary visual art. Both artists and audiences enjoy performances by musicians of the highest caliber, who present a range of new music in New York City’s most prestigious art galleries. We are excited to continue to promote and encourage the appreciation of contemporary concert music created by emerging composers.

Friday 05/07 at 8 pm

eighth blackbird: Carlos Sanchez-Gutierrez Five Memos: L & L commission, world premiere; Missy Mazzoli Still Life with Avalanche

Jack Quartet: Caleb Burhans Contritus; Hannah Lash Frayed Jade Simmons: John Corigliano Etude Fantasy Special Guests: WNYC’s John Schaefer (host), Caleb Burhans, Carlos Sanchez Gutierrez, Hannah Lash, Missy Mazzoli

Sunday 05/09 at 3 pm

Tanya Bannister: Olivier Messiaen Premiere communion de la Vierge Eduardo Leandro: Daniel Almada Linde and Flo Menezes new work

Face the Music: Dan Visconti Love Bleeds Radiant (2010 L & L Competition Winner); Marcelo Zarvos Nepomunk’s Dances

Special Guests: WQXR’s Terrance McKnight (host), Dan Visconti





featuring the work of Irish art collective Grúpat

April 15 - May 15

“Irish Need Not Apply” features work by the notorious Irish art collective Grúpat. The collective’s work ranges from love letters written by teenage Dubliners to the costumes of drag flaneur The Dowager Marchylove and presentations of previously unexhibited 17th century Irish alchemical vessels. This exhibition is curated by internationally renowned composer Jennifer Walshe. 

“whimsical but radical” Alex Ross, The New Yorker 

“…leaps of intuition and creativity; there is at points something like an ecstasy of making here…..something that is so much more than the sum of its parts” Louise Gray, The Wire

Grúpat is an international arts collective based in Tallaght, County Dublin, Ireland. The collective works primarily in sound, with work ranging from strictly-notated compositions for classic ensembles to graphic scores, sonic sculptures, sound installations and interventions in both the public and private sphere. The roots of Grúpat can be traced to 1999, when Bulletin M, The Parks Service, Turf Boon and other artists met at a rave at the Hellfire Club on Montpelier Hill, in the Dublin Mountains. They decided to form a political and artistic “insurgency” based on the ideas of the Situationists, graffiti artists, direct action networks, and others, which they called ‘The Avant Gardaí.’ The rave was shut down by the police, but the artists met together later and began to develop interventions, dérives, and détournments along Situationist lines, which culminated in the infamous 2001 Quaring the Square intervention in the Tallaght Square, a multimedia infiltration that set upon Saturday afternoon mall shoppers with a three-hour long, illegal spectacle of music, dancing and art. Several members of The Avant Gardaí were arrested as a result, all of whom refused to give their proper names or answer any questions in any way except to say: 'Grúpat.’ As the practices and goals of The Avant Gardaí shifted and changed after the events surrounding Quaring the Square, and as membership evolved and grew more artistic and less provocatively political in orientation, what began as an assumed identity—Grúpat—was taken as the name for a new transformation of The Avant Gardaí, and Grúpat was soon developing not only interventions but also hosting shows and concerts featuring its members.

Grúpat is comprised mainly of artists living in the South Dublin County Council area, but has over the last few years grown to be international in scope and membership. While the group has a core roster, its affiliations and “temporary members” range widely. As well, many of the members of Grúpat, in line with their early pranksterish roots, exhibit and perform solely under pseudonyms. These facts sometimes make it difficult to determine exactly who or what is in Grúpat. Notable members include Bulletin M, The Parks Service, Detleva Verens, Ukeoirn O'Connor, Flor Hartigan and O'Brien Industries. This sub-set of Grúpat often exhibit under the name “6by4” a reference to the Parisian composers known as “Les Six” and the postcode Dublin 24, in which they all reside.

The Village Voice

3/24/10  Spring Guide: Grúpat’s Irish Oddballs Swoop Into the Chelsea Art Museum

By Ben Davis 

Ah, Ireland! Land of folklore and magic and, more recently, of a decades-long economic adventure that took the island nation from crippling poverty to addled success—and then, more recently still, to epic financial implosion. Out of this wild ride, one might well expect some interesting art, and, boy, does the Chelsea Art Museum (CAM) have some examples for you, courtesy of Dublin’s elusive “Grúpat” art movement.

Never heard of Grúpat? It comes with credentials. The force behind Grúpat’s spring show, Irish Need Not Apply, at CAM’s Project Room for New Media, is New York–based Irish artist Jennifer Walshe, a rising star in the sound-art scene. Walshe is “one of the leading avant-garde artists of Ireland,” in the words of CAM curator Nina Colosi, who presented her piece XXX_LIVE_NUDE_GIRLS!!! last year, a sort of abstract sound opera/puppet show, with Barbies.

In addition to playing with dolls, for the past couple of years Walshe has been curating shows of material by various figures affiliated with Grúpat, a loose-knit collective hailing, like Walshe, from South Dublin. Under Walshe’s stewardship, this unlikely group of oddballs, who claim to be influenced by graffiti culture, “outsider art,” Dungeons & Dragons, and Situationism, among other things, and who go by names like “Turf Boon,” “Bulletin M,” and “Ukeoirn O'Connor,” have received a fair amount of acclaim. On their home turf, the first Grúpat survey was held at Dublin’s Project Arts Center last winter, while pieces by several Grúpat members were featured in a show of cutting-edge music at the Contemporary Art Museum, Houston, in 2008, among other places.

Walshe’s CAM show will have each Grúpat artist create an installation, spinning fantastical commentary on Irish culture. The flamboyant “Dowager Marchylove,” for instance, has taken photos of himself in drag at Coney Island, carrying stones supposedly gathered from another “Coney Island” in Sligo, Ireland, a way to advance the claim that Brooklyn’s beach derives its name from the Emerald Isle (it’s usually thought to have come from the Dutch). Another Grúpat-er, who goes by the name “The Parks Service,” presents a series of photo works reimagining the druidic dolmens of Ireland as antennae aimed at extraterrestrials.

Also expect video art based on Elizabethan poet Edmund Spenser’s The Faerie Queene; an archaeological display of surprisingly sophisticated ancient Irish alchemical vessels, loaned from an Irish museum; and a recording, Early Irish Drone Music, presenting a form of Irish experimental music, “Dordán,” that predates American minimal music by some years but unmistakably covers the same territory (word is Tony Conrad has heard the recording and deemed it “excellent”).

So just what is the story with Grúpat, anyway? The tale goes like this: The collective first crystallized in 1999, when some of the core members ran into each other at an illegal outdoor rave held in some ruins outside Dublin. Based in the working-class town of Tallaght, they first teamed up as a direct-action political collective calling itself the Avant Gardí (for non-Irish-speakers, “gardí” means “police”), performing guerrilla theater experiments that were confrontational enough that they led to arrests. Over time, the formation matured into the diffuse, mind-bending arts collective called Grúpat. Its members stuck, however, with their improbable names.

If this mythology sounds, well, a little … mythological, it’s worth mentioning that the various larger-than-life personalities from the group have been notoriously difficult to track down. At the opening of their Dublin survey, all nine of the Grúpat collective’s active members were prevented from appearing by a blizzard in Paris. Walshe, their longtime ambassador, had to stand in for them. Hmmm. Finding what’s actually real will be part of the fun at the CAM show. If you think about it, the uncertainty as to what parts of Grúpat’s scrappy success story are based on a firm foundation makes them perfect to represent Ireland, given recent economic history.

'Irish Need Not Apply,’ April 15 to May 15, Chelsea Art Museum, 556 West 22nd Street, 

Made possible with funding from the Arts Council of Ireland




“Lighter Than Fiction” by Jenny Marketou March 5 - April 3, 2010 Opening Reception: March 4, 6-8pm Press Preview: March 4, 5-6pm

Meet-the-Artist: March 18, 2010, 6:30 PM – Moderator, Christine Paul, Adjunct Curator of New Media Arts, Whitney Museum of American Art, Director of Media Studies Graduate Programs, The New School, NY 

Docent Tours free with museum admission every Saturday, 4 PM

What do you see when soaring over Los Alamos, New Mexico… utopia or dystopia? A landscape of natural beauty or a place where nature was unleashed in the creation of the nuclear bomb?   Jenny Marketou’s video installation poses the question, juxtaposing dreamlike perspectives with disturbing realities. These contrasting states are experienced in three single channel video projections that comprise the installation. 

In “Stolen Bubbles” 2010 Marketou has mixed visual and sonic material from Karel Zeman’s  “The Stolen Airship” 1966 with her original animation that draws from the airborne balloon project called “Bubbles” 2009 - both filmed over Prague, Czech Republic. 

“Bubbles” is based on a public sculpture project where the artist created a remarkable set of 14-meter banners with her original graphic composition using the word “Fragile” which were draped onto an air balloon. Marketou filmed as she and her guests riding the balloon experienced breathtaking views of Prague and the dream-like sensation of floating with the wind currents, hovering above the busy pace and anxieties of city life. 

“Levels of Disturbance” (2009) is structured around the aerial audio and visual recordings that Marketou captured while flying in a small jet over the natural landscape around Los Alamos, New Mexico, where the atomic bomb was created in the 1940s, that is still contaminated by nuclear waste and turbulent human emotions. During editing Marketou destroyed the order of the video sequence and the coherence of the narrative, placing at the center of each frame a round sphere animated in a perpetual motion that controls and obstructs access to the full image of the landscape. The viewer is drawn into this unsettling spinning sensation, generating metaphors for the human condition. 

“Lighter Than Fiction” investigates the precarious balance between reality and fiction capturing the view from above where the lightness of utopian sensations and imagery are contrasted by dystopian realities.

Jenny Marketou was born in Athens, Greece and since 1984 has lived and worked in New York. Marketou has been awarded grants and artists residencies worldwide and holds a Master of Fine Arts from Pratt Institute in Brooklyn, New York. She has lectured extensively and has taught as an adjunct professor Photography and Interdisciplinary Studio Art at The Cooper Union School of Art and Science in New York City. She is the author of the book “The Great Longing: The Greeks Immigrants of Astoria, Queens” Kedros Publishing. She has represented Greece at the Sao Paolo Biennial, Sao Paolo, Brazil and in Manifesta at Witte de With, Rotterdam.

Marketou’s recent exhibitions include: A solo show “Red Eyed Sky Walkers” (the National Museum of Contemporary Art, Athens, Greece); Le Grand Palais (Paris, France); Apex Art (New York, USA); Art in Odd Places (New York, USA); Fiacs 3rd Biennial International of Contemporary Art of Seville (Seville, Spain); Tina b Festival of Contemporary Art of Prague (Prague, Czech Republic); Pulse, International Art Fair (New York, USA); Anita Beckers Gallery (Frankfurt/Maine, Germany); ZKM, Media Center for Art and Technology (Karlsruhe, Germany); The Breeder Gallery (Athens, Greece); Museum Abteiberg (Moenchengladbach, Germany); Strozzina Center of Contemporary Art, La Fondacione Palazzo Strozzi (Florence, Italy); Kunstverein Ludwigshafen (Ludwigshafen Mannheim, Germany). 

Lighter Than Fiction” is made possible with public funds from the New York State Council on the Arts, a state agency, and the New York City Department of Cultural Affairs, in partnership with the City Council.  The March 18th artist talk is sponsored by The Experimental Television Center’s Presentation Funds program which is supported by the New York State Council on the Arts.


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