Free speech: some of us utilize it more than others, babbling faster than the speed of light. While others, meek as mice, prefer to keep our words to the bare minimum. But, Pia Lindman, a New York-based performance and installation artist, has boldly reorganized the way that we think about free speech in her Soapbox Event, granting each participant only one minute to speak.

Overhead view.  Pia Lindman: Soapbox Event, Reinventing Forms of Free Speech.  Federal Hall National Memorial, 26 Wall Street, New York City.  April 5, 2008.  Photo: Pia Lindman.  Courtesy: Pia Lindman.

Lindman received her MFA from Finland’s Academy of Fine arts, and received a second masters degree from Massachusetts Institute of Technology (MIT). Over the years, Lindman has experimented with social and public space, challenging social, political and economic issues facing human beings globally. She has explored her interest in human masses, space and architecture through projects such as Three Cities, Rivers, Monuments (2002/2006) and Fascia (2006).

In her Soapbox Event, Lindman uses historical public spaces as venues for her art. She grants each participant a soapbox to stand on and sets her handy dandy timer for one minute. Participants can share just about anything in the time allotted; poetry, stories, monologues, movement sequences or articles. But there’s a catch: participants may form coalitions, stacking their soapboxes to create a higher podium. One minute is added to each coalition’s speaking time for each extra soapbox stacked. Now, this is a woman who understands the meaning of teamwork!

Side view.  Pia Lindman: Soapbox Event, Reinventing Forms of Free Speech.  Federal Hall National Memorial, 26 Wall Street, New York City.  April 5, 2008.  Photo: Pia Lindman.  Courtesy: Pia Lindman.

Lindman’s Soapbox Event is about more than getting your chat on. Lindman’s work forces participants to be conscious of one another, to share space, to communicate and listen. Her work is much more than a blab-fest: it challenges those involved to become more aware of their bodies in space, how bodies and voices relate to other bodies, how bodies and voices have the potential to affect the world.

The Soapbox Event is an ongoing project, taking place in public locations throughout New York City. The last event, held at the Federal Hall National Memorial in the Financial District reeled in 41 participants, a great success. Past Soapbox Events have taken place at Cooper Union, Yale School of Art and several other acclaimed venues.  To learn more about Pia Lindman’s upcoming events and her fascinating, thought provoking body of work visit the Soapbox Event Blog or check out Pia Lindman’s bio. Learn how to get involved and exercise your right to free speech.

Casualties of Beauty, painter Sarah Chuldenko’s first solo show, opens April 24th at Fake Estate. Chuldenko’s work is described by the gallery as “a provocative collision of buoyant breasts, carnivorous plants, topographic flesh, oil slicks, and roadside IEDs” that simultaneously evokes creation and destruction.

(Sarah Chuldenko, Beirut (detail), 2008. Courtesy: Fake Estate.)

April 25th-27th, the Lower Manhattan Cultural Council opens its doors for Open Studio Weekend. Look for work by artist and feminist Simone Leigh.

(Announcement for Open Studio Weekend. Courtesy: Lower Manhattan Cultural Council.)

Xenia Hausner’s You & I opens April 25th at Forum Gallery. Hausner combines painting and photography in her compositions, effectively challenging the assumption that photography presents reality.

(Xenia Hausner, All of Me, mixed media, 2008. Courtesy: Forum Gallery.)

Alice Anderson’s new film The Dolls’ Day opens at Espace Croisé on April 26th. Inspired by Edgar Allen Poe’s novel Morella, The Dolls’ Day is an allegorical tale of a daughter’s restrictive relationship to her parents.

(Alice Anderson, The Dolls’ Day, 2008. Courtesy: Espace Croisé.)

Ephemera, work by Marie Sivak closes April 26th at A.I.R. Sivak’s carved alabaster and limestone sculptures combine with projected or embedded film to create a ghostly effect. Her work appropriates materials traditionally associated with male artists and introduces them to materials and techniques historically confined to “women’s work.”

(Marie Sivak, Pneuma, carved alabaster, video, stainless steel, mixed media. Courtesy: A.I. R Gallery.)

April 27th through June 8th, take a stroll in Williamsburg, Brooklyn for Artwalking: Bedford Avenue. Over thirty artists have been invited by eyewash gallery to create storefront installations in a marriage of Art and Commerce. Feminist artist Catya Plate is included in the show.

(Announcement for Artwalking: Bedford Avenue. Courtesy: eyewash gallery.)

Feminine Transcriptions, recent work by Olga Alexander, will be open through May 5th at the Koussevitzky Art Gallery at Berkshire Community College. (For more information contact bchilla@berkshirecc.edu)

(Olga Alexander, Feminine Transcriptions (series, detail), mixed media with collage on paper, 2007. Courtesy: Artists Space.)

Phyllis Rosser’s solo show Nature Reassembled is now open at Ceres Gallery through May 17th. The show includes sculptural work comprised of river-washed roots and branches as well as paintings of flowers magnified in up-close compositions.

(Phyllis Rosser, Weaving Fence. Courtesy: Phyllis Rosser.)

Then and Now and Forever, images by Boo Ritson, is now open, through May 17th at BravinLee programs. Though Ritson’s subjects are caricatures, her unconventional working method dismantles all presumptions. By styling and literally painting her models in order to ultimately photograph them, she invokes performance, photography, and painting all at once.

(Boo Ritson, The Sunbather, archive digital print, 2007. Courtesy: BravinLee programs.)

Look At Me!: The Performative Impulse in Recent Chinese Photography remains on view at the Williams Center Art Gallery of Lafayette College through May 24th. Curator Dan Mills states that the exhibition does not claim to comprehensively represent its subject, but to merely present 15 artists who are the subjects of their art in various ways.

(Chen Qiulin, Ellisis’s Series No. 3, color photograph, 2002. Courtesy: Chen Qiulin, Max Protetch Gallery, and Lafayette College.)

Sackler Center intern Lauren Nixon was invited to write for the Joyce Theater’s blog as this month’s Students Talks contributor! As both a dancer and a feminist, Lauren has used this opportunity to speak out on restrictive physical standards and physical homogeneity in contemporary dance. Way to go, Lauren!

Read Lauren’s commentary here

Female Forms & Facets: Artwork by Women from 1975 to the Present will be closing April 18th. Hosted by the Central Connecticut State University Art Gallery, this show includes major feminist artists such as Judy Chicago, Carolee Schneemann, and Janine Antoni. On April 17th there will be a day of closing activities including a screening of a full-length video by Penny Arcade.

(Penny Arcade, photograph by Bob Gruen. Courtesy: Penny Arcade.)

Opening April 18th, Galerie Lelong presents Touch Me, Yoko Ono’s first solo New York show since 2003. Ono will present film, conceptual photography, sculpture, and an interactive painting in order to comment on different facets of female experience. The interactive painting requires viewer participation; viewers will be encouraged to insert body parts through cuts in the canvas in a performance reminiscent of Ono’s now canonical Cut Piece, originally performed in 1964.

(Yoko Ono, Sky TV, 1966. Courtesy: Imagine Peace, www.imaginepeace.com)

During the Salem Film Festival, April 18-20th, Alexandra Opie will exhibit two video installation works. Opie’s three-dimensional arrangement of multiple projection screens initiates filmic phenomenology by allowing viewers to walk around and within the installations.

(Alexandra Opie, video installation. Courtesy: Salem Film Festival.)

Voice & Void opens April 19th at Galerie im Taxispalais. This group show dedicated to exploring representations of the human voice, and its absence, in the visual arts addresses the difficulty of translating expression from one medium to another. Included in the show is feminist VALIE EXPORT’s 1969 Tonfilm (Sound Film) and work by Global Feminisms artist Anna Gaskell.

(John Cage, cover of Silence (paper mock-up for cover of book), 1959. Courtesy: Wesleyan University Library, Special Collections and Archives, © 1959 by John Cage; Galerie im Taxispalais.)

Don’t miss your chance to see feminist artist Martha Wilson’s early and little-known Photo/Text Works, 1971-74 at Mitchell Algus Gallery. By repeatedly depicting her own image in myriad forms, including drag, Wilson plays with the presentation and transformation of subjectivity. Closing April 26th.

(Martha Wilson, announcement for Photo/Text Works, 1971-74, Posturing: Age Transformation, 1973. Courtesy: Mitchell Algus Gallery.)

Serial Meditations, co-curated by feminists (and former Sackler Center Research Assistants!) Melissa Messina and Amy Brandt, remains open at Nurture Art through May 3rd. In an attempt to consider serial artistic production outside of commodity production, this exhibition presents meditative aspects of repetition and seriality indebted to a minimalist aesthetic.

(Rita MacDonald, Wall Drawing 69-72 (detail), 2006. Courtesy: Rita MacDonald.)

Through June 1st, Figureworks juxtaposes paintings of the male figure, by McWillie Chambers, with others of the female figure, by Ingrid Capozzoli Flinn.

(left: McWillie Chambers, Collins 12, oil on canvas, 2007. right: Ingrid Capozzoli Flinn, nude with double V, oil on canvas, 2005. Courtesy: Figureworks.)

The Way That We Rhyme: Women, Art & Politics remains open through June 29th at Yerba Buena Center for the Arts, YBCA, in San Francisco. This exhibition, while emphasizing performance and collaborative projects, showcases work that has been influenced by feminist ideologies and that addresses topics relevant to women today.

(Nao Bustamante, America, The Beautiful. Courtesy: Nao Bustamante.)

Last but not least, we want to pass on news of a kindred new blog with a feminist bent, The American Virgin. Created as a companion project to the work-in-progress documentary of the same title (directed by Therese Shechter, who also directed I Was A Teenage Feminist,) this blog keeps readers up-to-date on all the fascinating tidbits these filmmakers discover about virginity and American attitudes about sex.

Opening April 10th, Regen Projects II presents a new body of work by Catherine Opie, Highschool Football. Opie turns her camera from surf culture toward American high school football, investigating the ways in which masculinity is constructed and re-enforced within regional communities.

(Catherine Opie, photograph from new series Highschool Football, 2008. Courtesy: Catherine Opie and Regen Projects II.)

Lives and Works: Talks with Women Artists, mixed media portraits, as well as Portrait of an Artist as a Young Girl: Fulfilling Society’s Limited Expectations, assemblages with text and commentary, both by Joan Arbeiter, open on April 11th at the Rutgers University Art Library. This show marks an extension of Arbeiter’s commitment to women’s history, particularly art history, into the realm of painting, her primary medium.

(Joan Arbeiter, “We have to start having more fun…” Joan Snyder, 1997. Courtesy: Joan Arbeiter and Rutgers University Libraries.)

Elke Krystufek’s A Film Called Wood woof Woolve Vulvahoodmoodsuperwoovertrooper opens April 11th at Transit Art Space. Last year Krystufek presented Dr. Love on Easter Island, a film featuring the character “She Bas” based on Dutch artist Bas Jan Ader. In this exhibition Krystufek introduces A Film Called Wood as the continuation of last year’s work as well as new paintings on various subjects.

(Elke Krystufek, Vaginanose (Max Raphael revisited), 2006. Courtesy: Elke Krystufek, Georg Kargl Fine Arts Vienna, (c) 2006 photo: MAK/Georg Mayer.)

Beginning April 15th, Galerie Mourlot presents Music of Silence: Metalpoint Paintings and Drawings, a solo show of work by Susan Schwalb. Schwalb employs the ancient technique of silverpoint drawing to create precise, fine lines. Though her work recalls minimalist abstraction, she has stated that her earlier, often representational, feminist-inspired work still serves as “an underlining basis for my creative thinking.”

(Susan Schwalb, red/white/blue IV, silverpoint acrylic on paper on wood, 2002. Courtesy: Susan Schwalb.)

April 16- 20th, check out Open Space at the Cologne Art Fair to see photography by British feminist artist Alexis Hunter. In her photography, Hunter has routinely inverted expected gender roles, ironically objectifying male subjects while allowing female subjects to actively confront the viewer.

(Alexis Hunter, one image of eight from series Approach to Fear: Pain-destruction of Cause, 1977. Courtesy: Alexis Hunter.)

Dawn Mellor’s Vile Affections remains on view at Spacex through May 3rd. Mellor’s gruesome paintings portray chosen celebrities and cultural icons as the leather-skinned surfaces to which they are so often reduced.

(Dawn Mellor, Morrissey, 2007. Courtesy: Dawn Mellor, Spacex, and Team Gallery New York.)

NEW ADDITIONS, continuing through June, features work by Jenny Scobel, Cristian Boffelli, and Peter Mayer at 5+5 Gallery in Brooklyn.

(Jenny Scobel, Untitled, 2008. Courtesy: 5+5 Gallery)

The LACK of Desire, featuring twenty-two up and coming Brooklyn artists, continues through April 11 at Brooklyn Arts Council Gallery.

(Joseph Shahadi, Garotte (sex doll), 2006, digital c-print, 20 x 30 inches card design: Misha Tyntyunik. Courtesy: Brooklyn Arts Council)

Feminist performance and video artist Tamy Ben-Tor continues her solo exhibition at Zach Feuer Gallery through May 3.

(Tamy Ben-Tor, Normal, 2006, DVD, 4:20 min. Courtesy: Zach Feuer Gallery)

Eva Davidova continues her exhibit at Magnan Emrich Contemporary Gallery in Chelsea through May 10.

(Eva Davidova’s Untitled (dani) (2005). Courtesy of Magnan Emrich Contemporary.)

**Special thanks to intern Lauren Nicole Nixon for helping to compile this week’s Picks!

The Elizabeth A. Sackler Center for Feminist Art celebrated its one year anniversary on March 15th, 2007 during Women’s History with some truly amazing and inspiring public programs. In the Forum, Curator Maura Reilly kicked off the event with a lively conversation with Ghada Amer about the exhibition Ghada Amer: Love Has No End. Both spoke for almost two hours about the artist’s work, the fascinating evolution of her “big drips” technique, and her take on feminism, which she summed up in one succinct sentence that poignantly ended the talk: “I am a woman, therefore I am a feminist.”

(Left: Artist Ghada Amer discusses her work. Right: Amer and Curator, Maura Reilly share slides of magazines that were inspirational to the artist early on in her career.)

Later in the day, Dr. Elizabeth A. Sackler introduced the “Funding a Revolution” panel discussion where moderator Carol Jenkins, President of Women’s Media Center, and Helen LaKelly Hunt, Barbara Dobkin, and Jennifer Buffett, three phenomenal benefactors, gave presentations and talked about how they are working to change the face of philanthropy today. All the women seriously rocked the house! Thank you to all the participants, and to everyone who came out for the anniversary. It was a truly feminist celebration!

(Left: Dr. Elizabeth A. Sackler introduces a panel of feminist philanthropists to the crowd at the “Funding a Revolution” discussion on March 15th, 2007. Right: Panelists included Helen LaKelly Hunt, Jennifer Buffett, Barbara Dobkin, and moderator Carol Jenkins.)

From April 2nd through April 26th, Museo Nacional Centro de Arte Reina Sofia screens a slew of films by dancer-turned-director and feminist art foremother Yvonne Rainer, including Privilege, Film About a Woman Who…, Lives of Performers, MURDER and murder, and The Man Who Envied Women.

(Yvonne Rainer, still from Privilege, 1991, announcement for film series. Courtesy: Museo Nacional Centro de Arte Reina Sofia.)

Women in Conversation: Artists on Artists, Writers on Writers includes an exhibition (through April 30th in West Campus Gallery), a reading, and a panel at Norwalk Community College of Connecticut. By inviting female artists and writers to make work in response to other influential, creative women, Women in Conversation celebrates women’s artistic lineage in a spirit reminiscent of Virginia Woolf’s A Room of One’s Own. Participants aim at deconstructing female stereotypes while simultaneously promoting recognition for women’s endeavors and accomplishments. (For more information contact mslattery@ncc.commnet.edu)

(Announcement for Women in Conversation. Left image: Elisabeth Louise Vigee le Brun, Self Portrait, oil on canvas, 1800; right image: Ann Chernow, Then and Now, lithograph, 2007. Courtesy: Norwalk Community College.)

In Buried Pig with Moros, opening April 3rd at The Project, Coco Fusco sheds light on a lost chapter of U.S. history: the purported first American war against an Islamic opponent, the Moros. According to legend, to finally defeat the tenacious Moros, General Pershing ordered that the insurgents be executed with bullets dipped in pig blood and buried facing away from Mecca. Though this story seemed to go unnoticed for over forty years, it resurfaced among military and intelligence experts in the wake of 9/11. Here Fusco addresses the legend through a performance and a museological display of historical artifacts, as well as an audio installation concerning U.S. interrogation methods.

(From a 1963 poster titled “Knocking Out the Moros,” which commemorates the Battle of Bagsak Mountain on Jolo Island, The Philippines in 1913. Image courtesy of the U.S. Army Center for Military History and The Project.)

Ex Post Facto, a solo exhibition by Chicago-based artist Mayumi Lake, opens April 3rd at M.Y. Art Prospects. Through a dream-like photographic narrative spanning three generations of her own family, Lake explores the roles of the women left behind when her grandfathers were killed in combat during WWII.

(Mayumi Lake, Woods #1-10 (detail), pigment print, 2008. Courtesy: M.Y. Art Prospects.)

Between black & white is red is now open, through April 25th, in the Eli Marsh Gallery of Amherst College. In conjunction with the show, artist Zoulikha Bouabdellah will lecture on her work April 3rd, also at Amherst.

(Zoulikha Bouabdellah, three photographs of the series Ni, Ni, Ni, 2007. Courtesy: Zoulikha Bouabdellah.)

In an activist statement akin to those reviewed in our Votes for Women show, Feminist artist Pia Lindman has initiated Soapbox Event: A Participatory Performance Reinventing Forms of Free Speech to be held on April 5th at the Federal Hall National Memorial (26 Wall Street, NYC) from 2pm-5pm. Each participant will be given one box and one minute of free speech; groups may ally to stack boxes and thus “obtain greater spatial presence and talk time.” Throughout its history, Federal Hall National Memorial, formerly New York City Hall and Customs House, has been the site of numerous landmark demonstrations of free speech, including Yayoi Kusama’s 1968 Naked Event. For more information: Soapbox Event.

(Pia Lindman, 2004 Vienna performance of New York Times Performances 2003-2005, Maria Therèsien Memorial. Courtesy: Pia Lindman.)

Opening April 5th, Paula Cooper Gallery shows new work by Sherrie Levine. Levine, whose work has consistently challenged age-old issues of artistic authorship and authenticity, presents two new bronze sculptures cast from found objects.

(Sherrie Levine, Cadeau, polished bronze, 2006. Courtesy: Paula Cooper Gallery.)

Make You Notice, featuring work by Lisa Anne Auerbach, Kate Gilmore, Laura Swanson, and Jenifer Wofford, remains open through May 24th at the San Francisco Arts Commission Gallery. These artists utilize photography, video, and ephemera to document performances in which, through the use of their bodies and heightened versions of their personalities, they question existing social structures and behaviors.

(Lisa Anne Auerbach, cover of Saddlesore, issue #4. Courtesy: Lisa Anne Auerbach and SFAC.)