• Fall 2014 Public Programs

    Permanent Garbage: Victor Papanek and Beautiful Visions of Failed Systems

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    Thursday, December 4, 2014 at 5:00 - 7:30 pm
    Anna-Maria and Stephen Kellen Gallery, Sheila C. Johnson Design Center
    2 West 13th Street

    Building upon the exhibition How Things Don't Work: The Dreamspace of Victor Papanek, this symposium will explore design, future-making and speculation at the intersection of broken systems and social change.


    • Stuart Candy, Futurist
    • Paola Antonelli, Senior Curator, Department of Architecture and Design, MoMA
    • Gerald Bast, Rector, University of Applied Arts Vienna
    • Alison Clarke, Director, Papanek Foundation, University of Applied Arts Vienna
    • Fiona Raby, Professor Industrial Design, University of Applied Arts Vienna
    • Jamer Hunt, Director, Graduate Program in Transdisciplinary Design, Parsons The New School for Design

    Free; No tickets or reservations required.

    Exhibiting Architecture - a talk by Henry Urbach

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    Thursday, October 2, 6:30 – 8:00 p.m.
    The Glass Corner, 25 East 13th Street, 2nd Floor, Room E206

    Henry Urbach will speak about his exhibition practice as the director of a gallery, as the Curator for Architecture and Design at SFMOMA and most recently, as the Director of the Glass House in New Canaan, CT.

    PROTEST, PICNIC, POIESIS: How to Curate Art in the Public with KAREN VAN DEN BERG

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    Monday, September 8, 6:00 – 8:00 p.m.
    The Bark Room (Orientation Room), 2 West 13th Street, Ground Floor

    The current debate about public art is dominated by terms and concepts such as the right to the city, local knowledge and social engagement. Consequently, collaborative or collective modes of production have become more important and the articulations of protest culture, collaborative art projects and Street Art have taken on a new significance.

    In the context of this changing background, Karen van den Berg, professor and chair of Art Theory and Curating, Zeppelin University, Germany will share some thoughts about how to shape policy and curate art in the public sphere today.

    Spring 2014 Public Programs

    Intimate Science

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    Saturday, April 5, 11:00 a.m. – 5:00 p.m.
    2 West 13th Street, 3rd Floor, Rooms L300 and L301
    For ages 18 and over.

    Mind Reading for the Left and Right Brain Workshop with Machine Project

    Fee: $27, includes galvanic skin response kit participant keeps. To purchase your non-refundable tickets please click here.

    Learn to read minds (kind of) in this two part workshop. First, Chris Kallmyer of Machine Project will lead participants in a hands on electronics workshop where you will built a primitive lie detector in the form of galvanic skin response meter. Then, artist/intuitive duo Krystal Krunch (Asher Hartman and Haruko Tanaka) will lead participants in developing their psychic abilities.

    Mycotecture: architecture grown out of mushrooms

    Tuesday, April 8, 6:00 - 7:30 p.m.
    Anna-Maria and Stephen Kellen Gallery
    2 West 13th Street, Ground floor
    Free and open to the public.

    Registration is full. A version of the lecture will be available on the web within 2-3 days of the events. A URL will be provided on the exhibition site at that time.

    In this talk artist Phil Ross will present his ongoing research into growing structures out of living fungi ( mycotecture). Mr. Ross will describe the remarkable qualities of fungal materials, how they are cultivated into being, and the sustainable value of assembly through decomposition.

    I scarcely have the right to use this ghostly verb

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    Publication Launch and Film Screenings
    Friday, April 11, 2014, Launch at 5:00 p.m., Screenings at 7:00 p.m.
    The Orientation Room (M101)
    Sheila C. Johnson Design Center, Parsons The New School for Design
    2 West 13 Street at 5th Avenue

    I, a publication of texts and visual works from artists, scholars, and writers will be presented at the Sheila C. Johnson Design Center on Friday, April 11 at 6:30 p.m. A reading of Borges’ “Funes The Memorious” inspired contributions that intermingle perspectives of a singular “I” and the collective, expanding the dialogue of the exhibition. I includes the work of Andrés Felipe Torres, Alex Walton, Avi Alpert and Sreshta Rit Premnath, Carlos Labbé, Gavan Blau, Heather M. O’Brien and Andrew Freeman, Hernán Rivera, Isaac Pool, Ilyn Wong, Jessica Posner, Joen Vedel, Kaitlynn Redell and Sara Jiménez, Arrow MacGowan, Maricruz Alarcón, Margarita Sánchez, Matthew C. Wilson, Thom Donovan, and Vincent Vulsma. On the same evening there will be a screening of Ignacio Agüero’s No Olvidar, Camila Guzmán’s The Sugar Curtain, and Chen Chieh Jen’s Military Court and Prison. Focusing on events that occurred during the last decades of the Cold War, these documentaries illuminate the political role of personal memory within the constitution of historical narratives.

    No Olvidar by Ignacio Agüero

    1982, 30 min
    Filmed clandestinely during Augusto Pinochet’s dictatorship in Chile, No Olvidar chronicles the experience of the women of the Maureira family, who after six years of not knowing where their loved ones were, found their bodies buried in a limestone mine in Lonquén. No Olvidar is one of the first documents of the disappearances and the ongoing assassinations ordered by Pinochet’s regime.

    The Sugar Curtain by Camila Guzmán

    2005, 82 min
    In this autobiographical portrait, the filmmaker revisits the singular experience of growing up in La Havana during the golden era of the revolution. It is also a lament for the end of that dream, which began to fizzle after the fall of the Berlin Wall. Highlighting the contrasting fortunes of the Cuban Revolution over the last two decades, The Sugar Curtain offers a provocative historical perspective on one of the most significant turning point in the 20th Century history.

    Military Court and Prison by Chen Chieh-Jen

    2007 - 2008, 62 min
    Originally commissioned by the Reina Sofia Museum, this two-part film responds to the Martial Law period in Taiwan. In the first part, the artist reflects his memories of the prison and military court that was near his home in Taipei, while the other represents the official vision of the government regarding the years of the dictatorship and Martial Law in Taiwan.

    I scarcely have the right to use this ghostly verb is a curatorial project by Maricruz Alarcón, Pieter Paul Pothoven, and Ilyn Wong.

    The exhibition was made possible through the generous support of the Sheila C. Johnson Design Center and Parsons Fine Arts. Additional support for the screening has been provided by Ignacio Agüero and Icarus Films.

    For more information about the exhibition and public events, please contact