http://murielquancard.com/services daily 1.0 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1573444463224-ZAC629B1SJ6J23CEJOBD/Veladura%2BNocturna%2B%252801%2BExpo%2BNY%2529%2B%25281%2529.jpg Services https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1614908226430-KI3LOF5N31Z7D2W96H4I/Melodies+of+Certain+Damage-95.jpg Services https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1614908512043-7PPD44LZBYOJXNSI9BNU/20160517_TMartin_4516.jpg Services https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1645148855784-VZGVB7NQP7ZA35WGXZ84/Server.jpg Services https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546008627471-3UZF80397NOMFRK2B3I0/Sean+Micka Services - APPRAISING Art evaluations and appraisal reports compliant with the Uniform Standards of Professional Appraisal Practice (USPAP). Certified by the Appraisers Association of America in post-war, contemporary and emerging art. Focus on post-war and contemporary art including post-war abstraction, minimalism, post-minimalism, conceptual art, post-conceptual practices, performance, time-based media, new technologies, including digital native artworks and NFTs. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/0e4c5a4b-aeb3-44a7-9cc6-7be1aee7e348/AAA_logo_small.png Services - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1545976449715-O86AKKKPHKEIOP2JUVR2/Eyes+As+Bright+As+Diamonds-5.jpg Services - CONSULTING Quancard consults with her clients on their collection or organization’s history, mission and objectives to present them with projects that suit their goals. She is also devoted to helping growing and strengthening artists’ careers by developing strategic imperatives and tactical roadmaps. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546009506305-NAFG2RYETOQOYOZHZWP7/Screenshot+2016-05-20+16.23.41+%281%29.jpg Services - CURATING Muriel Quancard implements exclusive projects for cultural institutions, arts organizations and private collections. She curates content and identifies artists at the crossroad of visual art, performance, music and new technologies within her international network. http://murielquancard.com/upcoming daily 0.75 2026-03-05 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1461791439270-J0HQX82AZL84X08XP4EU/iv_StagingArchitecture_21+copy.jpg Upcoming http://murielquancard.com/upcoming/2026/2/19/media-technology-and-culture-symposium monthly 0.5 2026-03-05 http://murielquancard.com/upcoming/2024/4/2/art-valued-enhancing-your-collections-potential monthly 0.5 2026-03-05 http://murielquancard.com/upcoming/2024/3/25/fleeting-shadows-whispers-of-obsolescence monthly 0.5 2024-03-26 http://murielquancard.com/upcoming/https/wwweventbritecom/e/fora-convening-livestream-tickets-723474029297 monthly 0.5 2023-12-22 http://murielquancard.com/upcoming/2022/10/27/is-the-nft-revolution-over monthly 0.5 2022-10-29 http://murielquancard.com/upcoming/2022/10/12/for-love-legacy-or-profit-perspective-on-collecting-digital-art monthly 0.5 2022-10-29 http://murielquancard.com/upcoming/2022/5/17/american-institute-for-conservation monthly 0.5 2022-10-13 http://murielquancard.com/upcoming/2022/5/15/rising-with-the-blood-moon monthly 0.5 2022-10-29 http://murielquancard.com/upcoming/washedaway-sm94g monthly 0.5 2022-10-29 http://murielquancard.com/upcoming/washedaway monthly 0.5 2022-10-29 http://murielquancard.com/upcoming/2019/10/25/smur monthly 0.5 2020-09-10 http://murielquancard.com/upcoming/2019/4/8/alex-mcleod monthly 0.5 2019-04-05 http://murielquancard.com/upcoming/2019/3/29/artist-talk monthly 0.5 2019-04-05 http://murielquancard.com/upcoming/2018/12/27/nicolas-baier monthly 0.5 2019-10-26 http://murielquancard.com/upcoming/2018/5/6/sebastien-leon-the-diffracted-symphony-soluna monthly 0.5 2018-04-27 http://murielquancard.com/upcoming/2018/5/11/naama-tsabar-melodies-of-certain-damage-soluna monthly 0.5 2018-04-27 http://murielquancard.com/upcoming/2018/5/13/lihuel-gonzalez-las-personas-no-van-juntas-soluna monthly 0.5 2018-04-27 http://murielquancard.com/upcoming/2018/5/15/gonzalo-lebrija-mariachi-wagner-soluna monthly 0.5 2018-04-27 http://murielquancard.com/upcoming/2018/5/16/antoine-wagner-wagner-a-genius-in-exile-between-silence-soluna monthly 0.5 2018-04-27 http://murielquancard.com/upcoming/2018/5/17/jeff-gibbons-gregory-ruppe-grubnik-suzanne-soliuna monthly 0.5 2018-04-27 http://murielquancard.com/upcoming/2018/5/19/jennifer-wester-breaking-shadows-soluna monthly 0.5 2019-01-14 http://murielquancard.com/upcoming/2017/10/19/nathan-carter-the-dramastics monthly 0.5 2018-02-21 http://murielquancard.com/upcoming/2018/4/11/jen-ray-eyes-as-bright-as-diamonds-soluna monthly 0.5 2018-02-21 http://murielquancard.com/upcoming/2017/6/1/jessica-mitrani-traveling-lady monthly 0.5 2017-05-21 http://murielquancard.com/upcoming/2017/5/20/pia-camil-bara-bara-bara monthly 0.5 2017-05-21 http://murielquancard.com/upcoming/2017/5/20/agence-5970-dreamspace monthly 0.5 2017-05-21 http://murielquancard.com/upcoming/2017/5/16/henri-scars-struc-we-know-youve-got-soul-artist-talk monthly 0.5 2017-05-21 http://murielquancard.com/upcoming/2017/5/21/ultraseeing monthly 0.5 2017-05-20 http://murielquancard.com/upcoming/2016/6/4/mai-thu-perret-o-soluna monthly 0.5 2016-04-27 http://murielquancard.com/upcoming/2016/6/2/mai-thu-perret-figures-soluna monthly 0.5 2016-04-27 http://murielquancard.com/upcoming/2016/5/24/paola-pivi-maam monthly 0.5 2016-04-27 http://murielquancard.com/upcoming/2016/5/21/remix-myth-legend-anton-ginzburg monthly 0.5 2016-04-27 http://murielquancard.com/upcoming/2016/5/20/remix-myth-legend-anton-ginzburg monthly 0.5 2016-04-27 http://murielquancard.com/upcoming/2016/5/17/rules-of-the-game monthly 0.5 2016-05-06 http://murielquancard.com/upcoming/2016/4/14/barbara-kasten-dallas-art-fair monthly 0.5 2016-04-27 http://murielquancard.com/upcoming/2015/7/2/caecilia-tripp-bronx-museum monthly 0.5 2015-08-27 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1440701127372-ZCZIOIBIL9DVERUBCJUW/image-asset.jpeg Upcoming - Caecilia Tripp | Bronx Museum Caecilia Tripp, Video still from “Music for (prepared) Bicycles,” Score Two New York, Brooklyn/Spanish Harlem/The Bronx, 2013, HD video, 14 minutes, Courtesy of the artist http://murielquancard.com/upcoming/2015/4/9/soluna-dallas-art-fair monthly 0.5 2016-04-27 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1430024497006-HFD5X4NPE7OZ21XE7CUL/image-asset.png Upcoming - Claude Rutault | SOLUNA | Dallas Art Fair http://murielquancard.com/music-for-prepared-bicycles daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441471085593-BJXLPQFL5R6ZJGS52TUQ/image-asset.jpeg MUSIC FOR (PREPARED) BICYCLES - MUSIC FOR (PREPARED) BICYCLES BY CAECILIA TRIPP 2012 A participatory performance celebrating the 100th Birthday of John Cage in the streets. Music for (Prepared) Bicycles translates John Cage’s work for ‘prepared piano’ into three ’sonic bicycle processions,’ creating a ’music of change’ that transcends geographic boundaries to thrive across two global metropolises. “Since the theory of conventional music is a set of laws exclusively concerned with ‘musical’ sounds, having nothing to say about noises, it had been clear from the beginning that what was needed was a music based on noise, on noise’s lawlessness. Having made such an anarchic music, we were able later to include in its performance even so-called musical sounds. We need first of all a music in which not only are sounds just sounds, but in which people are just people, not subject, that is, to laws established by any one of them, even if he is ‘the composer’ or ‘the conductor.’ Finally we need a music which no longer prompts talk of audience participation, for in it the division between performers and audience no longer exists: a music made by everyone.” —John Cage Music for (Prepared) Bicycles aims at connecting community, culture, historic memory and research, as well as the performance act in which the public becomes a participant. It is a way to create new dynamics between these different spaces & people, taking arts to the streets and taking the streets to the museum. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441471085593-BJXLPQFL5R6ZJGS52TUQ/image-asset.jpeg MUSIC FOR (PREPARED) BICYCLES - MUSIC FOR (PREPARED) BICYCLES BY CAECILIA TRIPP 2012 A participatory performance celebrating the 100th Birthday of John Cage in the streets. Music for (Prepared) Bicycles translates John Cage’s work for ‘prepared piano’ into three ’sonic bicycle processions,’ creating a ’music of change’ that transcends geographic boundaries to thrive across two global metropolises. “Since the theory of conventional music is a set of laws exclusively concerned with ‘musical’ sounds, having nothing to say about noises, it had been clear from the beginning that what was needed was a music based on noise, on noise’s lawlessness. Having made such an anarchic music, we were able later to include in its performance even so-called musical sounds. We need first of all a music in which not only are sounds just sounds, but in which people are just people, not subject, that is, to laws established by any one of them, even if he is ‘the composer’ or ‘the conductor.’ Finally we need a music which no longer prompts talk of audience participation, for in it the division between performers and audience no longer exists: a music made by everyone.” —John Cage Music for (Prepared) Bicycles aims at connecting community, culture, historic memory and research, as well as the performance act in which the public becomes a participant. It is a way to create new dynamics between these different spaces & people, taking arts to the streets and taking the streets to the museum. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441471480185-W7AVF75QRAF7QYVBRC7Q/photo1.JPG MUSIC FOR (PREPARED) BICYCLES - SCORE 2 | BROOKLYN, EAST HARLEM AND THE BRONX, NEW YORK, USA ‘Music is an ecology’ John Cage Music for (Prepared) Bicycles | Score Two is co-produced by Muriel Quancard, Shelley Vidia Worrell (caribBeing) and Ram Devineni (Rattapallax). Score Two involves the building of a sonic bicycle with the Schwinn Bike Club, a Puerto Rican bicycle club in New York. A bicycle ride is performed and filmed in Brooklyn, Spanish Harlem and the Bronx. Music for (Prepared) Bicycles | Score Two is a sort of ‘freedom ride’ relating to ‘Music of Change’ by John Cage. A publication accompanying the project presents a research about the history of Caribbean custom bike vernacular techniques and features interviews with Puerto Rican activists such as former members of the Puerto Rican civil rights group, the ‘Young Lords.’ The project was realized during Caecila Tripp’s artist residency at Brooklyn College. Students participated in the production process of the sonic bicycle, its procession through the city, and the filming of the performance. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441471715085-4FHZG4TA5N3Y9CDXWI37/photo2.JPG MUSIC FOR (PREPARED) BICYCLES - SCORE 1 | BOMBAY, INDIA ‘A music made by everyone’ Music for (Prepared) Bicycles | Score one is co-produced by Zasha Colah and Sumesh Sharma of Clark House Initiative Bombay, a curatorial practice interested in ideas of freedom; and Ram Devineni (Rattapallax). Associate curator: Veerangana Solanki. Curatorial advisor: Claire Tancons. Wanting to take John Cage to the streets, artist Caecilia Tripp finds ways to democratize the many individuals involved—conductor, composer, performer, spectator, onlooker, bystander, passerby—engaging them all as equals within her participatory score. To create her music—and an accompanying film—Tripp first built a sonic bicycle, a kind of moving instrument kitted out with electric guitar strings. This captures the sounds of the street—and the sounds of strings hitting playing cards—as it is pedaled through significant parts of the city. Tripp’s insertion of playing cards between the bicycle’s spokes remakes John Cage’s ‘prepared piano’ (1938), on which he wrote many compositions, as a bicycle. Cage once said that the future of music was electronic sound. Inspired by Cage’s writing, Tripp applies his ideas to a form of vernacular culture devised and practiced by teenagers in obscure suburbs worldwide. In Bombay, Music for (Prepared) Bicycles also confronts Cage’s involvement with David Thoreau’s anarchistic philosophy of civil disobedience, a radical appeal to people power that also inspired Gandhi and Martin Luther King, Jr. – Zasha Colah https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441471058738-THI0V453SC5PUMRUOFW1/photo5.JPG MUSIC FOR (PREPARED) BICYCLES - SCORE 3 | CAPE TOWN, SOUTH AFRICA Score 3 A symposium is planned to conclude the project. It is being proposed to institutions in New York with the intention to create connections with the communities in Brooklyn, East Harlem and the Bronx. Music for (Prepared) Bicycles aims at connecting community, culture, historic memory and research, as well as a the performance act in which the public becomes a participant. It is a way to create new dynamics between these different spaces & people, taking arts to the streets and taking the streets to the museum. http://murielquancard.com/oba daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1434812886045-SPWW9MEZBIZ2WQB1XAC2/image-asset.jpeg OUR BETTER ANGELS - OBA | THE PROJECT By MONTE LASTER Our Better Angels (OBA), 2009-2015 Co-produced by Face and Muriel Quancard Conceived by artist Monte Laster, the project Our Better Angels (OBA) was a dynamic process based on the premise that art and creativity could be catalysts for urban development. OBA implemented unique programs that reached various audiences, stimulated public dialogue and inspired action to make change. Diverse groups of participants, including visual artists, curators, musicians, artists, poets, rappers, community members, scholars, students and professors from France and the United States worked together to leverage local creative assets. The project, founded by Artist Monte Laster and curated by Muriel Quancard, took place between 2009 and 2015, and had successful implementations in France, Washington D.C and New York City (Harlem, Bronx, Brooklyn), Dallas and Houston. Photograph by Joanna MacLennan About Monte Laster About FACE https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1434812886045-SPWW9MEZBIZ2WQB1XAC2/image-asset.jpeg OUR BETTER ANGELS - OBA | THE PROJECT By MONTE LASTER Our Better Angels (OBA), 2009-2015 Co-produced by Face and Muriel Quancard Conceived by artist Monte Laster, the project Our Better Angels (OBA) was a dynamic process based on the premise that art and creativity could be catalysts for urban development. OBA implemented unique programs that reached various audiences, stimulated public dialogue and inspired action to make change. Diverse groups of participants, including visual artists, curators, musicians, artists, poets, rappers, community members, scholars, students and professors from France and the United States worked together to leverage local creative assets. The project, founded by Artist Monte Laster and curated by Muriel Quancard, took place between 2009 and 2015, and had successful implementations in France, Washington D.C and New York City (Harlem, Bronx, Brooklyn), Dallas and Houston. Photograph by Joanna MacLennan About Monte Laster About FACE https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519231859458-3DLT4Q2UU1ITRH4IYZXJ/DSC05646.JPG OUR BETTER ANGELS - OBA I. | FIRST PERSONAL By MONTE LASTER Our Better Angels (OBA), 2009-2015 Co-produced by Face and Muriel Quancard In September 2009, a group of ten young French rappers of African origin participated in a series of workshops at the Moulin Fayvon, FACE's headquarter in the heart of a project housing in La Courneuve. They studied with urban planners, architects, landscape architects, photographers, and videographers to learn film and other documentary techniques. Within this framework they realized several projects including First Personal, a 15-minute video portrait of their neighborhood. In February 2010, the group traveled to Harlem, New York, and Washington, D. C., where they gave concerts, participated in workshops, and presented First Personal at cultural institutions, schools, and universities. This exchange between the French rappers and the American residents, associations, and institutions lead the group all the way to the White House. Photograph by Joanna MacLennan. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519233977587-MU2CZPOCEUAQ0YBV19JB/DSC08193.jpg OUR BETTER ANGELS - OBA II. | Family of Poets By MONTE LASTER Our Better Angels (OBA), 2009-2015 Co-produced by Face and Muriel Quancard Responding to the success of First Personal, a group of teenage artists, musicians, poets, and slammers called The Family of Poets was formed in Harlem in September 2010. Over a period of 18 months, the Family organized writing workshops, performances, and concerts across the city. Under the guidance of Monte Laster, educator, poet and rapper, Mikal Amin Lee, lead workshops and provided artistic direction. Abiodun Oyewole of the seminal group, The Last Poets, one of hip-hop’s founding fathers, acted as mentor. In April 2012, the Family of Poets traveled to Paris, where its young members performed in cultural institutions such as the Louvre Museum and the Palais de Tokyo, Europe’s largest contemporary art center. They also collaborated with schools and not-for-profit organizations in La Courneuve, a community that has much in common with Harlem. Photograph by Joanna MacLennan. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519232907964-AKRRQ3IBQK2HA4TMG9J2/IMG_2901.jpg OUR BETTER ANGELS - OBA III. | Co-op By MONTE LASTER Our Better Angels (OBA), 2009-2015 Co-produced by Face and Muriel Quancard This third and final phase of OBA was designed as a set of consciousness-raising think-tanks, musical encounters, urban walks, and, writing and photography workshops. These projects resulted in a body of work in the form of a symbolic mirror, one that reflected on minorities and emigrants’ redemptive and resilient culture contextualized by an ongoing struggle for equality. Networks and exchanges established during the first two phases of OBA, between the suburbs of New York and Paris were strengthened and expanded. OBA III addressed a wider audience than the first two parts, including not only its original territory, the City of La Courneuve, but also the cities of Houston and Dallas. Photograph by Muriel Quancard. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1434813274371-YBL6CAA9SA1Y1LJEH6O1/Family+of+Poets_2.jpg OUR BETTER ANGELS - OBA | Think Tank Round Table Conceived by Monte Laster December 6, 2015 Co-produced by Face, TFAA and Muriel Quancard Rothko Chapel, Houston Hosted by Rothko Chapel, in collaboration with FACE, (French American Creative Exchange), TFAA (Texan-French Alliance for the Arts) and Muriel Quancard, this think-tank round table explored the dynamic interaction between contemporary art and cultural identity within the framework of urban revitalization in both French and American cultures. Its goal was to envision potential actions and conceive a methodology for contextual and participatory interventions in the United States and France, aimed at developing intercultural models. Illustration by Monte Laster. http://murielquancard.com/bib-1 daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519227094957-YHA6G2CFUX9WYMJRFR0D/image-asset.jpeg BANLIEUE IS BEAUTIFUL - Banlieue is Beautiful https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519227614440-9YL7PE7ZY7I8325IOMJK/Screenshot+2018-02-21+10.39.15.png BANLIEUE IS BEAUTIFUL - Banlieue is Beautiful BY Monte Laster MAY 15-18, 2014 Co-curated by Face, Palais de Tokyo and Muriel Quancard Palais de Tokyo Muriel Quancard in collaboration with Monte Laster, FACE, and Palais de Tokyo co-produced a three-day festival, Banlieue Is Beautiful (BIB) revealing the creative potential of Paris’ most stigmatized suburbs. A rich program of performances (spoken word, public speaking, dance), video screenings, concerts, installations, and discussions spread in every corner of the Palais de Tokyo. Also involved in the curatorial and production endeavor were Vittoria Materrese (Palais de Tokyo), Joanna McLennan and Mike Sajnoski (FACE), Badroudine Saïd Abdallah and Mehdi Meklat (Bondy Blog.) About Banlieue Is Beautiful About Monte Laster About FACE https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519227094957-YHA6G2CFUX9WYMJRFR0D/image-asset.jpeg BANLIEUE IS BEAUTIFUL - Banlieue is Beautiful https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519236058583-EZPF7GY696EXOLIUN4V4/7483d4_8dfacd89194840398ecf2d9f45c5251f.jpg BANLIEUE IS BEAUTIFUL - Banlieue is Beautiful Banlieue is Beautiful (BIB) is a a social sculpture by Monte Laster that explores the cultural identity of Paris' banlieue through multiple interventions, workshops and performances. It examines the role of art in the context of urban renovation and the city's search for identity. https://static1.squarespace.com/static/54089f43e4b0d384103d17fc/55764d0ce4b099e58034955b/5a8d90d602d7bcc36b1bcd74/1519227094422/ BANLIEUE IS BEAUTIFUL - Banlieue is Beautiful https://static1.squarespace.com/static/54089f43e4b0d384103d17fc/55764d0ce4b099e58034955b/5a8d90d6706fddf5d9be3367/1519227094898/ BANLIEUE IS BEAUTIFUL - Banlieue is Beautiful https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519227094769-KQVIZA0HLY8AI4Y6RZQ4/image-asset.jpeg BANLIEUE IS BEAUTIFUL - Banlieue is Beautiful http://murielquancard.com/soluna-2015 daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783059267-73GHOHF60O8VXHP054V2/2015.png Soluna | 2015 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2015 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Director of Festival Advancement: Anna-Sophia Van Zweden SOLUNA Curatorial Advisor: Muriel Quancard From May 4 to 24 2015, the Dallas Symphony Orchestra led the presentation of SOLUNA, a new music and arts festival centered in the Dallas Arts District. The Festival was anchored by orchestral performances and featured collaborations with Dallas art institutions; new works were commissioned to acclaimed visual artists inspired by the Festival theme. Destination (America) was chosen as the theme of the inaugural festival to focus artistic cohesion and to provide a broad platform for multiple art forms. The 20th century saw an explosion of creative talent globally and an extraordinary influx of composers, musicians, visual and performing artists from the Americas, Europe and Asia into the United States. The reasons for this migration largely mirrored the essential motivations that had driven millions to the United States for over two hundred years – opportunity, freedom of personal and artistic expression, refuge from war and oppression. The demographics of the United States originated from these migrations, and the shaped the cultural landscape. Destination (America) was an opportunity for artists to explore the ideas of dislocation as result of migration, as well as the concept of home and belonging. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783059267-73GHOHF60O8VXHP054V2/2015.png Soluna | 2015 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2015 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Director of Festival Advancement: Anna-Sophia Van Zweden SOLUNA Curatorial Advisor: Muriel Quancard From May 4 to 24 2015, the Dallas Symphony Orchestra led the presentation of SOLUNA, a new music and arts festival centered in the Dallas Arts District. The Festival was anchored by orchestral performances and featured collaborations with Dallas art institutions; new works were commissioned to acclaimed visual artists inspired by the Festival theme. Destination (America) was chosen as the theme of the inaugural festival to focus artistic cohesion and to provide a broad platform for multiple art forms. The 20th century saw an explosion of creative talent globally and an extraordinary influx of composers, musicians, visual and performing artists from the Americas, Europe and Asia into the United States. The reasons for this migration largely mirrored the essential motivations that had driven millions to the United States for over two hundred years – opportunity, freedom of personal and artistic expression, refuge from war and oppression. The demographics of the United States originated from these migrations, and the shaped the cultural landscape. Destination (America) was an opportunity for artists to explore the ideas of dislocation as result of migration, as well as the concept of home and belonging. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519275517057-YSR5Q7ZT87H379FO43IX/Screenshot+2018-02-21+23.58.28.png Soluna | 2015 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2015 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Director of Festival Advancement: Anna-Sophia Van Zweden SOLUNA Curatorial Advisor: Muriel Quancard Performance above by Ryan McNamara From May 4 to 24 2015, the Dallas Symphony Orchestra leads the presentation of SOLUNA, a three-week international music and arts festival centered in the Dallas Arts District. The Festival is anchored by orchestral performances and features collaborations with Dallas art institutions; new works were commissioned to acclaimed visual artists inspired by the Festival theme. Festival theme Destination (America) was chosen as the theme of the inaugural festival to focus artistic cohesion and to provide a broad platform for multiple art forms. The 20th century saw an explosion of creative talent globally and an extraordinary influx of composers, musicians, visual and performing artists from the Americas, Europe and Asia into the United States. The reasons for this migration largely mirror the essential motivations that have driven millions to the United States for over two hundred years – opportunity, freedom of personal and artistic expression, refuge from war and oppression. The current demographics of the United States originate from these migrations, and the changes to our cultural landscape are ongoing for the same reasons. Destination (America) is an opportunity for artists to explore the ideas of dislocation as result of migration, as well as the concept of home and belonging. SOLUNA 2015 ARTIST LIST Yael Bartana Kevin Beasley Monte Laster Ryan McNamara Francisco Moreno Alex Prager Pipilotti Rist Jean Shin Conrad Tao VISIT THE SOLUNA FESTIVAL WEBSITE https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783018001-0CSWOA5LPG4B4FHDWEON/2015.png Soluna | 2015 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2015 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Director of Festival Advancement: Anna-Sophia Van Zweden SOLUNA Curatorial Advisor: Muriel Quancard From May 4 to 24 2015, the Dallas Symphony Orchestra leads the presentation of SOLUNA, a three-week international music and arts festival centered in the Dallas Arts District. The Festival is anchored by orchestral performances and features collaborations with Dallas art institutions; new works were commissioned to acclaimed visual artists inspired by the Festival theme. Festival theme Destination (America) was chosen as the theme of the inaugural festival to focus artistic cohesion and to provide a broad platform for multiple art forms. The 20th century saw an explosion of creative talent globally and an extraordinary influx of composers, musicians, visual and performing artists from the Americas, Europe and Asia into the United States. The reasons for this migration largely mirror the essential motivations that have driven millions to the United States for over two hundred years – opportunity, freedom of personal and artistic expression, refuge from war and oppression. The current demographics of the United States originate from these migrations, and the changes to our cultural landscape are ongoing for the same reasons. Destination (America) is an opportunity for artists to explore the ideas of dislocation as result of migration, as well as the concept of home and belonging. SOLUNA 2015 ARTIST LIST Yael Bartana Kevin Beasley Monte Laster Ryan McNamara Francisco Moreno Alex Prager Pipilotti Rist Jean Shin Conrad Tao VISIT THE SOLUNA FESTIVAL WEBSITE https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441467081102-QW61XPCB4QKIP0YO552R/Despair+1+-+Mark+Kitaoka_web.jpg Soluna | 2015 - ALEX PRAGER SOLUNA Festival Opening Performance, May 6, 2015 Three Short Films by Alex Prager Musicians of the Dallas Symphony Orchestra Dallas City Performance Hall Co-curated with Anna-Sophie Van Zweden Karina Canellakis leads the Dallas Symphony Orchestra in a live music performance accompanying the screening of three films by Alex Prager with music composed by Ali Helnwein. Face in the Crowd (2013) La Petite Mort (2012) Despair (2010) Celebrated for her meticulously constructed, theatrical, and richly cinematic images, Alex Prager, a Los Angeles-based artist, is inspired by a wide range of influences, from popular culture, to street photography, to the cinematic history of Hollywood. Prager’s distinctive style and dialogue with Hollywood found full expression in her Face in the Crowd series, which debuted at the Corcoran Gallery of Art in Washington, D.C. in 2013 and was subsequently shown at Lehmann Maupin in New York in 2014. Prager managed large-scale sets, hundreds of extras, and a full production team to create precisely composed images of crowds. This series also includes a video installation starring the American actress Elizabeth Banks. A free-channel video installation and a new body of photographs are concurrently exhibited at the Goss-Michael Foundation from May 8 to June 20, 2015. About Face in the Crowd (2013) Alex Prager is represented by Lehman Maupin https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441467115200-WLH6N5E1OCM766PMYGUD/Rist+Video+5_Tracy+Martin_web.jpg Soluna | 2015 - PIPILOTTI RIST ReMix series: Hollywood Exile, May 8 & 9, 2015 World Premiere of a new film by Pipilotti Rist Musicians of the Dallas Symphony Orchestra Guest soloist Conrad Tao Dallas City Performance Hall Co-curated with Anna-Sophie Van Zweden Karina Canellakis leads the Dallas Symphony Orchestra in a music program focused on early 20th century composers who came to America to escape rising Nazism. These composers – Schoenberg, Stravinsky, Korngold, Rozsa and others – found an outlet in Hollywood film while still continuing to write in the classical genre. Acclaimed artist Pipilotti Rist was commissioned by SOLUNA to create a video to accompany the Dallas Symphony Orchestra’s performance of Miklos Rozsa’s “Andante for Strings, Op. 22a." A Hungarian-born composer Rozsa’s immigrated to the United States in 1940 and became a prominent composer in the Hollywood film industry. Pipilotti Rist’s video and audio installations blurs the boundaries between high art and popular culture, exploring the unfamiliar within the everyday. Her lush, seductive images recruits the idioms of advertising and music video to arrive at an idiosyncratic visual language that is informed by her experience as a musician and set designer. Pipilotti Rist is represented by Luhring Augustine. Pipilotti Rist & SOLUNA in Interview Magazine. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1434747280264-2TZ2JPCJTF19I7EZKCRZ/image-asset.jpeg Soluna | 2015 - YAEL BARTANA Symphony No. 3 (Bernstein) | Inferno (Bartana), May 14 & 16, 2015 Dallas Symphony Orchestra & Chorus | Children's Chorus of Greater Dallas Morton H. Meyerson Symphony Center Co-curated with Anna-Sophie Van Zweden Yael Bartana’s film Inferno is screened prior to a performance of Leonard Bernstein’s Kaddish Symphony No 3, which is based on the Jewish prayer for the dead. Composed in 1963, Kaddish is a choral and orchestral piece invoking the complex relationships between man and the divine, father and son, and addressing the limits of human power and control in a universal context. Kaddish’s libretto was be narrated by actor Ronald Guttman. While their periods and approaches may differ, Bernstein and Bartana share several interests and ideas, and the juxtaposition of their voices suggested fresh perspectives on each work. Yael Bartana’s films, installations and photographs explore the imagery of identity and the politics of memory. Her starting point is the national consciousness propagated by her native country Israel. Central to the work are meanings implied by terms like “homeland”, “return” and “belonging”. Bartana investigates these through the ceremonies, public rituals and social diversions that are intended to reaffirm the collective identity of the nation state. 'Inferno' refers to the construction of the third Temple of Solomon (Templo de Salmão) in São Paulo by a Brazilian Neo-Pentecostal Church. Built to biblical specifications, this new temple is a replica of the first temple in Jerusalem, the violent destruction of which signaled the diaspora of the Jewish people in the 6th century BCE. 'Inferno' confronts this conflation of place, history, and belief, providing insight into the complex realities of Latin America that have given rise to the temple project. Bartana’s film employs what she refers to as “historical pre enactment,” a methodology that commingles fact and fiction, prophesy and history. Her work addresses the grandiose temple project through a vision of its future: Does its construction necessarily foreshadow its destruction? Using a powerful cinematic language, 'Inferno' collapses histories of antiquity in the Middle East with a surreal present unfolding halfway around the world. About Inferno (2013). Yael Bartana is represented by Annet Gelink Gallery. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1434749909754-ZO51XE2V5HGJRWOXPS4S/Kevin+at+Board_Sylvia+Elzafon_web.jpg Soluna | 2015 - KEVIN BEASLEY Black Rocker (2015), May 15, 2015 Performance by Kevin Beasley Co-curated with Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art, Dallas Museum of Art; Curator Assistant: Chelsea Pierce Dallas Museum of Art SOLUNA and the Dallas Museum of Art commissioned Black Rocker, a sound site-specific and participative performance to Kevin Beasley for the museum’s Friday Late Night. Black Rocker emphasized the physicality of sound and explored the journey to American-ness through a culture dependent upon notions of blackness while celebrating the history of black music in America. It derived its name from the actual rocking chair used by Beasley during the six-hour long performance. This chair is accompanied by 24 bespoke seat cushions that Beasley equipped with microphones. The audience is able to interact with the artist in real time during the performance. This bold experiment harnesses the energies of the audience and transforms them into dynamic aural sensations. On May 14, 2015 Gavin Delahunty and Kevin Beasley held a discussion at the Dallas Museum of Art on Beasley’s work and the political economy of music. Kevin Beasley is represented by Casey Kaplan. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441467018087-Y883AF3FUXBJ99UHAFF7/image-asset.jpeg Soluna | 2015 - MONTE LASTER Destination, in Five Movements, May 24, 2015 Five new videos by Monte Laster, performances and video by students of Booker T. Washington High School for the Arts Dallas Symphony Orchestra Morton H. Meyerson Symphony Center Co-curated with Anna-Sophie Van Zweden Destination, in Five Movements is a participatory artwork made during three weeklong sessions over a six-month period. The final presentation, organized for Memorial Day on May 24, 2015 combines video with musical performances by the Dallas Symphony Orchestra and other Dallas-based organizations in a grand public event at the Meyerson Symphony Center. Monte Laster questions the roles of migration and displacement in the construction of identities and the formation of networks. His unique creative process, which brings individuals from diverse backgrounds into contact with one another, results in interactions that he captures in various ways. Whether they are installations, performances, photographs, or videos, Laster’s works are produced through a process of long-term collaboration. Destination America: True Stories of Immigration, May 16, 2015 Collaboration between Oral Fixation, the Dallas Museum of Art Arts & Letters Live program and Monte Laster Horchow Auditorium, Dallas Museum of Art This special event showcases the power of the human spirit through seven immigrants and refugees sharing their stories of coming to America. For SOLUNA, Laster engaged Dallas schools, such as Booker T. Washington High School and other local organizations, including Oral Fixation, in the creation of a socially conscious project. Monte Laster was born in Fort Worth, Texas. Since 1994, he has been working within the community of La Cité des 4000 in La Courneuve, France, perhaps the most socially stigmatized housing project in France where in created the not-for-profit organization known as FACE (French American Creative Exchange). Monte Laster and SOLUNA in Bomb Magazine. Monte Laster and Oral Fixation in the Dallas Observer. Monte Laster on KERA/NPR radio. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441467059954-OPJ05MKQZ3TCDIMDY7YM/Car+donuts_Sylvia+Elzafon_web.jpg Soluna | 2015 - FRANCISCO MORENO WCD (Washington Crossing the Delaware), May 23, 2015 Performance by Francisco Moreno Warehouse in Trinity Groves Co-curated with Anna-Sophie Van Zweden WCD (Washington Crossing the Delaware) borrows its title from a painting by German artist Emanuel Leutze that was intended to inspire European revolutionaries. Dallas-based Mexican artist, Francisco Moreno reinterpretes this depiction of a symbolic American story in a performance involving a Japanese car—built by a company that contributed to that country’s participation in World War II—with an implanted American engine rebuilt from scratch by Mexican technicians. About WCD (2015). Francisco Moreno is represented by Erin Cluley Gallery. http://murielquancard.com/soluna-2016 daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783272552-AMYDECBMV108NPJXAZBX/2016.png Soluna | 2016 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2016 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Curator-at-Large: Muriel Quancard SOLUNA 2016 (May 16-June 5) transformed the experience of live music by incorporating visual and performing arts to create unique provocative events. In its second year, the festival featured an innovative line-up of new works, including commissioned projects from visual artists Anton Ginzburg, Mai-Thu Perret and Paola Pivi and a ground-breaking collaboration between Daniel Arsham, choreographer Jonah Bokaer and musician Pharrell Williams. The theme for the festival was “Myth &Legend.” The power of myths has fascinated thinkers throughout the 20th Century. The disciplines of psychoanalysis, anthropology and semiology brought a new understanding of the origin and function of myths, thus revealing their psychological and social impact on contemporary societies. Following this connection, artists have been exploring the infinite possibilities of mythology applied to their work. Cutting-edge collaborations across classical music, dance, visual and performance arts explored myths, legends and folktales, occasionally creating new ones. Each project involved extensive interplay between artists, musicians, performers and institutional partners. — Muriel Quancard Muriel would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, the gifted musicians of the Dallas Symphony Orchestra, and their dedicated team including Gillian Friedman, Peter Czornyj, Chris Munoz, Tom Brekhus, Sean Kelly, Denise Mc Govern, Chris Shull, Kristi Cooper, Megan Teel, Michelle Burns, Tab Boyles, Arnica Ziller, Cyndi Phelps, Debi Pena, Jamie Allen, Logan Heinsch and Sarah Israel for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783272552-AMYDECBMV108NPJXAZBX/2016.png Soluna | 2016 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2016 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Curator-at-Large: Muriel Quancard SOLUNA 2016 (May 16-June 5) transformed the experience of live music by incorporating visual and performing arts to create unique provocative events. In its second year, the festival featured an innovative line-up of new works, including commissioned projects from visual artists Anton Ginzburg, Mai-Thu Perret and Paola Pivi and a ground-breaking collaboration between Daniel Arsham, choreographer Jonah Bokaer and musician Pharrell Williams. The theme for the festival was “Myth &Legend.” The power of myths has fascinated thinkers throughout the 20th Century. The disciplines of psychoanalysis, anthropology and semiology brought a new understanding of the origin and function of myths, thus revealing their psychological and social impact on contemporary societies. Following this connection, artists have been exploring the infinite possibilities of mythology applied to their work. Cutting-edge collaborations across classical music, dance, visual and performance arts explored myths, legends and folktales, occasionally creating new ones. Each project involved extensive interplay between artists, musicians, performers and institutional partners. — Muriel Quancard Muriel would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, the gifted musicians of the Dallas Symphony Orchestra, and their dedicated team including Gillian Friedman, Peter Czornyj, Chris Munoz, Tom Brekhus, Sean Kelly, Denise Mc Govern, Chris Shull, Kristi Cooper, Megan Teel, Michelle Burns, Tab Boyles, Arnica Ziller, Cyndi Phelps, Debi Pena, Jamie Allen, Logan Heinsch and Sarah Israel for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519275376374-9XI6RUD9OQOFNPDZVX4P/Screenshot+2018-02-21+23.51.50.png Soluna | 2016 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2016 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Director of SOLUNA Projects: Gillian Friedman Curator-at-Large: Muriel Quancard Curatorial Statement SOLUNA 2016 (May 16-June 5) transforms the experience of live music by incorporating visual and performing arts to create unique provocative events. In its second year, the festival features an innovative line-up of new works, including commissioned projects from visual artists Anton Ginzburg, Mai-Thu Perret and Paola Pivi and a ground-breaking collaboration between Daniel Arsham, choreographer Jonah Bokaer and musician Pharrell Williams. The theme for the festival is “Myth &Legend.” The power of myths has fascinated thinkers throughout the 20th Century. The disciplines of psychoanalysis, anthropology and semiology brought a new understanding of the origin and function of myths, thus revealing their psychological and social impact on contemporary societies. Following this connection, artists have been exploring the infinite possibilities of mythology applied to their work. Cutting-edge collaborations across classical music, dance, visual and performance arts will explore myths, legends and folktales, occasionally creating new ones. Each project involves extensive interplay between artists, musicians, performers and institutional partners. SOLUNA 2016 ARTIST LIST Daniel Arsham Jonah Bokaer Anton Ginzburg Mai-Thu Perret Paola Pivi Pharrell Williams VISIT THE SOLUNA FESTIVAL WEBSITE Quancard Contemporary would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, the gifted musicians of the Dallas Symphony Orchestra, and their dedicated team including Gillian Friedman, Peter Czornyj, Chris Munoz, Tom Brekhus, Sean Kelly, Denise Mc Govern, Chris Shull, Kristi Cooper, Megan Teel, Michelle Burns, Tab Boyles, Arnica Ziller, Cyndi Phelps, Debi Pena, Jamie Allen, Logan Heinsch and Sarah Israel for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783104451-NXP6UHCYJKF54OGCCI4H/2017.png Soluna | 2016 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2016 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Director of SOLUNA Projects: Gillian Friedman Curator-at-Large: Muriel Quancard Curatorial Statement SOLUNA 2016 (May 16-June 5) transforms the experience of live music by incorporating visual and performing arts to create unique provocative events. In its second year, the festival features an innovative line-up of new works, including commissioned projects from visual artists Anton Ginzburg, Mai-Thu Perret and Paola Pivi and a ground-breaking collaboration between Daniel Arsham, choreographer Jonah Bokaer and musician Pharrell Williams. The theme for the festival is “Myth &Legend.” The power of myths has fascinated thinkers throughout the 20th Century. The disciplines of psychoanalysis, anthropology and semiology brought a new understanding of the origin and function of myths, thus revealing their psychological and social impact on contemporary societies. Following this connection, artists have been exploring the infinite possibilities of mythology applied to their work. Cutting-edge collaborations across classical music, dance, visual and performance arts will explore myths, legends and folktales, occasionally creating new ones. Each project involves extensive interplay between artists, musicians, performers and institutional partners. SOLUNA 2016 ARTIST LIST Daniel Arsham Jonah Bokaer Anton Ginzburg Mai-Thu Perret Paola Pivi Pharrell Williams VISIT THE SOLUNA FESTIVAL WEBSITE Quancard Contemporary would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, the gifted musicians of the Dallas Symphony Orchestra, and their dedicated team including Gillian Friedman, Peter Czornyj, Chris Munoz, Tom Brekhus, Sean Kelly, Denise Mc Govern, Chris Shull, Kristi Cooper, Megan Teel, Michelle Burns, Tab Boyles, Arnica Ziller, Cyndi Phelps, Debi Pena, Jamie Allen, Logan Heinsch and Sarah Israel for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783244839-HZP8JM7J2HXMD62TZDQJ/2016.png Soluna | 2016 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2016 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Director of SOLUNA Projects: Gillian Friedman Curator-at-Large: Muriel Quancard Curatorial Statement SOLUNA 2016 (May 16-June 5) transforms the experience of live music by incorporating visual and performing arts to create unique provocative events. In its second year, the festival features an innovative line-up of new works, including commissioned projects from visual artists Anton Ginzburg, Mai-Thu Perret and Paola Pivi and a ground-breaking collaboration between Daniel Arsham, choreographer Jonah Bokaer and musician Pharrell Williams. The theme for the festival is “Myth &Legend.” The power of myths has fascinated thinkers throughout the 20th Century. The disciplines of psychoanalysis, anthropology and semiology brought a new understanding of the origin and function of myths, thus revealing their psychological and social impact on contemporary societies. Following this connection, artists have been exploring the infinite possibilities of mythology applied to their work. Cutting-edge collaborations across classical music, dance, visual and performance arts will explore myths, legends and folktales, occasionally creating new ones. Each project involves extensive interplay between artists, musicians, performers and institutional partners. SOLUNA 2016 ARTIST LIST Daniel Arsham Jonah Bokaer Anton Ginzburg Mai-Thu Perret Paola Pivi Pharrell Williams VISIT THE SOLUNA FESTIVAL WEBSITE Quancard Contemporary would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, the gifted musicians of the Dallas Symphony Orchestra, and their dedicated team including Gillian Friedman, Peter Czornyj, Chris Munoz, Tom Brekhus, Sean Kelly, Denise Mc Govern, Chris Shull, Kristi Cooper, Megan Teel, Michelle Burns, Tab Boyles, Arnica Ziller, Cyndi Phelps, Debi Pena, Jamie Allen, Logan Heinsch and Sarah Israel for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1464325281238-A28TWRV79PMKIIQ53TLV/20160517_TMartin_4515+copy+%281%29.jpg Soluna | 2016 - JONAH BOAKER X DANIEL ARSHAM X PHARRELL WILLIAMS SOLUNA Festival Opening Performance, May 17, 2016 Rules of the Game Choreography by Jonah Bokaer Scenography by Daniel Arsham Score by Pharrell William Arranged and conducted by David Campbell Musicians of the Dallas Symphony Orchestra Curated and produced in collaboration with Charles Fabius Other works: Recess, Why Pattern Winspear Opera House Co-curated with Anna-Sophia Van Zweden Headlining the festival’s opening night on May 17 is the world premiere of Rules Of The Game, a multimedia performance by artist Daniel Arsham and choreographer Jonah Bokaer featuring an original score by Pharrell Williams, arranged and conducted by David Campbell for the Dallas Symphony Orchestra. With Rules Of The Game, the long-standing creative partnership between Daniel Arsham and Jonah Bokaer reaches new heights, while pop musician Pharrell Williams and the Dallas Symphony Orchestra enter an unprecedented collaboration. This work builds from Bokaer’s current Guggenheim Fellowship, and previous exploration of cultural mythology in works such as Other Myths, with Arsham’s large-scale scenography adding a conception of time as a foundation for contemporary urban myth. Daniel Arsham is represented by Perrotin Jonah Boaker is represented by David Lieberman Artists’ Representatives and Julie George & Damien Valette Pharrell Williams This project came to life thanks to the hard work of the maverick teams at Chez Bushwick : Kirstin Kapustik, Natasha Katerinopoulos, Laure Dubois... at Daniel Arsham's studio: Meghan Clohessy, Nathan Abbe... at Film the Future: Courtney Andrialis, Ben Louis Nicolas... and iamOther: Loic Villepontoux, Mike Larson, Cynthia “Cactus” Lu. Photo by Tracy Martin https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1462037671098-2LXC8CD8Y0CNPY9VM6LD/Anton+Ginzburg%2C+2016.+Courtesy+of+the+artist.jpg Soluna | 2016 - ANTON GINZBURG ReMix series: Myth & Legend, May 20 & 21, 2016 World Premiere of a new film by Anton Ginzburg Musicians of the Dallas Symphony Orchestra Guest soloist Anne-Marie McDermott Dallas City Performance Hall Co-curated with Anna-Sophie Van Zweden The second annual SOLUNA festival extends the work we began in 2015 through a new video commissioned from Anton Ginzburg for the ReMix concerts on May 20 and 21. “Turo” is set to Waldweben by Wagner and Pohjola’s Daughter by Sibelius, two symphonic pieces anchored in Norse mythology. Divided into two chapters, the video employs vestiges of Russian Constructivist architecture as a stage for past utopias. Exploring various methods of representation since the Romantic era, the video’s structure combines cinematic approach and digital abstraction. Anton Ginzburg https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1464473551086-8F245KLCBMWB08TUWHWT/IMG_7410.jpg Soluna | 2016 - PAOLA PIVI Ma'am, May 24, 2016 Performance by Paola Pivi Musicians of the Dallas Symphony Orchestra Exhibition curator: Justine Ludwig, assistant curator: Lilia Kudelia Dallas Contemporary Co-curated with Anna-Sophie Van Zweden This year, SOLUNA ventures into new territory by situating live music within exhibitions of visual art. At Dallas Contemporary, Paola Pivi’s whimsical exhibition, Ma’am, will be the site of a series of musical interventions in which audiences mingle with a very special group of temporary museum inhabitants — a sleuth of colorful feathered bears, which reference many different sources including Native American folklore. Paola Pivi is represented by Perrotin and Massimo de Carlo Gallery https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519222088980-VHVBMTRZJWSC97FKRQQ2/nasher-mai-thu-perret-1010-ZF-5981-17861-1-001-0081.jpg Soluna | 2016 - MAI-THU PERRET Figures, June 2, 2016 Performance by Mai-Thu Perret, vocals by Tamara Barrett-Herrin, music by Beatrice Dillon Exhibition curator: Jed Morse, assistant curator: Leigh Arnold Nasher Sculpture Center Co-curated with Jed Morse At the Nasher Sculpture Center, Mai-Thu Perret will stage two performances to coincide with her solo exhibition Sightings: Mai-Thu Perret. These include her recent work Figures, on June 2, and a newly-commissioned work, o. Figures reflects the artist’s research into woman’s role in the development of computer technology and the writings of Indian author and former computer programmer, Vikram Chandra, whose 2013 book Mirrored Mind: My Life in Letters and Code describes the aesthetics of code writing and the connections between art and technology. Further influences include Perret’s readings on meditation and the tantric practices of Kashmir Shaivism, as well as her fascination with American Utopias and the various religious and non-religious movements in the U.S. during the 19th and 20th centuries. These wide-ranging and diverse interests culminate in Figures, which features a life-size marionette, whose body is animated by dancer Anja Schmidt. During the performance, the two figures (dancer and puppet) enact an elaborate narrative that involves an Indian mystic, a 19th-century American Shaker, a 1950s computer programmer, an Artificial Intelligence, and a journalist. The performance begins with the dancer and puppet as separate entities, and as it goes on, the two gradually merge then disappear, to be replaced on stage by a character with a typewriter (the journalist, played by Perret), who is typing text that describes the Artificial Intelligence. The staging of the piece recalls the Japanese style of puppetry known as bunraku, in which the manipulators appear on stage alongside the puppets, providing a parallel performance of real and artificial bodies in motion. Vocals sung by Barnett-Herrin relate the script of the performance that is set to percussive beats played by musician Beatrice Dillon. Mai-Thu Perret is represented by David Kordansky Gallery. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519222433114-UBNU0VXUSOH2B0ZW8CJS/nasher-mai-thu-perret-1578-ZF-5981-17861-1-002-080.jpg Soluna | 2016 - MAI-THU PERRET O, June 4, 2016 Performance by Mai-Thu Perret Musicians and Dancers of SMU Meadows School of the Arts Exhibition curator: Jed Morse, assistant curator: Leigh Arnold Nasher Sculpture Center Co-curated with Jed Morse Over the past decade, the artist’s installations, paintings, and sculptures have often made use of fluid narratives centered on mythical utopian communities organized around feminist and modernist principles. On June 4, an ensemble of performers and percussionists further beguile visitors extending the already ethereal atmosphere of Perret’s show. Mai-Thu Perret is represented by David Kordansky Gallery. http://murielquancard.com/dallas-artfair daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1545949083503-XM5T66LGFDPRRSPQHPRA/IMG_6247.jpg SOLUNA | Dallas Art Fair - JEN RAY Eyes As Bright As Diamonds April 11, 2018 Morton H. Meyerson Symphony Center Curated by Muriel Quancard Musicians of the Dallas Symphony Orchestra: Nora Scheller and Lydia Umlauf, violins Valerie Dimond, viola Nan Zhang, cello On the occasion of the 2018 Dallas Art Fair, Jen Ray collaborated with Texan singer/songwriter Sarah Jaffe on a newly-commissioned performance as a prelude to the 2018 Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival. Eyes As Bright As Diamonds invited a variety of performers from the Dallas area to join Sarah Jaffe in an exuberant and passionate multi-layered performance circulating and flowing around the Meyerson Symphony Center grand staircase. This site-specific performance explored the dark glamour of American life and its history of transformation and reinvention. Performers: BOOKER T WASHINGTON HIGH SCHOOL DANCE CONSERVATORY THE HALTOM COLOR GUARD THE HALTOM DRUMLINE SMU BALLROOM Team: Sherri Segovia Choreographer Carlos-Alonso Parada Stylist Jen Ray is represented by Albertz Benda Gallery. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1545949083503-XM5T66LGFDPRRSPQHPRA/IMG_6247.jpg SOLUNA | Dallas Art Fair - JEN RAY Eyes As Bright As Diamonds April 11, 2018 Morton H. Meyerson Symphony Center Curated by Muriel Quancard Musicians of the Dallas Symphony Orchestra: Nora Scheller and Lydia Umlauf, violins Valerie Dimond, viola Nan Zhang, cello On the occasion of the 2018 Dallas Art Fair, Jen Ray collaborated with Texan singer/songwriter Sarah Jaffe on a newly-commissioned performance as a prelude to the 2018 Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival. Eyes As Bright As Diamonds invited a variety of performers from the Dallas area to join Sarah Jaffe in an exuberant and passionate multi-layered performance circulating and flowing around the Meyerson Symphony Center grand staircase. This site-specific performance explored the dark glamour of American life and its history of transformation and reinvention. Performers: BOOKER T WASHINGTON HIGH SCHOOL DANCE CONSERVATORY THE HALTOM COLOR GUARD THE HALTOM DRUMLINE SMU BALLROOM Team: Sherri Segovia Choreographer Carlos-Alonso Parada Stylist Jen Ray is represented by Albertz Benda Gallery. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519349995121-QMOIGCH5CYUR3CBQWAI9/IMGP0899+copy+2.jpg SOLUNA | Dallas Art Fair - JEN RAY Eyes As Bright As Diamonds April 11, 2018 Morton H. Meyerson Symphony Center Musicians of the Dallas Symphony Orchestra: Nora Scheller and Lydia Umlauf, violins Valerie Dimond, viola Nan Zhang, cello On the occasion of the 2018 Dallas Art Fair, Jen Ray collaborates with Texan singer/songwriter Sarah Jaffe on a newly-commissioned performance as a prelude to the 2018 Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival. Eyes As Bright As Diamonds invites a variety of performers from the Dallas area to join Sarah Jaffe in an exuberant and passionate multi-layered performance circulating and flowing around the Meyerson Symphony Center grand staircase. This site-specific performance explores the dark glamour of American life and its history of transformation and reinvention. Performers: BOOKER T WASHINGTON HIGH SCHOOL DANCE CONSERVATORY THE HALTOM COLOR GUARD THE HALTOM DRUMLINE SMU BALLROOM Team: Sherri Segovia Choreographer Carlos-Alonso Parada Stylist Jen Ray is represented by Albertz Benda Gallery. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1462045423280-KPWO7L16900WRUWH01SC/IMG_2246.jpg SOLUNA | Dallas Art Fair - BARBARA KASTEN Sideways/Corner April 14, 2016 Morton H. Meyerson Symphony Center Curated by Muriel Quancard Musicians of the Dallas Symphony Orchestra: Filip Fenrych & Lydia Umlauf, violins Emily Williams, viola Jennifer Humphreys, cello On the occasion of the 2016 Dallas Art Fair, the Dallas Symphony Orchestra presented an installation / performance by Barbara Kasten as a prelude to the annual Nancy A. Nasher & David J. Haemisegger Family SOLUNA International Music & Arts Festival. Projected onto the arch outside of the I. M. Pei- designed Meyerson Symphony Center, Sideways/Corner was a theatrical intervention, allowing the architecture to serve as both screen and backdrop. Beginning as a single, rotating cube, the work explored the interplay of primary colors and forms, gradually becoming more complex. Sideways/Corner simultaneously and paradoxically referred to the stability of the surface on which it was projected, commanding its site to serve as a stage of changing reality. Barbara Kasten worked closely with SOLUNA’s curatorial team to select a program of contemporary music for string quartet. Music program: PHILIP GLASS String Quartet No. 4 "Buczak": 1st Movement PHILIP GLASS String Quartet No. 3 “Mishima”: 6th Movement THOMAS ADÈS Arcadiana: IV. Et...(tango mortale) PHILIP GLASS String Quartet No. 3 “Mishima”: 1st Movement Barbara Kasten is represented by Bortolami Gallery. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1441468014483-J6765Z5Q7XQZ6L95ZVA6/IMG_2026.jpg SOLUNA | Dallas Art Fair - CLAUDE RUTAULT de-finition/method “listening to painting, looking at music”, April 9, 2015 Morton H. Meyerson Symphony Center Curated by Muriel Quancard Musician of the Dallas Symphony Orchestra: Eunice Keem & Alexandra Adkins, Violins Barbara Sudweeks, Viola Christopher Adkins, Cello On the occasion of the 2015 Dallas Art Fair, the Dallas Symphony Orchestra presented a new commission to French conceptual artist Claude Rutault as a prelude to the first SOLUNA festival. Artist statement: this pictorial piece works in conjunction with beethoven’s string quartet in f minor, opus 95 (serioso) a square space large enough for four musicians to sit comfortably is marked out on the ground. four stacks of canvases are placed around the square. some of the canvases are painted white while others are painted black. the canvases are assembled randomly (so that the black and white don’t alternate regularly) into screens of two, three, or four panels. just before the first movement begins, a screen made of four canvases is unfolded more or less regularly along one of the sides of the marked-out space. before the beginning of the second movement, a new screen is added. the panels should remain folded enough to allow the screens to stand upright. this is repeated for the third movement. before the beginning of the fourth movement, the remaining screens are positioned so as to hide the musicians. the remaining link between the musicians and the audience is the music. the pictorial ensemble is superimposed on the music; it changes the way the canvases are viewed, the way painting is viewed, while also altering ordinary listening, particularly during the last movement. the musicianswill not see the audience, and the audience will not see the musicians, yet the audience is not listening to a record, and the musicians are not rehearsing; both the audience and the musicians are at a concert. - claude rutault Dancers from Avant Chamber Ballet, Dallas: Company Director: Katie Puder Natalie Anton Emily Dixon Christy Martin Kaitlyn McDermitt About de-finition/method (2015) Claude Rutault is represented by Perrotin https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1462046321732-QSNERZLT2HNO927FNU8F/1430020550190.jpg SOLUNA | Dallas Art Fair - RYAN MCNAMARA April 11, 2014 Morton H. Meyerson Symphony Center Musicians of the Dallas Symphony Orchestra Curated by Muriel Quancard The SOLUNA Festival was first announced at a pre-launch event at the Meyerson Symphony Center on the occasion of the 2014 Dallas Art Fair. Artist Ryan McNamara was commissioned to introduce SOLUNA with a performance in collaboration with musicians of the Dallas Symphony Orchestra enveloping the audience with a dynamic experience in symphonic music. http://murielquancard.com/kerry-tribe-here-elsewhere daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1462530373750-0ECWMASRTIIA6WLEX8O6/Here-and-Elsewhere_installation+%281%29.jpg HERE AND ELSEWHERE - KERRY TRIBE HERE AND ELSWHERE April 12 to June 3 2006 Galerie Maisonneuve Curated by Muriel Quancard In Here & Elsewhere, 2002, two synchronized videos are projected side by side, creating a vertical seam where they meet. What might be called the project’s “narrative” revolves around an interview between an older man who remains off camera (played by British film critic and theoretician Peter Wollen), and a thoughtful ten year old girl (played by his daughter, Audrey). Periodically the visuals cut away to quotidian interior shots of the girl at home and exterior locations in and around Los Angeles. Although the video is structured as a loop, the questions the girl is asked trace a series of themes, each of which builds on the preceding dialogue. As the interview unfolds, their conversation touches on intersubjectivity, existence, temporality, memory, epistemology, photography and desire. Wollen’s questions are loosely adapted from France / tour / détour / deux / enfants (1978), a made-for-television experimental video series directed by Jean-Luc Godard and Anne-Marie Mieville. The relationships, which emerge from the images on either side of the central vertical seam, serve as a structural score for the ideas addressed in the interview, such that the continuity, friction, gaps and overlaps that result from their simultaneity underscore the girl’s desire to speak a coherent articulation of time, space, image and identity. Further info on Here and Elswhere Kerry Tribe in represented by 1301PE https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1462530373750-0ECWMASRTIIA6WLEX8O6/Here-and-Elsewhere_installation+%281%29.jpg HERE AND ELSEWHERE - KERRY TRIBE HERE AND ELSWHERE April 12 to June 3 2006 Galerie Maisonneuve Curated by Muriel Quancard In Here & Elsewhere, 2002, two synchronized videos are projected side by side, creating a vertical seam where they meet. What might be called the project’s “narrative” revolves around an interview between an older man who remains off camera (played by British film critic and theoretician Peter Wollen), and a thoughtful ten year old girl (played by his daughter, Audrey). Periodically the visuals cut away to quotidian interior shots of the girl at home and exterior locations in and around Los Angeles. Although the video is structured as a loop, the questions the girl is asked trace a series of themes, each of which builds on the preceding dialogue. As the interview unfolds, their conversation touches on intersubjectivity, existence, temporality, memory, epistemology, photography and desire. Wollen’s questions are loosely adapted from France / tour / détour / deux / enfants (1978), a made-for-television experimental video series directed by Jean-Luc Godard and Anne-Marie Mieville. The relationships, which emerge from the images on either side of the central vertical seam, serve as a structural score for the ideas addressed in the interview, such that the continuity, friction, gaps and overlaps that result from their simultaneity underscore the girl’s desire to speak a coherent articulation of time, space, image and identity. Further info on Here and Elswhere Kerry Tribe in represented by 1301PE https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1462530399951-W0MZXHJ2J5NK9Q6AI4RD/Near-Miss-Production-Still-523x416+%281%29.jpg HERE AND ELSEWHERE - KERRY TRIBE HERE AND ELSWHERE April 12 to June 3 2006 Galerie Maisonneuve Curated by Muriel Quancard Near Miss, 2005, is the second in a series of new works dealing with perception, coincidence, and the phenomenology of memory. Insofar as the film is an attempt to reenact an undocumented event witnessed only by its director ten years ago, the work touches on the problems associated with the objective communication of subjective memory. Near Miss consists of three nearly identical cinematic “takes.” In each, the camera is positioned inside a car that appears to be driving late at night though a snowstorm. Highway markers and a road sign slip by on the right, and the red tail-lights of another car can be seen in the distance on the road ahead. After about a minute, the car begins to lose traction, fishtails, then spins around to face the way it came, sliding backwards until it finally comes to a stop. The image cuts to black, and after several seconds, another take begins. Each take is accompanied by its own unique sound track, and each reveals subtle differences in the details of its execution. Accompanying the film, but never in the same space, is a large color photographic production still of an orange Volvo station wagon, raised up on dolly wheels and elaborately outfitted with lights and cables, inside a film studio. The room is filled with the hazy residue of fog and snow machines. In the background, artificial snow banks and a prop sign can be seen. Further info on Near Miss Kerry Tribe is represented by 1301PE http://murielquancard.com/soluna-2017 daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783322973-SP8D3DOBQA6NYICEDNNP/2017.png Soluna | 2017 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2017 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Curator-at-Large: Muriel Quancard During SOLUNA 2017 “Dreams & Illusions” (May 15-June 4), visual art, sound and performance provided visitors with space and time for contemplation and reverie, inviting them to participate in aural and cinematic environments. The viewer was center stage and often played a role in activating the works. Visual perspective and musical narrative were deconstructed and replaced with new, sometimes fragmentary, often visionary models. At the Crow Collection of Asian Art, composer Henri Scars Struck presented We Know You've Got Soul, an immersive auditory experience that took the visitor on a journey from earth to eternal rest. Inspired by myths of the afterlife, music and sound led participants through the museum, along with historical artifacts and the landscapes of artists Arnold Chang and Michael Cherney. Agence 5970 had long explored the complex relationship between consciousness, the body and dreaming. Focusing on the architecture of dreams rather than their symbolic content, DreamSpace engaged the audience in a vibrant experience that combined the acts of listening, reading and seeing within a technologically mediated sensorium. DreamSpace explored the phenomenon of synesthesia — the combination and interplay of images, sounds, colors and other effects within an artwork — in an effort to intensify the viewer’s perception. Ultra-Seeing: The Mandala Pattern, hosted at the Nasher Sculpture Center and curated together with Light Cone and the University of Texas at Dallas’s School of Arts, Technology and Communication, delivered three disparate cinematic experiences: a screening of abstract films by Jordan Belson, Bruce Conner, Adam R. Levine, Joost Rekveld, and James Whitney; a live performance by Martin Back; and an immersive installation by French collective Nominoë. Belson’s kaleidoscopic images were set to music by visionary sound artist Henri Jacobs, while the poetic footage of Bruce Conner was augmented by the hypnotic pulse of Terry Riley’s In C. At the Wyly Theatre, Jessica Mitrani exposed the symbiotic relationship between theater and cinema in her multimedia performance Traveling Lady. This work was conceived as a film with live elements with acclaimed Spanish actress Rossy de Palma physically emerging from the picture and performing on a cinematic stage. At once corporeal and cosmic, this forceful combination of film and theater played on scale and the bodily presence of the actress. In Mexican artist Pia Camil’s community- based performance at Dallas Contemporary, the audience was invited to interact with a shared structure made of sewn-together second-hand clothes. This group effort hinted at the construction of social ties through the process of participation. An antidote to the individuality of capitalism, Camil’s work appealed to our empathy via collective dream. The scope of the projects presented throughout SOLUNA 2017 reflected the plurality of the contemporary artistic experience. Throughout the festival, the senses of the spectators were stimulated by a collection of images as the artists invited them to reflect on the nature and value of these images as mental constructs. As Hans Belting wrote in Anthropology of Images, “nowhere are we more justified in speaking of ourselves as ‘the locus of images’ than when it comes to dreams.” — Muriel Quancard Muriel would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, Gillian Friedman, Sarah Whitling, the gifted musicians of the Dallas Symphony Orchestra and their dedicated team including Michelle Miller Burns, James Leffler, Kelly Halaszyn, Peter Czornyj, Nathan Lutz, Tom Brekhus, Sean Kelly, Courtney Zimmerman, Denise Mc Govern, Chelsea Norris, Kristi Cooper, Tab Boyles, Debi Pena and Jamie Allen, for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783322973-SP8D3DOBQA6NYICEDNNP/2017.png Soluna | 2017 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2017 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Curator-at-Large: Muriel Quancard During SOLUNA 2017 “Dreams & Illusions” (May 15-June 4), visual art, sound and performance provided visitors with space and time for contemplation and reverie, inviting them to participate in aural and cinematic environments. The viewer was center stage and often played a role in activating the works. Visual perspective and musical narrative were deconstructed and replaced with new, sometimes fragmentary, often visionary models. At the Crow Collection of Asian Art, composer Henri Scars Struck presented We Know You've Got Soul, an immersive auditory experience that took the visitor on a journey from earth to eternal rest. Inspired by myths of the afterlife, music and sound led participants through the museum, along with historical artifacts and the landscapes of artists Arnold Chang and Michael Cherney. Agence 5970 had long explored the complex relationship between consciousness, the body and dreaming. Focusing on the architecture of dreams rather than their symbolic content, DreamSpace engaged the audience in a vibrant experience that combined the acts of listening, reading and seeing within a technologically mediated sensorium. DreamSpace explored the phenomenon of synesthesia — the combination and interplay of images, sounds, colors and other effects within an artwork — in an effort to intensify the viewer’s perception. Ultra-Seeing: The Mandala Pattern, hosted at the Nasher Sculpture Center and curated together with Light Cone and the University of Texas at Dallas’s School of Arts, Technology and Communication, delivered three disparate cinematic experiences: a screening of abstract films by Jordan Belson, Bruce Conner, Adam R. Levine, Joost Rekveld, and James Whitney; a live performance by Martin Back; and an immersive installation by French collective Nominoë. Belson’s kaleidoscopic images were set to music by visionary sound artist Henri Jacobs, while the poetic footage of Bruce Conner was augmented by the hypnotic pulse of Terry Riley’s In C. At the Wyly Theatre, Jessica Mitrani exposed the symbiotic relationship between theater and cinema in her multimedia performance Traveling Lady. This work was conceived as a film with live elements with acclaimed Spanish actress Rossy de Palma physically emerging from the picture and performing on a cinematic stage. At once corporeal and cosmic, this forceful combination of film and theater played on scale and the bodily presence of the actress. In Mexican artist Pia Camil’s community- based performance at Dallas Contemporary, the audience was invited to interact with a shared structure made of sewn-together second-hand clothes. This group effort hinted at the construction of social ties through the process of participation. An antidote to the individuality of capitalism, Camil’s work appealed to our empathy via collective dream. The scope of the projects presented throughout SOLUNA 2017 reflected the plurality of the contemporary artistic experience. Throughout the festival, the senses of the spectators were stimulated by a collection of images as the artists invited them to reflect on the nature and value of these images as mental constructs. As Hans Belting wrote in Anthropology of Images, “nowhere are we more justified in speaking of ourselves as ‘the locus of images’ than when it comes to dreams.” — Muriel Quancard Muriel would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, Gillian Friedman, Sarah Whitling, the gifted musicians of the Dallas Symphony Orchestra and their dedicated team including Michelle Miller Burns, James Leffler, Kelly Halaszyn, Peter Czornyj, Nathan Lutz, Tom Brekhus, Sean Kelly, Courtney Zimmerman, Denise Mc Govern, Chelsea Norris, Kristi Cooper, Tab Boyles, Debi Pena and Jamie Allen, for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519274678182-X4098JBRKT8U7VT4OGOO/Screenshot+2018-02-21+23.43.20.png Soluna | 2017 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2017 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Director of SOLUNA Projects: Gillian Friedman Curator-at-Large: Muriel Quancard Curatorial Statement During SOLUNA 2017 “Dreams & Illusions” (May 15-June 4), visual art, sound and performance provide visitors with space and time for contemplation and reverie, inviting them to participate in aural and cinematic environments. The viewer is center stage and often plays a role in activating the work. Visual perspective and musical narrative are deconstructed and replaced with new, sometimes fragmentary, often visionary models. At the Crow Collection of Asian Art, composer Henri Scars Struck presents We Know You've Got Soul, an immersive auditory experience that takes the visitor on a journey from earth to eternal rest. Inspired by myths of the afterlife, music and sound lead participants through the museum, along with historical artifacts and the landscapes of artists Arnold Chang and Michael Cherney. Agence 5970 has long explored the complex relationship between consciousness, the body and dreaming. Focusing on the architecture of dreams rather than their symbolic content, DreamSpace engages the audience in a vibrant experience that combines the acts of listening, reading and seeing within a technologically mediated sensorium. DreamSpace explores the phenomenon of synesthesia — the combination and interplay of images, sounds, colors and other effects within an artwork — in an effort to intensify the viewer’s perception. Ultra-Seeing: The Mandala Pattern, hosted at the Nasher Sculpture Center and curated together with Light Cone and the University of Texas at Dallas’s School of Arts, Technology and Communication, delivers three disparate cinematic experiences: a screening of abstract films by Jordan Belson, Bruce Conner, Adam R. Levine, Joost Rekveld, and James Whitney; a live performance by Martin Back; and an immersive installation by French collective Nominoë. Belson’s kaleidoscopic images are set to music by visionary sound artist Henri Jacobs, while the poetic footage of Bruce Conner is augmented by the hypnotic pulse of Terry Riley’s In C. At the Wyly Theatre, Jessica Mitrani exposes the symbiotic relationship between theater and cinema in her multimedia performance Traveling Lady. This work is conceived as a film with live elements with acclaimed Spanish actress Rossy de Palma physically emerging from the picture and performing on a cinematic stage. At once corporeal and cosmic, this forceful combination of film and theater plays on scale and the bodily presence of the actress. In Mexican artist Pia Camil’s community- based performance at Dallas Contemporary, the audience is invited to interact with a shared structure made of sewn-together second-hand clothes. This group effort hints at the construction of social ties through the process of participation. An antidote to the individuality of capitalism, Camil’s work appeals to our empathy via collective dream. The scope of the projects presented throughout SOLUNA 2017 reflect the plurality of the contemporary artistic experience. Throughout SOLUNA, your senses are stimulated by a collection of images as the artists invite you to reflect on the nature and value of these images as mental constructs. As Hans Belting writes in Anthropology of Images, “nowhere are we more justified in speaking of ourselves as ‘the locus of images’ than when it comes to dreams.” SOLUNA 2017 ARTIST LIST Agence 5970 Martin Back Jordan Belson Pia Camil Bruce Conner Rossy De Palma Adam R. Levine Jessica Mitrani Nominoe Joost Rekveld Henri Scars Struck James Whitney VISIT THE SOLUNA FESTIVAL WEBSITE Quancard Contemporary would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, Gillian Friedman, Sarah Whitling, the gifted musicians of the Dallas Symphony Orchestra and their dedicated team including Michelle Miller Burns, James Leffler, Kelly Halaszyn, Peter Czornyj, Nathan Lutz, Tom Brekhus, Sean Kelly, Courtney Zimmerman, Denise Mc Govern, Chelsea Norris, Kristi Cooper, Tab Boyles, Debi Pena and Jamie Allen, for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519275240015-QAAD6V4ZPO8KWPSEDZ5R/Screenshot+2018-02-21+23.52.07.png Soluna | 2017 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2017 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Director of SOLUNA Projects: Gillian Friedman Curator-at-Large: Muriel Quancard Curatorial Statement During SOLUNA 2017 “Dreams & Illusions” (May 15-June 4), visual art, sound and performance provide visitors with space and time for contemplation and reverie, inviting them to participate in aural and cinematic environments. The viewer is center stage and often plays a role in activating the work. Visual perspective and musical narrative are deconstructed and replaced with new, sometimes fragmentary, often visionary models. At the Crow Collection of Asian Art, composer Henri Scars Struck presents We Know You've Got Soul, an immersive auditory experience that takes the visitor on a journey from earth to eternal rest. Inspired by myths of the afterlife, music and sound lead participants through the museum, along with historical artifacts and the landscapes of artists Arnold Chang and Michael Cherney. Agence 5970 has long explored the complex relationship between consciousness, the body and dreaming. Focusing on the architecture of dreams rather than their symbolic content, DreamSpace engages the audience in a vibrant experience that combines the acts of listening, reading and seeing within a technologically mediated sensorium. DreamSpace explores the phenomenon of synesthesia — the combination and interplay of images, sounds, colors and other effects within an artwork — in an effort to intensify the viewer’s perception. Ultra-Seeing: The Mandala Pattern, hosted at the Nasher Sculpture Center and curated together with Light Cone and the University of Texas at Dallas’s School of Arts, Technology and Communication, delivers three disparate cinematic experiences: a screening of abstract films by Jordan Belson, Bruce Conner, Adam R. Levine, Joost Rekveld, and James Whitney; a live performance by Martin Back; and an immersive installation by French collective Nominoë. Belson’s kaleidoscopic images are set to music by visionary sound artist Henri Jacobs, while the poetic footage of Bruce Conner is augmented by the hypnotic pulse of Terry Riley’s In C. At the Wyly Theatre, Jessica Mitrani exposes the symbiotic relationship between theater and cinema in her multimedia performance Traveling Lady. This work is conceived as a film with live elements with acclaimed Spanish actress Rossy de Palma physically emerging from the picture and performing on a cinematic stage. At once corporeal and cosmic, this forceful combination of film and theater plays on scale and the bodily presence of the actress. In Mexican artist Pia Camil’s community- based performance at Dallas Contemporary, the audience is invited to interact with a shared structure made of sewn-together second-hand clothes. This group effort hints at the construction of social ties through the process of participation. An antidote to the individuality of capitalism, Camil’s work appeals to our empathy via collective dream. The scope of the projects presented throughout SOLUNA 2017 reflect the plurality of the contemporary artistic experience. Throughout SOLUNA, your senses are stimulated by a collection of images as the artists invite you to reflect on the nature and value of these images as mental constructs. As Hans Belting writes in Anthropology of Images, “nowhere are we more justified in speaking of ourselves as ‘the locus of images’ than when it comes to dreams.” SOLUNA 2017 ARTIST LIST Agence 5970 Martin Back Jordan Belson Pia Camil Bruce Conner Rossy De Palma Adam R. Levine Jessica Mitrani Nominoe Joost Rekveld Henri Scars Struck James Whitney VISIT THE SOLUNA FESTIVAL WEBSITE Quancard Contemporary would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, Gillian Friedman, Sarah Whitling, the gifted musicians of the Dallas Symphony Orchestra and their dedicated team including Michelle Miller Burns, James Leffler, Kelly Halaszyn, Peter Czornyj, Nathan Lutz, Tom Brekhus, Sean Kelly, Courtney Zimmerman, Denise Mc Govern, Chelsea Norris, Kristi Cooper, Tab Boyles, Debi Pena and Jamie Allen, for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783295753-77C8ZR2WK4YDNDA76KXW/2017.png Soluna | 2017 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2017 Organized by the Dallas Symphony Orchestra (DSO) DSO Music Director: Jaap Van Zweden DSO President & CEO: Jonathan Martin SOLUNA Co-Founder/Advisor: Anna-Sophia Van Zweden Director of SOLUNA Projects: Gillian Friedman Curator-at-Large: Muriel Quancard Curatorial Statement During SOLUNA 2017 “Dreams & Illusions” (May 15-June 4), visual art, sound and performance provide visitors with space and time for contemplation and reverie, inviting them to participate in aural and cinematic environments. The viewer is center stage and often plays a role in activating the work. Visual perspective and musical narrative are deconstructed and replaced with new, sometimes fragmentary, often visionary models. At the Crow Collection of Asian Art, composer Henri Scars Struck presents We Know You've Got Soul, an immersive auditory experience that takes the visitor on a journey from earth to eternal rest. Inspired by myths of the afterlife, music and sound lead participants through the museum, along with historical artifacts and the landscapes of artists Arnold Chang and Michael Cherney. Agence 5970 has long explored the complex relationship between consciousness, the body and dreaming. Focusing on the architecture of dreams rather than their symbolic content, DreamSpace engages the audience in a vibrant experience that combines the acts of listening, reading and seeing within a technologically mediated sensorium. DreamSpace explores the phenomenon of synesthesia — the combination and interplay of images, sounds, colors and other effects within an artwork — in an effort to intensify the viewer’s perception. Ultra-Seeing: The Mandala Pattern, hosted at the Nasher Sculpture Center and curated together with Light Cone and the University of Texas at Dallas’s School of Arts, Technology and Communication, delivers three disparate cinematic experiences: a screening of abstract films by Jordan Belson, Bruce Conner, Adam R. Levine, Joost Rekveld, and James Whitney; a live performance by Martin Back; and an immersive installation by French collective Nominoë. Belson’s kaleidoscopic images are set to music by visionary sound artist Henri Jacobs, while the poetic footage of Bruce Conner is augmented by the hypnotic pulse of Terry Riley’s In C. At the Wyly Theatre, Jessica Mitrani exposes the symbiotic relationship between theater and cinema in her multimedia performance Traveling Lady. This work is conceived as a film with live elements with acclaimed Spanish actress Rossy de Palma physically emerging from the picture and performing on a cinematic stage. At once corporeal and cosmic, this forceful combination of film and theater plays on scale and the bodily presence of the actress. In Mexican artist Pia Camil’s community- based performance at Dallas Contemporary, the audience is invited to interact with a shared structure made of sewn-together second-hand clothes. This group effort hints at the construction of social ties through the process of participation. An antidote to the individuality of capitalism, Camil’s work appeals to our empathy via collective dream. The scope of the projects presented throughout SOLUNA 2017 reflect the plurality of the contemporary artistic experience. Throughout SOLUNA, your senses are stimulated by a collection of images as the artists invite you to reflect on the nature and value of these images as mental constructs. As Hans Belting writes in Anthropology of Images, “nowhere are we more justified in speaking of ourselves as ‘the locus of images’ than when it comes to dreams.” SOLUNA 2017 ARTIST LIST Agence 5970 Martin Back Jordan Belson Pia Camil Bruce Conner Rossy De Palma Adam R. Levine Jessica Mitrani Nominoe Joost Rekveld Henri Scars Struck James Whitney VISIT THE SOLUNA FESTIVAL WEBSITE Quancard Contemporary would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Jonathan Martin, Gillian Friedman, Sarah Whitling, the gifted musicians of the Dallas Symphony Orchestra and their dedicated team including Michelle Miller Burns, James Leffler, Kelly Halaszyn, Peter Czornyj, Nathan Lutz, Tom Brekhus, Sean Kelly, Courtney Zimmerman, Denise Mc Govern, Chelsea Norris, Kristi Cooper, Tab Boyles, Debi Pena and Jamie Allen, for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1495320106649-68YXZQG6H05UWMBHFUV1/image001.jpg Soluna | 2017 - HENRI SCARS STRUCK May 16-June 4, 2017 We Know You've Got Soul Co-curated and produced in collaboration with Jacqueline Chao and Danny Skinner World Premiere Crow Collection for Asian Arts GRAMMY® Award-winning composer and pianist Henri Scars Struck creates a meditative soundscape, confronting tradition and contemporary art practice, and Eastern and Western sensibilities inspired by Arnold Chang and Michael Cherney’s exhibition and the art throughout the Crow Collection. Inspired by the Sacred Scriptures and the many myths and legends about the journey of the Soul, music composer Henri Scars Struck creates for SOLUNA and the Crow Collection of Asian Art, a multi-room sonic experience that takes you from this life and its gravity on Earth and beyond, till the Soul finds Eternal Rest. The Soul begins its odyssey from Gallery 1 – with the exhibition of exquisite paintings and photography of landscapes and mountainous terrain by Arnold Chang and Michael Cherney – to the passage of death and to Galleries 2 and 3, where good and evil deeds confront each other during the period of mourning, judgement and penitence before being released to the majesty of the last gallery, where the Soul finds peace in Eternity. This music and sound installation is about meditating on our purpose and actions in this life and the hereafter, asking “what you would change today if you knew that an afterlife exists?” Via a succession of music and sounds, Struck triggers your memories, some of which will make you smile in contemplation, and will afford you the time to breathe for a few minutes or for several hours, at the final Gallery of "Divine Pathways,” where cushions are provided for personal refection. Henri Scars Struck https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1495320129772-GDEHM0Z5KOQZDPEEMO2Z/Belson_Allures_2_Courtesy+Light+Cone.jpg Soluna | 2017 - ULTRASEEING May 21, 2017 The Mandala Pattern Co-curated in collaboration with Frank Dufour, ATEC (School of Arts, Technology and Emerging Communication at UTDallas) and Light Cone, Paris Nasher Sculpture Center “The Mandala Pattern” is the last session of the Ultra-Seeing series, an exploration of experimental cinema from the perspective of synesthesia and visual music, curated by Light Cone, a French organization dedicated to the diffusion and conservation of experimental cinema, and the school of Arts, Technology, and Emerging Communication at UT Dallas. Organized in collaboration with SOLUNA “The Mandala Pattern” proposes a film installation, a live media performance and a screening of abstract films of quasi-psychedelic qualities. ATEC Light Cone https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1495320141535-KUGPCCV87TE1YNZIXZKH/DreamSpace+New.jpg Soluna | 2017 - AGENCE 5970 May 24, 2017 DreamSpace World Premiere Meyerson Symphony Center Curated by Muriel Quancard DreamSpace is a site-specific, interactive audio-visual installation. The work is not intended as a linear narrative, rather conceived to be experienced collectively, as a series of short dream sequences, each triggered, assembled and modulated by audience input. In contrast to focusing on the interpretation of symbolic content, dreamSpace explores the temporal organization of narrations of dreams in order to render perceivable the structure of oneiric Time. dreamSpace assumes that oneiric Time is structured along a flow in which time is not passing sequentially in its horizontal attachment to space, but instead, appears to flow vertically along a percolation of movements through multiple spatial layers. The work aims to translate the process of remembering dreams through the presentation of audio-visual sequences, evocative of this particular temporality of dreams. dreamSpace seeks to make the viewer aware of the fragile and fugacious sensation of space and movement occurring in dreams by infusing into the performance space a state of reverie, or meditation, favorable to the exploration of the temporal structure of dreams. The choreographic interaction between performers, audio- visual elements and viewers, results in the unfolding of this structure onto space. In order to unlock and render tangible the dreamSpace, Agence5970 has commissioned fashion designer, Charles Smith II to create wearable poetry for dancers from The Bruce Wood Dance Project. When read aloud, these extracts of poetic texts evocative of dreams are analyzed according to the acoustic and temporal signature of the reader’s voice, thus controlling the visual and musical output. Enter the dreamSpace .... dreamSpace is created in collaboration with: Charles Smith II, Fashion Designer Sherri Segovia, Choreographer Joy Bollinger, Nestor Lopez, Kimi Nikaidoh, Dancers from the Bruce Wood Dance Project Djakhangir Zakhidof, Contributing Videographer The School of Arts, Technology, and Emerging Communication at the University of Texas at Dallas Agence 5970 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519221188984-MOIRZCBG7PJ1GA7K02TR/IMG_7924.jpg Soluna | 2017 - PIA CAMIL May 27, 2017 Bara, Bara, Bara Dallas Contemporary Co-curated in collaboration with Justine Ludwig In this performance work Pia Camil mines behaviors indicative of consumer culture—addressing Mexico/US relations and Texas, specifically, as the site of her exhibition. Past projects such as Wearing, Watching and A Pot for a Latch invited unexpected involvement from the audience as a vital element of the work. For Dallas, Camil is creating pieces that similarly call for communal interaction. Camil’s latest body of work involves the reworking of t-shirts purchased at secondhand clothing markets in Mexico City. The shirts sold were originally produced in Latin America and sold in the United States. After wear, the shirts found their way to Mexico City to be sold in bulk. Camil acquires and transforms these shirts into massive textiles by taking them apart and then sewing them back together. The result is massive sheets of multicolored fabrics, punctuated by the neck openings of various shirts. At her Dallas Contemporary exhibition, the sheets are presented as awnings, reminiscent of those at the Las Torres Market in Iztapalapa, Mexico City, where the shirts were purchased. For SOLUNA, the exhibition is partially dismantled. The work becomes a catalyst for communal interaction. The performance is inspired by Brazilian artist Lygia Pape’s 1968 Divisor in which participants activated a massive sheet of white fabric in the streets of Rio de Janerio, Brazil. Slits were cut throughout the sheet allowing individuals to stick their head through them. As a result, all participants had to navigate the city together. Pia Camil’s Divisor Pirata functions in a similar manner as the community is invited to inhabit her piece and move in unison—exploring themes of the collective and utopian ideals. Pia Camil is represented by Blum and Poe and OMR Galeria. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1495320171429-C33EYITK26GYBC5N58TC/Traveling+Lady_Rossy_High+Res.jpg Soluna | 2017 - JESSICA MITRANI June 1, 2017 Traveling Lady Jessica Mitrani Director Rossy de Palma Performer Alex Czetwertynski Digital Andres Levin Music Roderick Murray Lighting Design ThreeAsFour Costume Design Wyly Theater Rossy de Palma embodies the spirit of Nellie Bly in Traveling Lady. Part performance, part film, this one woman show maps a journey that challenges social and gender dynamics. Colombian artist Jessica Mitrani conceives and directs this extraordinary multimedia experience, at once physical and psychological, earthly and cosmic. Prologue Nellie Bly, 1889. She is ready for an around-the-world trip with her signature coat, one dress, and a compact suitcase. The largest item in her bag is a jar of cold cream. I. Traveling Inside the House In her quests, Traveling Lady has neither a particular METHOD nor a speci c procedure, only her.................................... II. Traveling Around the Block The PARAMETER of Traveling Lady is that of the degree of intimacy that she allows herself, at each moment of her life, with others. III. Traveling Across Borders If Traveling Lady has a PRINCIPLE, it could be said to be an anti-principle: a principle that obliges her to constantly change her principles. For her principle is vital, not moral. IV. Traveling Through Language The GRAMMAR of Traveling Lady is neither presumed nor prescriptive. She only concerns herself with semantics. Commercial Break The Perfect Brand V. Traveling in Love What type of EQUIPMENT does Traveling Lady take when she sets a eld? The Wow! Flutter-meter and Hopelessness Scale. VI. Traveling into a Plant What are Traveling Lady’s POLITICS? “Not superior.” VII. Traveling Behind the Mask You are who you are. Notes on the text: Parts of Traveling Lady have been adapted from or inspired by Around the World in Seventy-Two Days by Nellie Bly, Ida A Novel by Gertrude Stein, and Cartografía sentimental by Suely Rolnik Jessica Mitrani http://murielquancard.com/soluna-2018 daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783543691-8R6U8UW3CWM9W4GUBH6W/2018.png Soluna | 2018 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2018 Organized by the Dallas Symphony Orchestra Music Director: Jaap Van Zweden Co-Founder/Advisor: Anna-Sophia Van Zweden Curator-at-Large: Muriel Quancard Beethoven’s Ninth Symphony and Wagner’s Die Walküre, both written in the fervor of the 19th century, were key inspirations for SOLUNA 2018. These prophetic works can be seen as battles between light and shadow, their beauty residing in a tension between a glorifed present and an uncertain future. In a series of commissioned works SOLUNA reflected on the symbolic space defined by the interplay of darkness and light. Richard Wagner anticipated cinematic and contemporary multimedia art by integrating music and drama. The composer’s great- great-grandson, visual artist Antoine Wagner, explores this artistic legacy in a new video. Between Silence hinged on the confluence of crisp blue skies and ghostly snowscapes combined with the synergy of sound and silence. Jennifer Wester further addressed the relationship between artistic creation and its reception in a performance reminiscent of pre-cinematic spectacle. The artist’s body moved interpretively across an ice skating rink emerging from a three-dimensional field of light and shadow. Jen Ray treated the subject metaphorically to expose the excesses of American society. In Eyes As Bright As Diamonds, she created a sonic and visual feast by combining elements from American popular culture — a lead singer, a color guard and a drumline. Also fascinated by cultural hybridity, Gonzalo Lebrija worked with a group of female Mariachi to interpret compositions by Wagner. This non- conventional musical performance transcended cultural rifts. Lihuel González’s multimedia performance, Las personas no van juntas (They Just Don’t Match), interpreted a speech about the Ninth Symphony into various languages and a musical score. The young Argentinian artist challenged the concept of translation, exposing symbiosis and disruption. Grubnik + Suzanne, a nocturnal performance in the garden of the Nasher Sculpture Center imagined by Dallas artists Jeff Gibbons and Gregory Ruppe, offered a further dislocation of language by intersecting unexpected elements: human voices and a talking tree. The performance engaged visitors in a shadowy world of palpable, yet unearthly experiences. Naama Tsabar created a sculptural arrangement and performance space in the lobby of the Morton H. Meyerson Symphony Center. Melodies of Certain Damage was an environment of shattered guitars activated by musicians playing in unusual postures. At NorthPark Center, Sebastien Leon’s sound sculpture, The Diffracted Symphony, offered another sort of wreckage: the painful sight of a disembodied whale rib cage accompanied by excerpts from Verdi’s Requiem. SOLUNA 2018 encapsulated contrasting views, cautionary tales and allusions to the desire for freedom, asking whether light must always be attained at the price of darkness. — Muriel Quancard Muriel would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Gillian Friedman, Peter Czornyj, Sarah Whitling, the gifted musicians of the Dallas Symphony Orchestra and their dedicated team including Michelle Miller Burns, James Leffler, Kelly Halaszyn, Nathan Lutz, Tom Brekhus, Sean Kelly, Courtney Zimmerman, Denise Mc Govern, Chelsea Norris, Tab Boyles, Debi Pena and Jamie Allen, for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783543691-8R6U8UW3CWM9W4GUBH6W/2018.png Soluna | 2018 - NANCY A. NASHER & DAVID J. HAEMISEGGER FAMILY SOLUNA INTERNATIONAL ARTS AND MUSIC FESTIVAL 2018 Organized by the Dallas Symphony Orchestra Music Director: Jaap Van Zweden Co-Founder/Advisor: Anna-Sophia Van Zweden Curator-at-Large: Muriel Quancard Beethoven’s Ninth Symphony and Wagner’s Die Walküre, both written in the fervor of the 19th century, were key inspirations for SOLUNA 2018. These prophetic works can be seen as battles between light and shadow, their beauty residing in a tension between a glorifed present and an uncertain future. In a series of commissioned works SOLUNA reflected on the symbolic space defined by the interplay of darkness and light. Richard Wagner anticipated cinematic and contemporary multimedia art by integrating music and drama. The composer’s great- great-grandson, visual artist Antoine Wagner, explores this artistic legacy in a new video. Between Silence hinged on the confluence of crisp blue skies and ghostly snowscapes combined with the synergy of sound and silence. Jennifer Wester further addressed the relationship between artistic creation and its reception in a performance reminiscent of pre-cinematic spectacle. The artist’s body moved interpretively across an ice skating rink emerging from a three-dimensional field of light and shadow. Jen Ray treated the subject metaphorically to expose the excesses of American society. In Eyes As Bright As Diamonds, she created a sonic and visual feast by combining elements from American popular culture — a lead singer, a color guard and a drumline. Also fascinated by cultural hybridity, Gonzalo Lebrija worked with a group of female Mariachi to interpret compositions by Wagner. This non- conventional musical performance transcended cultural rifts. Lihuel González’s multimedia performance, Las personas no van juntas (They Just Don’t Match), interpreted a speech about the Ninth Symphony into various languages and a musical score. The young Argentinian artist challenged the concept of translation, exposing symbiosis and disruption. Grubnik + Suzanne, a nocturnal performance in the garden of the Nasher Sculpture Center imagined by Dallas artists Jeff Gibbons and Gregory Ruppe, offered a further dislocation of language by intersecting unexpected elements: human voices and a talking tree. The performance engaged visitors in a shadowy world of palpable, yet unearthly experiences. Naama Tsabar created a sculptural arrangement and performance space in the lobby of the Morton H. Meyerson Symphony Center. Melodies of Certain Damage was an environment of shattered guitars activated by musicians playing in unusual postures. At NorthPark Center, Sebastien Leon’s sound sculpture, The Diffracted Symphony, offered another sort of wreckage: the painful sight of a disembodied whale rib cage accompanied by excerpts from Verdi’s Requiem. SOLUNA 2018 encapsulated contrasting views, cautionary tales and allusions to the desire for freedom, asking whether light must always be attained at the price of darkness. — Muriel Quancard Muriel would like to extend a special thank you to Anna-Sophia Van Zweden, Jaap Van Zweden, Gillian Friedman, Peter Czornyj, Sarah Whitling, the gifted musicians of the Dallas Symphony Orchestra and their dedicated team including Michelle Miller Burns, James Leffler, Kelly Halaszyn, Nathan Lutz, Tom Brekhus, Sean Kelly, Courtney Zimmerman, Denise Mc Govern, Chelsea Norris, Tab Boyles, Debi Pena and Jamie Allen, for their collaboration. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524783508353-HFP589YWEOOSTRU4L6H7/2018.png Soluna | 2018 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1545946627612-UGGWCNYMEOX7C59TNJE9/Melodies+of+Certain+Damage-77.jpg Soluna | 2018 - NAAMA TSABAR May 11, 2018, 9pm Melodies Of Certain Damage World Premiere Meyerson Symphony Center Curated by Muriel Quancard Naama Tsabar creates sensually driven sculptures, installations and performances that evoke questions of power and bravado found in musical and social environments. Her work investigates the themes of intimacy, performativity, sexuality and excess with a minimalist aesthetic. Throughout her practice, Tsabar repeatedly returns to the iconic act of breaking the guitar. In Melodies of Certain Damage she focuses on the moment following the climactic destructive act. Broken pieces of guitars are scattered on the floor of the Meyerson Symphony Center’s atrium. Strings are reattached to the debris in an unconventional way, creating a site-specific instrument. Introducing the iconic action into a functioning order undermines the historically gendered use of the guitar in Rock-and-Roll. It also transforms the object into a place. The performers insert themselves into a landscape of vestiges organized into new working order. Utilizing this unique configuration, Tsabar composed a score in collaboration with predominantly female musicians. The floor-bound installation imposes a different configuration between instrument and body. Musicians must lay on the ground or find atypical positions to interact with the instrument. Given the physical nature of the installation, movement comes into play for musicians to navigate the broken landscape. This choreography generates a vulnerability for the performer and the audience, which produces a new kind of intimacy. This performance is supported in part by Paramo. Naama Tsabar is represented by Paramo. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524787689339-VKULDL43G8UI24P5Y2FY/LIHUEL.jpg Soluna | 2018 - LIHUEL GONZALEZ May 13, 2018, 3pm Las Personas No Van Juntas (They Just Don’t Match) US Premiere Co-Curated in collaboration with Katherine Brodbeck, The Nancy and Tim Hanley Assistant Curator of Contemporary Art Dallas Museum of Art Las personas no van juntas (They just don’t match) consists of four videos surrounding a stage, waiting to be activated by a musician. On the videos, a philosopher’s speech about Nietzsche’s wish for Zarathustra to be the continuation of Beethoven’s Ninth Symphony is translated simultaneously from Spanish into English into German and back into Spanish. It explores the interpretative, figurative and appropriative qualities of translation. At the same time, a discourse about the possibility of translation between words and music is created. The video of the original speech shows a person engaged in the act of remembering, of establishing connections and of linking the relationships present in the spoken word in order to transmit concepts. It is a connection made between the power of words, thought and gestures. This relationship of possible meanings is then embodied in each step of the translation process; each agent attempts to be as faithful as possible to the speech they receive, a speech that becomes invariably porous as it is appropriated by each of them. As they sit in front of the camera, attention is placed on their focused expressions as they receive and process information: a catalogue of tense gestures, curiosity and attention. Meanwhile, the book of sheet music retransmits the operation. This sheet music is composed from the four speeches, and is then appropriated by a musician and activated in different moments throughout the performance. The Spanish word for translation, traducción (from the latin traductio) is composed of three parts: the prefix trans (from one to the other), the verb ducere (to guide) and the suffix –cion (action)—the action of guiding from one (language or tongue) to the other. Las personas no van juntas is a visual choral performance with a foundation of words. Each agent (philosopher, translators and musician) is captured in an audiovisual portrait that requires physical closeness in order to perceive the particular modulations of voice, intonations and gestures. A thought construction that is made visible through gesticulations, signals and tics, almost like a catalogue. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524787763190-SQ21ZUWGJ1MAW5RCYFIX/GONZALO.jpg Soluna | 2018 - GONZALO LEBRIJA May 15, 2018, 7:30pm Mariachi Wagner Mariachi Rosas Divinas Jesus Echevarria Musical Arrangement Jason Koen at The Box Company Fabrication Moody Performance Hall Curated by Muriel Quancard Mariachi Wagner is a musical experiment, during which a series of phonic and visual expressions from Latin American and European cultures interact. Works by the German composer Richard Wagner are interpreted by a mariachi, a group of traditional musicians from Western Mexico. The two separate cultures coexist as Gonzalo Lebrija imagines impromptu relationships between languages, codes, symbols and forms. This staged performance utilizes appropriations, transformations, vicissitudes and ruptures conceivable in a transcultural process. Deeply rooted in Mexican culture, Mariachi is a traditional musical genre that originated in the state of Jalisco and was performed by musicians wearing charro outfits. The all-female Dallas-based Mariachi, The Rosas Divinas, executes a score adapted from Wagner with their traditional instruments (guitar, guitarrón, violin, trumpet and harp). Wagner has been universally appropriated by the classical tradition. His music is seen as a referent, not only in his local context, but in Western culture. His work is characterized by operatic musical forms and develops stories inherent to the romantic tradition. The vibrations, sequences, lyrics, sounds and costumes convey various codes and meanings. The tension caused by the exchange implies a process of transculturation. In this non-conventional musical performance, Lebrija exposes the transfiguration that results from the exchange between techniques, practices and cultural manifestations. Music functions here as a bridge that transcends the frictions generated by tangible borders, hegemonic power, temporality, romanticism and vulnerability. Gonzalo Lebrija is represented by Travesia Cuatro and Galerie Laurent Godin. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524787940125-FUF71VEVZKLAWX88J78D/ANTOINE.jpg Soluna | 2018 - ANTOINE WAGNER May 16, 2018, 7:30pm Wagner: A Genius in Exile + Between Silence (World Premiere) Alamo Drafthouse Curated by Muriel Quancard Antoine Wagner presents two films that encompass his photographic and video practice. Wagner: A Genius in Exile, a lyrical documentary by Andy Sommer, follows Antoine, Richard Wagner’s great-great-grandson, on a journey across Switzerland where the famed composer envisioned some of his great works and the theory of the Gesamtkunstwerk, a synthesis of music, literature, stage design and architecture creating the idea of a “Total Artwork.” In order to comprehend the composer, Antoine returns to sites where his ancestor lived, meeting historians, musicologists, musicians and enlightened amateurs, while exploring landscapes that were sources of inspiration. There, he develops a stunning series of photographs titled Exil (2013). In this body of work and others such as Cadence (2015) and Re ections (2017), he explores formal and semantic correspondence between music and visual arts. Opening the program, his latest video Between Silence (2018) continues to question the interdependence of music and silence and the aesthetic phenomenon of synesthesia. The video is set in the Austrian Alps and shot in Super 8, HD and 16mm fillm. The sound is recorded in silent places insolated by this past winter’s heavy snow falls. Antoine Wagner. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1545947405888-DPPP94PFYQOID7NH1L7P/IMG_6929.jpg Soluna | 2018 - JEFF GIBBONS & GREG RUPPE May 17, 2017, 9pm Grubnik + Suzanne Co-curated in collaboration with Jed Morse Nasher Sculpture Center Grubnik + Suzanne offers an otherworldly excursion in the garden of the Nasher Sculpture Center after dark. A web of interconnected systems dispenses visual and audio elements. A tree emits signals converted into a semi-intelligible language, a voice emerges from a hole in the ground, in this cavity appears a spectral doppelgänger of the singer and scattered sounds form an infrastructure for the whole. In the velvety obscurity, the once familiar garden is metamorphosed into a sort of Phantasmagoria. In the late 18th century, Phantasmagoria was a performing art form presented in a darkened theater to give the illusion of the supernatural. Images of ghostly apparitions were created by light and shadows using magic lanterns to frighten the audience. Like them, Grubnik + Suzanne relies on present-day technologies – a video projection, a midi interface capturing the electrical signal of the tree, a computer generated code translating the signal into language. Like in Phantasmagoria, the technology is hidden although always present and indispensable. But Grubnik + Suzanne has different intents. It calls upon our senses to arouse our imagination. We may lose our place momentarily, only to return to our own experience. The disembodied vocals of Suzanne appear to converse with the tree, keeping us at a distance. The tree articulates incomprehensible elements of the English language while the voice doesn’t form any words. The disarticulation of language keeps us further away. Through revoking all obvious reference to technology, Gibbons and Ruppe reveal our dependence upon it. As a relational structure, our body and mind aspire to be part of the whole. Like the tree and the concealed singer, they respond to stimuli in their environment. This prompts the question of integration and separation, belonging and isolation. In this immersive installation, our psychological and physiological experiences may turn into infinite deceit unless we accept our subjection. Or perhaps, we might imagine that there is more to this world than our senses are capable of detecting. Liz Tonne is an improviser and interpreter of contemporary composition. Using an array of extended vocal techniques, her work explores the edge of the voice as an instrument. As a member of the pioneering ensemble undr quartet she contributed to the presentation of a new wave of ambient minimalism expressed at the turn of the last century often referred to as lowercase music. Jeff Gibbons is represented by Conduit Gallery. Greg Ruppe https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524788036369-ZMZ2STX1R3S39BHYO09W/JENNIFER.jpg Soluna | 2018 - JENNIFER WESTER May 10, 2018 Breaking Shadows World Premiere (SOLUNA and The Cedars Union Co-Commission) Proposed by The Cedars Union The Cedars Union The body without a shadow is a body in the dark. The shadow without a canvas is an in nite projection of invisibility. Movement needs parameters to be received just as a viewer needs perspective. Breaking Shadows employs ice skating as the medium to explore the play of shadows of the self – how they interact with each other and with the body. It captures and presents perspectival shifts of the self as its focus moves from the gure to umbra and back again, while the skater’s form ows through space simultaneously in motion and motionless. The work creates an experiential commentary on the often-overlooked components of the self that make up the whole. An atmospheric musical composition of sounds harvested from ice-skating will accompany the performance, transforming an empty parking lot into a skating rink of enlightenment. Jennifer Wester https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1545945741476-J1XD6MQUES8L934J93YH/7+%281%29.jpg Soluna | 2018 - SEBASTIEN LEON May 6-28, 2018 The Diffracted Symphony World Premiere (SOLUNA and NorthPark Center Co-Commission) NorthPark Center Curated by Muriel Quancard From pollution and climate change to a soaring human population that bleeds into available resources, humanity has officially entered the Anthropocene period. This era witnesses the alteration of the Earth’s surface atmosphere, climate, oceans and lands as a result of collective human activities, causing biodiversity to drastically decline by 60 percent from 1970 to 2017, according to the Zoological Society of London. Sebastien Leon’s sound sculpture The Diffracted Symphony, inspired by the rib cage of a whale washed ashore, plays an altered version of Verdi’s Requiem, as a funeral mass for the biological state of the world. The recording used is of the Dallas Symphony Orchestra’s 2014 performance conducted by Jaap van Zweden. Leon’s plea is to recognize that the challenge of our times is for humanity to understand its power for both destruction and preservation, and our urgent need to act as the caretakers of the Earth’s balance. This sculpture is supported in part by the Cultural Services of the French Embassy in the United States. Sebastien Leon https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1524788072787-0D84EOCHC8DISFEH51RE/SHEN+LONG.jpg Soluna | 2018 - MASTER SHEN-LONG May 22, 2018, 7:30pm Calligraphy: Shadow and Light World Premiere Co-curated in collaboration with Jacqueline Chao at Crow Collection for Asian Arts Artist’s Studio For over 50 years, Master Shen-Long, a contemporary master of the classical Chinese literati perfections of painting, poetry and calligraphy, has pioneered new approaches to painting that have made him one of the most innovative ink artists of this generation. In uenced by his deep understanding of Buddhist, Confucian and Daoist philosophies, Master Shen-Long’s bold and experimental work challenges traditional assumptions about Chinese painting, and raises important concepts regarding mankind’s relationship with the universe. His artistic philosophy is grounded in three philosophical concepts found in Confucianism, Daoism and Buddhism: in Confucianism, the concept of “integration between Nature and Mankind”; in Daoism, the concept of “one is wholly in harmony with the way of nature”; and in Buddhism, the concept of “everyone can become Buddha, and through cultivation we can recover our wisdom ability and enlightenment power.” In this one-night exclusive performance, Master Shen-Long creates a bold new calligraphic ink work at his studio in front of a live audience. Using video technology, the audience is invited to watch the artist in action in real-time from all angles, as he unveils a new original poetic composition that celebrates the inner light found in all beings. Light and shadow dance across an enormous handmade sheet of traditional high quality Xuan paper (rice paper), whereupon the artist writes using Chinese ink infused with metallic gold power. Sound is enhanced to hear the meditative stroke of brush to paper. http://murielquancard.com/appraisal101 daily 0.75 2023-06-28 https://static1.squarespace.com/static/54089f43e4b0d384103d17fc/t/630fd02809a55e38f8dd8462/1622494958426/ APPRAISAL 101 https://static1.squarespace.com/static/54089f43e4b0d384103d17fc/60b54ded643190163269b14e/60b54eeefd5f411b4617d911/1622494958426/ APPRAISAL 101 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1634413304999-U3PLXEZX02L7T7HGXR6X/What+Is+An+Appraiser.jpg APPRAISAL 101 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1634411485471-WRPWQTIZ5EWKKB7BH0AE/image-asset.jpeg APPRAISAL 101 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1634342645312-WXJJDAK0D4O6ZMAL5DH7/image.jpg APPRAISAL 101 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1634414003180-5G193J6FYYHBVBL5ZOSX/image-asset.jpeg APPRAISAL 101 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1634344610882-UVC0DC2QOCR1UWXW5RKH/image-asset.jpeg APPRAISAL 101 http://murielquancard.com/contact daily 0.75 2021-04-16 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519279736114-WH8KQ0ZA57SC5UU83ER8/Screenshot+2016-05-20+16.23.56.png Contact 244 FIFTH AVENUE #Q227 NEW YORK, NY 10001 U.S.A. OFFICE@MURIELQUANCARD.COM http://murielquancard.com/bio daily 0.75 2026-03-02 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/4696836d-a43f-40f4-8caf-ff8d37333320/Screen+Shot+2023-06-29+at+10.16.08+AM.png Bio Raised in Bordeaux, France, and now based in New York, Muriel Quancard, AAA*, has 30 years of experience in the global art world. Working as a curator, an appraiser and a strategic consultant, she is invested in helping artists, collectors and arts organizations define new paradigms. Quancard has appraised hundreds of post-war and contemporary artworks for insurance, collection management, non-cash charitable contributions, equitable distribution, estate planning and estate tax filing purposes. An early advocate of time-based media, transdisciplinarity and technology driven art practices, Muriel lectures and consults on the latest phenomena such as generative AI, blockchain and NFTs. In recent years she commissioned numerous original multi-media artworks and performances for the Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival. * Muriel is a Certified Member of the Appraisers Association of America in post-war, contemporary and emerging art. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1519281551259-TD4PF4IS6BXNALF0KS7V/IMG_3156.JPG Bio Muriel in discussion with choreographer Jonah Bokaer and Curator Producer Charles Fabius at a Works & Process session. http://murielquancard.com/press daily 0.75 2026-03-02 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/de721e72-3a4f-4ff7-b887-15269f9ee9ad/Impulse.png Press - REIMAGINING VALUE IN THE WAKE OF ONCE WITHIN A TIME A critical reflection on Once Within a Time at SITE Santa Fe, exploring how curatorial strategies grounded in ritual and storytelling reimagine value as relational, spiritual, and shared rather than scarce, extractive, or market-driven. By Muriel Quancard Impulse, February 23, 2026 Image: Zhang Xu Zhan, Compound Eyes of Tropical (2022). Museum of International Folk Art, Santa Fe, 2025. Photo: Brad Trone. Courtesy SITE Santa Fe. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/6e6064f2-d6f6-42c1-bd04-c523fa2520c6/Botto+DAO.png Press - CAN AI BE TRAINED AS AN ARTIST Interviewed by Megan Dematteo Leaps, May 16, 2023 Muriel Quancard a New York-based fine art appraiser with 27 years of experience in technology-driven art, places the Botto experiment within the broader context of our contemporary cultural obsession with projecting human traits onto AI tools. “We're in a phase where technology is mimicking anthropomorphic qualities,” said Quancard. “Look at the terminology and the rhetoric that has been developed around AI — terms like ‘neural network’ borrow from the biology of the human being. Image: Botto by Mario Klingemann https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/f60ccd4c-de3a-4b0c-8d47-4ee69aa2a47e/Commodore-Pet.jpeg Press - FROM BIRTH TO BLOCKCHAIN: THE EVOLUTION AND FUTURE OF DIGITAL PROVENANCE Interviewed by Megan Dematteo NFT Now, April 20, 2023 “Appraising is based on a methodology,” said Quancard. “Provenance is a big part of that,” she added but cautioned collectors against assuming that financial metrics like floor price and trading volume provide enough information. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/cbc6698a-001c-4f23-b699-9acd0fd8c709/quantum-leap1.png Press - ECONOMIC PROVENANCE AND THE AUDIT PROBLEM How can expertise from time-based media art conservation help appraisers vet NFTs? By Muriel Quancard & Amy Whitaker Outland, July 8, 2022 This is the second part of a two-part essay on developing appraisal standards for NFTs. (excerpt below) Image: Jennifer & Kevin McCoy, Quantum Leap, 2021 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/fe85c4ed-f128-4c43-b283-57134827a1db/Screen+Shot+2022-09-01+at+5.14.31+PM.png Press - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/f081c09f-c639-4727-82bc-8a454ad23353/Screen-Shot-2022-06-16-at-9.23.11-AM-1920x952.png Press - DIGITAL PROVENANCE AND THE WALLET PROBLEM The blockchain promises an immutable record of provenance, but the custodial wallets and shared contracts used by some marketplaces make it difficult to verify authorship, complicating the work of appraisers and historians. (excerpt below) By Muriel Quancard & Amy Whitaker Outland, June 17, 2022 Image: Joanie Lemercier, Polyblock - Platonic Solid, 2020 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/97d2fd2e-4e1e-46fa-863e-a1a7aac7800e/Screen+Shot+2022-07-04+at+8.02.03+PM.png Press - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1553913348972-G3WR6U7YGXTBX8BAIYHT/%3Cmh.jpg Press - NICOLAS BAIER’S FIRST U.S. SOLO SHOW AT ARSENAL CONTEMPORARY This is Baier’s first solo exhibition in the United States, continuing his work with exploring technology’s evolution and its influence on human life. Featuring both existing and new work, the show, curated between the artist and Muriel Quancard, is anchored by a striking sculptural installation—Vanitas (Artist Desk) (2012). By Eliza Jordan Whitewall, April 2019 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1553914080791-EYGZML20F90P5R21YKXD/Screenshot+2019-03-29+22.46.52.png Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1553914141244-4TQ7N9GMPCN3LADOA622/Screenshot+2019-03-29+22.47.04.png Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546094622680-ZF1WG05X00PVP2T60KDM/SOLUNA_IMAGE_X+%281%29.jpg Press - THE SOLUNA MUSIC & ARTS FESTIVAL OPENS IN DALLAS “As cultural producer I have been interested in transversal approaches that privilege dialogue between disciplines. Confronting multiple point-of-views in collaborative creative processes allows to breach controlling forms and ideas. Music and sound have been recurring elements in my past curatorial work and I was introduced to Anna-Sophia Van Zweden who was developing a new format with the Dallas Symphony Orchestra to bring visual arts within the music realm.” Muriel Quancard interviewed by Kristine Roome Artfuse, May 2016 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546033461440-DZAA7NCAWESSVEIDI3MP/Screenshot+2018-12-28+16.42.32.png Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546033515332-AJ8U7PB0KFPAA1WSHZH2/Screenshot+2018-12-28+16.42.47.png Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546033544937-I6MQX2OXBIECNLP5VQK5/Screenshot+2018-12-28+16.43.45.png Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546028474045-BD3950TTURJI42WHMFAI/Screenshot+2018-10-26+09.19.29+%281%29.jpg Press - SOLUNA “This year’s edition of Soluna will feature a number of newly commissioned works and world premiere performances, which Curator-At-Large Muriel Quancard refers to as “a central part of the festival’s mission.” Quancard says she deliberately sought artists known for experimenting with music and sound, “creating a contemplative, ethereal and sometimes cosmic experience.” By Dave Muscari Dallas Magazine, June 2017 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546028785063-HWFQJ2S9ECJB3U234RU8/Screenshot+2018-10-26+09.19.29+%282%29.jpg Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546029048987-3VLRL2P3JC8UCJABTKCD/Screenshot+2018-10-26+09.19.55.jpg Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546030893686-MK2VQUQ26INI7CW6R7C8/Screenshot+2018-10-26+09.19.55.jpg Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546030237137-QFSL64ACUM62E2LZBF6U/rosas-sola4-%281-of-1%29.jpg Press - It’s Not Wagner Anymore In New Work Gonzalo Lebrija Updates Composer’s Classic with All-Women Mariachi Band By Kellylouise Delaney ArtNews, June 5 2018 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546030666548-D581SQCC78HL2HKLDGNE/Screenshot+2018-12-28+15.57.25.png Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546030142212-Z813DRIFPMLUJRYHXDPB/Screenshot+2018-12-28+15.45.40.png Press https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546031878271-V1BQMHQRY2CTNIEES45J/Traveling+Lady_3_Mid+Res.jpg Press - These 5 events elevate Soluna to the next level By Kendall Morgan Culturemap, May 12 2017 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/eef95dd7-c7e5-4eaa-b8b7-78e9b3813ae0/Screen+Shot+2022-09-03+at+5.07.53+PM.png Press - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546032088026-1QDGR0ASCRB2WT435CR8/Screenshot+2018-12-28+16.16.12.png Press 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Courtesy of the artist and Video Data Bank, NY. http://murielquancard.com/strawberrymoon daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/4a94a7fa-3048-447b-84d3-9ba5f7008399/Strawberry+Moon.png STRAWBERRY MOON - UPCOMING Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/7c049a95-b33f-45f7-86c6-4de8da575ef6/Screen+Shot+2021-11-29+at+12.52.05+AM.png STRAWBERRY MOON - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/8cd5b8ae-8968-4430-9df0-8656dfbea120/Screen+Shot+2021-12-19+at+6.38.10+PM.png STRAWBERRY MOON - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/2de3eb2a-bb0e-4508-8cc0-7579e81be737/Screen+Shot+2022-01-15+at+9.49.06+AM.png STRAWBERRY MOON - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://murielquancard.com/resilient- daily 0.75 2022-04-03 http://murielquancard.com/new-page-2 daily 0.75 2022-04-03 http://murielquancard.com/nft-dallas daily 0.75 2024-01-31 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/4316b604-9130-416c-9792-8c4a8bf7949f/Screen+Shot+2022-03-12+at+11.34.24+AM.png RESILIENT [пружний] - NFT DALLAS A project commissioned by Park House and organized by Muriel Quancard in collaboration with the Dallas Art Fair to offer insights into the much-publicized, yet arcane world of Non-Fungible Tokens (NFTs). https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1651370829799-H1NWCCFMGBYPUAWRIGQF/Screen+Shot+2022-04-30+at+10.07.03+PM.png RESILIENT [пружний] - Melanie Clemmons, Earth, 2021Courtesy of the artist https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1651368475220-7RAR7HGYJNEG5K2ERFI4/Screen+Shot+2022-04-30+at+9.27.48+PM.png RESILIENT [пружний] - Nancy Baker Cahill, Slipstream 12, 2021Courtesy of the artist and 291 Agency, New York https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1651371965721-Q9HAHPP1KUKQMRTNMG0H/Screen+Shot+2022-04-30+at+10.25.59+PM.png RESILIENT [пружний] - Ivona Tau, Consciousness Horizon: Supernova, 2022Courtesy of the artist http://murielquancard.com/uspap-appraisals daily 0.75 2023-06-29 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/33d8c7de-c842-4e66-be4b-f8ef6cd59a8b/Screen+Shot+2023-06-29+at+10.49.26+AM.png USPAP APPRAISALS - Make it stand out Carmen Herrera, Estructuras, Courtesy of Lisson Gallery. http://murielquancard.com/fleetingshadows daily 0.75 2025-09-14 https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/0ff23ba5-73f6-47c1-8ac3-32277439c229/Digital+Death_2.jpg FLEETING SHADOWS Claudia Hart, Digital Death, 2013/23 (still) Courtesy of the artist and Bitforms Gallery, New York. https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/fea68803-a80c-4daa-aa2f-bf8eebeb01f7/Plane+of+Incidence+I_1.png FLEETING SHADOWS - Make it stand out Sabrina Ratté, Plane of Incidence I, 2024 (still) Courtesy of the artist and Ellephant, Montreal, Canada. http://murielquancard.com/links daily 0.75 2025-05-31