Flux Factory invades ACE Hotel

ACE Hotel invited five Flux Residents to participate in their Sunday Artist-in-Residence Series. The following Fluxers are using their hotel-stays to research, open up dialogues, and delve deeper into current projects. 


Sunday October 5th: LENA HAWKINS & MICHAEL DIPIETRO: FALLEN PEARLS (V.S.O.P.) is a new performance installation work by artists Michael DiPietro and Lena Hawkins. Drawing on psychological case studies and daytime dramas, Fallen Pearls (V.S.O.P.) unfolds a narrative of unrequited lovers, stifled by the oppressive demands of high society and the family name. Perhaps promised to others, or perhaps brother and sister, there is an insidious force that conspires Maryanne and Daniel F. from fulfilling their desires; given one last night together, they are drawn into a dark, consummating ritual that can only end in a cliffhanger.

Sunday October 12th: GIL LOPEZ: Through his ACE A.I.R. Gil Lopez will gather a small group of activist artists to critique the exploitation of creatives as social capital for corporate branding. Complicit or combative, artists play an active, yet sometimes invisible or unidentified, role in advertising, gentrification, capitalism and other social mechanisms. On this evening we will playing our role as cultural provocateurs, unpack some of these concepts and leave our dissenting notes as artifact of our resistance.

Sunday October 19th: AYDEN GROUTAyden L.M. Grout will continue work on her recent project “Pillow Book,” which uses photography, installation, video, and text, to explore the physical, emotional, and spatial influence of beds. Within the walls of the ACE Hotel, she will consider the wealth of stories that the ever-changing list of occupants have imprinted on the hotel’s rooms.

Sunday October 26th: WILL OWEN: Will Owen intends to ride the elevator at the ACE hotel all night and request recipes from anyone riding the elevator. These recipes will be added to a growing collection of recipes that people have memorized. Will has been gathering people’s memorized recipes for more than 8 years across Canada, Mexico, Taiwan, Cambodia, Italy, Slovakia, Greece, Czech Republic, and the US. The first volume of these recipes and stories of their collection will be released as open source material in Spring 2015.

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Utopia School


October 1 – 31, 2014
Open Hours: Wednesday – Sundays, 12pm-10pm
All classes take place at Flux Factory unless otherwise noted. View full class schedule here:
What kinds of information are useful for re-imaging the future?
Utopia School is a month-long social center* hosted at Flux Factory for the purpose of studying Utopian experiments throughout time, as well as practicing our skills towards building new free spaces and practices. These classes, screenings, discussions and games will be connected by the essential question: What kinds of information are useful for re-imaging the future?
To us, utopias take the form of intentional communities, squats, community gardens, communes, and other initiatives geared towards communizing resources, (including those which don’t self-describe as Utopian.) We hope these classes and explorations will help to document and further these specific knowledges.
There will be several Utopians-in-Residence as well as class leaders involved in running the space at any given time, co-learning together, and teaching classes. You, too, can propose a residency project which interacts with the space. We hope you will join us!
Utopia School is open from 12pm-10pm Wednesday-Sunday, from October 1-31st on location at Flux Factory, except when otherwise noted. There are a bunch of field trips in the works, and some classes will take place at other venues, so pay attention to the location in “class descriptions”.And, finally, it is never too late to propose classes. Please visit utopiaschool.org to propose a class. See you in the classroom!*Social centers (or social centres) are community spaces. 
They are buildings which are used for a range of disparate activities, which can be linked only by being not-for-profit. They might be organizing centers for local activities or they might provide support networks for minority groups such as prisoners and refugees. Often they provide a base for initiatives such as cafes, free shops, public computer labs, graffiti murals, legal collectives and free housing for travellers. The services are determined by both the needs of the community in which the social center is based and the skills which the participants have to offer. Social centers tend to be in large buildings and thus can host activist meetings, concerts, bookshops, dance performances and art exhibitions. Social centers are common in many European cities, sometimes in squats, sometimes in rented buildings. Also known as a free space, social centers may be designated “safe-space” where specific forms of dialogue and activism are encouraged and protected from harassment, or they may be intended to serve as open space for community interaction among widely disparate groups without censorship. There is a great deal of overlap between the two types.


Utopia School is one of Flux Factory’s Four Major Exhibitions of the 2014 Season and is supported in part by the New York City Department of Cultural Affairs in partnership with the City Council, the Andy Warhol Foundation for Visual Arts, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.


The Rhythm That Laughs You

The Rhythm that Laughs You - Flyer:Poster“The Rhythm That Laughs You” explores diverse approaches to humor and the comic in works by female artists who foreground bodily experience through object-based practices. The exhibition borrows its title from a statement of Hélène Cixous in her seminal “The Laugh of Medusa” (1975). Cixous describes the peculiar materiality of laughter and the subject position, conceiving the experience of laughter in the form of a rhythm that traverses us. Rather than deciding to laugh, we abandon ourselves to it, and by participating in the emotion of the one who laughs, lose ourselves in another. Laughter is both a dislocation and a communion of bodies. But laughter, in its excess, also threatens meaning. Whether a slapstick or a joke’s punchline, the unexpectedness of humor always forces us to shift our assumptions and expectations. Humor resists, transgresses, or subverts the order of things.
From Agnes Heller to Simon Critchley, contemporary theories of humor point out to the ultimate heterogeneity of comedy. Although analysis of the comedy breakdown into three main theories—superiority, incongruity, and relief—however, the question has moved from the essence to the form of laughter. As distinct from the comedy as a form of drama, the idea of the comic gathers together things that are laughable or humorous. Entirely heterogeneous, there is nothing beyond a family resemblance among the different manifestations of the comic. Even more, how can we know the laughter from the comic? Laughter is nothing but a vibration or a tremor, as Jean-Luc Nancy writes. The experience of laughter is always dangerous and violent. Convulsive, contagious laughter throws everything off balance: it is a form of dissolution not without joy and pleasure. “The Rhythm That Laughs You” comprises five different comic visions and genres of laughter: light, camp, surreal, grotesque, and carnivalesque.

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Thermospheric Station


Thermospheric Station
Friday, September 5th 2014
Door opens at 7pm, Performance starts at 8:30pm

The space you have just stepped into has no weather. Is your body pulsing like volcanic lava or stiff like a giant iceberg? The inhabitants expose their bodies to cosmic rays and experiment with their tolerance limits. Some astronauts made themselves fall from phenomenal heights. However, no one knows whether they fell or not. When the Sun has more magnetic storms, the night auroras shine with greater intensity. Only during the nighttime, music here travels a great distance, almost reaching to the earth. Are your movements holding gravity tight? Or did you accidentally slip into outer space as if you were dusted off by solar wind?

The Thermospheric Station brings together sound artists, contemporary classical composers, experimental musicians and contemporary dancers from different sides of the world to create an experimental sound performance. Coming from Greece, Portugal, Bosnia, USA, Japan, and South Korea, this diverse group is presenting their work at Flux Factory in New York.

Nuno da Luz, a current artist in residence at Residency Unlimited, will play field recordings enhancing some resonance ranges with percussive instruments and feedback loops. To describe his piece, he quotes the composer, Maryanne Amacher: “Tone-of-place, experienced, heard through skin, detected by unnamed sensibilities, and impression carried-in through skin even when not in the physical place. Tone around you and with you. I don’t like your tone. I like your tone. I like the tone of this place.”

Composer Dimitrios Skyllas wrote a piece for a trio based on Rilke’s poem “Autumn.” The vocalist Motomi Tanaka will perform alongside percussionist Cory Bracken, and Skyllas will complete the trio on melodica. An emphasis is given on the word “Someone,” where the composer contemplates the (non) existence of a superior force.

Jung In Jung, a current artist in residence at Flux Factory, will present a dance and sound collaboration. The sound composition will be improvised by both the limited and free physical movement of two dancers, Dane Lukic and Quentin Burley. Triggered by a game controller’s red wires, data relating to the position and length is then programmed to manipulate sound.

In “Pull,” the band Cesspool explores magnetism and verticality. They experiment with three-dimensional speaker placement and vertical space, and build arrival points into the structure of the piece, approaching said points with exponentially increasing and decreasing momentum. Cesspool will present their works under the artwork, “Sound Cave,” by Danny Crump. The shape of the dome creates a unique acoustic amplification, further layering the effect of the sound.

Richard Garet‘s performance will focus on creating processes that interact and activate sonic material such as electromagnetic waves, modified tape, cracked media, sonification of light, and computer processing. This sonic construction will surface in real-time, creating a poly-layered sonic field where the final outcome consists of amplifying manifestations between the materials and articulating colliding forces being carefully treated, weighed, and measured.

The concert is organized by Jung In Jung and produced by Sungpyo Hong. Audiences are invited to explore the variety of performances with delicious refreshments provided by Cup&Cup and Yonda Inc.

Poster design by Amela Parcic. Special thanks to Nat Roe, Will Owen, Tina Kohlmann, Sandy Gordon, Lola Bengen, and Julian Navarro.

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Residency Opportunities: Winter 2014 & Spring 2015

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Flux Factory is a 20 year old non-­profit arts organization, artist collective and international residency program committed to building a sustainable community for diverse cultural producers, including visual artists, builders, curators, activists, musicians, writers, etc.

We’re looking for cultural producers of all kinds to join the Flux community for
3 / 6 / 9 / 12 month residencies.

Flux Factory cultivates a spirit of openness and generosity through a unique collaborative and participatory approach to realizing it’s residency and public programs. Fluxers benefit from an immersive and prolific environment that encourages experimentation and peer to peer resource sharing. Residents work together to shape and realize Flux’s expansive programming, proposing and leading exhibitions and educational events. Flux Factory nurtures individual practices by offering professional development opportunities, including one-on-one studio visits, group field trips, and monthly salons.

Our labyrinthian building includes 14 studios, a gallery, silkscreen studio, woodshop, coworking office, communal kitchen, library, and rooftop garden.

Each resident is responsible for their own funding, though Flux Factory can help with this process.

Please send any questions to residency@fluxfactory.org.



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August Flux Thursday – August 14

Thursday August 14
Dinner at 8pm, Presentations begin at 9:30pm
The event is free, but do bring something to share!



Our 15 year long tradition continues!  This month, on August 14th, Flux artists-in-residence Roopa Vasudevan and Amela Parcic will present. In honor of our Homecoming Exhibition closing, Ayden L. M. Grout will invite attendees to scavenge the building to add contributions to a Time Capsule, celebrating Flux’s 20th Anniversary; Homecoming Curator (and Flux Board Member) Jean Barberis will present; Doug Paulson and Daupo will present a display of deep Flux lore…

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Nat Roe

Nat Roe ED Flux Factory

Nat Roe is Flux Factory’s Executive Director, so he spends all his time at Flux sending emails, attending meetings and making spreadsheets in front of our big office window.

Nat is a co-founder of Silent Barn’s current space in Bushwick, Brooklyn.  Silent Barn is a collectively directed space for living, working and performing.  He has organized and performed at numerous concerts since moving to New York in 2009.

For many years, Nat DJed a weekly radio program at WFMU.  His program centered around a style of audio collage that drew influence from turntablism and dancehall Clash style as well as the cut-up and appropriation techniques of artists like Brion Gysin and Christian Marclay.  You can listen to all his years of live improvised radio collage on Nat’s archives page.  Nat performs and records in the audio-visual duo Private Language with new media artist Melissa F Clarke.  Nat has also released a 7″ with Kakutopia records, a tape on Spleencoffin records, a CD with Tanzprocesz records — you can hear all these recordings at freemusicarchive.org

Before getting involved in collective-centric arts spaces, Nat was active as a music journalist.  He has written for publications such as Wire Magazine, Signal To Noise, Rhizome, Fader, Noisey, and was the editor of WFMU’s blog for several years.

Find links to all Nat’s doings over the years and my full CV at natroe.com

20 years of Flux and hello to our new Director

As August’s Homecoming exhibition approaches (RSVP for our opening gala here), Flux Factory marks 20 years of collaborative energy through artifact, lore and friends.  As we look backward, we’re excited to move forward with our new Executive Director, Nat Roe.  Expect dramatic news and growth from Flux Factory this year!


The transformation of Flux Factory from impromptu art collective into pillar for exhibition, education and arts residencies has been a long and winding road with plenty of detours, rose smelling and…well…flux.  Please do celebrate 20 years with us at our August 2nd Homecoming gala and by taking home our accompanying publication.

This gaze backward follows quick on the heels of a new addition to Flux – me – Hi, I’m Nat Roe and I’m the new Executive Director here.  I’m thrilled to say that I’ve found a real dream job in joining the Flux family.  As a co-founder of Silent Barn’s location in Bushwick, I have experienced first-hand the power of collective thinking and action.  I am a firm believer in DIY as a philosophy that the most efficient route is not the best – that heuristic, collaborative routes during creation are as important as the finished project.  I believe that spaces like Flux Factory perform a massive civic duty for New York City and beyond, and that our model of coworking is an antidote to many of society’s ills.

Nat Roe ED Flux Factory

Flux’s new director Nat enjoying a vinyl at WFMU

I first collaborated with Fluxers as an organizer of the 2012 DIYBA basketball tournament of art spaces.  I refereed the heated final round between Shea Stadium and Flux Factory, and was even accused that my biased reffing led to Flux’s 1-point victory.  I won’t comment on those accusations, but I will say some good deeds do go unpunished.  I’m excited to wear the Flux jersey in 2014’s DIYBA.

Flux Factory has immediately felt like a home to me in my first days on the job, and I’ve been amazed at the level of kindness, thoughtfulness and productiveness of our residents, staff and board.  Filling the shoes of my predecessor Christina Vassallo is intimidating, I’ll admit, since she left such a gargantuan mark on the space and brought Flux to such a high level of functioning and ambition.  I am immensely grateful to step into Flux with a balanced budget and general order.  Many thanks to interim director Doug Paulson for holding the fort down under heavy stress.

We will have some dramatic news and exciting initiatives coming up soon – for now I’ll say that I’m honored to play a part in pushing Flux toward a new chapter, and to continually raise this collective to higher heights.

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Exquisite Contraption

Exhibition dates through February 2015: by appointment and during select public events. Contact Jason Eppink to schedule an appointment.

The Exquisite Contraption has been operational for two months! See how the machine has evolved, including all the photographs it’s taken so far. We’ll run the machine several times an hour and it’s totally going to work every time.

Exquisite Contraption, a collaboratively conceived and constructed machine that spans the entire building has facilitated a weekly “family photograph” since the official opening in February. Over the current year, the Flux community will exist inside the machine, activating it at the begining of weekly Monday meetings to set into motion a series of automated steps that move throughout the building to announce, instruct, prepare, and photograph those gathered. At the end of its life, Exquisite Contraption will have produced a year-long record of residents and guests who have gathered inside the machine.

Exquisite Contraption is both an interactive, building-wide engineering spectacle and a long-term experiment in creating a community ritual. The work will evolve over time as residents elaborate on the weekly tradition, respond to mechanical failures, and integrate (or not) the machine into their daily lives. Since Exquisite Contraption can be activated at any time, it will be available to the public throughout its year-long run by appointment and during select public events.

Created by Stephanie Avery, Ranjit Bhatnagar, Jason Eppink, Justin Lange, Adrian Owen, Amelia Marzec, Alex Nathanson, Nick Normal, Eric Petersen

Exquisite Contraption is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council, the Andy Warhol Foundation for Visual Arts, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

If you’d like to help support this project, please go to our Donate page.


within a tournament of value


Opening Reception: April 3, 6-9pm
Office Hours: April 1 – April 15,  4-7pm daily

Visitors to the space will engage with artworks and texts engaging with ideas of commodification and planned obsolescence, as well as the curator who will hold office hours in the space each of the 15 days.

An exhibition is to be set up as a salon from April 1st until April 15th (April Fool’s Day to Tax Day). This showcase will involve several sculptural works that move beyond the normative constraints of commodification and engage in a broader critique of systems of exchange. Additionally, a selection of texts theorizing these ideas will be available. Visitors to the space will engage with these artworks, these texts, as well as the curator who will hold office hours in the space each of the 15 days, presenting information both historical and registrarial. The gallery will remain otherwise devoid of text and the exhibition will produce no catalog.

To begin, some anthropological and economic considerations about the items and terms that surround us and this project. An item that passes through any exchange system can be broadly defined as a commodity. All objects are therefore commodified at some point. The shape of these transactions vary depending on the item in question and the narrative it tells. This period of commodification occurs within a tournament of value.

Perhaps then we might consider art objects as offering an opportunity to explore the nature of the commodity through their ability to critique social forms. We may also consider the critical writings of anthropologists, economists, philosophers, and sociologists as yielding essential views on the same set of social concerns.

By looking specifically at the notion of a caveat emptor clause, which reads ‘buyer beware,’ we can distill a more singular set of perspectives. The caveat emptor clause defines the limitations or faults of a thing in exchange. It should be noted that all objects have similar considerations and specific caveats. That said, at times certain commodities employ a scheduled obsolescence thereby internalizing this notion of a buyers’ warning. This tactic has been seen as a function of conspicuous consumption.

Art objects, with all the perspective discussed above, can engage with this idea so as to manifest a critique of consumption and of capitalism more broadly. The art objects selected all willfully employ obsolescence to varying degrees. Let us review briefly. A small print of a coupon on a dollar bill from Ryan McGinness will present an opportunity to address the cultural mainstay of currency as the root of most commodity exchanges. Roman Ondák’s Breath on Both Sides will cut through the architecture of the space and presents an air of the artist’s personage. Peter Simensky will take a measure of gold and disperse it in the form of dust. Dana Sherwood will present two projects: the first will be a collection of living butterflies; the second will be a reminiscence of a previous project in the shape of a slowly decomposing but opulent cake. Julia Weist will present an object made of glass and ice to be cracked and to melt away. Necessarily, all important gestures for such a discussion.

The scholarship available equally engages with commodification, consumption, and critique. These thinkers, from a variety of academic backgrounds, analyze the vast and varied nature of exchange systems. Jean Baudrillard and Pierre Bourdieu afford us both semiotic and sociological perspectives. Arjun Appadurai, Marcel Mauss, and Grant McCracken approach the issue from a more anthropological perspective, examining a wide variety of exchange systems in their respective writings. Finally, Vance Packard, Thorstein Veblen, and Olav Velthuis present to us the economists’ angle, focusing on conspicuous consumption and the art market respectively.

In the course of 15 days we will examine these art objects as they function in concert with these texts. In full we will consider equally the works of Arjun Appadurai, Jean Baudrillard, Pierre Bourdeau, Marcel Mauss, Grant McCracken, Ryan McGinness, Roman Ondák, Vance Packard, Dana Sherwood, Peter Simensky, Julia Weist, Thorstein Veblen, and Olav Velthuis. From April 1st until April 15th the gallery at 39-31 29th St, Long Island City, Queens will be open from 4-7pm.

within a tournement of value is curated by Flux’s Curator in Residence, Christopher Stiegler of the Institute for American Art. Exhibition made possible in part by the New York City Department of Cultural Affairs in partnership with the City Council, the Andy Warhol Foundation for Visual Arts, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.