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Brooklyn: Satanic Feminism as Activism / Jex Blackmore at Catland Books

April 22, 2016 at Catland in Brooklyn.


The feminine has endured as a subversive force within the Satanic narrative for a millenia. The complexities of the female figure, her sexuality, intelligence and power have been co-opted by the church to control and fabricate a gendered discourse which demonizes autonomous womanhood. Despite this history, modern Satanism has been primarily associated with strength, masculinity and power. Reinforcing chauvinistic conceptions of the abilities of women, with a particular focus on male sexuality, modern Satanism has continued to emphasize traditional gender roles.

The Satanic Temple represents an evolution in Satanic philosophy which aims to dismantle archaic sexual paradigms and give voice to those who have suffered under the yoke of Satanism as a pejorative. We will explore the concept of Satanic Feminism in relation to contemporary non-theistic Satanism and discuss how this can be utilized as a catalyst for political change.

This talk is presented by Slutist in conjunction with Catland as a precursor to The Legacy of The Witch Festival at Saint Vitus on April 23rd, which celebrates the witch as an archetype of female power and persecution. Tickets are available here: http://www.ticketfly.com/event/1107545-slutist-legacy-witch-ii-brooklyn/

$8 entry / refreshments provided


Jex Blackmore is an interdisciplinary artist and activist as well as a national spokesperson for The Satanic Temple and director of the organization’s largest chapter located in Detroit, MI.

Address: 987 Flushing Ave, Brooklyn
Satanic Feminism as Activism / Jex Blackmore at Catland Books

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New York: International Tourism (Marie Voignier 2014)

April 19, 2016 at Columbia Maison Française in New York.


Tuesday, April 19, 2016, 6:30

Film screening and discussion

How does a dictatorship exhibit itself to the tourists visiting it? What kind of narration, actors, and staging does it summon? International Tourism (2014) has been shot as a recording of a show on the scale of a whole country, North Korea. The film questions the way the nation fabricates its images, between politics, mythology and imagination.

The screening will be followed by a discussion with:
Aline Caillet (Associate professor in Aesthetics and Philosophy of art, Université Paris 1 Panthéon-Sorbonne, Visiting Professor, Film and Media Studies, Columbia University)Steve Erickson (M.A. in Cinema Studies from New York University. The lead film critic for Gay City News, he also writes for Cineaste, RogerEbert.com, Brooklyn, the Nashville Scene, Studio Daily, Fandor and the L.A. Review of Books and has written for many other publications.)Theodore Hughes (Associate Professor of Korean Studies in the Humanities, Columbia University, Ph.D. in modern Korean literature)

Event co-sponsored by the Columbia Maison Française, MA in Film and Media Studies in Columbia University School of the Arts, The Center for Korean Research, and Alliance Program

Address: 515 W 116th St, Buell Hall 2nd Floor, New York
International Tourism (Marie Voignier 2014)

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New York: NYSSA Author Series™: William Duggan

May 05, 2016 at New York Society of Security Analysts (NYSSA) in New York.


Flashes of insight – the “Eureka!” moments that produce new and useful ideas in a single thought – are behind some of the world’s most creative innovations. Using the disciplines of psychology, neuroscience, philosophy and military strategy, William Duggan’s The Seventh Sense shows how to cultivate more and better flashes of insight by understanding the science and practice of how creative ideas happen in the human mind.

Based on Dr. Duggan’ s perennially popular class at Columbia Business School, his presentation for us will cover the science behind these flashes of insight, how that science applies to financial thinking in particular, and how to use your seventh sense in everyday work and life – including networking at events like this one.

This event will cover:
How Flashes of Insight can Change Your Life

The Science Behind Flashes of Insight

Applying this Science to Financial Thinking

How to Capitalize on Intuition

Who should attend?
Analysts, Portfolio Managers, Chief Investment Officers

The author of The Seventh Sense is Dr. William Duggan, a professor at Columbia Business School. He teaches courses on innovation in Columbia’s MBA, Executive MBA, and Executive Education programs. In 2014 he won the Dean’s Award for Teaching Excellence.

William Duggan is the author of three recent books on innovation: Strategic Intuition: The Creative Spark in Human Achievement (2007); Creative Strategy: A Guide for Innovation (2012); and The Seventh Sense: How Flashes of Insight Change Your Life (2015). In 2007 the journal Strategy+Business named Strategic Intuition “Best Strategy Book of the Year.”

He has BA, MA and PhD degrees from Columbia University, and twenty years of experience as a strategy advisor and consultant. He has given talks and workshops on innovation to thousands of executives from companies in countries around the world.

Address: 1540 Broadway, Ste 1010, New York
NYSSA Author Series™: William Duggan

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Brooklyn: Hegel’s Phenomenology of Spirit

May 27, 2016 at The Brooklyn Commons in Brooklyn.


Conducted by Russell Dale
Seminar of the NYC Marxist Hegel-Studies Collective

Hegel’s philosophy has had a great influence on much of what has happened in the world since his time (1770 – 1831) and is crucial to understanding much of modern social thought and philosophy as well as to understanding Marxism and the socialist tradition in its varied aspects.

Hegel’s Phenomenology of Spirit is generally considered the first exposition of and an introduction to Hegel’s later work, what is often referred to as Hegel’s “system.” Thus, knowledge of the Phenomenology is indispensable for anyone interested in today’s world.

At the same time, the Phenomenology is an extremely difficult work to read, so it really helps to do so with a group of fellow-readers.

In this course, we will read the entire Phenomenology of Spirit. Discussion will focus on Hegel’s view of history, the history of philosophy, subjectivity, the self, and society, and Hegel’s influence on later thinking and history. An important part of our discussion will be the socially reactionary conclusions that Hegel ultimately drew, while at the same time Hegel’s work became inspirational for so many radical and progressive thinkers as well, including Marx and Engels. We will give special attention to and treatment of the fact that Hegel had white-supremacist, racist views, and played an important role in the development of the pseudo-science of biological race theory. We will look at what these views mean for the tradition of thought that stems from Hegel, which includes some of the greatest thinkers of African descent in the twentieth century, such as W. E. B. DuBois, C. L. R. James, Frantz Fanon and others.

The course will run for 14 weeks on Friday evenings from 6:00 PM to 8:00 PM starting on Friday, May 27, 2016 and continuing until Friday, August 26, 2016. We will be reading the edition of Hegel’s Phenomenology of Spirit translated by A. V. Miller, and published by Oxford University Press. (Arrangements will be made for students who cannot buy a copy of this book, which costs about $11 – $15 online.)

Russell Dale is an activist and a philosopher. He teaches philosophy at Lehman College, CUNY. He taught classes on Hegel and various other topics for the last six years. Russell is also on the Manuscript Collective and Editorial Board of the Marxist journal Science & Society, as well as on the Local Station Board of radio station WBAI, 99.5 FM (wbai.org).

Address: 388 Atlantic Ave, Brooklyn
Hegel’s Phenomenology of Spirit

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Brooklyn: MAKE DO – Angela Conant + Kate Harding

April 16, 2016 at SARDINE in Brooklyn.


SARDINE is pleased to present a two-person show titled MAKE DO by artists Angela Conant and Kate Harding. The show opens with a reception from 6 to 9pm on Saturday, April 16 and runs through Sunday, May 1, 2016.

To MAKE suggests the manifestation of form. To DO is to carry out an action. To MAKE DO is to work with what is around. Observation, memory, economy and invention born of necessity serve the function of doing-what-one-can with what one has available. In the practices of Angela Conant and Kate Harding, both manifest actions into form, a site that considers the reach of the gesturing body and it’s less physical extensions. The objects shown at SARDINE are deictic to action, and could be considered portraits of impressions or movement. Conant’s displacement of dirt or sand by way of sunken fingertips freezes time into a humble monument to an ephemeral impression. Harding’s footfalls, mapping the wooded terrain, articulate a traversed “conversation” and become solid as space folded with time.

Contemporaries in their master’s studies, Conant and Harding did not uncover the similarities in their practices until invited to exhibit together at SARDINE. Through the collaborative process, they discovered parallels in their ways of working, and, more surprisingly, throughout the histories that formed each of their artistic and life perspectives. Though far flung from one another in Harding’s Missouri and Conant’s Vermont, each artist came to know the world in a rural setting, which has fostered remarkably sympathetic interests. In particular, both practices share a process of mining the wonder of the intangible. The works on view at SARDINE for MAKE DO translate an idea through multiple forms by articulating and re-articulating meaning.

In her work for this exhibition, Angela Conant finds space exploration as an example of this search for meaning. Each form is built on her own gesture; her fingers and hands clear components that form celestial bodies. These objects’ evident process of being cast in sand speaks to a notion of the makeup of the world on a particular, human and galactic level. Conant’s recent work repeats content through painting, light and cement. Her video work parodies gender and media politics, incorporating objects and painting. Her practice also encompasses curating and collaborating on artist-run projects. Her work has been exhibited at Electronic Arts Intermix (New York City), The Elizabeth Foundation Project Space (New York City), SPRING/BREAK art show (New York City); Glasshouse Projects (Brooklyn), Interstate Projects (Brooklyn); the Delaware Center for Contemporary Art (Wilmington, DE), Neter (Mexico City, MX), The Sunview Luncheonette (Brooklyn), ICA Baltimore (solo) (Baltimore, MD) and La Mama Gallery (New York City). She has spoken at Boston University’s School of Fine Art and at New York Foundation for the Arts, and was awarded a Critical Writing residency at Recess (New York City) in 2013 and an Artist Residency at the Millay Colony (Austerlitz, NY) in 2014. In 2007, she co-founded The Gowanus Studio Space, an artist-run collaborative in Brooklyn where she served as Artistic Director until February 2014. She received an MFA from School of Visual Arts in 2013.

Kate Harding is an artist living and working between Los Angeles, New York City and rural Missouri. Harding’s work examines the specificity of site and the local to explore concepts of landscape, perception and inter-subjectivity. Seeing her practice as a continuation of purposeful ramblings in the woods that began in early childhood, she undertakes engagement with site as a resonant field and collaborator. Interdisciplinary in material and approach, Harding’s background in garment design and construction often provides a metaphoric structure to her work, as does history, critical philosophy, folklore and the colloquial phrase. Harding received an MFA from the School of Visual Arts in 2014, holds a BFA from Otis College (Los Angeles, CA), and an AAS from Fashion Institute of Technology (New York, NY). Exhibitions and screenings include Vanity Projects, CP Projects Space, Visual Arts Gallery, Electronic Arts Intermix, The Chelsea Hotel New York, NY; Grace Exhibition Space (solo), SARDINE, Glasshouse, Invisible Dog, Brooklyn, NY; Imperfect Gallery, Philadelphia, PA; On the Ground Floor, Rosamund Felson, Echo Park Film Center, Edward Cella Art + Architecture, SeeLine, Track 16 Gallery, Circus Gallery, Los Angeles, CA; East Central College Gallery, Union, MO. Her writing has appeared in The Brooklyn Rail.

SARDINE is located on the ground floor of 286 Stanhope Street, Brooklyn. For more information, please visit sardinebk.com. Contact: Lacey Fekishazy at sardinebk@gmail.com.

Address: 286 Stanhope St, Brooklyn
MAKE DO - Angela Conant + Kate Harding

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April 23, 2016 at Pratt Institute in Brooklyn.


Pratt Free School is a day of free classes open to the public and taught by alumni from the Pratt Graduate Communications Design Department. This year’s theme is CHAOS MAGIC, a philosophy that promotes experimentation and play while discarding dogmatic rules. The curriculum investigates these principles as they relate to art, design, and creativity.

The day includes five classes on a range of design topics. Lunch and some Free School swag will be provided. Designers and non-designers alike are welcome! Sign up for as many classes as you plan to attend.

Tickets available at Eventbrite: https://www.eventbrite.com/e/pratt-free-school-2016-tickets-22507321003

For a group of people so frequently called “creatives,” designers really love to do things by the book. Prescriptive design methodologies are everywhere, and while their existence isn’t necessarily bad, it’s no good to grow too complacent with any commonly-accepted “right” way of making things. This class will take a critical look at existing design processes and make new, speculative methodologies from them—deconstructing, remixing, experimenting, and implementing. Attendees with laptop computers may wish to bring and use them during the workshop portion of this class, but they are not required.

Collection plays a significant role in the life of the designer. Our process often involves moodboards or inspiration folders that serve as a point of departure for a given project. Collecting helps us find a voice by surveying what exists, critically reflecting on our own work, keeping us up to date, and inspiring us to become better. This workshop will examine the value of collection as an indispensable part of design, and how improving our collection methods and being more critical about what we collect—in and out of the design process—makes us better designers.

Canon-loading is a problematic function of unconscious subscription to a limited cross-section of visual possibilities. In this workshop, participants will investigate the positive and negative aspects of canon-loading as it pertains to graphic mark-making, and work through a series of tools and mechanics for avoiding overloading a canon. Participants will work through a series of exercises together and receive a limited edition pamphlet to take home for further exploration.

2:30PM – 3:30PM // TELEPHONE
Language, as a main component of culture, is tightly related to behavior: it is influenced by our experiences, but also shapes how we go around and relate to each other. From this standpoint, speaking a certain language is like looking at the world through the lens of the language’s speaker, and as such, language differences can become a basis for collaboration. This workshop will look into multilingual collaboration to explore the different outcomes that could result from a single concept.

As creatives we are drawn to systems, patterns, and order not only because they’re wonderful but also because we know they will consistently produce clean, sophisticated, and well-received results. But what if these rules and tested systems are keeping us from growing? This workshop is a chance to let loose without the pressure of impressing a professor, creative director or client and to play unafraid. To ensure this, visual experiments will be shared anonymously at the end of the workshop. Attendees with laptop computers may wish to bring and use them during the workshop portion of this class, but they are not required.

Address: 200 Willoughby Ave, Brooklyn

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Brooklyn: Repeating Traces

April 10, 2016 at Pioneer Works in Brooklyn.


Opening Reception: Sunday, April 10 Performance: 12-6pm, Installation on view: 6-10pm
On View: Wednesday—Friday 12-6pm

The nine day performance Repeating Traces is a collaboration between artist Rachel Garrard and curator Lalita Salander, and was conceived during a period of research and a residency in the Sierra Nevada de Santa Marta, Colombia. Particular inspiration is drawn from the Kogi, an Amerindian people of the region, who, through their traditional offerings and “payments” to the earth, consider it their role to help maintain the equilibrium of nature. By way of weaving through the topographical sites of the Sierra, Repeating Traces becomes a method by which Garrard attempts to highlight a personal intimacy with the cycles of nature.

The Kogi refer to the region of the Sierra Nevada de Santa Marta as the heart of the world. The terrain of the Sierra encompasses a microcosm of the earth’s climates with deserts, beaches, mountains, tropic sun, and arctic snow. As in all Kogi philosophy, the attributes of the Sierra’s topographical features are imbued with a storehouse of detailed codes and multi-layered meanings. Just as the Sierra can be seen as a microcosm of the earth, it’s symbolism extends to represent at once the human body, the loom and the specific angles and directions of the trails and channels that crisscross the earth’s surface, which are thought to be similar, if not identical, to the layered structure of the cosmos.

The loom is central to Kogi cosmology, and it is mapped onto the Sierra by the four main cities around the base of the mountain massif: Santa Marta in the northwest, Riohacha in the northeast, Fundación in the southwest, and Valledupar in the southeast, with the snowcapped mountains that rise nearly 6,000 meters above sea level at the cross in the center of the loom. A network of important ceremonial centers have precise locations within the framework of the loom, each center being interconnected to the others; the grid of the loom serves to trace these relationships and points to an awareness of a complex system of balance. Just as the loom can be understood on many different levels – anatomical, sexual, topographical, architectural, astronomical – so can the act of weaving. To the Kogi, weaving is a moral activity. By weaving a piece of cloth a man[1] is essentially “Weaving his life.”[2] He is symbolically organizing his feelings: the threads are like thoughts being interlaced into the web that is society. As anthropologist Gerardo Reichel-Dolmatoff put it, “A competent weaver is a good man, and a good piece of cloth is an achievement, something to be proud of; it is a well-lived life”[3].

During Garrard and Salander’s residency in Colombia, they traveled vertically and horizontally through the peaks and valleys of the Sierra Nevada mountain range. Accompanied by three Kogi friends and a Kogi-speaking anthropologist, they traversed the paths and planes of the sacred land that is now protected Kogi territory. Kogi families maintain different huts at various altitudes: traveling frequently between each home, they weave their way through the mountain landscape, which is thought of as a loom. Their wanderings also reflect the pathway of the sun, which traverses the earth day and night as it weaving the fabric of life, echoing the natural rhythm of creation and renewal.

Starting by plotting out a self-devised map of sacred sites and spaces within the symbolic context of the Sierra Nevada, the artist will begin a journey connecting each site with golden thread. According to a series of internal prompts, she will weave her way through the map as a continuous repetition until an intricate web has been formed. At this point, without pause, the artist will continue to unravel the piece, returning the space to its original form. The Kogi describe the connections between all living things as represented by invisible golden threads; Garrard uses gold thread to symbolically honor this interconnection while she creates and destroys this site-specific ephemeral installation.

Rachel Garrard was born in 1984 in Devon, England, and currently lives and works in New York. While completing her graduate studies at Central Saint Martins in 2009, she gained recognition for performance-based refracted-video works such as Circuition (2009), and Seven Transmutations (2010). Garrard was awarded artist residencies at the Atacama Telescope Farm in Chile (2011), and the Center for the Holographic Arts at Ohio State University (2012). Her recent work, which has grown to encompass video, performance, drawing, sculpture, painting and printmaking, has been exhibited nationally in curated group exhibitions at venues such as Participant Inc., New York, Eyebeam Art and Technology Center, New York, Jack Hanley Gallery, New York, Shoshona Wayne Gallery, Los Angeles, the National Academy Museum, New York and Tanja Grunert Gallery, New York. Garrard’s work has also been exhibited internationally at the Lille Métropole Musée d’Art Moderne, France, Museo Universitario del Chopo, Mexico City, Yota Space Digital Arts Festival, St Petersburg, AmbikaP3, London, Shizaru Gallery, London and Apartment Gallery, Berlin. She has been the subject of solo exhibitions in both New York and Miami.

Lalita Salander is a New York based independent curator. She has previously worked with the Peggy Guggenheim Collection in Venice, The Solomon R. Guggenheim Museum, New York, with a selection of galleries in the U.S. and Europe, and with Colección Patricia Phelps de Cisneros. Her projects have been exhibited in New York at CP Projects Space, Spring Break Art Fair, Point B and in collaboration with No Longer Empty.

Special thanks to Pioneer Works, The School of Visual Arts Master’s Program in Curatorial Practice, Casa Indigena Santa Marta, Lucas Dreier, Manuldzi, Miguel, Ana Velasco, Cristal Ange, Manuela Reyes and Layla Neal.

Image Credit: Topographic map, Sierra Nevada de Santa Marta, Colombia, 1957. Courtesy of Instituto Geográfico Agustín Codazzi.

Address: 159 Pioneer St, Brooklyn
Repeating Traces

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New York: Spring Break Chess Camp

April 25, 2016 at Chess NYC in New York.


Manhattan – Brooklyn – Hamptons

Chess NYC’s policy of Chess Should be Fun” truly prevails for these cool days of camp! From Chess Leaders to Grand Master, this Camp is sure to captivate, motivate and generate chess players. Each child will receive as much chess time as they like while enjoying mind clearing fun, cooling and break opportunities.

Overflowing with supervision, special attention to those with greater commitment levels to Chess, as well as those who need an extra boost are a few of the advantages of this (Chess) Fun! That and great play send Campers home well rounded, effective Chess Players. While 3 hours of Chess activities are threaded through each full 8 hour day for every Camper, led by Chess NYC’s Championship Coaching Staff (Nationals Champions) that’s just the beginning of these great Fun & Training Camps! Outdoor fun, water play, sports and other activities thrill (coax where necessary) and prepare attendees for the next upcoming Chess activities.

While Chess is always available (and of course encouraged) and our extreme young, chess enthusiasts play and learn even more (some of our kids are very, very advanced) the alternative, FUN activities, Pizza and Ice Cream etc. ensures they’ll ALL keep coming back! From absolute beginners to advanced players, Chess NYC’s philosophy is to engage each child on their individual level and appetite to play. This approach successfully minimizes resistance and maximizes progress and…as a result…everyone associates Chess with Fun! At the end of a great day they’ve had @ least 3 hours of Chess!…a week 15 hours…A month 60 hours! Our talented, excited and eager team is ready to share the love of the game every moment possible and they love doing so!


Upper East Side | PS 183, E 67th, York/1st-
Greenwich Village | Zinc, 82 West 3rd Street
Chelsea | Chelsea Prep, 281 9th Avenue
Greenpoint Brooklyn | 155 Milton Street
Hamptons | Children’s Museum East End, Bridgehampton

Address: 82 W 3rd St, New York
Spring Break Chess Camp

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New York: International Tourism (Marie Voignier, 2014)

April 19, 2016 at Columbia Maison Française in New York.


Film screening and discussion

How does a dictatorship exhibit itself to the tourists visiting it? What kind of narration, actors, and staging does it summon? International Tourism (2014) has been shot as a recording of a show on the scale of a whole country, North Korea. The film questions the way the nation fabricates its images, between politics, mythology and imagination.

The screening will be followed by a discussion with

Aline Caillet (Associate professor in Aesthetics and Philosophy of art, Université Paris 1 Panthéon-Sorbonne, Visiting Professor, Film and Media Studies, Columbia University)

Steve Erickson (M.A. in Cinema Studies from New York University. The lead film critic for Gay City News, he also writes for Cineaste, RogerEbert.com, Brooklyn, the Nashville Scene, Studio Daily, Fandor and the L.A. Review of Books and has written for many other publications.)

Theodore Hughes (Associate Professor of Korean Studies in the Humanities, Columbia University, Ph.D. in modern Korean literature)

Event co-sponsored by the Columbia Maison Francaise, MA in Film and Media Studies in the School of the Arts, Center for Korean Research, and Alliance Program

Address: 515 W 116th St, Buell Hall 2nd Floor, New York
International Tourism (Marie Voignier, 2014)

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New York: Spring Class: Stanford Compassion Cultivation Training

April 03, 2016 at Tibet House US in New York.


Spring Class: Stanford Compassion Cultivation Training – Eight-week series – with Elizabeth Pyjov

SUNDAYS; 6-8 PM. April 3, 10, 17, 24; May 1, 8, 15, 22.

An eight-week class offering a scientific and experiential approach to compassion meditation is being offered at Tibet House starting this Sunday, April 3rd. Designed at Stanford Medical School, research suggests that the course improves physical health and mental health, and increases willpower, focus and happiness. Stanford Compassion Cultivation Training is a fun, dynamic class that teaches both science and practical skills, simple meditations and advanced practices. Ideas from literature and philosophy are interwoven with the latest neuroscience and perspectives from religion. Students get a new meditation and informal practice to try each of the eight weeks.

The course includes support in starting a daily meditation practice and access to a website with scientific lectures, readings, and course materials. The class is brought to you by the Stanford Center for Compassion and Altruism Research and Education (CCARE). Although it was founded by the Dalai Lama, the center takes a secular and health-based approach to compassion and selfcompassion.

I hope you take advantage of this opportunity. It’s useful both personally and professionally.

Also offered on Thursday nights at the 92nd St Y, starting Thursday April 7th: http://www.92y.org/Class/StanfordCompassionCultivationTraining

Address: 22 W 15th St, New York
Spring Class: Stanford Compassion Cultivation Training

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