for bomb project fans, the dvds that are mentioned come directly out of tha=
t…

———- Forwarded message ———-
Date: Fri, 21 May 2004 11:34:34 -0400
From: Jeanette Ingberman <jeanetteingberman@exitart.org>
Subject: WE ARE IN THE NEW YORK TIMES TODAY

Congratulations to everyone!.

Jeanette


http://www.nytimes.com/2004/05/21/arts/design/21GLUE.html

ART REVIEW | 'TERRORVISION'

Sampling Degrees of Terror, From Al Qaeda to Cancer
By GRACE GLUECK

Published: May 21, 2004

Under the not far-fetched assumption that terrorism is Topic A in the
minds of many, the nonprofit exhibition space Exit Art has mounted
"Terrorvision," a big, shapeless show that, true to Exit Art form,
wanders all over the place but doesn't lack punch.

Noted for the wide latitude of its theme exhibitions, Exit Art asked
participants to make works that defined their most "extreme fears." So
the terrors conjured by the 50-odd artists in this particular jam come
in all types, degrees and sizes. They range from the general threats
posed by Al Qaeda and its franchises, evoked mostly in the show's video
works, to the traumas of personal catastrophes like breast cancer and
heart operations.

The exhibits run from an artificially bloodied sink by a Moroccan-born
artist, Francois Zelif, meant to recall the horrors of toothache, to an
interactive device that projects images of bombs dropping in formation
from overhead planes. That piece, by Saoirse Higgins and Simon
Schiessl, based at the Massachusetts Institute of Technology, is
activated by winding up a toy drummer, which sparks a ceiling-mounted
video projector to throw the bombing images on the floor, with the
bombs falling to the beat of the toy drum.

But before getting on with the show, a quick refresher on Exit Art.
It's a multi-financed nonprofit exhibition space established in 1982 by
Jeanette Ingberman and Papo Colo, to promote the work of lesser-known
artists involved with "the diverse, multidisciplinary nature of
contemporary culture."

Its self-generated exhibitions have ranged from underground comics to
performance art from former Soviet bloc countries. Although planned in
advance, the shows usually have an engaging rawness about them, partly
because Exit Art seems to care more about their content than about the
sleakness of the space where they're shown. This one, the third in Exit
Art's new quarters on 10th Avenue at 36th Street, is no exception.

To assemble the show, the gallery issued an international open call in
December to its 10,000-address e-mail list, asking artists to submit
works that defined their visions of terror. From the 650 proposals the
gallery chose 36 objects and 18 video works.

The multidisciplinary presence is there, all right, including