We are working to open the Chapel up to the public by December.
The architecture plan is being developed by Kuehn Malvezzi.
We are currently working on building a chapel housing Carolee Schneemann’s Cycladic Imprint, available to the public with a published book and public tours. In 1992, there was an installation of Carolee Schneemann’s work, Cycladic Imprint. The installation included multiple violins, music by Malcolm Goldstein, and a performance by Carolee Schneemann wearing a red scarf around her eyes as she danced. In 2018, artist Carolee Schneemann got involved in this project to have a chapel built to house a version of this multi-faceted work called "Cycladic Imprints.” The Chapel will include one of the original violins, the original music, the original photo collage, and a video of this original performance by Carolee Schneemann from 1992. The curator of the project is, with (Re)Create, Sabine Breitwieser, who designed Carolee’s retrospective in Salzburg.
A project suggested by Gale Elston (collector) to be realized with Carolee Schneemann (artist) in collaboration with Sabine Breitwieser (curator)
Gale owns a work by Carolee Schneemann titled Cycladic Imprint (1992), consisting of a kinetic object (motorized violin) and a photo collage (150 cm long)
She has a site in Asti, Italy (two hours west of Milan)
and would like to build a „Carolee Schneemann-Chapel" for this work on this land
First steps:
- Sabine should look at original work in NY (done in Oct 2018).
- Sabine advises that work needs restoration and recommends Christian Scheidemann in NY.
- She also recommends Wilfried Kuehn (Berlin, Milan) as architect for the building, who has also successfully worked on the design of Carolee's Salzburg exhibition.
- Site-visit originally planned for October 18-22, 2018, was postponed.
She has a site in Asti, Italy (two hours west of Milan)
and would like to build a „Carolee Schneemann-Chapel" for this work on this land
First steps:
- Sabine should look at original work in NY (done in Oct 2018).
- Sabine advises that work needs restoration and recommends Christian Scheidemann in NY.
- She also recommends Wilfried Kuehn (Berlin, Milan) as architect for the building, who has also successfully worked on the design of Carolee's Salzburg exhibition.
- Site-visit originally planned for October 18-22, 2018, was postponed.
2019-02-19: Meeting with Gale and Wilfried Kuehn (Architect) in Vienna: Topics
1. First ideas for the chapel (how are we dealing with the dis-balanced work consisting of the kinetic object and the long photo collage?)
2. Budget: Carolee considers creating stained glass windows with local producers: Needs extra budget
3. Schedule and next steps
3.1. Site visit in spring
3.2. First design by WK
tbd
3.3. Meeting with Carolee discussing the proposal
3.4. Budget and construction
3.5. Inauguration
2. Budget: Carolee considers creating stained glass windows with local producers: Needs extra budget
3. Schedule and next steps
3.1. Site visit in spring
3.2. First design by WK
tbd
3.3. Meeting with Carolee discussing the proposal
3.4. Budget and construction
3.5. Inauguration
Cycladic Imprints (1991-93)
Multimedia installation consisting of 17 motorized violins, 360 slides, 2 dissolve units, 4 synchronized projectors project continuous images of Cycladic sculptures, stringed instruments, and human torsos over the painted wall. 20 x 36".
Sound: loop duration approx. 15 minutes.
Quadraphonic sound collage by Malcolm Goldstein.
This multi-image slide projections dissolve in relays of art historical representations of the female body from painting, sculpture, and photography onto a wall of an assemblage of mechanized violins and painted hourglass-shaped silhouettes. Schneemann creates an enveloping space in which she challenges the master narrative of the female nude as muse. The amalgam of body, instruments, and machine defines the gallery as an arena of shared consciousness in the tradition of Schneemann's "kinetic theatre". She triumphs in her mission to create an erotic morphology. (Robert Riley, San Francisco Museum of Contemporary Art)
Installed at the Randolph Street Gallery, Chicago (1992), San Francisco Museum of Modern Art (1991), Emily Harvey Gallery (1990), and The Contemporary Art Center, Cincinnati.
Sound: loop duration approx. 15 minutes.
Quadraphonic sound collage by Malcolm Goldstein.
This multi-image slide projections dissolve in relays of art historical representations of the female body from painting, sculpture, and photography onto a wall of an assemblage of mechanized violins and painted hourglass-shaped silhouettes. Schneemann creates an enveloping space in which she challenges the master narrative of the female nude as muse. The amalgam of body, instruments, and machine defines the gallery as an arena of shared consciousness in the tradition of Schneemann's "kinetic theatre". She triumphs in her mission to create an erotic morphology. (Robert Riley, San Francisco Museum of Contemporary Art)
Installed at the Randolph Street Gallery, Chicago (1992), San Francisco Museum of Modern Art (1991), Emily Harvey Gallery (1990), and The Contemporary Art Center, Cincinnati.
