Review in Delicious Line
WCC 2018 Project Grant Recipient
Sandrine was awarded a 2018 Project Grant from the Waltham Cultural Council in support of Pace Investigations No. 6, a yearlong performance artwork that investigates Waltham's historic role in the mass synchronization of mechanical time, considers pre-colonial understandings of time buried by Industrialization, and proposes ways time might be felt and measured in the future.
The Waltham Cultural Council is supported by the Mass Cultural Council, a state agency.
Pace Investigations No. 6 in The Boston Hassle
Write up on Pace Investigations No. 6 by Emily Cobb in the Boston Hassle
ART TAKES OVER CITY HALL - CONCRETE ACTIONS: INTERDICIPLINARY ART AT CITY HALL
Preview of ESCALATE/DE-ESCALATE by Emily Cobb published in The Boston Hassle. Cobb writes:
"Sandrine Schaefer expressed some glee when she told me that she would be changing the speed of the escalators for her piece. Look for her there, possibly in camouflage.This performance builds upon an earlier piece where she stood in a revolving door to the Salt Lake City Library, situating her body to reveal the tacit social agreements that happen every day without us even noticing. Exposing this evidence of cooperation opens a strange well of intimacy and optimism. What can happen in these between-places where we all behave without even realizing it?"
To Some, Boston City Hall Is An Eyesore. To These Artists, It's Inspiration
Preview of CONCRETE ACTIONS by Amelia Mason on WBUR.
Art and Surveillance: Watching and Being Watched
This Fall, Sandrine will be teaching a new course through the Experimental College at Tufts University. Registration is currently open for Tufts students.
If you are unable to register but interested in auditing the class, please email Sandrine@SandrineSchaefer.com
EXP-0016-F Art and Surveillance: Watching and Being Watched
1.0 credit, Letter-graded
%How is art changing in a climate where many in the Western world have access to technology and social platforms to surveil one another? How does the ubiquity of media surveillance influence artists practicing today? How is the spectatorship of art changing in a society under constant surveillance?
This course will investigate the impact of surveillance on art history, current art discourse, and current socio-political issues. Through class exercises, readings, assignments, and field trips, students will consider strategies for witnessing, observing, and contending with being on display. Students will journal/sketch ideas, and create art projects generated from course content. Although art is the primary lens that we use to engage the theme, no art practice experience is required.%
% image: Sandrine Schaefer, For You....and anyone else who might be watching (2014) screen shot from surveillance footage%
Sandrine goes to Banff!
This summer, Sandrine will be participating in the Banff Research in Culture program - The Year 2067!
During this 5 week program, creative thinkers gather to ask what the world might look like in fifty years and how we might shape it. Moving beyond apocalyptic predictions, post-apocalyptic theories, and techno-utopianism, this program aims to shake up our sense of the political, social, and environmental. 2067 asks us to prod and plot the pathway from a present that needs work, to a future that works better.
During this residency, Sandrine will be developing a new iteration of her ongoing project, Pace Investigations that utilizes time structures inspired by premonitions of how time might be understood and measured in the year 2067.
Sandrine awarded a Live Arts Boston Grant
The Boston Foundation recently awarded Sandrine Schaefer a Live Arts Boston grant in support of a new iteration of Pace Investigations sited in Waltham, MA, also known as "Watch City". In the 1850’s, The Waltham Watch Company developed machinery that could produce interchangeable watch parts. This revolutionized the mass production of timepieces on an international scale, making watches more affordable and accessible than ever before. Waltham has been praised as a site that changed the “world’s time consciousness." Pace Investigations explores Waltham's historic role in the mass synchronization of mechanical time, while also resurrecting buried time structures. How was time measured in pre-colonial Waltham? Waltham is currently enduring rapid gentrification. How is time consciousness in this location changing during this transition into its future?
For updates on this project, please sign up for Sandrine's seasonal newsletter.
Live Arts Boston (LAB) is designed to respond directly to the needs articulated by Boston's arts community through Boston Creates. LAB provides critically needed, flexible, project-specific grants to Greater Boston’s performing artists and small nonprofit performing arts organizations to create, produce or present artistic work for Greater Boston audiences. To learn more about this grant program, go to www.tbf.org/lab.
Sandrine awarded Assets for Artists Matched Savings Grant
Sandrine was recently awarded an Assets for Artists 2017 Matched Savings Grant. Sandrine is 1 of 12 Massachusetts-based artists enrolled in this program that supports artists working across artistic disciplines by providing funding and professional development services.
Sandrine awarded 2015 Brother Thomas Fellowship
Sandrine was named 1 of 10 local artists as a 2015 Brother Thomas Fellow through The Boston Foundation. The Brother Thomas Fund honors the life of Brother Thomas Bezanson, a Benedictine monk and ceramist whose work can be found in museums nationwide.
The award is not tied to any particular project and designed to assist mid-career artists to evolve their practices. Working with a site-sensitive approach, Sandrine plans to use the funds for travel opportunities to make new work."
Read more about this year's award in The Boston Globe
ICA Foster Prize show emphasizes action and flux
Cate McQuaid's review of Sandrine's work published in The Boston Globe.
"What I saw of it was lucid, lyrical, and affecting. Schaefer’s naked legs protruded from one end of the carpet; her hair spilled out the other end. It was a comical scene, and it captured the incremental back-and-forth of existence. Playing out against the backdrop of the harbor, her motion echoed the water’s, and the long horizontal thrust of her performance traced the horizon line." - Cate McQuaid
Read full review HERE
Pick up a copy of the Improper Bostonian to read Scott Kearnan's feature, Off the Wall: With new Institutional Support, Performance Art is Moving from the Margins to the Museum Floor.Sandrine is quoted throughout.
Interview with BR&S
Sandrine's interview with Big Red & Shiny about The Foster Prize Exhibition!
ICA Foster Prize announcement in Art Forum
Sandrine Schaefer awarded the 2015 ICA Foster Prize
Sandrine Schaefer has been named one of The Institute of Contemporary Art's James and Audrey Foster Prize recipients. Beginning in April, Schaefer will create a piece comprised of 5 performance art works that site the spaces in and around the ICA Boston's waterfront, Founders Gallery. Each live performance art piece will leave traces that accumulate in the space, shifting the audience's sensorial encounter with the site. Congratulations to her fellow winners: Vela Phelan, Ricardo DeLima, and kijidome.
Textual Archiving for Venice International Performance Art Week
Sandrine was recently invited to participate in the Discourse program at the 2014 Venice International Performance Art Week: Ritual Body-Political Body. Sandrine wrote about the long-durational program for the Art Week's blog and is working on a text for a forthcoming print publication. Her writing can be viewed here by following the links below:
An interview with Sandrine
Check out Sandrine's recent interview on the Other People's Pixel's blog.
Review of "Untitled View"
Allison Vanouse's review of Sandrine Schaefer and Philip Fryer's piece "Untitled View" created for Odd Spaces at The MFA. For her full review visit www.howlround.com
"A piece by Sandrine Schaefer and Phil Fryer, titled Untitled View participated in this realm of activity in a performance about (as much as aboutness is an available quality for work of such simplicity) the action of looking. From the afternoon until the evening, over hours rather than minutes, Schaefer and Fryer stood variously distant from each other, and looked at art. The piece created no feeling in the pit of the stomach in the way Arsem's did, no frissons: but then we weren't directed here to an elemental human experience, but to a politics of viewing and social space. "People would move around my gaze," Schaefer related at the evening's panel, "sometimes people would come and look with me, which was nice". But this piece, for me, was ultimately not about activating the objects viewed. Watching the pair looking, I was struck by the way prolonged, premeditated activity contrasts and heightens the frenetic spectacle of "ordinary" human behavior, even when the action is ostensibly congruent with the objective of the crowd: the patrons, too, were probably there to look at art, but much is changed by a tempo and quality of attention less deliberate and less vast. In Untitled View this textural difference rose to the surface."
Rapid Pulse Discourse
Visit the 2013 Rapid Pulse International Performance Art Festival's blog to read Sandrine's writing about select performances.
Performance Art is Thriving in Boston by Cate McQuaid
Sandrine is quoted in this Boston Globe article written by Cate McQuaid on the current climate in Boston for Performance Art.
The Interface as Place
Sandrine Schaefer and Bradley Benedetti in Conversation on Big Red & Shiny
Interview with Robert Moeller in Art New England Online
Review of Sandrine's piece "Thinking Of A Goldfish" in Big Red & Shiny
"Next into the room was Sandrine Schaefer. Sandrine began her piece with a large glass vase full of water sitting in the middle of the room as she walked along the wall eating a banana. Stopping in the corner, she finished the banana and dropped the peel on the ground, then stood staring at the vase for a moment. Eventually she walked over and picked up the vase, which turned out to have a hole in the bottom. She plugged the hole with her finger and walked back over to the corner. She did her best to contain the water but a steady trickle ran down her knuckles to the floor. The vase was tall enough that with the base of it held down by her waist, the top came up to her chin, and at an angle where she slightly rested her face in the opening while standing there.
After about fifteen minutes, showing fatigue from holding the weight of the vase, Sandrine carried the vase outside and allowed the contents to drain out onto the grass as she walked the length of a ledge outside the gallery. Once it was empty, she re-entered the gallery and placed the vase where she had been standing, then sat in the middle of the floor and ran out the remainder of her hour watching the condensation from her breath slowly evaporate from the surface of the glass.
For the audience it was a combined experience of watching the vase, watching Sandrine as she sat as still as possible, and fitting the pieces together. The piece could be viewed as a durational exhibition, or you could look further into the space that was occupied by Sandrine and these objects. The relations between these spaces and the transitory states of being that they went through are things that happen all around us every day, and Sandrine’s piece turns the viewer’s focus toward contemplating these ubiquitous principles of existence.
If she had stood there long enough, all the water in the vase would have eventually drained out and we would have seen the vase go through a full change in its state of being from full to empty. The corner she stood in was occupied, then empty save for the remnants of her being there: the vase and the banana peel. Then there was an immediate remnant of Sandrine in the vase while the condensation was there, but once it disappeared all immediate traces of her body ever being there were, too.
There were also several stratifications of states of permanence displayed within the piece, albeit abstractly. The least permanent object in the performance was the water. If all the water drained onto the floor it would have completely evaporated within a couple of hours. As an object, water holds a very short presence. After that is the banana peel. Given enough time, it would biodegrade and also disappear. Next is Sandrine herself. If enough time passed, Sandrine would also biodegrade and disappear, leaving only the vase. Then after hundreds of years the vase, and also building, would eventually disappear, leaving only the space itself as the one true permanent presence we can count on, at least as far as we’re aware. "
- Matt Kuhlman