Newsletter#23 by Angel Orensanz Foundation

#23

ANGEL ORENSANZ FOUNDATION

NEWSLETTER January 2013

NEWSLETTER #23 Contents

12 Director Al Orensanz Graphic Design Yuliya Novosad Articles Al Orensanz

Architecture as a Construct and as a Text.................... 4 The Armory Show 2013..................................................... 8 Anshe Chesed to Angel Orensanz: Over 162 Years at 172 Norfolk Street Special Preview............................12 Angel Orensanz. The Language of Fire.........................16 3

Museum. Events. Art Gallery. 172 Norfolk Street, New York NY 10002 Tel. (212) 529-7194 www.orensanz.org 4

Architecture as a Construct and as a Text By Al Orensanz

Late developments at the General Theological Seminary in Midtown Manhattan (Chelsea) and the current uses at the Angel Orensanz Foundation, (former Ansche Chesed Synagogue) in the Lower East Side of Manhattan, present rich elements and features that serve the bases for reflections included in this paper. Both buildings encapsulate tantalizing questions over reuse, adaptation, urban innovation, memory, and ensuing narratives. Both Angel and Al Orensanz are somehow linked to the New York General Theological Seminary. Al used to be a card carrying member of its library, back in the 1980 and 90’s when original works on structuralism and semiotics were not a given in New York. Angel Orensanz built on its central ground, The Close, of the Anglican Seminary one of his most ingenious pieces. The Seminary allowed to build in its garden a huge wooden structure, back in June 1982. A group of arts organizations in Chelsea asked Angel Orensanz to contribute with that piece to the Peace rally in Central Park. The piece was paraded by an enthusiastic crowd and brought in procession through Chelsea and Midtown into Central Park. It was placed in the middle

of a huge crowd of over a million. During the One Million Peace Rally many people approached Orensanz’s piece; among them Sidney Lumet who shot right there the end of his movie The Book of Daniel.Daniel is the son of the Julius and Ethel Rosenberg, the couple from the Lower east Side executed in Sing Sing for passing to Russia information about the atomic bomb that was being built in Los Alamos. Sidney Lumet stroke a good chord with Angel Orensanz and came to the Angel Orensanz Foundation to shoot the music video of the “Rachel” aria from Halevy’s La Juive with American tenor Neil Shicoff for the film “Eléazar: Portrait of a Tenor and a Role.” The movie had a release in the US (The Tribeca Film Festival) and in Vienna coinciding with a production of La Juive in Vienna. Al Orensanz frequented the Library of the General Theological Seminary during long seasons of research on semiology and hermeneutics. That library always had a well updated collection of interpretive sociology and philosophy.

First and foremost, we cannot go back to the construction time and moment and absorb completely the factors, motivations and visions that led to the erection of those landmarks (The General Theological Seminary and the Angel Orensanz Foundation), or of any other landmark. The landmark is always out of time and space. It is most often an extemporal reality amid its neighbors that change at a faster rate. The founders and builders are gone a long time ago. The original users and beneficiaries of the finished product are gone as well, and have been succeeded by users and constituents who live a totally different era and very different economic and political horizons. Even the original goal that was previewed for the buildings has been superseded. From the Library of Alexandria to the New York Public Library we can see a continuum in the concept because the time parameters were not that dissimilar. But this continuum seems to face now a breaking challenge. Most of the information does not come nowadays through the hand written or printed paper but is elaborated, transmitted and collected in electronic formats at the speed of light and through channels unimaginable just a few years ago. New parameters have been established in the collection, transmission and archival of the knowledge and information for todayâ&#x20AC;&#x2122;s users that process the information in ways not contemplated at all just a few years before. The general public perceives the landmark structures of buildings as assets and artifacts frozen in time and space. They are not aware that the past users and neighbors lived parameters totally divergent from ours and that those situations never stopped changing. We are not, even remotely, associated with the origins, developments and conflicts that accompanied the very origins and early developments of the constructions of reference. Therefore we deal with a product encoded in a series of values, appreciations and mediations that are, or might be, totally separate and different from ours. The discourse that preceded the erection of the building is continued throughout years and decades. The discourse is inseparable from the life of any building. The discourse is not only the opinions and assessments of its current users or potential users and planners but of city planners, designers, architects and patrons whose visions are already compromised.

There is no building without a prior mental construction. That is a long, detailed process that precedes, follows the construction and survives even the building itself. It is a reservoir of notions, plans, approaches and compromises that are debated and encapsulated in a mental construct that survive the life of the building. There are floor plans and elevations, permits, budgets elevations, photographs, documents of leases and records of inspections, etc. etc. that preceded and followed the construction of the building, all of its life and even its demise. All was debated and met before the building comes to life and the building appears now and then in the public conversation. This body of work will continue and is paralleled and independent even to the existence the building. The name of the building is associated with this particular site even after the disappearance of the building. How many blocks and neighborhoods have taken names of building that disappeared decades ago. On the other hand Rockefeller Center, Grand Central, City Hall and so many other urban constructs designate whole areas assuming names that are not official per se. The narrative commands the understanding of the building. Building and narrative have two different channels that move through two different processes. The soul of the building is its narrative. It can be preserved by neighbors or diffused in books or articles in specialized magazines. The learned people see the building through the narratives printed in books. The neighbors and regulars carry the narrative that is always orally transmitted. An author can save the life of a building or can destroy it. A report as well can decide the funding of a building or its deterioration. A civic leader can bring back life to a structure that looks obsolete and useless. The General Theological Seminary in Chelsea is going right now through a complex package of sales, use adaptation of some of its buildings and reorganizing of its entire orientation. The Episcopalian Church in America is in a whirlwind of changes and adaptations. The concept of clergy formation has moved into levels and approaches that have little to do with the semi monastic approach of past decades, or the educational parameters of the Ivy League of decades past. In the meantime, the Angel Orensanz Foundation has

been in this location since 1989. Angel Orensanz took this noble structure, the oldest still standing synagogue in New York when it had been abandoned in 1970 and taken over by the vandals. Angel Orensanz moved slowly his studio from Chelsea, right across from the New York General Theological Seminary and adapted the soaring spaces of the former synagogue into his workshop and showroom. The Foundation has grown into a major show room for concerts and events as well as cultural presentations. The Angel Orensanz Foundation is located at, 172 Norfolk Street in the heart of the Lower East Side. The Foundation is housed in one of the oldest surviving gothic-revival synagogues in New York, and has proudly kept its architectural integrity. In 1849, the Lower East Side became home to the German Jewish immigrants immediately after the failure of the socialist revolution of 1848. Congregation Ansche Chesed hired the German architect, Alexander Saeltzer to build a new synagogue.

great, rewarding narrative in which the effort is brilliantly compensated, and in which the forces of success conquer. The building was designated an historic landmark by New York City in 1987. Mandy Patinkin’s Mamaloshen was also performed there, and Nobel Prize winner Elie Wiesel, poet Maya Angelou, playwright Arthur Miller, actress Tyne Daly, composer Philip Glass, and singers Whitney Houston and Mariah Carey have performed there. It was also the venue for the live recording of MTV Unplugged: A Live Album by singer Florence Welch of Florence + The Machine and just recently it was used as a location for one of the spectacular Smash episodes.

When it opened in 1849, it was the largest synagogue in the United States holding up to 1,500 worshippers. For a time, the synagogue thrived from 1886 until 1921 as the home to Congregation Ohab Zedek. They were followed by a Russian congregation, Anshe Slonim, who worshiped here from 1921 until 1974. By 1974, the Slonim community had dispersed and the synagogue was abandoned and suffered vandalism. It was not until 1986, when the Spanish sculptor, Angel Orensanz was touring the area in hopes to find a studio space, that the building was re-introduced into the cultural world. Angel purchased the property and immediately began renovating the building by sprucing floors, windows, and installing electricity and an efficient air condition. Alexander Saeltzer, its architect, always took pride in engineering perfect acoustics in his buildings. In the late spring of 1986, Angel Orensanz opened the space for an exhibition of his new work. People were immediately enchanted by the space. Since then, millions have come to hear concerts, participate in social, and attend lectures, community events and holidays. Today, the Foundation acts as both Angel Orensanz’s studio and as a center for the arts. The Foundation provides an intimate space to experience Angel’s work and an artistic and cultural venue for artists, writers, thinkers and members of the surrounding community. The text about the Angel Orensanz Foundation runs as an American success story. The project develops as

Special Preview:

1986 to the Present: The Orensanz Years On one evening in February 1986, Angel Orensanz, having recently arrived from Atlanta, Georgia, took a stroll around the Lower East Side looking for a building where he could establish his studio. He walked from Delancey street, past the corner of Rivington and Norfolk streets, and up to Houston, finally stumbling upon the former Anshe Slonim synagogue on Norfolk Street. Grim, silent and abused, the building seemed to look grounded and frightened. Thomas McEvilley, an accomplished art critic and scholar, imagined the building sitting “like an ancient spirit with folded wings.” Orensanz moved up the steps and peeped through a crack in the cinderblocks covering the entrances. The sun was setting, casting a ray of light over the ark and the eastern wall of the temple. Support beams from the balconies were leaning into the main space, and the entire area was strewn with debris, broken glass, and decaying books. Orensanz still saw something wonderful in the space, and later set about locating the owner, a developer with numerous holdings in the neighborhood, who eventually sold him the building. Angel Orensanz had arrived in New York after doing sculpture projects in Atlanta, Boca Raton, Los Angeles, and other parts of the country. However, it wasn’t until after his return to Europe that he discovered the Lower East Side and was charmed by its European colors and flavor. Soon after purchasing the property on Norfolk street, he unsealed its doors and windows. He then had proper doors and windows installed to protect the space from pigeons and the wind and snow. Next he secured the floors and brought in electric light for the first time in years.

Coming Soon! 13

The Armory Show 2013

Since its conception The Armory Show has been one of the most important art events in New York City, as well as one of the leading contemporary and modern art fairs internationally. For fifteen years now the show has graced Piers 92 and 94 on the Hudson River each March. It has gathered together artists and galleries from all over the globe, giving them a place to display their work and make connections that could very well be impossible without the fairs existence. From its debut in the Gramercy Park Hotel in 1994 the fair has grown immensely, evolving with each passing year. Due to its increasing size it was temporarily relocated to the 69th Regiment Armory on Lexington Avenue, to which it now owes its current name. It has continued to expand, moving from the Armory to the piers on the Hudson, which is has called home ever since. With its massive reach it is no surprise that last year alone the Armory Show hosted 228 exhibitors â&#x20AC;&#x201C; made up of local and international artists and galleries. It is with this global reach that the Armory Show holds a unique footing in the world of art fairs. The vast array of artists

and galleries provides a comprehensive look at what is occurring in other countries in regards to the arts. It also allows people who might have never met a chance to connect. Galleries are able to network with artists from different countries, buying beautiful pieces of art to display. Meanwhile artists, both well known and up-andcoming, are able to interact with one another and make themselves known to the galleries. The Armory Show offers all who come hundreds of different sights. However, with its ever-evolving structure the Armory has taken a step further in making its fair more accessible. This past show the fair teamed up with Paddle8 to create an online, virtual tour of the exhibits. This tour has now opened the doors for people all over the world, and not just those fortunate enough to be able to visit New York City. Now anyone can see the art on display, the performances, and the other various events with just a click of the mouse. Not only that but it allows galleries that had not been able to attend the chance to see what artwork is available, giving artists even more of a chance to connect with art enthusiasts all over the world.

Broken up into countless of different sessions, the Armory Show has something for everyone. The main two exhibitions will be The Armory Show – Contemporary and The Armory Show – Modern. Together they showcase what many would consider the most important art of the 20th and 21st centuries. The Modern show – located on Pier 92 – will have been a staple of the Armory Show for six years as of 2013. This section showcases world-renowned galleries who specialize in collecting Modern art. Each gallery featured in the Modern section contains artwork that holds a historical significance in the realm of modern art. Unlike the Contemporary section the Modern section takes up the entirety of Pier 92. It is not broken up into different sections. The Contemporary – located on Pier 94 – is of course full of contemporary art from all over the globe. The exhibition is world renowned, becoming the perfect place for artists to premier new pieces. Perhaps more important though is that the Contemporary is the place to showcase international galleries, as well as the place to find the up-and-coming

artist, and as of last year the brand new section – Solo Projects can also be found there. The Contemporary is also the home to the Armory Focus show. Unlike the rest of the Contemporary and the Modern, the Armory Focus is an invitation-only section of the fair. For three years – as of 2012 – this portion of the show has focused on thriving art communities that are not well recognized. Last year the Armory Focus featured work from the Nordic Countries, recognizing the regions importance in the art scene. The show featured 19 galleries from the Nordics, each piece of art displayed or performance scheduled highlight the engaging and dynamic work of Nordic artists. The Armory Show is an innovative experience, raising the bar for art fairs around the world. The best of the best is gathered, regardless of notoriety, and given the opportunity to shine. Between Pier 92 and 94 there is something new and exciting for everyone. In 2013, the unique work of Angel Orensanz will also be on display, so don’t miss it!

THE ARMORY

Y SHOW 2013

Piers 92 & 94 March 7 - 10, 2013 New York City 17

Angel Orensanz. The Language of Fire

Fire is a natural element charged with connotations of transcendence, punishment, purification and transience. All sacred books are filled with references and metaphors of fire. And so is daily life. In the hands of Angel Orensanz, fire is a sculptural material that is altered, animated, personalized and conjured. We need it close to our bodies but our bodies tremble in front of it, taking distance, precautions, fear and hallucinations. More than the matter is the halo of the matter, the hallucination of the explosion and the terror of the flame. Being inflamed is having lost the direction and context of everything surrounding the individual. The fire moves between the two poles of light and flame, between the warmth of the hearth and the devastation of the ashes. Fire stimulates dialogue and conversation and provokes fear and alienation. The fires of Orensanz are like trees of a gigantic forest that surround us at every turn and stop of a journey through the wilderness. Angel Orensanz was born in a small village of the Aragon Pyrenees, just a few miles from France. Winters were long and freezing. Kitchens were fueled by open fires at that time. Fire was used everywhere. In domestic uses and in popular celebrations several times a year fires were lit in the public square and in the streets. People were jumping over the fires and cooking potatos and fruits over open flames in the public square. Winters were endless. Fire was prominent in the life of the farmers and shepherds of the past, as recently as up until the 1950s in the Spanish/ French Pyrenees.

Fires were associated with the preparation of the land for sowing and harvesting; and fires had a ritual role in the cleaning of the bad spirits in houses and storages buildings along those areas of the Pyrenees. Finally, fires were burnt for the Solstice of the summer. Angel Orensanz used images of fire in many of his early drawings and sculpture pieces. â&#x20AC;&#x153;Fire has this ambivalent quality of warmth and fear; of comfort and destruction.â&#x20AC;? Angel Orensanz uses fire for photograph, film and recording. He sees in fire an immaterial surface and matter that floats and flies in ethereal clouds and convolutions of form and shape with different degrees of light and shadow, clarity and abyss. Nothing has fascinated more the human mind than the fire at close range. Some of his big indoors installations make use of fire and smoke in large proportions. Such was the case with the Floating Sistine Chapel for Tokyo; at the Tokyo Train Station; and Senso-ji (Temple) in Central Tokyo, on the River Mondego in Portugal and so many other installations in which the smoke is an intricate part including the sculptures over and on the banks of the Hudson. Angel Orensanz also brought all these reminiscences to his drawings and performances of the 1980s and 1990s in Venice and other Italian cities. Then in New York he has been using smoke and fire in Lower East Side gardens near his studio. Children come there to dance around the fire. And he has used fire in many of his indoor installations, observing obviously the NYCF stringent fire requirements, extreme precautions that the NYC Fire Department requires for such productions.

The artwork “Transparent Matter” by artist Angel Orensanz will be on display. The Foundation will open its private collection to the public who can also attend a talk on the “Arts in the lower East Side”.

G IN M CO

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A N G E L O R E N S A N Z F O U N D A T I O N , Inc ÂŠ

172 Norfolk Street, New York NY 10002

T 212 529 7194