Artists Space

New Red Order: Informants Get Paid!

Performance
January 23, 2020, 7:30pm

Installation on view
Friday, January 24 – Sunday, January 26

Red text reading “New Red Order” and white text reading “1-888-NEW- RED1 newredorder.org” are overlaid on an image of a face obscured with white plaster.
[Red text reading “New Red Order” and white text reading “1-888-NEW- RED1 newredorder.org” are overlaid on an image of a face obscured with white plaster.]

Featuring Lou Cornum, Ed Halter, Inpatient Press, Adam Khalil, Zack Khalil, Sacramento Knoxx, Jackson Polys, Pvssyheaven, Sunkheaven, Bayley Sweitzer, and Wetware.

Do you want to realize your fullest potential? Be your truest self? Act with confidence? Attract abundance? Alleviate anxiety? Experience clarity? Know your purpose? Be the change you want to see? Be truly present? Experience real freedom? Change the world? Be a part of the solution?

On some level, we all want to feel this way, but sometimes in our globalized, capitalist, settler-colonial society it feels impossible. Which is why the New Red Order is developing a dynamic system to help our accomplices achieve all of this and more. This sneak peek of our free introductory video, Never Settle, will tell you what you need to know to take control of your life today!

– New Red Order, 2020

New Red Order returns to Artists Space for Informants Get Paid!, a public assembly exploring one of the largest obstructions to indigenous growth: an excessive, some might say inappropriate, desire toward indigeneity. Through presentation, performance, and live music, this desire—which pervades the myths, dreams, and political foundations of the so-called Americas—will be harnessed, converted, and channeled to promote Indigenous futures.

Enlisting a rotating and expanding cast of Informants including Lou Cornum, Ed Halter, Inpatient Press, Adam Khalil, Zack Khalil, Sacramento Knoxx, Jackson Polys, Pvssyheaven, Sunkheaven, Bayley Sweitzer, and Wetware, Informants Get Paid! will include a recruitment drive for new members and a sneak peek of New Red Order's in-progress infomercial Never Settle.

Join the NRO today!

Following Thursday evening's event, New Red Order's installation will be on-view Friday, January 24 through Sunday, January 26.

Blue text reading “PROMOTE INDIGENOUS FUTURES” in all caps is overlaid on a faded image of a windowed glass building.
[Blue text reading “PROMOTE INDIGENOUS FUTURES” in all caps is overlaid on a faded image of a windowed glass building.]

New Red Order’s core contributors include Adam Khalil (Ojibway), Zack Khalil (Ojibway), and Jackson Polys (Tlingit). Recent performances and events include CULTURE CAPTURE: TERMINAL ADDITION, Light Work’s Urban Video Project (2019); The Savage Philosophy of Endless Acknowledgement, Whitney Museum of American Art (2018); and Unholding, Artists Space (2017). Their individual and collaborative work has been presented at the Museum of Modern Art, Sundance Film Festival, Toronto Biennial of Art, Walker Art Center, and Whitney Biennial 2019.

Ed Halter is a critic and curator living in New York City, and a founder and director of Light Industry, a venue for film and electronic art in Brooklyn, New York. His publications include From Sun Tzu to Xbox: War and Video Games (2006), Mass Effect: Art and the Internet in the 21st Century (2015, with Lauren Cornell), and over two decades of writing for 4Columns, Artforum, The Believer, Bookforum, Cinema Scope, The Criterion Collection, frieze, Little Joe, Mousse, Rhizome, Triple Canopy, the Village Voice and elsewhere. From 1995 to 2005, he programmed and oversaw the New York Underground Film Festival, and he has curated screenings and exhibitions at Artists Space, BAM Cinématek, the Flaherty Film Seminar, the ICA, London, Miguel Abreu Gallery, Mass Art Film Society, the Museum of Modern Art, the New Museum, PARTICIPANT INC., the San Francisco Cinematheque, Tate Modern, and the Walker Art Center, as well as the cinema for Greater New York 2010 at MoMA PS1 and the film and video program for the 2012 Whitney Biennial. He has taught at Bard College since 2007, where he is currently Critic in Residence. He is a 2009 recipient of the Creative Capital | Warhol Foundation Arts Writers Grant, and recipient of the Thoma Foundation 2017 Arts Writing Award in Digital Art for an emerging arts writer, awarded by the Carl & Marilynn Thoma Art Foundation.

Sunk Heaven aka Austin Sley Julian is a Video Artist, Sculptor, Illustrator and Musician based out of New York City. Through the many media that Austin works with, the common thread through his art is a need to transform and rectify the debris of neglected and tossed pieces of our world. He performs in the contemporary no-wavish band Sediment Club and also with his solo project Sunk Heaven, which is building and breaking instruments to construct a temporary outcry, sunk deep into a metallic disfigurement. Empty Metal is his acting debut.

Sacramanto Knoxx, born Christopher Yepez, is an Ojibwe and Chicano rapper, artist and activist. The child of a father from Walpole Island First Nation and a mother from Mexico, Knoxx credits hip-hop with allowing him to create an identity when he felt "[not] Mexican enough for the Mexican kids”...[or] native enough for the native kids". His work and activism is focused on drawing attention to both the historic and contemporary experiences of Native American and Chicanx populations in Detroit, particularly the ongoing gentrification of the city. In 2011 he released the album #TheSelenaTape, inspired by the work of Selena Quintanilla-Perez. In 2015 he was awarded the Gilda Award by the Kresge Foundation for "visual art that emerges at the intersection of video, film, photography and hip-hop production". A year later, he collaborated with A Tribe Called Red on the song Minobidmaadziwin as part of the #DearNativeYouth campaign, and participated in a concert at Decolonize This Place to raise money for the Dakota Access Pipeline protests.

BAYLEY SWEITZER’s practice revolves around a dynamic, high mobility engagement with the margins, as well as taking an earnest look at the chronomorphic qualities of narrative, specifically the camera's ability to consolidate dimensions. His work has been shown at Film Society Lincoln Center, Walker Art Center, Tate Modern, Anthology Film Archives, Pacific Film Archive, Los Angeles County Museum of Art, Motel Gallery (Brooklyn), Other Cinema (San Francisco) and MIIT House (Osaka). Bayley works professionally as a camera assistant and is a member of the International Cinematographers Guild, IATSE Local 600.

Inpatient Press occasionally publishes books, chapbooks, and online-only works. Print publications are available for purchase at Berl's Poetry Shop, the Elliott Bay Book Company, Housing Works SoHo, McNally Jackson, Molasses Books, Printed Matter, Shakespeare & Co., Unnameable Books, and through our store.

Lou Cornum is a two spirit Diné dyke born in Arizona. They are a writer, a scholar of science fiction, an editor of commie magazines, and a junior amateur mycologist living in Brooklyn.

Brooklyn duo Wetware makes a highly confrontational form of experimental music that hovers between Sound collage, punk and first wave industrial. During live performances, vocalist and performance artist Roxy Farman convulses, shouts, and dances right into the crowd, while Matthew Morandi produces a torrent of harsh, quixotic rhythms using modular synthesizers. Prior to the duo's formation in 2015, Morandi had released abstract techno under the solo moniker Jahiliyya Fields, and a duo with Max Ravitz called Inhalants. Farman has appeared on LPs by Hiro Kone and former Coil member Drew McDowall. Wetware's Second full length album will be released by Dais records in June 2020.

PVSSYHEAVEN aka Rose Mori is an experimental artist, musician, and DJ residing in Brooklyn, who’s art taste is formative to the fabric of NYC.

Two silhouetted figures kissing behind a microphone. They are backlit by a white projection with black capitalized text reading "RENUNCIATION KISSING STATION".
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [Two silhouetted figures kissing behind a microphone. They are backlit by a white projection with black capitalized text reading "RENUNCIATION KISSING STATION".]
A silhouetted figure of a person speaking into a microphone. They are backlit by an image of an upside down American flag.
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A silhouetted figure of a person speaking into a microphone. They are backlit by an image of an upside down American flag.]
A person stands at a microphone reading off sheets of paper. In the background, there is a slightly blurry image of a book cover: "Twice-Told Tales" by Nathanial Hawthorne.
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A person stands at a microphone reading off sheets of paper. In the background, there is a slightly blurry image of a book cover: "Twice-Told Tales" by Nathanial Hawthorne.]
A crowd of people sitting in a dimly lit room. Most have their eyes obscured by black blindfolds. In the background, a white projection with black text just visible reads, "No-peep show."
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A crowd of people sitting in a dimly lit room. Most have their eyes obscured by black blindfolds. In the background, a white projection with black text just visible reads, "No-peep show."]
A figure and a microphone are silhouetted in front of an image projection. The image shows a face obscured with white plaster, overlaid with red text reading “New Red Order” and white text reading “1-888-NEW- RED1 newredorder.org."
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A figure and a microphone are silhouetted in front of an image projection. The image shows a face obscured with white plaster, overlaid with red text reading “New Red Order” and white text reading “1-888-NEW- RED1 newredorder.org."]
Several silhouetted figures backlit by a red glow stand among columns. The figure in the center holds a white-lit object in the air.
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [Several silhouetted figures backlit by a red glow stand among columns. The figure in the center holds a white-lit object in the air.]
A figure wearing all black lies on their back on a concrete floor. Their hips and knees are lifted off the floor, with their hand holding a dangling microphone by the cord. There is a crowd of people arranged in a semi-circle behind the performer, and disordered empty chairs in the foreground.
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A figure wearing all black lies on their back on a concrete floor. Their hips and knees are lifted off the floor, with their hand holding a dangling microphone by the cord. There is a crowd of people arranged in a semi-circle behind the performer, and disordered empty chairs in the foreground.]
A table covered with a red tablecloth. The tablecloth is decorated with two white images: a person riding a horse and stylized text reading "THE URGE TO MERGE." Lying on the table, there is a magazine with a green cover with a figure holding an axe. The cover text reads, "NEVER SETTLE" and "SPECIAL Future Recruits Issue".
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A table covered with a red tablecloth. The tablecloth is decorated with two white images: a person riding a horse and stylized text reading "THE URGE TO MERGE." Lying on the table, there is a magazine with a green cover with a figure holding an axe. The cover text reads, "NEVER SETTLE" and "SPECIAL Future Recruits Issue".]
A wide shot of a person sitting at a table with a computer. The table is covered in a red tablecloth with white lettering that reads, "WHAT ARE SAVAGES FOR?" and "THE URGE TO MERGE." Lighter red, stylized text reads "NEW RED ORDER" and "NEVER SETTLE." Behind the table, a projected image shows a man with one hand outstretched superimposed on a city skyline. On either side of the table are informational posters with printed text.
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A wide shot of a person sitting at a table with a computer. The table is covered in a red tablecloth with white lettering that reads, "WHAT ARE SAVAGES FOR?" and "THE URGE TO MERGE." Lighter red, stylized text reads "NEW RED ORDER" and "NEVER SETTLE." Behind the table, a projected image shows a man with one hand outstretched superimposed on a city skyline. On either side of the table are informational posters with printed text.]

Green, Christopher. “New Red Order: Promote Indigenous Futures.” Frieze. February 6, 2020. Online.

Lead support

VIA Art Fund

Support

The Friends of Artists Space, The Artists Space Program Fund, Atelier4, The Andy Warhol Foundation for the Visual Arts, The Greenwich Collection LTD, Lambent Foundation Fund of Tides Foundation, New York City Department of Cultural Affairs in partnership with the City Council, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

    Text reading “'We Cover for You. / – NRO” is overlaid on an image of a plastic gloved hand that applies blue plaster with a wooden stick.
    [Text reading “'We Cover for You. / – NRO” is overlaid on an image of a plastic gloved hand that applies blue plaster with a wooden stick.]