Contents for May 23, 2022
~~~~~~~~~~~~~~~~~~~~~~~~
1. Zeelie Brown, FF FUND recipient 2021-22, at EFA Project Space, Manhattan, opening June 1
2. Nadia Granados, Nicolás Dumit Estévez Raful Espejo Ovalles, FF Alumns, at Grace Exhibition Space, Manhattan, May 26
3. Michael Bramwell, FF Alumn, at Museum of Fine Arts, Boston, MA
4. Pablo Helguera, FF Alumn, now online at rtve.es
5. Mendi & Keith Obadike, FF Alumns, named New Music USA 2022 Creator Development Fund Grant Recipients
6. LuLu LoLo, FF Alumn, at Staten Island Museum, June 10, 2022-March 26, 2023
7. Kenneth King, FF Member, new short movies now online at YouTube
8. Thana Alexa, FF Member, wins 2021 International Songwriting Competition, Jazz category
9. Alan Sondheim, FF Alumn, new book published by Punctum Books
10. Kiyan Williams, FF Alumn, Public Art Fund, Opening May 17
11. Stephen Bottoms, Helen Varley Jamieson, Diane Torr, FF Alumns, in Berlin, Germany,
June 19
12. Jeffrey Schrier, FF Member, at Hebrew Union College Heller Museum, Manhattan, opening
May 24
13. E. F. Higgins, FF Alumn, now online at BoweryBoogie.com
14. Pope Alice, FF Alumn, in Tasmania, Australia, Sept. 17-18
15. Tamar Ettun, FF Alumn, received Brooklyn Art Exchange Parent Artist Space Grant 2022
16. Jody Oberfelder, FF Alumn, in Brooklyn, June 3
17. Alina Bliumis, FF Alumn, at ANna Zorina Gallery, Los Angeles, CA, opening June 2
18. Ogemdi Ude, Kiyan Williams, FF Alumns, named 2022-23 Smack Mellon Studio Artists
19. Eileen Myles, FF Alumn, now online in The New York Times
20. Stephanie Brody-Lederman, FF Alumn, at Metaphor Projects, Brooklyn, thru June 26
21. Brahna Yassky, FF Alumn, at East Hampton Library, NY, May 24
22. Charles Clough, FF Alumn, now online at Youtube.com
23. Jerry Kearns, FF Alumn, now online in DartMagazine.com
24. Alison O’Daniel, FF ALumn, at Commonwealth and Council, LA, CA, opening May 28
25. Steed Taylor, FF Alumn, now online in HIVPlusMag.com
26. Hidemi Takagi, FF Alumn, named Bandung 2022 Resident
27. Doug Skinner, Norman Conquest, FF Alumns, announce new publication
28. Elly Clarke, FF Alumn, at Goldsmiths, London, UK, May 24-27
~~~~~~~~~~~~~~~~~~~~~~~~
1. Zeelie Brown, FF FUND recipient 2021-22, at EFA Project Space, Manhattan, opening June 1
Zeelie Brown:
Queer Mothers’ Space
June 1-June 15, 2022
Opening Reception:
Wednesday, June 1, 2022, 5-9 PM RSVP via Eventbrite here: https://laundromatproject.org/window-commission/?mc_cid=30fce7c3e7&mc_eid=878fe78bf3
EFA Project Space is thrilled to present Zeelie Brown: Queer Mothers’ Space, the first solo presentation of work in New York by Alabama raised and NYC-based artist Zeelie Brown. The exhibition is accompanied by an original zine publication by the artist featuring a commissioned essay by Katherine Adams and poetry by Dre Cardinal. Framed as a conversation between Brown and figures both living and historic, the solo project will include performances by Brown and guests, a public dinner, talks, and a gallery-spanning installation of lush inter-media, tactile, and sonic works that confront the intersectional realities of climate injustice, oppression, and anti-Blackness in contemporary American society. Brown focuses on the potential for transformative and restorative justice through acts of resistance and care, as a means to “(re)form the world.” Brown refuses polite forms of permission-seeking to exist and to be visible, or as Brown writes in their artist statement, “You’ll forgive me if I want to destroy things…”
Artist Statement
Queer Mothers’ Space is a multi-sensory scream for Black&queer justice in a time of environmental genocide. This space roils as/like a hurricane, storming down the market systems suckled at birth by chattel slavery. In this storm’s wake, I leave fertile ground to revolutionize global provision and nourishment. I offer a gentle breeze for children to befriend and a wild tempest to tatter the sails of the unjust. For inspiration, I think of what my woods used to be.
The Alabama woods, my first art museum, are browning. The grass in my family’s little hamlet of 100 souls no longer clothes itself in morning dew. The morning air no longer turns blue regularly between the loblolly pines. The next crop of okra and field peas hasn’t been planted in twenty years. Main Street, in the big town down the way, folded to Walmart’s half-priced, quarter-made imitations. I’m 33. I’ve seen most of those dearest to me from back home to their graves. I long for the rusted, browning stories of the old folks’ steel mill escapades up Nof’. Familiarity lingers in the stench of trees boiling in a rage of sulfuric acid: the paper mills are always hiring. Oil companies cut up my swamps into Swiss cheese to get to the Gulf faster, leaving all who live there turning and twisting, vulnerable to ever more forceful hurricanes.
You’ll forgive me if I want to destroy things.
I spent a great deal of my 20’s going through lists of things I’d like to destroy: myself, for not being able to manage independently; others for being in a place where they could do something and covering their ass with the complacency of well-resourced apathy; the Metropolitan Museum for putting African art in a room that looks like the food stamp office got it’s nails done; the Whitney plantation museum for embodying in waterfront glass and steel the country my family has lived in since the Declaration of Indepedence was signed, the country I may never truely be a member of; Oberlin for making life hell on Earth for Black students; global markets, for the stupid economic religion that all natural competition is zero sum.
So, to remind me of home—amid an installation full of embroidered denim quilts, home-canned food, a clothesline to hang your emotional dirty laundry and a self-theft room; spicy and bitter craft cocktails; music by Yatta Zoker and me; a crab and Conecuh sausage gumbo dinner; poetry by Dre Cardinal, and a conversation in a Southern truck garden that I’ve grown for this show—I rage. I destroy. I craft. I green. I care. I queer. I mother.
This work was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation and the New York City Department of Cultural Affairs in partnership with the City Council.
Participant Bios
Zeelie Brown’s first art museum was the pine woods in Alabama. They make Black&queer wilderness refuges called “soulscapes” to (re)imagine what nature might be. Zeelie is currently working with the MIT Department of Architecture, NOMAS, and Group Project to create sustainable human waste solutions in her native rural Alabama. Queer Mother’s Space is their first Manhattan solo show.
Dre Cardinal is a half-Korean, quarter French-Canadian, quarter German published poet who has won numerous awards, most notably the highly competitive creative thesis mentorship under her favorite poet Josh Bell while (not) studying at Harvard College. A Gemini military brat who moved around the South, she mostly grew up in San Antonio where Zeelie was her next door neighbor. Dre has also lived in Germany, South Korea and Madagascar. She is the last of a long line of first-born surviving females. Her life’s purpose is to clear heart chakras through her writing — and bring love. She’s known Zeelie for 31 years.
Yatta Zoker (YATTA), a Houston native, has shared the stage with musicians like Cardi B and The Sun Ra Arkestra. Their 2016 debut EP, ‘Spirit Said Yes!’ was released on NYC’s imprint PTP. In 2019, YATTA released WAHALA.The album was named one of Fact Magazine’s 25 Best Albums of 2019 and one of Pitchfork’s Best Experimental Albums of 2019. Most recently, YATTA released ‘DIAL UP’ and performed selections at the Getty alongside collaborator Moor Mother’s free-jazz ensemble, Irreversible Entanglements. Yatta has performed at MOMA PS1, MOMA, New Forms Festival, Sonic Acts Festival, and NTS x The Tate virtual festival. They are a former artist-in-residence of Pioneer Works, Elsewhere Museum, Otion Front, and Flux Factory. They are a 2022 MFA Candidate at Bard College and a teaching artist in Los Angeles, CA.
Press Inquiries
Alexander Si, Program Manager
EFA Project Space Program
212-563-5855 x 233 / alexander@efanyc.org
Dylan Gauthier, Program Director and Curator
Oren-Andrew Wentzel, Spring 2022 Intern (Antioch)
EFA Project Space, launched in September 2008 as a program of The Elizabeth Foundation for the Arts, is a collaborative, cross-disciplinary arts venue founded on the belief that art is directly connected to the individuals who produce it, the communities that arise because of it, and to everyday life; and that by providing an arena for exploring these connections, we empower artists to forge new partnerships and encourage the expansion of ideas.
The Elizabeth Foundation for the Arts (EFA) is a 501(c)(3) public charity. Through its three core programs, EFA Studios, EFA Project Space, and EFA Robert Blackburn Printmaking Workshop, EFA is dedicated to providing artists across all disciplines with space, tools and a cooperative forum for the development of individual practice. EFA is a catalyst for cultural growth, stimulating new interactions between artists, creative communities, and the public. www.efanyc.org. EFA Project Space has received public funding from the New York City Department of Cultural Affairs in Partnership with the City Council, The Andy Warhol Foundation for the Visual Arts, the Shelley & Donald Rubin Foundation, and the National Endowment for the Arts, the Lower Manhattan Cultural Council, as well as from generous individuals in our community. EFA Project Space’s SHIFT: A Residency for Arts Workers is supported by the Stavros Niarchos Foundation (SNF), Teiger Foundation, the Willem de Kooning Foundation.
Accessibility and COVID-19
EFA Project Space is located on the 2nd floor of 323 West 39th Street, between 8th and 9th Avenues. The building has an ADA wheelchair accessible elevator that provides access to the gallery from the ground floor. There are all-gender single stall bathrooms and an ADA approved bathroom on the 3rd floor. The space is not scent-free, but we do request that people attending come low-scent. Admission to the building does not require an ID, but you will be asked to sign-in and out to facilitate contact tracing, as necessary. The closest MTA subway station is the Port Authority A, C, E stop which is ADA wheelchair accessible. Texts and programs are in English. Large format texts can be provided with an advance request. EFA Project Space is committed to nurturing an intergenerational environment and we encourage children & kid noise at our events. Please notify us of any accessibility needs by email to projectspace@efanyc.org, or by phone at (212) 563-5855 x 244. Due to the ongoing COVID-19 pandemic, masks are required for entry.
A Program of The Elizabeth Foundation for the Arts
323 West 39th Street, New York City, 10018
212-563-5855 x 244 | projectspace@efanyc.org | www.efanyc.org
~~~~~~~~~~~~~~~~~~~~~~~~
2. Nadia Granados, Nicolás Dumit Estévez Raful Espejo Ovalles, FF Alumns, at Grace Exhibition Space, Manhattan, May 26
Colombianización – a performance by Nadia Granados / La Fulminate
This performance marks the explosive launch for Indecencia! a forthcoming exhibition at Leslie-Lohman Museum of Art, curated by Nicolás Dumit Estévez Raful Espejo Ovalles
To RSVP: https://www.eventbrite.com/e/colombianiazacion-a-performance-by-nadia-granados-tickets-343016971997
About this event
Thursday, May 26th, 8:00 PM
By donation
Grace Exhibition Space
182 Avenue C
New York, NY 10009
Co-presented by Leslie-Lohman Museum of Art and Grace Exhibition Space
Colombianizacion is a project by artist Nadia Granados (b. 1978, Bogotá, Colombia) encompassing performance, video, and social/digital media in a trenchant analysis of the gender performativity of men in narco culture. Granados’ project draws on primary sources related to the violence propagated by the political elites that have been transforming economic, social and cultural structures in Colombia. Using audiovisual political speeches, as well as advertising material created by the government’s press agency, Colombianización illuminates the industrial commodification of Colombia–that is, its simplification into a brand name to attract foreign investment and tourism.
Colombianización’s analysis of gender performativity is based on the feminist, decolonial approach of Sayak Valencia in her book Gore Capitalism. Aspects of toxic masculinity and its impact on culture are further recognized through the relationship between advertising, the financial burden of war and its weaponry, and the criminal violence brought onto society. Using the figure of the drag king to question systems of construction of masculine identities, with transcripts of speeches delivered by men over media channels, Nadia Granados interprets male societal tropes–the hit man, the soldier, the businessman, and the entrepreneur–as ironic advertising campaigns. These speeches compliment cultural discourses regarding terrorism, borders, migration, and the “illegality” that justify military interventions in Colombia, using the excuse of the fight against narcoterrorism.
Indecencia! (September 15, 2022 – January 9, 2023, at the Leslie-Lohman Museum of Art) brings together a group of artists and activists from Latin America and/or of Latina/o/e/x descent living in the U.S., Europe and the Caribbean. The exhibition speaks to the intricacies of the unorthodox ideas developed by Marcella Althaus-Reid and her Indecent Theology, as well as the decolonial theory of Walter Mignolo. Curated by Nicolás Dumit Estévez Raful Espejo Ovalles.
Nadia Granados is a Colombian artist using performance, experimental cinema, music, multimedia, web art and cabaret. She is known as La Fulminante. Her artistic practice questions the manipulative strategies that exist behind the representational systems that circulate through the media, making a direct criticism of these structures of symbolic power, and using resources associated with gender performativity and communication guerrillas. She is interested in decolonial thought and the anti-imperialist struggle from a sudaca-kuir-transfeminist perspective. @colombianizacion.
Leslie Lohman Museum of Art is the only dedicated LGBTQ+ art museum in the world with a mission to exhibit and preserve LGBTQ+ art and foster the artists who create it. The museum provides a platform for artistic exploration through multi-faceted queer perspectives. @leslielohmanmuseum
Grace Exhibition Space is a space devoted exclusively to Performance Art. We offer an opportunity to experience visceral and challenging works by the current generation of international performance artists whether emerging, mid-career or established. Our events are presented on the floor, not on a stage, dissolving the boundary between artist and viewer. This is how performance art is meant to be experienced and our mission is the glorification of performance art. Grace Exhibition Space presents over 30 curated live performance art exhibitions each year, showcasing new work by more than 400 performance artists from across the United States and the world since 2006.
Nicolás Dumit Estévez Raful Espejo Ovalles treads an elusive path that manifests itself performatively through creative experiences that he unfolds within the quotidian. Nicolás has received mentorship in art in everyday life from Linda Mary Montano, a historic figure in the performance art field. Residencies attended include P.S.1/MoMA, Center for Book Arts, Yaddo and MacDowell. Born in Santiago, Dominican Republic, in 2011 he was baptized as a Bronxite: a citizen of the Bronx. Nicolás is the founding director of The Interior Beauty Salon, an organism living at the intersection of creativity and healing: www.interiorbeautysalon.com @interiorbeautysalon
~~~~~~~~~~~~~~~~~~~~~~~~
3. Michael Bramwell, FF Alumn, at Museum of Fine Arts, Boston, MA
MFA Boston Appoints Michael J. Bramwell as Inaugural Linde Curator of Folk and Self-Taught Art
The Museum of Fine Arts, Boston (MFA), has appointed
Michael J. Bramwell as the inaugural Linde Curator of Folk and Self-Taught Art. The
creation of the new position is part of an initiative designed to reanimate and
reimagine the MFA’s storied folk-art collection for 21st-century audiences, supported
by longtime trustee Joyce Linde. Collaborating with fellow curators in the Art of the
Americas Department and colleagues across the Museum, Bramwell will develop
innovative exhibitions, collection displays and public programs—envisioning new ways
to make folk and self-taught art accessible, relevant, and important to the lives of
visitors. He will begin his new role on June 1.
Bramwell’s scholarship and research has explored the visual and material culture of
the African diaspora in the American South from the 19th through the 20th centuries.
Michael J. Bramwell
He currently serves as Visiting Guest Curator at the Museum of Early Southern Decorative Arts (MESDA) in Winston-Salem, North Carolina, where he is organizing the exhibition House Party: R.S.V.P. B.Y.O.B. Bramwell has collaborated on exhibitions, workshops and visiting critic engagements with the North Carolina Museum of Art, MoMA PS1, the Schomburg Center for Research in Black Culture, Whitney Museum of American Art, and Maryland Institute College of Art. He has been awarded two Andrew W. Mellon Humanities for the Public Good Fellowships for his work at MESDA and the Ackland Art Museum. Bramwell is currently a doctoral candidate at the University of North Carolina at Chapel Hill, where his dissertation is focused on resistance in the art of enslaved potter David Drake. As a visual artist, Bramwell has been featured in a wide range of solo and group exhibitions, including at the MoMA P.S.1, Whitney Museum of American Art, and the Jack Tilton Gallery. His work can be found in the collections of the Davis Museum at Wellesley College, the New School University, The Studio Museum in Harlem, and the Schomburg Center for Research in Black Culture, among many others. He holds an M.F.A. from UNC Chapel Hill, an M.A. in special education from Columbia University and a bachelor’s degree from Oakwood University in Huntsville, Alabama. Bramwell’s work is supported by the Joan Mitchell, Andrew W. Mellon, and Pollock-Krasner foundations.
“As a practicing artist and academically-trained art historian, Michael Bramwell brings a distinct perspective to folk and self-taught art. His commitment to telling new stories and reaching beyond the canon promises to reenergize the display and interpretation of this material at the MFA. It is an honor to welcome Michael to Boston,” said Ethan Lasser, John Moors Cabot Chair, Art of the Americas.
The MFA has long collected folk art—broadly defined—in many genres, with notable strength in works made in the northeastern U.S. in the 18th and 19th centuries. Highlights include important paintings by Erastus Salisbury Field, William Matthew Prior and Rufus Porter, nearly 350 works on paper from the Karolik Collection, a significant collection of American quilts, and select examples of painted furniture and sculptural forms. The new Folk Art Initiative positions the MFA as a global leader in reinvigorating and rethinking a body of material that challenges narrow definitions of “what is art” and “who is an artist’—and creates space for the greater inclusion of voices, narratives and histories, offering a unique point of access and invitation to visitors. A cross-departmental team, which included curators, conservators and staff members from the Learning and Community Engagement division, developed a strategic framework for the Folk Art Initiative to evolve and unfold over the next several years. This collaborative process laid the groundwork for the MFA’s 2021 exhibition Collecting Stories: The Invention of Folk Art (generously supported by the Henry Luce Foundation), which explored the history and evolution of the term “folk art” by reconsidering works on paper and sculpture from the Karolik Collection.
With support for exhibitions, programs and interpretation, the Linde Curator will have the platform to galvanize colleagues across the Museum to think anew about folk art in the Americas and across the globe, and explore new ways to make the collection accessible, relevant and important to the lives of visitors today. Through the Folk Art Initiative, the MFA will place folk and self taught art in dialogue with other art forms across disciplines—particularly contemporary art—integrate folk art into existing learning programs, and invite members of the Museum’s teen programs and community partners to offer fresh perspectives on interpretation and the stories told in the galleries.
About the Museum of Fine Arts, Boston
Founded on February 4, 1870, the Museum of Fine Arts, Boston (MFA), stands on the historic homelands of the Massachusetts people, a site which has long served as a place of meeting and exchange among different nations. The Museum opened its doors to the public on July 4, 1876—the nation’s centennial—at its original location in Copley Square. In 1909, the MFA moved to its current home on Huntington Avenue and today, the Museum houses a global collection encompassing nearly 500,000 works of art, from ancient to contemporary.
Open five days a week, the MFA’s hours are Saturday through Monday, 10 am–5 pm; Thursday, 10 am–5 pm; and Friday 10 am–10 pm. The Museum is located at 465 Huntington Avenue, Boston, MA 02115. For more information, call 617.267.9300, visit mfa.org or follow the MFA on Facebook, Twitter and Instagram.
Contact: Karen Frascona
617.369.3442
kfrascona@mfa.org
~~~~~~~~~~~~~~~~~~~~~~~~
4. Pablo Helguera, FF Alumn, now online at rtve.es
Please visit this link:
Thank you.
~~~~~~~~~~~~~~~~~~~~~~~~
5. Mendi & Keith Obadike, FF Alumns, named New Music USA 2022 Creator Development Fund Grant Recipients
Please visit this link:
Thank you.
~~~~~~~~~~~~~~~~~~~~~~~~
6. LuLu LoLo, FF Alumn, at Staten Island Museum, June 10, 2022-March 26, 2023
LuLu LoLo “Listening to the Birds” in YES, AND at Staten Island Museum June 10-March 26, 2023, a survey of art and artists connected to Staten Island.
“Listening to the Birds,” an interactive installation featuring taxidermy and photography from the museum’s collection alongside an audio compilation of native bird songs. LuLu invites guests to record in writing their response to the bird songs and the memories they inspire.
https://www.statenislandmuseum.org/exhibitions/yesand/
~~~~~~~~~~~~~~~~~~~~~~~~
7. Kenneth King, FF Member, new short movies now online at YouTube
Two new short movies– 6 minutes each. The digital possibilities of mobiles, video, and computer have preoccupied me as a performance alternative during all the uncertain upheavals of Covid.
Foreign Flic was initially performed in concert and has been transformed into a surreal thriller—the mystery character in this faux noir flic might be in, and/or is watching it, accompanied by a very “foreign” ridiculous word salad soundtrack. Here’s the link:
https://www.youtube.com/watch?v=Ui7bMUsBtQA
Kaleidoscoptics (Dance) – Dance on screen digitally activates the eye’s synapses whose intervals can make movement’s kinetic filaments transparent. Here’s the link:
https://www.youtube.com/watch?v=jx_PbCFsUR8
Thank you.
~~~~~~~~~~~~~~~~~~~~~~~~
8. Thana Alexa, FF Member, wins 2021 International Songwriting Competition, Jazz category
Very excited to have found out that I’m the WINNER of the 2021 International Songwriting Competition in the Jazz Category! Thanks International Songwriting Competition!!!
#isc #internationalsongwritingcompetition #songwriting #competition #winner #ona #IAmONA
Thank you. Thana Alexa
~~~~~~~~~~~~~~~~~~~~~~~~
9. Alan Sondheim, FF Alumn, new book published by Punctum Books
My new book, Broken Theory, has just been published by Punctum Books:
There is both hard copy and a free pdf:
https://punctumbooks.com/titles/broken-theory/
Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic
foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophys production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of roiling within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings writing shored up by the very mechanisms that threaten its disappearance.
Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte.
About the Author
Alan Sondheim is a new media artist, theorist, and writer concerned with the phenomenology of the virtual. He has collaborated with motion capture and virtual environment labs. His work is concerned with the inhabitation of the body in the virtual; with the textuality of the body; with the problematic mixed reality and codework. His writing is known for its “somatic grit” and skeletal codes that partially appear within and determine the surface. This style embeds interferences among syntax, semantics, and formal systems. The textual body, body of text and writer, are deeply entangled. His current work is based on the psychogeography of real and virtual worlds and their modeling. Most recently he has focused on “semantic ghosting” the body behind the virtual/symbolic body and modes of viral dispersion in a series of videos and texts. Sondheim was born in Wilkes-Barre, Pennsylvania, attended Brown University, and has
exhibited, taught, and lectured at a number of venues in the United States and abroad.
~~~~~~~~~~~~~~~~~~~~~~~~
10. Kiyan Williams, FF Alumn, Public Art Fund, Opening May 17
Black Atlantic
Kiyan Williams, Hugh Hayden, Tau Lewis, Leilah Babirye, Dozie Kanu
May 17 – November 22, 2022
Opening Reception: May 17, 6-7pm
Brooklyn Bridge Park, Piers 1, 2, & 3
Displayed on the shores of this former shipping port, Black Atlantic is an exhibition inspired by the diaspora across the ocean that connects Africa with the Americas and Europe. Over the centuries, these transatlantic networks have led to complex hybrid cultures and identities like those of the five artists featured in Black Atlantic. Each commission suggests a unique creative approach towards crafting new identities and futures through the personal gestures of hand-made work, often in dialogue with the processes of large-scale fabrication. The artists have mined both global histories and personal experiences to create these compelling works, which are as inventive in form and materials as they are powerful in their themes.
Black Atlantic is co-curated by artist Hugh Hayden and Public Art Fund Adjunct Curator Daniel S. Palmer.
Kiyan Williams envisions the “ruins of empire” by reimagining an iconic symbol of American values, The Statue of Freedom. The bronze monument designed by Thomas Crawford has stood atop the dome of the U.S. Capitol building in Washington, D.C. since 1863 (a structure built using enslaved labor). The soil surface of the artist’s adaptation makes the sculpture appear to be in a state of decomposition and decay, “embodying how American ideals of freedom are tied to subjugation, drawing inspiration from sci-fi tropes of a destroyed monument like the Statue of Liberty as a symbol for a world ruined by environmental devastation.”
Click here for a map and additional information.
Kiyan Williams (b. 1991, Newark, NJ) has forthcoming exhibitions at The Hammer Museum, Los Angeles, CA; The Aldrich Museum, Ridgefield, CT; MIT List Visual Arts Center, Cambridge, MA; and the Hirshhorn Museum, Washington, D.C. They have exhibited work at SculptureCenter, New York, NY; The Jewish Museum, New York, NY; Brooklyn Museum, Brooklyn, NY; Socrates Sculpture Park, New York, NY; Recess Art, New York, NY; Lyles & King, New York, NY; David Kordansky Gallery, Los Angeles, CA; The Shed, New York, NY; among others. They earned a BA with honors from Stanford University and an MFA in Visual Art from Columbia University. They have given artist talks and lectures at the Hirshhorn Museum, The Studio Museum in Harlem, Princeton University, Stanford University, Portland State University, The Guggenheim, and Pratt Institute. Their work is held in the collection of the Hirshhorn Museum and Sculpture Garden. Williams lives and works in Brooklyn, NY.
~~~~~~~~~~~~~~~~~~~~~~~~
11. Stephen Bottoms, Helen Varley Jamieson, Diane Torr, FF Alumns, in Berlin, Germany,
June 19
Please visit this link:
https://www.disruptionlab.org/transitioning
Thank you.
~~~~~~~~~~~~~~~~~~~~~~~~
12. Jeffrey Schrier, FF Member, at Hebrew Union College Heller Museum, Manhattan, opening
May 24
Dear friends and colleagues, I am pleased to announce that 2 of my works are included in Magical Thinking, at the Hebrew Union College Heller Museum, NYC, opening celebration, May 24 (see Invitation: Magical Thinking: https://pr.huc.edu/email/2022/05/magical-thinking/ ). Also Artistas & Maquinas at the Museum of Contemporary Culture, Valencia, Spain, where my work is presented with David Hockney, Bruce Nauman etc, was extended through May 29, and my works included in the Fifth Global Print exhibition, Douro Valley, Portugal will be on view beginning August 22.
All best, Jeffrey
~~~~~~~~~~~~~~~~~~~~~~~~
13. E. F. Higgins, FF Alumn, now online at BoweryBoogie.com
Please visit this link:
Thank you.
~~~~~~~~~~~~~~~~~~~~~~~~
14. Pope Alice, FF Alumn, in Tasmania, Australia, Sept. 17-18
Pope Alice (aka Santa Alicia) is about to embark on her stellarspheric visitation to Hobart, Tasmania, Australia, next stop Antarctica. HDH will present Pope Alice: Transcendence for Dark Mofo 2022 after a resounding success there in 2021 with Pope Alice: Close Encounters.
“The saga continues. Enter the portal through the fringes of our physical realm and into Planet-X for a celestial rave. Our Patron Saint, Her Divine Holiness Pope Alice initiates a cosmic cast of after-dark DJs and interstellar artists.
Her Divine Holiness Pope Alice activates Planet-X for a rapturous night of divine possession and outrageous ritual. Transcend en masse.”
https://darkmofo.net.au/program/night-mass Pope Alice (Winter Feast Thurs 16th June and Night Mass Fri 17th June + Sat 18th June)
Dark Mofo is the winter version of the MONA FOMA festival, also held in Tasmania and also supported by MONA (Museum of Old and New Art).
~~~~~~~~~~~~~~~~~~~~~~~~
15. Tamar Ettun, FF Alumn, received Brooklyn Art Exchange Parent Artist Space Grant 2022
Tamar Ettun
Parent Artist Space Grant (Summer 2022)
Tamar Ettun (she/they) is a multidisciplinary artist based in Brooklyn. She uses sculpture, video and performance to research female labor, empathy and compassion fatigue. Her work is often grounded in movement-study sculptures created from hand-dyed parachute fabric.
Ettun has had exhibitions and performances at Pioneer Works, PERFORMA, Sculpture Center, Madison Square Park, Art Omi Sculpture Garden, The Barrick Museum UNLV, e-flux, Uppsala Museum of Art, Herzelia Biennial, Socrates Sculpture Park, Indianapolis Museum of Art, Uppsala Museum of Art, The Jewish Museum, Fridman Gallery, among others.
She received awards and fellowships from The Pollock Krasner Foundation, Chinati Foundation, The Watermill Center, Moca Tucson Artist Residency, MacDowell Fellowship, RECESS, Art Production Fund, and Iaspis. Ettun received her MFA from Yale University in 2010. She teaches at Columbia University School of Arts.
~~~~~~~~~~~~~~~~~~~~~~~~
16. Jody Oberfelder, FF Alumn, in Brooklyn, June 3
Walking to Present will take place outdoors on Friday, June 3, at 4:00 p.m. and 5:45 p.m.
The performance is FREE to the public, and registration is required. All ages are welcome.
To attend the 4:00 p.m. performance, visit https://www.bklynlibrary.org/calendar/jody-oberfelder-projects-center-for-brooklyn-20220603
To attend the 5:45 p.m. performance, visit https://www.bklynlibrary.org/calendar/jody-oberfelder-projects-center-for-brooklyn-20220603-0
The performance will commence at the Center for Brooklyn History, located at 128 Pierrepont Street in Brooklyn Heights and accessible by the 3 and C trains.
Sending all the best wishes.
Jody
~~~~~~~~~~~~~~~~~~~~~~~~
17. Alina Bliumis, FF Alumn, at ANna Zorina Gallery, Los Angeles, CA, opening June 2
Dear friends and colleagues,
My first Los Angeles solo exhibition Borders and Bruises will open on Thursday, June 2nd.
The show will inaugurate Anna Zorina Gallery new space in Los Angeles. The exhibition features works which explore recent and ongoing conflicts with a specific focus on Eastern Europe including Ukraine and Belarus. The exhibition is accompanied by Boris Groys’ essay.
The invitation and details are below and please forward them to your friends in LA. I look forward to seeing you at the opening.
Alina Bliumis
Borders and Bruises
Opening Reception: Thursday, June 2, 5-8 PM
On view: June 2 – July 9, 2022
Anna Zorina Gallery is pleased to inaugurate its new Los Angeles Gallery space with the solo exhibition of Alina Bliumis, Borders and Bruises. This is Bliumis’ first show with the Gallery. The exhibition will feature three bodies of work including the watercolor maps of Nations Unleashed, the abstract paintings series Bruises and text- based sculptural works Concrete Poems. A percentage of proceeds from the exhibition will be donated to Direct Help For Ukraine and BYSOL, an organization supporting politically repressed Belarusians.
Bears, eagles and octopi have been active role-players in satirical maps since the 16th century. With her watercolor series, Nations Unleashed, Bliumis pays homage to cartographic curiosities by employing animal symbolism to convey biting political critique. In Bear vs. Nightingale, European countries become a battleground of zoomorphic shapes. Here the national animals are seen in mid-clash as the Ukrainian nightingale faces the Russian bear, an eagle representing the West stands alert. Bliumis explores this history of transferring human actions and motives onto primal beings to remove individual responsibility and agency from the political theater. This shift in perspective heightens awareness to this rampant strategy of displacement, compelling us to critically reflect on the fine line that separates fact from fiction in global geopolitics.
Before maps are drawn, history is first recorded on bodies through experience captured in the form of bruises, wounds, calluses. The body is a document of social struggles. For example, in the artist’s native country of Belarus, the nation united in response to the rigged election of 2020. These protestors shared the resulting scars of having faced aggressive measures of suppression and brutal detainment across various media platforms, bringing public awareness to the human rights abuse in hopes of achieving justice in the future. These events have triggered Bliumis’ watercolor on linen series, Bruises. Each bruise painting is numbered in reference to statistics of human suffering. The traumas range from serious to playful, from political prisoners and refugees to unrequited celebrity crushes. The artist represents the bruises as abstract patches of watercolor allowing the pigment to bleed into the weave of the linen in a style reminiscent of Color Field painting. Bliumis engages the expressionist style’s association with making an emotional impact through clarity of color and form with an emphasis on celebrating individual expression and freedom of subjectivity. Her paintings are spatial and alive to endow an immortality to the feelings and sensations that underlie these important moments throughout our own personal and collective history.
If the border is what you fight for and body what you fight with, then poetry in life is a tool for survival. The works within the Concrete Poems series depict a literal approach to a visual poetry tradition that takes on a specific typographic arrangement to convey meaning. Inspired by street wall scribbles, graffiti, and absurdist poetry, the artist makes her mark firmly in concrete. Breaking down words into a context that brings new meaning or finds irony in everyday language, Imagination Nation; Mother Other; Father Her; Slaughter Laughter. Bliumis exploration of her second language of English finds that even one letter can make all the difference.
The exhibition is accompanied by text written by art critic, media theorist, and philosopher, Boris Groys.
Alina Bliumis (b. 1972, Minsk, Belarus) lives and works in New York. She received her BFA from the School of Visual Art in 1999 and a diploma from the Advanced Course in Visual Arts in Fondazione Antonio Ratti, Como, Italy in 2005. Bliumis has exhibited internationally at the Musée national de l’histoire de l’immigration, Paris, France, the First Moscow Biennales of Contemporary Art, Moscow, Russia; Busan Biennale, Busan, South Korea; Assab One, Milan, Italy; the Bronx Museum of the Arts, New York, US; Galerie Anne de Villepoix, Paris, France; Centre d’art Contemporain, Meymac, France; the James Gallery at The Graduate Center CUNY, New York City; Museum of Contemporary Art, Cleveland, Ohio; Museums of Bat Yam, Bat-Yam, Israel; the Jewish Museum, New York City; the Saatchi Gallery, London, UK; Botanique Museum, Brussels, Belgium; the Victoria and Albert Museum, London, UK; MAC VAL – Musé e d’art contemporain du Val-de-Marne, Paris, France.
Her works are in various private and public collections, including MAC VAL – Musée d’art contemporain du Val-de-Marne, Paris, France; Musée national de l’histoire de l’immigration, Paris, France; The Victoria and Albert Museum, London, UK; Moscow Museum of Modern Art, Russia; Bat Yam Museum for Contemporary Art, Bat-Yam, Israel; The Saatchi Collection, London, UK; The Harvard Business School, Boston, MA; The National Museum of American Jewish History, Philadelphia, PA and Missoni Collection in Italy.
~~~~~~~~~~~~~~~~~~~~~~~~
18. Ogemdi Ude, Kiyan Williams, FF Alumns, named 2022-23 Smack Mellon Studio Artists
Please visit this link:
http://www.smackmellon.org/artist-studio/upcoming-artists/#
Thank you.
~~~~~~~~~~~~~~~~~~~~~~~~
19. Eileen Myles, FF Alumn, now online in The New York Times
Please visit this link:
Thank you.
~~~~~~~~~~~~~~~~~~~~~~~~
20. Stephanie Brody-Lederman, FF Alumn, at Metaphor Projects, Brooklyn, thru June 26
Stephanie Brody-Lederman: Cloud 9
Metaphor Projects is pleased to present Stephanie Brody-Lederman Cloud 9, a survey of recent paintings, opening May 21, 5-8pm, through June 26, 2022, the artist’s first solo exhibition at the gallery. Since her earliest exhibitions in the mid 1970s, her work has beguiled viewers with its mix of poetry, whimsy, and painterly visual wit. Born in New York City in 1939, Ms. Brody-Lederman, in her six decades of prolific practice has created a large body of paintings, constructions, book works, calendars, and works on paper that have been widely exhibited and can be found in public and private collections across the US and abroad including the Museum of Modern Art in NY and Shakespeare and Co. in Paris.
Stephanie Brody-Lederman is a born collagist, a seeker, collector, combiner, and documentarian of the sensations and language of life as it is well & fully lived. Her mixed media paintings are rich with tactile incident and a sensuous physicality that reflects her zest for living and are full to spilling with boundless energy & a keen ear for poetry. She makes the utmost of the quotidian, finding poetics embedded in the ordinary flow of life, and distilling from everyday experiences an essential truth.
Over her long and fruitful career Stephanie Brody-Lederman has maintained a fresh approach to each moment, and new canvas, by looking, listening, and feeling her way, open hearted, and open to the moment, to the humor, pathos and beauty of recognizable phrases and symbols and what the physicality of the paint itself has to say. Ms. Brody-Lederman is a painter’s painter, deploying the many tools at her command with an off hand elegance and thoroughly charming panache. But she is also a poet, layering carefully chosen language into the dense surfaces of her paintings to communicate with precision and poignancy taut phrases which cut through the haze to remind us that life is complex, challenging, absurd and often wonderful.
Brody-Lederman’s paintings are as romantic as old movies or the latest pop songs, they are both nostalgic and hopeful, they hold shadows and sunlight, today, tomorrow, and yesterday, they ooze, they slip, slide, they shout, they whisper, they sing, they dream. Most of all they are beautiful as life can be at its best, symbol filled rebuses and roadmaps to the good life. In this time of deep trouble in the world, plague, toxic politics, and war, come find a joyous, richly humanist respite on Cloud 9.
The opening reception is May 21, 5-8pm (masks required, doors wide open for maximum ventilation, refreshments outside).
Metaphor Projects is located at 382 Atlantic Avenue, Brooklyn, NY in Downtown Brooklyn/Boerum Hill near BAM and Barclay Center. All trains nearby and street parking available.
Gallery hours: Saturday and Sunday 12-6pm.
~~~~~~~~~~~~~~~~~~~~~~~~
21. Brahna Yassky, FF Alumn, at East Hampton Library, NY, May 24
Please join me on Tuesday May 24 at the East Hampton Library reading and signing copies of my debut book Slow Dancing With Fire – A Memoir of Resilience about rebuilding your life when the one you knew was destroyed.
You can also join on zoom.
See you there
Brahna
Author Talk: Slow Dancing With Fire: A Memoir of Resilience, Brahna Yassky
Date: Tuesday, May 24, 2022
Time: 6:00 pm – 7:00 pm EDT
Where: East Hampton Library
159 Main St
East Hampton, NY
Room: Baldwin Family Lecture Room
Age Range: All
Event Type: Author Talks
Contact: Reference
Email: reference@easthamptonlibrary.org
Phone: 631-324-0222 Ext. 3
Description:
Slow Dancing With Fire: A Memoir of Resilience by Brahna Yassky shows it is possible to rebuild a new life when the one you know is destroyed. Do-overs and reinvention are possible. It engages the universal questions of identity, beauty, and the struggle between wanting to be seen and wanting to be invisible. I started writing this memoir thirty years after literally being on fire. It took decades to approach conveying what happened in prose form. As a painter, I created random vignettes that indicated inevitable change but didn’t portray the event, the scars, my vulnerability. I needed to hide behind my imagery, to feel the power as an artist who could visually reinterpret my world. I never wanted anyone to know the extent of my injuries or think of me as a burn victim. Yet, the ravage of the fire was a rehearsal for time’s inevitable changes, which occurred unexpectedly. –Brahna Yassky
About Author Brahna Yassky:
Brahna Yassky won honorable mention for the 2018 Doheny Prize from the Center for Fiction and finalist for the 2019 Brooklyn Nonfiction prize. Her essays have been published in The Plentitudes Journal, The American Writers Review 2020 (San Fedele Press), Wired, Salon, The Independent, among others. Trained as a visual artist at California College of the Arts and San Francisco State University her work has been widely exhibited, including The Bali Purnati Center, MOMA, The San Francisco Museum of Modern Art, The Hudson River Museum, The Painting Center, NYC, public art commissions from the NYC Department of Health.
To Register: Call (631) 324-0222 Ext. 3, Stop by the Adult Reference Desk or Visit www.eventbrite.com
This is a hybrid event: Join us in the Baldwin Room for the program and book signing, where books will be available for purchase, or join us online for a virtual author talk.
A Zoom link will be emailed to all participants 15 minutes before the start of the event.
More: www.easthamptonlibrary.org
~~~~~~~~~~~~~~~~~~~~~~~~
22. Charles Clough, FF Alumn, now online at Youtube.com
Thanks to Director, Mark Schaming, Curator, Karen Quinn, and Nick Lue at the New York State Museum for producing and posting this YouTube:
https://www.youtube.com/watch?v=tR9Snk78cyM&t=755s
Charles Clough
~~~~~~~~~~~~~~~~~~~~~~~~
23. Jerry Kearns, FF Alumn, now online in DartMagazine.com
Please visit this link:
https://www.dartmagazine.com/?p=2367
Thank you.
~~~~~~~~~~~~~~~~~~~~~~~~
24. Alison O’Daniel, FF ALumn, at Commonwealth and Council, LA, CA, opening May 28
Hi!
I wanted to invite you to the opening reception of my first solo show at Commonwealth and Council. I would absolutely love to see you there!
The opening reception is Saturday, May 28th from 3 to 5pm at Commonwealth and Council: 3006 W. 7th St. Los Angeles in Koreatown. The door code is 01220.
InvitationCWC.png
The Ownership of Onomatopoeia
The topography of Los Angeles owns an intimate onomatopoeic language. The mmmmmhhhhh in the constant rush or crawl of traffic and the shhh-aaaah rhythm of waves breaking, for example, are twin sounds, sometimes hard (for me) to tell apart. I am curious about the sound of ownership and the ownership of sound. The impact and history of what I am calling “sound segregations” are embedded in the ownership of space, technology, habitation and air, as well as how sound travels through these substrates and who is allowed or obligated to hear it. My own hearing – specifically the mediation of my hearing – and dialogue with Deaf and Hard of Hearing friends foment a piercing sensitivity to expectations and behaviors regarding sound, hearing, listening. I recently took a four month long break from final edits of my feature film The Tuba Thieves to focus on this show, and reflected on a leg of late research for the film.
There was a neighborhood built in the 1920’s on the far west side of Los Angeles called Surfridge. Overlooking the ocean, the neighborhood eventually succumbed to noise pollution due to the development of LAX. The Westchester Historical Society has boxes of letters that trace the conflict between the people who lived there, the manager of the Department of Airports, the Transportation Committee and the Los Angeles City Council. Reading through these documents, one can see a series of decisions that prioritized development over quality of life. Eventually eminent domain was used to tear down or move all of the houses in Surfridge. I used to teach at Otis and would drive by the empty fenced off fields thinking it was airport property. But on the ocean side, you can see old lamp posts on fancy ghosts of cul de sacs with weeds growing in the cracks of concrete. I read a 1968 interview in Los Angeles Times West Magazine in which a reporter quotes a school principal unknowingly predicting a harbinger in the future of climate change, saying that to hear they must close windows and therefore install air conditioning. Before homes were demolished or moved across the city, the homeowners calculated the sounds in their living rooms at 90 dB and in their yards at 120 dB. They said their dogs hid under tables, plates and windows rattled, pools filled with black soot, conversations were impossible, and the children were losing their hearing. After this wealthy neighborhood was demolished, the noise pollution didn’t go away. Homes were still sold under ever expanding flight paths. Inglewood, El Segundo, Lennox, Westchester have dealt continuously with zoning and rezoning and often failed efforts to soundproof homes. Broken sleep, health and conversations are beneath these flight paths.
At the core of this show, I’ve focused on a minor detail in the film. In one scene, my friend Awet Mogue, an artist who is Deaf, has his left hand in a sling and bandage after slicing his hand with a japanese saw down to the bone. His friends are curious about how he hurt it, and wonder if it will scar. The conversation in American Sign Language drifts to another friend’s story about a scar he got as a child when a jet flew over his house and broke the sound barrier, which shattered a glass door that rained down on him and cut the back of his neck. Awet’s arm, the Japanese saws, and the jets breaking the sound barrier are reflected in the show in the form of a windchime, a rug, a wallpaper and open* captions from various parts of The Tuba Thieves cut from strips of steel that run along the perimeter of the gallery. The captions focus on sound segregations, including threats to breathing, hearing and language.
I am coming to the end of a decade-long journey making The Tuba Thieves, and a circuitous body of work that has vibrated off of the film like an echo (or an earthquake). For ten years, this film has been fertile ground for me to focus on an ecosystem of sound, hearing, reception, access, and misheard or miscommunicated narrative rooted in my experience being d/Deaf/Hard of Hearing. This show represents the last show interpreting narrative through objects. I look forward to sharing it with you!
*The Tuba Thieves has open captions that are always on, as opposed to closed captions which the viewer can turn off.
~~~~~~~~~~~~~~~~~~~~~~~~
25. Steed Taylor, FF Alumn, now online in HIVPlusMag.com
Please visit this link:
Thank you.
~~~~~~~~~~~~~~~~~~~~~~~~
26. Hidemi Takagi, FF Alumn, named Bandung 2022 Resident
I’m so excited to be here.
The Asian American Arts Alliance (A4) @aaartsalliance and The Museum of Contemporary Diasporan Arts (MoCADA) @mocada_museum are so excited to announce the inaugural cohort of The Bandung 2022 Residency Program! It is the first NYC-based residency program intended to foster understanding and allyship between the Asian American/Pacific Islander (AAPI) and Black communities.
These 10 NYC-based artists, educators, change makers, and organizers will be exploring and developing 7 projects over the course of the summer residency! They are:
Jess X. Snow & Tatyana Fazlalizadeh
Hidemi Takagi
Rohan Zhou-Lee
Alisha Acquaye & Chanel Matsunami Govreau
Jamel Mims
Daphne Lundi & Gloria Lau
Hannah Miao
This program is presented in partnership between the Asian American Arts Alliance and MoCADA
Hidemi Takagi
~~~~~~~~~~~~~~~~~~~~~~~~
27. Doug Skinner, Norman Conquest, FF Alumns, announce new publication
The 25th issue of “Black Scat Review” is now out and ready for you to read! This one is subtitled “Lewd, Nude, and Rude,” and contains three of my contributions: “King Merrimack,” in which the eponymous monarch and his physician Celso receive a boorish visitor; “The Noble Apothecary,” my translation of a 1664 novella by Jean Donneau de Visé, concerning love, jealousy, and enemas; and “English Etiquette,” my translation of a brief passage from Casanova on the finer points of relieving oneself in public.
You can also savor the work of Mark Axelrod, Thomas Barrett, Sebastian Bennett, Norman Conquest, R J Dent, Dawn Avril Fitzroy, Eckhard Gerdes, Alexander Krivitskiy, Amy Kurman, Hélène Lavelle, Marc Levy, Olchar E. Lindsann, Clément Marot, Lilianne Milgrom, Alison
Miller, T. Motley, Angelo Pastormerlo, Gerard Sarnat, Valéry Soers, Gregory Wallace, Tom Whalen, and David Williams. The whole thing is edited and designed by Norman Conquest (with contributing editors Farewell Debut and Nile Southern), and is available on Amazon.
~~~~~~~~~~~~~~~~~~~~~~~~
28. Elly Clarke, FF Alumn, at Goldsmiths, London, UK, May 24-27
Dear Friends,
Tomorrow, I have a small installation opening in the PhD Building at Goldsmiths, New Cross, London. It’s a collaboration with fellow art PhD’er Andrea Khora, through which we have shared & swapped processes and ended up with something that doesn’t really look like either of our work – or maybe both.
It’s a work in progress which is up only for four days, until Friday 27th. But to make the most of weather/bodies being allowed to mingle again we’re having a (byob) private view this coming Tuesday, 5.30-8.30pm. And it would be a delight to see you if you’re about. The garden is open too.
More details below. I know some of you aren’t in London but I’m sending this to you anyhow as a sign of my love/spam.
Hope you’re enjoying the lovely weather and to see you soon – if not next week.
Elly
Yeah, I was in this costume a few times! [spoilers.]
Do you remember when we met?
A collaboration between Goldsmiths PhD art candidates Elly Clarke and Andrea Khôra involving method swapping, (consensual) handing over of agency and (financial) investment in the process.
Words:
Drag
Love
Communication
Machines
Fluttering darkness
Intravenous injection
Undulating flesh
Hospital corridor
Blue blanket
+/- 60 more
Machines:
VQGAN + Clip
GPT-2
DJ Pro
Epson Projector
Material:
Habotai Silk
A4 paper
A2 posters
Magnets
Wire
Method:
Artist A hands over agency + three images + four key words to Artist B who hands over partial agency to VQGAN + Clip which exports 4000 .png images + one .mp4 moving image file which Artist B hands back to Artist A along with their own .png image folder + .mov + .mp4 files and agency, which Artist A inputs to DJ Pro. There, all media is mixed together over a period of approximately 15 minutes to the sounds of Laurie Anderson, Wolfram, Stefflon Don, HVOB, #Sergina, Kraftwerk, and others. This is exported as a .mov file from which Artist A takes a series of screenshots that are shared with Artist B. From these, three images are selected for print. Meanwhile Artist B hands over some of the same words given to VQGAN + Clip and more agency to GPT-2 out which the title Yeah, I was in this costume a few times! [spoilers.] Do you remember when we met? was generated.
This installation of images and silks is part of the PhD Art Programme’s Installation series, which artist researchers at Goldsmiths use as an experimental space to test new things out and as a catalyst for conversations around art as research, research as art and materiality / things in real space. This is Andrea Khôra and Elly Clarke’s first collaboration.
Opening Times:
Tuesday 24th-Friday 27th May, 11-5pm or by request.
Opening event: Tuesday 24th at 5.30-8.30pm.
Location:
43 Lewisham Way, SE14 6QD – directly opposite the main Goldsmiths building.
Nearest train: New Cross/New Cross Gate.
A phone number will be on the door to call for entry.
Andrea Khôra is an artist and researcher based in London. Her practice seeks to comprehend the malleability of reality on personal and societal scales. As a PhD researcher in the Art Department at Goldsmiths, her practice-led project examines expanded consciousness and maps its intersection with hegemonic institutions, in particular, what is birthed from their tensions. Sites of interest include CIA parascience experiments in the Cold War, early internet utopian histories, and psychedelic countercultures of the 1970s, as well as the artist’s own experience within medical psychedelic therapy. http://www.andreakhora.com/ @andrea_khora
Elly Clarke is an artist and current PhD researcher in art at Goldsmiths interested in the performance and burden (‘the drag’) of the physical body in a digitally mediated world. She explores this through video, photography, music, writing & community-based projects – and #Sergina, a border-straddling, multi-bodied drag queen who, across one body and several, sings and performs songs online and offline about love, lust and loneliness in the mesh of hyper-dis/connection. More recently #Sergina has been gathering people’s ‘data discharge’ through performances and questionnaires whilst Elly has been blowing up screengrabs taken from VJ performance rehearsal footage, and printing them on silk, to be used as portable virtual/real Zoom backdrops. http://ellyclarke.com/ @digitalb0dy
Elly Clarke
Artist | Researcher | Lecturer
+44 (0)7905 275 575 // www.ellyclarke.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
For subscriptions, un-subscriptions, queries and comments, please email mail@franklinfurnace.org
Please join Franklin Furnace today:
https://franklinfurnace.org/membership/
After email versions are sent, Goings On announcements are posted online at https://franklinfurnace.org/goings-on/goingson/
Goings On is compiled weekly by Taylor Milefchik and Kyan Ng, Franklin Furnace Interns, Spring/ Summer 2022
~~~~~~~~~~~~~~~~~~~~~~~~
~~end~~
