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Contents for June 11, 2018

1. Marina Abramović, Bing Lee, Magdalen Wong, FF Alumns, at Tai Kwun Contemporary, Hong Kong, thru Aug. 15

Dismantling the Scaffold
June 9-August 15, 2018

Spring Workshop at Tai Kwun Contemporary
10 Hollywood Road, Central
Tai Kwun Centre for Heritage and Art
Hong Kong


Nadim Abbas, Erkka Nissinen, Magdalen Wong, Big Tail Elephant, Chen Shaoxiong, Luke Ching Chin Wai, Tiffany Chung, Claire Fontaine, Kwan Sheung Chi, Wong Wai Yin, Bing Lee, Leung Chi Wo + Sara Wong, Liang Juhui, Lin Yilin, Roman Ondak, LH02 (Pak Sheung Chuen, Jaffe.T, Cathy Tsang, Grace Gut, Siumou Chow), PolyLester, Jhafis Quintero, Superflex and Jens Haaning, Koki Tanaka, Ulay / Marina Abramović, Bik Van der Pol, Yvonne Dröge Wendel, Xijing Men, Xu Tan

Spring Workshop is delighted to present Dismantling the Scaffold, curated by Christina Li. In the works for over two years, this partnership between Spring Workshop and Tai Kwun Contemporary was intended as Spring's final gesture before it began a planned hiatus earlier this year, and traces a picture of what blooms from years of dialogue, exchange and communal effort.

As the inaugural exhibition at Tai Kwun Contemporary, the show brings together works from local and international artists and collectives, a constellation of artworks which engage with the social and civil structures we collectively inhabit.
The artistic positions in the exhibition aim to open up insights as well as questions that reimagine and examine the established conventions that condition how we give shape to our everyday lives. The two major keystones in the exhibition concept are the site's history and the practice of collaboration: the unique background of the site of the Central Police Station compound-as a police station, magistracy, and prison in the past-as well as the collaboration of two contemporary art organizations at a convergence in their timelines-the beginning of Tai Kwun Contemporary and the hibernation of Spring Workshop after its five-year operation.

The scaffold-the main motif for the exhibition-is commonly understood as a temporary support deployed while a building is being constructed or repaired. In its lesser-known usage, a scaffold can also refer to a structure used in the past to stage public punishments. Dismantling the Scaffold interweaves these two ideas to draw attention to the site's prior historical function, while looking forward to its new role as a permanent cultural institution and heritage site in Hong Kong.

Organised under this central metaphor of the scaffold, artworks in the exhibition explore art's potential to illuminate our relationship with society at large. They offer poignant reflections of the invisible and visible structures that organise our daily existence among our surroundings. Working across fictional and historical narratives, these artistic manifestations originate from daily encounters with the inner logic around built infrastructure, institutions of administration and order, and related issues around collaboration, historical amnesia, identity politics, and individual autonomy. Dismantling the Scaffold proffers interpretations of the everyday structures that underpin our reality as human beings in contemporary civil society.

Public programmes
Leung Chi Wo and Sara Wong
The Spectacle of Space Consumption 2008, choreographed performances (every Friday at 7pm; Saturday/Sunday at 3pm)

Tiffany Chung
Two-part program History and the Way Forward
Part 1: Art in Times of Crisis panel discussion (June 15, 7-8:30pm)
Part 2: Refugee Experience and Asylum Policy - The Way Forward panel discussion (June 17, 10am-12pm)

Pak Sheung Chuen and LH02
11 workshops inspired by collective artwork Killing 3000

Bing Lee
Iconographic narrative events (programme TBA)

Screening of documentary Project Cancer on the life and work of the artist
(More programs TBA)
Opening hours and tickets at www.taikwun.hk
About Spring Workshop

Founded in 2011 as a five-year project, Spring Workshop is a cultural initiative that experiments with the way we relate to art. With an international cross-disciplinary program of artist and curatorial residencies, exhibitions, music, film and talks, Spring has served as a laboratory for exchange between artists, organisations and audiences in Hong Kong and abroad. In December 2017, Spring ceased its usual activities to begin a planned season of rest and transformation, which will begin following the close of the long-planned exhibition Dismantling the Scaffold.



2. Jayoung Yoon, FF Alumn, at Smithsonian American Art Museum, Washington, DC, June 14

I am pleased to share an upcoming panel discussion that I am participating in:

Art and Identity Between Cultures, Artist Roundtable
Related Exhibition - Do Ho Suh: Almost Home

Thursday, June 14, 2018, 7 - 8PM

Smithsonian American Art Museum
McEvoy Auditorium
F St NW & 8th St NW, Washington, DC 20004

Artists working in today's world are often crossing international borders and wrestling with ideas of cultural identity. Join Korean-American artists Tai Hwa Goh, Jiha Moon, Nara Park, and Jayoung Yoon as they engage in a lively conversation about this transnationalism and the influence of Korean tradition on their work. Sarah Newman, SAAM's James Dicke Curator of Contemporary Art, moderates the discussion.

Thank you!

All the best,
Jayoung Yoon
interdisciplinary artist



3. John Baldessari, FF Alumn, at Mai 36 Galerie, Zurich, Switzerland, thru July 28

John Baldessari

MAI 36 GALERIE, Zurich

Opening: Sunday, June 10, 2018, 11 a.m.

Exhibition: June 9 through July 28, 2018

Zurich Art Weekend: June 8-10, 2018

The exhibition at Mai 36 Galerie presents a new group of works by American artist John Baldessari, who has been represented by the gallery since 1991. The new group of works reprises combinations of text and image, and melds the motif of various windmills and a wind farm with a textual field in contrasting color, referring to Miguel de Cervantes' novel Don Quijote.

Baldessari, who will celebrate his 87th birthday in June, explores the relationship between image and language by deploying writing as a means of (visual) expression. This approach brings together two kinds of communication within a single work and addresses the complex relationship between two fundamentally different forms of human articulation.

While teaching at the California Institute of the Arts, Baldessari influenced generations of artists. In the early 1970s, he founded and led the Post Studio seminar, with his now legendary Post Studio Art Class going on to foster such famous names as David Salle, James Welling, Matt Mullican, Troy Brauntuch and many more besides.

The visual motifs in his latest series of works are interspersed with captions in the form of brief phrases or even just a single pronoun, article or suchlike, reiterated in the respective title. The individual words and phrases were selected by pure chance, simply by sticking a pin into a copy of Miguel de Cervantes' Don Quixote. The works And (2017) and As (2017) show a windmill or windfarm, and are titled with curt conjunctions, whereas the works This Is To Say (2017) and Look At Me (2017) are captioned with fuller phrasing. Although seemingly random, the titles themselves express a divergence in the interaction between text and image, which dissolves once the connection between image and word, and between word and novel, is determined.

In general, a text explains an image and an image illustrates a text. But because the captions here are not obviously related to the images, John Baldessari undermines the fundamental concept behind our conventional reading habits. Baffling, as some of the conflicting juxtapositions might seem, the associations they trigger open up a broad spectrum of possible interpretations and surprising new perceptions. Ultimately, what lies behind this seemingly arbitrary approach is the artistic intention of prompting the viewer to pursue new avenues of thinking that can stimulate reflection and innovative thought processes.

About the Artist

John Baldessari

American artist John Baldessari (born 1931 in National City, California) has, since the 1960s, been regarded as one of the most outstanding and versatile proponents of conceptual art. His forms of expression include painting, drawing, photography and video. His works have been shown in some of the world's leading museums and galleries, most recently in a 2018 solo exhibition at Museo Jumex in Mexico City. (text: Katrin Mayer)



4. Lillian Ball, FF Alumn, at Wave Hill, The Bronx, July 1-Aug. 26, and more

Summer Exhibitions include WATERWASH Projects / Lillian Ball
Water Works Spanning Two Decades, From Interior Plumbing to Exterior Infrastructure

"Ecological Consciousness: Artist as Instigator"
July 1 - August 26 at
Wave Hill, Bronx, NY

WATERWASH Bronx River (2010 - ongoing) is included in "Ecological Consciousness: Artist as Instigator" (curators, Eileen Jeng Lynch & Jennifer McGregor). This exhibition sets out to examine the ways artists engage in ecological projects that present a call to action. Participating works explore and seek solutions for persistent environmental problems throughout New York City. In conjunction with the exhibition, Wave Hill will host discussions, workshops, demonstrations and performances, in partnership with other organizations and artists, held on Thursday evenings. More

Sunday, July 1, 2:00PM-4:30PM, Opening. Wave Hill, West 249th St & Independence Ave, Bronx, NY 10471


Courant continu ("Continuous Current")
June 28 - September 16 at
Moulin des Evêques, Agde, France

This exhibition brings together works from the FRAC Occitanie Montpellier collection, including the recently acquired sculpture series by Lillian Ball, "Au propre comme au figuré" ("In a literal and figurative sense"). The scultures were cast into used plumbing fixtures from a chateau in Saint-Alban-les-Eaux in 1995. The exhibition (curator, Emmanuel Latreille) will take place at Moulin des Evêques ("the mill of the bishops") an old flour mill turned art museum built along the Hérault river. The movement of water theme is inspired by the continuous flow of the neighboring river and life itself. More

Thursday, June 28, Opening. Moulin des Evêques, Avenue du 8 mai, 1945 34300, Agde, France



5. Royal Osiris Karaoke Ensemble, FF Alumn, at Abrons Arts Center, Manhattan, thru June 23

Royal Osiris Karaoke Ensemble
The Art of Luv (Part 6): Awesome Grotto!
World premiere

JUNE 7 THROUGH JUNE 23, 2018 @ 7:30PM

Awesome Grotto! endeavors to serve all New Yorkers as a site for reflection on the spiritual potential of digital connectivity. The space will be open to the public as an immersive video and sound installation built around the painstaking recreation of a now-lost shopping haul video that was posted to YouTube on Labor Day 2013.
Intake Process begins at 7:30, followed by a Healing Sound Bath. Ceremony starts at 8pm.

Experimental Theater
Abrons Arts Center
466 Grand Street
New York, NY

To buy tickets: https://web.ovationtix.com/trs/pr/984083?sm_guid=MTkzNzE4fDE2ODgwMDg2fC0xfGRzYXZveUBoZW5yeXN0cmVldC5vcmd8MTI4Njg5OHx8MHwwfDQ0MzYwNTU2fDkxOXwwfDB8fDE1MjkxMQ2



6. Ana Mendieta, FF Alumn, in 10th Berlin Biennale, Germany, thru Sept. 9, and more


10th Berlin Biennale for Contemporary Art

June 9 - September 9, 2018

Galerie Lelong & Co. is pleased to announce the inclusion of Ana Mendieta and Mildred Thompson in the 10th Berlin Biennale for Contemporary Art. The Biennale includes a selection of rarely seen works on paper by Mendieta and Thompson. Titled We don't need another hero, the 10th Berlin Biennale for Contemporary Art is a conversation with artists and contributors who think and act beyond art as they confront the incessant anxieties perpetuated by a willful disregard for complex subjectivities.

We don't need another hero is curated by Gabi Ngcobo with a curatorial team composed of Nomaduma Rosa Masilela, Serubiri Moses, Thiago de Paula Souza, and Yvette Mutumba.


Ana Mendieta, Volcán, 1979. Super-8mm film transferred to high-definition digital media, color, silent. Running time: 3:11 minutes.


Covered in Time and History: The Films of Ana Mendieta

Martin Gropius Bau

Through July 22, 2018

Covered in Time and History: The Films of Ana Mendieta locates Mendieta's moving image works at the centre of her artistic oeuvre and with new research it documents her prolific and varied use of the filmic medium, making clear her place as one of the key figures in the historic multidisciplinary shifts in post-war art.

The groundbreaking exhibition will travel to the Galerie nationale du Jeu de Paume, Paris and open October 16, 2018 through January 27, 2019.

NEW YORK, NY 10001

T +1 (212) 315-0470
F +1 (212) 262-0624


The gallery will be closed on Wednesday, July 4 in observance of Independence Day.
We will be open July 2, 5, and 6.
Gallery hours July 2 through August 3, 2018 will be Monday - Friday, 10am-6pm.
The gallery will be closed to the public August 4 - September 12, 2018



7. Susan Kleinberg, FF Alumnn, at Marionette Museum, Palermo, Italy, opening June 16

Susan Kleinberg's most recent video piece, HELIX, premieres June 16 for Manifesta, in Palermo, at the Marionette Museum - ( the incomparable museum of puppets from Sicily and around the world).

Tracing movement of the deepest possible gaze into organic material, HELIX nudges perspective, a perspective into ourselves to the limit, the "confine", the boundary.

Animal, vegetal, mineral, HELIX unfolds disconcertingly, subliminally, as a question, a gauntlet thrown through which to locate oneself.

The piece was developed with the scientific team of the Louvre.

Video link - https://vimeo.com/273062499

Marionette Museum
Piazzeta Antonio Pasqualino 5
- a bit further down the street from Palazzo Butera...
+39 09 1328060
Opening June 16, 6:00 pm
Through August 31



8. Donna Henes, FF Alumn, at Grand Army Plaza, Brooklyn, June 20

Join New York's "Unofficial Commissioner of Public Spirit", urban shaman Mama Donna Henes, for two sizzling celebrations of summer! A Solstice Eve Celebration at Grand Army Plaza, Brooklyn, the evening before the shortest night of the year and her annual Sunset Solstice Celebration at Socrates Sculpture Park in Long Island City, Queens.

Mama Donna has been performing public rituals in various locations around New York City for more than 40 years. This year marks her 43rd Annual celebration of the Summer Solstice.

Both events are free and family friendly. Bring kids, dogs, drums, and lots of spirit.

Event #1: Solstice Eve Celebration
June 20, 2018
Wednesday, 6:00 PM

A sizzling ceremony to drum in the season of long light filled days and heat, being held exactly 12 hours prior to the solstice moment. Celebrate the sun on the evening before the solstice! This shortest night of the year is traditionally spent forging our intentions for the summer season.

Grand Army Plaza, Bailey Fountain, Park Slope, Exotic Brooklyn, NY

Contact: 718-857-1343 cityshaman@aol.com


Sunset Solstice Ceremony
June 21, 2018
Thursday, 7:45 PM

A rousing ceremony to drum down the sun on the longest day of the year.
Socrates Sculpture Park
32-01 Vernon Blvd., Long Island City, Queens, NY


*Unofficial Commissioner of Public Spirit of NYC. - The New Yorker
* For 35 years Ms. Henes has been putting city folk in touch with Mother Earth. - The New York Times
* Part performance artist, part witch, part social director for planet earth. - The Village Voice
* A-List exorcist!" - NY Post
* The Original crystal-packing mama. - NY Press

Donna Henes is an internationally renowned urban shaman, contemporary
ceremonialist, spiritual teacher, award-winning author, popular speaker and
workshop leader whose joyful celebrations of celestial events have introduced
ancient traditional rituals and contemporary ceremonies to millions of people
in more than 100 cities since 1972. She has published five books, a CD, an
acclaimed Ezine and writes for The Huffington Post, Beliefnet and UPI Religion
and Spirituality Forum. A noted ritual expert, she serves as a ritual consultant
for the television and film industry. Mama Donna, as she is affectionately called,
maintains a ceremonial center, spirit shop, ritual practice and consultancy in
Exotic Brooklyn, NY where she works with individuals, groups, institutions,
municipalities and corporations to create meaningful ceremonies for every
imaginable occasion.

Read her on the
Huffington Post:

Connect with her
on Facebook:
http://www.facebook.com/MamaDonnaHenes ;

Follow her on

Watch her

Mama Donna's Tea Garden &
Healing Haven
PO Box 380403
Exotic Brooklyn, New York, NY 11238-0403




9. Michael Smith, FF Alumn, at Jane Lombard Gallery, Manhattan, June 13

In celebration of our current exhibition Howard Smith's 1 + 1 + 1 ... paintings and works on paper, we invite you to join us for an evening of conversation with brothers Howard and Michael Smith, moderated by Jenny Dixon.

The brothers will discuss their artistic practices. Howard Smith is a self-described mark-maker, having spent time in his youth in search of the perfect brushstroke. Michael, a video / performance artist, focuses on "failure" as a primary theme in his work. In spite of their different perspectives and approaches to art, they maintain a close bond and engage in an ongoing creative dialogue.
Both brothers have known Jenny Dixon since the 1970s when she directed the Public Art Fund. She collaborated with Howard Smith in the 1980s on a magazine called Issue, A Journal for Artists. Dixon was the director of the Noguchi Museum from 2003 - 2017.

518 W 19th Street, New York, NY 10011
janelombardgallery.com | 212.967.0669



10. Linda Montano, FF Alumn, now online at https://youtu.be/ySEXmr2Yhqo


Pray for Your CAN

Caregivers are Holy. Caregivers are Real Holy. Caregivers are Really, Really Holy.
Thanks Tobe Carey and Jim Barbaro for helping me tell this story. Amen.

Linda Montano



11. Chun Hua Catherine Dong, FF Alumn, at DongGang Museum of Photography, Gangwon-do, Korea, June 14-Sept 21, and more

I am very pleased announce that I will have a solo exhibition at DongGang Museum of Photography, Gangwon-do, Korea, as part of DongGang International Photo Festival. It is my great honour to be selected as "The Artist of This Year," and my work "Mother" will be exhibited in the museum, June 14-Sept 21, 2018.

For more info about "Mother"

For more info about the festival


My work," Skin Deep," is also exhibited at Volta Art Fair, Basel, June 11-16, 2018

For more about "Skin Deep"

Chun Hua Catherine Dong is a Chinese-born Montreal based artist working with performance, photography, and video. She received a BFA from Emily Carr University Art & Design and a MFA from Concordia University. She has performed and exhibited her works in multiple international performance art festivals and venues, such as Quebec City Biennial, The Musée d'Art Contemporain du Val-de-Marne, Canadian Museum of Immigration, The Aine Art Museum, Kaunas Biennial,Museo De La Ciudad, Querétaro, Mexico Rapid Pulse International Performance Art Festival in Chicago, 7a*11d International Festival of Performance Art in Toronto, Place des Arts in Montreal, Dublin Live Art Festival and so on. She was the recipient of the Franklin Furnace Award for contemporary avant-garde art in New York in 2014 and listed "10 Artists Who Are Reinventing History" by Canadian Art Magazine in 2017.




12. Susan Hiller, FF Alumn, at Para Site, Hong Kong, opening June 15

June 16-September 2, 2018

Opening reception: June 15, 7-9pm

Para Site
677 King's Road
22/F, Wing Wah Industrial Building
Hong Kong



Isaac Chong Wai, Kiri Dalena, Susan Hiller, Hsu Chia Wei, Kim Woojin, Nortse, Okui Lala, Tang Kwok Hin, Danh Vo, Wong, Hoy Cheong, Nicole Wong, Wu Jiaru, Yang Jiechang, Alex Yiu

Para Site is pleased to present Kotodama. Curated by André Chan, this curatorial proposal was chosen from an international pool through Para Site's Emerging Curators program, now in its fourth year.

Cultures underpinned by various languages think about and describe the world slightly differently from one another. Kotodama is a unique Japanese belief that words can magically affect objects, carrying and enacting the speaker's will in their curses or blessings. Speech alone would therefore have the power to change the fate of another person. Language is more than just a means of communication; it also carries culture, preserves memories, transmits wisdom, and forms part of many communities' identities. Yet, a large number of languages today are withering, owing to the cultural hegemony of another language, outright political oppression, socio-economic factors, or a combination of the above.

This exhibition discusses the mechanisms and idiosyncrasies of language, positing that the disappearance of languages endangers human culture as a whole. The Asia-Pacific region has one of highest language diversities in the world, boasting over 1500 languages, about a third of the global total. In the past century, many languages around the world have ceased to exist, and currently there are many more that are endangered or vulnerable. In recent decades, the number of speakers of many languages in mainland China and Taiwan has dramatically dwindled. Cantonese in Hong Kong remains one of the most robust Chinese languages, but Mandarin is becoming ever more present in the city, backed by government policies.

Presented in the exhibition, the works by Kim Woojin, Nortse, and Wu Jiaru recount the aftermath of language policies in the Sinosphere since the modern era. As different governments push their national language agenda in education and media policies, other languages are threatened, along with the many traditions related to those languages. Okui Lala, a Malaysian artist of Chinese descent, embarks on a journey of reconstructing the idea of mother tongue in the complex linguistic landscape of her country. Tang Kwok-hin talks to the younger generation in his Hong Kong family about an education for the future. Evoking the role of languages in the preservation and dissemination of mythologies, Hsu Chia Wei follows a deity whose devotees struggle to keep the faith alive through rituals and songs. Works by Danh Vo and Wong Hoy Cheong employ texts to reveal how language was used by colonisers to exert control over the newly conquered. Susan Hiller focuses on several extinct, endangered, and revived languages around the world.

Hip hop, which initiated in the African American community in the Bronx, New York City during the late 1970s, began as a subculture and art movement, and was subsequently embraced as a musical language by oppressed and disenfranchised communities around the world. Its emphasis on the colloquial and the telling of local struggles makes hip hop a major form of poetry of our time. A special feature in the exhibition will showcase a selection of hip hop music created in various local and indigenous languages from around the world.



13. Verónica Peña, FF Alumn, at Glasshouse, Brooklyn, NY, June 13.

Glasshouse, Verónica Peña hosted by Lital Dotan
Wednesday, June 13th, 8:00 - 8:30 PM


Lital Dotan will be hosting Verónica Peña as part of 'Wednesdays' performance broadcast series.

'Wednesdays' is a weekly platform for live performance broadcasts. This season-long project is an homage to the first year of Glasshouse, exploring the transformational potential of the domestic environment as a stage for performance. Starting October 11th, each Wednesday at 8pm a live performance is broadcast from Glasshouse. The performances rotate weekly between the bedroom, bathroom, kitchen and living room spaces, offering refreshed modes of hosting and researching of performance practice blended with life. Some of the performances will be open to the public as well and others only available through live-stream.

More information and past documentation on our Facebook page: https://www.facebook.com/glasshouse247

Glasshouse is an art/life/lab dedicated to generating artistic practices that are based on performance in the domestic sphere, under the motto that "Art Should Be Experienced at a Place that Allows Staying". Since relocating to South-side Williamsburg in 2012, Glasshouse is regullarly organizing, producing and hosting performances, screenings, exhibitions, workshops and a residency program. Glasshouse was founded in 2007 by artist Lital Dotan and photographer Eyal Perry who treat hosting as artistic practice.
Verónica Peña is an interdisciplinary artist and independent curator from Spain based in the United States. Her work explores the themes of absence, separation, and the search for harmony through Performance Art. Peña is interested in migration policies, cross-cultural dialogue, and women's empowerment. Recent works include experimental participatory performances that create shared moments amongst strangers. Peña has performed in various countries around Europe, Asia, and America. In the United States, her work has been featured at Times Square, Armory Show, Hemispheric Institute of Performance and Politics, Queens Museum, School of the Art Institute of Chicago, Grace Exhibition Space, Triskelion Arts, Defibrillator Performance Art Gallery, Momenta Art Gallery, Gabarron Foundation, Dumbo Arts Festival, and Consulate General of Spain in New York, amongst others. She is a recipient to the Franklin Furnace Fund 2017-18. She was a recipient of the Socrates and Erasmus Grants, a Universidad Complutense de Madrid Fellowship, and a candidate for the Dedalus Foundation Grant. She has published "The Presence Of The Absent", a thesis about her body of work. She was a visiting artist at The School of the Art Institute of Chicago. She curates "Collective Becoming", an initiative to make cities a place less hostile. She is currently at work on her new project about freedom, fear, and resistance, "The Substance of Unity." http://www.veronicapena.com

Verónica Peña
Interdisciplinary Artist



14. Georgia Lale, Jaguar Mary, FF Alumns, at 47-08 31st Avenue, Long Island City, Queens, June 22

Hera HaeSoo Kim, Kara Hearn, Pei-Ling Ho with Shannon Michelle Stovall , Jaguar Mary and myself .

Dear friends,

I'm more that thrilled to announce that I will perform my piece "GENETIC MEMORIES" at
It's Bedtime Somewhere 2018 - House of Performance Event organized and curated by Pei-Ling Ho and Cai-Jhen Jhu.

A performance evening where you will be able to enjoy the work of great artists such as
It's Bedtime Somewhere
House of Performance Event
Friday, June 22, 2018
8:00 - 10:30 PM
47-08 31st Avenue, Apt 3E, Long Island City

It's Bedtime Somewhere, the House Performance Art Event in NYC (June 22. 2018), invites the public to one night only of Live Action Art between domestic and psychological interiors. Featured artists:Georgia Lale (Greece), Hera HaeSoo Kim (Korea), Kara Hearn (United States), Pei-Ling Ho (Taiwan) with Shannon Michelle Stovall (United States), and Jaguar Mary.

It's Bedtime Somewhere is a live performance event which explores issues of family, childhood, dreams and healing through ritual and sensory experiences. Presented by performance artists based in NY, this event will highlight shared emotions and participatory practices. It's Bedtime Somewhere aims to explore in depth intimate relationships, through body, sound, interaction, movement and food.
This event, organized and curated independently by interdisciplinary artist Pei-Ling Ho and composer Cai-Jhen Jhu. Pei-Ling focuses on works that explore themes of "East/West" and "self/other" within the contemporary context of global feminism. Cai-Jhen explores different soundscapes and is interested in all kinds of artistic collaborations. The event will feature performance art works on one-on-one or participatory performance and interaction.

Georgia Lale (Greece) is a Greek visual and performance artist with Turkish heritage, based in New York City. She was born in Greece and graduated from the Athens School of Fine Arts. In 2016 she completed her MFA Fine Arts program at the School of Visual Arts in New York. She is the recipient of several awards and fellowships of excellence. Georgia developed a performance art project entitled #OrangeVest that seeks to confront the refugee crisis in Europe. These public space interventions were performed at di erent sites in New York and other US cities, and most recently in Brussels, where a group of refugee artists was involved in the project. This work was also presented in the Greek Pavillion at 15th Venice Architecture Biennale.

Hera HaeSoo Kim (Korea) is an artist living and working in New York City and Seoul. Hera graduated from Hongik University in 2013 with her MFA in Sculpture and completed with a Ph.D in Fine Arts. She is pursuing her MFA in Fine Arts at the School of Visual Arts in New York. She spends as much of her time in various teaching engagements when not working on her art.

Kara Hearn (United States) is an interdisciplinary artist. Her work has been screened, exhibited, and performed nationally and internationally at venues such as MoMA, SFMOMA, Bluecoat Gallery, DiverseWorks, New Orleans Museum of Art, Yerba Buena Center for the Arts, White Columns, Berkeley Art Museum, Pacific Film Archive, Walker Art Center, Antimatter [media art] Festival, and the Dallas Medianale. Hearn was a fellow in the Core Program in Houston,TX and has completed residencies at Recess and EFA Project Space in New York City. She was featured in the book Double Act: Art and Comedy by David Campbell and Mark Durden in 2016. Born in Oklahoma, Hearn currently lives and works in Brooklyn, NY.

Pei-Ling Ho (Taiwan) is an interdisciplinary artist. She is studying in School of Visual Arts with an MFA in Fine Arts. Through performance, video, photography and mixed media, PEI-LING explores questions of gender identity and perception within various contexts, ranging from the con ict between exotic and local culture and the legitimacy of parents under social system, and drawing from her experience growing up in Taiwan. She has had group exhibitions include SATELLITE ART SHOW in Miami, ITINERANT: the annual Performance Art Festival in NY, 29th Festival Les Instants Vidéo in France, CONTEMPORARY VENICE - ITSLIQUID International Art Show in Italy and more. PEI-LING currently lives in Queens, New York. (Right in the photo)
Shannon Michelle Stovall (United States) was born in San Diego, California and resided in San Francisco for nearly a decade. Graduate of San Francisco Art Institute with a BFA in Painting and a current MFA Candidate at School of Visual Arts, she additionally studied abroad at the Glasgow School of Art in Glasgow, Scotland. Her practice is an exploration of the culturally constructed notion of gender and the strange personas we create in order to navigate and make sense of our identities. She questions our collectively nuanced and complex ideas of selfhood through performance, photography, video and painting. She has performed live at CP Project Space in NY, and had group shows at SVA's Flatiron Gallery in New York, Book & Job Gallery in San Francisco, and En Em Art Space in Sacramento. Shannon Stovall currently lives in Manhattan, New York. (Left in the photo)

Jaguar Mary is a performance artist, glossolalia vocalist, lmmaker and hoop dancer. Her specific concerns, and the directives that have driven her art practice, engage black feminist discourse, questions of history, and now, ritual performance and practice in art as tools to help us out of our world crisis. Jaguar Mary aka Jocelyn Taylor is an alumni of the Whitney Independent Study Program and has shown internationally, at the Johannesburg and Havana Biennials, and in galleries in Venezuela, Canada, France, the Netherlands and Dietch Projects in New York. She's also collaborated with feminist artists Annie Sprinkle, Yvonne Rainer, Cheryl Dunye and others.

RSVP | Space is limited



15. Ana Mendieta, FF Alumn, in The New York Times, June 6

The New York Times
'Queenie' Shows the Force of Latin Women in Art
By Will Heinrich
June 6, 2018

One of the stickier problems facing galleries and museums these days is how to give more attention to marginalized voices without letting the marginalization itself dominate the conversation.

Arden Sherman, director and curator of Hunter East Harlem Gallery, found a simple solution in "Queenie," a group show of overlooked works by Latin, Latin American, and Caribbean women from the permanent collection of El Museo del Barrio: staggering variety. With the help of Elizaveta Shneyderman and Olivia Gauthier of Hunter, on Third Avenue at 119th Street, and El Museo's permanent collection manager, Noel Valentin,

Ms. Sherman has assembled about as wide a range of genres and approaches as you could fit into a single room.

Carmen Herrera, the Cuban-American abstract artist, has a starkly handsome 1978 painting "Díptico," which hasn't been shown in decades: it is a simple black and green design of plunging angles across two canvases. María Fernanda Cardoso and Ross Rudesch Harley's 1997 video "Cardoso Flea Circus (Circo de pulgas Cardoso)" is a confident bout of high-concept silliness. And the East Harlem painter Nitza Tufiño's fabulously trippy "Pareja Taína (Taíno Couple)" depicts a buoyant pair of bug-eyed figures, their features inspired by artifacts of the indigenous Taíno people of the Caribbean, using a thin mix of acrylic and charcoal that leaves them wavering like an underwater mirage.

Not every piece in the show is equally strong, and not every strong piece is necessarily well served by even a discreet use of gender and ethnicity as an organizing principle - it risks reducing distinctive and distinctively self-sufficient artworks like Ms. Herrera's painting into mere specimens of type. Two works from the Italian-born Brazilian artist Anna Maria Maiolino's wonderful "Codicilli" series, sand-colored concrete panels covered with embossments that look like a rain of tiny potatoes and a stately river of baguettes, seem to chafe against their company.

But altogether the work in the show significantly amplifies the force of its handful of explicitly political pieces, reflecting and expanding each declaration of female experience. The piece the show is named after, a bubblegum-pink horse skull adorned with nine-point epoxy antlers by Alessandra Expósito, is a good précis. Mounted on a lavender wall, the skull is decorated with Swarovski crystals, painted flowers and a cute oval funerary portrait of the mare itself under an ornate rendering of its name.

Such a concatenation of conventional gender markers can't help but feel like irony, and inscribing the picture of a living animal on a gaudily decorated bit of its carcass seems like a bitter joke about the price of being a woman. It suggests a kind of psychic death going unacknowledged, even as its victim is held up as a trophy. Of course, it isn't exactly irony, because it's certainly not a joke - but it neatly conveys a painfully exaggerated anxiety about social cues and gender roles.

An even more jarring, joke-like incongruity characterizes four placemat-size "arpilleras," the colorful wall-hangings documenting everyday brutalities, made by anonymous Chilean women during the Pinochet regime. Their naïve style enabled many of the works to be smuggled out of the country, though these four were collected in Chile. One shows a family of three seated around a table set for four under a portrait of the disappeared father; the best of the group elegantly depicts a group of protesters gathered around a body on fire.

A large documentary color photograph of the Cuban artist Tania Bruguera's late-90s performance "The Burden of Guilt," in which she swallowed balls of dirt while wearing a flayed lamb as a breastplate, takes the shock of dissonance in a more intentional direction. (Some Taíno supposedly killed themselves by eating dirt rather than submit to the Spanish.) If there's ambiguity about whether the artist herself is playing officiant or sacrifice, her self-possessed expression makes clear that the performance itself is a way of taking control of the story.

Hidden away in the gallery's back corner like an incandescent fuse, though, is the exhibition's real power source: a grainy short video called "Blood Sign" that the great Cuban-American artist Ana Mendieta made in 1974, when she was still a student at the University of Iowa, and which powerfully asserts her own body and person as universal values of their own.

The video opens on Ms. Mendieta, in nondescript clothing and with her long black hair hanging loose, pressing herself against a blank white wall. She could be trying to make an imprint on it or disappear into it. Then she reaches down into a painter's tray of animal blood at her feet, wets her hands, and carefully traces a palm-thick line around her body and over her head. When she steps aside, she reveals a hollow column with a curved peak that could read as a phallic herm, an extended tombstone, or an emphatic cartoon of her own long hair. Inside this fiery but ambiguous picture, Ms. Mendieta writes the phrase "There is a Devil inside me;" her brief glance at the camera as she walks out of frame is the only glimpse the viewer gets of her face. It's a total exposure of the self that reveals nothing.

Queenie: Selected Artworks by Female Artists from El Museo del Barrio's Collection
Through June 23 at the Hunter East Harlem Gallery in the Silberman School of Social Work, 2180 Third Avenue at 119th Street, Manhattan; 212-396-7819; huntereastharlemgallery.org.



Goings On is compiled weekly by Harley Spiller