Alumnus Nils Karsten @ Miyako Yoshinaga NYC
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In Cherokee, NC alumnus Jeff Marley and collaborator, Frank Brannon, presented an impermanent installation in Oconaluftee Island Park.
“Based on a spider web, the multi-media installation is part Cherokee cosmology, part commentary on the occidental/oreiental interpretation of historical events.
The web is made from mulberry, and in the folds, there are some hidden phrases,” Marley explained. “It relates back to the story of when the first printing press was delivered to the Cherokee Nation. These guys delivering the press were not Cherokee, and so they could not communicate with people as they moved into the Nation to deliver this. They were really hungry and how do you get food if you cannot communicate? They finally ran into someone who could translate for them,” Marley noted.
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On the anniversary of the world’s first atomic test Suspended Moment, a sculpture installation and Butoh dance and poetry performance by Los Alamos native Allison Cobb, Hiroshima native Yukiyo Kawano, with Butoh choreography/dance by Meshi Chavez, soundscape by Lisa DeGrace, and video projections by Stephen A. Miller, will be performed in Los Alamos, NM.
At the center of the performance is a life-sized sculpture of the bomb dropped on Nagasaki in 1945, created by the artist Yukiyo Kawano. Yuki was born and raised in Hiroshima, a third-generation atomic bomb survivor. She creates her sculptures from WWII-era kimonos that belonged to her grandmother, and sews them together with her hair, melding the DNA of generations of atomic bomb survivors.
co-sponsored by
Los Alamos History Museum, Los Alamos/Japan Project, and Los Alamos County Library System. Funded in part by a grant from the New Mexico Intervention Fund of the National Trust for Historic Preservation. Additional Funding: Kawano has received a Career Opportunity Grant award from the Oregon Arts Commission.
The performance takes place from 4-5:30 p.m. at Historic Fuller Lodge, 2132 Central Ave., Los Alamos, NM 87544.Nike air jordan Sneakers | 【海外近日発売予定】 サウスパーク × アディダス オリジナルス キャンパス 80S “タオリー” (GZ9177) – スニーカーウォーズ
Corey Pickett: Blank Cartridge
Reception: July 8, 6:00 to 8:00 pm.m
Blank Cartridge is an exhibition of provocative new sculptures by Clovis based-artist Corey Pickett. This series of artworks serves as an appeal for “common-sense” gun laws and the re-evaluation of current gun legislation.
Pickett is concerned with the enormous amount of gun violence that takes place on a daily basis and, as a black man, he has a level of fear that is predicated on the current socio-political climate of America and the nation’s gun laws. The premise of his work is to initiate dialogue among the many perspectives related to gun rights with the hope that a reasonable mediation can be reached. His guns are surrogates for the real thing.
“Initially these objects were in response to gun violence towards African-Americans; however, my work has expanded to gun violence against all humans. My goal is for my practice to be a medium of activism through interdisciplinary methods and community collaborations,” says Pickett. “My practice has extended to the community through neighborhood art camps and community art projects. This community participation along with my reimagined ready-mades is an attempt to bring about cultural sensitivity and cross-cultural awareness. I’m convinced that people are more receptive to new and alternative theories concerning social change when they are comfortable and less threatened.”
ABOUT THE ARTIST
In addition to being a working artist, Pickett is currently Director of The Jaye Rock Cultural Center in Clovis, NM, which he also founded. He received his Master of Education in 2008 and his Bachelor of Fine Arts in 2000 from Eastern New Mexico University. He will receive his MFA in 2017 from the Vermont College of Fine Art, Vermont. He has exhibited his work in cities throughout the US and is a recipient of the International Sculpture Center’s 2017 Outstanding Student Achievement in Contemporary Sculpture Award.
Hyperallergic except:
“The performance kicked off not long after noon, when 10 women formed a line and joined hands at the back of a small area that had been designated the stage. They wore jumpsuits printed with black-and-white bricks, on top of which were laid colored panels containing texts such as “Bimbo” and “Grab her by the pussy” — all sexist words and phrases uttered by the US president. The women were part of Brick x Brick, a project begun at the Women’s March to form “human ‘walls’ against misogyny,” and they remained in place under the sweltering sun for the next hour and a half.”
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Human_3.0 Reading List
Newspapers, magazines, and websites frequently offer lists: the 10 best new restaurants, the 50 top places to see in the world, the 100 best movies of all time. Chicago-based artist Cauleen Smith (American, born 1967) has created another kind of list, a new canon of humanistic literacy presented as a series of drawings. Titled Human_3.0 Reading List, the project represents a new dimension of Smith’s work, one that engages with the idea of a collective consciousness through manually drawn renderings of book covers.
In this series of 57 drawings—each produced on 8½ × 12- inch graph paper in watercolor over graphite, occasionally elaborated with acrylic—the artist proposes a selection of books that is both personal, conveyed by the frequent inclusion of fingers or a thumb shown holding up a given book, and idiosyncratic. Harriet Tubman, C. L. R. James, and bell hooks find their place alongside Starfish, Sea Urchins, and Their Kin by Nelson Herwig. Together the drawings ask challenging questions: Have you read these books? Will you read these books? What will they mean to you? What do they mean to us now? Which titles might be missing?
An artist whose primary discipline is film, Smith has incorporated various influences and references in her images—science fiction, the black diaspora, and the lyrical potential of landscape. She first garnered national recognition with her feature-length film Drylongso (1998), which she completed during her graduate training at UCLA’s film school. In 2010, Smith moved to Chicago, where her work has grown increasingly site-specific and engaged in social activism. She created the Solar Flare Arkestral Marching Band Project, which has organized flash-mob appearances of a marching band composed of youth groups from the city’s South Side. This and other recent works have explicitly invoked the legacy of pioneering composer and performer Sun Ra, whose music and elaborate self-defining mythology also propelled the broader artistic movement of Afrofuturism.
Grounded in a sober assessment of race relations and institutional power structures, Human_3.0 Reading List calls its viewers to prepare for social change through self-empowered education. In the final words of the manifesto accompanying the series, Smith exhorts her audience: “Love. Resist. Read on. Right on.”
Support for this exhibition is provided by the Print and Drawing Club of the Art Institute of Chicago.
Cauleen Smith. Wild Seed, from Human_3.0 Reading List, 2015. Promised gift of Helen and Sam Zell.
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INTERSECTION | INTERVENTION | INTERPLAY
Gender, Collaboration and Counter-Memory in Migratory Times and Spaces
An afternoon intersecting interventions focused on technologies of collaboration to reimagine gender, history, memory, futures, and communities, with the collective projects Diasporas Críticas, Migratory Times, and the Museum of Random Memory.
Using as a taking off point the decolonial feminist philosopher María Lugones’ phrase “playfulness, world traveling and loving perception,” the public is invited to engage in these art based research projects that explore these actions as forms of reimagining and remaking social relations.
Date
May 31, 2017
15:00 – 19:30 p.m.
Place
Museu del Disseny de Barcelona
Floor -1 – Room B
Conducted by
The Museum of Random Memory/futuremaking.space
Diasporas Críticas and Migratory Times
the Institute of (im)Possible Subjects
PROGRAMME
15:00 – 16:30 – The Museum of Random Memory
Conducted by MoRM: Museum of Random Memory/futuremaking.space
“Do you have something you would like to remember? Something you think should be forgotten? We would like you to contribute to our temporary permanent collection.”
What is a memory?
What is it good for?
How do we remember?
How do we forget?
These are a few of the questions that are asked by the participants and creators of the Museum of Random Memory, an ongoing practice-based research project. The project and the work of the project (the creation of the archive and the museum itself) represent a deliberate attempt to directly engage difficult questions of ownership, archive, preservation, and mediation. What does it mean to take ownership of a memory? What can we do with it? What should we do with it? What do we do with it? How do we proceed and where do the lines of the analog and the digital collide with the lines of public, private, hidden and revealed? How do you build (and destroy) a museum in days? What is gained and what is lost?
For this event we, the UnCurators, will perform an iteration of the Museum.
Attendees will be invited to participate by submitting memories and engaging in the intake process.
16:30 – 17:00 – Coffee Break
17:00 – 18:30 – Exercise in Radiofonization
Conducted by Diasporas Críticas & Migratory Times/the Institute of (im)Possible Subjects
This workshop is directed at trans-feminist artists, activists and poets with the aim of sharing research around the process of creating a manifesto, enunciation and the practices, histories and metaphors associated with radio, we propose an “exercise in radiofonization”. Part workshop and part performance of a radio recording-studio, this session puts into practice a range of pedagogical and affective techniques in the fields of voice, enunciation and reading.
This space offers an encounter with various enunciation tactics and invites participants to co-produce a performative “exercise in radiofonization”. Depending on the technical capabilities this can be emitted in connection with other online, free or community radios, or recorded for a future transmission. “Exercise in radiofonization” focuses on the transdiscursive and transtemporal conditions of the feminist and decolonial manifesto and how, like the apparatus of radio, it makes a curious incision across the literary, historical, political and artistic; past present and future.
18:30 – 19:30 – Roundtable discussion
With Dalida María Benfield, Anyely Marin Cisneros, Rebecca Close and Annette Markham.
BIOS
THE MUSEUM OF RANDOM MEMORY/futuremaking.space
The Museum was first conceived and performed in March 2016 at the CounterPlay Festival held in Aarhus. Over the following year, key participants transformed the ideas into a conceptual framework, which guided the creation of the second instantiation of the museum, presented again at the same festival in March 2017. The museum is the sum of the efforts of more than a dozen artists, activists, academics, researchers and students working with the Creating Future Memories project at Aarhus University in Denmark. The Creating Future Memories project is one of the projects of the futuremaking.space, a transdisciplinary space for research and public engagement.
DIASPORAS CRITICAS
Diásporas críticas is an open platform for artistic research. Diásporas críticas research explores and responds to the ways in which nationalisms intervene through micro-process to affect the body and the senses, researching notions of “transmission” and “contagion” in relation to mass media and technology as well as medical discourses and disease. They have received various research and production grants from academic and arts institutions. Throughout 2017 Diasporas criticas are preparing a research project entitled “Contralecturas Tropicales”. They are thinking: climate, cliche, sickness, poetic trope, surrealist dream, melodrama, medical theory, compass, geopolitical sex fantasy, cyclical time and exile.
MIGRATORY TIMES/THE INSTITUTE OF (IM)POSSIBLE SUBJECTS
Migratory Times is a global art, research, and education initiative to facilitate transnational dialogues on displacements and migration. Migratory Times constructs a translocal architecture for overlapping learning, research, and making circles across diverse sites including Bogotá, Colombia; Aarhus and Copenhagen, Denmark; Jeju and Seoul, S. Korea; Manila, Philippines; Barcelona, Spain; and Los Angeles, Salt Lake City, Detroit, and New York City, USA. Over the course of a year, 2016-17, cultural interventions, workshops, and publications are being produced in local sites as well as through virtual networks, using popular education and co-design strategies. Migratory Times is a project of the Institute of (im)Possible Subjects, a transnational feminist art, media and research collective.
Free entry.
Required Registration. Send us an email to: dfutureproject@gmail.com
http://d-future.net
Contact:
dfutureproject@gmail.com
+34 93 326 3470
Organized by:
D-Future Project/Mediaccions
In collaboration with:
Migratory Times/the Institute of (im)Possible Subjects
Sponsored by:
Ministerio de Economía y competitividad de España (Ref. CSO2014-58196-P)
Museu del Disseny de Barcelona
Estudis d’Art I Humanitats de la Universitat Oberta de Catalunya
Future Making Research Consortium
Featured image: Diasporascriticas
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Friendship is Magic is a collaborative site-specific installation created by artist friends Clea Felien, Damali Abrams the Glitter Priestess, and Ambivalently Yours. The show explores how the enthusiasm, language and rituals of girl culture can be used to represent ideas of friendship as a radical act of resistance in a political climate that is increasingly promoting xenophobia and separatism. In a world where adults are encouraged to cultivate potentially beneficial business connections instead of friendship, what does it mean to celebrate friendship instead?
For one weekend, the three artists from Minneapolis, Montreal, and New York will gather at Spackle Cat Gallery (Northrup King Building Studio 358, 1500 Jackson St NE, Minneapolis) to create an interdisciplinary alternate world where friendship itself is a form of magic.
HOURS:
Friday, May 19th – 5:00-10:00 p.m.
Saturday, May 20nd – 2:00 p.m.-8:00 p.m.
Sunday, May 21st – Noon-5:00 p.m.
May 19 – May 21
May 19 at 5 PM to May 21 at 5 PM EDT
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Spackle Cat Gallery, Northrup King Building, Studio 358, 1500 Jackson St NE, Minneapolis,
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SDAI is pleased to present “Extra-Ordinary Collusion”, an exhibition with twenty-three artist and scientist collaborations, curated by Chi Essary. The opening reception will take place at the San Diego Art Institute, 1439 El Prado, on Saturday, May 20 from 6pm-8pm. The exhibition will run though will run through July 2.
The popular misconception of San Diego as a sleepy beach town ignores the vibrant artist community and undermines the reality of San Diego’s cultural potential. San Diego is not only known as one of the top three biotech capitals in the world, thanks to the presence of research centers like the Salk, Scripps, and the Stanford Consortium, but it is uniquely situated next to the creative hotbed that is Tijuana. Extra-Ordinary Collusion celebrates this rich cultural heritage by fostering innovative exchange between two of San Diego’s great cultural strengths—our thriving scientific and artistic communities.
For this exhibition artists were paired with scientists from the Salk Institute and invited to tour the scientists’ labs and learn about their state-of-the-art research. Using this visit as the impetus for the exhibition, artists created new work based on their conversations and interactions with the scientists. The artists in Extra-Ordinary Collusion come from various disciplines including painting, sculpture, installation, new media, and conceptual art.
Participating artists and scientists are: Cooper Baker (with Jun Wu), Hugo Crosthwaite (with Laura Tan), Einar & Jamex de la Torre (with Amy Rommel), Thomas DeMello (with Carol Marchetto), TML Dunn (with Sreekanth “Shrek” Chalasani), David Fobes (with Tatyana Sharpee), Abbey Hepner (with Mike Avery), Debby & Larry Kline (with Saket Navlakha), Jessica McCambly (with Julie Law), Meegan Nolan (with Manching Ku), Arzu Ozkal (with Janelle Ayres), Philip Petrie (with Ahmet Denli), Irma Sofia Poeter (with Uri Manor), Iana Quesnell (with Corina Antal), Sasha Koozel Reibstein (with Beverly Emerson), Marisol Rendón (with Axel Nimmerjahn), Vincent Robles (with Chen-min Yeh), Michael Ruiz (with Paloma Martinez-Redondo), Ellen Salk (with Tom Albright), Shinpei Takeda (with Tom Albright), Maya VanderSchuit (with Antonio Currias), Vicki Walsh (with Alan Saghatelian), Melissa Walter (with Martin Hetzer) Also on display will be photographs by Josue Castro documenting the scientists in their laboratories.
Please also join us for a series of discussions with some of the artist/scientist teams in Extra-Ordinary Collusion:
Thursday, June 8th, 7pm-9pm ($10, includes appetizers and refreshments) Location: Park 6, 590 Fir Street, San Diego, CA 92101
Vicki Walsh with Alan Saghatelian from the Clayton Foundation Laboratories for Peptide Biology, Einar & Jamex de la Torre with Amy Rommel from the Laboratory of Genetics—Verma, and Abbey Hepner with Mike Avery from John Reynold’s Lab
Wednesday, June 28th, 6pm-8pm ($5, cash bar) Location: San Diego Art Institute, 1439 El Prado, San Diego, CA 92101
Marisol Rendón with Axel Nimmerjahn from the Waitt Advanced Biophotonics Center, David Fobes with Tatyana Sharpee from the Computational Neurobiology Laboratory, and TML Dunn with Sreekanth “Shrek” Chalasani from the Molecular Neurobiology LaboratorySport media | NIKE Chaussures, Sacs, Vetements, Montres, Accessoires, Accessoires-textile, Beaute, Sous-vetements – Livraison Gratuite