https://juanaberrio.com/press 2026-02-25T03:53:50+00:00 always 0.5 https://juanaberrio.com/writing 2024-09-12T02:46:39+00:00 always 0.5 https://juanaberrio.com/more 2025-01-15T16:28:35+00:00 always 0.5 https://freight.cargo.site/t/original/i/A1947114781406911588083326415676/IMG_1803.JPG Curatorial and Sustainability Advisor, 2024 –– Ongoing Curator: At Odds With: Whitney ISP Studio Exhibition Westbeth Gallery, New York, NY<a href="https://whitney.org/exhibitions/at-odds-with" style="color: rgb(255, 0, 0);" target="_blank"> Read more.</a> https://freight.cargo.site/t/original/i/M1947114781314677867714778657596/IMG_1798.jpg Above Accents Across, 2016 An Exhibition of San Francisco Bay Area Artadia Awardees Curated by Juana Berrío and Kelly Huang at Minnesota Street Projects, San Francisco, CA<a href="https://artadia.org/news/accents-across-exhibition-bay-area-awardees-minnesota-street-project/" target="_blank"> Read More.</a> https://freight.cargo.site/t/original/i/F1947114781277784379567359554364/IMG_1796.JPG Pierre Huyghe, Untitled (Human Mask), 2014. Film, color, stereo sound, 19 minutes. Courtesy of the artist and Hauser & Wirth, London, & Anna Lena Films, Paris. Curatorial Consultant, 2016 Human Conditions: Inaugural exhibition at the Kramlich’s residence designed by Herzog & de Meuron in Napa Valley Kramlich Collection San Francisco and Napa Valley, CA See the <a href="https://www.thamesandhudsonusa.com/books/the-human-condition-media-art-from-the-kramlich-collection-i-hardcover" style="color: rgb(255, 0, 0);" target="_blank">exhibition catalog.</a> https://freight.cargo.site/t/original/i/Y1947114781370018099935907312444/IMG_1801.JPG Research Intern, 2012 55th Venice Biennale: The Encyclopedic Palace (Directed by Massimiliano Gioni) New York City, NY Read an <a href="https://freight.cargo.site/m/U1950161992640980731263849493308/Burnett-Venice-Catalog-2013.pdf" style="color: rgb(255, 0, 0);" target="_blank">excerpt</a> from the 55th Venice Biennale: The Encyclopedic Palace catalog and <a href="https://www.labiennale.org/en/il-palazzo-enciclopedico" style="color: rgb(255, 0, 0);" target="_blank">more info</a> here. https://freight.cargo.site/t/original/i/L1947114781536038796599293276988/IMG_1812.JPG Curator, 2017 Nutshell: Laurie Reid. Solo Exhibition. Et.al, etc. Gallery, San Francisco, CA<a href="https://etaletc.com/laurie-reid-nutshell-curated-by-juana-berrio" target="_blank"> Read more</a>. https://freight.cargo.site/t/original/i/X1947114781554485540673002828604/IMG_1814.jpg Curatorial and Sustainability Advisor, 2024 –– Ongoing Curator: At Odds With: Whitney ISP Studio Exhibition Westbeth Gallery, New York, NY<a href="https://whitney.org/exhibitions/at-odds-with" style="color: rgb(255, 0, 0);" target="_blank"> Read more.</a> https://freight.cargo.site/t/original/i/B1947114781462251820304455070524/IMG_1808.JPG Curatorial intern, 2012 Museum as Hub: Carlos Motta: We Who Feel Differently New Museum, Department of Education and Public Engagement, New York, NY Read <a href="https://www.newmuseum.org/blog/view/on-queering-dominant-discourses-an-interview-with-carlos-motta" style="color: rgb(255, 0, 0);" target="_blank">On Queering Dominant Discourses</a>, my interview with Carlos Motta, and read more about <a href="https://www.newmuseum.org/exhibitions/view/carlos-motta-we-who-feel-differently" style="color: rgb(255, 0, 0);" target="_blank">Carlos Motta: We Who Feel Differently</a>. https://freight.cargo.site/t/original/i/T1947114781572932284746712380220/nauman_exaggerated_xl.JPEG Walking in an Exaggerated Manner Around the Perimeter of a Square (still detail; 1967–68), Bruce Nauman. Courtesy Electronic Arts Intermix (EAI), New York Curator, 2013 Don’t Blame Anyone Hessel Museum of Art Center for Curatorial Studies, Bard College Annandale-on-Hudson, NYC A group exhibition with works by Bruce Nauman, Giovanni Anselmo, Nicolás Paris, Giorgio Griffa, Al Taylor, and Julio Cortázar with a public performative reading of Julio Cortázar’s Don’t Blame Anyone. <a href="https://ccs.bard.edu/museum/exhibitions/305-dont-blame-anyone" style="color: rgb(255, 0, 0);" target="_blank">Read more.</a> https://freight.cargo.site/t/original/i/J1947114781333124611788488209212/IMG_1799.jpg Curatorial Intern, 2010 Open Field Walker Art Center, Minneapolis, MN Open Field was a summerlong project that adopted the commons as a philosophical and programmatic framework to imagine a new kind of public gathering space. It attempted to break with a number of timeworn conventions about the role of museums, creativity, and public life. Artists-in-Residence: Future Farmers & Red76 Dozens of public programs throughout the summer. Watch the <a href="https://www.youtube.com/watch?v=50D5ZTv_kxc" style="color: rgb(255, 0, 0);" target="_blank">reel</a> I shot and edited and read more info <a href="https://walkerart.org/magazine/open-field-book-intro-sarah-schultz-pete" style="color: rgb(255, 0, 0);" target="_blank">here</a>. https://freight.cargo.site/t/original/i/D1947114781240890891419940451132/IMG_1794.jpg Project Manager, 2024 2025 Artist Legacies Field-Building Convening, Joan Mitchell Foundation, New York, NY In 2007, the Joan Mitchell Foundation started the Creating a Living Legacy (CALL) initiative and has worked closely with artists, arts professionals, and legal experts to develop legacy planning tools for artists. In 2025, the Foundation will host a major conveining about the current needs and questions relevant to artists' legacies today. Stay tuned! <a href="https://www.joanmitchellfoundation.org/creating-a-living-legacy" style="color: rgb(255, 0, 0);" target="_blank"> Read more about CALL.</a> https://freight.cargo.site/t/original/i/A1947161305220716872068784616252/Walker_Art_Center_03-1.jpg Education and Public Programs Fellow, 2010-2011 Education and Community Engagement Department Walker Art Center, Minneapolis, MN Watch the <a href="https://www.youtube.com/watch?v=MgoPA41Uzac" style="color: rgb(255, 0, 0);" target="_blank">WACTAC (Walker Art Center Teen Arts Council) reel</a> I edited and read <a href="https://walkerart.org/visit/teen-program/" style="color: rgb(255, 0, 0);" target="_blank">more info</a>. https://freight.cargo.site/t/original/i/Y1947468538104447746085771703100/Chris Larson: One of 27 artists in The Spectacular of Vernacular Consultant, Exhibitions video documentation, editing and artists’ interviews, 2010-2011 Marketing and Communications Department Walker Art Center, Minneapolis, MN Etcetera. 💬 https://freight.cargo.site/t/original/i/D1953375170356732427776544371516/IMG_1927.jpg The Gold Museum / El Museo del Oro, in DOS, podcast episode #5 and #7, 2018 Curator Juana Berrío and artist Delcy Morelos visit the Gold Museum in Bogotá, which houses the world’s largest collection of pre-conquest gold artifacts. They talk about the cultural differences of valuing gold objects, highlighting intrinsic, economic, ceremonial or environmental aspects; the uses of plants with power; the poporo; human-animal bodies; and how to overcome the muteness of those objects made by communities of indigenous people. <a href="http://dos-dos.org/Conversations/Gold-Museum" style="color: rgb(255, 0, 0);">Listen in English</a> with voice interpretation by Janice Guy and Wendy Tronrud.<a href="http://dos-dos.org/Conversations/Gold-Museum" style="color: rgb(255, 0, 0);"> Listen in Spanish</a> with voice interpretation by Mónica de la Torre and Sarah Demeuse. https://juanaberrio.com/untitled-sf 2024-09-17T15:04:23+00:00 always 0.5 https://freight.cargo.site/t/original/i/T1944211441365834437818564113212/Still_Ann-Hamilton_table-2.jpg View of the Books & Editions section at UNTITLED, SF, 2019 https://freight.cargo.site/t/original/i/Y1944223393620062348669471322940/IMG_9604.JPG The Wattis Institute Bar was the stage for UNTITLED ART, SF 2017 talks and panels. https://freight.cargo.site/t/original/i/V1944238748136426982288949932860/Books---Editions_Untitled-2019.jpg View of the Books & Editions section at UNTITLED, SF, 2019 https://freight.cargo.site/t/original/i/W1946063458757938350099118584636/IMG_9284.JPG Gary Garrels leading a tour of Bruce Conner’s exhibition It’s All True at SFMOMA, 2017. https://freight.cargo.site/t/original/i/E1946064149662290886816664810300/IMG_9318.JPG Philomene Magers, Monika Sprüth and Adrian Rosenfeld, 2017. https://freight.cargo.site/t/original/i/S1946065204889838879297855451964/IMG_9359.JPG Christophe Boutin, Omar Lopez-Chahoud, Melanie Scarciglia and Juana Berrío, 2017. https://freight.cargo.site/t/original/i/I1946065550544929332467433632572/IMG_9364.JPG David Ireland, presented by 500 Capp Street, 2017. https://freight.cargo.site/t/original/i/E1946066070650878490708241445692/IMG_9378.JPG Performance of Brent Green’s Study for Lesser Satellites, an installation of three “violin dresses,” 2017. Organized in partnership with the Headlands Center for the Arts. https://freight.cargo.site/t/original/i/M1946067538236943506892748911420/IMG_9417.JPEG Collector Pamela Joyner, 2017. https://freight.cargo.site/t/original/i/N1946067996712320714869944775484/IMG_9255.JPG Collectors and philanthropists Kaitlyn and Mike Krieger, 2017. https://freight.cargo.site/t/original/i/C1946068617279238098532970689340/IMG_9462.JPEG Apsara di Quinzio, Curator at BAMPFA, giving a tour of Michael Armitage, 2017. https://freight.cargo.site/t/original/i/F1946069726647979947351695323964/IMG_9598.JPG Dena Beard, Executive Director of The Lab, 2017.ena Beard, Execituve Director of The Lab https://freight.cargo.site/t/original/i/M1946070541403772194955171099452/IMG_9613.JPEG Writer Dodie Bellamy and Anthony Huberman, Director and Chief Curator of The Wattis Institute, 2017. https://freight.cargo.site/t/original/i/H1946070653652209883477792682812/IMG_9617.JPEG Leigh Markopoulos, Ben Ospital, Erica Tanov, and Tom di Maria , 2017. https://freight.cargo.site/t/original/i/Z1946071057045609287358267421500/IMG_9632.JPG Claudia Schmuckli, Curator of Contemporary Art of the Fine Arts Museums of San Francisco, 2017. https://freight.cargo.site/t/original/i/K1946071387205434718611822244668/IMG_9668.JPG View Attention! We’ve moved, a floating performance and exhibition space installed on-board a boat docked outside the fair, organized by artist Constance Hockaday in partnership with The Lab, 2017. https://freight.cargo.site/t/original/i/P1946072199987425350328375997244/IMG_9682.JPG Hippie Modernism: The Struggle for Utopia panel discussion, 2017. https://freight.cargo.site/t/original/i/A1946096380846554140272983175996/IMG_6485.JPG Claudia Altman Siegel giving a tour of Liam Everett’s exhibition at Altman Siegel, 2018. https://freight.cargo.site/t/original/i/W1946096979609420028811319079740/IMG_6506.JPG Nion McEvoy giving a tour of La Mère, La Mer at McEvoy Foundation for the Arts, 2018. https://freight.cargo.site/t/original/i/U1946183260417902037907416183612/IMG_6599.JPG Carolina Caycedo presentation by Instituto de Visión, 2018. https://freight.cargo.site/t/original/i/X1946184299873483847366940193596/IMG_6602.JPG Hadar Kleiman, presented by R/SF Projects, 2018. https://freight.cargo.site/t/original/i/R1946184845823321452874829820732/IMG_6607.JPG Judith Scott, presented by Creative Growth in UNTITLED, SF’s 2018 Special Projects. https://freight.cargo.site/t/original/i/H1946185666002456458148913771324/IMG_6616.JPG Raque Ford interactive installation, co-presented by CAPITAL and 321 Gallery, 2018. https://freight.cargo.site/t/original/i/Z1946196726670203054396062724924/IMG_7824.JPG Books & Editions’ modular furniture design, 2019. https://freight.cargo.site/t/original/i/Q1946197068635944692823730582332/IMG_7835.JPG Christopher Squier at the Wattis Institute’s table at Books & Editions, 2019 https://freight.cargo.site/t/original/i/F1946197234619747868062276023100/IMG_7841.JPG Luca Antonucci and David Kasprzak at Colpa Press’s table at Books & Editions, 2019 https://freight.cargo.site/t/original/i/A1946197361662474303699958002492/IMG_7842.JPG V. Vale at RE/Search’s table at Books & Editions, 2019 https://freight.cargo.site/t/original/i/D1946197708590390097955495244604/IMG_7855.JPG Robin Wright at the Rite Editions’ table at Books & Editions, 2019 https://freight.cargo.site/t/original/i/H1946199952415445735837934711612/IMG_7887.JPG Fanny Singer at the Permanent Collection’s table at Books & Editions, 2019 https://freight.cargo.site/t/original/i/D1946200384087703804715152077628/IMG_7926.JPG Owl Cave’s table at Books & Editions, 2019 https://freight.cargo.site/t/original/i/K1946201617953521406999640568636/Screen-Shot-2018-12-06-at-2.35.16-PM.png https://freight.cargo.site/t/original/i/B1946201618156435591810445636412/Screen-Shot-2018-12-06-at-9.17.39-AM.png Sketches for Books & Editions’ furniture design, 2019. https://freight.cargo.site/t/original/i/D1946201618064201871441897878332/Screen-Shot-2018-12-06-at-9.04.28-AM.png https://freight.cargo.site/t/original/i/G1946201618119542103663026533180/Screen-Shot-2018-12-06-at-9.16.21-AM.png https://freight.cargo.site/t/original/i/E1946201924206366518725616497468/Image7.jpg Postcommodity, The Emergency Has Been Everyday (detail), 2018, presented by the San Francisco Art Institute, in UNTITLED, SF’s Special Projects section, 2019. https://freight.cargo.site/t/original/i/I1946201924224813262799326049084/last_weaving.jpg Miguel Arzabe, Last Weaving, 2018, presented by Minnesota Street Projects Studio Program, in UNTITLED, SF’s Special Projects section, 2019. https://freight.cargo.site/t/original/i/S1946201924243260006873035600700/Marc-Camille-Chaimowicz.jpg Marc Camille Chaimowicz, Autumn 2015, 2015, presented by Andrew Kreps, in UNTITLED, SF’s Special Projects section, 2019. https://freight.cargo.site/t/original/i/O1946201924187919774651906945852/IC-98_Kustaa_Saksi_web-1212x808.jpg IC-98, A World in Waiting (78°14'08.4"N 15°29'28.7"E) (detail), 2017, presented by MAKASIINI CONTEMPORARY, in UNTITLED, in UNTITLED, SF’s Special Projects section, 2019. https://freight.cargo.site/t/original/i/M1946201924114132798357068739388/exercise-living_flying-chicken_02.jpg Kuang-Yu Tsui, Exercise Living, 2017 – 2018, projected video, presented by the Chinese Culture Center San Francisco, in UNTITLED, SF’s Special Projects section, 2019. Etcetera. 💬 https://freight.cargo.site/t/original/i/I1947059293324036708646422213436/Ann-Hamilton_Table_Excerpt_low.mov Ann Hamilton, Table, 2013 – 2014, projected video (excerpt: 0:32 of 11:32), presented by Anglim Gilbert Gallery, in UNTITLED, SF’s Special Projects section, 2019. https://freight.cargo.site/t/original/i/X1947088958271051403924757967676/IMG_7836.JPG One Star Press’s table at Books & Editions, 2019 https://juanaberrio.com/art-gives-back 2024-09-17T15:04:24+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg https://freight.cargo.site/t/original/i/X1941376402903447391193159070524/ART-GIVES-BACK_poster-2-2.JPG Art Gives Back poster design and graphic identity donated by Jose Berrío Lesmes. https://freight.cargo.site/t/original/i/F1941376402774320182677192209212/ART-GIVES-BACK_flyerWeb2.jpg https://freight.cargo.site/t/original/i/X1941439082467946150372470321980/af17ff69-aae5-49cd-afe8-97f3caf68e81.JPG Minnesota Street Project atrium view https://freight.cargo.site/t/original/i/P1941439451993123434922208293692/8CF487FF-3020-47E7-8E19-1178E0CF2A3A.JPG https://freight.cargo.site/t/original/i/A1941439967727194247693852373820/IMG_4971.MP4 https://freight.cargo.site/t/original/i/M1941440340997060579206629323580/IMG_6815.JPG Auction room view https://freight.cargo.site/t/original/i/F1941440773259614458442552341308/IMG_6819.JPG Auction room view https://freight.cargo.site/t/original/i/D1941440851732063748002984915772/IMG_6820.JPG Auction room view https://freight.cargo.site/t/original/i/F1941440930167619549415998387004/IMG_6821.JPG Auction room view https://freight.cargo.site/t/original/i/M1941441418139340531254767285052/IMG_6839.jpg The Roar Winery team offering a free wine tasting during the silent auction https://freight.cargo.site/t/original/i/U1941441628358435995248817500988/IMG_6841.JPG Volunteers Monica Westin and Bean Gilsdorf at the auction table https://freight.cargo.site/t/original/i/K1941442104044625423997025022780/IMG_6851.JPG Volunteers Gwen Allen and Alex Pappas at the ticketing desk. https://freight.cargo.site/t/original/i/E1941442395521628532681650107196/IMG_6855.JPG Auction room view https://freight.cargo.site/t/original/i/J1941443191019019967332353995580/IMG_6863.JPG View of the collaborative drawing table with artists Rebeca Bollinger and Ishan Clemenco https://freight.cargo.site/t/original/i/S1941444283601224709075386659644/IMG_6879.JPG Art Gives Back supporters during performances https://freight.cargo.site/t/original/i/G1941444771775859875724960625468/IMG_6888.JPG Volunteer masters of ceremony, Jordan Kantor and Jordan Stein Etcetera. 💬 https://freight.cargo.site/t/original/i/X1941450563389416233870624191292/IMG_6914.JPG The Anna Halprin Performance Lab performance https://freight.cargo.site/t/original/i/O1941453289006533588899132764988/IMG_6929.JPG https://freight.cargo.site/t/original/i/U1941454841798109481548059145020/IMG_6958.MOV Excerpt from introductions by Sara Velten (from The Latino Community Foundation) and Juana Berrío https://freight.cargo.site/t/original/i/Z1941456619455495632716419724092/www_artgivesback_org_partners--contributors_html-0.jpg Screen capture of the Art Gives Back website showing the list of donors and partners, as well as some volunteers and contribuitors. The list of volunteers kept growing so apologies if you don’t see your name listed here. https://freight.cargo.site/t/original/i/O1941485466400091123418398618428/James-Cagney_low.mov Excerpt from James Cagney’s poetry reading https://freight.cargo.site/t/original/i/Y1941488429279230754499160077116/Tongo-Eisen-Martin.mov Excerpt from Tongo Eisen-Martin’s poetry reading https://freight.cargo.site/t/original/i/L1948584007295242205001383047996/dc3fc471-053b-4ecd-967f-1bb44340b47d-2.JPG Atrium view during The Anna Halprin Performance Lab performance, introduced by Adrian Arias https://freight.cargo.site/t/original/i/E1948602827419862710508033307452/Gullermo-Galindo_Sonic-performance_Art-Gives-Back.mov Excerpt from Guillermo Galindo’s sonic performance https://freight.cargo.site/t/original/i/X1950367761791478336211509998396/IMG_6395.jpg Art Gives Back poster prints donated by Luca Antonucci from Colpa Press https://freight.cargo.site/t/original/i/J1952139261211735842554730410812/www_artgivesback_org_full-program_html-0.jpg <div style="text-align: center">Screen captute of the Art Gives Back website showing the program of the in person fundraising event on January 21, 2018 at Minnesota Street Project.</div> https://juanaberrio.com/chris-mann 2024-09-12T02:46:39+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg Postcard with acrostic poem by John Cage dedicated to Chris Mann. https://freight.cargo.site/t/original/i/E1936807441905477956045524333372/image-asset.gif https://freight.cargo.site/t/original/i/X1936807442034605164561491194684/Mann_TheUse_Postcard_Bloom.jpg Postcard by Barbara Bloom for Chris Mann, 2016. https://freight.cargo.site/t/original/i/D1936807441979264932340362539836/Mann_TheUse_Book_inside1.jpg The Use by Chris Mann, 2016. https://freight.cargo.site/t/original/i/Z1936807442016158420487781643068/Mann_TheUse_Book_Postcards.jpg The Use by Chris Mann, 2016 and postcards by Barbara Bloom, Herbet Brün, John Cage, Henri Chopin, Bill Dietz, Jeff Glassman, Tom Hamilton, Hanna Hurtzig, Alvin Lucier, Claire Mandel, Chris Mann, Matthias Osterwold, Vanessa Place, Larry Polansky, and David Watson. https://freight.cargo.site/t/original/i/I1936807441997711676414072091452/Mann_TheUse_Book_inside2.jpg The Use is a book of writing by Chris Mann. It is also a translation of his ongoing web project <a href="http://theuse.info/" target="_blank">THEUSE.INFO</a>. Materially, it is as humble as a book can get. Exposed glue binding, newsprint, pocket sized—it almost apologizes in your hand. A life of work presented like a small phone book, good call. The writing is undomesticated and has difficult pages, pages that sometime track their own difficulty.—<a href="http://yaleunion.org/" target="_blank">yaleunion.org</a> https://freight.cargo.site/t/original/i/P1936808300951902724625633538876/IMG_0878-1.JPG Chris Mann: things i’d like to have said performance at The Lab on March 26, 2016. https://freight.cargo.site/t/original/i/O1936808300988796212773052642108/IMG_0881-1.JPG Chris Mann: things i’d like to have said performance at The Lab on March 26, 2016. https://freight.cargo.site/t/original/i/I1936812891829993836869163316028/Postcard-CM-Lucier-front-.jpg Postcard by Alvin Lucier for Chris Mann, 2016. https://freight.cargo.site/t/original/i/S1936812891663973140205777351484/CM_Cage_poem.jpg Postcard with acrostic poem by John Cage dedicated to Chris Mann. https://freight.cargo.site/t/original/i/T1936841472680306064310860149564/Chris-Mann_SF-2.JPG Chris Mann at the 24th Street Bart station the day of his arrival to San Francisco on March 23, 2016. https://freight.cargo.site/t/original/i/P1936845484588887679106402906940/Documentation of Chris Mann's theuse.info Documentation of Chris Mann’s theuse.info website. https://freight.cargo.site/t/original/i/K1936884373867169920993443345212/IMG_0876-1.JPG Chris Mann: things i’d like to have said performance at The Lab on March 26, 2016. https://juanaberrio.com/matt-mullican 2024-09-17T15:04:25+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg Exhibition view. Matt Mullican: Representing the Work, 2019. Image courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/I1936368089640661895035695821628/_DSC6755.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/R1936368089308620501708923892540/_DSC6719.jpg Exhibition detail. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/D1936368089548428174667148063548/_DSC6747.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/H1936368089437747710224890753852/_DSC6735.jpg Exhibition detail. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/L1936368089696002127256824476476/_DSC6845.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/N1936368089419300966151181202236/_DSC6732.jpg Exhibition detail. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/M1936368089456194454298600305468/_DSC6736.jpg Exhibition detail. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/Q1936368089400854222077471650620/_DSC6731.jpg Exhibition detail. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/H1936368089677555383183114924860/_DSC6833.jpg Exhibition detail. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/V1936368089585321662814567166780/_DSC6750.jpg Exhibition detail. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/T1936368089474641198372309857084/_DSC6737.jpg Exhibition detail. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/C1936368406094556479523053794108/_DSC6773.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/D1936368406002322759154506036028/_DSC6763.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/R1936368406113003223596763345724/_DSC6777.jpg Exhibition detail. Matt Mullican. Representing the Work, 2019. Courtesy of the artist and NC-arte https://freight.cargo.site/t/original/i/J1936368406057662991375634690876/_DSC6769.jpg Exhibition detail. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/K1936368406020769503228215587644/_DSC6764.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/G1936368406039216247301925139260/_DSC6768.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/S1936368405965429271007086932796/_DSC6760.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. Represented on the bedsheets are photographs that document his first performances and hypnotic trances, still images of fictitious architectural and urban spaces created with a supercomputer from the late 80s, as well as multiple pictograms and graphic explorations that address the concepts of life and death, the relationship between sign and form, as well as the division between fiction and reality. https://freight.cargo.site/t/original/i/J1936368406076109735449344242492/_DSC6771.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. By representing his and That Person's work in a single installation, the artist was not only immortalizing decades of his work, but he was also making evident various questions that lie at the core of his artistic practice: What is it that visual, verbal and written language really represent? Is this the representation of what we perceive through our senses and then process through our brain, or of how we perceive things? For Mullican, these questions encapsulate the fundamental problems at the center of art and language in general. https://freight.cargo.site/t/original/i/W1936374826188683428953140917052/_DSC6782.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. https://freight.cargo.site/t/original/i/P1936728137342009974648786023228/fbfbf5e1-7107-46e8-b351-33b2c44b8ede.JPG Matt Mullican’s performative reading of The Birth to Death List during the opening of Representing the Work at NC-arte. https://freight.cargo.site/t/original/i/V1936728345624197310903333319484/IMG_0287-2.JPG Matt Mullican’s performative lecture at Universidad de los Andes, Bogotá. https://freight.cargo.site/t/original/i/T1936728345568857078682204664636/IMG_0274.JPG Matt Mullican’s performative lecture at Universidad de los Andes, Bogotá. When I was a student at CalArts, I experienced a lecture by Richard Serra. He lost his slides and couldn’t show any pictures. He only had a whiteboard and it was the best lecture ever! I made a note to myself that I wanted my lectures to start at ground zero. So in the first part of the lectures I draw, in the second come the pictures and in the third come the video. At the beginning I’m in an empty space and I have to tell the audience who I am and what I do. The pictures act as a false memory, but they are very accurate. I see myself performing in that medium and I comment on it. — Matt Mullican’s interview with Edith Jeřábková and Eva Kot’átková for Institut Úzkosti. https://freight.cargo.site/t/original/i/A1936735074277012381273090323260/Matt-Mullican_Performative-Lecture_Uniandes.mov Fragment of Matt Mullican’s performative lecture at Universidad de los Andes, Bogotá https://freight.cargo.site/t/original/i/Z1936741255135315438764002538300/Matt-Mullican-Birth-to-Death-List-Performance_low.mov Fragment of Matt Mullican’s performative reading of The Birth to Death List during the opening of Representing the Work at NC-arte. https://freight.cargo.site/t/original/i/N1936761635762250859730171753276/Matt-Mullican_Birth-to-Death-List_-NC-arte.jpg Matt Mullican’s performative reading of The Birth to Death List during the opening of Representing the Work at NC-arte. https://freight.cargo.site/t/original/i/D1942223363648688175310270526268/_DSC6754.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Courtesy of the artist and NC-arte. While Mullican’s work has always explored different outlets to represent his own existence, Representing the Work, as its title implies, was a large scale installation that re-presented the trajectory of his work via numerous groups of images that follow a specific sequence organized by the artist. https://freight.cargo.site/t/original/i/Q1944244651740166611925301359420/Matt-Mullican_Representing-the-Work_detail_sheets.jpg Exhibition view. Matt Mullican: Representing the Work, 2019. Image courtesy of the artist and NC-arte. https://juanaberrio.com/something-you-can't-see 2024-09-17T15:04:25+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg David Wojnarowicz. What is this little guy's job in the world, 1990. Courtesy of the Estate of David Wojnarowicz and P•P•O•W, New York. https://freight.cargo.site/t/original/i/G1932703806409341293840908055356/1990-What-s-This-Little-Guy-s-Job-in-the-World-13.5x19.jpg David Wojnarowicz. What is this little guy's job in the world, 1990. Courtesy of the Estate of David Wojnarowicz and P•P•O•W, New York. https://freight.cargo.site/t/original/i/T1932907796703414382829087126332/sherman_eleventh-300dpi.jpg Stuart Sherman. Still images of video selections from the Eleventh Spectacle (The Erotic) and Eighth Spectacle (People's Faces), c.1979. Courtesy of Electronic Arts Intermix (EAI), New York. Artist, performer, filmmaker, and writer Stuart Sherman originally came from a background in experimental theater. Between 1975 and 1994, he developed a series of thematic “spectacles.” He invented a unique style and format in which he would create relationships and situations between small and cheap objects that he manipulated with quick and assertive movements, similar to those used by magicians and street hustlers. These short plays, presented on a card table, sometimes in small theaters or domestic settings, but also in parks and other urban public areas, allowed the objects to gain a life and personality of their own, and to become metaphors for how humans interact with each other and the world. While he developed a rigorous and methodic performative style, his spectacles were filled with vulnerability, humor and meditative attention, as if engaged in a shamanistic ritual. https://freight.cargo.site/t/original/i/B1932907796684967638755377574716/sherman_eighth-300dpi.jpg https://freight.cargo.site/t/original/i/V1932907796721861126902796677948/sherman_eleventh2-300dpi.jpg https://freight.cargo.site/t/original/i/S1932909130255436959439992550204/Gordon_Parks_high_res.jpg Gordon Parks. Invisible Man Retreat, Harlem, New York, 1952. Courtesy of The Gordon Parks Foundation. Gordon Parks was born in segregated Kansas. The youngest of fifteen children, he used to recall a childhood of poverty and racism yet blessed by family love. However, all hope seemed lost when he was sent to live with his sister in Minnesota after his mother died, but was soon thrown out and forced to find a way to live on his own. It was during this time that he learned to turn his anger into a creative force and taught himself how to use a camera. He became a photojournalist and magazine photographer, and, by the 1940s, he was well-known for his iconic photographic essays in Life magazine and for the memorable pictures he took of celebrities and politicians, such as Muhammad Ali and Malcolm X. He later became the first African American to produce and direct major motion pictures, developing films relating to the experience of slaves and struggling black Americans, and creating the "blaxploitation" genre as the director of the 1971 film Shaft. By the late 1940s, Parks was a successful photographer and Ralph Ellison was an established author working on his novel, Invisible Man, which would be published a few years later. Inspired by their shared belief in racial injustice and the communicative power of images, Parks and Ellison collaborated on several occasions. In the August 25th issue of Life magazine, in 1952, they published an article accompanied by a series of photographs titled “A Man Becomes Invisible: Photographer Recreates the Emotional Crisis of a Powerful New Novel,” on the occasion of Ellison’s book release. Invisible Man Retreat, Harlem, New York, 1952 was one of the photographs included in the article. It illustrates a scene in Ellison’s novel, where the unnamed protagonist describes a “hole” he built under the streets of New York to keep himself warm. But this underground retreat was ultimately a place to satisfy the protagonist’s desire to no longer feel invisible, and so he covered its ceiling and walls with hundreds of lightbulbs, revealing the presence of his own body. In this scene, the protagonist also describes a radio-phonograph he had in this room and his plan to have five of them, all playing at the same time, so that he would be able to hear Louis Armstrong singing and playing “What Did I Do to Be so Black and Blue” and to feel the vibrations of the sounds in his body. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination—indeed, everything and anything except me. (From Ralph Ellison’s Invisible Man, 1952) https://freight.cargo.site/t/original/i/Z1932909711825937371281026347836/DS-856-detail.jpg https://freight.cargo.site/t/original/i/L1932910724699760970525086479164/Something_Stanley_Brouwn_detail.jpg stanley brouwn. Constructed Walk — 3000 Steps, 1971. Collection of Nell and Jack Wendler. Photo by Kevan Jenson) stanley brouwn was a conceptual artist interested in space. Between 1960 and 1964, he produced the seminal series This Way Brouwn by asking passers-by to sketch the way from A to B for him on a piece of paper, which he would then appropriate as his own work by adding his stamp “This Way Brouwn.” This stack of three grey metal filing cabinets contain 3000 index cards that provide a precise record of steps, which adds up to 2,583,453 millimeters, with each step measuring somewhere between 840 and 880 mm. Whether or not the artist physically took these steps remains unclear, but with this work, he boldly claims that his body navigated, and therefore occupied, a precise portion of space. By typing each card manually, the artist highlights the uniqueness of each step and the variations inherent in the mark left by each moment of physical contact between the body and the space it encounters. https://freight.cargo.site/t/original/i/M1932910724681314226451376927548/Something_Shannon_Ebner.jpg Shannon Ebner. (From left to right) Symbolic Command Signal No. 2, 2009. Symbolic Command Signal No. 3, 2009. Symbolic Command Signal No. 1, 2009. Courtesy of the artist and Altman Siegel, San Francisco. Photo by Kevan Jenson. Shannon Ebner’s work is situated at the cross-section between photography and language. She brings together her own photographs with various forms of writing, such as poetry or political speech. She often uses cardboard, wood, or cinder blocks to construct physical letters or phrases, which she then photographs in the studio or in an outdoor landscape. In the triptych Symbolic Command Signals No. 1, 2 & 3 (2009), Ebner combines three photographs of pedestrian-crossing signals. While these objects usually provide a clear and unambiguous message to pedestrians, the symbols in Ebner’s images appear to overlap and to lose their distinct separations, telling viewers to “walk” and “not walk” at the same time. https://freight.cargo.site/t/original/i/X1932910724533740273861700514620/Something_DavidWilson_WalkToAPlace.jpg David Wilson. Walk to a Place, 2018. Courtesy of the artist. Photo by Kevan Jenson. https://freight.cargo.site/t/original/i/J1932910724570633762009119617852/Something_Phillip_Greenlief.jpg Phillip Greenlief. (From left to right) BELLINGHAM FOR DAVID IRELAND, 2017. THE FIFTY STATES for Tenor Saxophone (part 1), 2016. MUIR WOODS for 2 + 2, 2015. THE STATES UNITED for William S. Burroughs, 2017. YERBA BUENA, 2018. Courtesy of the artist. Photo by Kevan Jenson. In the early 2000s, the saxophonists Phillip Greenlief and Jon Raskin began refining their use of graphic scores for their performances of improvised music. Raskin used leaves and twigs or images of things that he found in his local environment, and Greenlief used maps, which have been a lifelong fascination for him. Both wanted to make scores that combined a visual aesthetic with an engaging score for improvisers. Since then, Greenlief has continued making different types of map scores, and this marks the first time any of them have been exhibited publicly. https://freight.cargo.site/t/original/i/U1932910724349272833124604998460/IMG_Catherine-Opie_Untitled16c-1.jpg Catherine Opie. Untitled #16 - Freeway Series, 1994. Courtesy of the artist and KADIST. Photographer Catherine Opie is mostly known for her color portraits representing queer communities in Southern California. However, in the mid-1990s, observing the ways in which identity is shaped by architecture, she created a series of images of freeways. With these panoramic photographs, the artist deliberately avoided showing people, cars, or any other elements besides the architectural structures. Through this body of work, the artist wanted to bring attention to the fact that while freeways are meant to connect different urban and suburban areas, they are also structures that separate and segregate communities within cities. SOMArts, for example, is in close proximity to one such freeway, and the underpass is the intersection of various communities and stories. At first, Opie had originally planned to print these images as large murals, but after developing the contact prints, she recognized that the sharp details revealed in a platinum print and the small scale could be a more powerful way to address the large and imposing presence of these architectural structures. https://freight.cargo.site/t/original/i/H1932910724755101202746215134012/Something_Yuji_Agematsu_detail_2.jpg https://freight.cargo.site/t/original/i/Q1932910724515293529787990963004/Something_David_Wilson.jpg David Wilson. (Left) Walk to a Place, 2018. (Right) It Will Change, 2016. Courtesy of the artist. Photo by Kevan Jenson. For years, Oakland-based artist David Wilson has been making what he calls “pocket drawings”: he takes a folded piece of paper that he can fit into his pocket and uses it to record the landscape he encounters during his frequent walks through the city. He draws quickly and spontaneously, and since these pages live in his pocket, they also become the surface the artist uses to record everything from shopping lists, notes to self, addresses, songs he wants to add to his playlists, etc. It Will Change is an example of one of his pocket drawings. On the occasion of this exhibition, Wilson created a self-guided walking tour departing from SOMArts into the surrounding neighborhood. Exhibition visitors were welcome to take a copy of it and follow the instructions made by the artist. One of the suggestions was to take an object found during the walk, bring it back to SOMArts, and leave it on the gallery floor near Wilson’s work. These objects accumulated over the course of the exhibition. https://freight.cargo.site/t/original/i/Q1932910724552187017935410066236/Something_Davina_Semo.jpg Davina Semo. MAYBE SHE FELT THE SAME, OR MAYBE HER HEAD WAS SOMEWHERE ELSE, 2018. Courtesy of the artist and Jessica Silverman Gallery, San Francisco. Photo by Kevan Jenson. Davina Semo often uses heavy construction materials and found objects that have already been used, scarred, and marked, and assembles them in ways that challenge the notions of power that these materials imply. These abstract assemblages, instead of celebrating the harmonious unity of different parts, point to the tension and separation inherent in built environments. In the case of this new work, a thin piece of metal creates a barrier, to which the artist added a steel wire rope to draw a delicate line. To title her works, Semo uses literature, text messages, sports commentary, and excerpts from overheard conversations as a way to contrast the heavy physicality of the sculptures with a more poetic and narrative dimension, as if the metallic materials were part of a story and had an expanded life of their own. By doing this, the artist points to the connection between the type of artworks that exists in an art exhibition and the “artworks” created naturally on the street every day. https://freight.cargo.site/t/original/i/D1932910724625973994230248272700/Something_Senga_Nengudi_Front.jpg Senga Nengudi. R.S.V.P. Reverie-0, 2015. Courtesy of Lévy Gorvy, New York and Thomas Erben Gallery, New York. Photo by Kevan Jenson. https://freight.cargo.site/t/original/i/A1932910724386166321272024101692/Something_Abraham_Cruzvillegas.jpg Abraham Cruzvillegas. Wright Imperial Hotel, 2004. Courtesy of the artist and KADIST. Photo by Kevan Jenson. Abraham Cruzvillegas grew up in Ajusco, a district located to the south of Mexico City, where poverty and the lack of infrastructure, combined with a landscape of volcanic rock, form the backdrop of a life in constant state of transformation. Cruzvillegas recalls that in this context, it was common for people to become construction workers – not because they had materials, a budget, or architectural training, but because “the main material they had was scarcity, so they made houses out of that.” In Mexico, this type of construction and improvisation is known as autoconstrucción, or “self-construction,” which is not a technique, but a way of living. Inspired by this, the artist appropriated this term and calls his entire oeuvre Autoconstrucción, creating sculptural works that are assemblages of ordinary found objects. Instead of replicating the architectural forms of autoconstrucción, the artist sought to pursue the idea of making something out of nothing. Named after the Wright Imperial Hotel, a Tokyo luxury hotel designed by Frank Lloyd Wright that was used mostly by foreigners, this sculpture involves a phone book pierced with arrows. A phone book attempts to account for a city’s inhabitants within the space of a single book but missing from its pages are all those who don’t have a phone number, which may include the homeless and the indigenous communities. While spending time in São Paulo, in Brazil, the artist learned about the Brazilian indigenous populations and inserted arrows he found there into the pages of a local phone book as bookmarks. https://freight.cargo.site/t/original/i/A1932910724589080506082829169468/Something_PhillipGreelief_YERBABUENA.jpg Phillip Greenlief. YERBA BUENA, 2018. Courtesy of the artist. Photo by Kevan Jenson. https://freight.cargo.site/t/original/i/E1932910724736654458672505582396/Something_Yuji_Agematsu_detail_1.jpg https://freight.cargo.site/t/original/i/K1932910724791994690893634237244/Something_Yuji_Agematsu.jpg Yuji Agematsu. zip:09.01.05...09.31.15, 2015. Collection of Kaitlyn and Mike Krieger. Photo by Kevan Jenson. Artist and experimental musician Yuji Agematsu emigrated to New York from Japan in 1980. His time was quickly consumed by his need to make a living, and, left with little time to make art, he began a habit of finding objects on the street as he would walk from place to place in the city. He soon turned this habit into a routine and took long walks in New York as well as in cities in South America, Europe, Asia, or elsewhere in the United States. As he walks, Agematsu collects small pieces of debris and trash from the sidewalk. When he is back in his studio, he empties his pockets and carefully places the found fragments inside a cigarette pack’s clear cellophane wrapper. Each “vitrine” is named after the dates during which the objects were collected, and zip: 01.01.15 . . . 01.31.15 features Agematsu’s findings and arrangements on each day of January 2015. https://freight.cargo.site/t/original/i/O1932910724607527250156538721084/Something_Senga_Delcy.jpg (Left) Senga Nengudi. (Right) Delcy Morelos. Photo by Kevan Jenson. Senga Nengudi. R.S.V.P. Reverie-0, 2015. Courtesy of Lévy Gorvy, New York and Thomas Erben Gallery, New York. As an active member of the community of African American artists in Los Angeles and New York in the 1970s and 1980s, Senga Nengudi was influenced by feminism, African and Japanese dance, music, and religious rituals. She used a mixture of natural and synthetic materials, often transformed into forms that could be worn, touched, used, and brought to life. Nengudi has said that her R.S.V.P. series grew out of the changes she experienced with her own body during her first pregnancy, and, more generally, out of the shared experience of womanhood. The works in this series are made with flesh-colored pantyhose that the artist stretches and fills with sand, creating bulbous shapes and overly extended lines. They evoke the artist’s interest in how the human body is the recipient of, and becomes transformed by, life events, struggle, and resilience: “I am working with nylon mesh because it relates to the elasticity of the human body. From tender, tight beginnings to sagging…the body can only stand so much push and pull until it gives way, never to resume its original shape.” For the artist, however, the female psyche is more resilient, and, like the pantyhose, it can “stretch, stretch, stretch and come back into shape.” https://freight.cargo.site/t/original/i/Y1932920914164678453617531712316/Something_Reading_Room_1.jpg https://freight.cargo.site/t/original/i/T1932936058000779021400221315900/zoe-leonard-two-trees_low.png Zoe Leonard. Two trees, 1998. Collection of Nion McEvoy. What I’ve always liked about photography is that it’s such a direct way of showing what’s on my mind. I see something. I show it to you. When I returned to New York, the tree outside my window attracted my attention in a whole new way. Once I had photographed it, I began to notice similar trees throughout the city ... I was amazed by the way these trees grew in spite of their enclosures – bursting out of them or absorbing them. The pictures in the tree series synthesize my thoughts about struggle. People can’t help but anthropomorphize. I immediately identify with the tree. At first, these pictures may seem like melancholy images of confinement. But perhaps they’re also images of endurance. And symbiosis. — Zoe Leonard https://freight.cargo.site/t/original/i/V1932946479562630439906244981564/Something_Shannon_Ebner_David_Wilson.jpg (Left) Shannon Ebner. (Right) David Wilson. Photo by Kevan Jenson. https://freight.cargo.site/t/original/i/C1933034256070015433520206213948/HAMMONS_PhatFree_1.jpg https://freight.cargo.site/t/original/i/D1933034256088462177593915765564/HAMMONS_PhatFree.jpg https://freight.cargo.site/t/original/i/V1933034256106908921667625317180/HAMMONS_PhatFree2.jpg https://freight.cargo.site/t/original/i/D1933042599108084858655082443580/2_Something_Install_View_panoramic.jpg Something (you can’t see, on the other side, of a wall from this side) casts a shadow exhibition view. Photo by Kevan Jenson. https://freight.cargo.site/t/original/i/Q1933042925523221242945598288700/3_Something_Install_View.jpg Something (you can’t see, on the other side, of a wall from this side) casts a shadow exhibition view. Photo by Kevan Jenson. https://freight.cargo.site/t/original/i/U1933043304825172886561398616892/5_Something_Senga_Delcy_Zoe.jpg Something (you can’t see, on the other side, of a wall from this side) casts a shadow exhibition view. Photo by Kevan Jenson. https://freight.cargo.site/t/original/i/R1933043553966898346082602742588/6_Something_SengaNengudi_DavidHammons.jpg (Right) David Hammons. Phat Free, 1995/9. Kramlich Collection. (Left) Senga Nengudi. R.S.V.P. Reverie-0, 2015. Courtesy of Lévy Gorvy, New York and Thomas Erben Gallery, New York. Photo by Kevan Jenson. Phat Free begins with nothing but a series of loud, metallic sounds that could be heard throughout the entire exhibition space. After a few minutes, the source of the sound is revealed with the appearance of the ghostly image of man kicking a bucket down the street at night. As one of the few known videos by David Hammons, Phat Free expands on the artist’s interests in visibility and invisibility, in claiming tangible and intangible spaces systematically made unavailable or threatening to disenfranchised communities, as well as his habit of wandering the streets as a way to encounter situations, people, and objects that he then incorporates into his work in different ways. https://freight.cargo.site/t/original/i/S1933043777578330007589787431740/Something_CHendrickson_DWilson_DSemo_PGreelief-1.jpg Carl Hendrickson. (Left) Untitled, 2009. (Right) Untitled, 2010. Courtesy of Creative Growth, Oakland. Photo by Kevan Jenson. Carl Hendrickson’s explorations of the way wood works are extravagant, magical, and yet paradoxically pragmatic. While cerebral palsy prevented him from pursuing very many projects—he communicated not in words but through emphasis of gesture and gaze—Hendrickson produced a small, strong body of work that exhibited great architectural prowess and ingenuity. His medium was primarily wood, a material with which he took infinite pains, making certain that each piece of wood was cut and fitted exactly as he had envisioned. He was one of the earliest group of artists to attend Creative Growth Art Center in Oakland, beginning in 1976, where he worked until his death in 2014. — Creative Growth https://freight.cargo.site/t/original/i/X1933044005358725829755330786108/Something_Delcy_Morelos.jpg Delcy Morelos. Adentro (Inside), 2010. Courtesy of the artist. Photo by Kevan Jenson. Over the course of the past three decades, Delcy Morelos has produced a range of paintings, sculptural objects, and large-scale site-specific projects. Her two primary materials are dirt and various tonalities of red paint, but instead of combining them, she expands their individual possibilities: she makes abstract red paintings on canvas but also creates three-dimensional objects by layering and manipulating paint. In the same sense, while she uses dirt collected in different parts of the world to make large site-specific installations, she also uses it as a pigment to paint with. Although Adentro (Inside), at first glance, appears to be a rigid square, it is composed of a range of organic, flexible, and changing elements. For Morelos, the body cannot be disassociated from the land and nature at large. In this piece, the artist applied many layers of red paint over a natural fiber mesh, which she then folded, creating a relationship between what is underneath the skin of a human body and the earth that lies underneath the surface of the ground. With this work, Morelos points to the fact that no matter what skin color a body may have, the color of its internal organs is the same, and no matter how land is partitioned and built on, the color of its dirt underground is also the same. https://freight.cargo.site/t/original/i/Z1933045157302553000695700550460/Something_Install_View_1.jpg Carl Hendrickson. (Left) Untitled, 2010. (Right) Untitled, 2009. Courtesy of Creative Growth, Oakland. Photo by Kevan Jenson. https://freight.cargo.site/t/original/i/J1933045266101449547434635981628/Something_Install_view_3.jpg A.K. Burns. Unknown Unknown, 2016. Courtesy of the artist and KADIST. Photo by Kevan Jenson. In a 2002 press conference, former Secretary of Defense Donald Rumsfeld answered a question about the alleged weapons of mass destruction in Iraq by explaining that there are known knowns, known unknowns, and unknown unknowns. The artist A.K. Burns used these phrases in a trilogy of similar steel sculptures. Resembling the black metal fences that appear throughout public spaces in many urban centers, Unknown Unknown incorporates these words within the vertical bars of its steel grid. In an expanded and more general sense, an “unknown unknown” could refer to the many different types of people who share city streets and who are unknown to each other. This reality is an obstacle but also an opportunity: it creates a division between people but also an invitation to engage. In a similar way, this metal gate, as an object in the gallery space, is both a barrier as well as a site for potential interaction and exchange. https://freight.cargo.site/t/original/i/Z1933100258963033024064917500732/Philipp_Greenlief_Graphic_Scores_Performance.jpg The YERBA BUENA map score was commissioned for this exhibition, which included a debut of the piece performed by Greenlief at the opening of the exhibition. I’m thinking of YERBA BUENA as a kind of geological excavation project to investigate the history of San Francisco. My central idea for this piece is the tragedy of having your language stolen, outlawed. So my thought was to write fragments of various myths from the native tribes of the Bay Area onto the main page and then superimpose a collage of music manuscripts, map cutouts, drawings and words from the Urebure, Yelamu, Tamyen, Chalon, Chochenyo, and Bay Miwok tribes on top of it, so that only a few words here and there emerge. —Phillip Greenlief https://freight.cargo.site/t/original/i/H1933132073988749974633751409468/Something_David_Wilson_It_Will_Change_unframed.jpg David Wilson. It Will Change, 2016. Courtesy of the artist. Photo by Kevan Jenson. https://freight.cargo.site/t/original/i/C1933180539654410409876289123132/Something_reading-room.jpg View of the exhibition’s reading room. The selection included books about or chosen by the artists in the show, as well as books by the writers in the event that took place on July 26th. https://freight.cargo.site/t/original/i/F1933190214362934516103696511804/Something_ShannonEbner_ReadingRoom.jpg https://freight.cargo.site/t/original/i/H1933211084179076027773465031484/Something_Daphne_Gottlieb.jpg Daphne Gottlieb. https://freight.cargo.site/t/original/i/P1933211171450622240493353726780/Something_Dodie_Daphne_Tongo_1.jpg On Thursday, July 26, writers Dodie Bellamy, Daphne Gottlieb, and Tongo Eisen-Martin had a conversation in response to the exhibition and offered readings from each of their work. The title of the exhibition is borrowed from a writing exercise that poet Ed Roberson gave to his students while he was a Visiting Professor at UC Berkeley in 2014. The assignment appears in Dodie Bellamy’s essay “In the Shadow of the Twitter Towers,” published in her collection When the Sick Rule the World (semiotext(e), 2015), which forms the basis for the reading room that was also part of the exhibition. https://freight.cargo.site/t/original/i/N1933213434626312411697112838972/Something_reading_Tongo_Eisen-Martin.jpg Tongo Eisen-Martin. https://freight.cargo.site/t/original/i/O1933214527282304129734983709500/Something_reading_Dodie_Bellamy.jpg Dodie Bellamy. https://juanaberrio.com/arboreal 2024-09-17T15:04:26+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg Aycoobo (Wilson Rodríguez). Calendario Ancestral (Ancestral Calendar), 2020. Courtesy of the artist and Instituto de Visión. https://freight.cargo.site/t/original/i/Z1931784813858610796833749758780/slsh_032421_024_prs.jpg Helen Mirra. Ballou, 2006. Image courtesy of the artist and / (slash). Ballou is composed of three pine cones Mirra found in the Grünewald forest while in residence in Berlin, and a fragment of a wooden shipping pallet, cut into its form by the artist. While a pallet is connected to systems of industrialized transportation, this sculpture brings the pallet back into relationship with the trees it was cut from. Its title refers to Hosea Ballou, an 18th Century theologian who played an important role in American Unitarian history. Mirra’s first deep encounter with the forest was at a Unitarian summer camp she attended as a child in the Adirondacks. She grew up with the Unitarians’ egalitarian and democratic values intertwined with the formative experience of being in the woods with them in play. https://freight.cargo.site/t/original/i/I1931784813987738005349716620092/slsh_032421_031_prs.jpg Delcy Morelos. Paisaje (Landscape), detail, 2021. Image courtesy of the artist and / (slash). https://freight.cargo.site/t/original/i/U1931784813581909635728106484540/slsh_032421_009_prs.jpg Arboreal exhibition view. https://freight.cargo.site/t/original/i/U1931784813821717308686330655548/slsh_032421_022_prs.jpg Helen Mirra. May, April, 2017/2019. Image courtesy of the artist and / (slash). For Mirra, the practice of walking is completely intertwined with her practice of weaving. While her woven works are not a direct record of her daily long-distance walks––as is the case in her Field Recordings series––walking is a parallel companion practice to weaving. They take place in the same mind-heart space, affecting one another. Both practices are intentional ways of spending long periods of time bringing together the body, the mind, and everything that surrounds them. May, April consists of two woven pieces: one is made in May 2017 and the other twenty-three months later, in April 2019. The piece on the left, May, was conceived “by chance,” while April, on the right, was made to be its copy. The weavings function like two siblings, almost two years apart, counter-balancing each other. https://freight.cargo.site/t/original/i/J1931784813784823820538911552316/slsh_032421_020_prs.jpg Helen Mirra. Grayish green, yellowgreen, rhubarb-dyed bluegreen, lichen-dyed light brown, 2015. Image courtesy of the artist and / (slash). This is one of Mirra’s first small-scale woven works. The title names the colors of the yarn used in the construction, which takes the form, perhaps, of moss and lichen covered rocks. https://freight.cargo.site/t/original/i/A1931784813618803123875525587772/slsh_032421_011_prs.jpg (Front) Delcy Morelos. Paisaje (Landscape), 2021. (Upper left) Helen Mirra. Third Furrow, 2003. (Upper right) Helen Mirra. Grayish green, yellowgreen, rhubarb-dyed bluegreen, lichen-dyed light brown, 2015. Image courtesy of the artists and / (slash). In a large container, fertile soil, clay, cocoa powder, ground cloves, and water were mixed to form a thick, uniform, aromatic fluid that was carefully applied onto burlap. During my childhood, I lived with my paternal grandmother of Indigenous descent. She grew and harvested almost everything that we ate in her yard. Her skin was the color of soil, the same earthy soil with which the floors and the walls of her house were made. The outdoor landscape blended with the interior of the house; there was no defined line between the inside and the outside. To prevent our house from becoming too dusty, we would moisten the soil with our hands, making circular movements until we had covered the entire surface of the floor. We performed this noble task daily, on our knees.—Excerpt from commissioned text by Delcy Morelos, 2021. <a href="https://freight.cargo.site/m/B1947714164839717510082256073532/Delcy_Morelos_text_Arboreal-Exhibition_March-2021.pdf" style="color: rgb(255, 0, 0);" target="_blank">Read full text here</a>. https://freight.cargo.site/t/original/i/U1931784813545016147580687381308/slsh_032421_007_prs.jpg Arboreal exhibition view. Image courtesy of the artists and / (slash). https://freight.cargo.site/t/original/i/E1931784813747930332391492449084/slsh_032421_018_prs.jpg (Left) Uyra Sodoma. Elementary Series (The Plant that Eats Itself Essay), 2018 and The Last Forest Series (Naked Earth Essay), 2018. (Right) Bill Fontana. Sequoia Trees River Echoes, 2019. 8 channel site-specific sound sculpture. Image courtesy of the artists and / (slash). https://freight.cargo.site/t/original/i/X1931796887787562617872859427644/Vicuna_sidewalk-forest1.jpg--.jpg Cecilia Vicuña. Sidewalk Forests, 1981. Courtesy of the artist. https://freight.cargo.site/t/original/i/P1931796887806009361946568979260/Vicuna_sidewalk-forest2.jpg Cecilia Vicuña. Sidewalk Forests, 1981. Courtesy of the artist. https://freight.cargo.site/t/original/i/Q1931796887750669129725440324412/Vicuna_1981_04_Amor1.jpg Cecilia Vicuña. Sidewalk Forests, 1981. Courtesy of the artist. https://freight.cargo.site/t/original/i/V1931796887769115873799149876028/Vicuna_1981_Sidewalk-maleza.jpg Cecilia Vicuña. Sidewalk Forests, 1981. Courtesy of the artist. For Arboreal, Vicuña showed her “Sidewalk Forests,” a piece composed of four photographs, which were originally shot in medium format film in 1981. This is the first work she made when she moved to New York while exploring the city and this exhibition was the first one to show them, forty years later. Two of the photographs show different wild plants and weeds, shot close-up, growing through cracks in the concrete of sidewalks in New York City. The other two include spatial drawings the artist made with red thread held by the greenery she found while walking around the city, creating fragile and ephemeral forms that seem to float in mid-air. In one of them, she uses the thread to spell out a word, amor (love), woven through the branches of a tree whose trunk holds the engraved initials of anonymous people, possibly lovers. When I first moved to New York, [Tribeca] was an abandoned neighborhood. Most of the streets didn’t really have street lights, and there was a lot of wilderness on the sidewalks. I called my first works in New York “Sidewalk Forests” because there were so many things growing between the cracks, and it was just these ruins and empty lots. The river was not accessible like it is now. You had to crawl underneath wires to touch the river, and I did! We would illegally sun ourselves, not on the rocks, but on huge pieces of cement! […]. [A sidewalk forest] is something that sprouts and grows of its own accord—a sort of rebellion of the seeds, a rebellion of the poems themselves. —Excerpt from an interview with Cecilia Vicuña by Sarah Timmer Harvey for Asymptote. https://freight.cargo.site/t/original/i/I1931797107100902910205718590268/Uyra-Sodoma_Serie-Elementar_Ensaio-A-Mata-Te-Se-Come_Foto-Lisa-Hemes_2018-copy.jpg Uýra Sodoma. Elementary Series (The Plant that Eats Itself Essay), 2018. Courtesy of the artist. Elementary Series (The Plant that Eats Itself Essay) is a photograph taken in the rainforest, inside the Amazon Museum, in Manaus. Here, Uýra engages with an intimate aspect of the forest: the way it eats itself. The Grandmother forest feeds on the decomposition of the life and biomass that she generates, a process in which even a single leaf on the ground is important to her functioning. To make this photograph, the artist placed leaves and seeds on her face and “felt the forest’s constant cycle of Death meeting Life, with nobility, in every moment.” “How many times,” Uýra wonders, “do we eat of ourselves in order to continue living? The Grandmother, by eating herself, reminds us of the power of our own internal forces, which, individually as well as in connection to other worlds, can always be renewed.” https://freight.cargo.site/t/original/i/G1931797107082456166132009038652/Uyra-Sodoma_Serie-A-Ultima-Floresta_Ensaio-Terra-Pelada--foto-Matheus-Belem--2018-copy.jpg Uýra Sodoma. The Last Forest Series (Naked Earth Essay), 2018. Courtesy of the artist. In a meeting with Uýra in 2018, shaman Davi Kopenawa spoke of the deforestation caused by the mining in his land, the land of the Yanomami people. He said that “when the land is cleared, the Earth is naked.” At that time, the deforestation rate in the Brazilian Amazon was seeing record increases. The following year, with the inauguration of President Bolsonaro, whose regime presents a great threat to forests and their peoples, deforestation increased further still. In this context, Uýra began this series of images seeking to share this great tragedy with people through visual references such as the ox, the tractor, the naked soil, the chain, and the soybean. In The Last Forest Series (Naked Earth Essay), the land is not only naked (stripped of its forest) but also bleeds. By connecting the human heart to that of the touched tree, she remembers that all beating hearts inhabiting this land, even during times of great pain, have their own rhythm and their natural union allows for the great beat of life. The Amazon rainforest, which holds 16,000 different species of trees, is slowly becoming dry. It covers some 5 million square kilometers of land across nine countries. More than half of the Amazon is located in Brazil, where more than 19% of the forest has been cleared. In the first three months of 2020, the deforestation rate in the Brazilian Amazon was 50% higher than in the same three-month period in 2019. Even before the pandemic, scientists warned that Bolsonaro’s development-friendly policies could transform the world’s largest rainforest into a dry, savannah-like landscape. Once this “tipping point” is crossed, this colossal ecosystem could begin emitting more greenhouse gases than it captures, effectively turning a vital tool in the fight against climate change into yet another source of harmful emissions. Brazil’s Indigenous communities hold some of the most pristine sections of the rainforest and have long been targeted by illegal logging and mining operations. Since the pandemic began, Brazil’s environmental agency has scaled back its enforcement measures, leaving the forest and its Indigenous tribes even more vulnerable to daily deadly threats. https://freight.cargo.site/t/original/i/N1931797423462563774324528804668/Wilson-Rodriguez-Calendario-Ancestral.jpg Aycoobo (Wilson Rodríguez). Calendario Ancestral (Ancestral Calendar), 2020. Courtesy of the artist and Instituto de Visión. https://freight.cargo.site/t/original/i/B1931797423517904006545657459516/Wilson-Rodriguez-Orilla-del-Rio.jpg Aycoobo (Wilson Rodríguez). Orilla del Río (River Bank). Courtesy of the artist and Instituto de Visión. This tree is a type of fig tree that grows on the banks of a river. It is milky, large, and most birds feed on its fruits as the fruits’ nutrients protect the birds’ bodies by preventing disease. Armadillos, conga ants, and various birds make their nests in their bambas, which are the “fins” that come out of the trunks of many Amazonian trees, providing additional stability, since their roots do not grow very deep. https://freight.cargo.site/t/original/i/H1931797423499457262471947907900/Wilson-Rodriguez-Espiral.jpg Aycoobo (Wilson Rodríguez). Espiral (Spiral), 2018. Courtesy of the artist and Instituto de Visión. https://freight.cargo.site/t/original/i/G1931797423481010518398238356284/Wilson-Rodriguez-Chupadero-de-Animales.jpg Aycoobo (Wilson Rodríguez). Chupadero de Animales (Animal Chupadero), 2020. Courtesy of the artist and Instituto de Visión. This work centers around one of the various kinds of chupaderos or salados that exist in the Amazon rainforest. Indigenous knowledge describes these natural drinking troughs that emerge from the rainforest’s ground as water resources exclusive to animals, as the water can cause diseases in humans. It is believed that some of these chupaderos are enchanted and that they were created for species of animals such as the tapir, the borugo, the deer, the armadillo, the cajuche (white-lipped peccary), and the cerrillos (collared peccary) to drink and bathe. https://freight.cargo.site/t/original/i/B1931797423536350750619367011132/Wilson-Rodriguez-Terraza-Ancestral.jpg Aycoobo (Wilson Rodríguez). Terraza Ancestral (Ancestral Terrace), 2019. Courtesy of the artist and Instituto de Visión. This work is inspired by the final part of the “Two Orphans” myth. The story involves two brothers, who, after disobeying, cause a great flood. Both orphans then flee to the hills and build a guarango tree to protect themselves as they wait for the flood waters to recede. In this dark period, the older brother (who manages time) hears the song of the red-beaked paujil bird (the curassow) and then another song, this time of the pava colorada (the red-faced guan), and he picks one of the fruits off the guarango tree and throws it down, making the world bloom again. At sunrise, he hears the pava negra (the black guan), and a rainbow appears, symbolizing the new time. https://freight.cargo.site/t/original/i/Q1931820426017468111997816959804/slsh_032421_019_prs.jpg Helen Mirra. Field Recordings, 7 x 5000 Schritte, in Berlin (Hirschgarten), 22 August, 2010. Image courtesy of the artist and / (slash). What we see in this work, composed of seven individual lightweight linen parts, are the rubbings of tree cuts found along a daylong walk in a forest on the edge of the city of Berlin, with 5000 steps taken in between each print being made. We see both the core rings tracing the years of the trees’ development and the rough marks left by a chainsaw at the moment of felling. https://freight.cargo.site/t/original/i/Q1935027113559912123057838125884/slsh_032421_021_prs.jpg Helen Mirra. Third furrow, 2003. Image courtesy of the artist and / (slash). This is one of the Instant pieces Mirra made for her exhibition 65 Instants at BAMPFA in 2003. Each of the 65 works are made with the same inexact parameters, and each measures the length of Mirra’s elbow to fingertip plus the width of her second hand. The title is borrowed from the second-century Buddhist philosopher Nagarjuna and his idea about the moment between an initial perception and the rational judgment that follows. This moment, according to him, lasts an instant, of which there are 65 within the length of time of a finger snap. For Mirra, this reference is not mystical or scientific, but “a means of thinking about time and space.” https://freight.cargo.site/t/original/i/T1935042171544865771796274508604/GiantSequoiaTreeRiverEchoes_fragment.mp4 Bill Fontana. Sequoia Trees River Echoes, 2019. 8 channel site-specific sound sculpture. Courtesy of the artist and / (slash). For Sequoia Trees River Echoes, Fontana mounted high resolution vibration sensors (accelerometers) onto the trunks of sequoia trees, wondering what these 3,000-year-old trees “had to say.” The sound that he found captured inside of these ancient trees, the largest on Earth, was that of the distant Kaweah River, a river that runs through the Sierra Nevada, fed by high elevation snowmelt along the Great Western Divide. The Kaweah River basin, the land of the Yokuts and Western Mono Native peoples, holds the memory of the violence caused by Spanish colonizers and American loggers in the 1800s, before the formation of the Sequoia National Park in 1890. The resonating echoes of the distant river moving through the landscape result in a sound sculpture that sonifies this flowing rhythm into the timbre of wood, reminding us of the inter-dependence of the mountains, rivers, and trees, as well as the layers of history that they have witnessed. In the words of the artist, “I find the reality of these ancient trees ‘listening’ to the earth inspiring. It is a metaphor for the future I hope the earth can have.” https://freight.cargo.site/t/original/i/S1935136959161611092420647088956/The Amazon: Scenarios, Challenges, and Art Education as Pathways to the Future by Emerson Uýra The Amazon: Scenarios, Challenges, and Art Education as Pathways to the Future. A lecture by Emerson Uýra, co-hosted by / Slash Art and The Wattis Institute. May 21, 2021. Emerson Uýra shared stories and challenges inherent to life in the Amazon in 2021, speaking with, from, and through the forest from their home in Manaus, Brazil, an industrialized city in the middle of the rainforest in the state of Amazonas. Uýra spoke through their hybrid identity, one that interweaves Emerson Munduruku, an Indigenous artist, educator, activist, biologist, and ecologist, and Uýra Sodoma, a drag queen persona born in 2016 who embodies a “tree that walks” through performance. Uýra addresses tensions and encounters between the forest and the city, between traditional cultures and capitalist interests. Acknowledging that social, cultural, and environmental issues cut across time and space–that speaking about the Amazon is also speaking about the planet–Uýra proposes collaborative pathways for healing now and into the future. https://juanaberrio.com/the-yanomami-struggle 2024-09-12T02:46:40+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg Left to right: Dário and Davi Kopenawa, Claudia Andujar, and Thyago Nogueira, February 4, 2023. Photo: AJR Photos. https://freight.cargo.site/t/original/i/P1930451787125518428881517703996/22_Indigenous_Rights_HCard_Archival.jpg Left to right: Dário and Davi Kopenawa, Claudia Andujar, and Thyago Nogueira, February 4, 2023. Photo: AJR Photos. https://freight.cargo.site/t/original/i/B1947628760675854115885180416828/Indigenous Rights, Art, and Environmental Justice, March 4, 2023 | THE SHED https://freight.cargo.site/t/original/i/R1947631216048170791068757816124/Lenapehoking Anthology | Indigenous Rights | April 8, 2023 Panel 2 | THE SHED https://freight.cargo.site/t/original/i/V1947632732315193417772771996476/On the Ground | Indigenous Rights, Art, and Environmental Justice, April 8, 2023 panel 1 | THE SHED https://freight.cargo.site/t/original/i/H1947635229912107277677513044796/Collective Reading | Indigenous Rights, Art, and Environmental Justice, April 15, 2023 | THE SHED https://freight.cargo.site/t/original/i/X1947640357682684655237542605628/Yanomami Address | Indigenous Rights, Art, and Environmental Justice, February 4, 2023 | THE SHED https://juanaberrio.com/amant 2024-09-17T15:04:27+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg Cecilia Vicuña. Sol y Dar y Dad, 1974/2016 © Cecilia Vicuña. Image courtesy the artist and Lehmann Maupin https://freight.cargo.site/t/original/i/Y1931459433178740671802140160828/Raven-Chacon_Candice-Hopkins.JPG Raven Chacon & Candice Hopkins introduce and discuss Dispatch. https://freight.cargo.site/t/original/i/L1931459622848163237683749876540/dispatch-schematic1.jpg Candice Hopkins & Raven Chacon. Dispatch, Schematic 1 In this Open Exchange, musicians Laura Ortman and Music Research Strategies joined curator and writer Candice Hopkins and musician and composer Raven Chacon on the world premiere performance of Dispatch. They presented an open dialogue of spoken elements, sound, and non-verbal language. Dispatch is either a transcription of events around the 2016 DAPL encroachment at Standing Rock, a prompt for an ecological oral future, or a critique of the privilege of meditative Deep Listening. The score can be realized as a performance, a series of imagined events, or as a response of direct action. The players, the prompts, and the schematics are derived from an analysis of the surface dynamics and organization of Water Protectors in defense of Standing Rock during the #noDAPL movement, not glossing over the miscommunication, profiteering, and injustices. In an increasingly fractured society, new paths and new formations are needed to refocus our attention in an attempt to find truth. Participating in this score may produce sonic or visual artifacts, these are as important as the actions. https://freight.cargo.site/t/original/i/I1931460903716284739780175885116/Dispatch-Laura-Ortman_Music-Research-Strategies.jpg Performance of Dispatch by Candice Hopkins, Raven Chacon, Laura Ortman and Music Research Strategies. Photo by Isabella Nimmo https://freight.cargo.site/t/original/i/T1931462373589746021104667751228/Dispatch_UN-Declaration-Indigenous-Rights.jpg Auditorium view during the performance of Dispatch by Candice Hopkins, Raven Chacon, Laura Ortman and Music Research Strategies. April 2, 2022. Photo by Isabella Nimmo https://freight.cargo.site/t/original/i/W1931470363870728524691788428092/Laura-Ortman_Music-Research-Strategies_low.mov Fragment of Dispatch performed by Laura Ortman & Music Research Strategies. Amant, Brooklyn, April 2, 2022 https://freight.cargo.site/t/original/i/A1931493205809832212576010662716/IMG_0505-2.jpg In the Spirit of Commonality by Cecilia Vicuña, Ricardo Gallo and Carla Macchiavello. November 16, 2021 This Open Exchange took the shape of a three-way conversation between artist and poet Cecilia Vicuña, musician Ricardo Gallo, and art historian Carla Macchiavello. They wove together an improvisation in sound, no-language, thoughts, and words. While they have overlapped creatively in multiple ways over the past decade, this auspicious meeting brought these three artists and thinkers together as collaborators. Their many shared stories in their common paths of living and working in New York, Colombia, and Chile sheds light on a quest for communal knowledge that is at the heart of Andean cultures and that may provide a key for action in the face of current ecological and social crises. In the spirit of open exchange, this event was an invitation to dialogue and listening. https://freight.cargo.site/t/original/i/N1931503195570298353688850101052/Cecilia-Vicuna-reading_Carla-Macchiavello_Ricardo-Gallo.mov In the Spirit of Commonality with Cecilia Vicuña, Ricardo Gallo and Carla Macchiavello. https://freight.cargo.site/t/original/i/P1931504746461859606745692664636/Cecilia-Vicuna_Carla-Macchiavello_Ricardo-Gallo-View.JPG In the Spirit of Commonality by Cecilia Vicuña, Ricardo Gallo and Carla Macchiavello. November 16, 2021. Photo by Rebeca Navarro. https://freight.cargo.site/t/original/i/E1931514378429277694188068959036/Courtyard_Cecilia-Vicuna_Carla-Macchiavello_Ricardo-Gallo.mov Courtyard preamble, In the Spirit of Commonality with Cecilia Vicuña, Ricardo Gallo and Carla Macchiavello. https://freight.cargo.site/t/original/i/K1931527862353559533290465948476/Rocks.jpg Courtyard rocks picked up and played by audiende members during In the Spirit of Commonality. Photo by Rebeca Navarro. https://freight.cargo.site/t/original/i/G1931530058641355693223390901052/e99e2112-5840-4215-903e-74ca392d6dc4.JPG Brooklyn Through the Eyes of Carlos Motta: Bodies of Water Rising. November 6, 2021. Photo by Rebeca Navarro. For this Brooklyn Through the Eyes of Artists, Carlos Motta organized an hour-long visit to the Brooklyn waterfront to share a performative reading of Bodies of Water Rising, a speculative fiction story of Ole’s ghost. Carlos conjured the character of Ole, a gay man and 19th-century sailor who landed in Red Hook, Brooklyn, to touch upon the immigrant experience in New York. Ole’s story also resonated with Carlos’s personal experience a gay immigrant in New York in the 1990s. On the waterfront of Brooklyn, Ole discovered sexual freedom and liveliness, but also precarious labor conditions and exploitation. Over the course of the walk and narration, Carlos’s and Ole’s voices became one as they discussesd censorship, gentrification, and climate change. https://freight.cargo.site/t/original/i/C1931530876533094433357490451260/IMG_0031.JPG Carlos Motta narrates Bodies of Water Rising. https://freight.cargo.site/t/original/i/R1931531006582640153009829344060/IMG_0038.JPG Carlos Motta with participants of Bodies of Water Rising. https://freight.cargo.site/t/original/i/K1931559900289731870565521584956/Screen-Shot-2024-08-21-at-5.45.12-PM.jpg Carlos Motta. Bodies of Water Rising. Drawing. 2021. https://freight.cargo.site/t/original/i/W1931566353827805825631025787708/IMG_8783.JPG Rashaun Mitchell & Silas Reiner during their pre-workshop site visit. https://freight.cargo.site/t/original/i/F1931566353809359081557316236092/c01ebae2-ffd0-4939-90d2-ea6006bae859.JPG Hour Selves: Moving into Being. Dance workshop by Rashaun Mitchell & Silas Reiner. Inspired in part by Grada Kilomba’s concept of “becoming the subject” and the notion of activating one’s own agency through self-actualization and self-determination, dance artists Rashaun Mitchell and Silas Riener led an embodied workshop and informal demonstration. Drawn from their ongoing improvisational practice, Desire Lines, this 90-minute process provided joy and rest, discursive pathways and non-hierarchical structures, collaboration and ways of self-organizing. How can we activate aspects of ourselves that exist at the margins, at places of possibility and discovery? We tune our individual attention towards a receptive state of being for a deeper understanding of our internal landscapes and our shared, external environment. Through simple observations, spontaneous choice-making, and layering of memories, we allow emergent structures to create a collective subject.  https://freight.cargo.site/t/original/i/J1931566353790912337483606684476/1f760e83-4c3e-456f-856d-6d84382d5374.JPG Hour Selves: Moving into Being. Dance workshop by Rashaun Mitchell & Silas Reiner. https://freight.cargo.site/t/original/i/F1931592090725137465197440430908/IMG_3216.jpg Show Tell Toast with artists-in-residence Isshaq Albarbary, José Antonio Vega Macotela, Phedra Deonarine, and Niloufar Emamifar. https://freight.cargo.site/t/original/i/U1931592090688243977050021327676/IMG_3210.JPG Artist-in-residence Niloufar Emamifar invited Charisse Pearlina Weston to talk about her practice. Charisse’s creative work emerges from deep material investigations of poetics and the autobiographical, including the risks of anti-Black violence and the malleability of Blackness it may ensue. https://freight.cargo.site/t/original/i/S1931592090780477697418569085756/IMG_6036.JPG Artist-in-residence Isshaq Albarbary asks what happens when an undercover agent and an artist merge into one. In posing this question, Isshaq shared his ongoing research into the use of culture as espionage, which deals with questions of authenticity, imitation, anonymity, camouflage, normalization, and naturalization. Using storytelling, videoclips, and sounds, he explored the ways in which language conceals the complexity of knowledge systems. https://freight.cargo.site/t/original/i/J1931592090669797232976311776060/IMG_3207.JPG Artist-in-residence Phedra Deonarine invited Corey D. Clawson, creator of archivepelago.org and doctoral student in American Studies at Rutgers University, who researches queer writers and artists of the 19th and 20th centuries. Phedra talked to Corey about his digital mapping project, to discuss how literary study and influence is a reference in her own current practice. Etcetera. 💬 https://freight.cargo.site/t/original/i/C1931610721955098655918282142524/IMG_0718.JPG An essential part of the residency program took place around the dinner table, where artists-in-residence, special guests, and staff members shared conversations over collaboratively cooked meals. https://freight.cargo.site/t/original/i/H1942150288144865516007502803772/CV_1974_sol-y-dar-y-dad.jpg Cecilia Vicuña. Sol y Dar y Dad, 1974/2016 © Cecilia Vicuña. Image courtesy the artist and Lehmann Maupin https://juanaberrio.com/kiria-koula 2024-09-17T15:04:26+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg Detail of Kiria Koula’s front door window. Photo by Johnna Arnold. https://freight.cargo.site/t/original/i/U1922507533757851287033070121788/VIDEO-screencapture-kiriakoula.com_home.mov Kiria Koula’s website screen recording. https://freight.cargo.site/t/original/i/J1923073666122807608321991668540/IMG_1110.JPEG Kiria Koula’s window. https://freight.cargo.site/t/original/i/C1929912071586433560019373814588/KiriaKoula_Doorglass_outwards.JPG View of the intersection between Capp St and 22nd St from Kiria Koula’s front door. Etcetera. 💬 https://freight.cargo.site/t/original/i/Q1930034902958090657958138377020/e6J2aJX0.jpg Jenny Monick & Teresa Baker, Installation view, 2015. Photo by Johnna Arnold. Read <a href="https://freight.cargo.site/m/A1941190616391381816928091665212/Kiria-Koula_Jenny-Monick_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Monick’s exhibition</a> text and see all works exhibited. Read <a href="https://freight.cargo.site/m/V1941190616483615537296639423292/Kiria-Koula_Teresa-Baker_Exhibition-Text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Baker’s exhibition</a> text and see all works exhibited. https://freight.cargo.site/t/original/i/P1930035461211906560630298932028/7l-AADOc.jpg Teresa Baker. Gnaw, 2015. Photo by Johnna Arnold. Read <a href="https://freight.cargo.site/m/V1941190616483615537296639423292/Kiria-Koula_Teresa-Baker_Exhibition-Text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Baker’s exhibition</a> text and see all works exhibited. https://freight.cargo.site/t/original/i/R1930104491916602921713393365820/FYul4Eh6.jpg View of exhibition by Ilja Karilampi and José León Cerrillo, and bookstore by Paul Chan. Photo by Johnna Arnold. Read <a href="https://freight.cargo.site/m/O1941190616409828561001801216828/Kiria-Koula_Jose-Leon-Cerrillo_Exhibition_Text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Cerrillo’s exhibition</a> text and see all works exhibited. Read <a href="https://freight.cargo.site/m/H1941190616372935072854382113596/Kiria-Koula_Ilja-Karilampi_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Karilampi’s exhibition</a> text and see all works exhibited. Read <a href="https://freight.cargo.site/m/L1941276018083381505248087405372/Kiria-Koula_Paul-Chan_Bookstore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Chan’s bookstore</a> text and see his selection of books. https://freight.cargo.site/t/original/i/I1930104491971943153934522020668/OGdEUEP4.jpg Kiria Koula’s front door. https://freight.cargo.site/t/original/i/J1930126602018028973318574338876/xcBofTRA.jpg (Left) Patricia L Boyd. Untitled, 2015. (Right) Özlem Altin. Dangling, 2011. Photo by John White. Read <a href="https://freight.cargo.site/m/E1941190616465168793222929871676/Kiria-Koula_Patricia-L-Boyd_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Boyd’s exhibition</a> text and see all works exhibited. Read <a href="https://freight.cargo.site/m/S1941190616446722049149220320060/Kiria-Koula_Ozlem-Altin_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Özlem’s exhibition</a> text and see all works exhibited. https://freight.cargo.site/t/original/i/W1930244069224083389109405381436/OThvoS2Z.jpg Alejandro Cesarco. Musings, 2013. Photo by Johnna Arnold. Read <a href="https://freight.cargo.site/m/P1941190616336041584706963010364/Kiria-Koula_Alejandro-Cesarco_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Cesarco’s exhibition</a> text and see all works exhibited. https://freight.cargo.site/t/original/i/J1930244069279423621330534036284/vRkXnzEk.jpg Alejandro Cesarco. Allegory, or, The Perils of the Present Tense, 2015. Photo by Johnna Arnold. Read <a href="https://freight.cargo.site/m/P1941190616336041584706963010364/Kiria-Koula_Alejandro-Cesarco_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Cesarco’s exhibition</a> text and see all works exhibited. https://freight.cargo.site/t/original/i/O1930244301560824997481207984956/6SneLlGI.jpg Benoît Maire. ha ha ha ha. 2015. Photo by Johnna Arnold. <a href="https://freight.cargo.site/m/V1941281618514882283467958022972/Kiria-Koula_Benoit-Maire_Exhibition-text.pdf" style="color: rgb(255, 0, 0);" target="_blank"> </a>Read <a href="https://freight.cargo.site/m/V1941281618514882283467958022972/Kiria-Koula_Benoit-Maire_Exhibition-text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Maire’s exhibition</a> text and see all works exhibition and read <a href="https://freight.cargo.site/m/I1941281618477988795320538919740/Kiria-Koula_Benoit-Maire_Booktore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Maire’s bookstore</a> text and see his selection of books. https://freight.cargo.site/t/original/i/E1930244302114227319692494533436/ZFd7jx3I.jpg Benoît Maire. (Back) One Tool, 2015 and One Tool Repeated, 2015. (Front) Itself, 2015. Photo by Johnna Arnold. Read <a href="https://freight.cargo.site/m/V1941281618514882283467958022972/Kiria-Koula_Benoit-Maire_Exhibition-text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Maire’s exhibition</a> text and see all works exhibition and read <a href="https://freight.cargo.site/m/I1941281618477988795320538919740/Kiria-Koula_Benoit-Maire_Booktore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Maire’s bookstore</a> text and see his selection of books. https://freight.cargo.site/t/original/i/B1930245046329670229430644929340/s6oH_7xM.jpg Ilja Karilampi. The Chief Architect of Gansta Rap. 2009. Photo by Johnna Arnold. Read <a href="https://freight.cargo.site/m/H1941190616372935072854382113596/Kiria-Koula_Ilja-Karilampi_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Karilampi’s exhibition</a> text and see all works exhibited. https://freight.cargo.site/t/original/i/C1930245046034522324251292103484/aa_2015_01_Gerrity_KiriaKoula_04.jpg José León Cerrillo. (Left) Substraction screen 7, 2015. (Center) POEM (free again), 2014. (Right) POEM (positions taken in public debate), 2015. Read <a href="https://freight.cargo.site/m/O1941190616409828561001801216828/Kiria-Koula_Jose-Leon-Cerrillo_Exhibition_Text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Cerrillo’s exhibition</a> text and see all works exhibited. https://freight.cargo.site/t/original/i/F1930245357286435079952556520252/REubkMSA.jpg Özlem Altin & Patricia L Boyd, Installation view, 2015. Photo by John White. Read <a href="https://freight.cargo.site/m/E1941190616465168793222929871676/Kiria-Koula_Patricia-L-Boyd_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Boyd’s exhibition</a> text and see all works exhibited. Read <a href="https://freight.cargo.site/m/S1941190616446722049149220320060/Kiria-Koula_Ozlem-Altin_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Özlem’s exhibition</a> text and see all works exhibited. https://freight.cargo.site/t/original/i/N1930262896321573154478266151740/IMG_8849.JPG Installation view of 8 Curating The Library recorded lectures + interview between Julie Peeters, Scott Ponik, and Curating The Library's creator Mortiz Küng. Read <a href="https://freight.cargo.site/m/J1941190616428275305075510768444/Kiria-Koula_Julie-Peeters_Scott-Ponik_Bookstore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Peeters and Ponik’s bookstore</a> text and see their selection of books. https://freight.cargo.site/t/original/i/R1930262896266232922257137496892/IMG_8845.JPG Videos + interview: 8 Curating The Library recorded lectures + interview between Julie Peeters, Scott Ponik, and Curating The Library's creator Mortiz Küng. Read <a href="https://freight.cargo.site/m/J1941190616428275305075510768444/Kiria-Koula_Julie-Peeters_Scott-Ponik_Bookstore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Peeters and Ponik’s bookstore</a> text and see their selection of books. https://freight.cargo.site/t/original/i/O1930262895602150135603593638716/IMG_5268.JPG Reading of The Best Most Useless Dress by Claudia La Rocco. https://freight.cargo.site/t/original/i/R1930262896118658969667461083964/IMG_8777.JPG Book Launch of <a href="https://www.artbook.com/9783863357047.html" style="color: rgb(255, 0, 0);" target="_blank">Today We Should be Thinking About</a> & Lecture by Anthony Huberman. https://freight.cargo.site/t/original/i/Y1930262895067194557466016641852/IMG_4230.JPG Talk about A.K. Burns’s Negative Space’s research process. Read <a href="https://freight.cargo.site/m/Q1941190616317594840633253458748/Kiria-Koula_AK-Burns_Bookstore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Burns’s bookstore</a> text and see their selection of books. https://freight.cargo.site/t/original/i/F1930262894827386884507792470844/IMG_1212-3.JPG Paul Chan offered two consecutive days reading the drafts of two chapters of a book he was writing at the moment: Odysseus as Artist: Part 1 and Part 2. Read <a href="https://freight.cargo.site/m/L1941276018083381505248087405372/Kiria-Koula_Paul-Chan_Bookstore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Chan’s bookstore</a> text and see his selection of books. https://freight.cargo.site/t/original/i/F1930262895085641301539726193468/IMG_4603.JPG Book Launch of Sundogz, by Mark von Schlegell. Co-presented with Marcella Faustini. https://freight.cargo.site/t/original/i/C1930262895952638273004075119420/IMG_7393.JPG View of Kiria Koula’s bookstore with detail of Julie Peeters and Scott Ponik’s book selections. Read <a href="https://freight.cargo.site/m/J1941190616428275305075510768444/Kiria-Koula_Julie-Peeters_Scott-Ponik_Bookstore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Peeters and Ponik’s bookstore</a> text and see their selection of books. https://freight.cargo.site/t/original/i/T1930276183326862006731199640380/ligB8xlU.jpg Jenny Monick. Standing-spelled. 2009. Photo by Johnna Arnold. Read <a href="https://freight.cargo.site/m/A1941190616391381816928091665212/Kiria-Koula_Jenny-Monick_Exhibition_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Monick’s exhibition</a> text and see all works exhibited. https://freight.cargo.site/t/original/i/L1930315162127193238330694071100/SD_AK_event.mov Performative talk by Angie Keefer & Sarah Demeuse. Read <a href="https://freight.cargo.site/m/E1941190616354488328780672561980/Kiria-Koula_Angie-Keefer_Sarah-Demeuse_Bookstore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Keefer & Demeuse’s bookstore</a> text and see their selection of books. https://freight.cargo.site/t/original/i/Q1930368249274093204100907692860/IMG_1183-2.JPG View of the audience during Paul Chan’s talk Odysseus as Artist. Read <a href="https://freight.cargo.site/m/L1941276018083381505248087405372/Kiria-Koula_Paul-Chan_Bookstore_text.pdf" style="color: rgb(255, 0, 0);" target="_blank">Chan’s bookstore</a> text and see his selection of books. https://freight.cargo.site/t/original/i/J1930369752831309164019040809788/IMG_5074.JPG Talk Ni…Ni: La Flaque (Neither…Nor: The Puddle) by Kristina Lee Podesva. https://freight.cargo.site/t/original/i/O1931665650622012756039324037948/Alexandra-Pappas.jpg Talk Hip-hop, pop, and Greco-Roman epic by Alexandra Pappas. https://freight.cargo.site/t/original/i/C1942128752235242246759534981948/KiriaKoula_11-2014.26.jpg Detail of Kiria Koula’s front door window. Photo by Johnna Arnold. https://juanaberrio.com/info 2026-02-25T03:55:16+00:00 always 0.5 https://juanaberrio.com/juana-berrío 2024-09-12T02:46:39+00:00 always 0.5 https://juanaberrio.com/nav-at-bottom 2024-09-12T02:46:39+00:00 always 0.5 https://juanaberrio.com/info-button 2024-09-12T02:46:39+00:00 always 0.5