FDS (Female Disappearance Syndrome) is a limited edition series of throw pillows (goose down with 100% cotton cover; dimensions, patterns and colors vary,) featuring hunky Alexander Henry male pinups. Each pillow contains, buried within it, a short biography, encased in a vial, of a different woman who lives with or has died of HIV/AIDS. Inspired by Chilean writer Lina Meruane's description of HIV-positive women as suffering from "the syndrome of disappearance," FDS is an object-based reminder of this phenomenon, meant for living with.
********CANCELLED due to extreme weather events!!********
June 9-16: Bioculturealities Symposium and Performance Festival.
Open to the public across the week, full schedule to be announced soon.
Participating/Performing/Presenting Artists and Organizations : Michael Allen, Cyprus Atlas, Jessica Baran (+ local poets), Lorene Bouboushian, Shawn Escarciga, Maxi Glamour (+ Qu’art Cohort), Simone Johnson, Heather Kapplow, Sierra Ortega, Allana Ross, Jaguar Mary X.
VIDEO: Beatriz Albuquerque, Nicole Goodwin (+ TBA)
tK is very excited to be opening up for Nadah El Shazly on her first US tour. Details below, tickets here.
NADAH EL SHAZLY (Cairo, Boston debut, first US tour!)
tK (Thalia Zedek, Phil Milstein, Heather Kapplow)
About the artists
NADAH EL SHAZLY is a Cairo-based producer, vocalist, and composer. Her acclaimed solo debut Ahwar (the title translates as marshlands) is a culmination of two years of writing and studio work split between Cairo and Montreal. Meticulously orchestrated, the album was composed and arranged in close collaboration with Maurice Louca and Sam Shalabi, two members of The Dwarfs of East Agouza trio, along with Alan Bishop and members of Cairo’s experimental music scene. Accompanying El Shazly (vocals, buzuq, laptop, & keyboards) on her US debut will be Cherif El Masri (fretless guitar & synthesizers), Elsa Bergman (contrabass),and Konrad Angus (drums).
tK is THALIA ZEDEK on abstract guitar and clarinet; HEATHER KAPPLOW on pling plong, vocals, and banging; and PHIL MILSTEIN on loops, drones, and more banging. tK causes situations in which everyday aural experience is distended from its natural function. By applying arbitrary manipulations, new functions and contexts are undertaken. The results are deconstructed to the extent that meaning is mutilated and all possible interpretations are quashed.
JOSEPH ALLRED is a Boston-based multi-instrumentalist, songwriter, singer, experimental composer, and visual artist who is originally from Jamestown, Tennessee. A large portion of their musical output falls into the American Primitive school of original guitar and banjo music, drawing especially from the folk traditions of the southeastern United States as well as from avant-garde and minimalist composers such as Arvo Pärt, Charlemagne Palestine, Terry Riley, and Henry Flynt.
Non-Event’s programming is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council and administered by the Mayor’s Office of Arts and Culture.
Heather Kapplow, a US-based conceptual artist who has been in residence at Index for January-February 2019, studying what luxury is, invites you to take a survey about luxury and to come and participate in her research in person before she leaves at the end of February.
In an effort to understand the emotional connections we have with the things we treasure most, you are invited to bring a treasured object or souvenir to Kulturfolger on February 27 at 8pm to discuss it with the artist, and have it photographed against a glamorous golden wall.
Gold is the standard. It's the reflection of the sun's light and warmth; an organic comfort that no one can deny without contortion; not to mention its connection to alchemy...
Give your most treasured object an opportunity to bask in the golden glow.
“The walking stick serves the purpose of an advertisement that the bearer’s hands are employed otherwise than in useful effort, and it therefore has utility as an evidence of leisure.” —Thorstein Veblen
Please join Heather Kapplow and Marie-Anne Lerjen for a luxurious walk along the Bahnhofstrasse, on February 25, where, with the quote above in mind, we will contemplate the experience of luxury while sauntering along this most luxurious commercial district.
We will gather at the Juno fountain at Paradeplatz at 6pm.
Heather Kapplow, a US-based conceptual artist who has been in residence at Index for January-February 2019, studying what luxury is, invites you to take a survey about luxury and to come and participate in her research in person before she leaves at the end of February.
We all need luxuries, comforts—things or experiences that we find especially elegant or perfectly constructed in our lives—that we value more than other things regardless of what they cost.
In an effort to understand the emotional connections we have with the things we treasure most, you are invited to bring a treasured object or souvenir to DIENSTGEBÄUDE on February 22 at to discuss it with the artist, and have it photographed.
The first 24 items will be photographed with black and white Polaroid film, containing silver.
Memory is a fickle thing. Decades can be painted with broad strokes, or a single moment captured with seemingly perfect detail in the mind’s eye. A photograph, painting, or even an object can take us back to places we forgot. Without this material culture, entire histories, and the people’s lives within them can disappear.
Melinda To Roger is an experimental sound piece about memory created by tK and accessed via telephone (though also soon to be released on cassette by Wee Space Tapes.)
Opening Reception: Friday, March 1st, 2019 from 7-9PM
For artists who are members of the LGBTQIA+ community, there is often an expectation that our work will be politically driven and tied directly to our experiences of marginalization. We are shouldered with the responsibility of representing, defending, and/or analyzing our identities, and explaining our relationship to the dominant culture. But what do we make for ourselves, when we’re satisfying our own artistic impulses, exploring our medium, or pursuing non- queer specific avenues of creation? What do we have to say when we’re not trying to engage with the heteronormative and cisnormative world? This show seeks to unburden queer & trans artists from the pressures of representation while still celebrating and amplifying our marginalized voices.
Juried by Ben S. Wallace. The grandson of a vignette engraver and son of an oil painter, Ben grew up in the dunes of Cape Cod with a tremendous appreciation for the way art, humans, and nature intertwine.
Opening reception November 30, 7-9pm.
Sweat It Out, a public engagement project by Caitlin Foley, Heather Kapplow and Misha Rabinovich, will be hosting discussions about major areas of tension in the Boston area and (simultaneously) keeping the steam going in a free-to-the-public mobile sauna (courtesy of the DS Institute). Our aim is to be a warm, welcoming, safe place for everyone in the coldest Boston months—but also a place where people can get relaxed and comfortable enough that they can discuss hard things with one another in a trusting way. The exhibition will be continually evolving for the month of December 2018, and sauna event dates are:
Sun Nov 25th 1-5pm
Sun Dec 2nd 1-5pm
Sun Dec 9th 1-5pm
Thu Dec 13th 5-9pm
Sun Dec 23rd 1-5pm
Sun Dec 30th 5-9pm
Please see our website, http://www.sweatitout.boston for more detailed information about our programming.
Sweat it Out was made possible with funding by the New England Foundation for the Arts' Creative City Program, with funding from The Barr Foundation and with additional support from the Boston Foundation.
Sweat it Out is also sponsored in part by Blue Hills Saving Bank, and receiving in kind support from Fort Point Arts Community and UMass Lowell.
Formation (digital video, 2018) combines magical symbols, and rituals related to the transcending of binaries and the interlocking of elements necessary for the organization of a future culture better prepared to operate in a universe of entirely fluid boundaries. Watching it is an active love-war.
Are you a mother, or have you ever been a mother? Would you like to walk, with other mothers? With no specific goal except being visible, and feeling connected to the state of motherhood together?
Starting at noon, with a ritual spreading of rose petals, mothers dressed in white will walk together silently performing a sequence of gestures, paying tribute to a long international history of mothers who have participated in public demonstrations of grief or resistance.
There are many issues that should bring mothers together these days:
Separation of families at borders
Inadequate family leave and other workplace discrimination against mothers
Mothers struggling with homelessness, in the prison system, or parenting while managing a health issue (including substance abuse)
Parenting children of color in an age where there is not full recognition that Black Lives Matter
Moms who have lost their children or who live in fear of doing so in the age of rampant school shootings and high rates of suicide
Mistreatment of the environment, jeopardizing the health and wellbeing of a next generation
We’re inviting you to honor, and be with the seriousness of all of these issues.
On September 23, dress in all-white and meet us near the sign for the Rose Kennedy Greenway's “Mother’s Walk” at noon. This is right next to the fountain, closer to the Aquarium T stop than to South Station. There will docents with maps along the Greenway to help you find us.
We will gather and set our intention together at 12, and then proceed along the Mother’s Walk, pacing as we each can, until we need to leave and be somewhere, or feel moved to stop. You are also welcome to wear white and join in anytime up until 5pm if you are not able to begin the walk with us at noon. Questions? Contact Jimena AT mobius.org.
I'm performing as facilitator of Ofri Cnaani's WhatsApp-based project, No Data is an Island as a part of Fog x FLO, Fujiko Nakaya's activated installation along Boston's Emerald Necklace chain of parkland. The piece will occur at the Fog x Island site of Nakaya's project, for one hour on September 16, 2018.
Our landscape and public spaces are changing fast and so is how we look at them. Can one visit a place without ever being in it? Through 'the Cloud'?
Ofri Cnaani’s No Data is an Island is a collaborative encounter that is informed by real time reviewing and sharing of tourist economies which allow us to ‘know better’ and to ‘go better’, as well as civilian imaging technologies, and local eye-witnesses. The multi-faced, digital participatory piece will exercise the meaning of visiting and knowing a place: physically, visually, digitally and mentally. New images will slowly emerge, surfacing new connections between places and people. And a mind-map of an island in an age of hyper-connectivity.
During the one-hour participatory experience, participants will join a dedicated WhatsApp group and will follow a series of short prompts send by the artist, while wandering through the park and the fog sculpture.
Directions to Fog x Island, Olmsted Park
Fog x Island will appear for 3 minutes on the hour and half hour from 8am to 7pm.
Nearest public transit: Riverway Station, MBTA Green Line, “E” Branch, and Brookline Village Station, MBTA Green Line, “D” Branch. From either stop, walk to the intersection of Washington Street and Pond Avenue. Follow the footpaths into Olmsted Park, staying to the paths on the right. Follow the paths for about 5 minutes to Allerton Overlook and Fog x Island. Parking: 56 Pond Avenue, Brookline, MA 02445. Approach the path between the parking lot and Leverett Pond. Turn right, and follow the path for approximately 500 feet to Allerton Overlook. Fog x Island is located on the islands to your left.
Evolving over the course of the exhibition, Crack Us Open incorporates performance, magical action, text, things in the gallery and things in the immediate neighborhood to achieve a private goal and a public goal simultaneously.
About Altarations: A shrine is a sacred place or object. It can be religious, cultural, personal, political, public or private, dedicated to one deity or concept or person or event, or exist with a multitude of meanings and devotions. It can be deliberately created as a sacred place or object, or the object can evolve to be designated as sacred. It can be dedicated to the memory of the past, or represent a hope for the present or future.
The show will function as a collective shrine, made up of our individual definitions and expressions of this vast topic. What do we find holy? As a society we are lacking a common mythology to give our lives spiritual meaning. We all find different ways to fill this void, often coming from our family traditions but filtered through time and place. It is our intent to celebrate the myriad fashions of shrining by showing them together in one space.
We are elated to present a total of 56 artists involved with this show. We will be exhibiting painting, photography, sculpture, performance art, video, collections of objects from people's personal collections, and everything in between.
For more information please see: https://dorchesterartproject.org/
I'm auctioning off A Once in a Lifetime Experience at the Boston Center for the Arts annual fundraising ball on Saturday June 2, 2018.
Enter a lush botanical wonderland created by JNG Event Consulting, encounter BCA performing and visual artists who will engage you in thrilling artistic exchange, and indulge in delicious food and drink from Boston’s best caterers, including Above and Beyond Catering, Capers Catering, The Catered Affair, East Meets West Catering, Gourmet Caterers and Max Ultimate Food.
As the artistic exchange reaches a crescendo, let the music take control and dance the night away under the Cyclorama’s historic copper dome. Enjoy decadent desserts and cocktails generously provided by Gourmet Caterers and Bombay Sapphire.
Celebrate Boston Center for the Arts and the vibrant culture-makers it supports; proceeds from the BCA Ball 2018 directly fund BCA’s vision to unite communities and spark dialogue with the transformational power of contemporary visual and performing arts.
Gertrude’s Artists Salon | Art Writing, Part 2: Changing Landscape of Arts Writing
“How have reviews—the foundational form of art writing—evolved with technological shifts over the last few decades?”
This panel will focus on who reads art writing and how readers engage. Arts writing has experienced a major shift in audience and dissemination since the age of the internet. It has become an open playing field, no longer only accessible to the writers and art critics of major publications. Since this cultural shift, new grassroots publications have eschewed print media and opted to only exist online. This has resulted in a new community where individuals play multiple or hybrid roles, including those of art writer, artist and curator. How do publications approach dissemination via the internet?
This panel will look at questions including “How do arts publications create open, safe virtual spaces that encourage healthy, diverse dialogues while also resisting defamatory or false responses?” Moderator Joshua Fischer is an independent curator and writer living in the Boston, Massachusetts area. He recently moved to Boston from Houston, Texas, where he worked at Rice University Art Gallery and curated site-specific installations. He currently contributes to Big Red & Shiny, an online publication focusing on the Boston and greater New England arts.
Panelists Heather Kapplow is a Boston-based conceptual artist and freelance writer/media producer. Kapplow’s writing has appeared in Big Red & Shiny, ArtDependence, DigBoston, Globe Media’s BDCWire; and WBUR’s ARTery. Kapplow is also a regular contributor to Hyperallergic and Delicious Line. More information available at: www.heatherkapplow.com.
Tamar Avishai is a Somerville-based art historian and independent radio producer. She is the one-woman band behind The Lonely Palette, the podcast that aims to return art history to the masses, one object at a time. In the two years since its launch, The Lonely Palette has been written-up in WIRED, The Boston Globe, Salon, Hyperallergic, and was one of Paste’s 50 Best Podcasts of 2017. It has also aired on PRX, the CBC, and NPR. She is an adjunct lecturer at the Museum of Fine Arts, Boston, and picks a banjo in her spare time.
Rebecca Uchill is an art historian, independent curator, and Editor of Art Journal Open, an independently-edited, open-access, peer-reviewed affiliate of the College Art Association’s Art Journal. She is a full-time member of the faculty at UMass Dartmouth in the Department of Art Education, Art History & Media Studies, and a lecturer in History, Theory and Criticism of Art in the Department of Architecture at MIT. An updated, limited-run version of her Random Exhibition Title Generator is presently on view in the exhibition “States of Change” at the Wassaic Project.
La Pocha Nostra en colaboración con 25 participantes de un taller de performance, intervienen con imagenes vivientes, el Museo de Arte Moderno este sabado y domingo, de 3 a 5 pm.
Join us for the opening reception of the 24th round of Art on the Marquee on February 29 2018! See nine new videos created specifically for the 80-foot-tall seven screen Marquee! The reception at BCEC is free and open to the public, but please register in advance here: https://www.eventbrite.com/e/art-on-the-marquee-opening-reception-round-24-tickets-43105017267
A full list of the works in the 24th Round of Art on the Marquee can be found here: http://www.artonthemarquee.com/artworks/
To learn more about Art on the Marquee visit: http://www.artonthemarquee.com/
This is Just a Test (Self Portrait) is a conceptual, abstract, autobiographical piece created specifically for Boston Cyberarts and the marquee.
People close to me know that I don’t really like to share too much about myself publicly or to use my personal experiences explicitly in my work, so I thought it would be funny if I made a self portrait that was 80 feet tall with my native city as its backdrop.
The way in which this is a self-portrait has a little bit to do with my history as an artist—I moved towards making conceptual and engagement-based work from the experimental film/video world, and while studying anthropology. Two layers of what you are viewing here are related to that experience: The formal focus on video test bars relates to my previous preoccupation with formal elements of film—like the frameline and branding bursts—that we don’t usually pay much attention to, but which can have great influence.
The fleshy color palette here references structural racism encoded in cinematographic color tests (which the field of anthropology perpetuated by incorporating into its fieldwork practices.)
The proportions of the flesh tones in This is Just a Test (Self Portrait), as well as the colors moderating between them and the traditional video test bar palette, were generated by a consumer genetic test. So this is also a report on the results of that test—a data-graphic portrait of my personal genetic history.
A small, interactive piece of mine, Here's What I See, which focuses on complexity and bias in making artwork accessible to those with low or no vision, is included How Do I Look?, curated by Scout Hutchinson & Mary Provenzano, at The Gallery at Atlantic Wharf in Fort Point Boston.*
Within the hierarchy of the five senses, sight reigns supreme. Ancient Western philosophy tends to associate vision with knowledge, and Aristotle concluded that “of all the senses sight best helps us to know things, and reveals many distinctions.” Linking visual perception with truth lingers in our contemporary society, in which one declares “I see” to convey that one understands. Yet while sight, for many of us, is often our primary mode of apprehending the world, we are at the same time aware of the pitfalls and deficiencies of visual perception—places where the alleged “truth” of this ocular sense snags on its shortcomings. Far from being an objective sense, one individual’s visual reality is rarely identical to the next. How Do I Look? invites artists to reflect on the flaws in the theory of sight as truth and the subjective nature of visual perception.
Join us for the opening reception on Wednesday, February 21 from 6PM-8PM!
*Visitors to the gallery please note that my piece won't be fully in place or labeled until the week of the opening.
Postcards From the Edge offers a rare opportunity to acquire original, postcard-sized artwork from internationally renowned and emerging artists for only $85 each. Offered on a first-come, first-served basis, over 1400 works are exhibited anonymously, and the identity of the artist is revealed only after the work is purchased. With the playing field leveled, all participants can take home a piece by a famous artist, or one who's just making their debut in the art world. Nonetheless, collectors walk away with something beautiful, a piece of art they love!
Postcards from the Edge 2017 raised over $94,000 to-date for the programs of VISUAL AIDS. There were 1,432 postcard-sized works on display by artists from around the world, and over a thousand people attended the event. Our gratitude goes out to all the participating artists and everyone who comes out to support Visual AIDS, enabling us to produce AIDS-focused contemporary art programs and provide supplies and assistance to artists living with HIV/AIDS, many who are unable to continue producing work without such support.
Small Works for Big Change is an art benefit for the Sylvia Rivera Law Project. Small Works provides an important space for trans and gender non-conforming artists, especially trans and gender-nonconforming low-income artists and artists of color, to showcase their work and increase their voice and visibility.
The event is free and open to the public. Bidding ends at 7:30 pm sharp. Registration is available at the door but we recommend pre-registration for a speedy check-in process. Cash and credit card only. Due to space constraints, we highly encourage next day art pickup from 3 to 6 pm. Same day art pickup available but expect a one to three hour wait.
Small Works for Big Change will take place on October 21st from 4 pm to 8 pm at Participant Inc. Participant Inc is located at 253 E Houston St # 1, New York, NY 10002.
Venue is located on ground level. Nearby F train 2nd Avenue station.
Artists Incude: Abigail Lloyd, AK Burns, Alyson Provax, Andrea Geyer, Anna Betbeze, Anthony Iacono, Ariel Malka Goldberg, Brian Healey, Brian J. Soliwoda, Carrie Yamaoka, Chance, Charlotte Prodger, Cristina Covucci, Cristy Road, Dana Degiulio, Dana Gibson, David Needleman, Derrick Schultz, Elise Gardella, Elizabeth Insogna, Elliot Kukla, Em Rooney, Emily North, Emily Roysdon, Eva Contreraz, Gabriel Lee, Geo Wyeth, Ginger Brooks Takahashi, Gordon Hall, Hannah Hiasen, Heather C. Lou, Heather Kapplow, Isabella Rose Adler, Jacqueline Hsia, Jamee Hundley, Je’Jae Daniels, Jerise Fogel, Johanna Breiding, Jonah Groeneober, Joy Episalla, Jules Gimbrone, Jules Rosskam, Julia Talen, Julieta Salgado, Julio Salgado, Kalani Catbagan, Karen Heagle, Kristoff Smith, Laimah Osman, Laura Gagliardi , Lee Ely, LJ Roberts, Lucia Znamirowski, Maja Čule, Mark Benjamin Gelbart, Mary Manning, M. Samolewicz, Melanie Cervantes, Miguel Medina, Mohammed Fayaz, Morgan Bassichis, Nadia Awad, NB Brody, Neil Vandervloed, Nic Belott, Olivia Huffman, Otherwild And Bullhorn Press, Patrick Staff, Paul Mpagi Sepuya, Rabi Cepeda, Rae Senarighi, Roberta Rivera, Roin Morigeau, Sadie Benning, Samantha Horning, Sarah Gottesdiener, Savannah Knoop, Shaylanna Luvme, Talcott Broadhead, Theodore Kerr, Tuesday Smillie, Xylor Jane, and Zac Slams.
“The Future of Work” blends utopian/dystopian speculation about our technocentric work lives and the gig economy, including potential futures rooted in the profession 'artist.' Cody Justus’ notes on canvas speak to the internal labor that occurs in the artist's studio. Heather Kapplow’s Tools of the Trade is a rotating display of objects that one could never have guessed were part of an artist’s creative process. Andrew Fish’s paintings look both inward and outward as abstract figures try to find their way, dissolving in and out of washy backgrounds, bathed in the glow of a computer or iPhone screens. Each artist in the exhibition questions what parts of work we value and provides an opportunity to reflect on today’s shifting vocational landscape.
Opening Reception: October 25, 2017, 5:30-7:30pm
Artists included in the exhibition: Paul Belenky, Sammy Chong, Andrew Fish, Yetti Frenkel, Cody Justus, Heather Kapplow, Michael MacMahon, Warren Stred.
About the guest curator: Joshua Fischer is an independent curator and writer living in the Boston, Massachusetts area. He recently moved from Houston, Texas, where he worked at Rice University Art Gallery and curated site-specific installations by Jonathan Schipper, Thorsten Brinkmann, Yusuke Asai, Andrea Dezso, Ana Serrano, and Yasuaki Onishi. He organized with Rice Gallery director, Kimberly Davenport, twenty-four additional commissions, including installations by Dinh Q. Lê, Joel Shapiro, Sarah Oppenheimer, and El Anatsui. He has published exhibition reviews and articles in Glasstire, an online art magazine covering visual art in Texas and Southern California. He currently contributes to Big Red & Shiny, an online publication focusing on the Boston and greater New England arts.
The Gallery at Atlantic Wharf is open daily to the public from 7 am to 10 pm, and is located at 290 Congress Street, Boston, MA, 02201.
On Friday, October 6th, I'll be the Isabella Stewart Gardner Museum's Living Room Project host, sharing a big pile of witchcraft I've got on hand, wielding talismans and talking about magic spells/other methods for contending with technical and interpersonal difficulties one might encounter along the path of life. Stop by and talk to me about sorcery (or modern science, or whatever) if you're in the area.
In collaboration with Icebox Project Space Distance≠Time exhibition and performance, Black Quantum Futurism presents Time Camp 001, a two-day program and interactive installation exploring time, alternative temporalities, time travel, and temporal shifts from various frameworks, disciplines, and cultural traditions. The program includes two days of workshops, presentations, rituals, film screenings, interactive installations and special performances from local and national artists, scientists, social activists, filmmakers, writers, poets and more at Icebox Project Space.
Time Camp 001 exhibiting artists: Amy Lee Ketchum, Blache Marie and Rose F., Darian Longmire, Dash, Euca, Graupy, Kaitlin Pomerantz, Keith Lemley, Marcelline Mandeng, M. Asli Dukan, M. Mohamed, Nadahada, Oji, Ras Cutlass, Razan AlSalah, Redeem Pettaway, Richard R. Ross and Robert A. Young, Risha Rox, Sydney Cain, Sara Zia Ebrahimi and Gralin Hughes, Ytasha L. Womack, Judith Sönnicken and Zein Nakhoda.
Presenters / Workshops / Performances: Kendra Krueger and Alex Harsley, Blache Marie and Rose F., Angie Holiday, Nickelangelo, Sapphire Woods, Nathan Fried, Molina Speaks, Asia Dorsey, Sheree LoveMestiza Brown, Maggie Lily, Matt Kalasky, Jazmyn Burton, Interminable, Moor Mother, and Solarized.
Event and Schedule site: https://www.blackquantumfuturism.com/time-camp-001
For more information please contact email@example.com or firstname.lastname@example.org
Be Here Wow can also be experienced online here.
Gallery 263 is pleased to present Handled, a regional, juried exhibition selected by Pat Falco. The exhibition celebrates the unrefined, imperfect, and utterly human artworks of today by bringing together 16 handmade works created by 16 artists from throughout New England.
The selection showcases a variety of media including installations, mixed media sculptures, paintings, drawings, embroideries, and much more. Each work makes the hand of the artist known in its own way. Some celebrate the precision of a steady hand. Others the expressive gestures of a loose one. Together, they look at the familiar and unexpected ways that artists use their hands to give their work individuality and style that no other tools could possibly create. On view from September 7 – October 7, 2017.
Reception: Saturday, September 9, 7-9pm
JAM SESSION OPEN TO THE PUBLIC | AUGUST 31 7-9PM | SANTA FE ART INSTITUTE | FREE ADMISSION RSVP REQUIRED
Join us for a free Jam Session featuring artists from a ive-day intensive workshop lead by Guillermo Gomez-Peña and members of the legendary troupe La Pocha Nostr (Balitronica Gomez and Saul Garcia-Lopez). This performative happening will have a focus on the human body as a site for creation, reinvention, memory and activism.
This powerful final event will involve experimental performance artists, actors, dancers, theorists, activists and students. La Pocha will inevitably invite audience members to help with actions, but the event will focus on the members of the workshop and Pocha Nostra members, Saul Garcia Lopez, Balitronica Gomez, and Guillermo Gomez-Pena. Please feel free to come in an enhanced persona in La Pocha asks for volunteers!
In August 2017, Datscha Radio will return to its homestead in a Berlin allotment garden for “Plots and Prophecies,” a five-day radio art garden festival celebrating matter, soil and sound, and investigating pending issues in contemporary ecology, bionics and artistic strategies.
Datscha Radio’s 2017 programme spans from Berlin’s urban garden politics to intimate conversations with plants; from horticulture to porticulture; from bees and birds to barbeque; from rotting matter to poetic remnants. We’ll have a taste of fish(dung)-grown tomatoes, examine greening practices and stick our microphones into the rich soil to report on slug wars and root panels. We’ll talk to skydiving earthworms and gardeners from the community alike.
24 hours a day, for 5 days, from August 25th at 12pm until midnight on August 29th, 2017, we will broadcast live from a Pankow "Schrebergarden" – come rain or shine!
Datscha Radio is created by gardeners, sound artists and guests.
Datscha Radio is free, non-commercial, and open to everyone.
Datscha Radio is dedicated to intuitive performance, music and radio art.
Datscha Radio links the site of the garden to the world.
Datscha Radio will be broadcasting/streaming on 88.4 FM in the Berlin area & 90.7 FM in Potsdam (selected times, day and night) and worldwide on datscharadio.de, as well as in collaboration with other radio stations and projects (see our Facebook page or website for an up-to-date list and our broadcast schedule.)
If you want to host a listening party in your garden, please reach out to us about our International Garden Listening Club!
All Right!, a collaboration with Ernie Kim, is a Karaoke booth that only plays one song: Adriano Celentano's 1972 Italian pop hit, "Prisencolinensinainciusol." The song, which (according to Wikipedia,) sounds like English spoken with an American accent to Italians, is actually complete nonsense except for the phrase "All right" which occurs a few times within the lyrics.
Wikipedia claims that "Celentano's intention with the song was to explore communication barriers." On NPR in 2012, Celentano explained, "I thought that I would write a song which would only have as its theme the inability to communicate. And to do this, I had to write a song where the lyrics didn't mean anything."
All Right!, created especially for Tongue Tide, celebrates and amplifies the slightly sexy/campy ridiculousness of Celentano's particular brand of gibberish. It, like all Karaoke, is best experienced while slightly inebriated. An opening reception occurs on July 6, 2017, and other events occur weekly throughout the month-long exhibition.
Join us for a day of art along the Wallkill Valley Rail Trail!
Women's Studio Workshop's public art program asks artists-in-residence to create engaging, innovative installations along the trail, which passes right in front of our studios. Each work is on view through the Summer, four months after the installation date.
Summer Art Walk and Public Art Reception:
Artist walks begin at 5 and 6 pm
Free and open to the public
About the Artists:
Philadelphia-based sculptor Mei-ling Hom employs sustainable farming practices and plant-soil relationships in her artwork. Her installation, Multiversity Garden, spells out a call to action in Morse code and will slowly change with the season.
Constructed in string, paint, collage, and nails, Alicia Henry’s mural bridges Women's Studio Workshop’s studios and new building. An interdisciplinary artist working in Nashville, she challenges the material possibilities of monumental painting.
Joining us from Boston, current artist-in-residence Heather Kapplow is imagining new interpretations of all twenty-two miles of the Rail Trail. Her experience-based sign series, Going, opens during the art walk!
[In the event of prohibitive weather, the reception will be held in Women's Studio Workshop’s new building.]