[{"id":"70364","title":"Devin Troy Strother's "Undercover Brother" Channels Philip Guston with Humor, Gusto and Purpose","alias":"devin-troy-strother-s-undercover-brother-channels-philip-guston-with-humor-gusto-and-purpose","catid":"23","published":"1","introtext":"Even though Devin Troy Strother's newest exhibition, Undercover Brother, came down recently at the Pit LA, it continues to deserve attention. Interestingly enough and spoken about in art circles for <\/span><\/span>","fulltext":"

Strother has always been a personal favorite, with one of the highlights of my career was showcasing a neon of his at the Juxtapoz x Superflat<\/em> exhibition I co-curated with Takashi Murakami at the Vancouver Art Gallery in 2016-2017. The work, a nude woman with afro, hung over a doorway into another installation room, a claiming of entry in a way. His works are provocative, and here is that word again, with purpose. He has an incredible sense of taking the moment, the world has we see it now, and spin it with historical iconography and contemporary voice. His Guston works here and original as they are looking deeper at the controversy and influential and \u201can entry point back into figurative painting,\" as he puts it. 

As the gallery points out, The paintings started as master copies, until Strother was compelled to \u201cappropriate and adopt some of Guston\u2019s themes and approaches from his show at Marlborough Gallery in the 1970\u2019s.\u201d Cancel culture and its restrictions on subjectivity disturbs and fascinates Strother; the cancellation of Guston\u2019s recent show, for example, propelled his interest in \u201cfurther putting myself in the other position. Guston tried to understand the mentality of hate\u2026\u201d Guston\u2019s Klansmen resonate personally with Devin Troy Strother, whose mother\u2019s side of the family left Lake Charles, Louisiana for Los Angeles in part, after harassment by the KKK. Like Nicole Eisenman and Dana Schutz, Strother continues to populate his artworks with conflicted figures, to create captivating formal and subjective problems through heavy referencing. While Strother may not crank out Guston variants forevermore, the paradoxical realization that on one hand nobody can own styles or aesthetics, while on the other, oppressed populations use reclamation, reinvention, and empowerment as sources of pride and survival will certainly continue as a central motif in Devin Troy Strother\u2019s art. 

<\/em>That is a key here; this idea of reclamation, reinvention, and empowerment that we often miss when we talk about why an artist may channel a precursor or legend of a particular genre. As Guston has become more and more of a source of inspiration for figurative painters, Strother is taking the source and deep American cultural context of Guston's work and creating a new series of icons. It's powerful, it's irreverent at times, and it's one of the best shows of 2021. \u2014Evan Pricco<\/em><\/p>","video":null,"gallery":"{gallery}70364{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" ","created":"December 28, 2021","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2021-12-27 12:49:33","modified_by":"18541","publish_up":"2021-12-28 08:29:58","publish_down":"0000-00-00 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troy strother","published":"1","link":"\/tag\/devin-troy-strother\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"},{"id":"26865","name":"the pit la","published":"1","link":"\/tag\/the-pit-la\/"},{"id":"23296","name":"philip guston","published":"1","link":"\/tag\/philip-guston\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/46634b28efed53de9b9b17f7b58906fc_XS.jpg?t=1640609373","imageSmall":"\/media\/k2\/items\/cache\/46634b28efed53de9b9b17f7b58906fc_S.jpg?t=1640609373","imageMedium":"\/media\/k2\/items\/cache\/46634b28efed53de9b9b17f7b58906fc_M.jpg?t=1640609373","imageLarge":"\/media\/k2\/items\/cache\/46634b28efed53de9b9b17f7b58906fc_L.jpg?t=1640609373","imageXLarge":"\/media\/k2\/items\/cache\/46634b28efed53de9b9b17f7b58906fc_XL.jpg?t=1640609373","imageGeneric":"\/media\/k2\/items\/cache\/46634b28efed53de9b9b17f7b58906fc_Generic.jpg?t=1640609373","cleanTitle":"Devin Troy Strother's \"Undercover Brother\" Channels Philip Guston with Humor, Gusto and 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Even though Devin Troy Strother<\/a>'s newest exhibition, Undercover Brother<\/em><\/a>, came down recently at the Pit LA, it continues to deserve attention. Interestingly enough and spoken about in art circles for a year now was the cancellation of Philip Guston's exhibition at the National Gallery of Art in 2020 and the debates that surrounded it. Guston has always been a bit of lightning rod; for his move from abstraction to figuration to his use of KKK figures in his works to his depictions of Nixon. Strother, always a burgeoning master of how linguistics and pop-culture imagery dominates our understanding of race, politics and, to a greater extent, art, has been creating works in ode to Guston for awhile now, but found purpose in this cancellation to dig further. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70353","title":"The Part You Throw Away: Joakim Ojanen @ The Hole, NYC","alias":"the-part-you-throw-away-joakim-ojanen-the-hole-nyc","catid":"23","published":"1","introtext":"Ever since he stepped onto the international art scene with a solo show at Richard Heller gallery in 2016, we've been closely keeping an eye on the works of Joakim Ojanen and enjoying the development<\/span><\/span>","fulltext":"

From the moment we first laid our eyes on his droopy characters and their passiveness, it was hard to not fall in love over and over again with this playful yet downcast gang and the scenes that capture their fantastically mundane lives. Through his work, regardless of the form and technique, Ojanen has the special power to find a pleasurable edge of unexciting moments and almost bask in the weirdness or even sadness of life's most blandest moments. His loitering heroes are often captured in some form of interaction, unnaturally bending, elongating, and modifying to the occasion, but rarely showing any signs of recognizable pleasure. Yet, with the mixture of indifferent facial expressions, otherworldly flexible and resistant bodies, and the overall ambience suggested through their surroundings, clothes, or the general color scheme, we almost feel jealous of all the non-fun they're having.<\/p>\r\n

For The Part You Throw Away<\/em>,<\/a> Ojanen created his arguably \"most emotionally considerate, technically masterful and graphically outlandish works to date.\" All stemming from his genuine love for childhood drawing and the urgency to create without preconceptions, it's important for the artist to capture his process in each of the work presented. Whether it's the elaborate charcoal drawings and the intricate and persistent mark making, colorful and texture-rich oils, or fantastically playful ceramics and bronzes in which the artist breaks the smooth surface with purposely left finger print marks. Both conveying the playful approach to creative process and revealing the traces of improvisation and experimentation, his oddball characters and the puzzling scenes keep evolving into the impossible sphere, staying firmly connected with the untamable, child-like imagination. The idea of utilising the form and the surface as the primary elements of his work culminates in large bronze pieces in which the surface blandness and the lack of color provide more archetypal appearance. On one hand, using the scale to capture the attention, Ojanen is providing less details and additional elements allowing for the viewer to part take in the scene and envision their own ambience around it. \u2014Sasha Bogojev<\/em><\/p>","video":null,"gallery":"{gallery}70353{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"The Part You Throw Away\"},{\"id\":\"3\",\"value\":\"Joakim Ojanen\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2021-11-18\"},{\"id\":\"2\",\"value\":\"2022-01-09\"},{\"id\":\"10\",\"value\":\"The Hole\"},{\"id\":\"9\",\"value\":\"New York\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"3\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" The Part You Throw Away Joakim Ojanen The Hole New York USA New York 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Ojanen","published":"1","link":"\/tag\/joakim-ojanen\/"},{"id":"27265","name":"the hold","published":"1","link":"\/tag\/the-hold\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/41e284cdf3e50767d64a350dfd0385d2_XS.jpg?t=1640037639","imageSmall":"\/media\/k2\/items\/cache\/41e284cdf3e50767d64a350dfd0385d2_S.jpg?t=1640037639","imageMedium":"\/media\/k2\/items\/cache\/41e284cdf3e50767d64a350dfd0385d2_M.jpg?t=1640037639","imageLarge":"\/media\/k2\/items\/cache\/41e284cdf3e50767d64a350dfd0385d2_L.jpg?t=1640037639","imageXLarge":"\/media\/k2\/items\/cache\/41e284cdf3e50767d64a350dfd0385d2_XL.jpg?t=1640037639","imageGeneric":"\/media\/k2\/items\/cache\/41e284cdf3e50767d64a350dfd0385d2_Generic.jpg?t=1640037639","cleanTitle":"The Part You Throw Away: Joakim Ojanen @ The Hole, NYC","numOfComments":"0","text":"

Ever since he stepped onto the international art scene with a solo show at Richard Heller gallery in 2016<\/a>, we've been closely keeping an eye on the works of Joakim Ojanen<\/a> and enjoying the development of his concepts and the diverse sprouting of his practice. And two years since his solo debut with The Hole<\/a>, the Swedish artist is back in NYC with another elaborate presentation comprising installation, ceramics, bronze, charcoal drawings, and oil paintings, which arrived directly from his recent presentation at V\u00e4ster\u00e5s Konstmuseum in Sweden<\/a>.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70348","title":"FOLK MEDIC II: PANACEA @ Subliminal Projects, Los Angeles","alias":"folk-medic-ii-panacea-subliminal-projects-los-angeles","catid":"23","published":"1","introtext":"Subliminal Projects is pleased to present FOLK MEDIC II: PANACEA, a site-specific collaborative exhibition by the Los Angeles-based FOLK MEDIC collective, Ako Castuera, Hellen Jo, and Kris Chau, toge<\/span><\/span>","fulltext":"

FOLK MEDIC II stands as an extension of the collective\u2019s 2018 exhibition at Subliminal Projects, rooted in healing and friendship. FOLK MEDIC II manifests once again, out of a time of historic upheaval, with focus on remedy, community action, and family.<\/p>\r\n

Coordinated in tandem with FOLK MEDIC II, PANACEA is a group exhibition on care, extending from the ethos of FOLK MEDIC\u2019s work. Panacea asks how medicine is an alchemic act of communal practice and how a physical site might become a salve. Medicine here is harbored in artworks of light, sound, landscape, hue, fibers, flora, and proclamation. PANACEA shifts the reduction of care from its institutionalized and privatized positioning and throttles it towards a cosmology of attributes, attitudes, and generative impulses of the collective. In this form, care provides glimpses of family archives, assemblage objects, ephemera, amalgamative forms, corporeal geographies, and the marks of our Anthropocene. The earliest moments of FOLK MEDIC II were grounded in the question: what was your medicine? Panacea answers in myriad ways, extending outwards and back towards a collectivist approach.<\/p>\r\n

CONTRIBUTING ARTISTS<\/strong><\/em>
Adee Roberson, Ako Casteura, Devon Tsuno, Eric Johnson-Acevedo, Eunsoo Jeong, Hellen Jo, Jeffrey Cheung, Josh Cloud, Kris Chau, Kwasi Boyd-Bouldin, Mano Ya, Maria Maea, and Rob Sato.<\/p>","video":null,"gallery":"{gallery}70348{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"FOLK MEDIC II: PANACEA\"},{\"id\":\"3\",\"value\":\"Group Show\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2021-12-11\"},{\"id\":\"2\",\"value\":\"2022-01-08\"},{\"id\":\"10\",\"value\":\"Subliminal Projects\"},{\"id\":\"9\",\"value\":\"Los Angeles\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"2\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" FOLK MEDIC II: PANACEA Group Show Subliminal Projects Los Angeles USA Los Angeles ","created":"December 22, 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Subliminal Projects<\/a> is pleased to present FOLK MEDIC II: PANACEA<\/em>, a site-specific collaborative exhibition by the Los Angeles-based FOLK MEDIC collective, Ako Castuera, Hellen Jo, and Kris Chau, together with a group exhibition curated by independent curator and arts writer Essence Harden.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70352","title":"Recap: Art Antwerp 2021\u2014Inaugural Edition","alias":"recap-art-antwerp-2021-inaugural-edition","catid":"23","published":"1","introtext":"This past weekend, in the midst of cancellations that have been sweeping events through Europe and the US, the inaugural edition of Art Antwerp took place at Antwerp Expo. As an international contemp<\/span><\/span>","fulltext":"

Compact in size yet strong in the presentation of the type of work we enjoy, it was a great pleasure visiting the fair on the opening day and seeing so many familiar names and faces under one roof. With our frequent focus on the region, Art Antwerp included a lot of galleries whose programs and artists we feature often on Juxtapoz, so it was hard to pick our favourites among so many of our usual favourites. With that being said, we thoroughly enjoyed seeing the new canvases by Laurent Proux at the Parisian Semiose gallery's booth. Using a wide range of colors and manipulating the paint in a raw and determined manner, the artist is constructing eerie forest scenery in which human figures are found in the state of confusion and despair. Local tag team, Sofie Van De Velde and PLUS-ONE, had a large booth with a great selection of works by artists' we love, such as Bendt Eyckermans, Laurens Legiers, Nel Aerts, Amber Androes, among others. <\/p>\r\n

Next door was Irene Laub from Bruxelles who put up a solo presentation by Gauthier Hubert, in which brightly colored negative spaces often accentuate the anatomical weirdness of his portraits or the compositional offness of his landscapes. Across her, Ballon Rouge Collective introduced new works by Peter Simpson and Sofia Pashaei while DMW Gallery had a great solo installation by Ellen Pil which explored heavily abstracted portraiture through a Guess Who-like layout. Super Dakota nearby introduced some new works by Adrian Geller whose solo show they presented a few months back, as well as showcased some small gems by Danica Lundy and Bent Van Looy. Maruani Mercier had a large presentation with some strong names, but for us, the stand out works were the small portrait by Johnson Eziefula, collaged oil by Jaclyn Conley, and mind boggling sculptures by Tony Matelli. Everyday gallery from Antwerp had a big selection of thick, smelly oils by Trude Viken, alongside meticulously painted works by Dittmar Viane and sculptures and paintings by Daan Gielis among others, and Sorry Sorry We're closed exhibited a selection of sculptural works including the new ceramics by Eric Croes. Some of the standout booth presentations was a large selection of works on paper presented by Nino Mier as well as Marcin Dudek's solo presentation with Harlan Levey Projects which introduced the three major forms of production in his practice - performance, mixed-media collage and sculpture through textile work, installation, sculpture, and video. \u2014Sasha Bogojev<\/em><\/p>\r\n

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This past weekend, in the midst of cancellations that have been sweeping events through Europe and the US, the inaugural edition of Art Antwerp<\/a> took place at Antwerp Expo. As an international contemporary art trade show and not an event, the fair was organised by Art Brussels, and it brought 59 galleries from Belgium and neighbouring countries in a spacious and easy to navigate venue.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70343","title":"Hashimoto Contemporary Focuses on HPM in "Multiples" in NYC","alias":"hashimoto-contemporary-focuses-on-hpm-in-multiples-in-nyc","catid":"23","published":"1","introtext":"Hashimoto Contemporary is pleased to present the second edition of Multiples, a group exhibition featuring limited edition HPMs (hand-painted multiples) and prints. The exhibition brings together a g<\/span><\/span>","fulltext":"

Join us Saturday, December 18th from 10:30 am to 6pm for the opening of Multiples. Editions will first be available exclusively in person at Hashimoto Contemporary NYC, followed by an online release on Tuesday, December 21st at 1pm eastern standard time.<\/p>\r\n

Please note that there will be a lottery for Michael Reeder's prints and editions. The lotto will go live on Tuesday, December 21st and will be open for a 24 hour window. Be sure to sign up for our newsletter so you receive an email with the lotto link and instructions. Michael Reeder's prints and editions will only be available through the lotto.<\/p>\r\n

The gallery will be open by appointment only. In order to ensure the health and safety of visitors and staff, please note that masks are required for entry. 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Hashimoto Contemporary<\/a> is pleased to present the second edition of Multiples<\/em>, a group exhibition featuring limited edition HPMs (hand-painted multiples) and prints. The exhibition brings together a group of over twenty artists in a wide range of styles from around the globe.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70340","title":"Sasha Bogojev Curates Needles in the Hay for the Curator's Room","alias":"sasha-bogojev-curates-needles-in-the-hay-for-the-curator-s-room","catid":"23","published":"1","introtext":"The Curators Room is proud to announce Needles in the Hay, a group show curated by Sasha Bogojev. One of the things we!ve become more aware of in the past two years of the global pandemic is the unfo<\/span><\/span>","fulltext":"

As much as social media, namely Instagram, might have contributed to the democratization of the art world and have provided a historically unseen platform to creatives to introduce their work, the abundance of content makes this experience increasingly harder. With the growing interference and influence of both genuine and wannabe art advisors, collectors, curators, galleries, foundations, or institutions, the haystack we!re working through is becoming exponentially more convoluted and deceiving. And while this situation can be difficult for art aficionados and collectors, it can certainly turn frustrating for the artists themselves.<\/p>\r\n

Overlooked by the almighty tastemakers or generally misrepresented, they are still out there, in the shadow of the mesmerizing spotlight of art trends, making the work that deserves more attention than it might be currently getting. And with this show, Sasha Bogojev and Gabriel Rolt from Amsterdam!s The Curators Room are doing their part to make the difference, find these gems hidden in plain sight and present their works in a large two-floor, multi-room space in the historic center of Amsterdam.<\/p>\r\n

With an extensive overview of numerous studio practices and the positioning of people working there, Juxtapoz magazine!s contributing editor eye-picked a selection of international artists whose works deserve their own time in the spotlight. Whether looking at the general concepts of their practice, the particularities of their process, or their ways of handling and utilizing the chosen techniques or mediums, Needles in the Hay are having an important role in the ongoing development and conversation about figurative art, and especially painting. Frequently focusing on the atmosphere suggested by chosen colors and the sense of dynamics or movement conveyed through the often fluid yet determined paint manipulation, the work is having its footing in historic timeline with references to Surrealism, Cubism, Fauvism, Surrealism, as well as outsiders art, illustration, and abstraction. Hailing from all over the world, from New Zealand, over Australia, Japan, China, South Korea, to the USA, and across Europe and the UK, the exhibition is meant to provide a focused digest of exciting practices taking place at (mostly painters!) studios at the present time.<\/p>\r\n

The exhibition will be including a selection of works by Grgur Akrap, Zac Yeates, Anna Jung Seo, Chiaki Kadota, Donglai Meng, Joseph Noderer, Joseba Eskubi, Erkut Terliksiz, Stijn Bastianen, Harry Rothel, Adam S\u030ctech, Andrea Medjesi-Jones, Yonel Watene, and Frank Jimin Hopp.<\/strong><\/em><\/p>","video":null,"gallery":"{gallery}70340{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Needles in the Hay\"},{\"id\":\"3\",\"value\":\"Group Show\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2021-12-12\"},{\"id\":\"2\",\"value\":\"2022-01-31\"},{\"id\":\"10\",\"value\":\"The Curator's Room\"},{\"id\":\"9\",\"value\":\"Amsterdam\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"20\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Needles 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The Curators Room <\/a>is proud to announce Needles in the Hay<\/em>, a group show curated by Sasha Bogojev. One of the things we!ve become more aware of in the past two years of the global pandemic is the unforgiving power of odds. No matter how small and insignificant a certain probability might be, recent times taught us that its mere existence is predestined to make an impact on the elements connected to it. And it!s this concept of chances and the related idea of risk and hope, as well as the general sense of liability, that prompted Sasha Bogojev to put together an exhibition where numbers work to our advantage.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70337","title":"Idol Hands @ Epiphany Center for the Arts, Chicago","alias":"idol-hands-epiphany-center-for-the-arts-chicago","catid":"23","published":"1","introtext":"hicago-based artist, muralist, and sculptural fabricator Czr Prz is pleased to present Idol Hands, the latest group show of his own curation dedicated to craft, fabrication, and structure. This exhib<\/span><\/span>","fulltext":"

\u201cIdle hands are the devil\u2019s playground,\u201d the grownups of yesteryear used to say. Thank goodness these artists heeded their exhortations. Idol Hands takes that old religious adage and turns it around, refocusing the stale phrase towards the human capacity to create godforms. Whether hanging or freestanding, built from balloons or sewn neat with needlework, these varied and visually arresting relics reveal the magic possible just beyond the picture plane.<\/p>\r\n

While the artworks throughout Idol Hands<\/em> find common ground in their undeniable urban contemporary edge, each of the show\u2019s fifteen artists hail from disparate geographical, professional, and circumstantial backgrounds. Woes Martin started taking art seriously after a 1998 car accident drove him indoors, and Anthony Lewellen shaped his sensibilities by getting up on the streets. The emergent paths of these fifteen distinct people yield fifteen distinct creative approaches. Sarah Best, for example, sculpts paper into snake scales with startling sharpness. Zeye sprays shimmering deities out of aerosol cans.<\/p>\r\n

Prz\u2019s affinity for fabrication starts with his working class Caribbean-Latino upbringing. The artist\u2019s fabrication practice employs heavy machinery to honor a culturally rich childhood where the adults who raised him worked much like the artists in this show\u2013relying on their own two hands. Remodeled from a decaying church in Chicago\u2019s West Loop neighborhood, Epiphany Center for the Arts\u2019 stunning 42,000 square foot campus offers an uncanny forum to venerate the idols collected by Prz and his Idol Hands cohorts. Exalt in the divinity of 3D creation, which starts in our own mortal palms.<\/p>\r\n

FULL ARTIST LINEUP:
<\/strong><\/span>Sarah Best (NYC)
Sea Of Doom (Philadelphia)
Ian Kuali\u2019i (NM\/Hawai\u2019i)
Phybr (Detroit)
Czr Prz (Chicago)
Zeye (Chicago)
Elloo (Chicago)
Mr BBaby (LA)
DENIAL (Detroit\/Canada)
Woes Martin (LA)
Balloonski (LA)
Hank Von Hellion (Worcester, MA)
CLS (Denver)
Jb Snyder\/Janel Garza (Phoenix)
Anthony Lewellen (Chicago)<\/p>","video":null,"gallery":"{gallery}70337{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Idol Hands\"},{\"id\":\"3\",\"value\":\"Group Show\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2021-12-17\"},{\"id\":\"2\",\"value\":\"2022-02-28\"},{\"id\":\"10\",\"value\":\"Epiphany Center for the Arts\"},{\"id\":\"9\",\"value\":\"Chicago\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"35\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Idol Hands Group Show Epiphany Center for the Arts Chicago USA Chicago ","created":"December 17, 2021","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2021-12-16 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hicago-based artist, muralist, and sculptural fabricator Czr Prz<\/a> is pleased to present Idol Hands<\/em>, the latest group show of his own curation dedicated to craft, fabrication, and structure. This exhibition collects new and original works by fifteen artists from across the United States engaged with material-based practices. Idol Hands<\/em> opens on December 17th at Epiphany Center for the Arts<\/a> in Chicago, and will remain on view through February 2022.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70331","title":"Silent Stars: Mahsa Merci @ Maytens Project, Toronto","alias":"silent-stars-mahsa-merci-maytens-project-toronto","catid":"23","published":"1","introtext":"Long nails, muscly limbs, fishnet stockings, sport socks, body hair, wigs, makeup, and tattoos, are some of the reoccurring elements that permeate the body of work comprising Silent Stars, Mahsa Merc<\/span><\/span>","fulltext":"

Comprising a variety of works, from oil portraits over various scales of sculptures and mixed-media installations to video animation, Merci is interested in introducing the \"different aspects of gender, identity, sexuality, and beauty that upend patriarchal norms through multimedia\". Both by depicting subjects that don't fit social norms in certain cultures as well as underlining some of the arcytepal elements of their appearance, the exhibition is meant to open boundaries and promote acceptance and closeness. Framed in the silver mounts that references the traditional Islamic architecture, the portrayed sitters are meant to be more familiar, and common, and not be seen as the \"others\". Further on, the viewers are invited and permitted to touch exhibits in order to fully grasp their uniqueness, but even more so, get familiar with them. Therefore, the striking mix of beauty and macabre which permeates each piece and the presentation as a whole is there for the sake of reflection and acceptance, rather than the shock effect or spectacle.

This direct and personal way of introducing the work and the theme is purposely conceived in dramatic contrast to the cold and distant stream of sex and violence that is the Internet. Merci's muses, whether portrayed on paintings or represented in sculptural works, are appearing confident while directly facing the viewer and revealing the minute, often imperfect details of their unique appearances. The body hair, tattoos, accessories, makeup, all contribute to their exceptional personalities while luring the viewer to come closer and examine all the shapes, colors, and textures that construct them. Such elements, often contrasting and unflattering, emphasize the idea that identity is never just light and pretty, which is again in contrast with what's presented in the media, especially online. \"From my point of view, the human face is the only part of the body that gives us the fundamental knowledge of a person, where the intent is to represent a specific human subject. I carefully craft visual clues to tell the story of the person in the artwork,\" Merci stated in an interview with Create<\/em> magazine<\/a>, and we see such approach culminating in the sculptural pieces of this exhibition. Demanding for a physical close-up examination, these multi-layered pieces are meant to create a fast bond and understanding with the artist\u2019s figures and ultimately, the artist herself. \u2014Sasha Bogojev<\/em><\/p>","video":null,"gallery":"{gallery}70331{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Silent Stars\"},{\"id\":\"3\",\"value\":\"Mahsa Merci\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2021-10-28\"},{\"id\":\"2\",\"value\":\"2022-01-15\"},{\"id\":\"10\",\"value\":\"Maytens Project\"},{\"id\":\"9\",\"value\":\"Toronto\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"2\"},{\"id\":\"16\",\"value\":\"9\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Silent Stars Mahsa Merci Maytens Project Toronto Canada Toronto ","created":"December 15, 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Long nails, muscly limbs, fishnet stockings, sport socks, body hair, wigs, makeup, and tattoos, are some of the reoccurring elements that permeate the body of work comprising Silent Stars<\/em>, Mahsa Merci<\/a>'s solo show at Maytens Projects<\/a> in Toronto. Hailing from Iran, a country in which she faced censorship and oppression as an artist and a queer woman, the Toronto-based artists has been focusing on the restrictiveness of social norms, especially for the LGBTQIA+ community and this exhibition presents the culmination of those efforts from the past two years.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70332","title":"The Muse\u2019s Gaze: Ana Benaroya New Works Alongside Yinka Shonibare CBE","alias":"the-muse-s-gaze-ana-benaroya-new-works-alongside-yinka-shonibare-cbe","catid":"23","published":"1","introtext":"Ana Benaroya's works make a noise, as if they are a soundtrack on a canvas. There's something that radiates off the characters, as if we know they have their own music emanating from them. In he<\/span><\/span>","fulltext":"

Cleverly juxtaposed in the center of the gallery is a wonderful work by British-Nigerian artist, Yinka Shonibare CBE<\/a>, entitled Diana of Gabii<\/em>. <\/em>Just as Benaroya is working on a new idea of figurative painting and subject matter, a \"reimagining and retranslating modernist masterpieces through a queer feminist lens,\" Shonibare's sculpture is a retranslation and reimagining of a historical work: \"the late-classical sculpture of the same name housed in the Louvre\u2019s collection.\" This balance, on the surface a good selection just in terms of color, shows that no matter where an artist is at their career, the ideas of flipping our historical narratives upside down does not go away or our desire to re-examine hierarchies is as strong as ever. \u2014Evan Pricco<\/em><\/p>","video":null,"gallery":"{gallery}70332{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"The Muse's 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Ana Benaroya<\/a>'s works make a noise, as if they are a soundtrack on a canvas. There's something that radiates off the characters, as if we know they have their own music emanating from them. In her cover story with us back in Spring 2020<\/a>, just as the world was beginning to unravel, she said, \"Good music connects to your heart before your brain has a chance to catch up. That\u2019s how I try to make my paintings.\" In her newest works, The Muse's Gaze<\/em><\/a>, on view with Morgan Presents in NYC until December 17, it seems as if she is truly in a symphony of bold and bright, elegant and rawness, and it's some of her strongest works to date. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70323","title":"Broncos: Matthias Weischer and Joachim Weischer @ Thaler Originalgrafik","alias":"broncos-matthias-weischer-and-joachim-weischer-thaler-originalgrafik","catid":"23","published":"1","introtext":"Thaler Gallery in Leipzig recently extended the duration of their two men show featuring works by Matthias and Joachim Weischer. Broncos is presenting the new iPad works by Matthias Weischer, and the<\/span><\/span>","fulltext":"

Located in Spinnerei, a charismatic former industrial complex now an epicenter of the region's vibrant artistic scene, Thaler Gallery has been collaborating with the local artist and beyond for years, producing graphics, editions, books, as well as putting special presentations. And the show that borrows the title from the nickname that two brothers from Elte in Germany were known among their friends, is certainly one of such exhibitions. Introducing a big series of painterly works by a photographer by profession, Joachim, alongside iPad drawings by one of the prominent names from what's often described as the New Leipzig School, Matthias Weischer, it captures the lively comradery and the supportive and motivating ambiance of the area. 

<\/p>\r\n

Feeling limited in the field of traditional photography, where he was trained, Jochim Weischer was for a long time on a continuous lookout for an adequate way to express himself in a more vivid way. After experimenting with kneading on photos, he eventually resorted to painting and was able to work completely from his imagination, without connections to existing reality. Although not a \"real\" painter (whatever that term might impose), the artist is feeling at home with the medium that allows him to construct and create strange characters, sceneries, and animals. \"They seem to come from the edge of society, outsiders. Somehow they seem to be alive, but mostly not very happy,\" the artist told Juxtapoz about the origins and the idea behind his comic-like creations that occasionally step into the abstract sphere. \"The fat oil paint looks like flesh and skin and the sad eyes are looking back at me as if they were real. I guess, everybody can read the expression of the faces and know a person like this.\" And it's this thickness that the artist often employs as he's almost sculpting his subjects, whether working on a volume of their body, depicting their hair, the fabrics, or capturing the effect of water in a glass. Inspired by the people around him, especially the ones facing absurd situations, he is also continuously nurturing his interest in art and painting, with a special appreciation for the works by Matisse, Breughel., Condo and Currin, among others. \"My brother Matthias is working for over twenty years as a professional painter and he achieved a lot during these two decades. I think there is no need to compare my work with his. They are so different as human beings are, but we feel a high affinity for each other's work and there is always a deep understanding,\" he told us about the sentiment of exhibiting alongside his brother.<\/p>\r\n

Supporting the idea to show work that is somewhat new to him, while matching the graphic legacy of the gallery, Matthias Weischer used this opportunity to introduce his latest body of iPad drawings. Presented in bespoke framing that compliments his recognizable color palette, and displayed against custom painted walls and installation elements, these ultimately flat impressions are successfully conveying the ambience of his recognizable thick oil paintings. \"For me, it's the approach that is different than in the painting. I can really sit in front of my object and in front of the motive and I can really draw from life,\" the artist told us about what attracts him to explore this new medium. \"You can easily move big forms, and you can easily work with a big brush. It's more playful because you're not wasting material. In a way, it's very effective, and it's also very convenient. And then, you can just decide the size afterward.\" The series of floral and interior pieces in the show are intertwined together as some of the vases and flowers reappear in the spaces depicted or reoccur through the show presentation. Employing the brush effects that are impossible to achieve in real life, the Leipzig-based painter is frequently experimenting with the blur and transparency effect to accentuate the perspective and depth effect in his work. Fully grasping the exceptional vibrancy of the pigment and the sharpness of the printed image, the colors are still used to construct the melancholic atmosphere while different types of brushes successfully depict a variety of surfaces that construct the sense of space and dimension. \"I still love to go to the studio, and for me, I think painting is the ultimate thing. But this is an additional technique that I really enjoy, and I can feel that I'm always putting what I do on the iPad in relation to the painting,\" Matthias Wesicher told us about the way these works might, or are already informing his painterly studio practice. \u2014Sasha Bogojev<\/em><\/p>\r\n

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Thaler Gallery in Leipzig<\/a> recently extended the duration of their two men show featuring works by Matthias and Joachim Weischer. Broncos is presenting the new iPad works by Matthias Weischer<\/a>, and the oil paintings and pastels on paper by his brother, a photographer, Joachim Weischer<\/a>.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70324","title":"You Lead Follow Me: A Group Show @ Sow & Tailor, Los Angeles","alias":"you-lead-follow-me-a-group-show-sow-tailor-los-angeles","catid":"23","published":"1","introtext":"Sow & Tailor is pleased to announce You Lead Follow Me, an exhibition of seven Los Angeles based artists. The exhibition features recent and new works by Anja Salonen, Becca Mann, Gwen Hollingswo<\/span><\/span>","fulltext":"

The show takes its title from Olive Diamond\u2019s ceramic panel paintings a glazed tablet that captures in nebulous form the oral history of her ancestral exodus and diaspora. Coalescing grand narratives of community and deeply personal family stories merges memory and fable with baked earth, permanently sealing them within physical record. Also pulling from familial history, Veronica Fernandez\u2019s gestural paintings portray a vivid reimagination of intimate family moments. Within her compositions elements lose focus, faces become obscured and distorted. Fernandez\u2019s paintings portray the passive process of fading memory and their exuberant reanimation through painterly gesture.<\/p>\r\n

Mia Scarpa\u2019s sculptural paintings are assemblages of found objects and multiple layerings of painting styles. The pictorial collages are cacophonous recollections of childhood joy and characters, commingled with collecting and imbuing the common materials with emotional significance and sentiment. Taking from the banal and everyday, Jessica Williams\u2019 work captures a faceless blonde at the local bar Footsies. Neither heroic nor documentary, the simple scene crystalizes a moment in time that hardly warrants memory. Contrasting her anonyme are two iconic pop stars, whose personal lives outshone their talents in many ways - stripped of their privacy and their personal experiences thrust into collective awareness as mass media fodder.<\/p>\r\n

Larger collective consciousness enters into Anja Salonen\u2019s paintings through visions of the symbiocene. Salonen\u2019s works extend to a mystical divination of potential reintegration of the body and nature. Her feminine forms call out to an idyllic and verdant landscape, a desire to return to the memory of what the earth once was. Becca Mann\u2019s darkly illuminated paintings share Salonen\u2019s interests with the natural world. Working from a purely black surface, Mann pulls her animal figures from their murky depths holding in physical form before they disappear back in to the the darkness. Echoed through the landscapes of Gwen Hollingsworth, is an unstable relationship between real and imagined space. 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and tailor","published":"1","link":"\/tag\/sow-and-tailor\/"},{"id":"915","name":"los angeles","published":"1","link":"\/tag\/los-angeles\/"},{"id":"23161","name":"Anja Salonen","published":"1","link":"\/tag\/anja-salonen\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/3c782d9bc5b6a145a90f6b9080d38636_XS.jpg?t=1639340766","imageSmall":"\/media\/k2\/items\/cache\/3c782d9bc5b6a145a90f6b9080d38636_S.jpg?t=1639340766","imageMedium":"\/media\/k2\/items\/cache\/3c782d9bc5b6a145a90f6b9080d38636_M.jpg?t=1639340766","imageLarge":"\/media\/k2\/items\/cache\/3c782d9bc5b6a145a90f6b9080d38636_L.jpg?t=1639340766","imageXLarge":"\/media\/k2\/items\/cache\/3c782d9bc5b6a145a90f6b9080d38636_XL.jpg?t=1639340766","imageGeneric":"\/media\/k2\/items\/cache\/3c782d9bc5b6a145a90f6b9080d38636_Generic.jpg?t=1639340766","cleanTitle":"You Lead Follow Me: A Group Show @ Sow & Tailor, Los Angeles","numOfComments":"0","text":"

Sow & Tailor<\/a> is pleased to announce You Lead Follow Me<\/em>, an exhibition of seven Los Angeles based artists. The exhibition features recent and new works by Anja Salonen, Becca Mann, Gwen Hollingsworth, Jessica Williams, Mia Scarpa, Olive Diamond, and Veronica Fernandez. Together the work of these women distill the liminal space between storytelling and memory, to materialize intangible narratives. The exhibition is on view through December 29, 2021<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70305","title":"Moved by the Motion: An Interview with Wu Tsang","alias":"moved-by-the-motion-an-interview-with-wu-tsang","catid":"23","published":"1","introtext":"For those ready to add the descriptor \u201cimmersive art\u201d into the trope file, right after the worn-out \u201ciconic'', know that there are remarkable exceptions\u2014borrowed Impressionist images projecte<\/span><\/span>","fulltext":"

Since 2013, Moved by the Motion<\/em> has absorbed, sampled and harmonized their surrounding sounds, colors and shapes. Finding unity and distinction, working together from outposts like Detroit, Zurich, and Los Angeles, they invite us to do the same. Visit the installation, energized by this experience produced by the multi-media, spoken word, sculpting, stained glass-making artist Wu Tsang, and remember her mission, \u201cI don\u2019t want to put on them what I want them to experience. I just want to create a circumstance for them to explore.\u201d  Enjoy this interview we enjoyed with Wu Tsang just prior to the opening.<\/p>\r\n

Gwynned Vitello:<\/strong><\/em> Your work casts a very wide net, so much about the validity of all living entities. I wondered how to describe you. Is she curious, outraged, brave? How do you feel about those adjectives?<\/strong>
Wu Tsang<\/em>: It<\/strong> might be helpful to start out by talking about the work in terms of collaboration because this project is actually a collaborative work that is created by a collective of artists who I am involved with called Moved by the Motion. Our group started in 2013 and expanded from two or three people, and now is more like seven or eight. It's not a fixed group, although a group of us live together in Switzerland, where we\u2019re currently in residence at the Schauspielhaus Zurich theater.<\/p>\r\n

I think collaboration and performance both unify a lot of the things that I do, and so many ways that I collaborate with people is through performance in that it helps even to connect it to what you\u2019re experiencing here which, essentially, is a collage of recordings that were created by Moved by the Motion. We sort of call it a band, although that\u2019s not totally accurate.
\"5
\"5<\/p>\r\n

So, someone from Moved in Motion was playing the music I heard walking through the piece?
<\/strong>Everybody involved is creating the music together. There are three vocalists, LA based musician serpentwithfeet, poet Fred Moten and Tosh Basco, who is a performance artist living in Zurich. The composition was arranged by Asma Maroof with instrumental accompaniment by Tapiwa Svose on horns, cellist Patrick Belaga and Anye Simone playing the harp. The way we work, since we\u2019re not all able to be in person together is by working on things, sending them to our friends, where they do a little work, and then sending it back to us. It\u2019s very improvisational, very call-and-respnse, like an Exquisite Corpse.<\/p>\r\n

I\u2019ve heard of the game, but never played it. Elaborate for me.
<\/strong>It\u2019s like a surrealist game where you would draw on a folded piece of paper and then turn it over and pass it to someone, and they continue, without seeing what you have drawn. Then, when you\u2019re finished, you unfold it and have a drawing that no one anticipated because everyone is just contributing their little piece. That\u2019s often how we work.<\/p>\r\n

I was very interested in your short video Shape of a Right Statement, so I am wondering how that came out of such a process.
<\/strong>That\u2019s a video, an early work I made in 2008 as a very young artist, when I was very inspired by Mel Baggs\u2019 presence on YouTube, specifically their autism rights manifesto In My Language. I think that the inadequacy of language to express and articulate our experiences is something that I often like to explore in my work. I think, with Moved by the Motion, what\u2019s really special to me is that what brings us together as a group, as collaborators, is that we\u2019re all working with language, but we\u2019re also trying to work outside of it. So, for example, in this piece, there\u2019s this very tactile curtain that you walk through that you can sort of see through. But then there\u2019s also a very enveloping sound that\u2019s moving and swirling. So if you were to ask me what this piece means, it\u2019s not that straightforward.<\/p>\r\n

Do you think about who is experiencing it, and how it might waft through people\u2019s consciousness?
<\/strong>We often are creating atmospheres. The work is like an invitation, and that\u2019s very much what the collaboration is, as well. I\u2019m very aware of the audience and what their experience might be. And I don\u2019t want to impose an experience on them, I just want to create a circumstance for them to explore. I just did a sound piece at the Guggenheim recently in their big rotunda space. I think sound is a powerful medium, particularly during this time because I feel that with Covid we\u2019ve all been so isolated. With the lockdown and social distancing, people have generally had to reduce social circles to family or whomever you are living with. I think that sound, at least for me, is a very connective medium because it allows people to share something physical in space despite the imposed distance. I think there are still ways to have sensory connections, you know. Sound is very useful to me, in that regard.<\/p>\r\n

People are so excited about coming out to experience live music, and this feels very alive because it\u2019s in an intimate room where you can share the moment or have it all to yourself. But you\u2019re about sharing, so how did you come to realize the collaboration was your motivation, your driving force, and where did the journey begin? Were you one of those kids who was always drawing, always sketching, who knew they wanted to go to art school?
<\/strong>I was always drawing as a kid and I went to art school for painting although I guess that\u2019s not usually part of my narrative, so to speak. If you\u2019re asking how I became a collaborator, I guess it was when I moved to Los Angeles in my early 20s and was trying to figure out what to do with my life, as so many people do, trying to earn a paycheck. I was doing all these different things and started doing clubs with friends. We started throwing parties. A lot of my close friends at the time were DJ\u2019s, and still are. I started getting involved in nightlife and activism that was happening around LA at the time. In the early 2000s there was a lot of activism around queer, trans, and also the the immigrant and the undocumented experience, which, of course, there still is today. I was involved in throwing a party with friends. That was just the local context in which I was a young person going out. It was very fluid between the different social worlds, people doing this activity and that. For three years I did a party called Wildness, which became the subject of a documentary that I made that explores a lot of these themes. Basically, I was a collaborator before I even considered myself to be an artist. I knew I loved working with people in social contexts, and that was the driving force behind becoming an artist. <\/p>\r\n

Actually, at the time I was making Wildness, I was thinking more in terms of being an activist, and I wanted to make a documentary because I felt like that was a way I could communicate with the most people in a really direct way. It was a belief I had at the time that documentary was a more accessible medium than, say, video art installation. I\u2019m working on a feature film project right now that will also have installation iterations. This is kind of what you might call an interlocution or an interplay between visual art and film, or even fashion or theater. I like the interplay because you can say something different in each context with different audiences in mind. I think the audience has also always driven me<\/p>\r\n

Are you saying that you target different audiences?
<\/strong>Well, art, for me, is something anyone can appreciate.

\"2020<\/p>\r\n

Absolutely, and I liked reading about your sense of \u201cinbetween-ness.\u201d I just imagine you as having a wellspring of , maybe the description is empathy, which I think embraces your activism and collaboration.
<\/strong>Empathy gets close to something, but also quite far from something I do care about. I find empathy to be a difficult word because it implies that you can understand what someone else feels. Language is so inadequate that I don\u2019t think that the right word exists, actually; maybe there\u2019s a word in a language other than English - I should find it! I don\u2019t know if it\u2019s an American cultural thing, but there\u2019s always a pressure to strive for knowing or understanding. What empathy implies is that I can understand by putting myself in your position. I guess the problem with that is we can\u2019t actually occupy another\u2019s position, we cannot really know what it\u2019s like to be someone else.<\/p>\r\n

But that should not inherently limit us. Often for me, it\u2019s about accepting that gap or chasm or bridge that doesn\u2019t connect. There is no actual point where we would fully understand each other, and that\u2019s okay. <\/p>\r\n

We\u2019re always searching for something or someone that is a connection. I even hesitated before describing you as empathetic, but there has to be a word right? Maybe I was thinking of sensitivity, as you seem very open, not to pain, but to bringing people\u2019s feelings to the surface, to help open their minds to exploration. So, can I call that your art, your ability to encourage exploration and connection?
<\/strong>Yeah, you can use all those words. I think maybe I\u2019m just tripping about compressing it all into one. That\u2019s why I kind of explore it through phrasing. It\u2019s like ,\u201dkind of this and kind of that, with certain elements, but not any one of these things completely.\u201d <\/p>\r\n

That reminds me of a time when you partnered with Fred Moten who was identified as a poet, and you as the \u201cartist\u201d, and you both agreed that \u201cWe\u2019re both.\u201d And participated in this piece. How did this come about? 
<\/strong>This is the second of a series of recording projects that I started two years ago, the first called Sudden Rise. When Eungie\u2019s invitation came to create something here, I knew it would be sound related. Then, of course, we got pushed back because of Covid. So the band has been working on a sound collage. We\u2019ve been doing a series of performances in Zurich, like Orpheus and Compositions I-IV and currently and the recordings more or less come out of this practice of rehearsal where we meet and read texts, go to the studio and record things, so it is sort of a collage. Sometimes I\u2019ll send things to Fred, then he\u2019ll write back a message, he\u2019ll record some things, and we\u2019ll record some things. So it\u2019s just kind of like friendship, honestly - well, I hate using the word, actually.<\/p>\r\n

But yeah, it is like friendship, and also I hate the word because I feel that it reduces what we\u2019re talking about because it\u2019s not about who you\u2019re friends with, but it\u2019s about having an openness to that exchange. Sometimes it\u2019s with people with whom I\u2019ve never worked before. The one in New York at the Guggenheim was a collaboration with singer Beverly Glenn-Copeland. He\u2019s an older transperson who\u2019s 77, and we were not friends when we started the project because he was in Nova Scotia and I was in Zurich, and borders were closed due to Covid. We finally were allowed to go, but we could only film with him for two days. It was a long journey of waiting and anticipation, but the point is that we didn\u2019t necessarily know each other, but we could still find a meeting point to collaborate. That\u2019s why I feel like friendship isn\u2019t the right word, but in a way, it\u2019s like writing emails or letters when you have a chat history with someone.<\/p>\r\n

I\u2019m going to call it \"connection,\" but yeah you see the word, zero-in on it and pull it apart. So, how do you arrive at choosing colors and sounds?
<\/strong>The Danish fabric company Kvadrat, whom I\u2019ve worked with before, supported this project. They have very interesting fabrics, and what intrigued me about the fabric we used is that its function is acoustical. Even though it\u2019s sheer it has a lot of this power of retention. In museums the sound often sounds terrible because it\u2019s just bouncing off endlessly down big spaces. I wanted to work with this material and the colors are like a palette I\u2019ve been working with for awhile - blue, yellow, silver, teal, black and gray.<\/p>\r\n

But very muted shades of those colors. Also, from what I can tell, you\u2019re not wedded to a particular palette.
<\/strong>In this case, yes, because it\u2019s about the sheerness of sound, but yes, I\u2019ve been working with these colors recently. I don\u2019t know why there\u2019s so much blue, blue, blue. I think it\u2019s partly a result of my collaboration with Fred because \u2018blue\u2019 is a word that, metaphorically, he uses a lot. It often relates to what we\u2019re talking about, particularly with music collaborations. One of the things we\u2019ve been exploring is free jazz, and so blue is a color so related to that. Maybe that\u2019s subjective, but for me it is.<\/p>\r\n

Subjective, but you do work as a group, so do you think about autonomy?
<\/strong>Honestly, everything kind of unfolds because there is a lot of input from a lot of people; I think that the kind of play with authorship is something that we all like to do. It\u2019s sort of like there are different projects that come out of our collective that are kind of led by one or another of us. And, because I\u2019m leading this project, is why I\u2019m sitting here talking to you today. But there are other projects led by other members of the collective, if that makes sense.

\"8\"<\/p>\r\n

It\u2019s pretty amazing that you all have been working together - successfully - for so long. No big Beatles break-up to worry about.
<\/strong>I think what helps is that we\u2019re not too institutionalized. We don\u2019t actually have official membership. It\u2019s like an open structure for collaboration that some of us conceived together. But often, people come through and they do things or they might take initiative. It doesn\u2019t really belong to any of us; it\u2019s like an invitation for us to collaborate with each other. <\/p>\r\n

Can you describe how the music was created for this piece?
<\/strong>I\u2019m not a musician, for example; I didn\u2019t make this music. Primarily it\u2019s arranged by the electronic musician Asma Maroof. She and I collaborate on all my films. She scores them. We kind of sit together, do it together, but it\u2019s really like her arrangement. And there\u2019s something obvious I should say. All of the instrumental stuff is improvisational. In this particular song that\u2019s on as we talk, it was an improvisation in D minor. So, with Ahya Simone who\u2019s from Detroit, plays the harp, with Tapiwa Svose on sax and flute and Patrick Belaga on the cello. <\/p>\r\n

Everyone was working on this idea of an improv in D minor, and that unified us and got it arranged. Even though we were not in the same room, we were able to have this connecting point. The next soundtrack is one that was an improv in G minor. So it\u2019s just using musical chords as a jumping off point. It all comes together mysteriously and I love it. <\/p>\r\n

That is so much more inspiring decision making than checking off boxes on a scale or employing algorithms. So when you get together in the collective, and I;m thinking about your jazz reference, is that you all just riff on it. Have you always been improvisational?
<\/strong>Maybe we could have started this whole conversation with the subject of improvisation. We started with collaboration, but improv is another through line because it\u2019s primarily what my collaborators and I do. There\u2019s a free fall in improvisation where you have to trust that you\u2019ll land somewhere. It\u2019s not \u2018do whatever you feel, whenever you want.\u2019 The arc is the unknown, and yet through continuous rehearsal and repetition, it also has real discipline and structure. It has so much to do with continually doing it and is actually a distillation of all the time we have spent together, if that makes sense. The fact we can just say, \u2018improv in D minor\u2019, everybody does it, we put the track together and it sounds pretty much the way you\u2019re hearing it. 

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For those ready to add the descriptor \u201cimmersive art\u201d into the trope file, right after the worn-out \u201ciconic'', know that there are remarkable exceptions\u2014borrowed Impressionist images projected on giant walls not being one of them. Referring to her art in New Work: Wu Tsang Presents Moved by the Motion<\/em><\/a>, the artist explains, \u201cIt\u2019s like a space you enter into, and the idea is to encourage people to just be open to their senses. What do you touch? What do you hear? What does it make you think about? There\u2019s no right or wrong way to experience it or move. It\u2019s like an invitation.\u201d And yes, you can touch the diaphanous, almost-ombre muted blue, dove and ochre panels, though it\u2019s a viewer\u2019s choice to duck under or around the variegated hems while exploring an intimate space that undulates with saxophone, flute, harp, cello, and piano vocals. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},[{"type":"next-url","url":"\/installation\/page\/23\/?json=true&"},{"type":"next-link","url":"\/installation\/page\/23\/"}]]