The Subdued Triumph of “In Longing” at CUE Art Foundation

by Audra Lambert

Poet Rainer Maria Rilke once observed, “the purpose of life is to be defeated by greater and greater things.” The fragile yet tenacious victory of In Longing, on view now through July 14 at CUE Art Foundation, articulates the spectacular beauty of thwarted connections. Spanning new media, installation, mixed media and sculpture, works on view by artists Alison Chen, SHAWNÉ MICHAELAIN HOLLOWAY, Raymond Pinto, Marie Ségolène and Xirin probe us to reconsider the ways in which we long and the means by which longing manifests. Curated by Anna Cahn, with support from CUE mentor Legacy Russell, In Longing foregrounds the need for a resolution which is implicitly suggested in the concept of “longing.”

Artists on view create intersectional dialogue around privilege, desire and visibility. As noted in Cahn’s catalog essay, “A central question of the exhibition asks: how is desire affected by the oppressive systems of patriarchy and white supremacy?” Participating artists also present performance around the theme of the exhibition. In Longing has been activated over the course of the exhibition by performances from Xirin and Sebastian Chacon and the debut of a performance film from Marie Ségolène. An upcoming performance entitled “what is left, if i am earth” by artist Raymond Pinto and collaborator Fana Fraser will take place on Wednesday, July 14 at 2 PM, followed by a closing reception with the curator the same day from 5 PM.

Installation shot of “In Longing” at the CUE Art Foundation (Photo Credit: Adam Reich)

One consistent aspect of the exhibition is a denial of the male gaze as the default position of longing. Visitors enter the space to immediately encounter Marie Ségolène’s “Rouge Gorge” video and multi-media installation. The multi-sensory elements present within Ségolène’s work centers a self-longing: a passionate wish to situate one’s own sense of longing and desire within an environment alternately fertile and hostile. Loaded with an introspective and inherently queer sense of self-realization, the artist alludes to the fact that yearnings are self-directed, and can be evoked by a range of sensations which are experienced in unique ways by different bodies. “Rouge Gorge” also references visual and audible repetition, a clever yet potent means of referencing sensual ritual and return. Reading from her poetry in a range of scenes – near water, in the midst of the forest, and other natural settings – Ségolène deftly integrates action and expression.

Installation image, “In and Out”
Alison Chen (2005-ongoing)
2 inkjet prints on paper (Photo courtesy Adam Reich)

Alison Chen and Xirin provide distinct reflections on how longing can be documented or expressed. Chen’s “In and Out” reveals the relative peaks and valleys of a committed relationship, laying bare the honest analytics of emotion and tracking how that looks in objective terms. Chen’s video, “For One Night Only,” authentically, intimately and sometimes humorously lays bare how living together with a romantic partner can manifest in small gestures and interrelated movements. In Xirin’s video, “Hope Eats the Soul,” the artist and her partner re-enact scenes from Fassbinder’s “Ali: Fear Eats the Soul” (1974) in a lofty measure of how intimacy and distance can collapse into one another. With no dialogue, and scored with atmospheric music, the camera pans alternately between the duo while longing glances connect or concentrate on the middle distance between two certain points, seeking resolution. Xirin’s work traces her “undocumented emotional realms”(1) to evince a longing to be fully seen.

Raymond Pinto’s installation “what is left, if i am earth” presents geodes – crystal aggregates that appear on the outside as spherical rocks. This deceptive appearance challenges us to consider how much of what we know is taken for granted. Pinto presents a “Black queer ecology of motion”(2): asking where, and how, restraint and impulse intersect and what the implications of these actions are. The installation seemingly vacillates between presence and absence, embedded with investigations about emotion and longing and about the space allocated for Black queer experiences. Environments and power dynamics infuse SHAWNÉ MICHAELAIN HOLLOWAY’s prescient sculpture “REQUEST–>LURE–>RESPONSE–>REWARD(?) OR A COVERING FOR THE CAGE.” The artist explores a theme she calls “choreographic viewership”(3) in dialogue with BDSM desire while simultaneously questioning which bodies are included or “longed” for.

Visitors to the exhibition can view the interior of the space where Xirin, Chen, HOLLOWAY and Pinto’s works are situated from a tête-à-tête chair rounded chair able to seat two guests alongside one another, which is part of Xirin’s installation for “Hope Eats the Soul”. A letter written by the artist floats alongside one of two mixed media works Xirin presents in the space, incorporating allusions to the corporeal: scenes from the artist’s past performances are depicted in acrylic, lipstick, egg and coffee applied across canvas, accentuating the flattened presence of the artist’s two-channel video nearby. In tracing the interaction of Chen and Xirin’s video and installation work with Raymond Pinto’s “what is left, if i am earth” and HOLLOWAY’s “REQUEST–>LURE–>RESPONSE–>REWARD(?) OR A COVERING FOR THE CAGE”, a curatorial vision emerges which intertwines attraction and distance, distraction and intimacy. Binaries fold into themselves, merging instead into interrogations that push us to question how we never realized we were this close to begin with, and why it’s impossible to be closer than we even knew we were. -AL

(1) See Anna Cahn’s catalog essay, “In Longing.” (2) and (3): Ibid.

21 Artists to Watch in 2021: Part 2 of 2021’s Movers and Shakers

ANTE mag is proud to shine a spotlight on the dedicated artists who are exerting an impact in the art world in 2021. From ongoing or upcoming solo exhibitions, to gaining recognition through artist talks, recognitions, awards and international residencies, these are some of the top artists we have an eye on as we move into the new year.

Below we center on the second group of artists forming our 21 artists selected for 2021. Each artist has images included with their respective coverage below, but click through to their websites linked through their name in the header to view more of their practice and familiarize yourself with your favorites!

Lead image: Medusa Green Screen, Oil and Watercolor on Canvas, 24″ x 30″, image courtesy artist Rina Goldfield.

Ayana Evans

Lives and works in New York City

Image courtesy the artist

ANTE mag. You’ve been busy participating in digital performance series (such as INVERSE) in 2020 and co-edited a book that launched last month. How do you feel your artistic practice has shifted in light of less in-person performance and more digital and editorial work happening during the pandemic?

AE. Well, I had to admit Institution is a Verb which I co edited with Elizabeth Lamb, Tsedaye Makonnen, and  Esther Neff (who was the main organizer of the project and founder of PPL – the performance space that the project largely archives), was in planning long before the pandemic hit. I was also included in We Are Here: Visionaries of Color Transforming the Art World edited by Jasmin Hernandez, which is available Feb 2nd, but that also was planned a couple years before it came out… so to some people this looks like a pandemic shift in my practice, but in truth those projects just happen to be coming out now, at a time that is perfect for staying home and reading! Pre-pandemic I had been thinking a lot about how archiving (not just photos but written archives) can help elevate performance art, that’s why book ideas and catalogue contributions were on my to-do list.

As for how my performances shifted… maybe thats a more complex answer. I performed a lot on Instagram and Zoom throughout 2020. Early on (March/April) I decided that worrying about having an audience was not going to help me artistically. I decided that it was best to focus on what you CAN DO online in performances that you cannot do in a live performance. For example, I can’t spit into the faces of audience members or expect them to get extremely close to my eyeballs* (*right now) but that can happen on camera. I also showed every area of my tiny apartment online, usually destroying it in some way because I have a lot of pent-up anger. Vulnerability became more important as did looking into the camera. Normally when I perform I don’t look at the camera at all. It happens to be there to document the event, but I feel the important part is the feeling that is given to the audience in person… suddenly in quarantine it became about the feeling given to the audience through the camera. Not to say I felt like I was acting, but more like I used to camera to get my point I was also sick a lot and then went to a lot of protests. I think that coupled with living alone and not having a romantic partner… made my performances shift as I moved deeper into quarantine. Things definitely grew more abstract and darker in theme as the year went on. (I should say though I did go to Chicago for two and a half months to quarantine with my parents and nephew, and the performances were a lot happier then!) 

Overall I prefer IG because it is easier for everyone to access and I can control the camera view with greater ease. The one beautiful thing about the pandemic is that i feel access to art has opened up greatly. We are all now buying work, viewing artist talks, shows and performances online and they are all being advertised on social media. NOW watching something online is not the same, but there are a lot of things I get to see online now that I never would have seen before. And there are many artist talks happening now that never would have occurred before. We were so stuck on the interviewer and the artist needing to be in the same room! -plus people are a pinch more open when they are talking to you from home. I also think because we all went through a collective trauma that is hard to explain in words, many people who once thought my way of expressing myself in abstract actions as “weird” or “not for them” now look at the work and say “YES! Drink your bathwater on camera with a half pulled down ball gown on… I feel like that too. Do you.”

Top to bottom: I Just Came Here to Find a Husband (Wholefoods), 2016, 2 year series. Photo by Curtis Bryant
Closing Performance Medium Tings Gallery (Part 1), 2018, Documentation from Part 1 of the closing performance of “If Keisha Jumped Off A Bridge, Would You Do It Too?” at Medium Tings, Brooklyn, NY. Photo by Jennifer Coard
Facial Performance, 2019, closing performance for show at Cuchifritos Gallery, NYC. Photo by Bob Krasner 
all images courtesy the artist.

ANTE mag. What are some recent, ongoing and/or upcoming collaborations that you want to share with us as we enter 2021?

AE. Aside from the books, I think I am most excited about a collaboration that I just did with University of Michigan. Students in Professor Rebekah Modrak’s Dressing UP and Down Class made these beautiful costumes that I designed and then students from the theater and music department performed a score that I created and wore the costumes from Modrak’s class. They even had beautiful customized masks! The performance was a celebration of Black femmes and the fight, resilience and love of Black people. It took place on one of the Michigan football fields and even some of the cheerleaders joined in to participate. And just as with my own practice there is a large part of it that was improvised in the moment by the performers even though a loose plan was laid out in advance. It’s entitled “You Better Be Good To Me.” The video hsa premiered as part of the Penny Stamps series they have annually on campus, but is now online. I’m super excited about this. It marks a new way of making work for me and feels more expansive than just working alone. online info:   https://www.instagram.com/p/CKPYxgYFkVy/

ANTE mag. Your practice has had some incredible coverage in 2020, not limited to the fantastic NYT article featuring you that was published in June 2020 in which you spoke about social and political matters. Can you expand on how your often physically punishing work embodies both a personal and universal component? Feel free to point to a specific example/performance.

AE. For me work that includes deep labor like running to my friend Lisette Morel repeatedly for 3 hours in the summer heat is as much about acting out friendship as it is about the struggle of being a woman of color, or the fact that both of us come from families that worked jobs that involved intense labor while we never had to – hence the running with parasols and matching dresses and yet doing it for hours in the heat is exhausting. Just like trying to make it in the art world… Morel is a painter whoI have known for over 18 years. If you know that about us the work’s meaning deepens. But no matter what, the personal and the political are always present. I like the work to have multiple meanings in this way. For others the act of carrying passersby or audience members at a museum gallery for hours while wearing heels “I Carry You And You Carry Me” (2016, 2017) is a political act that shifts depending on who I carry (a white male, a Black woman… a child, etc.) At the same time, I was thinking about intimacy, friendship and breaking hierarchies when I made this piece. Sometime you carry your friends and sometimes they carry you…and sometimes they drop you, lol. And once you have your legs wrapped around an artist, the typical artist-to-audience-member/collector relationship is broken. We are two people talking in each other’s ear and they are trusting I won’t drop them. No one is better than someone else or acting out “usual” roles in that scenario.  For me there is a beauty in that. I hope people take that with them and exercise it in small ways after leaving my shows. It is not social activism in the sense of telling you what to do, but rather showing you what it feels like to do it differently (meaning more freely and fairly) and what it feels like to NOT do it differently (meaning harshly tied to society rules and capitalistic ideals) – Hence the harsh acts of labor.

Lately, I have started to focus more on participatory exchanges than harsh labor so acts like demanding a group of conference participants at the College Arts Association conference to impromptu “Catch this Black body!” are starting to make having my audiences perform the labor with me just as important as my solo actions. I think they both yield similar results.

ANTE mag. What are you looking forward to in 2021 in your studio?

AE. rest…. hahah just KIDDING! Rest? Who is She?

Seriously though, I am looking forward to being more balanced in my work life and private life in 2021… People that know I spent two years with a sign on my back that said “I Just Came Here To Find A Husband” will be happy to know I have found a loving relationship, so I plan to take time to nurture that while I make work in 2021. As for the work of making art, I plan to make works that experiment with collaborative groups of people and short films. I think making and showing this work outside of institutions literally projecting it onto buildings is what’s next for me. Making my work bigger in the world is my goal.

MaryKate Maher

Lives and works in New York City

portrait of the artist

ANTE mag. I’m more familiar with your sculptural work but I’ve noticed that during 2020 you embarked on a series of two dimensional works on paper. Can you talk to us about this shift?


MKM.
During the initial Covid shutdown and chaos of those early days here in NYC, I, like many people, didn’t really leave my apartment for a long time. And I wasn’t sure how safe it was to go to my studio, let alone finding the mental capacity and physical energy to make work. Those early days were weird and I needed to figure out how I could incorporate my studio practice into this chaotic world of home schooling children and my spouse and I both working from home all at the same time. I gave myself a daily project just to jump start my brain and break out of the worry cycle. I printed out a stack of collagable papers, based on ‘images’ I was already using with my work, of gradients and orbs. I would use the cut paper and rearrange it to create a new work each day. My only rules were to use the same papers over again, and if it got too stressful to put it away and start fresh the next day. There was no commitment. It began as a sketching exercise and then I really got into the work I was creating. They were very abstract and began to focus on color and space in a way that I hadn’t necessarily dealt with in my work before, but it was an interesting tangent. Usually my work is muted in color, lots of greys and blacks with an occasional pop of something acidic, but now I found myself using these really vibrant fuschias, oranges and blues. These collages grew out of a need to let go of what I was focusing on in the studio prior to the shutdown and just work from pure, primal feelings. Maybe the work would have ended up here eventually, but something about the immediacy and unsettling energy of the pandemic pushed it there. 

As the project evolved, I began keeping the collages as finished works, gluing them down instead of reworking them the next day. There are a few that are digital prints of small editions from the earliest days, but now most of the works are uniques. I’ve begun making small sculptures that relate to the ideas of space within the collages. It’s going to take me longer though to figure out the sculptural works. 

“Portable Landscapes” Installation at West 10th St Window, image courtesy the artist


ANTE mag. Early last year you had your work on view in the West 10th Window, which read as an installation. Can you talk about your sculptures and your process in terms of responding to a solo show or a space where you have freedom to create an installation (versus being included in a group exhibit)?


MKM. It was a nice challenge to make work for the West 10th Window. I wanted to use the space in its entirety and it reads as a diorama or a small stage in that format. By thinking about it as an installation, I could experiment with flatness and spatial perception within the window. Recent works had been addressing sculpture and the correlation between flatness and depth within landscape and playing with how our eye perceives that, so I wanted to continue with that tangent. I like finding ways to make sculptures that have width but no depth, the surfaces flatten or grow as you walk around it. The Window was a place where I could experiment with this and create those layers of subtleties. And material-wise, I wanted to go between surfaces and forms that were abstracted yet familiar with materials that were referential to raw sculpting materials like plaster and clay. But then they get all mixed together, so a “rock” is just a blob of clay, and a curved piece of aluminum with wallpaper can read like a mesa or mountain-like form. It’s always exciting when you’re invited to create whatever you’d like. It’s followed briefly by a moment of panic of what that project should be, but then production mode takes over. 

I was also there installing for a few days and I got to meet a few of the residents and the super of the building as I occupied their laundry room with all of my tools and wallpapers for the week. I would pop in and out of this hole in the wall. It was one of the more fun, non traditional spaces I’ve had the chance to show with. 

ANTE. In my conversations with artists lately I’ve noticed a spirit of innovation, either in response to lens studio time due to more demanding schedules at home or even a lack of studio space. How have you seen your practice innovate in response to quarantine?


MKM. I think we’re all still in survival mode and as artists that’s making work with whatever you have around in whatever place you can. It makes me think back to being in highschool, when you had to work in your bedroom and you’re sleeping in your bed with sketch pads all around. Only now I have an even smaller apartment with an entire family. I split my time between working in my bedroom and working in the studio ( I count my blessings I still have a studio available). Since I can’t get to the studio as much as before, my bedroom floor or the kitchen table is my new workspace. I also think that if the quarantine hadn’t happened I might not have produced the work that came out of it. From those super dark days came this really colorful work that is an exciting departure. Artists persist no matter what, we’re wired for that. It’s not always easy but it seems like everyone is finding a new way to create or present in these weird times. I like hearing stories from friends who are making work in their bathtubs or creating these awesome video projects that never would have happened without quarantine and isolation.

Image courtesy the artist

ANTE. What are you looking forward to in 2021 in your studio?


MKM. I currently have an exhibition, “Echo Echo,” on view (opened Jan 16th) at Gold/Scopophilia Gallery in Montclair, NJ of work I created throughout Covid times, and another two person show with Douglass Degges at the Munson Williams Proctor Arts Institute, PrattMWP Gallery in Utica, NY opening Feb 5th. Additionally, I’m really looking forward to purging a lot of old things that I’ve been holding onto and realize I don’t need anymore. I want to keep working on these new tangents and spend a bit of time revisiting the work I had to abandon when quarantine hit. I think going back into those pieces with fresh eyes and new directions will uncover some good things. 

I’m honestly just hoping for more time there, and feeling comfortable having people over again. 

Rina Goldfield

Lives and works in Northampton, MA

portrait of the artist

ANTE. Tell us more about your practice as an artist and the mediums/disciplines you work within (ie – painting, collage/works on paper, etc.)


RG. I make two-dimensional works. I mostly use oil paint and watercolor on canvas. I also make works using ink, acrylic, gouache, watercolor, and pencil on paper. My work is figurative, but of imaginative subjects. I am interested in themes of mythology, loneliness, origin stories, and embodied experience. A lot of my pieces reference collage, but they are not collages. My surfaces are (almost) always a single surface that I’ve worked in a variety of ways. In addition to surface, I am interested in color.


ANTE. In your paintings you evince a methodical and meticulous approach to your process, carefully creating the Milky Way in your “Mother Earth makes the Milky Way” work, for example. How did you develop this particular attention to detail in your work?

RG. It feels important to me to find joy in my practice. I love getting lost in minutiae; my pleasure in that process is why detail shows up so much in my work. I think I’ve always worked this way. Even much earlier, more abstract fabric work included lots of tiny stitches, or painted pinpricks.I get into primordial imagery — snakes, water, stars — and I love the idea of capturing cosmic forces with tiny marks. The contrast in scale feels resonant.

Mudflap Mother Earth Makes the Milky Way, Oil and Watercolor on Canvas, 48″ x 36″ 
Image courtesy the artist.


ANTE. You sometimes adopt pop imagery in your work and references to everyday life, while contrasting these elements against nature (Worm with its Lover, Pizza, comes to mind.) How do you mine imagery in your practice to bring together disparate elements in your work?


RG. A lot of my ideas come through language first: phrases like “Worm Climbs Mountain” and “Giving Birth To Yourself Over And Over Again Through Your Head” are starting places. Imagesthen arrive through intuition or osmosis, floating against the frameworks of the phrases. Like everyone, I soak up the visual culture that surrounds me: the digital languages of memes and photocollage; religious imagery; ads; “fine art” painting. All of these sources percolate, and I try not to be too fussy about what imagery I use.Some of the juxtapositions are rooted in online visual culture, especially stock photos. Pizza is apop image, but so is the Apple screensaver galaxy. With “Worm with its Lover, Pizza,” I wanted to make a really lonely painting of a worm with its lover, comfort food, floating in a screen-inspired “galaxy.” I hope the galaxy here is a kind of simulation of a romantic destination.

Worm Contemplates a Mountain, Oil on canvas, 30” x 24”
Image courtesy the artist

ANTE. What are you looking forward to in 2021 in your studio?


RG. So much!

I’m working on several Goddess paintings. In particular, I am working on two new Medusa paintings, one of her transformation into her snake-haired form, and another of her going on vacation with her boyfriend, a stone head. I am also working on a painting based on a phrase I love from the Odyssey: the “rosy-fingered Dawn.”I’m additionally working on a series of works on paper called “Giving Birth To Yourself Over and Over Again Through Your Head.” This phrase was inspired by myths of head-births, including Athena springing from Zeus’s head and Medusa birthing Pegasus from her severed head. The works have departed significantly from this source material, though. The imagery includes fibonacci spirals, chromosomes, DNA helices, nigella seed pods, and pacman. The process of making them has a lot of components, and includes paper marbling, gouache, and watercolor. They are fun to make! I feel like this could be an infinite series for me, which aligns with the works’ themes of repetition, recursion, and infinite looping.Finally, since the pandemic began, I’ve returned to drawing as a fast, expressive practice. I’ve made hundreds of sumi ink and watercolor drawings. Most of them are really bad. But I hope to gather a selection of them into an artist book.

Dionis Ortiz

Lives and works in New York City

portrait of the artist with his work

ANTE. Your commitment to your practice is evident in your participation with Materials for the Arts (2018) The Laundromat Project’s Crate Change program fellowship (2017) and your most recent 2020 artist-in-residence position with the Children’s Museum of Manhattan. It is evident your work speaks to a wide audience, can you speak about your vision for your practice and the audiences you attract with your work?

DO. I think my practice attracts a diverse audience because it speaks to the soul, it sparks thoughts of humble beginnings, especially for people of color who immigrated to the United States. I was able to experience this while in residence at Children’s Museum of Manhattan. I was able to have had conversations with children and parents from places like India, Africa, China, Russia, Jamaica and the Dominican Republic. Everyone had a different appreciation for my art making process like mixing acrylic paints, cutting shapes out of paper or vinyl tiles, or adding cyanotype solutions to a vinyl tile. It’s all about stimulating the mind through combinations and experimentations. 

At Materials for the Arts, I addressed the loss of my father and created a memorial through the use of their objects inside their warehouse, I made cyanotype prints using their jewelry and crocheted doilies on bedsheets, sculptures out of books and furniture legs. I juxtaposed imitation flowers bursting out of speakers, vinyl tile collages. During the Create Change program with the Laundromat Project I had children and their parents painting lightbulbs as a form of recognizing the light within themselves. It was a response to gentrification and the number of families that have had to move out due to the increase in rents. By painting a pattern and/or writing their name and the years they have been living in Harlem, marks their resilience in being able to continue to live in Harlem despite the significant increase in the cost of living, thus the “Give Me The Light” Project was born. 

The found object is sometimes the realism and I study objects to find a way into the practice, it’s similar to jumping rope. You have to pay attention to your timing of when the rope is about to touch your feet to know when you need to jump.

Reach up, 12 x 12” acrylic, silkscreen, collagraph and collage on paper. Image courtesy the artist.

ANTE mag. You hold a BFA from SUNY Purchase and an MFA from Hunter College (CUNY). Can you speak to the professors and mentors who have influenced your practice as it developed along the way over the past 15-20 years to where you are today? 

DO. I was fortunate to have some incredible art professors throughout my time in Purchase College. I will always remember artists like Leonard Stokes, Murray Zimiles and Judith Bernstein. They encouraged me to reinvent my process of making art and push the process further, add more steps and examine the effect it has on the piece, then for the next piece take less steps out, and then look at the two and notice the differences, what does it say to you?  Or l would focus on how I am using perspective or be mindful of who I chose to include into my paintings. Instead of famous icons I would pay attention to West African rituals that I could juxtapose into my paintings. 

At Hunter, I worked with artists like Nari Ward, Juan Sanchez and Paul Ramirez. They pushed me to further develop my vision of the objects I choose to work with, to use the materials and make many things out of it to reveal the possibilities. Sometimes less is more or it needs density to get a message across to the viewer. Not everything has to count to make it a successful piece and yet sometimes it does. I develop the rules behind what and how materials can be activated. I felt as if I was working from the inside out. To be open to suggestions, yet use what you feel will help you along the way of realizing an artwork. 

ANTE mag. Can you speak about viability and representation in your work, and the vision you bring to your practice as per your artist statement noting that your work, “illustrates..the Dominican American experience, masculinity, vulnerability, the supernatural, family and spirituality”?

DO. I think the Dominican American experience recognizes the challenges of adapting who you are within the confines of the United States. You have to recognize who you are, your worth and stand by it unapologetically. I think my practice talks about deep abstract feelings that are challenging to put into words and more effectively addressed through the combinations and the treatment of the materials. I am interested in the ownership of what I make. There is freedom behind creating your own rendition of things versus honoring someone else’s. For me, there’s a limitation to working with the readymade, like the vinyl tiles. I can only produce patterns with what is there. It addresses one side of the effects of aspirations behind materialistic artificial objects that evoke monetary wealth. At times, I think about my mother’s style of working as a beautician, she wanted hair to have flare, she wanted the customer to be excited about how they looks, so she was very patient and cognizant of hair and the materials she needs to achieve a specific look and get inventive when things don’t go her way. I think there is a lot of value in recognizing your parents skills and recognizing how some of those characteristics become a part of you. The best part is that I am elevating those traits and passing it off to my son. I think that the evolutionary aspect of inheriting your parents’ skills is always interesting to see in how it manifests itself in the quality of the work. I do want my work to be aesthetically pleasing, however, I want to trigger a memory, make a connection of sorts that is relevant to you. I want to make your cells tingle with a good vibration.

This is going to last, 14 x 14”, Acrylic, collagraph, silkscreen and collage on paper. Image courtesy the artist.

ANTE mag. What are you looking forward to in 2021 in your studio?

DO. I am looking forward to using objects that have been affected by another person, for instance, cigarette butts, shattered glass from car windows. I am interested in finding a shining light in these objects that have a harmful effect, yet is used to keep calm or been broken to infringe on someone else’s property. 

Editor’s Note – Ortiz most recently exhibited in a solo show with Empty Set gallery in the Bronx, through Jan 7, 2021. The show, titled Heaven and Earth, is visible on the gallery’s instagram – @Empty.set.gallery

Liv Rahel Schwenk

Lives and works in New York City

Liv Rahel Schwenk

ANTE mag. Can you introduce our audience to your practice? And can you speak to whether/how your work invites and encourages collaboration?

LRS. My practice is built around the idea of doing rather than making. An activity is interesting to me, aside from its result or product. It’s not that the result is not relevant to me, but the question I ask myself is not “what do I have to do in order to get xy result?”, but rather “i wonder what the result will be if i carry out xy activity”.I began noticing or understanding this about my work when I was experimenting with sculpture in art school and started videotaping the process of building something until it became much more about the process than the sculpture itself. I started staging performances in which I gave myself the task of climbing through one of the huge rooms at the Art Academy Düsseldorf on a specific axis, for example the diagonal, or along the ceiling. It wasn’t about the acrobatic act, but about the attempt at something that the space wasn’t designed for, an autonomous relationship of the body to (architectural) space, that could also fail, and sometimes did. This was around 10 years ago, but I remain excited by the choreography or the pattern of a process or procedure. A sequence of actions or movements or markings that is the result of a certain plan or idea. This is true for both my algorithmic drawings which use a grid as a structured space for patterns to unfold, and for my performance based work which extends into video as well as into dance and choreography. 

The question about collaboration is an interesting one. Although much of my work is designed to be solitary, it is also made for collaboration. When I work on my grid-based drawings or series of drawings I experience time in a heightened way. My attention is directed at observing the visual information that is happening in the grid. This is a solitary process. I become a kind of observer of my own activity, and there is an inner monologue which comments on the sequence of “events” as if I was watching a play. Sometimes I write these comments down and sometimes they find their way into performances or artist books. 

This aspect of not being in control of aesthetic choices while in process, of letting chance, random numbers, or outside determinants shape the process is why collaboration is particularly interesting to me. It carries the appeal of the unknown. This is especially true for my choreographic work. Choreography allows me to let go of the linear path that I pursue in my drawings and thus invites collaboration. I love working with dance makers; my world expands by learning someone else’s movements or approaches to movement and space. I also think that the times we are in inspire connection and collaboration on many levels. 

bent wave field (sleep), Liv Rahel Schwenk. Acrylic on blanket, 53” x 75”, 2020

ANTE mag. Your practice seems to embrace a wide realm of influences, from theoretical physics to themes of repetition and spatial dynamics. Can you speak to some of the more potent influences on your work and how they inform what you consider when you make work?

LRS. Learning is a strong impetus for my work. I like to dive into a certain area of knowledge for a while. There was a phase in which I was very interested in meteorology. Besides learning about the evolution of the earth’s atmosphere, what fascinated me was the way that meteorologists use data to draw conclusions about the future and how, even if they understood every kind of reaction on a micro and macro level, the sheer number of factors is too large and the scale on which reactions take place too small to really lift the mystery of the weather. 

The idea of scale was the main formal principle of my first artist book in which an algorithmic system was repeated page after page but the scale of the grid went from one square being bigger than one page to one page containing a 224 by 224 square grid. When turning the pages of the book the first page and the last page resemble each other, similarly to how an image through a microscope can resemble the sight of star dust through a telescope. 

One paper that has influenced my work in different ways by stage artist and evolutionary theorist Rod Swenson is called “Autocatakinetics, Evolution, and the Law of Maximum Entropy Production: A Principled Foundation toward the Study of Human Ecology”. The ideas developed in this paper have influenced the way I think about my work. His paper speaks about order and chaos in thermodynamics and at the same time he applies these principles to other areas like, for example, tornados or cities. He describes them as self-organizing systems. His thoughts inspired me to think about choreography in new ways: a choreographic system which is both rules-driven but unpredictable and allows for both chaos and synchronicity, and also for individual moments. A tapestry of movement, sound, visual elements, and perhaps language in which no one inside or outside of the performance has the full picture, the score being divided between the participants who are operating on cues. 

I also draw influences from books about history. I find it extremely interesting and helpful to learn about the past and to be able to see the connections from my point in time. Understanding some aspects of the past empowers us to recognize patterns in the situation we find ourselves in and perhaps understand the roles we occupy. I often draw parallels between things I learn about, and my own work. For example I could compare a dancer’s coincidental position in a choreography to the position any one of us could be occupying in the course of events in a family, a community, a city. This is likewise true for the patterns in my drawings. But I don’t use these comparisons or metaphors as material or scripts. I just see it happen like in a complex mirror and hope that others are inspired or challenged to see something too. 

Usually when I read, there is something behind the details that communicates to me a broader idea. And I relate this idea to my work, sometimes to work that already exists. Learning, reading, and working, and also experiencing life as a complex web of relations, of causes and effects, of intersecting timelines – all these things are to me different facets of an interrelated experience.

ANTE mag. I’ve been particularly interested lately in the drawings you feature on your Instagram page that feature repetitive drawings in geometric, linear fashion. These seem easy to access in a moment in which many of us are sequestered at home and repeating our daily lives with little variation due to the pandemic. Can you talk about the genesis of this series and how it is evolving?

LRS. I have been making these kind of generative drawings for about eight years and when I first started using a grid and filling it with simple color sequences it felt like I had discovered a huge playground. It promised so many possibilities. In these drawings I impose a specific rule, using an invented alphabet of lines or shapes, and without knowing what the end result will look like, I fill the page or canvas (or sometimes a wall or a roof) in, like you say, a linear fashion. In some ways I am like a computer, working through the commands of a program or instruction set. Of course, I am a very bad computer and I make mistakes. The mistakes somehow become part of the work even though I have an urge to conceal them. This causes a friction that I find interesting. I like the idea that these drawings are relatable during these times of the pandemic. The repetitiveness of making them resonates with a life of less transit and more seclusion. While the parameters often change, I usually come back to the same rule or algorithm. It is all about repetition and slow growth. I think that that is how the series is evolving, too. I come back to the beginning, and then I go a little further. At the moment I am experimenting with integrating random numbers into the sequence in order to make the pattern less predictable and more opaque. 

ornament 3 – a piece for 16 dancers Liv Rahel Schwenk. Performance, 2016.

ANTE mag. What are you looking forward to in 2021 in your studio?

LRS. First of all I am looking forward to 2021 in my studio! For all the things that 2020 has been, it has gifted me with the kind of time and focus in my studio which I hadn’t had in a long time. I’m curious to continue experimenting with virtual performances and the layering of screens and places. I’m grateful to ANTE mag and Radiator Arts for creating a platform for virtual performance this past December! There are several projects I’m excited to work on, a residency at MH Project on the Lower East Side and a show at Simultanhalle in Cologne where I want to show a choreographic work. In general, I feel that this will be a year of connecting different parts of my work and bringing people together whose work I admire. 

Rebecca Senn

Lives and works in Providence, Rhode Island

Rebecca Senn

ANTE. – Can you tell ANTE readers more about your practice and the disciplines you work within as an artist?

RS. I am a multidisciplinary artist working in video, photography, painting/printmaking, ceramics, and poetry. Lately I have been mainly focusing on video. I recently transformed my painting studio into a film set and that has been my artistic playground. I have been developing a kind of DIY experimental filmmaking process where I basically do everything myself…the design, shooting, lighting, editing. I worked in the film industry before this so I had some experience in that realm and it’s been exciting to apply those skills to my own vision. My current video projects involve improvisation and character work exploring my alter ego. I get to the studio, put on a costume and some music, get into character, and start shooting. Sometimes I have a clear vision; sometimes I collect footage based on what I am excited about visually and piece it together later. I get really excited about specific props, like my assortment of miniature crystals or my Leonardo di Caprio pillow, and I build work around these objects. Letting myself be playful has been a big part of my process. The external covid world has been so harsh — I really needed a space where I could escape and feel safe and cushioned by warm colors and soft fabrics and my imagination.

ANTE mag. I’ve been impressed with how you’ve developed your artistic practice to acclimate to the restrictions resulting from the 2020 pandemic, including creating evocative animations and digital paintings for your Instagram page. Can you talk to us about some of the themes you worked with in 2020 and how the pandemic and surge of Black Lives Matter protests had an impact on your work?

RS. When the pandemic hit, I was kicked out of my studio at RISD and I turned to digital paintings and animations as an outlet. That was such a difficult moment and I used drawing to process everything I was feeling. I made digital paintings of isolated women sprawled on the couch watching 400 episodes of Love Island, cartoons snuggling, a sad girl making one last toast to Bernie Sanders. Some paintings are comedic and some lean directly into feelings of hopelessness, solitude, loss, transformation. The animations always occur at night with sparkling stars — it has something to do with night being a symbol of the unconscious or the underworld, a space where profound change can occur. I found lots of comfort in sharing these images on social media since I was missing connection in real life. During the surge of BLM protests across the country, I wondered what the artist’s role could be. Direct activism is much more of an urgent necessity than visual art. However, I do feel that it is important to address the situation in my artwork. I thought the burning cop car painting would be good to put out in the world as a visual representation of dismantling the oppressive racist systems that are ingrained in our society.

Still from “Ashley’s World” 
Video, 2020
image courtesy the artist

ANTE mag.Can you shed light specifically on Ashley, your performance art alter-ego and how you’ve envisioned these performances transitioning from 2020 into 2021?

RS. Ashley, my alter ego, is a spiritual woman who is desperately seeking meaning in her life through absurdist measures. This character was born directly out of my own search for meaning and purpose. Over the years, I have turned to alternative healing to get through difficult times. I would find myself chanting mantras I found on blogs, using debilitating nostril breathing exercises to connect with the divine feminine. I both genuinely enjoy these practices and recognize that it’s all getting filtered through a white millennial feminist branding that makes it full of hilarious hypocrisy. Spirituality is hot right now. I am fascinated by how it plays out in capitalist society, technology, on social media, in sexy mysticism-themed tattoos. A major theme of the Ashley project is seeking answers outside oneself and the absurdity of this impossible, never ending task. I grew up Jewish, and I think that being surrounded by religion in my youth influenced my interest in faith and an obsessive questioning of existence. Ashley is surrounded by her spirit guides, her wildest fantasies, her psychological regressions. She has an angel guide who lives in a miniature locker. She is haunted by her love for 90’s Leonardo diCaprio. As I move forward, I’ll be exploring some of Ashley’s shadow side, her weaknesses, and her flaws. This character has been an outlet to work through things that I’m going through, but in an exaggerated way. It’s cathartic.

Still from “Psyche Theater” 
4 Channel Video Installation, 2020, image courtesy the artist

ANTE mag. What are you looking forward to in 2021 in your studio?

RS. This fall, I spent time constructing a film set in my studio which set the stage for Ashley’s world. Now that the set is constructed, I can dive more deeply into creating within that space. I have lots of work to do before my thesis show at RISD this spring. I am amassing materials in the form of video, paintings, writing, and ceramic objects that all belong in Ashley’s world. I am thinking about how I can use humor as a tool to draw people into deeper questions and ideas. I have a vision of transforming a gallery space into Ashley’s world, with purple walls, accompanying video and sound installations, and physical art objects. Overall, I am very excited to take this project as far as it can go.

Ligia Bouton

Lives and works between Amherst, MA and Santa Fe, NM

Ligia Bouton

ANTE mag. Thanks for chatting with us, Ligia! To start us off, can you explain a bit about your practice and the disciplines you work within? Do you ever combine/overlap different mediums when making artwork?

LB. My work is based in sculpture and interactive engagement.  But, I also use video, photography, textiles, a wide range of drawing methods, and installation techniques to examine found narratives in the hopes of highlighting the contrast between the ritualistic and mundane, the performative and the genuine, and to ask questions about how we, in our bodies, practices, and institutions, locate ourselves in these spaces.  Each of my projects wrestle with issues of functionality as well as narrative, relying on our inherent understanding of household objects, clothing, and tools.  My work fully embraces the overlap between mediums as I allow the story I am trying to tell dictate the overall form each piece will take.

ANTE mag. Would you walk us through what considerations and influences you take into account when making new work?

LB. My research around each narrative initially guides the project’s structure.  For the last ten years, I’ve been interested in sites that go beyond the physical characteristics of a space or architecture.  I attempt to engage with the historical, political, economic, environmental, and social stories embedded in each place.  For example, I have drawn upon narratives from classical literature, American comic books and films, fairytales, and documentation of Victorian séances.  However, I do not consider myself to be a storyteller.  Instead, after first using these found narratives to create shared understanding in my work, I then subvert this initial sense of familiarity, leaving the viewer suspended in an in-between space that highlights the roles and characters we all play in everyday life.  I use sculptural objects in multimedia performances and installations to actively engage and immerse viewers. However, the desire to “try on” different identities does not equate itself in my work with a need to become someone or something else.  Instead, by recreating these roles, I intend to push against the boundaries of the body in the hopes of enacting an understanding of exactly what makes each body separate from everything else.

We All Fall Down (Ligia Bouton) Performance, Lower East Side, NYC, July 30, 2017
fabric, nylon strapping, brass hooks and buckles, fiberfil, synthetic elk eyes
Horse: 60”h x 78”w x 72”h

ANTE mag. How has your practice evolved as a result of 2020’s lockdown during the pandemic?

LB. The pandemic has been challenging.  Initially I did not have access to my studio which is outside my home.  In many ways I feel that my own well-being is tied to my daily practice and I find myself adrift if I can’t work regularly.  In those early days, I created a space for myself in our basement and tried to work on small pieces.  However, it was hard to find meaning in those works in the face of the immense pain and suffering being experienced across the world.  Slowly, my home practice has grown and I am only now beginning to unpack the evolution of the works that I have created during this period.  Although all of these pieces have ultimately resisted any kind of resolution and remain unfinished, they are evidence of an ongoing inquiry that have given me a sense of accomplishment.

Understudy for Animal Farm (Albuquerque/NYC installations), 2012-2014
Ligia Bouton
26 hand-made pig heads, hand-painted wooden cart with mirror and racks, 6 custom sand bags
82”h x 128”w x 96”d

ANTE mag. What are you looking forward to in 2021 in your studio?


LB. In early 2020 I was awarded an Artist Research Fellowship from the Smithsonian to do research at the Harvard Smithsonian Center for Astrophysics.  I want to spend time looking at the Astronomical Photographic Plate Collection which holds hundreds of thousands of photographic images of our universe from as far back as the 1870s.  In particular, I am interested in exploring the observations of Henrietta Swan Leavitt, one of the first women “computers” who worked at the Harvard College Observatory from 1895 until her death in 1921.  I will use this fellowship to investigate the work and processes of Henrietta Swan Leavitt by tracking variable star clusters on glass plate photographs held in the collection from the 1890s to the 1970s.  I hope this will result in a sculptural multimedia installation that will use the medium of kiln-formed glass as a means of reflecting upon shifting celestial light patterns.  Harvard is currently closed to visitors until May 2021.  I am hoping that by this summer the vaccine will have been widely distributed and I will finally be able to begin working on this project.

Phos Hilaron Brings a New Religion to the Heartland

On first impression, Ventiko’s Phos Hilaron: From the Masses Rise the Saints installation transports visitors to an altered state of Indiana. On view at Schwitzer Gallery, CCIC, 1125 East Brookside Avenue, Indianapolis, IN through November 29, the project draws from religious source imagery to transport viewers to an art experience for the masses. 

Phos Hilaron Altar View: Installation View at Schwitzer Gallery, CCIC, Indianapolis, IN

Phos Hilaron Altar View: Installation View at Schwitzer Gallery, CCIC, Indianapolis, IN

Corn hangs suspended from the ceiling, forcing the viewer through – all the while upending expectations the viewer may have of Indiana and its people. Once through the corn, the viewer is confronted with a scene reminiscent of a sacred Roman Catholic grotto. Candles are arranged delicately on an altar, draped with dark velvet and gold trim, and sacred relics used in the photographs on the same candles are displayed alongside them. As Santa Geri Berry, the Patron Saint of Inquiring Minds notes, “transported through the lines upside-down corn stalks and feeling immersed in them reinforced associations with the harvest, suggesting a very different sort of sacred realm, just as the Saints are very different from any usual idea of a Saint and a very different image of people from Indiana. I couldn’t help making a connection with Sukkot; it was like an altar in a Sukkah: a bringing together of a Jewish space with a Catholic type practice.” 

The references are intentional. Ventiko, the artist who organized Phos Hilaron for this Indianapolis iteration of the project, grew up Jewish in Indianapolis and first made a Sukkah out of corn stalks with her temple youth group when she was in high school. Returning to Indianapolis to expand upon Phos Hilaron: From the Masses Rise the Saints, this iteration focuses not just on the beauty of difference and individuality, but emphasizes homogeneity is not harmony: rather, that harmony is respect and inclusion of all. (The first iteration debuted at Chinatown Soup in Manhattan during the first 100 days of the Trump administration and featured a cross section of 100 urban creatives.) Over a four week period Ventiko photographed 59 ‘Saints’ from Indianapolis in intimately customized sets, helping them visualize their ‘Saint’ concept. The entire project was a collaboration between the artist and the Saint. The mythology of the Saint and the vision of the artist culminated in the installation, and also resulted a more intimate piece: a book. Organizing artist Ventiko reflects on her gratitude that so many creatives were excited to participate in this version of the project. “I am grateful to have been blessed by the beauty and power of so many wonderful Saints,” reflects the artist.

 

Artists who participated in the project have expressed the impact of their encounters with the artist as she was setting up the project. Santa Akilah, The Patron Saint of Patience, remarked, “When I first went to the photo shoot I didn’t know what to expect. As soon she started taking pictures I felt so comfortable and safe. She was able to capture my inner goddess in the picture.” Ventiko herself comments on this process of photographing her “Patron Saints”: “I see myself as a catalyst for the exaltation of the beauty of difference and elevation of the preciousness of individuality rather than one constructing or constricting the identity of any ‘Saint’ or person. It is a respect for difference, including freedom of thought, as well as idiosyncrasies that will ultimately lead to the unification of the human race and foster in a time when we all can work towards solving our global crises rather than consistently focusing on pettiness and being manipulated by propaganda.”

The project is successful on many levels, as reflected in these personal and meaningful reflections from participants. By opening up new avenues of communications for creatives in the Heartland, Phos Hilaron functions as a grassroots confirmation of the talent present in the vibrant city of Indianapolis. Bringing community together and thwarting expectations that outsiders may have of the area captures the double success of both re-affirming and introducing local talent to each other and to a wider audience.  “From day one, I knew this cutting edge, contemporary photography installation would take Indianapolis by storm. After hearing the various layers Phos Hilaron presented in NY and adding special dimensions for the Indianapolis chapter, I envisioned a communal based project that would uplift an entire state,” remarks Tony Quintana, The Patron Saint of Growth. Others including curator Maria Behringer have commented on the measure of warmth and acceptance this project has brought into their life. “Ventiko’s concept of community and inclusivity surrounding her Phos Hilaron project is exactly why we wanted to collaborate and bring her exhibition to Indianapolis. Her strong work ethic and creative process can easily be seen through her photography and the final Altar itself. We completely trusted her vision through the entire process. We are extremely grateful to have collaborated with her.”

Patron Saint of Inquiring Minds, Santa Geri Beri, part of Phos Hilaron on view in Indianapolis, IN

To make this project a reality Ventiko collaborated with the Indianapolis-based curators Quintana-Behringer. Ventiko’s studio was in the CCIC building (https://circlecityind.com/), a creative hub in downtown Indianapolis where Quintana-Behringer are located. Santo Aaron, The Patron Saint of Technodeath describes working with Ventiko: “It was serendipity how we met. The chance encounter of coming into a space and meeting another creative that was on the hustle and making something huge and fantastic honestly inspired us at Soundspace to do better. Instead of this being an empty office having Ventiko here made it feel more like a home.” Two weeks into the project Soundspace (https://sndspc.com/) moved in to share the space which is Soundspace Beta and soul connections flourished. Ventiko looks forward to expanding the exhibition to London in 2020 as there are many more Saints to canonize their, bringing the project to a new community ready to embrace their inner Sainthood. 

 

 

 

Performance is Alive x ANTE. Performance Picks at Satellite Art Show NYC Oct 3-6 2019

October 3-6 marks the inaugural edition of Satellite Art Show in Brooklyn, and along with that comes the most significant collection of live & recorded performance art ever presented by Performance is Alive.

ANTE. Mag is proud to serve as Media Sponsor for this groundbreaking performance art presentation by Performance is Alive – a survey of the most exciting emerging and mid-career performance/new media artists with an intersectional lens, representing a diverse group of bodies and identities. Don’t miss the full roster of Performance is Alive-curated programming, with two especially notable events occurring Friday, October 4th at 8 pm when notable artist Barbara Rosenthal discusses her work in tandem with a screening of “News to Fit the Family” and Saturday, October 5th at noon for “Queer Form: A Panel Discussion” centered around queer body politics in new media and performance – for full list of events, follow the Performance is Alive Schedule on their Facebook page and also available HERE.

AlisonPirie_PressImage2_PerformanceDocumentationbyLiaHanson - Alison Pirie
Alison Pirie for “Performance is Alive” Satellite Art Show NYC 2019

Now on to our Top 12 ANTE. Mag picks for Performance is Alive @ Satellite Art Show, October 3-6, 2019…

  1. Alison Pirie a juggernaut working across performance, installation, new media and more, Pirie juggles simultaneous explorations of gender, identity, language and sexuality: with a particular lens onto female sexuality and the concept of “female hysteria”. With past projects at LaMama Galeria in NYC and the Situation Room in LA, Pirie is a force of nature to be reckoned with in her powerful considerations of these contemporary themes. Make sure to experience her performance on opening night at Performance is Alive: she will be presenting her work Thursday, 10/3 at Satellite.
  2. Kathie Halfin – living and working in the Bronx, Russian-Israeli artist Halfin is an interdisciplinary artist working across installation, performance, sound and costume production. Her performances tease out the nuanced narratives attached to female objectification. Halfin holds an MFA from the School of Visual Arts, and is affiliated with Wassaic Project, Vermont Studio Center, the Bronx Museum and more.
  3. Amanda Hunt & IV Castellanos – a collaboration that has lent itself to a studied exploration in reciprocity through repetitive catching of one another’s bodies, Hunt & IV Castellanos sets the stage for a longed-for Queer and Feminist Utopia. The artists have performed in the US and abroad, creating a set of actions in tandem that seek to provoke audiences to re-examine social approaches to equanimity and labor.
  4. SUNGJAE LEE – based in Chicago, LEE is a multidisciplinary artist whose work investigates periphery and its relationship to center. An MFA Graduate in Performance from the School of the Art Institute of Chicago, LEE has presented works in the US, Canada, and South Korea among other locations. The artist’s candid and perceptive responses to other-ing augment Performance is Alive’s 2019 programming.
  5. Wild Actions (Patience, Carley McCready-Bingham, Ginger Wagg) – Hailing from North Carolina, Wild Actions presents a sculpture garden for Performance is Alive that presents their focus on interactive performance installations. Their radical, performative and eco-conscious approach marks a breath of fresh air among the PIA presentations.
  6. Barbara Rosenthal – A conceptual artist working across (seemingly) limitless mediums, Rosenthal’s inclusion into Performance is Alive is a true coup. The artist will be present on Friday, Oct 4 for a screening – as noted above – and any true connoisseurs of performance and conceptual art should be in attendance. Based in the West Village, Rosenthal has influenced modern art and philosophy: influence which continues to exert its presence through her projects based in the present day.
  7. Nadja Verena Marcin – An artist working across borders in Germany and the United States, Marcin’s multidisciplinary work across photography, video, and more exudes a deceptive straightforward quality. The artist engages across a broad platform of eco-conservation, feminism, and sociopolitical inquiry. Catch her work while you can on view at Performance is Alive!
  8. Katina Bitsicas – Exploring trauma, crime and the psychological presence of architecture on the human psyche, “other”ing and the personal experiences driving overarching social justice issues. A new media artist who has shown in the US and abroad, Bistsicas’ work delves deep into issues that are driving contemporary political discourse in the United States.
  9. Tales Frey – A founding member of eRevista Performatus, Frey’s artistic practice explores elements relating to body and ritual. A multidisciplinary artist, works by Frey have been exhibited across Latin America and Europe and involve incisive visual constructions to form social commentaries.
  10. Sylvain Souklaye – A sound, video and performance artist, Souklaye contrats personal narrative with collective memory, identity and demographic. His works have been shown in Europe and Latin America, and involve performative acts by the artist as well as interaction with diverse populations in disparate urban centers.
  11. Cherrie Yu – Yu’s work mines pop culture and performativity in equal measure through a practice rooted in new media and performance. Ideals attached to assignations such as “queer” and “open” are interrogated through surveys of existing bodies of work by and by placing the spectator in a dissociative state in relationship to other “bodies” – such as in interdisciplinary performance and new media installation. Yu’s new media work will be displayed as part of “Performance is Alive”.
  12. Rachel L. Rampleman – Brooklyn-based artist Rampleman explores identity and spectacle – intimacy and grandeur – through a multi-disciplinary lens. With solo exhibits in the US and abroad, the artist’s work delves into the latent tension underlying masculine and feminine identities.

Clockwise from upper left: Artists featured at Performance is Alive include Kathie Halfin, Igor Furtado and Sylvain Souklaye.

ABOUT PERFORMANCE IS ALIVE
Based in Brooklyn, NYC, Performance Is Alive is an online platform featuring the work and words of current performance art practitioners. Through interviews, artist features, sponsorship and curatorial projects, we aim to support the performance community while offering an access point to the performance curious. Performance is Alive at SATELLITE ART SHOW is curated by Quinn Dukes (Founder + Director). | performanceisalive.com

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ANTE. Mag is dedicated to bringing under-the-radar contemporary artists to a wider audience. To this end, ANTE.’s Editorial team specifically focuses on highlighting works by intersectional artists and cultural producers to our readership. If you believe you are working on a project that fits this description and deserves wider recognition, please email our editor: audra@antemag.com

Cleanse Yourself at DETOX, Presented by The Blue Rose at The Ear on 7/21

 

Oya Damla, The Ear, 2017 still from video by Karl Cooney
Oya Damla (2017; The Ear) film still from video by Karl Cooney

It’s not every day that emerging stars from across visual arts, performance art and literary arts join forces. However, Saturday, July 21st is that day.  The Blue Rose presents: DETOX at The Ear, 255 Boerum Street (#1) in Brooklyn, beginning at 8 pm. Multidisciplinary artists, storytellers and image makers are presented over the course of a single, magical evening. Curated by Polina Riabova, a formative performance artist in her own right, the event features the talents of Kaia Gilje & Mohammed Zenia, Claribel Jolie Pichardo, Oya Damla, Lauren O’Neal, Emily Brill, and Jung Hee Mun over a the course of a three hour event.

 

Claribel Jolie Pichardo, Performeando for Queens Museum
Claribel Jolie Pichardo, Performeando 2016 for Queens Museum (photo courtesy the Queens Museum)

With a focus on gender equality and marginalized voices, The Ear is an art space that has become synonymous with ground-breaking experimental events and performances. The evening features renowned multi-faceted performance artist Pichardo, whose interactive work combines performance with audience participation, body-based collaborative performance work by Gilje and Zenia, performance reflecting the body and identity through sound by Damla, Brill’s incisive literary stylings, O’Neal’s thoughtful reflections, and Mun’s explorations on behavior and human aesthetics as transferred through image-making. The first time these creative luminaries are all engaged in a single evening, each performer evinces a unique perspective on social dynamics and the human condition through contemporary art-marking and literature.

Shawn Escarciga, 2017, The Blue Rose at The Ear, photo credit Oya Damla
Shawn Escarciga (2017; The Blue Rose at The Ear) photo courtesy Oya Damla

Featuring multi-talented New-York based creatives in experimental, genre-bending performances, DETOX marks a departure in cutting-edge contemporary arts and literature. Don’t miss your chance to join in the fun – RSVP today!