MA Curatorial Practice

Events

Ornamentation of the Joint: Allison Peller, curator: SVA MA Curatorial Practice Final Projects 2016

Opening Reception: April 29, 7 - 9pm

Ornamentation of the Joint

Pfizer Building 630 Flushing Ave, 3rd Floor Brooklyn, NY 11206


Curated by Allison Peller


Artists: Jude Broughan, Mark Dorf, Penelope Umbrico, and Letha Wilson

Opening Reception April 29, 7-9pm

Viewing hours Friday - Sunday, 12-6pm, or by appointment April 30 - May 21, 2015

Ornamentation of the Joint, curated by Allison Peller, is an exhibition that includes the work of four different photographers who use the photograph as material both physically and conceptually. With work by Jude Broughan, Mark Dorf, Penelope Umbrico, and Letha Wilson, the exhibition includes photographs that are sculptural, painterly, and could even be considered performative. By bridging materials and methods, the artists create a joint that draws attention to the conceptual juxtapositions and paradoxes, such as nature vs science; materiality and immateriality; and the artificial vs the natural found within their work.

Ornamentation of the Joint is presented as part of a festival of final projects curated by the inaugural class of SVA MA Curatorial Practice.

Image Credit: Mark Dorf, Emergent #7, 2014. Image courtesy of the artist

Future Memories: Mohammad Golabi, curator: SVA MA Curatorial Practice Final Projects 2016

Opening Reception: Friday, April 29, 6:00- 8:00 pm

Future Memories

Pfizer Building Pfizer Building 630 Flushing, Third floor Brooklyn, NY 11206

Curator: Mohammad Golabi

Artists: Lebbeus Woods, Khaled Jarrar, Sophia Al Maria, Farideh Sakhaeifar, DAAR (Decolonizing Architecture Art Residency)

Opening Reception: Friday, April 29, 6:00- 8:00 pm

April, 2016 - Visionary plans and utopian concepts tell us more about our current state than about the future, which makes creating a present attitude towards the future a tricky endeavor. It requires clear vision to defeat the ambiguity of current strategies and goals and demands a strong will power, backed by knowledge, to create a new vision for a future that is not merely affected by our desires and hopes.

Radical architecture has always needed a place that is wholly free of self-censorship, and this place does not existin the often-contentious exchange between architect and client. Today, high-end architecture is suddenly a valu-
able commodity and it has begun to look like a sophisticated form of marketing. In the last few years, architec-
ture started raising up from the ground; non-architects began building community centers in Haiti and apart-
ments made of garbage Dumpsters in New York. These projects are not blessed by the powers that be in the architectural world, but they’re already happening.

Future Memories is an exhibition of works by the various artist that focuses on the aftermaths of war, insubordi-
nation, censorship, and socio-political injustice. It manifests the affects of engineered segregation and the notion of “non-place” as opposed to familiar concept of “habitat”; A place which could be everywhere and which is nowhere.

The exhibition addresses the possibilities and limitations of these contemporary phenomena and the ways in which it has been put to use in various disciplines. Some of the works have been commissioned especially for this exhibition, while others are brought together for the first time.

Future Memories is presented as part of a festival of final projects curated by the inaugural class of SVA MA Curatorial Practice.

The Ocean We Inhabit: Manuela Reyes, curator: SVA MA Curatorial Practice Final Projects 2016

Event Date: April 28, 2016, 7:30 - 10 pm

The Ocean We Inhabit

National Aquarium in Baltimore 501 East Pratt Street Baltimore, MD 21202

Curated by Manuela Reyes

Artists: Joan Jonas, Pablo Helguera, Martha Raquel Herrera, and Bernardo Rosa.

Event Date: April 28, 2016, 7:30 – 10:00 pm

The Ocean We Inhabit will be the inaugural exhibition of PlanetArt Fund, a non- profit organization that will advocate environmental awareness and change. It will consist of a multisensory experience at the National Aquarium in Baltimore creating a tribute to our oceans through dance, video, narrative performance, and sound art. The exhibition will feature a video art projection by the pioneer of performance and video art, Joan Jonas, the U.S Representative of the 56th Venice Biennale, 2015.  Socially engaged Mexican artist Pablo Helguera will create a site-specific narrative performance, and Portuguese composer Bernardo Rosa will create a sound art piece. Colombian-Italian dance therapist and architect Martha Raquel Herrera will lead a workshop where the children of Baltimore will create their own extemporaneous dance.  The exhibition will be converted into a documentary, which will travel to other museums and aquarium venues.

The Ocean We Inhabit is presented as part of a festival of final projects curated by the inaugural class of SVA MA Curatorial Practice.

Sponsored by PlanetArt Fund

Photo courtesy of Manuela Reyes

no//thing but noise: Maya Castro Gutierrez, curator: SVA MA Curatorial Practice Final Projects 2016

Event: Saturday, April 30, 7 pm

no//thing but noise

Venue to be disclosed the day of the event. To receive the location, please contact: Maya Castro Gutierrez at mayacastrogutierrez@gmail.com with no//thing but noise in the subject.

Curator: Maya Castro Gutierrez

Artists: Artists: Ian Hatcher ((Poetry)), C. Spencer Yeh ((Sound Art)), Blanko + Noiry ((Performance Art)), Copán ((Music))

Event: Saturday, April 30, 7 pm

no//thing but noise will be a live performance event that explores the idea of noise through four different arts, specifically looking at poetry, sound art, performance and music as avenues in which noise is present, given the varied mediums used by each artist. Technology, the voice and its possibilities of abstraction, and performance, both through transmission and collaboration, will be key ways in which noise is found in the show. In conjunction with the live event, a vinyl record will be made with tracks from each artist, giving a new form to the live physical aspect.

no//thing but noise is presented as part of a festival of final projects curated by the inaugural class of SVA MA Curatorial Practice.

Image Credit: Mont by Daniel Lopera

Ditto Magazine: Marie Vingneau, curator: SVA MA Curatorial Practice Final Projects 2016

Reception: Wednesday, April 27, 6 - 8 pm

Ditto Magazine

Glasshouse 246 Union Avenue Brooklyn, NY 11211

Curator: Marie Vigneau

Artists: Calori & Maillard, Mary Huang , Susan Cianciolo, Cristian & Cindy Candamill, Lital Dotan - Que Sal Mah

Reception: Wednesday, April 27, 6 - 8 pm

Viewing Hours: Wednesday, April 27, 5 - 9 pm

Ditto Magazine is a study in new ways of curating the distinctions and interconnections between art and fashion, and between artists and the fashion industry. This special issue will focus on vulnerability and its relation to fashion design, industry, personal style and art. What we choose to adorn ourselves with can allow us to conceal or reveal our vulnerabilities. Ditto celebrates that vulnerability and its capacity to bring about productive artistic and design expressivity. Please join us for a product launch of the magazine at Glasshouse Project on April 27th.

Ditto Magazine is presented as part of a festival of final projects curated by the inaugural class of SVA MA Curatorial Practice.

Image Credit: Tazaca Simpson, 2016

Low-Grade Euphoria Performance & Music Session

Saturday, April 23, 4:30-9:00 pm

Performances by:
LARAAJI (live)
Antenes (live)
Great City (Jon Shapiro of Data Garden) (live)
Puppies Puppies
Max C Lee

Live broadcast by: The Lot Radio

http://www.thelotradio.com/

There will be plants connected to synthesizers, a sound meditation session and much more...

Pfizer Building, 630 Flushing Avenue, 3rd Floor, Brooklyn, NY 11206

Curated by: Sanna Almajedi, Valerie Amend, Patrick Jaojoco, Rebecca Nahom, Ikechukwu Casmir Onyewuenyi, Vera Petukhova, Jovanna Venegas

Image credit: Jessica Greene

Listed by ArtFCity as one of this weeks "Must See Events!"

Sneak a Peek: Lal Bahcecioglu, curator: SVA MA Curatorial Practice Final Projects 2016

Opening Reception: Thurday, April 14, 8 pm (Meet in front of Chelsea Florist, 8th Ave. & 22nd St.)

Sneak a Peek

West 22nd Street, between 8th & 10th Avenues

Curator: Lal Bahcecioglu

Artists: Graciela Cassel, Lourdes Correa-Carlo, Ghost of a Dream (Lauren Was & Adam Eckstrom,) Sara Eliassen & Lilja Ingolfsdottir, Kanako Hayashi, Mille Kalsmose

On View: Thrusday through Sunday, April 14 - 24, 2016 from 6 - 9 pm

Sneak a Peek is a street exhibition that features video art works displayed on TVs inside apartments. These TVs are placed behind the windows facing West 22nd Street in New York City. Curated by Lal Bahcecioglu, Sneak a Peek showcases works by Graciela Cassel, Lourdes Correa-Carlo, Ghost of a Dream (Lauren Was & Adam Eckstrom), Sara Eliassen & Lilja Ingolfsdottir, Kanako Hayashi, and Mille Kalsmose.
What happens behind closed doors and curtains is always a great source of curiosity for people. Sneak a Peek sets free this desire and digs into this curiosity by allowing viewers to experience this curiosity without the fear of voyeurism. Sneak a Peek offers an innovative way of exhibiting video art works and reaching a wider audience who come upon the work by chance. By the virtue of this project, the passersby are viewers of the works, and the residents who are participating with their windows are the exhibitors.

Sneak a Peek is presented as part of a festival of final projects curated by the inaugural class of SVA MA Curatorial Practice.

Website: Sneak a Peek

#SneakAPeek

Sneak a Peek is sponsored by: Upicnic

Low-Grade Euphoria: a collaboratively curated group show by first-year SVA MA Curatorial Practice Fellows

Opening Reception & Performances: Friday, April 15, 6 - 10 pm. With more performance programmed for Saturday, April 23 4:30 - 9 pm

Low-Grade Euphoria

Pfizer Building, 630 Flushing Avenue, 3rd Floor, Brooklyn, NY 11206

Curators: Sanna Almajedi, Valerie Amend, Patrick Jaojoco, Rebecca Nahom, Ikechukwu Onyewuenyi, Vera Petukhova, Jovana Venegas, under the leadership of Mark Beasley

On View: April 15–29, 2016 Monday – Thursday: by appointment only, Friday – Sunday: 10 am – 6 pm

Opening Reception: Friday, April 15, 6 - 10 pm

Performance: Friday, April 15, 6 - 10 pm Artists: Terry Boyd, Aya Rodriguez, Puppies Puppies

Performance: Saturday, April 23, 4:30 - 9 pm Artists: Max C. Lee, Laraaji, Antenes, Data Garden

Over the last century, technologies, economies, societies, and political systems have been transformed, constituting a revised yet always shifting cultural landscape. In order to keep up, we constantly search for new feeling by way of the next lifestyle app, the next detox, the next transformative spirit journey to calm the nerves. Low-Grade Euphoria highlights the work of artists who respond to these shifts in the cultural landscape and suggest sensory experiences to guide us through them. It is a simultaneously frantic and subdued search for the traces of joy that enable and perpetuate social life today. With the help of performances, video, sound, and installation works, the exhibition rushes forward, toward new feelings and temporary joys, happily, in a daze.

Artists: Antenes, Terry Boyd, Institute for New Feeling, Ioanna Pantazopoulou, Puppies Puppies, Andrea McGinty,Shana Moulton, Max Lee, Aya Rodriguez, Jo Shane, and more TBD

The Practicum 3: Exhibition Making is the result of a semester long colaboration between the first-year Fellows of SVA MA Curatorial Practice.

Image Credit: Andrea McGinty, :), 2015, humidifier, women's juniors crop top, 11 x 5 x 5in

Irreality: An Exhibition Featuring Mark Dorf + Sara Ludy

Opening Reception Friday, March 8, 6:30–8:30pm

Irreality: An Exhibition Featuring Mark Dorf + Sara Ludy
Curated by Valerie Amend
March 8–21, 2016 On view: 10 am - 6 pm weekdays, weekends by appointment
Opening Reception Friday, March 8, 6:30–8:30pm
CP Projects Space
132 W 21st Street, 10th Floor New York, NY 10011

Artists Mark Dorf and Sara Ludy create digital representations—photographs, GIFs, projections, and videos—of reality. These digital means inspire illusionistic layers that shift our notion of reality to irrealty—a mediated state between the real and the imagined.

Image Credit: Sara Ludy, Cloud Pond 2, Digital Projection, 2015

Repeating Traces: Lalita Salander, curator: SVA MA Curatorial Practice Final Projects 2016

Opening Reception: Sunday, April 10, Performance: 12-6pm, Installation on View, 6- 10pm

Repeating Traces

Pioneer Works 159 Pioneer Street Brooklyn, NY 11231

Curator: Lalita Salander

Artist: Rachel Garrard

On view: April, 6-April14, 2016 Wednesday—Friday 12-6pm

Opening Reception: April 10, Performance: 12-6pm, Installation on View, 6-10pm

The nine day performance Repeating Traces is a collaboration between artist Rachel Garrard and curator Lalita Salander, and was conceived during a period of research and a residency in the Sierra Nevada de Santa Marta, Colombia. The performance threads together quantum physicists’ study of matter, neuroscientists conducting consciousness research, and the traditions of Amerindian cultures, specifically the Kogi of the Sierra Nevada. Inspired by the Kogi’s relationship with the earth and their ritual practices that seek to maintain a constant equilibrium, Repeating Traces is an attempt to highlight a personal intimacy with the cycles of nature. During the course of the performance, the artist will begin to map her coordinates, according to a precise map of internal prompts. Using a specific algorithm the performance will continue as a slow repetition of action until an intricate web has been formed, at which point, without pause, the artist will continue to unravel the piece, returning the space to it's original form.

Repeating Traces is presented as part of a festival of final projects curated by the inaugural class of SVA MA Curatorial Practice.

Image credit: Topographic map, Sierra Nevada de Santa Marta, Colombia, 1957. Courtesy of Instituto Geográfico Agustín Codazzi.

Kayla Fanelli, curator: SVA MA Curatorial Practice Final Projects 2016

Opening Reception & Charles Atlas Screening: Monday, April 25, 7 - 10 pm

rheo-

CP Projects Space 132 West 21st Street, 10th floor New York, NY 10011

Curator: Kayla Fanelli

Artists: Cindy Sherman, Charles Atlas, Andrew Birk, Ryan Trecartin, Manuel Solano

On View: April 25 - 29 by appointment only

Opening Reception: Monday, April 25, 7 - 10 pm

Charles Atlas Screening: Monday, April 25, 7 pm

rheo- investigates the fluidity of identity and language in the internet age. This project will be realized both online and offline and will also serve as an exploration of the phenomenological challenges of performing/projecting identity and presenting this type of work.

rheo- is presented as part of a festival of final projects curated by the inaugural class of SVA MA Curatorial Practice.

Patafest: Ana Sophie Salazar, curator: SVA MA Curatorial Practice Final Projects 2016

Caberet: Tuesday, April 26, 7 pm

PATAFEST

The Duplex 61 Christopher Street New York, NY 10014

Reservations click here. Please note there is a two drink minimum in the cabaret.

Curator: Ana Sophie Salazar

Artists: Lorenzo Bueno, theater; Gabi Lenhard, video; Bernardo Demony Rosa, sound; Virgil Taylor, host; Bo Wang, video artist

Caberet: Tuesday, April 26, 7 pm

PATAFEST is a new festival devoted to the imaginary, the absurd, and the political, dwelling in the philosophical exploration of the relationship between the human and the animal. This festival is the result of joining our interests in artistic expression, socio-political issues, and collaborative practices into one curatorial format. The name of the festival draws from the idea of “pataphysics,” which was defined in the late nineteenth century by the French Symbolist writer Alfred Jarry as a branch of philosophy that examines imaginary phenomena beyond metaphysics. PATAFEST is interested in the absurdist nature of this imaginary science and uses the absurd as a methodology for deconstructing assumptions, questioning the status quo, and reconfiguring language to build more diversified and complex discourses. The festival brings together a variety of art forms including performance, music, literature, dance, film, cabaret, theater, and visual arts. At the core lie our interests in our animal nature and the political in our societal existence.

The launching event of PATAFEST is an experimental cabaret evening exploring the absurd and celebrating the 100th anniversary of Cabaret Voltaire, a significant moment in art history, which pushed forward new ideas and world views. Cabaret Voltaire, a cabaret for artistic and political purposes and the home of Dadaism, was founded by German and Romanian artists and writers on February 5th, 1916, in Zurich. At the time, WWI generated a huge wave of migration in Europe. The Dadaist formed an anti-establishment artistic movement, responding to the nonsense and horrors of the world with nonsense in art as a critical tool. We want to rethink the format of cabaret within our contemporary context and to reframe the legacy of Dada. Today, 100 year later, we too are living a reality of conflict and migration. War has dislocated hundreds of thousands of people. Economic crises have also forced a new form of nomadism. How can we in turn address this nonsensical reality with the absurd as an access point to understand and confront it? Can this specific moment of crisis generate a collectivity as has happened in the past? PATAFEST explores this possibility through a political variety show that includes music, cabaret, performance, poetry, drag, and video, unifying artistic voices into a loud and dissonant chorus.

Website: PATAFEST

PATAFEST is presented as part of a festival of final projects curated by the inaugural class of SVA MA Curatorial Practice.

What are you trying to say?

Opening reception March 18, 2016 6:30-8:30

What are you trying to say? curated by Vera Petukhova

CP Projects Space

132 West 21st Street, 10th floor New York, New York 10011

Exhibition dates: March 18 -- April 1, 2016

Viewing hours 10:00 am - 6:00 pm m/f, weekends by appointment.

Opening reception March 18, 2016 6:30-8:30

it is about language
it is about image
it is about circulation

it is about the relationship of intake and output

it is the intersecting vectors of image and language production

it is a staged conversation where the works talk to each other and find their unsuspecting mutual friends

it is about the thing you think about before creating a new work
it is about the thing that mysteriously settles into your brain
the things you cannot unsee or unhear

the majestic landscape on a desktop background

the utopian interior that you saw on Tumblr
it sits in your mind
but it exists. It is an indoor gymnasium from a 1970s social housing project in Vienna, Austria

it is Robin Williams expression captured in a moment of the film you have watched countless times
it inspired you to write a tweet, or is it a poem?

it is neither high brow or tabloid
just the golden waterfall of information, images, words…

it is about the invisible seeds of information that circulate and plant themselves in our minds
and the result, it is right here, begging the question, what are you trying to say?

Artists: Anthony Fader, Leena Joshi, Eri King, Zara Pfeifer, John Rohrer, Anastasia Samoylova, Michelle Sumaray, Beau Torres, C. Spencer Yeh

Image credit: Eri King, 2016

Duplicates, Dummies & Dolls

Thursday, February 18, 2016 6:30-8:30 pm

CP Projects Space
132 West 21st Street, 10th floor
New York, NY 10011

Exhibition dates: February 18 – March 3, 2016 from 10am - 6pm daily and by appointment on weekends
Opening reception: February 18, 6:30 – 8:30

CP Projects Space is pleased to present Duplicates, Dummies & Dolls curated by MA Curatorial Practice Fellow Becky Nahom. The exhibition includes five years of work by Sara Mejia Kriendler, 2013 SVA MFA Fine Arts Alumna, that explore the relationship between humans, their exquisite modes of production, and grotesque excess through her use of discarded Styrofoam and plastic packaging.

Image: Sara Mejia Kriendler, In Line, 2015, plaster, dimensions variable. Image courtesy of the artist.

Seasons of Loss: Racism and Resistance in the Cultural Field, a panel discussion

Tuesday, February 9, 2016, 7:00 - 9:00 pm

CP Projects Space
School of Visual Arts
132 W. 21st Street, 10th floor
New York, NY 10011

Panelists:

Jack Persekian, founding director, the Palestinian Museum

Kameelah Janan Rasheed, artist-archivist, New York

Ann Laura Stoler, Willy Brandt Distinguished University Professor of Anthropology and Historical Studies, the New School for Social Research

Nato Thompson, chief curator, Creative Time

Racism is a global catastrophe that is always local. Physical violence, political oppression, displacement and forced migration, imprisonment, denial of education, financial ruin, cultural and personal erasure… Blatant or inflicted more subtly, racism has never left humanity, and it is ever more visible as a scourge of societies at a time when the technologies of the visual allow for the constant visualization and recording of atrocities. This is also a time in which global artistic interest has turned increasingly toward social critique, with art now a continual witness and a commentator on violence and repression—and in turn the victim of repression itself. This distinguished panel speaks directly to the currency of racism’s path of ruin and forms of cultural resistance to it, whether within the purview of Black Lives Matter, the BDS Movement or the continuance of colonialist behaviors that target Africans, Arabs, Jews and other victimized populations, who have also historically been oppressors themselves. These will be among the issues of this panel’s discussion.

Steven Henry Madoff, chair, MA Curatorial Practice, will moderate the discussion.

Crushing Debt

Exhibition dates: January 29th—February 6th 2016 Opening reception: January 29th 2016, 6pm – 8pm CP Projects Space 132 West 21st Street, 10th floor New York, NY 10011

As of late 2015, 1.3 trillion dollars is what students in the United States collectively owe for their education. This number seems so unbelievably substantial. Ones own part in this mass sum can easily feel as minimal. This minimal debt (often referred to as an “investment in one’’s future”) we sign on for —most of the time while young, naive, and unknowing of the astonishingly long-term commitment this entails— is then ingenuously taken on. The loans we accept in order to pay for our education, though minimal in comparison to the 1 trillion total, of course, are anything but.

In 2014 70% of students that graduated with a bachelor’s degree left with an average of $33,000 dollars in student loan debt. When we look at the numbers for art-related degrees, now required for most jobs and in the general art market, the numbers become even higher. For art school students an unpaid internship (paying your dues)/the who do you know-type model makes it either impossible to pay or it forces us into doing several jobs at once, which most of the time are not art-related, in order to pay off debt and stay afloat financially.

During Occupy Wall Street, one of the main issues that was brought up was the rapid and substantial increase in student debtors. From that point on many organizations intending to resist the student loan debt crisis were formed, some of which are still active or inspired new ones into formation. This is exhibition is a further attempt at advancing the discussion on student loan debt through different art practices to understand its financial and emotional impact and finding ways to resist it.

Artists: BFAMFAPhD (Susan Jahoda, Agnes Szanyi, Vicky Virgin, Julian Boilen, Blair Murphy, and Caroline Woolard,) Dennis Delgado, Nicky Enright, Alicia Grullon in collaboration with students from SVA's MPS Art Therapy program, Gabriela Ceja, and Fran Ilich

Articulating Artwashing, Gentrification, and Responsibility: What is the Place of the Curator?

January 28, 2016 6:30 - 8:30 pm CP Projects Space 132 West 21st Street New York, NY 10011

We've entered an era of artwashing, in which art, artist, and the larger creative economy are complicit in an insidious commodification of community and culture. Inner-city cultural landscapes often fall victim to the artwash smokescreen that positions creativity as a saving grace for derelict and divested spaces. In the short term, the superficial sheen of artwashing presents itself as a panacea to neglect, as the "art" in "artwash" provides a momentary jouissance, washing things anew. However, the long-term cultural erasure that results from this supposed revitalization of space is a cause for concern, especially the way in which curators figure into this artwashing paradox. Under this guise of art as cultural currency, communities—working class and creative—are eventually left on the margins, with developers, architects, and entrepreneurs intent on packaging and privatizing these spaces for the privileged. This semi-privatization process is not without the involvement of curators. The claim can be made that artwashing can be located within curatorial approaches that have ushered in a new turn of public, site-specific art. However, public opinion is drawn on whether the real estate ends or ramifications are sensitive to the existing community, in which nostalgia and the specter of neglect are both at play. With artwashing as a discursive framework, what role do the curator and artist play in this "revitalization" process? Are curators complicit with developers? And how can the curatorial process care for the communities that are home to these site-specific installations beyond just situating art there that are meant to increase property values alongside cultural enhancement?

Ikechukwu Casmir Onyewuenyi, moderator, MA Curatorial Practice Fellow

Panelist:

Alicia Grullón, visual artist
Imani Henry, activist, writer, diversity trainer, Brooklyn Anti-Gentrification Network
Duron Jackson, visual artist
Manon Slome, founder and chief curator, No Longer Empty
Dexter Wimberly, independent curator

Data Collection

Opening Reception and Artist Talk Thursday, January 14, 2016 7:00 - 9:00 pm


CP Projects Space 132 West 21st Street, 10th floor, New York, NY 10011
Exhibition Dates: January 12-January 20, 2016
Opening Reception and Artist Talk: January 14, 2016, 7 p.m.

CP Projects Space is proud to present the work of Mary Huang, current Artist-in-Residence of the School of Visual Art’s Visible Futures Lab. The exhibition is curated by Marie Katherine Vigneau, Curatorial Fellow in the Masters program in Curatorial Practice at SVA. Huang is the founder of Brooklyn-based Continuum Fashion. Her work reflects her fluency in 3D design, digital manufacturing, and code to redefine the craft and experience of fashion. Her collections largely focus on soon-to-exist futures that intersect personal expression, consumer goods, and fabrication processes. In Data Collection, she explores patterns we track in our daily lives, while bringing new meaning to the term “data visualization.”

As Huang states: “We believe that fashion should express how we live our digital lives, and that products express the process and story of their creation. We consider that the most beautiful fashion would be created entirely by robots, in an autonomous choreography, without any human labor.”

Women Speaking to Power: An Evening of Conversation with Tania Bruguera and Shirin Neshat

Live streaming Friday, December 11, 2015 from 7:00 - 9:00 pm EST (approximately)

humanimalands

Panel discussion with David Brooks, Una Chaudhuri, and Harrison Atelier Monday, December 7, 2015 at 6:30 – 8:00 pm Reception to follow

Suzanne Anker, Dear Climate, Sophia Hewson, Terence Koh, Celeste Neuhaus, Dana Sherwood,

and Alicia Toldi

Curated by Patrick Jaojoco

December 3 – December 17, 2015

Free and open to the public

humanimalands is an exhibition that explores the newly permeable ontologies of humans,

animals, and landscape. Curated by Patrick Jaojoco, a curatorial fellow in the MA Curatorial

Practice program at CP Projects Space, humanimalands features the work of six artists, one

collective, and a collection of rocks, all of which are brought together in an effort to better grasp

the status of being in the Anthropocene.

The exhibition’s objects, images, and recordings form a direct response to the dominant notion of

“nature” generally unchanged since 19th-century Romanticism: pristine, sublime, and wholly

separated from human culture. This blinds us from the true nature of nature, and enables us to

continue our existence under the problematic dichotomy of either destroyers or stewards. In a

geological era in which human forces have fundamentally altered Earth’s natural processes, our

relationship with nature is much more profoundly intimate.

From oceans to urban sprawls to nature preserves, humans are integrated in every “natural”

landscape in one way or another; even the most remote areas in the world are affected by

anthropogenic changes in the atmosphere. In related developments, non-human life on every

level, from ecosystems to species to individuals, often cease to exist—but sometimes thrive—on

human terms. Human life, meanwhile, is increasingly confronted with the rise of droughts,

extreme weather events, and surging sea levels. Yet despite their anthropogenic influence and

apocalyptic overtones, they are still fundamentally natural processes.

This exhibition attempts to dissolve perceived distinctions between humanity and its

surroundings and in its place establish a radical fluidity of human, animal, and landscape

ontologies: a new “nature.”

When considering nature’s expanded field—what might be called humanimalands—we must

rely on the imagination. This exhibition therefore presents works in various mediums that are

neither prescriptive nor romantic. Rather, they are provocative, relying on interaction and

discourse to invoke conceptions of our current world that may be sad, bizarre or humorous.

These varied views necessitate discussion and a panel discussion that is free and open to the

public will take place on December 7 to further expand on the existential question: how should

we live in the Anthropocene?

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