Immigrant, exile, refugee, traveler, stranger: these are the figures that define our time. They are alternately the fantasy and the nightmare of globalization—neoliberalism dreams of a “flat earth,” a world system where laboring bodies travel across borders as easily as capital, while populism fears those same bodies as dangerous, even deadly, parasitical drains on local economies and civil society. What these seemingly opposing narratives share is a determination to erase historical and material realities that motivate such mobility: the wars, economic crises, imperialisms and colonialisms, the violences and disparities that make displacement necessary and impossible, full of friction, driven by a basic instinct for survival.
A two-artist show at Talwar Gallery takes on the problem of the peripatetic body in relation to xenophobia, isolationism, and racism in the UK, but from two markedly different vantages. Allan deSouza’s Through the Black Country imagines Brexit via the form of the nineteenth-century traveler’s account, using a series of wall texts, maps, and images, while Alia Syed turns to video to convey the experience of a Sudanese refugee caught in the limbo of statelessness. The show opened on January 13 in New York—after the defeat of Hillary Clinton, which represented, among other things, a serious blow to open borders and free-trade zones like the Trans-Pacific Partnership, but before Trump’s executive order banning travel from certain Muslim-majority countries and his aggressive interpretation of deportation rules, among other anti-immigrant measures. In the aftermath of these events, the show has become pointedly relevant.
If you speak French.
From the opening:
"Greg Niemeyer has been the head of the New Media Center at Berkeley University in the United States and has taught this subject
since the beginning of his career. A graduate of classical arts and photography in 1997 in Stanford, he offers a
transdisciplinary analysis of the interactions between human and technology. In an interview, he looks back over twenty years of
in-depth transformations of the education sector and sheds light on the challenges of tomorrow's world of work."
ART N163 – Social Practice: Critical Site and Context
The renowned Cuban artist, Tania Bruguera, will focus on her concept of ARTE UTIL,, translating loosely as “useful art”, and suggesting that art can be a tool or device.
Enrollment requires familiarity with the ARTE UTIL archive and lexicon, as well as submitting a statement of 250-400 words explaining what social issues interest you, and how you think aesthetics can disrupt institutional structures. Send to: firstname.lastname@example.org
SESSION C: June 19 – August 11
MWTh – 4pm – 8pm (Friday is optional critique/studio time)
Since 1967, SECA (Society for the Encouragement of Contemporary Art) has honored over seventy Bay Area artists with the SECA Art Award, which includes an exhibition at SFMOMA and inclusion in the accompanying catalogue. Recipients of the SECA Art Award, typically four per award year, are chosen during a ten-month process involving artists, SECA members, museum staff, and members of the local arts community. (more)
Christopher Cozier (b.1959, Port of Spain, Trinidad & Tobago) is an artist, writer and curator living and working in Trinidad. The artist is recipient of a Prince Claus Award for 2013. His work has been featured at The Brooklyn Museum, Museum of Art and Design NY, Havana Biennial, Biennial de Cuenca, Ecuador, Trienal Poli/Gráca de San Juan: América Latina y el Caribe, TATE Liverpool, among others.. He was a member of the editorial collective of Small Axe: A Caribbean Journal of Criticism and an editorial adviser to BOMB Magazine for their Americas issues. He is co-director of Alice Yard, a 10-year old arts space in Port-of-Spain which organizes exhibitions, artists’ residences, cultural dialogue and exchanges.
Cozier’s work will be featured alongside the work of UC Berkeley Professor of Art Practice Allan deSouza in the upcoming exhibit ‘Where Is Here’ curated by Jaqueline Frances and Kathy Zarur at the Museum of the African Diaspora (MOAD) which runs from Oct. 26, 2016-Apr. 2, 2017. This exhibition presents the works of ten (10) contemporary artists from across the globe, who are developing personal and engaged visual and musical systems to claim, make, and describe space.
Cozier will discuss the potentially free/play spaces that Caribbean artists are constantly imagining, constructing, and navigating, including in his own creative practice and at Alice Yard. Cozier will also discuss how the established idea of the Caribbean— as a viable action, as a site of exchange, an owned product or territory traded between various beneciaries, internal and external, persists. Caribbean artists have made the production of these “in-between territories” the underlying logic of “being here,” wherever that may be.
The Zero Waste Cart is a mobile pop-up that functions as a free community clothing circulation and sewing station. Give. Take. Repair. The Zero Waste Trading and Mending Cart is a mobile pop-up that offers sustainable alternatives for environmentally friendly and low-income shoppers. The cart’s mission is to provide solutions to textile waste, post-consumer care, accessibility to sustainable fashion. (More…)
The 2016 Market Street Prototyping Festival.
“We are not simply one demographic or another. The different descriptors framing us may in part describe us, but the pictures they draw are incomplete. For some they become qualifiers making one a subset of the whole, addendums that keeps one from being referred to as what we desire to be…” (more)
Slide Space is an exciting new exhibition space at Mills College.
Opening : Wednesday, September 14, 6:00 – 8:00 p.m.
Exhibition curated by our co-director Jackie Im
Stephanie Syjuco’s exhibition Neutral Calibration Studies (Ornament + Crime) at Catharine Clark Gallery is physically dominated by an installation of the same name. The crowded platform is host to chipboard cut-outs of reference-rich images: a pixelated, life-size version of Freud’s couch and chair, groupings of fruits and vegetables, plants, African masks and sculptures, paper Persian rugs, and a woman reclining on a Le Corbusier chair. The concepts packed into this purposefully cluttered installation are not immediately obvious, but stand out more clearly when considered in light of the other works on view. (More…)
From the artist:
“My work systematically chronicles different layers of my identity, with the goal of deconstructing basic epistemological categories that separate the aesthetic from the everyday, the sacred from the profane. I look at the repetitive gestures embedded in folklore, religion, and ideology through various means of expression from painting, ceramics, photography, video, and performance to interviews, collaborations, texts, relics, and ready-mades. I position myself as a shaman who seeks to unveil the masks of history. My goal is to create transformative healing experiences for my viewers, surroundings, and former selves.”
For more information on Jose Figueroa and the Headlands Center for the Arts: http://www.headlands.org/artist/jose-figueroa/