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DTSTART;TZID=America/New_York:20231215T080000
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SUMMARY:Musician Julian Saporiti approaches refugee storytelling with compassion
DESCRIPTION:By Maddie Browning \n\n\n\nBerklee alum Julian Saporiti releases music inspired by his fieldwork and research on Asian American history under the pseudonym No-No Boy – a reference to John Okada’s novel of the same name.  \n\n\n\nA selection of his songs and music videos are a part of Emerson Contemporary’s “One Day We’ll Go Home” exhibition on display through December 16.  \n\n\n\nEmerson Contemporary chatted with Saporiti on Zoom about his favorite musical artists\, collaborating on artistic projects with his wife\, and checking his privilege with the monks at Blue Cliff Monastery. \n\n\n\nEC: What artists are you inspired by? \n\n\n\nSaporiti: There’s a painting in the MFA in Boston called “Slave Ship” by [Joseph Mallord William] Turner\, and when I was in school at Berklee\, I would go see that painting a lot. It’s a really horrible subject matter\, it’s this wrecked slave ship\, so it’s all these bodies in the ocean but it’s full of [these] beautiful sunset or sunrise colors – oranges and pinks – mixed with the turbulence of the ocean. So that was always super striking\, and very similar to a lot of the work that I do\, which is dealing with stories of people crossing oceans under not so good circumstances. But that painting\, I was always entranced by that when I lived in Boston\, and I would go see that all the time.  \n\n\n\nEC: What are some of your favorite musicians? \n\n\n\nSaporiti: When I was in Boston\, as a [college student]\, I used to go to the symphony every week and the BSO because they had a student card\, so you go every Thursday for like 25 bucks a semester. I remember I saw this piece\, Hector Berlioz is the composer\, and he wrote a piece called “The Damnation of Faust\,” which is this overwhelming three choruses based on the Faust mythology\, and that’s one of my favorite pieces of music of all time. And then I also love the rock and roll or hard rock I grew up with like Rage Against the Machine and Weezer and Nirvana and all that grunge stuff. And then my dad’s record collection\, The Beatles\, Beach Boys\, Joni Mitchell\, Neil Young\, Bob Dylan.  \n\n\n\nI like all that very entrenched\, canonized stuff\, but my favorite experiences are just hearing someone in front of me play an instrument. It doesn’t even have to be a particular piece of music. It’s just like\, if there’s a clarinet player in an Italian restaurant\, I’m always drifting out of whatever conversation I’m in to hear just the sound of their instrument. I’m really appreciative of live music because there’s just something so captivating and infinite in that very small experience that you can’t get with recorded music.  \n\n\n\nEC: Your music is rooted in storytelling. How do you use different sounds to tell those stories? \n\n\n\nSaporiti: A lot of different ways. Sometimes it’s just textures of different instruments [that] might fit a lyric\, you know\, the difference between a plucked guitar with your fingers to a nice ethereal keyboard pad or something. I use a lot of samples\, and I tell a lot of stories that are based on my historic research as an academic – these histories of Asian American folks and refugees and immigrants mostly. I sample from my field research sites\, so if I go to an old refugee camp or something\, I’ll knock on the barbed wire or the wood\, and then I’ll turn that into a drum kit. So that’s what you hear on my recorded music to try to use the textures and real audible sounds of history inside the records themselves.  \n\n\n\nEmpire Electric by No-No Boy\, album cover. \n\n\n\nEC: What has your experience been like collaborating with your wife\, Emilia\, who directs and does lettering for your music videos featured in “One Day We’ll Go Home”? \n\n\n\nSaporiti: Awesome because we want to be around each other as much as possible. That’s why we got married. I have found someone who I just love sharing my life with\, and my life is so artistically driven\, it would kind of be impossible for me to be in a full time relationship with someone if they didn’t share in that and vice versa. Like right now you’ve caught me in the middle of her law school exam final week\, so I’m basically chauffeur and making all the meals and helping her study with flashcards and making sure the sleep schedule is good. So we look at everything we do as a team. And she’s a wonderful artist in her own right – a visual artist. She helps me produce the songs that I make as well. She sings when we perform live. She also has sewn this incredible stage jacket I wear in one of the videos which has hand embroidered little stories from my Vietnamese American childhood on it. \n\n\n\nEC: Tell me a little bit more about the songs you included in “One Day We’ll Go Home” and what stories you are telling. \n\n\n\nSaporiti: “Boat People” is in there and that is very central to the Vietnamese American story because I think most refugees or a good deal of us can trace their families where they directly came over as boat people. These folks who had to escape South Vietnam on these rickety little fishing boats. That song is taken directly from an archival interview of this guy who was a boat person who went to Canada. The lyrics basically tell this really cinematic story of this guy\, Dr. Tran\, who eventually made it to Montreal but he had to escape Vietnam\, got into this little fishing\, boat pirates attacked them\, eventually made it to Pulau Bidong – this refugee camp off the coast of Malaysia. It’s harrowing\, and I think that it’s really important to tell one story at a time as a teacher and also as a songwriter because it’s really hard for students or for listeners to take in a million people. You can’t understand that number\, so boiling it down to telling these personal stories detail by detail\, and then setting it to music\, I think that’s a very emotional way to speak to this larger humanity issue of refugees and immigrants and movements of people – things that are happening right now in the Middle East\, right now in Asia and Central America. This is just one person\, but if you can empathize with that one person\, then maybe you can empathize more deeply with the global issue of refugees and displacement. \n\n\n\nEC: In conducting your field work\, how do you go about talking to refugees when you’re working on new music? \n\n\n\nSaporiti: I never talk to anyone with a goal of anything. I just explore and hang out and talk to people like people\, and then if it comes up that they have an interesting story\, and they share that with me\, I might ask questions I’d ask anyone. If we’re having a drink at a bar\, I would talk to everyone the same way\, you know\, just be a good hang. That’s something they should lead off with [in] anthropology classes\, just be a good hang\, don’t needle people to relive their trauma. It’ll come out if it comes out. And if it doesn’t\, it doesn’t\, and that’s all right. That’s something I had to learn when I first started interviewing people for my No-No Boy project. I was talking to a lot of people who used to live in a Japanese internment camp in Wyoming during World War II\, and I would kind of right off the bat be like\, “Tell me about the worst three years of your life\,” which is a [expletive] up thing. Because\, as someone who comes from some really harsh family history\, you don’t want to define people by the worst parts of their life.  \n\n\n\nI’ve gone down and hung out in the Mexican camps across the border just to\, especially as a son of a refugee\, see what’s happening now and speak against it\, tell people what I’ve seen\, help out if I can. And it’s kind of up to [the refugees] what they want to share and just try to go in with a sense of reciprocity\, giving something first before you take something away from them\, which is their story.  \n\n\n\nI always bring down those Instax Polaroid cameras and just take pictures for people who have lost everything and having a picture of their kid means a lot to carry with them and then giving them the camera and a ton of film so they can take pictures of their friends. That little stuff\, that can mean a lot\, and then maybe you get some cool conversations and maybe that turns into art or songs\, but that’s really secondary.  \n\n\n\nEC: Your song “Little Monk” on [your third album] Empire Electric is inspired by your experience at Blue Cliff [Monastery]. How does that experience influence your music going forward? \n\n\n\nSaporiti: Pretty completely. My wife and I weren’t married at the time but we had started dating at Brown University. She had graduated with a sociology degree\, and I could leave campus because I was a PhD student\, and I had all my coursework done. And we just wanted to get out of there. When you’re 18 to 22\, you’re never more aware. You don’t have mortgages to pay yet or kids to worry about\, so that’s when the world really is spitting in your face the most\, and you notice it\, and you still have energy. Brown is a particularly liberal\, progressive\, activisty place\, and it was so scary to be there at that point in time\, because there were a lot of people just yelling about everything constantly and not really necessarily being informed about what they were yelling about. They were protesting everything but how rich those kids were\, never protests about economic class but everything else\, but with no substance behind it. I wanted calm in my life. I wanted the world to change. That’s why I went down to the Mexican border during a spring break to see these refugee camps for myself\, instead of just yelling about what people were yelling about on Facebook. I wanted to actually go see for myself and see if I could actually help out. \n\n\n\nThe monks will sort you out because they just don’t buy into that because there’s greater truths for them. That’s not to say they don’t acknowledge there’s pain and suffering in the world. That’s what Buddhism is about. It’s acknowledging suffering and trying to overcome it in your life. I felt like I was just angry and I felt a poison in me from all the politics in the world\, and all the suffering and [the monks] gave me tools to deal with that whether that was meditation or mindfulness stuff\, just walking around. And yeah\, that has sort of dictated my path. I don’t really use social media anymore. I’ll read the newspaper once a week instead of doom scroll constantly to see all the hell that’s happening because it’s not going to change in a week’s time. If I read one good article about the war over in the Middle East that’s going to be pretty thorough\, and I’ll catch up on what’s happened that week.  \n\n\n\nI think what I learned is to tend to your own garden. I don’t want to yell about what’s happening at a southern border if I’m being an [expletive] to my friend that week. That’s something I can help. I can help being present and helping someone else that I know and love instead of abstractly spinning out because the world is on fire. And also checking my own privilege\, right? I’m someone who has a PhD\, and makes a living doing art. I have a beautiful wife\, I have a roof over my head\, which has not always been the case in my life and\, talking about refugees\, is not the case for a lot of people now. The monks really helped me check my privilege and get out of that elite campus protester culture. They let me empty out and see that life is still wonderful for some people. For some people it’s not\, but for me\, it is\, and let me acknowledge that first and take solace and strength in that and then see how I can help the people in my community or if I do go somewhere where I can help. \n\n\n\nThis interview has been edited and condensed for clarity. 
URL:https://emersoncontemporary.org/event/musician-julian-saporiti-approaches-refugee-storytelling-with-compassion/
LOCATION:Massachusetts
CATEGORIES:Artist Spotlight,Artist Talk,Gallery Talk,News
ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/10/Screenshot-2023-10-10-at-4.13.54-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230729T120000
DTEND;TZID=America/New_York:20230729T133000
DTSTAMP:20231003T152817Z
CREATED:20230815T185434Z
LAST-MODIFIED:20231003T152817Z
UID:10000037-1690632000-1690637400@emersoncontemporary.org
SUMMARY:Truth Be Told: (Re)Considering Innovation\, Transformation\, and Genius through the Lens of Jazz\, Gender\, and Justice
DESCRIPTION:Grammy Award winning artist Terri Lyne Carrington recently conceived and curated the New Standards Exhibit\, celebrating the work of women composers and performers who have been either under-acknowledged or rendered invisible regarding the overall representation of the art form. This multidisciplinary exhibit imagines the sound of jazz through the lens of gender justice and is now open in Boston. \nModerated by Danny Rivera\, our panelists Terri Lyne Carrington\, Somi\, and Patricia Zarate Perez will lead a dynamic discussion considering the themes of gender\, race\, innovation\, and transformation featured throughout the New Standards Exhibit. \nEvent is free and open to the public\, please RSVP here. \n 
URL:https://emersoncontemporary.org/event/truth-be-told-reconsidering-innovation-transformation-and-genius-through-the-lens-of-jazz-gender-and-justice/
LOCATION:Massachusetts
CATEGORIES:Gallery Talk,Public Program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/07/panel-final-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230324T120000
DTEND;TZID=America/New_York:20230324T133000
DTSTAMP:20231003T152432Z
CREATED:20230815T185434Z
LAST-MODIFIED:20231003T152432Z
UID:10000034-1679659200-1679664600@emersoncontemporary.org
SUMMARY:EL Putnam Artist Talk
DESCRIPTION:Friday\, March 24\, 2023 \nJoin us for a audio-visual presentation on EL Putnam’s artist practice. Putnam will discuss recent performance and video works. \nLocation: Media Art Gallery\, 25 Avery Street
URL:https://emersoncontemporary.org/event/el-putnam-artist-talk/
LOCATION:Massachusetts
CATEGORIES:Artist Talk,Gallery Talk,Public Program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/01/IG_color_3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221014T120000
DTEND;TZID=America/New_York:20221014T133000
DTSTAMP:20231003T153716Z
CREATED:20230815T185432Z
LAST-MODIFIED:20231003T153716Z
UID:10000043-1665748800-1665754200@emersoncontemporary.org
SUMMARY:Artist Performance + Talk GO BACK TO WHERE YOU CAME FROM!
DESCRIPTION:GO BACK TO WHERE YOU CAME FROM!\n\n \nArtist Performance + Talk by Emilio Rojas\n\n \nMedia Art Gallery\nOctober 14\, 2022\n12:00 p.m. to 1:00 p.m.\n\n  \nGO BACK TO WHERE YOU CAME FROM! is a lecture/performance by artist Emilio Rojas. It moves away from this xenophobic phrase and investigates the history of colonialism and border trauma. This lecture considers his practice in relation to decolonization\, de-linking\, archives\, queerness\, and contaminations into public space. It is not an attempt to re-write history but rather to view it from a different lens\, in a non-linear way which opens spaces of transition and possibility\, remembrance and healing. It urges us to ask ourselves: How are we complicit with the past we inherited? How are we accomplices of the history being created in the present?
URL:https://emersoncontemporary.org/event/artist-performance-talk-go-back-to-where-you-came-from/
LOCATION:Massachusetts
CATEGORIES:Gallery Talk,Performance
ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2022/09/Screen-Shot-2022-09-12-at-12.42.37-PM.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220325T120000
DTEND;TZID=America/New_York:20220325T143000
DTSTAMP:20231003T145603Z
CREATED:20230815T185432Z
LAST-MODIFIED:20231003T145603Z
UID:10000015-1648209600-1648218600@emersoncontemporary.org
SUMMARY:Will Pappenheimer: Artist Talk and Demo
DESCRIPTION:Will Pappenheimer (webinar) \nFriday\, March 25\, 1:30-3pm \nWill Pappenheimer is a Brooklyn based artist working in new media\, performance and installation with an interest in spatial intervention and the altered experiences of the artwork as site. His current work explores the collage of the virtual and physical worlds in the recent medium of “mixed reality.” \nHe is a pioneer of augmented reality (AR) art and a founding member of the AR collective\, Manifest.AR formed in 2011 \nThis event is co-presented by Boston CyberArts \nFREE AND OPEN TO THE PUBLIC
URL:https://emersoncontemporary.org/event/will-pappenheimer-artist-talk-and-demo/
LOCATION:Massachusetts
CATEGORIES:Gallery Talk,Public Program,Virtual program
ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2022/02/Screen-Shot-2022-02-27-at-4.00.16-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211008T120000
DTEND;TZID=America/New_York:20211008T133000
DTSTAMP:20231003T145755Z
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T145755Z
UID:10000018-1633694400-1633699800@emersoncontemporary.org
SUMMARY:Sky Hopinka Artist Talk (Emerson Only)
DESCRIPTION:Join us for a unique opportunity to meet Sky Hopinka and hear more about his art and career. \n 
URL:https://emersoncontemporary.org/event/sky-hopinka-artist-talk-emerson-only/
LOCATION:Massachusetts
CATEGORIES:Gallery Talk
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/09/SkyHopinka.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210317T180000
DTEND;TZID=America/New_York:20210317T200000
DTSTAMP:20231003T145947Z
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T145947Z
UID:10000020-1616004000-1616011200@emersoncontemporary.org
SUMMARY:Public Encounters: Using New Media Technologies to Build Community Violeta Ayala
DESCRIPTION:Join artist\, writer\, and film director Violeta Ayala as she discusses the making of “Prison X: The Devil and The Sun\,” an immersive ‘play’ staged in VR created using the 3-D painting technology Tilt Brush. Set in Bolivia’s San Sebastian prison\, “Prison X: The Devil and The Sun” immerses participants into the social dynamics of the prison while simultaneously placing them in a world of Incan and Quechan mythology. \nVioleta Ayala is an award-winning filmmaker\, writer\, artist and technologist. She is the first Quechua member of the Academy of Motion Picture Arts and Sciences. Violeta’s credits include the VR animation Prison X (2021) and the award-winning documentaries Cocaine Prison (2017)\, The Fight (2017)\, The Bolivian Case (2015) and Stolen (2009). Her films have premiered at A-List film festivals including Sundance and Toronto\, distributed in cinemas\, broadcasted on PBS\, Channel 8\, Señal Colombia\, Ibermedia\, World and online platforms such as Amazon Prime and The Guardian. She has won over 50 awards including a Walkley (Australia’s Pulitzer) and nominations for the IDA (Los Angeles)\, Rory Peck (London)\, Platino (Panama) and Fenix (Mexico). Artist website: www.violetaayala.com.
URL:https://emersoncontemporary.org/event/public-encounters-using-new-media-technologies-to-build-community-violeta-ayala/
LOCATION:Massachusetts
CATEGORIES:Gallery Talk,Virtual program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/10/2-Vioelta-Ayala.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200223T140000
DTEND;TZID=America/New_York:20200223T160000
DTSTAMP:20231003T160141Z
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T160141Z
UID:10000054-1582466400-1582473600@emersoncontemporary.org
SUMMARY:Investigating the Material feat. Sarah Trahan and Zsuzsanna Szegedi
DESCRIPTION:Join us for an intimate conversation in the gallery with spacetime artists Trahan and Szegedi and the exhibition curator as they discuss their experiences collaborating with machines as each artist investigates digital technology through its imperfections. Learn what happens when the work of art has no center and exists across multiple media\, both virtual and real\, as it manifests the various stages of an unfolding process.\n\nSpacetime (x\, y\, x + t) is a multi-dimensional exhibition that features experimental works by regional and international artists\, features digital projections\, 3D printed objects\, inkjet prints\, virtual reality drawings\, video\, site specific light installation\, and a dancing robot.
URL:https://emersoncontemporary.org/event/investigating-the-material-feat-sarah-trahan-and-zsuzsanna-szegedi/
LOCATION:Massachusetts
CATEGORIES:Artist Talk,Gallery Talk
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2022/01/space-6-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200202T140000
DTEND;TZID=America/New_York:20200202T160000
DTSTAMP:20231003T155949Z
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T155949Z
UID:10000053-1580652000-1580659200@emersoncontemporary.org
SUMMARY:Performativity of Objects feat. Katherine Mitchell DiRico and Nicole L’Huillier
DESCRIPTION:Join us for an intimate conversation in the gallery with spacetime artists DiRico and L’Huillier and the exhibition curator as they explore non-human performativity through movement\, sound\, and light. We’ll discuss the agency of objects and how the art works on display are in a continual state of becoming. \nSpacetime (x\, y\, x + t) is a multi-dimensional exhibition that features experimental works by regional and international artists\, features digital projections\, 3D printed objects\, inkjet prints\, virtual reality drawings\, video\, site specific light installation\, and a dancing robot.
URL:https://emersoncontemporary.org/event/in-conversation-performativity-of-objects/
LOCATION:Massachusetts
CATEGORIES:Artist Talk,Gallery Talk
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2022/01/space-3-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191208T140000
DTEND;TZID=America/New_York:20191208T160000
DTSTAMP:20231003T155420Z
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T155420Z
UID:10000050-1575813600-1575820800@emersoncontemporary.org
SUMMARY:Indigenous storytelling with Larry Spotted Crow Mann
DESCRIPTION:Join award winning author\, poet\, and Nipmuc storyteller Larry Spotted Crow Mann as he contextualizes the exhibition with local histories\, traditional stories\, and poetry. The art of Native American storytelling has been passed down for thousands of years. They give life and meaning to everything in the Universe and offer lessons of love\, courage\, kindness\, respect\, humility\, truth\, and wisdom. The stories teach us the skills to interact with our environment as a living being and codify those teachings within our own existence. \nAbout the artist\nLarry Spotted Crow Mann is a citizen of the Nipmuc Tribe of Massachusetts. He is an award winning writer\, poet\, cultural educator\, Traditional Storyteller\, tribal drummer\, dancer and motivational speaker involving youth sobriety\, cultural and environmental awareness. Mann is also a board member of the Nipmuk Cultural Preservation\,an organization set up to promote the cultural\, social and spiritual needs of Nipmuc people that also serves as an educational resource of Native American studies.
URL:https://emersoncontemporary.org/event/indigenous-storytelling-with-larry-spotted-crow-mann/
LOCATION:Massachusetts
CATEGORIES:Gallery Talk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191024T180000
DTEND;TZID=America/New_York:20191024T190000
DTSTAMP:20231003T154858Z
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T154858Z
UID:10000049-1571940000-1571943600@emersoncontemporary.org
SUMMARY:“Future Traditions: Theorizing the Native Avant Garde” Talk by Emerson professor Dr. Adam Spry
DESCRIPTION:What does it mean for Native writers and artists to embrace the avant garde\, along with its deep mistrust of the traditional? In this talk\, Dr. Spry will discuss the history of the rise of Native American experimental art and literature in the 20th and 21st centuries—and its surprising roots in the U.S.’s efforts to promote the idea of Native artistic ‘tradition.’
URL:https://emersoncontemporary.org/event/future-traditions-theorizing-the-native-avant-garde-talk-by-emerson-professor-dr-adam-spry/
LOCATION:Massachusetts
CATEGORIES:Gallery Talk
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2019/01/CannupaHanska_016-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190920T120000
DTEND;TZID=America/New_York:20190920T133000
DTSTAMP:20231003T154205Z
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T154205Z
UID:10000046-1568980800-1568986200@emersoncontemporary.org
SUMMARY:GlitchKraft Artist Talk: Alex Kittle
DESCRIPTION:  \nArtist Talk featuring illustrator\, art historian\, and film curator Alex Kittle \nSince 2018\, Kittle has been devoted to women filmmakers\, creating portraits and zine biographies as a way to share their stories and works in an accessible way. She also co-hosts a monthly screening series and discussion group called Strictly Brohibited\, which highlights women-made films in a welcoming community for women and non-binary film fans. Visit @panandscan and @strictlybrohibited for more information.
URL:https://emersoncontemporary.org/event/glitchkraft-artist-talk-2/
LOCATION:Massachusetts
CATEGORIES:Artist Talk,Gallery Talk
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/10/kittle.jpg
END:VEVENT
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