BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Emerson Contemporary - ECPv6.15.19//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Emerson Contemporary X-ORIGINAL-URL:https://emersoncontemporary.org X-WR-CALDESC:Events for Emerson Contemporary REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20220313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20221106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20250225T120000 DTEND;TZID=America/New_York:20250225T130000 DTSTAMP:20260415T055627 CREATED:20250203T193535Z LAST-MODIFIED:20250219T142854Z UID:8935-1740484800-1740488400@emersoncontemporary.org SUMMARY:Mirror Fields: A Series of Art-Led Reflections in the Media Art Gallery DESCRIPTION:Special Gallery Event in conjunction with the Larissa Sansour and Søren Lind exhibition \n\n\n\n\n\n\n\nJoin Rabbi Lisa Eiduson for a contemplative experience inside the newest exhibition Larissa Sansour and Søren Lind: Entire Nations Are Built on Fairy Tales. On view are two films and a dramatic reflecting pool that invite meditations on memory\, multigenerational trauma\, and sorrow. Participants will be invited to take in a reading and some words of wisdom on the themes brought forth by the artworks and then are invited to share their own experiences\, listen to others’ or simply sit in silence. \n\n\n\n12:00-1:00 pm on Tuesday\, February 25\, 2025 Led by Rabbi Eiduson \n\n\n\nCurrently serving as the Interim Director of Emerson College’s Center of Spiritual Life\, Rabbi Eiduson is a member of the clergy team at Temple Shir Tikva in Wayland\, MA. There she teaches\, leads services\, officiates at life-cycle events\, preaches\, and organizes programming. She believes deeply in education and feels that learning\, when applied\, is the best avenue for promoting understanding among people. URL:https://emersoncontemporary.org/event/mirror-fields-a-series-of-art-led-reflections-in-the-media-art-gallery-2/ LOCATION:Media Art Gallery CATEGORIES:Exhibition,Gallery Talk,Public Program,Workshop END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250211T120000 DTEND;TZID=America/New_York:20250211T130000 DTSTAMP:20260415T055627 CREATED:20250203T193141Z LAST-MODIFIED:20250203T193318Z UID:8932-1739275200-1739278800@emersoncontemporary.org SUMMARY:Mirror Fields: A Series of Art-Led Reflections in the Media Art Gallery DESCRIPTION:Special Gallery Event in Conjunction with Larissa Sansour and Søren Lind exhibition: Entire Nations Are Built on Fairy Tales on view in the Media Art Gallery. \n\n\n\nJoin Rabbi Lisa Eiduson for a contemplative experience inside the newest exhibition Larissa Sansour and Søren Lind: Entire Nations Are Built on Fairy Tales. On view are two films and a dramatic reflecting pool that invite meditations on memory\, multigenerational trauma\, and sorrow. Participants will be invited to take in a reading and some words of wisdom on the themes brought forth by the artworks and then are invited to share their own experiences\, listen to others’ or simply sit in silence. Light refreshments will be served \n\n\n\n \n\n\n\n12:00-1:00 pm on Tuesday\, February 11\, 2025 Led by Rabbi Eiduson \n\n\n\n12:00-1:00 pm on Tuesday\, February 25\, 2025 Led by Rabbi Eiduson \n\n\n\nCurrently serving as the Interim Director of Emerson College’s Center of Spiritual Life\, Rabbi Eiduson is a member of the clergy team at Temple Shir Tikva in Wayland\, MA. There she teaches\, leads services\, officiates at life-cycle events\, preaches\, and organizes programming. She believes deeply in education and feels that learning\, when applied\, is the best avenue for promoting understanding among people. URL:https://emersoncontemporary.org/event/mirror-fields-a-series-of-art-led-reflections-in-the-media-art-gallery/ CATEGORIES:Exhibition,Gallery Talk,Public Program,Workshop ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2025/01/IMG_0525-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250204T120000 DTEND;TZID=America/New_York:20250322T180000 DTSTAMP:20260415T055627 CREATED:20250110T181800Z LAST-MODIFIED:20250404T123917Z UID:8859-1738670400-1742666400@emersoncontemporary.org SUMMARY:Entire Nations Are Built on Fairy Tales: Larissa Sansour and Søren Lind DESCRIPTION:New multi-media exhibition explores memory\, history\, and grief through science fiction and cinematic time travel.   \n\n\n\nOn view in Emerson College’s Media Art Gallery\, February 4 – March 22\, 2025. \n\n\n\n\n\n\n\nBOSTON\, MA (January 15\, 2025) – Emerson Contemporary is proud to present Entire Nations Are Built on Fairy Tales\, featuring multi-channel films and a dramatic sculptural installation by Larissa Sansour and Søren Lind. On view in our Media Art Gallery are As If No Misfortune Had Occurred in the Night \, an Arabic-language opera on loss\, mourning and inherited trauma accompanied by a dramatic sculptural installation and a two-channel science fiction film\, In Vitro. A special one-night screening of the science fiction film In the Future They Ate from the Finest Porcelain (2016) and their latest documentary film Familiar Phantoms (2023) will augment the exhibition. \n\n\n\nIn much of their practice\, Sansour and Lind use fiction as an imaginary mode to speak to the present in a manner that diffracts the highly charged political discourse on the historic and ongoing crisis in the Middle East. By ‘time traveling’ to both a faraway past and fictionalised futures\, this exhibition explores how cinematic storytelling can open up new spaces for empathy and understanding of a shared human experience. \n\n\n\nThis exhibition is generously funded by the National Endowment for the Arts and The Andy Warhol Foundation for the Visual Arts.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nProgramming \n\n\n\nFilm Screening + Artist Conversation  \n\n\n\nCome view In the Future They Ate from the Finest Porcelain (2016) and Familiar Phantoms (2023). Filmmakers Larissa Sansour and Søren Lind will be in conversation with Emerson Assistant Professor and Filmmaker Julia Halperin afterwards. \n\n\n\nFilm screening is co-presented with the RPM Film Festival and the Salem Film Fest. \n\n\n\n\nDate: Tuesday\, February 4\, 7-9:30pm. Doors open at 6:30pm.\n\n\n\nLocation: Bright Family Screening Room\, 559 Washington St. Boston\, Ma\, 02111\n\n\n\nRSVP required for tickets: EVENTBRITE\n\n\n\n\nArtist Reception + Conversation with Larissa Sansour\, Søren Lind and exhibition curator Dr. Leonie Bradbury  \n\n\n\n\nDate: Wednesday\, February 5\, 5-7pm.\n\n\n\nLocation: Media Art Gallery\, 25 Avery Street\, Boston\, Ma 02111\n\n\n\n\nAbout the artists: Larissa Sansour and Soren Lind are an artist duo who have collaborated on various films. They live and work in London. What underscores the significance of their work in the current context is the relationship between memory\, trauma and the present to envision a more peaceful future. In 2019 they represented Denmark at the 58th Venice Biennale. \n\n\n\nLarissa Sansour studied Fine Art in Copenhagen\, London and New York. Recent solo exhibitions include Whitworth Gallery in Manchester\, KINDL in Berlin\, Copenhagen Contemporary in Denmark and Dar El-Nimer in Beirut. Soren Lind is a Danish author and director and visual artist with a background in philosophy. Lind wrote books on mind\, language\, and understanding before turning to art\, film\, and fiction. Lind screens and exhibits his films at museums\, galleries\, and film festivals worldwide. URL:https://emersoncontemporary.org/event/entire-nations-are-built-on-fairy-tales-larissa-sansour-and-soren-lind/ LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111\, United States CATEGORIES:Exhibition,Film Screening,Gallery Talk,Public Program,Reception ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2025/01/MISFORTUNE3.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250110T080000 DTEND;TZID=America/New_York:20250210T235900 DTSTAMP:20260415T055627 CREATED:20250115T202912Z LAST-MODIFIED:20250115T202915Z UID:8906-1736496000-1739231940@emersoncontemporary.org SUMMARY:Call for Artists DESCRIPTION:CALL FOR WORK 2025 Regional Media Art Showcase \n\n\n\nThis exhibition aims to present a snapshot of current visual art culture\, with a focus on innovative media art installation through the work of artists based in New England. Juried by Distinguished Curator-in-Residence Dr. Leonie Bradbury\, Assistant Curator of Special Projects Shana Dumont Garr\, and Artist and Curator Allison Maria Rodriguez. \n\n\n\nDEADLINE for submissions is Monday\, February 10\, midnight. Selected artists will be notified by April 2\, 2025 and will receive a $1\,000 artist fee as a stipend and to help offset any exhibition production costs. APPLICATION FORM \n\n\n\n\n\n\n\nDESCRIPTION \n\n\n\nNew England Regional Media Art Showcase\, a group exhibition\, will feature screen-reliant and/or lens reliant artwork by artists based throughout New England. Intended to enable practitioners at every stage of their career to exhibit a significant aspect of their practice\, and/or to expand their existing practice into new media. Drawing upon the gallery’s state-of-the art equipment\, specialized media exhibit space and staff expertise\, the selections will prioritize varied\, emergent and innovative installation and display methodologies. \n\n\n\nThe exhibition will be on view at the Media Art Gallery\, 25 Avery Street\, Boston\, MA\, July 29 – October 4\, 2025. Installation dates: July 14-25\, 2025. \n\n\n\nSUBMISSION GUIDELINES \n\n\n\nWe are particularly interested in moving image art and art using emergent technologies including\, but not limited to\, Installations (Interactive and non-interactive)\, Projections\, Virtual/Augmented/Mixed Reality Environments\, Multimedia Performance\, Single Channel Video and Animation\, and Experimental works. \n\n\n\nArtists are welcome to submit up to 3 works of art for consideration. Submission materials could include photos\, previous installation views\, written descriptions\, sketches\, mock ups\, web links\, trailers and/or videos. Gallery has an extensive digital equipment inventory available for use including high resolution projectors\, iPads\, computers\, monitors\, screens etc. \n\n\n\nSUBMISSION CRITERIA \n\n\n\nArtists must currently live in New England (Maine\, New Hampshire\, Vermont\, Connecticut\, Massachusetts\, and Rhode Island) and be able to drop off and pick up the selected works and/or specialized equipment to the gallery if needed. Gallery is not able to pay for shipping. Selected artist will receive a $1\,000 participation stipend. APPLICATION FORM \n\n\n\n**Please note there are no fees required to submit work for consideration or to participate. URL:https://emersoncontemporary.org/event/call-for-artists/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241209T000000 DTEND;TZID=America/New_York:20241213T235959 DTSTAMP:20260415T055627 CREATED:20241205T183658Z LAST-MODIFIED:20250214T194132Z UID:8845-1733702400-1734134399@emersoncontemporary.org SUMMARY:What You Are I Was\, What I Am You Will Be DESCRIPTION:The B.F.A Photo Practicum \n\n\n\n\n\nEmerson’s College presents the Fall 2024 Photo Practicum\, What You Are I Was\, What I Am You Will Be. \n\n\n\nFeaturing works by the following artists:Madison BrownTianyun Chen Xinzhu DongMadeleine Feldman Ilana Grollman  Elie Largura Arthur Li Rian NelsonBianca Pupo Anna Schoenmann\, Willow Torres  Madla Walsh \n\n\n\nThis exhibition will have a reception on December 9th from 6-8pm at the Emerson College Huret & Spector Gallery. URL:https://emersoncontemporary.org/event/what-you-are-i-was-what-i-am-you-will-be/ LOCATION:Huret And Spector Gallery\, Tufte Building CATEGORIES:Exhibition,Reception,Student Projects END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241202T000000 DTEND;TZID=America/New_York:20241205T235959 DTSTAMP:20260415T055627 CREATED:20241127T141315Z LAST-MODIFIED:20250214T194417Z UID:8838-1733097600-1733443199@emersoncontemporary.org SUMMARY:The M.F.A Thesis Shows: Christopher Lee & Asma Khoshmehr DESCRIPTION:Emerson’s Master’s in Fine Arts candidates\, Christopher Lee and Asma Khoshmehr share deeply personal stories of their family’s past\, interpreted through new media. \n\n\n\nThis exhibition will have a reception on December 5th from 6-8pm. \n\n\n\nMemory Lost by Christopher Lee\n\n\n\n\n\n\n\nMemory Lost is a multimedia installation that probes the fragile nature of human memory through the lens of AI generated media. Drawing inspiration from the artist’s personal experience witnessing his grandfather’s battle with Alzheimer’s Disease\, this work explores the parallels between artificial intelligence and human cognition. The installation revisits formative moments from the artist’s life from childhood through adulthood\, using AI to reconstruct and reinterpret these memories.  \n\n\n\nBy highlighting the biases and limitations of both AI and human recollection\, the piece invites viewers to contemplate the ephemeral quality of our lived experiences. Memory Lost serves as a poignant meditation on mortality\, loss\, and the imperfect mechanisms through which we preserve and recall our past\, challenging us to consider the essence of what makes us human. \n\n\n\nThroughout his artistic journey\, Chris has been driven by an innate curiosity to acquire new knowledge\, leading him to constantly push the boundaries of his creative toolkit. Early in life he explored drawing and painting before developing a deep affinity for music. By high school Chris had built up a home studio filled with guitars\, synthesizers\, and other gadgets. As an adult\, Chris briefly explored a business career before realizing his true calling lay in creative work.  \n\n\n\nHe enrolled in Emerson College’s Film & Media Art program to work with other artists and to find a personal and professional outlet for his creativity. Since then\, Chris has contributed to dozens of student and independent projects\, specializing in location sound recording\, sound design\, and mixing. His personal work leverages diverse digital technologies\, reflecting his evolution from a young artist to a versatile multimedia professional adept at integrating multiple artistic disciplines. \n\n\n\nAct.No.06: 1001 Nights in Zanzibar by Asma Khoshmehr\n\n\n\n\n\n\n\nAct.No.06: 1001 Nights in Zanzibar is a multimedia installation that uncovers the silenced stories of forced child marriages and political persecution following the Zanzibar Revolution of 1964. The work explores a 1971 presidential decree that allowed officials to forcibly marry underage girls\, including many women in the artist’s family. These policies led to deportation\, imprisonment\, confiscation of family properties\, and decades of silence about the trauma endured. Asma\, the first in her generation to uncover this hidden history\, conducted years of research\, discovering the secret stories of many women in her family impacted by these events. She traveled across Tanzania\, Kenya\, Oman\, UAE\, and Iran to gather testimonies\, family documents\, and archival records\, piecing together her family’s survival through forced marriages\, captivity\, and eventual escape.Inspired by One Thousand and One Nights and Scheherazade’s storytelling to transform a vengeful king into a compassionate leader\, Asma’s project reflects her hope to mirror Scheherazade’s journey. It combines archival materials\, 3D laser scans\, virtual reality experiences\, and video art\, exploring how storytelling can confront power and inspire transformation. By sharing these stories\, this project reflects on how Scheherazade used storytelling to change a vengeful king\, drawing attention to the tyrants of today who continue to use women’s bodies as tools of revenge in war and revolution.Asma Khoshmehr is an interdisciplinary artist and filmmaker whose work combines immersive storytelling\, documentary filmmaking\, and new media. With a BFA in Performing Arts and currently pursuing an MFA with a focus on new media\, her practice draws deeply from her East African and Middle Eastern heritage\, exploring themes of generational trauma\, forced displacement\, and political sexual violence.   \n\n\n\nAsma’s work has earned recognition through prestigious awards and residencies\, including the MacDowell Fellowship\, the MASS MoCA\, Andrew Freedman Home (AFH)\, and the ON::VIEW Artist Residency. She has also received the Carole Fielding Grant from the University Film and Video Association (UFVA) and the Virgin Unite Grant. Her international journey includes a scholarship to study Beijing Opera at the Shanghai Theater Academy and mythology at Sanskriti Kendra in India. URL:https://emersoncontemporary.org/event/the-m-f-a-thesis-shows-christopher-lee-asma-khoshmehr/ LOCATION:Huret And Spector Gallery\, Tufte Building CATEGORIES:Artist Spotlight,Exhibition,Performance,Reception,Student Projects END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241022T000000 DTEND;TZID=America/New_York:20241214T235959 DTSTAMP:20260415T055627 CREATED:20240527T170355Z LAST-MODIFIED:20250214T194502Z UID:8568-1729555200-1734220799@emersoncontemporary.org SUMMARY:Louis Cameron: NOW IS THE TIME DESCRIPTION:Emerson Contemporary Presents: Billboards\, posters and text-based works in “Louis Cameron: Now Is the Time” Exhibition explores the civil rights movement\, gun violence\, and hip hop culture. \n\n\n\n\n\n\n\nEmerson Contemporary proudly presents Louis Cameron: Now is the Time\, featuring billboards\, posters and text-based works that explore the civil rights movement\, gun violence and hip hop culture. It is underway\, on view through December 14\, 2024 at Emerson College’s Media Art Gallery in the heart of downtown Boston.  \n\n\n\nThe free exhibition features several large-scale\, wall-mounted vinyl text pieces from the ongoing Hip Hop Onomatopoeia series\, a body of work that explores the conversation on gun violence within hip hop music. The works are text based\, using the onomatopoeia of gun shots in hip hop songs as their reference. Cameron focuses on onomatopoeia because of its emotional resonance. Additional works from the Excavation and Displacement series are also on view. \n\n\n\nExclusively for this exhibition\, Cameron designed a limited-edition take home poster titled \n\n\n\n\n\n\n\nI Got To Have It\, serving as a monument to Hip Hop culture and black music in Boston. It features a poem that peels back the layers of a song to reveal its connections to the history of Black music. Indicative of Hip Hop’s sampling culture\, the poem is composed of a source song and the song titles that it sampled from.  \n\n\n\nNotably\, these sampled songs touch on key points in the lineage of Black music such as James Brown\, the Blues\, and spirituals. The poster addresses urban realities and gun violence\, the self-determination of the Black Power movement of the late 1960s\, and features the title of a song that refers to the African American spirituals such as Wade in the Water. The choice of typeface provides a reference to Hip Hop culture for the presentation of the poem. \n\n\n\nAdditionally\, Cameron will present the “I AM… Portfolio” a group of posters addressing the recent violence against Black men and disregard for their lives in America. The title refers to rally calls and protest chants from the 1960s to the present. While violence against Black people is center stage in the current American cultural conversation\, presenting a project by Black male artists – including Sanford Biggers\, Rashid Johnson\, and Shaun Leonardo\, among others – offers valuable insights and counter representation. \n\n\n\nLouis Cameron was born in Xxxxxxxx\, Ohio\, USA; lives and works in Berlin\, Germany.  He earned a B.F.A. from the University of Southern California in Los Angeles\, and an M.F.A. from Tyler School of Art\, Temple University in Philadelphia.https://www.louiscameron.com/ URL:https://emersoncontemporary.org/event/louis-cameron-this-is-america/ LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111 CATEGORIES:Artist Spotlight,Exhibition,Public Program ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/05/Screenshot-2024-05-27-at-12.59.27-PM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240927T140000 DTEND;TZID=America/New_York:20240927T153000 DTSTAMP:20260415T055627 CREATED:20240905T232802Z LAST-MODIFIED:20240925T191953Z UID:8747-1727445600-1727451000@emersoncontemporary.org SUMMARY:A "Give it Back" Workshop With New Red Order (NRO) DESCRIPTION:Give it Back Workshop \n\n\n\nNew Red Order (NRO) will unpack their “Give it Back Program” which recruits\, normalizes\, and promotes the ongoing practice of voluntary land return from settlers back to Indigenous peoples through a multiplicity of swerving artistic and political strategies including: advertising\, network creation\, promotional videos\, public art\, performance and organizing. NRO will work with students to help devise strategies for how their own work can expand past the limitations of art and into the world to create material changeNew Red Order will be conducting the workshop on September 27th\, from 2:00 – 3:30 pm at Student Performance Center\, Little Building\, 80 Boylston St. RSVP your spot at the workshop right here.**RSVP required for non-Emerson guests \n\n\n\nNew Red Order’s large-scale video installation Culture Capture: Crimes Against Reality examines the contradictions inherent in a society built on both the longing for indigeneity and the violent erasure of Indigenous peoples. They base their critique on historical events\, and the pacing of the digitized imagery\, accompanied by skillful sound design\, transports viewers into their speculative reveries.  URL:https://emersoncontemporary.org/event/artist-talk-new-red-order/ LOCATION:Student Performance Center\, Little Building\, 80 Boylston Street\, Boston\, Massachusetts\, 02116\, United States CATEGORIES:Artist Spotlight,Artist Talk,Exhibition,Public Program ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/09/New-Red-Order-Work.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240926T180000 DTEND;TZID=America/New_York:20240926T193000 DTSTAMP:20260415T055627 CREATED:20240905T233044Z LAST-MODIFIED:20240911T150704Z UID:8750-1727373600-1727379000@emersoncontemporary.org SUMMARY:How to Commit Crimes Against Reality: ARTIST TALK with New Red Order DESCRIPTION: *Doors open at 5:30pm \n\n\n\n“Do you want to realize your fullest potential? Be your truest self? Act with confidence? Attract abundance? Alleviate anxiety? Experience clarity? Know your purpose? Be the change you want to see? Be truly present? Experience real freedom? Change the world? Be a part of the solution? On some level\, we all want to feel this way\, but sometimes in our globalized\, capitalist\, settler-colonial society it feels impossible. Which is why the New Red Order is developing a dynamic system to help our accomplices achieve all of this and more. This sneak peek of our free introductory video\, Never Settle\, will tell you what you need to know to take control of your life today!” \n\n\n\nAs a part of New Red Order’s work in Emerson Contemporary’s off the pedestal multimedia installation\, the artist group will be conducting a workshop on September 27th\, from 2-3:30 pm at Emerson’s Media Art Gallery. \n\n\n\n\n\n\n\nNew Red Order’s large-scale video installation Culture Capture: Crimes Against Reality examines the contradictions inherent in a society built on both the longing for indigeneity and the violent erasure of Indigenous peoples. They base their critique on historical events\, and the pacing of the digitized imagery\, accompanied by skillful sound design\, transports viewers into their speculative reveries.  URL:https://emersoncontemporary.org/event/new-red-orders-culture-capture-crimes-against-reality-workshop/ LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111\, United States CATEGORIES:Artist Spotlight,Exhibition,Public Program,Workshop ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/09/NRO-talk-image.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240918T170000 DTEND;TZID=America/New_York:20240918T180000 DTSTAMP:20260415T055627 CREATED:20240905T232310Z LAST-MODIFIED:20240905T232828Z UID:8743-1726678800-1726682400@emersoncontemporary.org SUMMARY:Artist Talk: Laura Anderson Barbata DESCRIPTION:As a part of Laura Anderson Barbata’s work in Emerson Contemporary’s off the pedestal multimedia installation\, the artist will be giving a talk at the Media Art Gallery on September 18th\, from 5:00-6:00pm (doors open at 4:30 pm). \n\n\n\nBarbata’s inspiring performance work Indigo is a call to action in response to the violence and murder of Black persons at the hands of the police. A group of sixteen resplendent characters clad in hand-dyed fabrics\, woven details\, and ornate stitching\, many standing at the height of stilts\, powerfully demonstrate the textile art aspect of Barbata’s vision. Come celebrate off the pedestal\, a multimedia group exhibition featuring visual artists Laura Anderson Barbata\, New Red Order\, and Paula J. Wilson. This exhibition is on view in the Media Art Gallery at 25 Avery Street from August 1 – October 5\, 2024. The exhibition is free and open to the public Tuesday – Saturday\, 12-6 pm.  \n\n\n\nLaura Anderson Barbata\, Indigo\, 2017\n\n\n\nCurated by Distinguished Curator-in-Residence Leonie Bradbury and Curator of Special Projects Shana Dumont Garr\, off the pedestal speaks directly to the national phenomenon of the removal of Confederate and other racist monuments in the wake of the police murder of George Floyd. Although monuments are generally presented as permanent\, timeless\, and expressive of universal values\, this exhibition proposes that public memory could be more effectively addressed and activated through ephemeral expressions. \n\n\n\n \n\n\n\nNew Red Order’s large-scale video installation Culture Capture: Crimes Against Reality examines the contradictions inherent in a society built on both the longing for indigeneity and the violent erasure of Indigenous peoples. They base their critique on historical events\, and the pacing of the digitized imagery\, accompanied by skillful sound design\, transports viewers into their speculative reveries.  \n\n\n\nPaula J. Wilson’s performative video Living Monument and 2D wall work Thyself monumentalize Black female bodies through dramatic scale and bold gestures. Her work elevates embodied histories and reminds us that joy and celebration are crucial parts of resistance. This exhibition is part of Emerson Contemporary’s Regarding Monuments: Visualizing Hidden Histories\, a multi-year initiative that includes exhibitions centered on monuments\, several public art installations\, and a technology incubator. URL:https://emersoncontemporary.org/event/artist-talk-laura-anderson-barbata/ LOCATION:Media Art Gallery CATEGORIES:Artist Spotlight,Artist Talk,Exhibition,Public Program ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/09/2024_Barbata_Web_900x600-768x512-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240917T173000 DTEND;TZID=America/New_York:20240917T193000 DTSTAMP:20260415T055627 CREATED:20240730T151702Z LAST-MODIFIED:20250214T194525Z UID:8656-1726594200-1726601400@emersoncontemporary.org SUMMARY:off the pedestal - Artist Reception DESCRIPTION:Come celebrate off the pedestal\, a multimedia group exhibition featuring visual artists Laura Anderson Barbata\, New Red Order\, and Paula J. Wilson. This exhibition is on view in the Media Art Gallery at 25 Avery Street from August 1 – October 5\, 2024. The exhibition is free and open to the public Tuesday – Saturday\, 12-6 pm.  \n\n\n\nLaura Anderson Barbata\, Indigo\, 2017\n\n\n\nCurated by Distinguished Curator-in-Residence Leonie Bradbury and Curator of Special Projects Shana Dumont Garr\, off the pedestal speaks directly to the national phenomenon of the removal of Confederate and other racist monuments in the wake of the police murder of George Floyd. Although monuments are generally presented as permanent\, timeless\, and expressive of universal values\, this exhibition proposes that public memory could be more effectively addressed and activated through ephemeral expressions. \n\n\n\nLaura Anderson Barbata’s multidisciplinary performance work Indigo is a call to action in response to the violence and murder of Black persons at the hands of the police. A group of sixteen resplendent characters clad in hand-dyed fabrics\, woven details\, and ornate stitching\, many standing at the height of stilts\, powerfully demonstrate the textile art aspect of Barbata’s vision.  \n\n\n\nNew Red Order’s large-scale video installation Culture Capture: Crimes Against Reality examines the contradictions inherent in a society built on both the longing for indigeneity and the violent erasure of Indigenous peoples. They base their critique on historical events\, and the pacing of the digitized imagery\, accompanied by skillful sound design\, transports viewers into their speculative reveries.  \n\n\n\nPaula J. Wilson’s performative video Living Monument and 2D wall work Thyself monumentalize Black female bodies through dramatic scale and bold gestures. Her work elevates embodied histories and reminds us that joy and celebration are crucial parts of resistance. This exhibition is part of Emerson Contemporary’s Regarding Monuments: Visualizing Hidden Histories\, a multi-year initiative that includes exhibitions centered on monuments\, several public art installations\, and a technology incubator. URL:https://emersoncontemporary.org/event/artist-reception/ CATEGORIES:Exhibition,Public Program,Reception ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/05/Barbata_Indigo_3-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240909T120000 DTEND;TZID=America/New_York:20241130T190000 DTSTAMP:20260415T055627 CREATED:20240527T165315Z LAST-MODIFIED:20250214T194355Z UID:8562-1725883200-1732993200@emersoncontemporary.org SUMMARY:I have asked myself: "Can a sentence be haunted? And if so\, by what?" DESCRIPTION:By Kameelah Janan Rasheed \n\n\n\n\n\nEmerson Contemporary has commissioned a public art campaign by Kameelah Jana Rasheed where she responds to Boston’s memorial landscape exploring the layered histories of the Boston Common. Rasheed will expand her textual practice by animating the typographical history of this region to create a library of typefaces – fragments (letters\, textures) of language. These fragments will be interwoven or sampled into digital designs and animated poems and displayed on digital signage situated around Emerson’s campus.  \n\n\n\nKameelah Rasheed\n\n\n\nRasheed studies\, documents\, annotates\, and creates texts. Beyond the content\, she is interested in the materiality of text and language across different substrates (or compositional fields)\, or how text shows up across geological features\, physical architecture\, and in printed matter. URL:https://emersoncontemporary.org/event/i-have-asked-myself-can-a-sentence-be-haunted-and-if-so-by-what/ LOCATION:Boston Commons\, 139 Tremont St\, Boston\, MA\, Boston\, 02111\, United States CATEGORIES:Artist Spotlight,Exhibition,Regarding Monuments: Visualizing Hidden Histories ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/01/BioPhoto1.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240813T000000 DTEND;TZID=America/New_York:20240817T235959 DTSTAMP:20260415T055627 CREATED:20240806T160424Z LAST-MODIFIED:20240814T193752Z UID:8668-1723507200-1723939199@emersoncontemporary.org SUMMARY:I Thought I Saw You Watching: Emerson's GBFA 2024 Artist's Showcase DESCRIPTION:Emerson College is proud to present a series of installations\, crafted by the school’s Global BFA cohort of 2024. Installed in our Huret & Spector gallery space\, the show spans one week\, and features the following artists with their work: \n\n\n\nStill from A recorded conversation between electricity pylons\, translated for human understanding by Kelsey Cohn\n\n\n\nA recorded conversation between electricity pylons\, translated for human understanding \n\n\n\nby Kelsey Cohn Three-channel colour projection\, HD video\, sound\, 60 min loop.A recorded conversation between electricity pylons transcodes a conversation between two solitary pylon towers\, left standing together in a distant\, post-human future. Through their casual musings on life\, nature\, time\, and cosmology\, the audience is invited to reflect on existence from a structuralist vantage point. \n\n\n\nAcross three projections\, the pylons tower over an empty landscape. Here\, they seem more like monuments than infrastructure\, their ability to communicate reframing them as angelic messengers rather than utility structures. As the pylons pass the time reflecting on ecological curiosities and ancient discoveries\, their characterization and banter invites an empathetic humor. \n\n\n\nAt once spiritual\, scientific\, historical\, and whimsical\, the work invites a universal reflection on our origins and place in the ecological sphere. From their divine point of view above the landscape and history\, the pylons alone notice the wires that link our lives deeply to the world around us.  \n\n\n\nThe Normandy Tree Tape \n\n\n\nby Roz Pederson Single channel display on CRT monitor\, 11minCombining documentary and fiction\, The Normandy Tree Tape exists in the oft forgotten space between story and history\, real and unreal. It challenges our preconceived notions of true and false and allows for a shift in perspective that is rarely considered. Indeed the tension between viewpoints provides the driving force of the piece. It bridges science and mythology\, knowable and unknowable.  \n\n\n\nWhile clearing land in an old growth forest in Normandy\, workers discovered a VHS tape stuck in the roots of a fell tree. When this tape was played back\, they discovered a unique alteration to it. The tape originally was a home recording of a TV documentary\, but through methods currently being studied by scientists\, some of the data on the tape was replaced with narration from the forest. After extensive restoration\, Roz Pederson and her team are excited to present the first public exhibition of The Normandy Tree Tape. \n\n\n\nThis is the myth The Normandy Tree Tape creates\, a story somewhere between folklore\, scientific discovery\, and tourist trap. The installation serves to convince you of this myth. This piece was born from the idea that it is human nature to assume all people to have a set of experiences more or less similar to ours. Through communication\, we learn ways in which this is and isn’t the case\, and approximate the innate human experience. There may be\, however\, sensations so human they become difficult or impossible to identify because the opposite has never been known.  \n\n\n\nThe work imagines what exists beyond the limits of modern communication\, what the sensory experience of the inhuman may be and stands against the truth and for the complete subjectivity of all things. \n\n\n\nInside the Screen by Lisa Siera\n\n\n\nInside the Screen \n\n\n\nby Lisa SieraLive video\, sculpture\, light\, sound\, 1:40Inside the Screen is a spatial interpretation of the world inside the phone screen. It compares the social design created in the digital world to the physical system of the panopticon jail. After years of experience in front of and behind the camera\, the artist examined the intertwined dynamics between cameras\, eyes\, bodies\, and screens. A panopticon originally devised by Jeremy Bentham is a circular prison with cells arranged around a central well\, from which prisoners could at all times be observed.  \n\n\n\nOne-Way Street by Sid Tian Shi\n\n\n\nOne-Way Street \n\n\n\nby Sid Tian Shi Single channel color projection with videos and soundThis project is an interactive video installation where the audiences take a walk and play around the urban landscapes of Paris. During this journey\, every anecdote\, signs and spectacle of the streets are listed up and collected as an appendix to it.  \n\n\n\nIt consists of one main screen showing the landscapes\, and a supplement screen showing the commentary images and texts. Within the screening area\, the audience can interact with the pace of this journey by stepping into sections in the space\, which will be detected by the monitor camera installed to the ceiling. \n\n\n\nThe journey starts with a call between two friends living in Paris. A calls B\, saying that he is gonna take a walk from his home to B’s. After that call\, the audience is on a street with A\, traveling through the route from Italy 13 to Pére Lachaise. We have no way of knowing about A’s past or his present life. It’s just that we are viewing the city through his scope. He is curious\, loves to observe\, and always looking around\, instead of finishing this journey which leads us to the city fragments and comments we then see. \n\n\n\nThe panopticon allows a watchman to observe occupants without the occupants knowing whether or not they are being watched. The installation’s structure is inspired by the guard tower(the central well) and draws attention to how we are illusioned to hold power over our digital selves through our phones\, essentially becoming the prisoners while thinking we are the watchmen. \n\n\n\nArtist Reception\, Monday August 12th\, 5-7:30pm.  \n\n\n\nLocation: The Huret and Spector Gallery is located on the 6th Floor of the Tufte Building. Please enter through the doors at 10 Boylston Place Alleyway. Please note: visitor registration and ID required for visitors without Emerson Badge.   URL:https://emersoncontemporary.org/event/global-paris-bfa-thesis-projects-2024/ LOCATION:Huret & Spector Gallery; Tufte Building CATEGORIES:Exhibition,Reception,Student Projects ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/08/PYLONS_Still-4-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240801T000000 DTEND;TZID=America/New_York:20241005T235959 DTSTAMP:20260415T055627 CREATED:20240527T164628Z LAST-MODIFIED:20250328T155142Z UID:8556-1722470400-1728172799@emersoncontemporary.org SUMMARY:off the pedestal DESCRIPTION:off the pedestal is a group exhibition in the Media Art Gallery\, comprising contemporary artists whose work addresses the national conversation around monuments featuring visual artists Laura Anderson Barbata\, New Red Order\, and Paula J. Wilson. \n\n\n\nView exhibition documentation. \n\n\n\nThis exhibition is on view in the Media Art Gallery at 25 Avery Street from August 1 – October 5\, 2024. The exhibition is free and open to the public Tuesday – Saturday\, 12-6 pm. This exhibition is part of Emerson Contemporary’s Regarding Monuments: Visualizing Hidden Histories\, a multi-year initiative that includes exhibitions centered on monuments\, several public art installations\, and a technology incubator.  \n\n\n\nCurated by Distinguished Curator-in-Residence Leonie Bradbury and Curator of Special Projects Shana Dumont Garr\, off the pedestal speaks directly to the national phenomenon of the removal of Confederate and other racist monuments in the wake of the police murder of George Floyd. Although monuments are generally presented as permanent\, timeless\, and expressive of universal values\, this exhibition proposes that public memory could be more effectively addressed and activated through ephemeral expressions.  \n\n\n\noff the pedestal is supported by the City of Boston Mayor’s Office of Arts & Culture (MOAC) program “Un-monument | Re-monument | De-monument: Transforming Boston.” It is a city-wide initiative that aims to transform the nation’s commemorative landscape to ensure collective histories are more completely and accurately represented.   \n\n\n\noff the pedestal is further supported by The Andy Warhol Foundation for the Visual Arts  \n\n\n\nLaura Anderson Barbata’s multidisciplinary performance work Indigo is a call to action in response to the violence and murder of Black persons at the hands of the police. A group of sixteen resplendent characters clad in hand-dyed fabrics\, woven details\, and ornate stitching\, many standing at the height of stilts\, powerfully demonstrate the textile art aspect of Barbata’s vision.  \n\n\n\nNew Red Order’s large-scale video installation Culture Capture: Crimes Against Reality examines the contradictions inherent in a society built on both the longing for indigeneity and the violent erasure of Indigenous peoples. They base their critique on historical events\, and the pacing of the digitized imagery\, accompanied by skillful sound design\, transports viewers into their speculative reveries.  \n\n\n\nPaula J. Wilson’s performative video Living Monument and 2D wall work Thyself monumentalize Black female bodies through dramatic scale and bold gestures. Her work elevates embodied histories and reminds us that joy and celebration are crucial parts of resistance. \n\n\n\nWorks featured in this exhibition include: \n\n\n\nNew Red Order\, Culture Capture: Crimes Against Reality\, HD video (video still)\, 2020\n\n\n\nA two-channel video Culture Capture: Crimes Against Reality by New Red Order (NRO)\, a public secret society that works with networks of informants and accomplices to create grounds for Indigenous futures. Crimes Against Reality focuses on two public sculptures by James Earle Fraser — End of the Trail (1894)\, a statue originally intended to be installed on the California coast at the scale of the Statue of Liberty\, and the statue of Theodore Roosevelt (1939) that was removed from outside the American Museum of Natural History\, in New York\, in 2022 — both of which commemorate the origin myth of America. \n\n\n\nLittle Jaguar (Laura Anderson Barbata) and Diablos (Jarana Beat). Intervention: Indigo\, Bushwick\, 2015. Photo: Rene Cervantes\n\n\n\n\n\nLaura Anderson Barbata Intervention: Indigo presents a call to action to serve and protect in response to police violence. The point of departure is the color Indigo\, a dye used around the globe that has been associated with protection\, wisdom and royalty.  Created in in collaboration with the Brooklyn Jumbies\, Chris Walker and Jarana Beat\, Indigo was performed first in Brooklyn and again in Mexico City in 2020 in collaboration with muca Roma\, Chris Walker\, Los Diablos de la Costa de Guerrero Los Rebeldes de El Capricho\, Elizabeth Ross\, Danza UNAM and Pro-Alterne Teatro. The work is a call to action to serve and protect\, and of protest in response to the violence and murder at the hands of the police of Black people living in the United States and all over the world.  \n\n\n\n\n\n\n\nPaula J. Wilson fuses wide-ranging techniques and media with her observations of the natural world\, where it is a matter of survival to make space for oneself to live\, love\, and make art. Recurring themes of feminine power\, natural life systems\, and art-making itself converge under the umbrella of regeneration and change. Narrative artworks that place feminine subjects in positions of power. Her expansive practice forcefully proclaims her place in the (art) histories she engages. URL:https://emersoncontemporary.org/event/off-the-pedestal-art-in-protest/ LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111 CATEGORIES:Artist Spotlight,Artist Talk,Exhibition,Performance,Public Program,Regarding Monuments: Visualizing Hidden Histories ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/05/20150913_IndigioIntervention-NK_1195-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240501T120000 DTEND;TZID=America/New_York:20240630T190000 DTSTAMP:20260415T055627 CREATED:20240527T171024Z LAST-MODIFIED:20240527T184352Z UID:8572-1714564800-1719774000@emersoncontemporary.org SUMMARY:Transforming Boston: Art and Technology Incubator DESCRIPTION:A workshop series conducted by Michael Lewy \n\n\n\n\n\nTransforming Boston: Art and Technology Incubator is our public-facing artist training and mentorship initiative\, which offers access to new media technology for artists to either translate previous work or create new work. The incubator serves practicing artists who have faced obstacles due to the high start-up costs of these design tools and the cultural barriers within the new media art field. Ten artists from the Boston area have been invited to participate in this year’s program focused on Augmented Reality and develop their skills while designing a project. \n\n\n\n\n\n\n\nThis weekly confluence of ideas & creative exploration features guest lectures by Nicolas Robbe\, Lauren Moffett\, and Liz Nofziger. The goal of the 2024 incubator is to offer training opportunities and access to technology for artists to either translate previous work or create new work in the medium of augmented reality (AR). The program provides assistance with the production process\, technology exploration and mentorship.  \n\n\n\nThe 2025 cohort will focus on projection mapping. URL:https://emersoncontemporary.org/event/transforming-boston-art-and-technology-incubator/ LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111 CATEGORIES:Artist Talk,Gallery Talk,News,Regarding Monuments: Visualizing Hidden Histories ATTACH;FMTTYPE=image/webp:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/05/two_shower_A_photo_realistic_banner_image_that_represents_the_f_7e6af655-37ff-43f2-bde6-fc7694933fc5.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240423T120000 DTEND;TZID=America/New_York:20240430T190000 DTSTAMP:20260415T055627 CREATED:20240419T191537Z LAST-MODIFIED:20240419T192234Z UID:8522-1713873600-1714503600@emersoncontemporary.org SUMMARY:Face to Face: Photo Practicum DESCRIPTION:An exhibition featuring student work from the photo practicum course. \n\n\n\n\nTIANYUN CHEN\, SOPHIA CHIARAMIDA\, YIFAN DU\, LIZ FARIAS\, ILANA GROLLMAN\, PAIGE TRACEY-KAISER\, ARTHUR LI\, JENNIFER WAI YI SHING\, RACHEL TARBY\, WILLOW TORRES\, DEYI ZENG\, YIZHANG ZHANG . URL:https://emersoncontemporary.org/event/face-to-face-photo-practicum/ LOCATION:Huret And Spector Gallery\, Tufte Building CATEGORIES:Exhibition,Student Projects ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/04/Screenshot-2024-04-19-at-3.13.49-PM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240416T170000 DTEND;TZID=America/New_York:20240416T190000 DTSTAMP:20260415T055627 CREATED:20240409T181033Z LAST-MODIFIED:20240409T182651Z UID:8484-1713286800-1713294000@emersoncontemporary.org SUMMARY:Water Memories: A Happening... DESCRIPTION:Join us to celebrate a multi media installation environment created by Zhiyao Ding\, Mila Jafarnejad\, Alexander Nezam\, Nikita Potnis\, Marcus Santos\, Yangyanyun Tang\, Siqi Xiong\, and Yishu Yu whose work is the culminating project from the Film and Media Arts graduate installation art course “Space\, Place\, Image\, Sound.” Location: Huret and Spector Gallery\, please enter on the 7th Floor. \n\n\n\nAlthough we don’t remember it\, every newborn human being develops in the amniotic fluid of their mother. Our first interaction with the external world is to leave the water and breathe land’s air. One of the criteria for exploring a planet’s habitability is evidence of water\, because without it life cannot live. Water exists in many forms: oceans\, rivers\, clouds\, snowflakes and even inside our bodies. \n\n\n\nJapanese scientist Masaru Emoto studied the molecular structure of water and discovered that when water was exposed to different human emotions the molecular structure of water changed. He realized that the water we drink\, use and interact with every day has memory. Water remembers. \n\n\n\nThis exhibition explores many modes of interacting with water including memories of water\, the biological and cultural significance of water. How would it feel to submerge yourself in water again? Fear? death? cleansing? or a warm embrace? After all\, every drop of water once belonged to the sea\, and all life will eventually meet again as one.  URL:https://emersoncontemporary.org/event/water-memories-a-happening/ CATEGORIES:Artist Talk,Exhibition,Public Program,Reception,Student Projects ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/04/SPIS-installation-poster-6.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240416T120000 DTEND;TZID=America/New_York:20240512T180000 DTSTAMP:20260415T055627 CREATED:20240410T023532Z LAST-MODIFIED:20240410T185158Z UID:8503-1713268800-1715536800@emersoncontemporary.org SUMMARY:SURROUNDING: Anny Dai\, Yue Hua\, and Tomás Orrego DESCRIPTION:Composite image from left to right: Anny Dai\, Yue Hua and Tomás Orrego\n\n\n\n\n\n\n\n\nSURROUNDING\, an MFA in Film and Media Arts thesis exhibition explores sound\, visuality\, and touch through compelling multi-channel video and sculptural installations by visual artists and filmmakers Anny Dai ‘24\, Yue Hua ‘24\, and Tomás Orrego ’24. \n\n\n\nSURROUNDING serves as a sensory testament to the lived experiences and reflections of three emerging artists. Dai’s Reveries Echo of Touch is an immersive\, multi-sensory installation that challenges viewers to awaken their tactile sense while interacting with the piece. This interactive artwork combines sculptural objects\, video projections\, live video feed\, and soundscapes created by the audience’s participation. Hua’s 16mm film installation Cine-labyrinth works to understand a sense of self through landscape projections and poetry. Mirroring the physical journey through the labyrinth\, the entwining 16mm images induce a dream-like trance. In Tolerances of the human face Orrego explores absurdism through a single channel video installation of his film Fever. Entirely shot on a soundstage\, the piece utilizes practical effects and a hyper stylized aesthetic that embraces artificiality. \n\n\n\nArtist talks will take place during the Emerson’s Visual Media Art Department “Open House” on Tuesday\, April 30 at 6 p.m.\, which is open to the public. \n\n\n\nPlease note: after May 2\, 2024 gallery will be open by appointment and for special events. Artist talks will take place during the Emerson Visual Media Art Open House on Tuesday\, April 30 from 6 – 7 p.m. URL:https://emersoncontemporary.org/event/surrounding/ CATEGORIES:Exhibition,Student Projects ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/04/Anny_Dai_Still005.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240412T160000 DTEND;TZID=America/New_York:20240416T200000 DTSTAMP:20260415T055627 CREATED:20240409T180235Z LAST-MODIFIED:20240409T180237Z UID:8479-1712937600-1713297600@emersoncontemporary.org SUMMARY:Water Memories DESCRIPTION:Water Memories \n\n\n\nApril 12-16\, 2024 \n\n\n\nZhiyao Ding\, Mila Jafarnejad\, Alexander Nezam\, Nikita Potnis\, Marcus Santos\, Yangyanyun Tang\, Siqi Xiong\, Yishu Yu \n\n\n\nAlthough we don’t remember it\, every newborn human being develops in the amniotic fluid of their mother. Our first interaction with the external world is to leave the water and breathe land’s air. One of the criteria for exploring a planet’s habitability is evidence of water\, because without it life cannot live. Water exists in many forms: oceans\, rivers\, clouds\, snowflakes and even inside our bodies. \n\n\n\nJapanese scientist Masaru Emoto studied the molecular structure of water and discovered that when water was exposed to different human emotions the molecular structure of water changed. He realized that the water we drink\, use and interact with every day has memory. Water remembers. \n\n\n\nThis exhibition explores many modes of interacting with water including memories of water\, the biological and cultural significance of water. How would it feel to submerge yourself in water again? Fear? death? cleansing? or a warm embrace? After all\, every drop of water once belonged to the sea\, and all life will eventually meet again as one.  \n\n\n\nThe works presented are the culminating projects from the Film and Media Arts graduate installation art course “Space\, Place\, Image\, Sound.” \n\n\n\n———— \n\n\n\nHuret and Spector Gallery\, Tufte Building\, 7th Floor. \n\n\n\nPublic Hours: Friday\, April 12\, 4-8pm\, Saturday\, April 13\, 4-8pm\, Sunday\, April 14\, 4-8pm\, Monday\, closed (holiday)\, Tuesday April 16\, 12-8pm. Reception 5-7pm \n\n\n\nLocation: Huret and Spector Gallery\, Tufte Building\, 10 Boylston place. Please enter on the 7th Floor. RSVP required for non-Emerson guests. URL:https://emersoncontemporary.org/event/water-memories/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/04/Screenshot-2024-04-09-at-2.01.49-PM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240227T163000 DTEND;TZID=America/New_York:20240227T180000 DTSTAMP:20260415T055627 CREATED:20240118T005954Z LAST-MODIFIED:20240223T173713Z UID:8381-1709051400-1709056800@emersoncontemporary.org SUMMARY:Kameelah J. Rasheed's Book Launch (NEW DATE) DESCRIPTION:Attend the artist’s Scratch Disk Full launch event. THIS EVENT HAS BEEN RESCHEDULED DUE TO ARTIST ILLNESS to TUESDAY\, FEB. 27.. \n\n\n\n\n\nJoin our artist in residence Kameelah J. Rasheed for the launch of her book\, Scratch Disk FullAttendees will receive a complimentary copy of the publication. \n\n\n\n \n\n\n\nScratch Disks Full asks\, in the spirit of Sankofa: What did you leave behind? What would happen if you went back and got it? Scratch Disks Full is a publishing project for those with leaky sensory gating\, sprawling interests\, kinetic brains\, and “too many ideas.” We publish the excess\, the dirty data\, the spillage\, the noise\, the leftover\, and the unfulfilled.  \n\n\n\nA scratch disk is a hard disk used as a workspace to store data temporarily. In applications like Adobe Photoshop\, the scratch disk is used to hold the data being edited. When an error reads “… the scratch disks are full.” it means there is not enough space on the drive to perform the upcoming task. The users need to find space elsewhere or end the process; they are left holding the excess energy of an unfulfilled action.  \n\n\n\nScratch Disks Full is a publishing project producing readers\, workbooks\, and lo-fi playthings exploring the excess of an exhibition\, piece of writing\, lecture\, performance\, or even other publication. By excess\, we do not mean process work leading up to a final work; we literally mean the embodied experiences you could not give yourself over to due to spiritual unreadiness\, the sentences you had to blunt because there was not enough time for further editing; the feral idea that blossomed during a performance and began to shape you as much as you shaped it.  \n\n\n\nThis offering will explore the excess of the current exhibition — notes\, diagrams\, excerpts of writing\, and other leftovers. \n\n\n\nChristopher Gregory for The New York Times\n\n\n\nA learner\, Kameelah Janan Rasheed explores writing practices across all species\,states of living\, states of consciousness\, and substrates. Curious about the poetics and possibilities of loss\, ruin\, and failure in the reading and writing process\, Rasheedexplores Black knowledge production and fugitivity. She creates sprawling\,“architecturally-scaled” installations; public installations; publications; prints;performances; performance scores; poems; video; and other forms yet to bedetermined. Most recently\, she is a recipient of a 2023 Working Artist Fellowship; a2022 Schering Stiftung Award for Artistic Research; a 2022 Creative Capital Award; a2022 Artists + Machine Intelligence Grants – Experiments with Google; and a 2021Guggenheim Fellowship in Fine Arts.Her recent solo exhibitions include KW Institute of Contemporary Art (2023)\, Art Institute of Chicago (2023)\, and Kunstverein Hannover (2022). In 2024\, she will have a solo exhibition at REDCAT (Los Angeles\, CA). Rasheed is the author of five artists’ books:in the coherence\, we weep (KW Institute\, 2023); i am not done yet (Mousse Publishing\,2022); An Alphabetical Accumulation of Approximate Observations (Endless Editions\,2019); No New Theories (Printed Matter\, 2019); and the digital publication Scoring theStacks (Brooklyn Public Library\, 2021). She is an adjunct instructor at the Cooper Unionand Barnard College\, a Critic at Yale School of Art\, Sculpture\, and an instructor at theSchool for Poetic Computation. Rasheed founded Orange Tangent Study\, a consultingbusiness that provides artist microgrants and supports individuals and institutions indesigning expansive and liberatory learning experiences. \n\n\n\nRasheed is represented by NOME Gallery in Berlin\, Germany. URL:https://emersoncontemporary.org/event/kameelah-j-rasheeds-book-launch/ LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111 CATEGORIES:Artist Talk,Gallery Talk,Public Program,Reception ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/01/LucidDream_.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240226T140000 DTEND;TZID=America/New_York:20240226T160000 DTSTAMP:20260415T055627 CREATED:20240118T004624Z LAST-MODIFIED:20240223T175458Z UID:8373-1708956000-1708963200@emersoncontemporary.org SUMMARY:Writing With Word Games (**NEW DATE) DESCRIPTION:Learn from visual artist Kameelah J. Rasheed. NEW DATE: MONDAY\, 26\, 2-4pm\, FEBRUARY. \n\n\n\n\n\nJoin our artist in residence Kameelah J. Rasheed in a Writing With Word Games workshop. \n\n\n\nRegister for this workshop over here. \n\n\n\nWriting With Word Games\, a text score workshop\, Friday\, February 26\, 2-4pm. Registration required: Eventbrite  \n\n\n\nLocation: Media Art Gallery\, 25 Avery Street\, Boston\, MA. \n\n\n\nGet out of your way and learn to write with games\, constraints\, and algorithms. The workshop’s purpose is not to create a perfect piece of writing; rather\, it is an invitation to get a bit feral and messy as we pull language into our orbit. Each participant will leave with a writing prompt created by another attendee. \n\n\n\ni am not done yet\, 2022. Solo at Kunstverein Hannover (Hannover\, DE) Archival Inkjet Prints\, Vellum\, Xerox Paper\, Acetate\, Plexiglass\, Acrylic\, Watercolor\, India Ink and Oil Stick Painting\, Video \n\n\n\nThe multimedia site-specific installation combines new video drafts and existing video works from the last three years. All created using some form of a writing and video editing constraint\, these works live alongside several 2D works also created using constraints to explore the agility and limitations of language. With an investment in Black experimental poetics\, non-linear cosmologies\, and fugivity\, Rasheed asks\, “What can be captured through writing? What is lost? And how can this inevitable loss be an invitation to consider other modes of communication?” URL:https://emersoncontemporary.org/event/writing-with-word-games/ LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111 CATEGORIES:Gallery Talk,Performance,Public Program,Workshop ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/01/LucidDream_.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240226T120000 DTEND;TZID=America/New_York:20240229T210000 DTSTAMP:20260415T055627 CREATED:20240222T190132Z LAST-MODIFIED:20240222T190134Z UID:8435-1708948800-1709240400@emersoncontemporary.org SUMMARY:Rhythm & Art: A Polyvocal Song of Blackness and Being DESCRIPTION:In this exhibition\, Rhythm & Art: A Polyvocal Song of Blackness and Being\, local Black artists bring to the fore a wide range of topics: sisterhood\, coming of age\, nature as a family member\, being of a diaspora\, and more. Much like Blackness\, this exhibition resists the boundaries that labels and language often attempt to enforce. Viewers are encouraged to question what “Black art” is and contemplate how the Black experience may contour and highlight the creative practice. \n\n\n\nRECEPTION: THURSDAY\, FEBRUARY 29\, 7-9PM \n\n\n\n We hope that this multimedia exhibit pushes at the walls of this space and reaches far beyond them — much like the minds of the brilliant artists who created the work on display. Each artist dutifully crafted lyrical works\, commenting on the human condition. On their own\, each piece stands powerfully but woven together here the art becomes a Sunday choir singing a polyvocal song. URL:https://emersoncontemporary.org/event/rhythm-art-a-polyvocal-song-of-blackness-and-being/ LOCATION:Huret and Spector Gallery\, 10 Boylston Place\, 6th Floor\, Boston\, Massachusetts\, 02116 CATEGORIES:Exhibition,Student Projects END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240123T170000 DTEND;TZID=America/New_York:20240123T190000 DTSTAMP:20260415T055627 CREATED:20240117T170730Z LAST-MODIFIED:20240117T173001Z UID:8333-1706029200-1706036400@emersoncontemporary.org SUMMARY:Artist Reception Kameelah Janan Rasheed DESCRIPTION:Join us to celebrate the brand new exhibition of “Kameelah Janan Rasheed: all velvet sentences as manifesto\, Like a lesson against smooth language or an invitation to be feral hypertext\,” a multimedia solo exhibition featuring visual artist Kameelah Janan Rasheed (American\, born 1985) on view in the Media Art Gallery at 25 Avery Street from January 23 – March 23\, 2024. \n\n\n\nRasheed thinks conceptually about text\, type\, and printed matter and uses publishing as a platform to engage and enlarge conversations with others. Her work invites important questions about the materiality of text\, such as\, “What is the shape of a failed sentence?” or even to quote Fred Moten speaking to the work of Renee Gladman\, “Is there an underground railroad in the sentence?” These questions are central to the artist’s practice. \n\n\n\nKameelah Janan Rasheed\, Lucid Dream\, still\, 2024\n\n\n\nA learner\, Kameelah Janan Rasheed explores writing practices across all species\, states of living\, states of consciousness\, and substrates. Curious about the poetics and possibilities of loss\, ruin\, and failure in the reading and writing process\, Rasheed explores Black knowledge production and fugitivity. She creates sprawling\, “architecturally-scaled” installations; public installations; publications; prints; performances; performance scores; poems; video; and other forms yet to be determined. Most recently\, she is a recipient of a 2023 Working Artist Fellowship; a 2022 Schering Stiftung Award for Artistic Research; a 2022 Creative Capital Award; a 2022 Artists + Machine Intelligence Grants – Experiments with Google; and a 2021 Guggenheim Fellowship in Fine Arts. \n\n\n\nExhibition hours are Tuesday – Saturday\, 12-6pm.  URL:https://emersoncontemporary.org/event/artist-reception-kameelah-janan-rasheed/ CATEGORIES:Artist Talk,Public Program,Reception ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/01/LucidDream_.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240123T120000 DTEND;TZID=America/New_York:20240323T180000 DTSTAMP:20260415T055627 CREATED:20231121T170555Z LAST-MODIFIED:20240118T003055Z UID:8235-1706011200-1711216800@emersoncontemporary.org SUMMARY:Kameelah Janan Rasheed: all velvet sentences as manifesto\, Like a lesson against smooth language or an invitation to be feral hypertext. DESCRIPTION:Kameelah Janan Rasheed\, keeping count\, Annotated\, animation still\, 2021-2023\n\n\n\n\n\nThe multimedia site-specific installation combines new video drafts and existing video works from the last three years. All created using some form of a writing and video editing constraint\, these works live alongside several 2D works also created using constraints to explore the agility and limitations of language. With an investment in Black experimental poetics\, non-linear cosmologies\, and fugivity\, Rasheed asks\, “What can be captured through writing? What is lost? And how can this inevitable loss be an invitation to consider other modes of communication? Rasheed incorporates abstract shapes\, gestures\, and markings that border visual glossolalia and asemics. She presents these work alongside diagrammatic compositions of letters (Latin and Arabic) diacritics\, and fragments of annotation.  \n\n\n\nIn this temporary gathering of objects and ideas\, Rasheed engages in intervals of self-study to explore her relationship to the widely respected poet Lucille Clifton’s legacy of spirit writing and other “wayward” methods of writing. With particular attention to Clifton’s poem “i was born with twelve fingers\,” this exhibition considers the “powerful memories of ghosts” that emerge during these less traditional writing practices. Overall\, the project explores writing constraints to generate more feral and intuitive writing. Rasheed writes\, “Lucille Clifton’s spirit writing and self-description as a ‘two-headed woman’ piqued my interest in writing as a sacred\, trickster\, and fugitive ritual.” \n\n\n\nRasheed thinks conceptually about text\, type\, and printed matter and uses publishing as a platform to engage and enlarge conversations with others. Her work invites important questions about the materiality of text\, such as\, “What is the shape of a failed sentence?” or even to quote Fred Moten speaking to the work of Renee Gladman\, “Is there an underground railroad in the sentence?” These questions are central to the artist’s practice. This exhibition is accompanied by a lecture performance and a reader created under Rasheed’s publishing project Scratch Disks Full. \n\n\n\nExhibition Events: \n\n\n\n\nSatellite workshop\, John Hopkins University – If\, Then: Technology and Poetics\, Friday\, January 19\, 2024 [zoom] 1:30- 3:30pm. Location: Zoom\n\n\n\nArtist Reception\,Tuesday\, January 23\, 2024\, 5-7pm. Location: Media Art Gallery\, 25 Avery Street\, Boston\, MA.\n\n\n\nWriting With Word Games\, a text score workshop\, Friday\, February 24\, 2-4pm. Registration required. Location: Media Art Gallery\, 25 Avery Street\, Boston\, MA.\n\n\n\nLecture/Performance with Kameelah Janan Rasheed\, Tuesday\, February 27\, 2024 at 6-7:30pm. Registration required. Location: Walker Building\, Room 202. 120 Boylston Street\, Boston\, MA.\n\n\n\nBook Launch\, Tuesday\, February 27\, 8pm. Attendees will receive a complimentary copy of the Scratch Disk Full publication. Location: Media Art Gallery\, 25 Avery Street\, Boston\, MA. \n\n\n\nCurator Talk by Dr. Leonie Bradbury\, Saturday\, March 23\, 2024\, 2-3pm. Location: Media Art Gallery\, 25 Avery Street\, Boston\, MA. URL:https://emersoncontemporary.org/event/in-no-case-can-i-obey-this-sentence-kameelah-janan-rasheed/ CATEGORIES:Exhibition ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/11/Screenshot-2023-11-21-at-11.56.43-AM-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231215T080000 DTEND;TZID=America/New_York:20231216T170000 DTSTAMP:20260415T055627 CREATED:20240214T150326Z LAST-MODIFIED:20240214T151004Z UID:8322-1702627200-1702746000@emersoncontemporary.org 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/ 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:20231211T120000 DTEND;TZID=America/New_York:20231215T180000 DTSTAMP:20260415T055627 CREATED:20231209T143312Z LAST-MODIFIED:20231211T032121Z UID:8295-1702296000-1702663200@emersoncontemporary.org SUMMARY:PURPOSEFULLY LOST DESCRIPTION:Presenting the Fall 2023 Photography Practicum: Purposefully Lost\, a varied collection of reflections and expressions by Emerson artists in the BFA program. \n\n\n\nFeaturing exhibits by the following resident artists:Aquaholic by Kyra Badger \n\n\n\nUrban Eden by Molly Berard \n\n\n\nShit Show by Maya Bergman \n\n\n\nStarring… by Charlene Cheung \n\n\n\nCardboard Reality by Jose Benito Guevera \n\n\n\nConcurrent by Yangyang Huang \n\n\n\nSecond Spine by Yiyi Lu \n\n\n\nDouble Take by Xiaoke Ma \n\n\n\nempathic fluorescence by Mia Moore \n\n\n\nDeinstitutionalised by Julia Tweedie \n\n\n\nTraces Echo by Yuchun (Emily) Zhou URL:https://emersoncontemporary.org/event/purposefully-lost-photos/ LOCATION:Huret & Spector Gallery; Tufte Building CATEGORIES:Exhibition,Student Projects ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/12/image0.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231204T080000 DTEND;TZID=America/New_York:20231206T180000 DTSTAMP:20260415T055627 CREATED:20231207T172143Z LAST-MODIFIED:20231207T172630Z UID:8277-1701676800-1701885600@emersoncontemporary.org SUMMARY:BECAUSE I COME FROM YOU DESCRIPTION:Maya Seri’s BFA thesis project BECAUSE I COME FROM YOU features photographs\, video projection and sculptural installation\, a project about home\, identity and belonging. Seri’s perception of identity has changed through the making of this work. As she embarks in this period of transition as a 21-year-old\, she realizes that she is no longer a girl. Feeling the departure from childhood\, the artist can’t help but wonder\, “Where is home?” She feels connected to Ohio\, where the artist grew up\, where she’s from. When in Boston\, she feels a loss of identity and have to find herself over and over again. She asks: “Who am I? What am I? I am made of everything. I am made of the experiences I have had\, the people I have met\, and the places I have been.” \n\n\n\nThis project began as a journal entry to the artist’s younger self: “I just want to give you a hug. I want to see you smile and laugh. But that’s what I see in the mirror\, isn’t it? I just don’t recognize it. You are me? I am you. I’m different\, of course. I’m older. ‘Soiled’ by the world\, as some would say. But I have you in me. I can be who I want to be because I come from you.” \n\n\n\nAbout the ArtistMaya Seri’23 is a senior at Emerson College\, is a passionate storyteller who uses the camera as a tool to connect with others and to understand herself and the world around her more thoroughly. Her work portrays themes of identity\, girlhood\, nostalgia\, home\, and connection. URL:https://emersoncontemporary.org/event/because-i-come-from-you/ CATEGORIES:Exhibition,Student Projects ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/11/Screenshot-2023-11-30-at-8.07.21-AM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231101T120000 DTEND;TZID=America/New_York:20231216T180000 DTSTAMP:20260415T055627 CREATED:20230815T194251Z LAST-MODIFIED:20250328T154808Z UID:7482-1698840000-1702749600@emersoncontemporary.org SUMMARY:One Day We’ll Go Home featuring Tiffany Chung\, Brandon Tho Harris\, Tuan Andrew Nguyen\, Patricia Nguyen and Julian Saporiti. DESCRIPTION:Tuan Andrew Nguyen (Vietnamese\, b. 1976)\, The Boat People\, 2020\, Single-channel video\, 4k\, Super 16mm transferred to digital\, color\, 5.1 surround sound\, 20 mins\, Edition of 5 plus 2 artist’s proofs\, (JCG11340)\, © Tuan Andrew Nguyen 2021. Image courtesy the artist and James Cohan\, New York\n\n\n\nEmerson Contemporary\, Emerson College’s platform for visual art\, proudly presents One Day We’ll Go Home\, a group exhibition featuring recent work by five Vietnamese American artists Tiffany Chung\, Brandon Tho Harris\, Tuấn Andrew Nguyễn\, Patricia Nguyễn\, and Julian Saporiti who each critique the established historical narratives of the wars in Vietnam\, colonialism\, dislocation\, and their long-lasting aftermath. \n\n\n\nOn view in the Media Art Gallery at 25 Avery Street\, November 1 – December 16\, 2023. Free and open to the public\, Tuesday – Saturday from 12-6pm. Opening Reception\, Friday\, November 3\, 5-7:30PM. \n\n\n\nThe end of the Vietnam War and the sudden U.S. military evacuations in 1975 marked the beginning of large-scale exodus of citizens of Vietnam. The U.S. government evacuated approximately 125\,000 Vietnamese that year\, most of whom were likely to be persecuted by the new Socialist Republic of Vietnam government. Through video\, archival footage\, performance\, song\, and innovative storytelling\, these five artists examine and expand recent histories\, both personal and collective\, as they address multigenerational trauma and loss. The exhibition highlights the complexities surrounding the concept of homeland for Vietnamese refugees and their children and the familiar feeling of liminality that many refugees experience across the globe.  \n\n\n\nView exhibition documentation. \n\n\n\n“It is my hope that through the stories these artists tell\, we gain a deeper understanding of what happened in Vietnam and how these events continue to impact millions of people to this day\,” said Dr. Leonie Bradbury\, Emerson College’s Distinguished Curator-in-Residence. “Although this exhibition is focused on the Vietnamese diaspora and the impact of the historic events of 1975 and beyond\, sadly this topic has renewed relevance today as many refugee crises are happening concurrently across the globe.” The exhibition is curated by Dr. Leonie Bradbury\, Distinguished Curator-in-Residence\, with accompanying exhibition wall texts by Dr. Catherine H. Nguyen\, Assistant Professor of Asian Diasporic Literatures. This exhibition and related programming is supported by the Department of Writing\, Literature & Publishing\, Emerson College School of the Arts\, and the Harvard University Asia Center. \n\n\n\nPUBLIC PROGRAMMING \n\n\n\nWHAT: Music Video workshop with Julian Saporiti WHEN: Friday\, November 3\, 2023. 10:00-12:30PM WHERE: Emerson College\, Ansin Building\, Room 605\, 180 Tremont Street\, Boston\, MA Free\, but registration is required. RSVP here. \n\n\n\nArtist Talk with Tuan Andrew Nguyen\, Friday\, November 3\, 2023. doors open at 3:30PM\, 4-5:00PM.  Emerson College\, Walker Building\, Room 202\, 120 Boylston Street\, Boston\, MA. Free\, but registration is required. RSVP here. This program is supported in part by the Harvard University Asia Center \n\n\n\nOpening Reception\, One Day We’ll Go Home WHEN: Friday\, November 3\, 2023\, 5-7:30PM WHERE: Media Art Gallery\, 25 Avery Street\, Boston\, MA. \n\n\n\nLive Concert with Julian Saporiti. Experience a multimedia musical performance from No-No Boy (singer Julian Saporiti) as part of the tour for his latest album Empire Electric. This newest release brings Asian American history to life through a uniquely inventive approach to storytelling. WHEN: Saturday\, November 4\, 2023\, 6:00-7:30PM. WHERE: Pao Arts Center\, 99 Albany Street\, Boston\, MA\, 02111.This program is organized by the PAO Art Center and supported by Emerson Contemporary. \n\n\n\nLive Performance\, Passage (2023) by Patricia Nguyễn and Fiona. A work of experimental sound and movement\, Passage explores how beauty and creativity emerge in the aftermath of war. The artists meditate upon the various thresholds and movements that happen for displaced peoples across the time and space of memory\, everyday encounters of state violence\, forced migration\, and queer worldmaking. Tuesday\, November 14\, 2023\, 5-6:30PM\, Media Art Gallery \n\n\n\nVietnam and Diasporic Aesthetics: Two Meditations. A conversation with Dr. Howie J. Tam & Dr. Catherine H. Nguyen. The first event in the Writing\, Literature & Publishing Scholar Series\, this program is presented in conjunction with One Day We’ll Go Home and supported in part by the Harvard University Asia Center. Taking as a point of departure some works of Vietnamese American artistic production both in the gallery space and beyond\, this two-part talk with Catherine H. Nguyen (Emerson College) and Howie Tam (Brandeis University) explores different approaches of receiving and encountering artworks and engages diasporic aesthetics that grapples with the legacy of the Vietnam War and its enduring questions about creation and memory. Wednesday\, December 6\, 2023\, 5-6:30PM. Media Art Gallery\, 25 Avery St. Boston\, MAThis program is supported by Department of Writing\, Literature & Publishing\, Scholar Series\, Southeast Asia Programs\, Harvard University Asia Center and Emerson Contemporary \n\n\n\n. URL:https://emersoncontemporary.org/event/one-day-well-go-home/ LOCATION:Media Art Gallery CATEGORIES:Exhibition ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/08/Screenshot-2023-08-14-at-4.32.26-PM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230907T120000 DTEND;TZID=America/New_York:20231014T180000 DTSTAMP:20260415T055627 CREATED:20230815T194251Z LAST-MODIFIED:20230911T195348Z UID:7481-1694088000-1697306400@emersoncontemporary.org SUMMARY:Rachel Rossin: works from THE MAW OF. September 7 - October 14\, 2023 DESCRIPTION:Rachel Rossin\, THE MAW OF\, Single channel video installation with sound\, detail (2022- ongoing). The Maw Of is co-commissioned by the Whitney Museum of American Art and KW Institute for Contemporary Art\, Berlin. ©Rachel Rossin. Courtesy on the artist and Magenta Plains\, New York. \n\n\nRachel Rossin: works from THE MAW OF\, September 7 – October 14\, 2023 \nEmerson Contemporary\, Emerson College’s platform for visual art\, proudly presents Rachel Rossin: works from THE MAW OF\, a solo exhibition featuring recent works initially commissioned by KW Institute of Art and the Whitney Museum of American Art by the New York-based painter and digital artist Rachel Rossin. On view in the Media Art Gallery at 25 Avery Street\, September 7 – October 15\, 2023. Free and open to the public\, Tuesday – Saturday from 12-6pm.   \nWorks from The Maw Of explores the coming together of flesh\, machine\, cognition\, and code sparked by current research into brain-computer interfaces. Rossin’s work blends painting\, sculpture\, new media\, and more to create digital landscapes\, which she uses to address aspects of disorder\, embodiment\, the all-presence of technology\, and its effect on human psychology. \nThe exhibition features a site-specific immersive installation\, innovative new video works and recent paintings. Conceived as mixed-reality theater\, Rossin’s ongoing project addresses the expanded limits of technology and the human body. The artist offers a new poetics and visual language for the next epoch in technology\, offering a critical response on what painting is for and its enduring significance in our tech-dependent society. \nFloating LED ‘portals’ continue Rossin’s investigation into human autonomy and brain-machine integration research. Originally presented at the KW Institute of Contemporary Art in Berlin and the Whitney Museum of American Art in New York\, The Maw Of situates the innate human desire to continually “remake” ourselves as central to the cultural inflection point represented by the advent of artificial intelligence.   \nRossin’s small Scry Glass video sculptures incorporate animation central to The Maw Of\, and activate the characters and texture of the paintings. The Scry Glasses evoke two modes of looking: a form of divination and fortune-telling\, as well as\, a form of reflection using a Claude glass\, a revolutionary tool used by 18th century landscape painters. For the artist however\, these “black mirrors” are not for predicting end times\, but instead leave clues for the viewer\, allowing us to remain tethered to the present.  \nThe artist’s recent paintings offer a visual counterpoint to the digital world proposed by The Maw Of. These images draw from the artist’s childhood drawings of biblical figures associated with the apocalypse\, representing Rossin’s conception of “the end times.” For Rossin painting represents a marking of time on the canvas\, a recording of the movement of the artist’s body. They continue to emphasize the relevance of painting as a practice and are a reminder of what endures the “annihilation of analog” represented by our increasingly tech-dependent culture. \n\n\nRachel Rossin\, THE MAW OF\, Single channel video installation with sound\, detail (2022- ongoing).\nThe Maw Of is co-commissioned by the Whitney Museum of American Art and KW Institute for Contemporary Art\, Berlin.\n©Rachel Rossin. Courtesy on the artist and Magenta Plains\, New York URL:https://emersoncontemporary.org/event/rachel-rossin-the-maw-of/ LOCATION:Media Art Gallery CATEGORIES:Exhibition ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/08/Screenshot-2023-08-14-at-3.56.54-PM.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230818T170000 DTEND;TZID=America/New_York:20230818T190000 DTSTAMP:20260415T055627 CREATED:20230815T185434Z LAST-MODIFIED:20230818T140225Z UID:7336-1692378000-1692385200@emersoncontemporary.org SUMMARY:Artist Reception\, GBFA\, Friday August 12\, 5-7pm. DESCRIPTION:Image Caption: Joie Cousin\, Our Home: Book One\, multi-media video installation\, 2023 \nEmerson College’s BFA thesis exhibition featuring graduates from the Global Paris BFA in Film Program. Featured Artists are: Joie Cousin\, Miriam Yoboué\, and Mars Tomasetti\, \nGallery Hours 12-5pm\, August 16 – 19\, 2023 \nArtist Reception\, Friday August 12\, 5-7pm. Join us for refreshments and conversation.\n\nLocation: The Huret and Spector Gallery is located on the 6th Floor of the Tufte Building. Please enter through the doors at 10 Boylston Place.\n\nPlease note: ID required for visitors without Emerson Badge URL:https://emersoncontemporary.org/event/artist-reception-gbfa-friday-august-12-5-7pm/ LOCATION:Huret and Spector Gallery CATEGORIES:Reception ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/08/Screenshot-2023-08-14-at-4.28.36-PM.png END:VEVENT END:VCALENDAR