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DTSTART;TZID=America/New_York:20250317T120000
DTEND;TZID=America/New_York:20250322T170000
DTSTAMP:20260404T093932
CREATED:20250111T212120Z
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SUMMARY:(Un)Making AI Worlds
DESCRIPTION:Presenting\, “(Un)Making AI Worlds”\,  curated by Ioana Jucan with Tushar Mathew\, and Leonie Bradbury. The exhibition invites audiences to explore artworks emerging from the Data Fluencies Theatre Project team’s critical and creative interrogations of artificial intelligence and AI systems. \n\n\n\n\n\n\n\n\n\nBlending theatrical conventions\, choreographed movement\, poetry\, and artistic experiments with machine learning\, (Machine) Learning to Be is a participatory\, devised\, hybrid multimedia performance experience that engages with Artificial Intelligence (AI) systems and their societal impacts. The performance features an interactive choreographic interface that aims to engage AI as embodiment technologies and human and AI characters that aim to convey the multifaceted nature of AI\, its dangers and possibilities for our communities. Rooted in visions of decolonial AI\, (Machine) Learning to Be seeks to challenge established systems of control and envision more equitable futures alongside AI technology. \n\n\n\nFeaturing artists Ioana B. Jucan\, Tushar Matthew\,  David Mesiha\, Aidan Nelson\, Jae Neal\,  Enongo Lumumba-Kasongo\, Yuguang Zhang\, Gavan Cheema\, Kite\, the exhibition features the following events\, activations and performances at Emerson’s Huret and Spector Gallery \n\n\n\nMarch 18\, 2025:4-6.30pm: Performance Activations and Artist Panel discussion moderated by Dr. Leonie Bradbury\, followed by Reception  \n\n\n\nMarch 21st\, 2025:2:00 pm: Secret Hyena activation  \n\n\n\nMarch 22nd\, 2025:4:00 pm: Secret Hyena activation  \n\n\n\n\n\n\n\nThe Data Fluencies Theatre Project (2022-2025) is an artistic research project that mobilizes theatrical performance’s potential to build data fluencies grounded in and honoring embodied experience. The project brings together an interdisciplinary team to develop artworks and co-create a participatory\, devised\, hybrid multimedia performance. Titled (Machine) Learning to Be\, the performance engages with AI and algorithmic systems as it seeks to challenge established systems of control and envision more equitable futures alongside AI technology.
URL:https://emersoncontemporary.org/event/unmaking-ai-worlds-huret-spector-gallery/
LOCATION:Huret and Spector Gallery\, 10 Boylston Pl\, Boston\, MA 02116\, Boston\, Massachusetts\, 02116\, United States
CATEGORIES:Artist Talk,Exhibition,Performance,Public Program,Reception,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250204T120000
DTEND;TZID=America/New_York:20250322T180000
DTSTAMP:20260404T093932
CREATED:20250110T181800Z
LAST-MODIFIED:20250404T123917Z
UID:10000094-1738670400-1742666400@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:20241209T000000
DTEND;TZID=America/New_York:20241213T235959
DTSTAMP:20260404T093932
CREATED:20241205T183658Z
LAST-MODIFIED:20250214T194132Z
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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:20260404T093932
CREATED:20241127T141315Z
LAST-MODIFIED:20250214T194417Z
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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:20240917T173000
DTEND;TZID=America/New_York:20240917T193000
DTSTAMP:20260404T093933
CREATED:20240730T151702Z
LAST-MODIFIED:20250214T194525Z
UID:10000084-1726594200-1726601400@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:20240813T000000
DTEND;TZID=America/New_York:20240817T235959
DTSTAMP:20260404T093933
CREATED:20240806T160424Z
LAST-MODIFIED:20240814T193752Z
UID:10000085-1723507200-1723939199@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:20240416T170000
DTEND;TZID=America/New_York:20240416T190000
DTSTAMP:20260404T093933
CREATED:20240409T181033Z
LAST-MODIFIED:20240409T182651Z
UID:10000076-1713286800-1713294000@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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240227T163000
DTEND;TZID=America/New_York:20240227T180000
DTSTAMP:20260404T093933
CREATED:20240118T005954Z
LAST-MODIFIED:20240223T173713Z
UID:10000071-1709051400-1709056800@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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240123T170000
DTEND;TZID=America/New_York:20240123T190000
DTSTAMP:20260404T093933
CREATED:20240117T170730Z
LAST-MODIFIED:20240117T173001Z
UID:10000066-1706029200-1706036400@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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230818T170000
DTEND;TZID=America/New_York:20230818T190000
DTSTAMP:20260404T093933
CREATED:20230815T185434Z
LAST-MODIFIED:20230818T140225Z
UID:10000001-1692378000-1692385200@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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230125T180000
DTEND;TZID=America/New_York:20230125T203000
DTSTAMP:20260404T093933
CREATED:20230815T185434Z
LAST-MODIFIED:20231003T152327Z
UID:10000033-1674669600-1674678600@emersoncontemporary.org
SUMMARY:EL Putnam: Artist Reception and Performance
DESCRIPTION:Join us for a celebration and unveiling of the new spring exhibition EL Putnam: PseudoRandom. Artist will perform a newly created piece “Ghost Work” live at 6PM. Mary Gray and Siddharth Suri define ghost work as the hidden human labor that powers our digital systems. In the performance of this title\, Putnam acts as the human mediator between two generative animation systems\, making visible the labor that responds to and produces data\, as her body acts as the database of lived experience. Please RSVP to be placed on the guest list. \nEL Putnam is an artist-philosopher working in performance art\, video\, sound\, and digital media. Her practice focuses on borders and entanglements\, particularly the interplay of the corporeal with the machinic. Through her artistic practice\, she is interested in exploring hidden histories and emotional experiences\, testing the limits of their un-representability as she takes the familiar and makes it strange. In particular\, she probes our gestural relationship to digital technology using wearable electronics in live performance\, through the creation of responsive multimedia installations\, and the crafting of short moving image and sound pieces. \nTreating art as inherently participatory\, her work opens intersubjective spaces that offer multiple conceptual and aesthetic points of entry for the audience through alchemical diffractions of experience\, cultivating new modes of embodiment. In addition to creating works that are rich in cultural and political meaning\, including the biopolitics of motherhood in Ireland\, she is interested in how aesthetic pleasure can be used as a critical strategy\, or as a means of captivating audiences in order to expose them to provocative ideas. \nEL actively presents artworks and performances in the United States\, Europe\, and beyond\, and has been a member of the Boston-based Mobius Artists Group since 2009. Originally from the United States\, she is Assistant Professor in Digital Media at Maynooth University\, Ireland and lives in Co. Westmeath\, Ireland. \n 
URL:https://emersoncontemporary.org/event/el-putnam-artist-reception-and-performance/
CATEGORIES:Performance,Reception
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