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DTSTART;TZID=America/New_York:20240227T180000
DTEND;TZID=America/New_York:20240227T193000
DTSTAMP:20260404T080719
CREATED:20240118T005625Z
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SUMMARY:Lecture-Performance with Kameelah J. Rasheed
DESCRIPTION:Learn with our visual artist in residence! \n\n\n\n\n\nJoin our artist in residence Kameelah J. Rasheed in a lecture-performance workshop conducted at Emerson College. \n\n\n\nIn this lecture performance\, Rasheed will offer a live annotation of her 2024 keynote lecture at the CODEX Foundation conference. In this live annotation\, Rasheed will respond to past and future versions of herself in conversation with ideas of translation\, wayward writing\, and Lucille Clifton’s spirit writing.  \n\n\n\nThis event is proudly supported by Emerson College’s Public Art Think Tank (PATT) \n\n\n\nLocation is Room 202\, Walker Building\, 120 Boylston St. Boston\, MA 02116. Registration is required for guests without an Emerson ID. Register for this free workshop over here. \n\n\n\nAbout Kameelah Janan Rasheed \n\n\n\n\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\nHer 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 the Stacks (Brooklyn Public Library\, 2021). She is an adjunct instructor at the Cooper Union and Barnard College\, a Critic at Yale School of Art\, Sculpture\, and an instructor at the School for Poetic Computation. Rasheed founded Orange Tangent Study\, a consulting business that provides artist microgrants and supports individuals and institutions in designing expansive and liberatory learning experiences.  \n\n\n\nRasheed is represented by NOME Gallery in Berlin\, Germany.
URL:https://emersoncontemporary.org/event/lecture-performance-with-kameelah-j-rasheed/
LOCATION:Walker 202\, 120 Boylston Street Boston\, MA\, Boston\, Massachusetts\, 02116\, United States
CATEGORIES:Artist 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:20240227T163000
DTEND;TZID=America/New_York:20240227T180000
DTSTAMP:20260404T080719
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240123T170000
DTEND;TZID=America/New_York:20240123T190000
DTSTAMP:20260404T080719
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
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:20240119T133000
DTEND;TZID=America/New_York:20240119T153000
DTSTAMP:20260404T080719
CREATED:20240118T003931Z
LAST-MODIFIED:20240118T011241Z
UID:10000068-1705671000-1705678200@emersoncontemporary.org
SUMMARY:If\, Then: Technology and Poetics\,
DESCRIPTION:Learn from visual artist Kameelah J. Rasheed in this satellite workshop \n\n\n\n\n\nJoin us for Kameelah Janan Rasheed’s satellite workshop (conducted over zoom)\, in partnership with John Hopkins University. In If\, Then: Technology and Poetics\, Kameelah explores the relationship between writing constraints and algorithmic scores (dubbed wayward sentences).  \n\n\n\nThis workshop will be conducted over zoom. You can RSVP or attend the workshop using this link.  \n\n\n\n \n\n\n\nChristopher Gregory for The New York Times\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\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/if-then-technology-and-poetics/
LOCATION:On line\, ZOOM
CATEGORIES:Artist Talk,Public Program,Virtual 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:20231215T080000
DTEND;TZID=America/New_York:20231216T170000
DTSTAMP:20260404T080719
CREATED:20240214T150326Z
LAST-MODIFIED:20240214T151004Z
UID:10000065-1702627200-1702746000@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:20231212T080000
DTEND;TZID=America/New_York:20231212T170000
DTSTAMP:20260404T080719
CREATED:20231212T214412Z
LAST-MODIFIED:20240214T151157Z
UID:10000064-1702368000-1702400400@emersoncontemporary.org
SUMMARY:Patricia Nguyễn discusses moving through memory in performance art
DESCRIPTION:Patricia Nguyễn performs “Passage” at the Media Art Gallery.\n\n\n\nBy Maddie Browning \n\n\n\nPatricia Nguyễn is an artist\, scholar\, and educator with work surrounding the aftermath of the Vietnam War and memory\, loss\, and healing. She utilizes performance art to understand how the feeling of water and land on her body reflect the emotions and experiences of Vietnamese refugees.  \n\n\n\nHer work is a part of Emerson Contemporary’s “One Day We’ll Go Home” exhibition running through December 16. \n\n\n\nEmerson Contemporary connected with Nguyễn via Zoom to discuss her journey developing performance art\, her conversations with refugees and their families\, and what she hopes people learn from her art.  \n\n\n\nEC: When did you start developing performance art? \n\n\n\nNguyễn: I was trained in devised theater throughout elementary school\, and then in high school\, I did performance poetry and spoken word. It wasn’t until I went to Vietnam in 2010\, and I encountered state surveillance and censorship [that] it transformed my work in performance poetry and theater into performance art to think about the power of how the body can help tell the story and what the body remembers.  \n\n\n\nEC: What artists are you inspired by? \n\n\n\nNguyễn: [Okwui Okpokwasili]. She did this amazing piece called “Bronx Gothic.” A lot of the people that inspired my work are Black feminists and women of color\, feminists\, artists\, poets\, theater makers.  \n\n\n\nThe person that trained me is the first woman performance artist in Vietnam\, and her name is Ly Hoàng Ly\, who I have this lifetime performance with called “Memory vs. Memory.” She really helped me understand what performance art is and what it can do through collaborating with her. “Memory vs. Memory” began because both of our fathers were located on opposing sides of the Vietnam War. We’re their children\, their daughters\, and we inherit the memories that they’ve had to go through in particular because they’re the same age on opposing sides of the war and were both incarcerated after the end of the war – her father in an old French colonial prison\, my father in the jungles near the border of Vietnam and Cambodia. So\, for us\, delving into performance art\, delving into the cultural memory of specific objects like water or soil or metal\, conjures these memories that are linked to our own fathers’ histories of revolution and war and incarceration.  \n\n\n\nEC: You say in your artist statement that land and water are crucial to your process. I was wondering if you could tell me a little bit more about that.  \n\n\n\nNguyễn: So the word for homeland\, country\, and nation in Vietnamese is “Đất nước\,” which respectively means land and water\, but in the diaspora land drops off\, so the shorthand for saying homeland or country is “nước” or just water. So a lot of my work delves into the materiality of water itself\, like\, how does water soak into my body? How do I understand the porousness of my own skin? And how do we tap into both the internal waters that we already have and the external waters that I play with in performance when I drown myself in water\, soak my myself with drenched fabric. How does that evoke the memory both within and external to me about whatever question I’m meditating on in relationship to the aftermath of the Vietnam War?  \n\n\n\nA lot of Vietnamese were forced to migrate by boat and over water\, so a lot of them are known as boat refugees. I think about the materiality of water not just as a landscape of where forced migration happens\, but as this place of life and death. I’ve interviewed so many different Vietnamese refugees\, and all of them have said\, “I was so thirsty on that boat\, and there was water all around me and I couldn’t drink any of it.” The ocean is made up of saltwater\, and saltwater could help you if you have a sore throat – you can gargle it – but if the ratio of saltwater is too much\, it becomes toxic. So what is this line between what is healing and what is toxic? So really thinking about water\, not only as a metaphor\, but literally what does it do to the body?  \n\n\n\nAnd then land\, so my father was incarcerated on former US military bases that had landmines in them. So land was literally weaponized against the Vietnamese people\, both by the US government\, and also in the aftermath of war as people who were drafted in the south of Vietnam that were aligned with the US also were incarcerated on these very lands. The precarity of life and death is contingent on if the bomb will explode.  \n\n\n\nEC: Going back to you talking about how you have interviewed a lot of refugees\, how do you approach people that are hurting and tell their stories? \n\n\n\nNguyễn: So for refugees\, they have to prove what they’ve been through to even gain refugee status. So the process of conducting oral histories is hopefully more of a reparative act\, where it’s not just like\, “Let me extract your story to see if you qualify for this paperwork or the status for particular rights and privileges.” It’s like\, “Let me actually listen and ask you your story.” The way that I conduct oral histories\, it’s based off of a relationship that I’ve already had with people\, so either I’ve known them for quite some time\, so they can trust me with their stories\, or I’m introduced to them by someone who they already trust and that person is either in the room with me or has done a lot of the prep work to help support that person. So it’s always based in rapport and consent.  \n\n\n\nIt’s really just being as present as possible and doing deep listening and gauging what people are comfortable with and what people are not comfortable with. At the end of the interview\, I always check in with them\, making sure that they’re okay\, asking them if there’s anything else they want to share. And I ask I leave them with a hopeful question like\, “What do you hope for yourself or your children or future generations?” or “What do you want to leave us with and what do you want us to learn?” so that it’s not a line of questions that focus on trauma or pain. It’s more of a line of questions and invitations to share and understand these histories with one another. I try to help those that I’m interviewing feel empowered after the interview that their story is important and what they went through was significant and that they’re not alone. \n\n\n\nEC: You received a Fulbright Fellowship in 2010 to work in Vietnam and co-founded Cây\, “the first life skills and art therapy reintegration program for human trafficking survivors along the border regions of Vietnam\,” according to your website. Tell me more about the program and why you created it. \n\n\n\nNguyễn: So originally\, I was supposed to go to Vietnam or Cambodia to work with survivors of sex trafficking and human trafficking. But the Vietnamese and Cambodian government shut down the organization that I was going to work with a week before my application was due. Luckily\, my friend worked in Vietnam and works with an anti-human trafficking organization and brought me on to it.  \n\n\n\nI had a lot of pushback going back to Vietnam from my own family. They were like\, “We escaped from there. Why would you go back?” For me\, it was really important to see the other side of war and to see those that are still impacted by its aftermath\, even if not in the way that we understand how people are directly impacted\, but just in terms of the new neoliberal development policies and how that impacts indigenous folks who are also known as ethnic minorities. I wanted to see how development is impacting those who live in poor and rural areas\, and who are being heard and neglected by the government and to work on young women’s empowerment through the arts. So I co-founded that program with my friend who was also interested in arts education\, and we were interested in exploring how arts can be this tool to support people to express themselves and make sense of the conditions that they’re living in and feel like they can build community around that because art is the first thing that was used for the war in terms of propaganda and gaining public support\, but it’s also the thing that is most censored and most surveilled.  \n\n\n\nEC: At Emerson\, you performed “Passage” on November 14. What story were you telling through that performance? \n\n\n\nNguyễn: There was this beautiful photo that I had seen of a Vietnamese woman with her conical hat\, and she was surrounded by all these beautiful green fishing nets\, and she just loved her\, so that’s what inspired the material that I worked with. I worked with different color tulle that evoked the water itself\, and the water at different depths. I played with different colors of tulle to show the different dimensions and layers of water. In thinking about the creation of “Passage\,” when you walk through the gallery space\, you first walk into Tiffany Chung’s piece\, and her piece is really about the forced migration right after the war. And then in the middle\, you have Tuấn Andrew Nguyễn’s installation video\, “[The] Boat People” where they land on this refugee camp\, so it’s from the journey of leaving to the refugee camp\, and then my three channel installation is at the far end of the gallery\, and it’s really challenging the notion of refugee resettlement. So it’s kind of like if you move through the gallery\, that’s the story that I saw\, from departure to this liminal space of the refugee camp\, to this place of resettlement.  \n\n\n\nSo in the middle of the gallery space\, I wanted to imagine that it was all water\, and the tulle evoked that sense of water. So I started the performance in the middle of Tiffany’s installation. And part of what I did was\, I sunk into all this tulle that was surrounding me to be with the material\, meditate with her piece\, and have it be infused into my performance work. And then I carry the tulle into the main gallery space\, and part of carrying the tulle is imagining\, “What does it mean to literally try to carry water?” And it’s spilling over\, it cannot be contained in any way. Then I dive into the tulle\, and I’m wrestling in the midst of it\, trying to explore my breath\, trying to explore tension\, trying to explore moments of feeling like I’m swimming or floating or drowning or shifting and just thinking about what the space could be. And meanwhile what’s being projected onto me from the projector above are these incremental numbers that are going up and down in different ways to symbolize the number of growing refugees that are left to die at sea or abandoned by nation states or government.  \n\n\n\nSo that’s being projected on my body as I’m moving under and with and through the tulle and exploring expansion and contraction and breath and thinking about the bodies that were forced to migrate by sea and those that drowned or were thrown overboard or couldn’t make it. What does it mean to dive deep into the ocean where these bodies have landed? So then I struggle to get out of the tulle and go back in because the answer isn’t resettlement. The answer isn’t\, “Let me arrive at some place\, and it’ll save me. Let me get out of the water.” It was really thinking about\, “Let’s return to the water\,” and “What can the water teach us\, and how can we build other worlds and imaginaries through the water?” And then I worked with Fiona Fiona Ngô who created a really beautiful experimental sound piece that really framed the performance and was a call in response to the piece. \n\n\n\nEC: Your Paul and Daisy Soros Fellow for New Americans bio states that growing up your parents told you stories about their experience escaping Vietnam during the war as boat refugees to Malaysia and Indonesia and resettling in the United States in the ‘80s. How do those stories inform your work? \n\n\n\nNguyễn: They deeply inform my work in that they are the ones that I’m theorizing with. They helped me understand the political stakes of war in how they’ve survived and how they don’t want that to happen to anyone else in any capacity. So I draw on their stories to create my performance gestures\, and I draw on their stories and their legacies to think about\, “What is the purpose of this work?” and really thinking about how it’s to connect with audiences to share these histories and these stories. That’s how they want their stories to be passed on. \n\n\n\nEC: What do you hope people learn from experience in your art? \n\n\n\nNguyễn: I hope it offers a space for people to grieve and to mourn\, especially as we’re witnessing different levels of violence all the time. I want people to understand that war and the process of nation building always results in forced migration\, always results in the predetermination of who gets to live and who gets to die or who has to die for someone else to live. I want people to learn the human stakes of what it means to delve into these histories\, not only just as something that’s happened in the past\, but as a lens to think about the future\, as a way to think about how we can build a better world by not forgetting and erasing the violences and the ugly histories and the heartbreaks of the past. How do we acknowledge them and also transform them so that we can build a better world\, a better future for all of us and other generations to come? \n\n\n\nThis interview was edited and condensed for clarity.
URL:https://emersoncontemporary.org/event/patricia-nguyen-discusses-moving-through-memory-in-performance-art/
CATEGORIES:Artist Spotlight,Artist Talk,News
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231103T160000
DTEND;TZID=America/New_York:20231103T170000
DTSTAMP:20260404T080719
CREATED:20231002T211434Z
LAST-MODIFIED:20231018T191837Z
UID:10000010-1699027200-1699030800@emersoncontemporary.org
SUMMARY:Artist Talk with filmmaker and sculptor Tuan Andrew Nguyễn.
DESCRIPTION:Please join us for a talk and Q&A with filmmaker and sculptor Tuan Andrew Nguyễn. \n\n\n\nWalker 202\, 120 Boylston St. Boston\, MA. Doors open at 4pm. Free\, but Registration Required via EventBrite. \n\n\n\nNguyễn lives and works Hồ Chí Minh City\, Việt Nam. \n\n\n\nTuấn Andrew Nguyễn’s practice explores the power of memory and its potential to act as a form of political resistance. His practice is fueled by research and a commitment to communities that have faced traumas caused by colonialism\, war\, and displacement. Through his continuous attempts to engage with vanishing or vanquished historical memory\, Nguyễn investigates the erasures that the colonial project has brought to bear on certain parts of the world. Through collaborative endeavors with various communities throughout the world\, Nguyen sets out to cultivate and empower these strategies enacted and embodied by his collaborators. Through this collaborative practice\, he explores memory as a form of resistance and empowerment\, emphasizing the power of storytelling as a means for healing\, empathy and solidarity. \n\n\n\nNguyễn\, based primarily in Saigon\, works between various mediums but devotes much of his attention towards producing moving-image works and sculpture. Nguyễn’s intrigued with the relationship between narrative and objects leads him to make projects that combine moving image and sculpture – oftentimes many of his films begin with an object\, such as destroyed memorials built by former refugees\, or the skeletal remains of the last rhino in Vietnam for instance\, and its story.  Approaching memory as a phenomenon that is intangible and abstract\, Nguyễn often thinks beyond the restrictions of time (past\, present\, future) which also gives way to thinking about supernaturalisms (ghosts\, specters\, hauntings) as political tools.
URL:https://emersoncontemporary.org/event/artist-talk-with-filmmaker-and-sculptor-tuan-andrew-nguyen/
CATEGORIES:Artist Talk,Public Program
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231005T183000
DTEND;TZID=America/New_York:20231005T200000
DTSTAMP:20260404T080719
CREATED:20230815T185431Z
LAST-MODIFIED:20240214T151055Z
UID:10000052-1696530600-1696536000@emersoncontemporary.org
SUMMARY:“Artists Defusing Barriers to Discovery” feat. Nicole L'Huillier and Nathan Miner
DESCRIPTION:  \nOrganized in partnership with the Long Now Boston Conversation Series\, this artist talk will explore artistic research as a place of possibilities; an open-ended strategy of experimentation and failure that can lead to new modes of thinking and reframes knowledge conventions. This program presents two artists whose transdisciplinary practices dynamically intersect with technology\, science\, and philosophy\, and creatively challenge preconceptions as they expand the role of art in society. \nTickets are $5.
URL:https://emersoncontemporary.org/event/artists-defusing-barriers-to-discovery-feat-nicole-lhuillier-and-nathan-miner/
CATEGORIES:Artist Talk,Virtual program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/10/Nicole-LHuillie_Photo-credit-Ally-Schmaling_1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230324T150000
DTEND;TZID=America/New_York:20230324T170000
DTSTAMP:20260404T080719
CREATED:20230815T185434Z
LAST-MODIFIED:20231003T145343Z
UID:10000014-1679670000-1679677200@emersoncontemporary.org
SUMMARY:Digital Art and/as Performance: A Conversation with Dr. Leonie Bradbury and Dr. EL Putnam
DESCRIPTION:  \n\n\n\n\n\n\n\n\n\nDigital Art and/as Performance: A Conversation with Dr. Leonie Bradbury and Dr. EL Putnam\n\nCabot Science Library\nHarvard University\nCORRECTION: Friday\, March 24\, 2023\n3:00 p.m. \n\nJoin contemporary art curator Leonie Bradbury and performance artist EL Putnam discuss their collaborative work on the recent exhibition PseudoRandom at Emerson Contemporary\, considering the challenges and possibilities of creating and presenting digital art.\n\nThis talk is held as part of ArtTechPsyche\, a symposium at the intersection of art and technology that offers a day of immersive digital experiences\, art exhibitions\, technology demos\, and visionary speakers. Discover the ways in which technology shapes us\, and conversely\, how the artist continually challenges and informs technological development.\n\nReserve your spot. This event is free and open to the public\n 
URL:https://emersoncontemporary.org/event/digital-art-and-as-performance-a-conversation-with-dr-leonie-bradbury-and-dr-el-putnam/
CATEGORIES:Artist Talk,Public Program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/01/IG_profile_3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230324T120000
DTEND;TZID=America/New_York:20230324T133000
DTSTAMP:20260404T080719
CREATED:20230815T185434Z
LAST-MODIFIED:20231003T152432Z
UID:10000034-1679659200-1679664600@emersoncontemporary.org
SUMMARY:EL Putnam Artist Talk
DESCRIPTION:Friday\, March 24\, 2023 \nJoin us for a audio-visual presentation on EL Putnam’s artist practice. Putnam will discuss recent performance and video works. \nLocation: Media Art Gallery\, 25 Avery Street
URL:https://emersoncontemporary.org/event/el-putnam-artist-talk/
CATEGORIES:Artist Talk,Gallery Talk,Public Program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/01/IG_color_3.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221105T180000
DTEND;TZID=America/New_York:20221105T200000
DTSTAMP:20260404T080719
CREATED:20230815T185434Z
LAST-MODIFIED:20231003T152200Z
UID:10000032-1667671200-1667678400@emersoncontemporary.org
SUMMARY:Border Pedagogies\, Queer Kinships\, and Archival Resonances: Tania Bruguera and Emilio Rojas
DESCRIPTION:Border Pedagogies\, Queer Kinships\, and Archival Resonances: Tania Bruguera and Emilio Rojas in Conversation.\nModerated by Laurel V. McLaughlin. \nSaturday\, November 5th\, 7-8:30p.m. (Doors open at 6:30p.m.)\nDessert Reception to follow. RSVP required EVENTBRITE \nLocation: Bill Bordy Theater\, 216 Tremont St\, Boston\, MA 02116 \nJoin Emerson Contemporary for a conversation between artists Tania Bruguera and Emilio Rojas\, moderated by Artspace New Haven Director of Curatorial Affairs and Emerson guest curator Laurel V. McLaughlin\, on the occasion of the book launch for Emilio Rojas: tracing a wound through my body (Emerson Contemporary\, 2022). Rojas and Bruguera will discuss the numerous research threads that intertwine in Emilio’s practice\, survey\, and the catalog structure. Departing from the atemporal and overlapping sections that compose the exhibition and catalog—the cut\, the line\, the scar\, and the corpus\, Bruguera\, Rojas\, and McLaughlin trace the intersections of border pedagogies\, queer kinships\, and archival resonances. \nEmilio Rojas: tracing a wound through my body (Emerson Contemporary\, 2022) is available in print-on-demand through Blurb\, or through an open-source link on the Emerson website. The bilingual exhibition catalog features an introduction by Michiko Okaya and Néstor Armando Gil Carmona\, new poetry by Emilio Rojas and Pamela Sneed\, an interview with Ernesto Pujol\, and essays by Valeria Luiselli\, Ethan Madarieta\, Laurel V. McLaughlin\, Rebecca Schneider\, and Mechtild Widrich with Andrei Pop.
URL:https://emersoncontemporary.org/event/border-pedagogies-queer-kinships-and-archival-resonances-tania-bruguera-and-emilio-rojas-in-conversation/
CATEGORIES:Artist Talk,Public Program
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210126T180000
DTEND;TZID=America/New_York:20210126T203000
DTSTAMP:20260404T080719
CREATED:20230815T185432Z
LAST-MODIFIED:20231003T153407Z
UID:10000040-1611684000-1611693000@emersoncontemporary.org
SUMMARY:Kerry Tribe: Artist Talk + Screening
DESCRIPTION:Kerry Tribe Artist Talk and Screening \nBright Family Screening Room\, Paramount Center\, 559 Washington St. Boston\, MA \nWednesday\, March 16\, 6:30pm – 8:00pm (in person). Artist Reception to follow \nPlease join us for this special\, in person event held in conjunction with the exhibition Onomatopoeia on view in the Media Art Gallery until March 27\, 2022. Tickets are available at the Paramount Center Box Office starting at 5:30pm on the day of the event (Wed\, Mar 16). Tickets are free and general admission.\n\nTribe will present a lecture and screening of several early autobiographical videos including Here & Elsewhere\, (2002) a two-channel projection featuring British film critic and theoretician Peter Wollen and his daughter Audrey. As the interview unfolds\, their conversation touches on history\, memory\, intersubjectivity\, temporality\, epistemology and photography; H.M. (2009) a two-channel presentation of a single film based on the true story of an anonymous\, memory-impaired man\, the famous amnesiac known in scientific literature only as “Patient H.M.” In 1953\, when he was 27 years old\, H.M. underwent experimental brain surgery intended to alleviate his epilepsy.The unintended result was a radical and persistent amnesia. The Aphasia Poetry Club (2015) A cinematic-scale three-channel video installation narrated by three individuals who have aphasia\, a neurological condition caused by damage to the language centers of the brain. As they share their thoughts and stories\, their words trigger elaborate arrangements of character animation\, still photographs\, and live action footage.\n\nPresented by Emerson Contemporary and The School of The Arts at Emerson College
URL:https://emersoncontemporary.org/event/kerry-tribe-artist-talk-screening/
CATEGORIES:Artist Talk,Film Screening
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/09/Tribe_headshot-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200223T140000
DTEND;TZID=America/New_York:20200223T160000
DTSTAMP:20260404T080719
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T160141Z
UID:10000054-1582466400-1582473600@emersoncontemporary.org
SUMMARY:Investigating the Material feat. Sarah Trahan and Zsuzsanna Szegedi
DESCRIPTION:Join us for an intimate conversation in the gallery with spacetime artists Trahan and Szegedi and the exhibition curator as they discuss their experiences collaborating with machines as each artist investigates digital technology through its imperfections. Learn what happens when the work of art has no center and exists across multiple media\, both virtual and real\, as it manifests the various stages of an unfolding process.\n\nSpacetime (x\, y\, x + t) is a multi-dimensional exhibition that features experimental works by regional and international artists\, features digital projections\, 3D printed objects\, inkjet prints\, virtual reality drawings\, video\, site specific light installation\, and a dancing robot.
URL:https://emersoncontemporary.org/event/investigating-the-material-feat-sarah-trahan-and-zsuzsanna-szegedi/
CATEGORIES:Artist Talk,Gallery Talk
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200202T140000
DTEND;TZID=America/New_York:20200202T160000
DTSTAMP:20260404T080719
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T155949Z
UID:10000053-1580652000-1580659200@emersoncontemporary.org
SUMMARY:Performativity of Objects feat. Katherine Mitchell DiRico and Nicole L’Huillier
DESCRIPTION:Join us for an intimate conversation in the gallery with spacetime artists DiRico and L’Huillier and the exhibition curator as they explore non-human performativity through movement\, sound\, and light. We’ll discuss the agency of objects and how the art works on display are in a continual state of becoming. \nSpacetime (x\, y\, x + t) is a multi-dimensional exhibition that features experimental works by regional and international artists\, features digital projections\, 3D printed objects\, inkjet prints\, virtual reality drawings\, video\, site specific light installation\, and a dancing robot.
URL:https://emersoncontemporary.org/event/in-conversation-performativity-of-objects/
CATEGORIES:Artist Talk,Gallery Talk
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2022/01/space-3-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191016T180000
DTEND;TZID=America/New_York:20191016T193000
DTSTAMP:20260404T080719
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T154634Z
UID:10000048-1571248800-1571254200@emersoncontemporary.org
SUMMARY:Cannupa Hanska Luger: Indigenous Science Fiction\, The Imagination and Long-Term Thinking
DESCRIPTION:A reception was held Wednesday\, October 16\, in the Jackie Liebergott Black Box Theater at Emerson’s Paramount Center\, 559 Washington Street\, followed by the talk Indigenous Science Fiction\, The Imagination and Long-Term Thinking\, where artist Cannupa Hanska Luger was in conversation with author and historian of science Dr. Jimena Canales. The conversation was presented by Emerson’s Media Art Gallery and Long Now Boston\, an organization that fosters long term thinking. It was moderated by Dr. Leonie Bradbury\, Henry and Lois Foster Chair of Contemporary Art Theory and Practice and Distinguished Curator-in-Residence at Emerson College.
URL:https://emersoncontemporary.org/event/indigenous-science-fiction/
CATEGORIES:Artist Talk,Public Program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2019/01/CannupaHanska_035-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191003T123000
DTEND;TZID=America/New_York:20191003T153000
DTSTAMP:20260404T080719
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T154403Z
UID:10000047-1570105800-1570116600@emersoncontemporary.org
SUMMARY:GlitchKraft Artist Talk: Allison Tanenhaus\, Ben Foley\, and Lauren Klotzman
DESCRIPTION:Artist Talk Featuring exhibiting artists Allison Tanenhaus\, Ben Foley\, and Lauren Klotzman \nVideo Art Performance MEMORY RECOVERY : : AFTERDARK REVISITED by Lauren Klotzman.
URL:https://emersoncontemporary.org/event/glitchkraft-artist-talk-1/
CATEGORIES:Artist Talk
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190920T120000
DTEND;TZID=America/New_York:20190920T133000
DTSTAMP:20260404T080719
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T154205Z
UID:10000046-1568980800-1568986200@emersoncontemporary.org
SUMMARY:GlitchKraft Artist Talk: Alex Kittle
DESCRIPTION:  \nArtist Talk featuring illustrator\, art historian\, and film curator Alex Kittle \nSince 2018\, Kittle has been devoted to women filmmakers\, creating portraits and zine biographies as a way to share their stories and works in an accessible way. She also co-hosts a monthly screening series and discussion group called Strictly Brohibited\, which highlights women-made films in a welcoming community for women and non-binary film fans. Visit @panandscan and @strictlybrohibited for more information.
URL:https://emersoncontemporary.org/event/glitchkraft-artist-talk-2/
CATEGORIES:Artist Talk,Gallery Talk
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/10/kittle.jpg
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END:VCALENDAR