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CREATED:20230815T194251Z
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SUMMARY:Global Paris BFA Thesis Projects
DESCRIPTION:Image caption: Mars Tomasetti\, 234A\, Three channel animation video\, acrylic\, Gamecube consoles and controllers (2001)\, stereo sound\, 2023 \nEmerson College’s second BFA thesis exhibition featuring graduates from the Global Paris BFA in Film Program. Featured Artists are: Joie Cousin\, Miriam Yoboué\, and Mars Tomasetti\, \nJoie Cousin’s Our Home: Book One “Our Home” is a film essay based on childhood nostalgia using therapeutic techniques involving segments of self-expression\, interviews\, and confessionals. These themes entangle together in order to express a grander story displaying the power of communication in all settings. Through aspects of video art\, puppets\, and animation\, Cousin bridges the gap between fiction and fact\, in order to display a wide range of what it means to know someone (/yourself). \nMiriam Yoboué’s 9- channel film installation Static Stands Still\, is a comprised of different sized CRTVS and flat-screen monitors that explores the different emotions\, feelings\, and experiences of a young black woman reeling from the traumatic event of a rape. The installation works as a semi-linear narrative that depicts the life of a fictional black woman who goes through the memories of her past and the moments of her present to try to contextualize this event.\nMars Tomasetti’s multimedia installation 234A\, features a three-channel animation video game\, although you can’t actually play the game\, the installation is designed to make the game and the surrounding room feel yours. Tomasetti wants to call attention to the disconnectedness and isolation many people experience at the hands of capitalism and the American ideal of “individualism\,” and they redirect them towards collectivism. \nGallery Hours 12-5pm\, August 16 – 19\, 2023 \nArtist Reception\, Friday August 12\, 5-7pm.\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\n\n 
URL:https://emersoncontemporary.org/event/global-paris-bfa-thesis-projects/
LOCATION:Huret and Spector Gallery
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230818T170000
DTEND;TZID=America/New_York:20230818T190000
DTSTAMP:20260403T021145
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:20230906T120000
DTEND;TZID=America/New_York:20231014T180000
DTSTAMP:20260403T021145
CREATED:20230815T194251Z
LAST-MODIFIED:20230911T195348Z
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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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231005T183000
DTEND;TZID=America/New_York:20231005T200000
DTSTAMP:20260403T021145
CREATED:20230815T185431Z
LAST-MODIFIED:20240214T151055Z
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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/
LOCATION:Massachusetts
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231101T120000
DTEND;TZID=America/New_York:20231216T180000
DTSTAMP:20260403T021145
CREATED:20230815T194251Z
LAST-MODIFIED:20250328T154808Z
UID:10000002-1698840000-1702749600@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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231103T103000
DTEND;TZID=America/New_York:20231103T120000
DTSTAMP:20260403T021145
CREATED:20231010T201704Z
LAST-MODIFIED:20231018T191859Z
UID:10000055-1699007400-1699012800@emersoncontemporary.org
SUMMARY:History and Archives: A Music Video Workshop with Dr. Julian Saporiti
DESCRIPTION:EVENTBRITE Registration required\, limited seats (15)\, free. \n\n\n\nIn this workshop\, musician and scholar Dr. Julian Saporiti will discuss how to use your personal story\, family archive\, and history in your work. He has used the medium of music videos to transform his doctoral research on Asian American history into easily consumable public art pieces. Through his project No-No Boy (Smithsonian Folkways Records)\, Saporiti has been able to reach broad (non-academic) audiences by using visuals and songwriting instead of academic papers.  \n\n\n\nBreaking down several videos included in the One Day We’ll Go Home exhibition\, Saporiti will discuss the process of turning academic research into public art and offer insight into the societal impact public-facing history can have. Participants will be led through the artist’s production process and learn how rigorous archival research and deeply exploring one’s cultural background can produce rich ground for any creative practice. 
URL:https://emersoncontemporary.org/event/accessing-history-and-archives-a-music-video-workshop-with-dr-julian-saporiti/
LOCATION:Massachusetts
CATEGORIES:Public Program,Workshop
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:20231103T160000
DTEND;TZID=America/New_York:20231103T170000
DTSTAMP:20260403T021145
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/
LOCATION:Massachusetts
CATEGORIES:Artist Talk,Public Program
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231104T180000
DTEND;TZID=America/New_York:20231104T193000
DTSTAMP:20260403T021145
CREATED:20231031T215435Z
LAST-MODIFIED:20240722T152703Z
UID:10000058-1699120800-1699126200@emersoncontemporary.org
SUMMARY:No-No Boy: Live in Concert
DESCRIPTION:This event is sold out. Register here to join the waitlist. \n\n\n\nExperience a multimedia musical performance from artist Julian Saporiti\, known as No-No Boy\, 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. This program is organized by the PAO Art Center and supported by Emerson Contemporary.
URL:https://emersoncontemporary.org/event/no-no-boy-live-in-concert/
LOCATION:Pao Arts Center\, 99 Albany Street Boston\, Massachusetts\, 02111\, United States
CATEGORIES:Performance
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231114T180000
DTEND;TZID=America/New_York:20231114T193000
DTSTAMP:20260403T021145
CREATED:20231031T214509Z
LAST-MODIFIED:20240214T142923Z
UID:10000057-1699984800-1699990200@emersoncontemporary.org
SUMMARY:Live Performance\, Passage (2023) by Patricia Nguyễn and Fiona Ngô
DESCRIPTION:Still from “Collapse to Expand” by Patricia Nguyen\n\n\n\nA 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. \n\n\n\nThis event is free and open to the public.
URL:https://emersoncontemporary.org/event/live-performance-passage-2023-by-patricia-nguyen-and-fiona/
LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111
CATEGORIES:Performance
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231204T080000
DTEND;TZID=America/New_York:20231206T180000
DTSTAMP:20260403T021145
CREATED:20231207T172143Z
LAST-MODIFIED:20231207T172630Z
UID:10000061-1701676800-1701885600@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/
LOCATION:Massachusetts
CATEGORIES:Exhibition,Student Projects
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231206T170000
DTEND;TZID=America/New_York:20231206T183000
DTSTAMP:20260403T021145
CREATED:20231101T182646Z
LAST-MODIFIED:20231127T201007Z
UID:10000059-1701882000-1701887400@emersoncontemporary.org
SUMMARY:Vietnam and Diasporic Aesthetics: Two Meditations. Dr. Howie Tam & Dr. Catherine H. Nguyen
DESCRIPTION:Tiffany Chung\, If Water Has Memories\, 2022.\n\n\n\nThe 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.  \n\n\n\nThis event is supported by Emerson Contemporary\, WLP Scholar Series\, Department of Writing\, Literature & Publishing\, Harvard University Asia Center \n\n\n\n \n\n\n\nCatherine H. Nguyen is an Assistant Professor of Asian Diasporic Literatures at Emerson College.  She is a comparative literature scholar of the Vietnamese diaspora. Her current book project examines the Vietnamese mixed-race child and the transracial adoptee from the longue durée of the Indochina Wars to their refugee aftermaths.  Her publications can be found in Adoption & Culture and forthcoming in L’Esprit Créateur as well as in the edited collections Redrawing the Historical Past and Post-Migratory Cultures in Postcolonial France. \n\n\n\n \n\n\n\nHJT Howie Tam is Assistant Professor of English at Brandeis University. He earned a PhD in English at the University of Pennsylvania and previously held postdoctoral fellowships at Dartmouth College and the Mahindra Humanities Center\, Harvard University. His articles have appeared in American Literature\, the Journal of Vietnamese Studies\, and Verge: Studies in Global Asias. He is working on a book manuscript that studies forms of nationhood in diasporic Vietnamese literature published in the U.S. and France.
URL:https://emersoncontemporary.org/event/vietnam-and-diasporic-aesthetics-two-meditations-a-conversation-with-dr-howie-j-tam-dr-catherine-h-nguyen/
LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111\, United States
CATEGORIES:Public Program
ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/10/1A.Chung_.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231211T120000
DTEND;TZID=America/New_York:20231215T180000
DTSTAMP:20260403T021145
CREATED:20231209T143312Z
LAST-MODIFIED:20231211T032121Z
UID:10000063-1702296000-1702663200@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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231212T080000
DTEND;TZID=America/New_York:20231212T170000
DTSTAMP:20260403T021145
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/
LOCATION:Massachusetts
CATEGORIES:Artist Spotlight,Artist Talk,News
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/12/IMG_6910-rotated.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231215T080000
DTEND;TZID=America/New_York:20231216T170000
DTSTAMP:20260403T021145
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/
LOCATION:Massachusetts
CATEGORIES:Artist Spotlight,Artist Talk,Gallery Talk,News
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240119T133000
DTEND;TZID=America/New_York:20240119T153000
DTSTAMP:20260403T021145
CREATED:20240117T172914Z
LAST-MODIFIED:20240117T173101Z
UID:10000067-1705671000-1705678200@emersoncontemporary.org
SUMMARY:Workshop: Kameelah Janan Rasheed on Wayward Sentences (writing constraints and algorithmic scores)
DESCRIPTION:Workshop: Kameelah Janan Rasheed on Wayward Sentences (writing constraints and algorithmic scores)January 19\, 2024 @1:30PM Eastern on Zoom (RSVP required) \n\n\n\nRasheed considers learning “as a process of radical slowing down/de-acceleration in the midst of the efficiency and optimization frenzy; an engagement with curiosity\, serendipity\, improvisation\, and tangents; learning as a persistent reminder of the shifting ecologies of what it means to know something.”RSVP here
URL:https://emersoncontemporary.org/event/workshop-kameelah-janan-rasheed-on-wayward-sentences-writing-constraints-and-algorithmic-scores/
LOCATION:Massachusetts
CATEGORIES:Public Program,Workshop
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/01/BioPhoto2.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240119T133000
DTEND;TZID=America/New_York:20240119T153000
DTSTAMP:20260403T021145
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240123T120000
DTEND;TZID=America/New_York:20240323T180000
DTSTAMP:20260403T021145
CREATED:20231121T170555Z
LAST-MODIFIED:20240118T003055Z
UID:10000060-1706011200-1711216800@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/
LOCATION:Massachusetts
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:20240123T170000
DTEND;TZID=America/New_York:20240123T190000
DTSTAMP:20260403T021145
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/
LOCATION:Massachusetts
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:20240123T170000
DTEND;TZID=America/New_York:20240323T190000
DTSTAMP:20260403T021145
CREATED:20240118T012419Z
LAST-MODIFIED:20240118T012421Z
UID:10000072-1706029200-1711220400@emersoncontemporary.org
SUMMARY:Kameelah Janan Rasheed
DESCRIPTION:Emerson Contemporary proudly presents our upcoming artist-in-residence\, Kameelah Janan Rasheed. \n\n\n\nall velvet sentences as manifesto\, Like a lesson against smooth language oran invitation to be feral hypertext\, a multimedia solo exhibition featuring the visual artist is on view in the Media Art Gallery at 25 Avery Street from January 23 – March 23\, 2024. Exhibition hours are Tuesday – Saturday\, 12-6pm. \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\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 \n\n\n\npossibilities 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.Rasheed is represented by NOME Gallery in Berlin\, Germany. \n\n\n\nExhibition hours are Tuesday – Saturday\, 12-6pm. 
URL:https://emersoncontemporary.org/event/kameelah-janan-rasheed/
LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111
CATEGORIES:Artist Spotlight
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:20260403T021145
CREATED:20240222T190132Z
LAST-MODIFIED:20240222T190134Z
UID:10000073-1708948800-1709240400@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:20240226T140000
DTEND;TZID=America/New_York:20240226T160000
DTSTAMP:20260403T021145
CREATED:20240118T004624Z
LAST-MODIFIED:20240223T175458Z
UID:10000069-1708956000-1708963200@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:20240227T163000
DTEND;TZID=America/New_York:20240227T180000
DTSTAMP:20260403T021145
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:20240227T180000
DTEND;TZID=America/New_York:20240227T193000
DTSTAMP:20260403T021145
CREATED:20240118T005625Z
LAST-MODIFIED:20240214T144206Z
UID:10000070-1709056800-1709062200@emersoncontemporary.org
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:20240330T120000
DTEND;TZID=America/New_York:20240416T170000
DTSTAMP:20260403T021145
CREATED:20240401T193100Z
LAST-MODIFIED:20240722T152248Z
UID:10000074-1711800000-1713286800@emersoncontemporary.org
SUMMARY:Un-monument Call to Work: Augmented Reality Artist Workshop
DESCRIPTION:Image credit: Elisa Hamilton\, sketching using the Hoverlay app. during the pilot workshop in 2021\n\n\n\n\n\nEmerson Contemporary\, is announcing an augmented reality artist workshop designed to support artists in gaining access to the skills and technology needed to either translate previous work\, or create new work\, in the medium of augmented reality (AR).  \n\n\n\nThe workshop takes place 10 a.m. – 2:30pm\, on five Saturdays: May 4- June 15\, 2024. *no workshop on Memorial Day weekend. \n\n\n\nThe goal of the incubator is to provide training opportunities for artists who have traditionally faced an “access gap” due to the high start-up costs of these design tools and the cultural barriers within the new media art field\, primarily affecting women\, LGBTQ artists\, Latinx\, and BIPOC artists. The program provides a stipend\, assistance with the production process\, technology exploration and mentorship. In turn\, by providing support and access\, we aim to expand the demographics of artists working in AR.  \n\n\n\nTen artists from the greater Boston area will be invited to participate in this program. Each artist received a stipend of $750 to participate and to compensate for their time and energy and offset costs for transportation\, child care\, or lost work to remove an additional potential barrier to this resource.  \n\n\n\nThose interested can attend virtual Q&A sessions on April 2 at 6 p.m. or April 3 at 12 p.m. on Zoom. \n\n\n\nThe written question deadline is Tuesday\, April 9 at 5 p.m. and the application closes April 16 at 5 p.m. \n\n\n\nInformation for the Q&A sessions and application can be found here. \n\n\n\nThis program is funded by an Un-monument: Transformative Public Art Grant from the Mayor’s Office of Arts and Culture. This opportunity is open to all professional artists\, including individuals\, and artists who operate as for-profit businesses and nonprofits.
URL:https://emersoncontemporary.org/event/un-monument-call-to-work-augmented-reality-artist-workshop/
LOCATION:Massachusetts
CATEGORIES:News,Public Program
ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/03/augmented-reality.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240412T160000
DTEND;TZID=America/New_York:20240416T200000
DTSTAMP:20260403T021145
CREATED:20240409T180235Z
LAST-MODIFIED:20240409T180237Z
UID:10000075-1712937600-1713297600@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/
LOCATION:Massachusetts
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:20240416T120000
DTEND;TZID=America/New_York:20240512T180000
DTSTAMP:20260403T021145
CREATED:20240410T023532Z
LAST-MODIFIED:20240410T185158Z
UID:10000077-1713268800-1715536800@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/
LOCATION:Massachusetts
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:20240416T170000
DTEND;TZID=America/New_York:20240416T190000
DTSTAMP:20260403T021145
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/
LOCATION:Massachusetts
CATEGORIES:Artist Talk,Exhibition,Public Program,Reception,Student Projects
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DTSTART;TZID=America/New_York:20240423T120000
DTEND;TZID=America/New_York:20240430T190000
DTSTAMP:20260403T021145
CREATED:20240419T191537Z
LAST-MODIFIED:20240419T192234Z
UID:10000078-1713873600-1714503600@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
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DTSTART;TZID=America/New_York:20240501T120000
DTEND;TZID=America/New_York:20240630T190000
DTSTAMP:20260403T021145
CREATED:20240527T171024Z
LAST-MODIFIED:20240527T184352Z
UID:10000083-1714564800-1719774000@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
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DTSTART;TZID=America/New_York:20240801T000000
DTEND;TZID=America/New_York:20241005T235959
DTSTAMP:20260403T021145
CREATED:20240527T164628Z
LAST-MODIFIED:20250328T155142Z
UID:10000080-1722470400-1728172799@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
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