Mestisx Filipinxs in the Midwest Fe Rowland of FANHS-MI will moderate a panel discussion on Mestisx identity (persons of mixed racial descent) by Alejandro T. Acierto, Aurora Esperanza Harris, and Terese Guinsatao Monberg. Panelists will discuss how their Mestisx identities are connected to historical social struggles, art, education, and community engagement.
One of four residencies made possible by a 2017 Propeller Fund grant, these residencies are conceived as platforms for experimental responses to the ongoing project of The Back Room and its unique context in the realm of Kim's Corner Food and Thomas Kong's practice.1371 West Estes Avenue, organizers Dan Miller and Nathan Abhalter Smith are excited to transition the focus of their programming from an exhibition space to a nakedly work-in-progress-driven operation.
Curated by Thea Quiray Tagle, AFTER LIFE (what remains) is an multi-genre visual art and performance exhibition that stages a conversation between Asian Pacific American and indigenous artists around the question: what new strategies are needed to survive after environmental catastrophe and military intervention, by communities facing displacement and dispossession? How can speculation, humor, and fantasy fuel larger movements for social change around the Pacific Rim—from the Pacific Northwest, to California, to Southeast and East Asia—and in the heartland of the USA?
The 2nd annual Graduation Banquet for Asian/Pacific Islander American Students with ELEVATE. This is a gathering of graduating students and loved ones to celebrate the accomplishments of the APIA community at DePaul. As part of the reception, there will be a performance by DePaul's Asian Cultural Exchange student organization, a keynote address by Alejandro T. Acierto, and a gift for graduates.
For the panel "Experiencing Vision and Space in the American Empire", I will present my paper "Sustained constraint: Locating the colonial imaginary through material abstractions of the breath" that discusses the US colonial project in the Philippines as sustained through structures that constrained and/or prohibited Filipino breath.
The Dangerous Professors, a curatorial project by Ruslana Lichtzier, works to counteract the pervasive right wing forces that jeopardizes civil, artistic and academic freedom. The project employs exhibitions, public programs, and an accompanying website to serve as a platform for the collective development of strategies toward the idea of radical education.
text: YOUARENEVERALWAYSHERE is an exploratory work that ruminates on the nonlinear. Enclosed within an enclosure and pushing out from within, the box of Box Gallery becomes a placeholder for an unpredictable set of new material that emerges from inside. As a site that is an object but also utilitarian in nature, the box withholds the capacity for a recognition of space, one that upends the linearity of progression as other dimensions complicate the singular. Using Box Gallery as a point of departure, as one that allows for the space of Compound Yellow to become activated through performance, this multichannel sound performance opens up a recognition of place through a series of fixed and unfixed events that may happen in the space.
Curated by Amina Ross and Justin Chance, ECLIPSING challenges the concept of the eclipse as a metaphor for disempowerment and creates a variety of platforms for artists who have found inspiration and strength in their own definitions of darkness.
Curated by Amanda Deboer, I'll present some work for the Generator Series at the Kaneko with another set by The Afield.
more info coming soon!
Speaking on a panel "Archiving Mixed Race" for the Critical Mixed Race Studies Association, I'll present my paper "Ambiguous Objects" that considers a what multiracial archive can look like and how it begins to unsettle the ways archives have been understood.
Presenting on a panel "Evasive Articulations in the Age of ‘Fake News’", I will speak on two relatively new projects that look to transform the archive through different tactics in a paper titled "Recalibrating the Archive: Insurgent acts and strategies of renewal".
Performing a guest recital for the Department of Performing Arts Technology.
Cavities (2014) for amplified circular breath in 2 channels
upon the horizon, a space of unknowing (2017-18) for contrabass clarinet, fixed media, transducers, and live processing in 3 channels
Transmit 3.x (2016-ongoing) for voice, fixed media, and live processing in 4 channels (20-25 minutes in one part)
I have been invited as a guest to give my lecture "Re/figuring mechanical disruption and the mediated body" which begins with two recorded projects completed between 2013-2014 and leads towards a expansive performative practice. Considering how mediation informs my musical and installation-based works for contrabass clarinet, voice, and the breath, I will address how material consequences of technologies and their sonic affect alter my performance practice. Drawing upon the idea that amplification technologies become a sort of sonic prosthesis that transmits the body, the works I will present highlight the tensions between the body and its mediation and consider the ways sound in an expanded field can be articulated within and through technology.
In the absence of sight is a new body of work that draws on the erasures of Pilipinx people by American occupiers during the era of US colonialism in the early 1900s. T
As part of an ongoing series of projects surrounding the breath, this evening of new collaborative performance works include projects that seek to materialize exchange. Three new works will be developed between Soheila Azadi, Jason Charney, and Jenna Lyle as part of a residency at DFBRL8R Gallery in Chicago.
More info coming soon!
MUSCLE MEMORY will be an interdisciplinary exhibition dedicated to rituals and ritual-based art. It will explore the repetitive, deliberate patterns of action that make up our days, the acts not done to produce an outcome, but because they must be done, how they must be done. The show will run from October 4th-7th in the Stella Elkins Gallery at Tyler School of Art.
I'm excited to be included in this year's Terrain Biennial, an international exhibition of site-specific art made for front yards, balconies, and porches.
Centered in the historic village of Oak Park, IL, 2017 Biennial will open on Sunday, October 1st with a block party in Oak Park, IL and run until November 15th. A map of all locations and the dates of the openings for each neighborhood will be posted to www.terrainexhibitions.com.
Continuing a massive expansion that began with the second Terrain Biennial, Terrain has reached out to sites all across the country as well as internationally. In the 2015 Biennial, 75 artists and three collectives created site interventions at over 60 locations around the Chicagoland area, the US and abroad.
This new project is curated as part of Richard Medina's Box Gallery which will be shown in Oak Park. More details coming shortly!
Alejandro T. Acierto will discuss his recent body of work that draws on the photographic and ephemeral archive from the era of US colonialism in the Philippines as a way to theorize and reimagine historically marginalized bodies through the history of their erasure. Centered around themes of the breath and survival, Acierto employs repurposed and transformed archival objects, fabricated mythologies, and reimagined “historical” ephemera as ways to investigate the breath as though it were part of anthropological study. Within this body of work, he articulates mechanisms of bodily control through these material histories and expands upon these archives and ephemera so as to assert other ontologies of being.
Members of contemporary music group Ensemble Dal Niente respond to works from the Art Institute collection with a series of in-gallery performances in the Ando Gallery and elswhere. The event concludes with a large-scale performance in Griffin Court of Artificial Life (2007), a work by composer and musician George Lewis that strives for a structured improvisation experience through an open form score.
Filter Photo is pleased to showcase an exhibition of small prints. Artists were asked to submit works 10 x 10 inches or less for this call for work. Juror, Jennifer Keats, Director of The Donut Shop, chose a compelling assortment of small works.
Pilot Projects is pleased to announce IDLE HANDS - Further Adventures in Metaphysical Arbitrage : 100 Years of the Readymade, a project co-organized with Chicago-based artist and curator Brandon Alvendia. An alternative take on the 100th anniversary of Fountain by Marcel Duchamp, IDLE HANDS highlights the work of dozens of local and national artists in an open-call exhibition and readymade competition. The event on September 9th will have the dual function of opening reception and awards ceremony. Cash, trophies, and other prizes will be awarded to artists selected by a panel of judges including: Erica Battle (PMA), Blake Bradford (Lincoln/Barnes), Kate Kraczon (ICA), and viewers like you!
A surface is only as hard as its pores is a work-in-progress performance work with video and sound that speculates the relationships between house plants, colonialism, and the breath. Performed twice as part of the Chicago Theater Marathon at Strawdog theater.
Friday @ 8:15pm
Saturday @ 2:15pm
Philadelphia-based composer Gene Coleman returns to the Ren for a dynamic performance of material from a new forthcoming media opera.
Featuring acclaimed bass-baritone Nicholas Isherwood and Ensemble NJP, Dreamlives of Debris is based on a novel by Lance Olsen that reimagines the myth of the Minotaur and labyrinth. While drawing on the lasting power of the myth, brought to life here by Isherwood’s voice, Coleman also integrates cultural sources as varied as Japanese Bunraku theater, manga, Monteverdi’s operas, and neuroscience research. The works will be staged by renowned director Luca Veggetti, known for his magical use of movement and light.