CAA News Today

Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.

December 2015

Marks Made: Prints by American Women Artists from the 1960s to the Present
Museum of Fine Arts
255 Beach Drive N.E., St. Petersburg, FL
October 17, 2015–January 24, 2016

The Museum of Fine Arts in St. Petersburg, Florida, presents Marks Made, examining women in printmaking. Featuring over 75 works, including those from the printmaking pioneers Helen Frankenthaler, Lee Krasner, Joan Mitchell, and Anni Albers, the exhibition “conveys the breadth of innovation of both technique and conceptual approaches that have emerged in printmaking over the past 50 years.”

The exhibition draws on the private holdings and from the museum’s extensive collection of prints by American women, including Vija Celmins, Janet Fish, Ellen Gallagher, Yvonne Jacquette, Joyce Kozloff, Barbara Kruger, Hung Liu, Elizabeth Murray, Judy Pfaff, Susan Rothenberg, and Pat Steir. Limited-edition prints by the artists Elisabeth Condon and Jane Hammond were also created in collaboration with the University of South Florida and Bleu Acier Editions. Related programming events include film screenings, drawing workshops, and lectures.

“The printmaking process is an intensely collaborative one, between artist and printer. It is also a highly physical process, requiring strength, stamina, and technical prowess—Marks Made tells the story of what happens in the studio and the resulting artworks.” The themes of the exhibition vary from artist to artist and are loosely grouped, allowing interconnected exploration between themes of abstraction, realism, craft, appropriation strategies, and activism.

Linda Stein: The Fluidity of Gender
Noyes Museum of Art
Stockton University, 733 Lily Lake Road, Oceanville, NJ
September 21, 2015–January 3, 2016

The artist Linda Stein at the Noyes Museum of Art presents sculpture exploring “the continuum between the binaries of masculinity and femininity,” with her mixed-media figurative work. The leather and metal figures, along with use of pop0-cultural icons, embody both the essence of a warrior’s armor and comforting protection. Stein’s work concerns gender, oppression, bullying, strength, power, and justice in contemporary culture.

“My goal as an artist is to use my art to transform social consciousness and promote activism for gender justice,” Stein has said. “With my androgynous forms I invite the viewer to seek diversity in unpredictable ways, to ‘try on’ new personal avatars and self-definitions, knowing that every new experience changes the brain’s structure and inspires each of us toward a more authentic self.”

The tall, vertical sculptures of metal, wood, stones, leather, and images of Wonder Woman, among other materials, are wearable, body-swapping armor. “In my art,” Stein said in a June 2015 interview with A&U Magazine, “I place the female front and center for a social idealism that aims to transform violence, destruction, and fragility into strength for anyone who finds themselves bullied, harassed, or abused.” But while, the armor is distinctively female in many cases, with curves for hips and breasts, the body-swapping moment happens when a woman wears materials normally associated with male warrior attributes and a man wearing armor made to resemble a female form. Other creations by Stein, remain more androgynous, presenting what is normally associated as a male figure from behind, but female when viewed from the front.

what’s INSIDE HER never dies … a Black Woman’s Legacy
Yeelen Gallery
294 NW 54th Street, Miami, FL
December 1, 2015–February 28, 2016

Following Mariette Pathy Allen’s solo exhibition TransCuba, Yeelan Gallery continues its exhibition programming on gender with what’s INSIDE HER never dies … a Black Woman’s Legacy, in collaboration with Poets/Artists Magazine. The opening coincides with Art Basel Miami Beach. This group show features two images from Allen, as well as from twenty-four other artists and activists, including Sylvia Parker Maier, Tim Okamura, Joseph Adolphe, Jerome Siomaud, and Numa Perrier.

The exhibition showcases work in a variety of mediums—portraiture, drawing, photography, and installation—all seeking to “pay homage to the beauty and resiliency of the Black Woman,” said Karla Ferguson, the gallery owner and director. A reception for the artists will take place on Saturday, December 5, 2015, at 10:00 PM.

In her photographs, Allen gained access to photograph transgender peoples and friends in the privacy of their homes, as well as out in public during several visits to Cuba in 2012 and 2013. “The transgender people Allen depicts in TransCuba savor their new freedom to be able to be themselves publicly, while continuing to overcome challenges, such as health issues, and lack of steady work and money.”

In contrast, another artist in the exhibition, Judith Peck, often paints on broken plaster shards, “a world falling apart held together with the very same figure depicted within.” In her painting Pulled Over, a young woman sits in what appears to be the driver’s seat of a vehicle, her arm resting on the window and her head looking down, perhaps waiting. “The paintings are about the more universal message of meaning and preciousness of life healing a broken world.”

In addition to the exhibition, Yeelen Gallery will host a panel discussion at 1:00 PM on December 2, 2015, with Sybrina Fulton, the mother of Trayvon Martin, and Kadiatou Diallo, the mother of Amadou Diallo, who will share their stories and grief along with other activist women.

Ebony G. Patterson: Dead Treez
Museum of Art and Design
2 Columbus Circle, New York, NY 10019

The Museum of Art and Design presents Dead Treez,the first solo New York museum show by the Jamaican-born artist Ebony G. Patterson. The exhibition, which spreads across the museum’s second floor, includes installations, floor tapestries, and a life-sized figural tableau of ten male mannequins dressed in a kaleidoscopic mix of floral fabrics.

Dead Treez is a meditation on dancehall fashion and culture, regarded as a celebration of the disenfranchised in postcolonial Jamaica. Borrowing from social media, her tapestries depict murder victims camouflaged in utterly adorned patterns to seduce viewers into witnessing the underreported brutality experienced by those on the lower rungs of the socioeconomic ladder. Furthermore, the artist fusions her collage sensibility with a selection of jewelry from the museum’s permanent collection, transforming the Tiffany Jewelry Gallery’s vitrines into gardenlike environment of poisonous plants, in which bodies wrapped in patterned fabrics have succumbed to the violence often present in marginalized communities. Here, Patterson addresses how choices in jewelry, clothing, or other forms of personal adornment are means of visibility of populations rendered invisible by poverty and racism. Noting that the names of impoverished communities in Jamaica often include the word “garden” in them, Patterson’s …buried again to carry on going… exacerbates the contrast between places that are designed to be about beauty, growth, life, and the hardships that are daily obstacles in her native country’s inner city.

Patterson, (b. 1981, Kingston, Jamaica) splits her time between Kingston and Lexington, Kentucky. Through her extremely adorned mixed-media installations, the artist seduces viewers, with the intention to challenge them to look closer. Throughout Dead Treez the artist explores and reflects on the concept of “visibility,” raising questions about body politics, performance of gender, gender and beauty, beauty and stereotyping, race and beauty, and body and ritual. Throughout this exhibition, Patterson suggests that the popularity of skin alteration, such as skin bleaching and tattooing, may mean a form of “erasure” motivated by the desire of presence rather than a simple adornment.

The Rocca Family Project

The Rocca Family (RTF) is an ongoing project located in the everyday gestures of togetherness. A togetherness that could be much broader than just two people, proposing not to separate art/work from daily life, while dreaming of not being attached. Defying the traditional concept of traditional family as a terrible structure that imposes the pressure to be happy and the feeling of shame otherwise, TRF proposes a series of moving spaces that encourage art to take on new forms and identities. One of its ongoing research projects, Family, is an examination of different family structures, dynamics, demands, and expectations, and in that offers a reflection of the reasons behind the strict assumption of the family as a core unit to community.

Named after a cat and with a base in San Francisco, TRF challenges also the identity of art, proposing “events” that are simply moments in the timeline of relationships: conversation, meals, and phone calls. Furthermore, displacement, transit, and immigration help form the core of TRF discussions, with a particular attention on personal politics and an international awareness, as well as a sensitivity for domestic, mundane, flashy, sustainable, and unexpected things.

As Amanda Eicher describes the prohect in Who is TRF Series, #1-b: “Round is another way to describe it—leaving the scientific and transportative world of paths, flights, lines, and planes, we can say that it is a space in which many people come around a table, and they are all not necessarily leading not following either but learning—all parts of something which turns or presses outward from a center to meet a margin-frontier. Or it might be they are pressing together from the outside.”

Women Speaking to Power: An Evening of Conversation with Tania Bruguera and Shirin Neshat

School of Visual Arts Theatre
333 West 23rd Street, New York, NY
December 11, 2015

Organized by SVA’s MA Curatorial Practice program, “Women Speaking to Power” will open a conversation between two of the most significant and influential international contemporary practicing today: Tania Bruguera and Shirin Neshat. They will speak with each other about their experiences as citizens and artists, reflecting on how their works approach to gender and politics in their respective homelands, Cuba and Iran, and beyond. This event, which starts at 7:00 PM, is free and open to the public. Seating is on a first-come, first-served basis.

Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.

November 2015

Jumana Manna
Chisenhale Gallery
64 Chisenhale Road, London E3 5QZ UK
September 18–December 13, 2015 

Chisenhale Gallery presents the first UK solo exhibition by the Berlin and Jerusalem–based artist Jumana Manna. The exhibition includes A magical substance flows into me (2015), a newly commissioned, seventy-minute feature-length film presented alongside an installation of sculptures.

Manna (b. 1987) works primarily with film and sculpture, addressing the historical and political resonance of materials and the physical relationships between objects and bodies. For the Chisenhale exhibition, the film was installed alongside a series of hollow plaster sculptures that carry an anthropomorphic charge. Installed in combination with plastic chairs and waste bins, these sculptures articulate a set of contradictions also evident in the film, where the audience seated bodies and sculptures extend the concepts explored in screen into a physical and tangible atmosphere.

A magical substance flows into me explores the different musical traditions of myriad communities living in and around Jerusalem. Inspired by her research on the German-Jewish ethnomusicologist Robert Lachmann (who fled to Israel at the beginning of WWII), the artist revisits different diaspora groups—such as Kurds, Moroccans, Yemenite Jews, Samaritans, Palestinians, Bedouins, and Coptic Christians—whose traditional music Lachmann studied and recorded for the 1930s radio series Oriental Music. This recording was developed for the Palestine Broadcasting Service, established under the British Mandate (1920–1948).

Tracing links between physically, culturally, and linguistically separated communities, while allowing for ideas of the representation of authenticity and heritage to emerge through the possibilities of sound and listening, Manna creates a beautifully poignant film that explores how musical customs create identity and overcome cultural suppression. Waving together fragments Jerusalem’s story, the artist includes her parents as well as herself to reflect a personal connection to the subject within the historical narratives she portrays, a narrative in which the power of music truly transcends politics.

Firelei Báez: Patterns of Resistance
Utah Museum of Contemporary Art
20 S. West Temple, Salt Lake City, UT 84101
September 25, 2015–January 16, 2016

The Utah Museum of Contemporary Art presents Patterns of Resistance, the first solo exhibition of the Dominican artist Firelei Báez, on the occasion of the artist being awarded the prestigious Catherine Doctorow Prize for Contemporary Painting. This prize is given by the museum and the Jarvis and Constance Doctorow Family Foundation “to an emerging or mid-career painter whose work expresses a great range of talent and forward thinking within a contemporary idiom.”

Born in 1981 in Santiago de los Caballeros, Dominican Republic, Báez is best known for her large-scale intrincate works on paper. Her laborious studio practice draws together her interest in anthropology, science fiction, black female subjectivity, and women’s work. Throughout her work, Báez explores the humor and fantasy involved in self-making within diasporic societies, a process that implies an individual and creative capability to coexist with cultural ambiguities.

Inspired by lineages of black resistance, Báez’s work traces the history of social movements in the United States and the Caribbean. Throughout Patterns of Resistance, the artist interweaves the lives of eighteenth-century black women in Louisiana and the Cuban roots of the Latin American azabache with symbols used in the US during the tumultuous 1960s. Her paintings and drawings depict textiles, hair designs, and body ornaments linking traditionally loaded symbols with individual human gestures. Primarily focusing on female figures and their subjectivities, Báez has a labor-intensive process that reveals new emblems of power and invokes disparate patterns of resistance within the African diaspora while proposing the illumination of obscured narratives of identity.

Oliver Pickle and Ruth West: She Is Sitting in the Night: Re-visioning Thea’s Tarot
Book, available from Metonymy Press

Described as “a contemporary queer re-visioning of a beautiful feminist tarot deck,” She Is Sitting in the Night by the author and tarot reader Oliver Pickle, with the artist Ruth West, re-presents West’s original feminist drawings from Thea’s Tarot and rejects the “normative readings of the figures and imagery on the decks they discuss.”

The 192-page book features copies of the original seventy-eight drawings by West along with new interpretations celebrating both queer and feminist cultural production. Thea’s Tarot, originally released in 1984, features black and white cut-paper silhouettes, replacing the figures with all women, including child, daughter, mother, and amazon.

Pickle, through their interpretations of West’s work, challenges the heteronormative relationships to figure and body. This intergenerational conversation draws on the relationships between radical feminism of the 1970s and the evolving relationships to gender identity. Where West’s drawings replace male figures, such as the Emperor, with a woman, and the card for Lovers is a paper cut of two females, Pickle uses the absence of commentary by West to reframe the relationship between image/text and gender identity.

The book and drawings are designed to fit a specific need within the tarot community, but they also function as an example of artistic production shifting the binary representation of figure to a more fluid role. In an interview Pickle describes their interpretations of West’s drawings by not “imagining a sexual or gender identity for the person I am speaking to, so they can do interpretations of themselves.”

Nancy Cohen: Hackensack Dreaming
Schuylkill Center for Environmental Education
8480 Hagy’s Mill Road, Philadelphia, PA
November 5–December 19, 2015

Nancy Cohen’s Hackensack Dreaming, at the Schuylkill Center for Environmental Education, fuses the artistic process with environmental education. The large-scale installation of handmade paper, glass, and rubber is the culmination of more than two years of Cohen’s work and time spent in a section of the Mill Creek Marsh tucked behind strip malls and a wastewater treatment plant along the New Jersey Meadowlands.

Exploring Cohen’s installation is to enter a world constructed by the human hand through manipulation of raw materials, a parallel not unlike the reality of marsh. In a subtle self-referential manner, the organic ingredients that constitute the hand-made paper and glass are documents of the natural world.

The installation serves as a document to the soul of the marsh and its own constructed reality. Hackensack Dreaming is rife with referential essence: translucent glass objects hint at cedar forest poking up through the water on an icy New Jersey day, and liquid rubber poured on the paper suggests, interchangeably, a wet or toxic surface.

“I want the viewer to move through Hackensack Dreaming discovering and finding connections—compelled by the beauty and strangeness,” says Cohen, who lives and works in Jersey City, New Jersey. Discovering, likewise, the fragility and strength found in both the installation and natural world by means of physical experience. Through conscious levels of manipulation of materials, Cohen “makes literal the delicate, ephemeral balance” of the marsh. The audience is invited to walk among the work, either by the narrow path at the center of the installation or by delicately placing one’s feet among the glass sculptures and maneuvering one’s body through the realities of Hackensack Dreaming.

Patricia Johanson: Environmental Remedies: Restoring Soil and Water
Winter Visual and Performing Arts Center
60 West Cottage Avenue, Millersville, PA
October 22–December 11, 2015

Related programming:
Conrad Nelson Fellow: Patricia Johanson, Artist Lecture
Ware Center, Millersville University
42 North Prince Street, Lancaster, PA
November 3, 2015, 7:30 PM

Panel discussion:
Ecological Art: Reconstructing Humanity’s Relationship with the Environment
Betsy Damon, Patricia Johanson, and Sue Spaid
Ware Center, Millersville University
42 North Prince Street, Lancaster, PA
November 4, 2015, 7:00 PM

Gallery Talk:
November 4, 2015, 3:00 PM

The Winter Visual and Performing Arts Center at Millersville University will feature work by the artist Patricia Johanson. As the 2015–16 Conrad Nelson Fellow, Johanson has combined sculptural projects, art, ecology, landscaping, and functional infrastructure to remedy environmental degradation and restore ecosystems. Trained as an artist and architect, she has transformed landfills into parks, restored lagoons, conserved land polluted by acid mine drainage and built water gardens that function as treatment plants.

In her 1969 commission by House & Garden, Johanson produced 150 drawings with essays and explanatory notes departing from traditional garden design. “Her images, drawn from precise botanical and biological sources, loop, uncoil, and crawl elegantly across the land, evoking evolution, life, and movement.”

One of Johanson’s early ecological artworks, Fair Park Lagoon in Dallas (1981), transformed the eroding shoreline and water contaminated with algal blooms into a thriving ecosystem. The park was fitted with gigantic, terra-cotta-colored Gunite sculptures that doubled as pathways as well as perches for birds and turtles as the work snaked its way through the park land and water. Fair Park Lagoon in Dallas continues to serve as a place of education and recreation.

In conjunction with her exhibition and the Conrad fellowship, Johanson will present an artist lecture at the Ware Center on November 3, 2015. Additionally, Johanson, along with the ecoartist Betsy Damon and the curator Sue Spaid, will participate in a panel discussion, “Ecological Art: Reconstructiong Humanity’s Relationship with the Environment,” on November 4, 2015. The panelists will discuss their outdoor sculptural projects designed to remedy environmental degradation and strengthen the planet’s weakened defenses.

Our Mother’s House: a multi-component program dedicated to empowering female artists and safeguarding cultural heritage in southern Saudi Arabia
United Nations Headquarters
New York, NY
November 16–27, 2015

Art Jameel, Edge of Arabia, and the Permanent Mission of Saudi Arabia to the United Nations present Our Mother’s House, a program that aims to draw attention to the urgent need of cultural-heritage protection and the equal representation of women in the Middle East.

The launch of this program will include an art exhibition of specially commissioned mural painting that celebrates the centuries-old tradition of (Majli) house-painting by skilled female artisans from the village of Rijal Alma, located in the southwestern region of Saudi Arabia. Highlighting the crucial role that Asiri female artists have played in the composition and archiving of their local history, Our Mother’s House means a celebration the creativity and determination of women artists who play an extraordinary role in preserving the cultural identity of their communities.

Project advisors include the artist Arwa Alnaemi, whose work explores the relationship of women to larger Saudi Society, and Asiri house painter Fatimah Jaber, who is also founder of Fatimah Museum in Abha.

For more information or to request a private tour of the exhibition, please email Mohammed Shaker.

Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.

October 2015

Dress/Shield
Lump Project
505 South Blount Street, Raleigh, NC 27601
October 2–31, 2015

Lump Project celebrates its twentieth anniversary in Raleigh, North Carolina, with Dress/Shield, an exhibition by six female artists whose identity as women underpin the work. Represented in the exhibition are: Leah Bailis, Philadelphia, Pennsylvania; Lee Delegard, Brooklyn, New York; Lydia Moyer, Covesville, Virginia; Molly Schafer, Chicago, Illinois; Tory Wright, Greenville, South Carolina; and Laura Sharpe Wilson, Salt Lake City, Utah.

Each artist has a history of showing at Lump, and the exhibition will feature diverse processes, including sculpture, textiles, video, photography, and works on paper. “This group show is an opportunity to see how the perception of those voices changes when they are in chorus and to explore the connections between the work of women artists who are disparate in geography and media.”

“Schafer and Wright respond to recent motherhood with drawing, photographs and intricate paper-cut (respectively) while Moyer frames the experience of being female through text-based work that references local and national politics. Bailis does so with quilts that double as full-body masks; Delegard uses painting and sculpture to explore relationships between desire, consumerism, and the body. Sharpe Wilson, whose practice is most often painting, expands on her nature-inspired work with an installation of newly created textiles referencing historical social concerns.”

Cover of the exhibition catalogue for Public Works: Artists’ Interventions 1970s–Now

Public Works: Artists’ Interventions 1970s–Now
Mills College Art Museum
5000 MacArthur Boulevard, Oakland, CA 94613
September 16–December 13, 2015

The Mills College Art Museum explores the public practice by women artists from the 1970s to the present. The multimedia exhibition includes audio, documentation, ephemera, photography, prints, and video examining “the inherent politics and social conditions of creating art in public space,” and examining public works beyond monumental artworks.

“Public Works focuses on the often small but powerful temporary artistic interventions found online and in the urban environment. Through various tactics, the exhibition explores themes of public space, public expression, public action, public platforms, and public life through the evolving lens of participatory projects, socially engaged performance, and political action, among other media.”

Featured are the artists Amy Balkin, Tania Bruguera, Candy Chang, Minerva Cuevas, Agnes Denes, Tatyana Fazlalizadeh, Karen Finley, Coco Fusco, the Guerrilla Girls, Sharon Hayes, Lynn Hershman Leeson, Jenny Holzer, Emily Jacir, Suzanne Lacy, Marie Lorenz, Susan O’Malley, Adrian Piper, Laurie Jo Reynolds and Tamms Year Ten, Favianna Rodriguez, Bonnie Ora Sherk, Stephanie Syjuco, and Mierle Laderman Ukeles. New commissions include performances by Constance Hockaday and Jenifer K. Wofford, produced in collaboration with Southern Exposure (San Francisco, California). A full-color catalogue with texts by María del Carmen Carrión, Courtney Fink, Christian L. Frock, Leila Grothe, Stephanie Hanor, Meredith Johnson, and Tanya Zimbardo is available.

Faith Wilding: Fearful Symmetries
Armory Center for the Arts
145 North Raymond Avenue, Pasadena, CA 91103
September 26, 2015–January 3, 2016

The Armory Center for the Arts features the performance artist Faith Wilding’s first retrospective from her studio practice spanning the past forty years. Highlights include works on paper, including drawings, watercolors, collage, and paintings. The exhibition focuses on themes of “becoming,” with Wilding’s work exploring pivotal moments between private and public.

“Viewed together in this exhibition, her work makes a powerful impression about psychological and physical transition and transformation. In the depiction of the chrysalis and the embryo, for example, gestation is suggested, while in imagery of tears, wounds, and ‘recombinant’ bodies, emergence and materialization are pronounced. The sum of these parts provides a unique account of how themes of emergence were central to Wilding’s articulation of feminism, and her own reflections on a childhood growing up in an intentional Christian commune.”
Wilding, a prominent in the formation of the first Feminist Art Program, in Fresno, California, in 1970, and later at California Institute of the Arts, was also a contributor to the famous Womanhouse exhibition housed in an abandoned mansion in Los Angeles in 1972, where she performed Waiting.

The traveling exhibition is organized by Threewalls in Chicago, Illinois. Concurrently OxyArts Gallery at Occidental College will present selections from Wilding’s archive that document her work with the collaborative research and performance group subRosa, rare videos of performances made throughout her career, and papers and publications dating from her participation in the feminist art movement in the 1970s.

Women’s Art Society II
MOSTYN
Galleries 2 + 3, 12 Vaughan Street, Llandudno LL30 1AB, Wales, UK
July 18–November 1, 2015

MOSTYN presents the second edition of Women’s Art Society. Curated by Adam Carr, Women’s Art Society II is the fourth in a series of exhibitions that reflects on the rich heritage and history of the gallery building. Each exhibition in the series will examine the history of MOSTYN and its building, and how that history is tied to events beyond its context locally, nationally and internationally. With the aim to update the spirit of the original Ladies’ Art Society, this particular exhibitions discusses the history of MOSTYN and its building, while bridging the divide between past and present.

Women’s Art Society II follows an exhibition presented in October 2013 that took as its starting point the gallery’s founding in 1902. Mostyn Art Gallery was commissioned by Lady Augusta Mostyn and the first gallery in the world built specifically as a home for the presentation of artwork by female artists, in this case the work of the Gwynedd Ladies’ Art Society, who were denied membership of male-dominated local art societies on the basis of their gender. Women’s Art Society II continues the spirit of the original Ladies’ Art Society, inviting nine internationally active female artists to introduce work in the gallery space more than one hundred years later. This exhibition is also a survey of the discipline of painting today since the works in display ranges of approaches, styles, and conceptual concerns about the continued relevance of painting.

The exhibition includes works by Cornelia Baltes, Sol Calero, Ditte Gantriis, Lydia Gifford, May Hands, Jamian Juliano-Villani, Ella Kruglyanskaya, Shani Rhys James, and Caragh Thuring. Artworks on view are linked to the history of the original society by the way in which they examine the politics of gender, identity, and regulation, and aspects of exclusion and prejudice.

Shahzia Sikander: Parallax
Guggenheim Bilbao
Avenida Abandoibarra, 2, 48009 Bilbao, Spain
July 16–November 22, 2015

The Guggenheim Museum Bilbao’s film and video room is currently inhabited by Parallax, Shahzia Sikander’s three-channel animation work. The installation, composed of hundreds of digitally animated images, combines abstract, representational, and textual forms that coexist and urge for domination. Along the moving images, human voices recite in Arabic six poems written specifically for the video on subjects that oscillate from regional historic context to reflections on human nature. In fact, that fluctuation reflects Parallax’s inspiration by the idea of conflict and control. Focused on the geostrategic position of the Strait of Hormuz and the area’s historical power tensions, such concepts emerge as the core themes of a perspective stretching from modern history to the postcolonial period. Underpinning the narrative is Sikander’s interest in paradox, societies in flux, and formal and visual disruption as a means to cultivate new associations.

The Pakistani-born American artist Shahzia Sikander (1969) is best known as a pioneer in translating the formal constructs of Indo-Persian miniature painting in a variety of formats and mediums in contemporary art, including video, animation, and mural, as well as for her collaborations with other artists.

Zina Saro-Wiwa: Did You Know We Taught Them How to Dance?
Blaffer Art Museum
University of Houston, 120 Fine Arts Building, Houston, TX 77204
September 26–December 19, 2015

Did You Know We Taught Them How to Dance? is the first solo museum exhibition of the British-Nigerian artist Zina Saro-Wiwa. It will open at Blaffer Art Museum in September 2015 and travel to the Krannert Art Museum in 2016.

Saro-Wiwa (Nigeria, 1976) has left a journalism background to change (and challenge) the way the world saw Africa. This is made evident in the new photographs, video, and a sound installation produced in southeastern Nigeria from 2013 to 2015. The project engages Niger Delta region residents both as subjects and collaborators and reflects the complex and expressive ways in which people live in an area historically fraught with the politics of energy, labor, and land, while making visible the cultural, spiritual, and emotional powers propelling the region, addressing also the global circulation of energy capital.

Being the artist’s current interest focused in mapping emotional landscapes, Did You Know We Taught Them How to Dance? unfolds a narrative device that renders environmental and emotional ecosystems as inseparable. Through the exploration of highly personal experiences and a carefully recorded choreography, Saro-Wiwa makes tangible the space between internal experience and outward performance. The exhibition uses folklore, masquerade traditions, religious practices, food, and Nigerian popular aesthetics to test art’s capacity to transform and to envision new concepts of environment and environmentalism. The artist reflects on spirit, emotion, and culture at the center of the conversation by titling the exhibition with a phrase from a private conversation between her and her father, the late writer, environmentalist, and human rights activist, Ken Saro-Wiwa.

For the Blaffer Art Museum, Saro-Wiwa will also stage a feast performance called The Mangrove Banquet: A love letter to the Niger Delta, offering her guests an opportunity to ingest the region’s agricultural bounty, “an experience designed to elicit the triumph of nature, imagination and the feminine over political despair.”