CUNSTHAUS
EXHIBITION ARCHIVE
STRANGER IN PARADISE OR
HOW I LEARNED TO STOP WORRYING AND LOVE EL SON
An Exhibition + Performance by musician Beatriz Monteavaro
CUNSTHAUS
October 27 – November 4, 2018
Opening :: October 27, 7–9pm
Cunsthaus presents Stranger in Paradise or How I Learned to Stop Worrying and Love el Son, a new installation by Beatriz Monteavaro. Monteavaro, artist and drummer for the band Holly Hunt, will be mapping a musical journey that reignited Monteavaro’s love of Cuban music. Monteavaro is a Cuban-born artist whose work is influenced by the 1970’s English New Wave music scene, Universal Studios monster movies and other creature features, and the fantasy environments at Disney Theme Parks. This new installation for Cunsthaus traces a journey that inspired her love of Cuban music. The opening reception at Cunsthaus is on Saturday, October 27 from 7–9pm featuring a performance by Monteavaro with Susan Dickson-Nadeau (Permanent Makeup and Piss Ghost) at 8 pm. The installation will be on view from October, 27–November 24.
The development of Monteavaro’s passion for Cuban music was circuitous in nature, drawing upon musical influences such as English New Wave bands Bow Wow Wow, Siouxsie and the Banshees, and Adam and the Ants’ use of a Burundi drum sound. Monteavaro was also inspired by her love of the adventure-land sound of Webley Edwards’ “Fire Goddess” and the work of jazz vibraphone and marimba player, Arthur Lyman. Quite naturally, Monteavaro’s experience as a drummer led to an exploration of Nigerian beats and finally to her reunion with Cuban music, and in particular, the pre-Revolutionary Mambo and Son.
Beatriz Monteavaro was born in Cuba, and received a BFA from Tyler School of Art at Temple University. Her work has been exhibited in venues such as Annina Nosei Gallery, New York; Miami Art Museum, Miami; Museum of Contemporary Art, North Miami; NFA Space, Chicago; The National Museum of Women in the Arts, Washington D.C; Tent, Rotterdam; Galerie Edward Mitterrand, Geneva; Galerie Emmanuel Perrotin, Paris; The Patricia and Phillip Frost Museum at FIU, Miami, among others. She has had solo exhibitions at Las Cienegas Projects, Los Angeles; Derek Eller Gallery, NYC; Galerie Sultana, Paris; Locust Projects, Miami; Fredric Snitzer Gallery, Miami; Emerson Dorsch Gallery, Miami; The University Galleries at Florida Atlantic University, Boca Raton, and The Gulf Coast Museum of Art in Largo, FL. Her work has been reviewed and featured in Flash Art, ArtUS, ArtNews and Art Papers. In 2017, her band Holly Hunt released a self-titled 12” single. She recently released a zine called X-Star and the Super Weird Aliens, through Ruins Publishers. Monteavaro lives and works in Miami.
HOW I LEARNED TO STOP WORRYING AND LOVE EL SON
An Exhibition + Performance by musician Beatriz Monteavaro
CUNSTHAUS
October 27 – November 4, 2018
Opening :: October 27, 7–9pm
Cunsthaus presents Stranger in Paradise or How I Learned to Stop Worrying and Love el Son, a new installation by Beatriz Monteavaro. Monteavaro, artist and drummer for the band Holly Hunt, will be mapping a musical journey that reignited Monteavaro’s love of Cuban music. Monteavaro is a Cuban-born artist whose work is influenced by the 1970’s English New Wave music scene, Universal Studios monster movies and other creature features, and the fantasy environments at Disney Theme Parks. This new installation for Cunsthaus traces a journey that inspired her love of Cuban music. The opening reception at Cunsthaus is on Saturday, October 27 from 7–9pm featuring a performance by Monteavaro with Susan Dickson-Nadeau (Permanent Makeup and Piss Ghost) at 8 pm. The installation will be on view from October, 27–November 24.
The development of Monteavaro’s passion for Cuban music was circuitous in nature, drawing upon musical influences such as English New Wave bands Bow Wow Wow, Siouxsie and the Banshees, and Adam and the Ants’ use of a Burundi drum sound. Monteavaro was also inspired by her love of the adventure-land sound of Webley Edwards’ “Fire Goddess” and the work of jazz vibraphone and marimba player, Arthur Lyman. Quite naturally, Monteavaro’s experience as a drummer led to an exploration of Nigerian beats and finally to her reunion with Cuban music, and in particular, the pre-Revolutionary Mambo and Son.
Beatriz Monteavaro was born in Cuba, and received a BFA from Tyler School of Art at Temple University. Her work has been exhibited in venues such as Annina Nosei Gallery, New York; Miami Art Museum, Miami; Museum of Contemporary Art, North Miami; NFA Space, Chicago; The National Museum of Women in the Arts, Washington D.C; Tent, Rotterdam; Galerie Edward Mitterrand, Geneva; Galerie Emmanuel Perrotin, Paris; The Patricia and Phillip Frost Museum at FIU, Miami, among others. She has had solo exhibitions at Las Cienegas Projects, Los Angeles; Derek Eller Gallery, NYC; Galerie Sultana, Paris; Locust Projects, Miami; Fredric Snitzer Gallery, Miami; Emerson Dorsch Gallery, Miami; The University Galleries at Florida Atlantic University, Boca Raton, and The Gulf Coast Museum of Art in Largo, FL. Her work has been reviewed and featured in Flash Art, ArtUS, ArtNews and Art Papers. In 2017, her band Holly Hunt released a self-titled 12” single. She recently released a zine called X-Star and the Super Weird Aliens, through Ruins Publishers. Monteavaro lives and works in Miami.
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MIGRANT MOTHERS
Group Exhibition :: Curated by Libbi Ponce + Alyssa Cordero
Artists include: Amra Causevic, Daniella Ellinger, Monilola Illupeju, Jezabeth Gonzalez, Mitsuko Brooks, Laura Meckling, and Megan Corley
CUNSTHAUS
August 3 – 31, 2018
Opening :: August 3, 7–9pm
CUNSTHAUS is pleased to present Migrant Mothers S.1, curated by Libbi Ponce and Alyssa Cordero. Migrant Mothers is a series of exhibitions aimed at increasing visibility of artists who are immigrant mothers or children of immigrant mothers. The first installment in the series, on view August 3 – 31st, includes women artists of diverse heritage, adapting to the cultural landscape of the United States. The artists work in a variety of mediums and include: Amra Causevic (Bosnia), Daniella Ellinger (El Salvador), Monilola Illupeju (Nigeria), Jezabeth Gonzalez (Puerto Rico), Mitsuko Brooks (Japan), Laura Meckling (Korea), and Megan Corley (Philippines).
The series originated from a place of gratitude for the labor of the curators’ own mothers: working-class immigrants fulfilling the roles of primary caretakers and income producers, while delaying their own aspirations to ensure the betterment of their children. This curatorial project provides an analysis of matrilineality in relation to the migrant experience. Such examination explores ideas of intergenerational cultural dissonance, survival dynamics, geographical dislocation, and emotional stability.
Migrant Mothers highlights the nuances within these lives of assimilation and cultural preservation. Within this duality, shared experiences arise: recognition as the other, cognizance of expectation, and dissonance of cultural knowledge. As this exhibition developed, two major moments in American society have expanded the significance of these curatorial concepts (or initiatives): the Supreme Court upholding the travel ban and the inhuman treatment and separation of immigrant families crossing the southern border. Through additional exhibition programming, CUNSTHAUS aims to create dialogue and civic action within our community to protect and support the rights of immigrants.
ABOUT THE CURATORS
• Alyssa Cordero is a first generation Dominican-Puerto Rican-American curator and art historian.
• Libbi Ponce is a first generation Ecuadorian American artist working in video, installation, and performance.
• Together they hope to increase visibility and dialogue of people of color and their marginalized stories
Group Exhibition :: Curated by Libbi Ponce + Alyssa Cordero
Artists include: Amra Causevic, Daniella Ellinger, Monilola Illupeju, Jezabeth Gonzalez, Mitsuko Brooks, Laura Meckling, and Megan Corley
CUNSTHAUS
August 3 – 31, 2018
Opening :: August 3, 7–9pm
CUNSTHAUS is pleased to present Migrant Mothers S.1, curated by Libbi Ponce and Alyssa Cordero. Migrant Mothers is a series of exhibitions aimed at increasing visibility of artists who are immigrant mothers or children of immigrant mothers. The first installment in the series, on view August 3 – 31st, includes women artists of diverse heritage, adapting to the cultural landscape of the United States. The artists work in a variety of mediums and include: Amra Causevic (Bosnia), Daniella Ellinger (El Salvador), Monilola Illupeju (Nigeria), Jezabeth Gonzalez (Puerto Rico), Mitsuko Brooks (Japan), Laura Meckling (Korea), and Megan Corley (Philippines).
The series originated from a place of gratitude for the labor of the curators’ own mothers: working-class immigrants fulfilling the roles of primary caretakers and income producers, while delaying their own aspirations to ensure the betterment of their children. This curatorial project provides an analysis of matrilineality in relation to the migrant experience. Such examination explores ideas of intergenerational cultural dissonance, survival dynamics, geographical dislocation, and emotional stability.
Migrant Mothers highlights the nuances within these lives of assimilation and cultural preservation. Within this duality, shared experiences arise: recognition as the other, cognizance of expectation, and dissonance of cultural knowledge. As this exhibition developed, two major moments in American society have expanded the significance of these curatorial concepts (or initiatives): the Supreme Court upholding the travel ban and the inhuman treatment and separation of immigrant families crossing the southern border. Through additional exhibition programming, CUNSTHAUS aims to create dialogue and civic action within our community to protect and support the rights of immigrants.
ABOUT THE CURATORS
• Alyssa Cordero is a first generation Dominican-Puerto Rican-American curator and art historian.
• Libbi Ponce is a first generation Ecuadorian American artist working in video, installation, and performance.
• Together they hope to increase visibility and dialogue of people of color and their marginalized stories
RIDE OF THE VALKYRIES
Recent Works by Meg Leary
June 23 – July 21, 2018
CUNSTHAUS
Opening :: June 23, 2018 :: 6-9PM
Tempus Projects resident artist, Meg Leary's Ride of the Valkyries is scheduled to open Friday, June 23rd at 6pm. Leary is in residency at Tempus Projects in collaboration with CUNSTHAUS this month until June 26th.
Ride of the Valkyries is artist Meg Leary’s first show in Tampa. The feature work on view are nine gold-leafed hairdryers that represent the valkyries (Brünhilde, Waltraute, Helmwige, Gerhilde, Siegrune, Schwertleite, Ortlinde, Grimgerde and Rossweisse) portrayed in Wagner's epic Opera Der Ring des Nibelungen. The hairdryers spin and sing, flying through the air in chaotic patterns. In Norse mythology, the Valkyries were female warriors send by the god Odin to who fly through the air deciding who lives and dies in battle. During this tumultuous political moment, Leary’s sound sculptures are a physical manifestation of the contradictions of women in the world.
Meg Leary (b. 1978) is a Chicago-based performance, sound and visual artist. She began her career as an opera singer, which has since become the foundation for the visual and performative works she creates. Over the past decade, she has been developing a series of performances, videos, sculptures and compositions based on the public perception of the “diva.” These pieces examine issues of femininity, queerness, fatness and voicelessness.
Leary has an MA degree in Performance Studies from New York University’s Tisch School of the Arts and an MFA degree in Studio Art from the School of the Art Institute of Chicago. She received her BA from Smith College and vocal training at The Boston Conservatory. Her work has been shown at a variety of venues including the Chicago Artists Coalition, Gallery 400, EXPO Chicago, ACRE Gallery, SOHO House, Chicago Artists Coalition, Subterranean, The Museum of Contemporary Art Chicago, NADA, Elastic Arts, The Hideout, The Whistler, Mana Contemporary, Kendall College of Art & Design, Peanut Gallery, Links Hall, Hemispheric Institute of Performance and Politics, and more. Leary is currently a resident of the HATCH program at the Chicago Artists Coalition and the High Concept Laboratories Sponsored Artist Program.
Recent Works by Meg Leary
June 23 – July 21, 2018
CUNSTHAUS
Opening :: June 23, 2018 :: 6-9PM
Tempus Projects resident artist, Meg Leary's Ride of the Valkyries is scheduled to open Friday, June 23rd at 6pm. Leary is in residency at Tempus Projects in collaboration with CUNSTHAUS this month until June 26th.
Ride of the Valkyries is artist Meg Leary’s first show in Tampa. The feature work on view are nine gold-leafed hairdryers that represent the valkyries (Brünhilde, Waltraute, Helmwige, Gerhilde, Siegrune, Schwertleite, Ortlinde, Grimgerde and Rossweisse) portrayed in Wagner's epic Opera Der Ring des Nibelungen. The hairdryers spin and sing, flying through the air in chaotic patterns. In Norse mythology, the Valkyries were female warriors send by the god Odin to who fly through the air deciding who lives and dies in battle. During this tumultuous political moment, Leary’s sound sculptures are a physical manifestation of the contradictions of women in the world.
Meg Leary (b. 1978) is a Chicago-based performance, sound and visual artist. She began her career as an opera singer, which has since become the foundation for the visual and performative works she creates. Over the past decade, she has been developing a series of performances, videos, sculptures and compositions based on the public perception of the “diva.” These pieces examine issues of femininity, queerness, fatness and voicelessness.
Leary has an MA degree in Performance Studies from New York University’s Tisch School of the Arts and an MFA degree in Studio Art from the School of the Art Institute of Chicago. She received her BA from Smith College and vocal training at The Boston Conservatory. Her work has been shown at a variety of venues including the Chicago Artists Coalition, Gallery 400, EXPO Chicago, ACRE Gallery, SOHO House, Chicago Artists Coalition, Subterranean, The Museum of Contemporary Art Chicago, NADA, Elastic Arts, The Hideout, The Whistler, Mana Contemporary, Kendall College of Art & Design, Peanut Gallery, Links Hall, Hemispheric Institute of Performance and Politics, and more. Leary is currently a resident of the HATCH program at the Chicago Artists Coalition and the High Concept Laboratories Sponsored Artist Program.
POWER PLAY
Recent Works by Natalie Baxter
May 19 – June 16, 2018
CUNSTHAUS
Opening :: May 19, 2018 :: 7-9PM
CUNSTHAUS Presents Power Play, a solo exhibition of works by Natalie Baxter. Baxter’s soft sculpture combines sewing and quilting techniques learned from her grandmother to produce pointed cultural commentary on issues of gender equality, the patriarchy and gun violence. Power Play brings together two series of her work, Warm Gun and Money Quilts. Baxter’s work has been exhibited recently in New York at the Elijah Wheat Showroom, Sears-Peyton Gallery and Mulherin Gallery, at Purdue University, Yale University, The San Jose Museum of Quilts & Textiles in California, Aa Collections in Vienna, Schaufenster Gallery in Berlin and has been featured in The New York Times, Vice, Hyperallergic, Huffington Post, and The Guardian, among others. Baxter has been an artist in residence at The Wassaic Project, a fellowship recipient at the Vermont Studio Center, and a Queens Arts Fund grant recipient. She currently lives and works in New York City.
Recent Works by Natalie Baxter
May 19 – June 16, 2018
CUNSTHAUS
Opening :: May 19, 2018 :: 7-9PM
CUNSTHAUS Presents Power Play, a solo exhibition of works by Natalie Baxter. Baxter’s soft sculpture combines sewing and quilting techniques learned from her grandmother to produce pointed cultural commentary on issues of gender equality, the patriarchy and gun violence. Power Play brings together two series of her work, Warm Gun and Money Quilts. Baxter’s work has been exhibited recently in New York at the Elijah Wheat Showroom, Sears-Peyton Gallery and Mulherin Gallery, at Purdue University, Yale University, The San Jose Museum of Quilts & Textiles in California, Aa Collections in Vienna, Schaufenster Gallery in Berlin and has been featured in The New York Times, Vice, Hyperallergic, Huffington Post, and The Guardian, among others. Baxter has been an artist in residence at The Wassaic Project, a fellowship recipient at the Vermont Studio Center, and a Queens Arts Fund grant recipient. She currently lives and works in New York City.
NEVER MET HER
Group Show Curated by
Alyssa Cordero + Jessica Barber
April 6 – May 4, 2018
CUNSTHAUS
Opening :: May 4, 2018 :: 7-9PM
Exhibiting artists are Courtney Alexander (Tampa, Florida), Anny Crane (Grand Rapids, Michigan), LUULS (Tampa, Florida), Jenal Dolson (Tampa, Florida), Christina Humphreys (San Francisco, California), Stine Leth (Aarhus, Denmark), Nora Maité Nieves (New York, New York), Jenn Ryann Miller (Tampa, Florida), Kaylin Price (Tampa, Florida), Lucha Rodriguez (Atlanta, Georgia), Kathryn Shriver (Montreal, Canada), and Anna Wallace (Greensboro, North Carolina).
CUNSTHAUS is pleased to present Never Met Her, curated by Jessica Barber and Alyssa Cordero. This group exhibition of all women artists explores the importance of taking up space through materiality and craft. Never Met Her features artists of varying backgrounds that emphasize the diversity and similarities of experiences. This exhibition goes beyond the canon of the traditional white space to create an unapologetically colorful experience that showcases these individual investigations of identity. Using an abundance of color, texture, and craft the show identifies the intimacy, agency, and power of these experiences. Never Met Her explores craft processes and creates a platform for an expanded conversation of their permanence within a contemporary art context. Additionally, musical accompaniment composed by LUULS will be played in the space. Through these non-diegetic sounds, there is a persistence in taking up space by breaking moments that would otherwise be silent in the gallery, while simultaneously working with the visual artworks.
Never Met Her will open at CUNSTHAUS on Friday, April 6th, in conjunction with First Friday Art in the Heights. The show runs until Friday, May 4th.
Group Show Curated by
Alyssa Cordero + Jessica Barber
April 6 – May 4, 2018
CUNSTHAUS
Opening :: May 4, 2018 :: 7-9PM
Exhibiting artists are Courtney Alexander (Tampa, Florida), Anny Crane (Grand Rapids, Michigan), LUULS (Tampa, Florida), Jenal Dolson (Tampa, Florida), Christina Humphreys (San Francisco, California), Stine Leth (Aarhus, Denmark), Nora Maité Nieves (New York, New York), Jenn Ryann Miller (Tampa, Florida), Kaylin Price (Tampa, Florida), Lucha Rodriguez (Atlanta, Georgia), Kathryn Shriver (Montreal, Canada), and Anna Wallace (Greensboro, North Carolina).
CUNSTHAUS is pleased to present Never Met Her, curated by Jessica Barber and Alyssa Cordero. This group exhibition of all women artists explores the importance of taking up space through materiality and craft. Never Met Her features artists of varying backgrounds that emphasize the diversity and similarities of experiences. This exhibition goes beyond the canon of the traditional white space to create an unapologetically colorful experience that showcases these individual investigations of identity. Using an abundance of color, texture, and craft the show identifies the intimacy, agency, and power of these experiences. Never Met Her explores craft processes and creates a platform for an expanded conversation of their permanence within a contemporary art context. Additionally, musical accompaniment composed by LUULS will be played in the space. Through these non-diegetic sounds, there is a persistence in taking up space by breaking moments that would otherwise be silent in the gallery, while simultaneously working with the visual artworks.
Never Met Her will open at CUNSTHAUS on Friday, April 6th, in conjunction with First Friday Art in the Heights. The show runs until Friday, May 4th.
GENITAL PANIC
Group Show Curated by Neil Bender + Noelle Mason
February 24 – March 24, 2018
CUNSTHAUS
Opening :: February 24, 2018 :: 7–9pm
Exhibiting Artists are Linda Troeller, Ben Fain, Sara Clarken, Amber Hawk Swanson, Marcus Desieno, Clifford Owens, Barbara DeGenevieve, Gina Stucchio, Kale Roberts, Karen Havens, Kim Turner-Smith, Julie Weitz, Loren Erdrich, Lena Marquise, Christine Comple, Jaro Studencki, Karen Havens, Roger Clay Palmer, Taylor Pilote
CUNSTHAUS is pleased to announce Genital Panic. A group exhibition curated by Noelle Mason and Neil Bender. Genital Panic is an exhibition of artwork that presents bodies in a straight-forward, humorous, unapologetic and earnest way. The title is borrowed from artist Valie Export’s oft-imitated work of the same name. A work that imaged Export “man-spreading” with the crotch cut from her jeans brandishing an automatic weapon. America’s relationship to nude and naked imagery is both unnecessarily complicated and overly simplistic, cashing in on the tantalizing, titillating, and pornographic while simultaneously attempting to legislate puritanical moral judgments. This strange and strained relationship with our bodies, and more specifically our genitalia, including all forms of censorship, shame, and lack of direct factual education seems to produce at best embarrassment and humorous misunderstanding and at worst misogyny, assault, mutilation, violence and even death. Rather than focus on the omnipresent political climate, with Genital Panic our mission is to present work that celebrates our ‘nether regions,’ and all that comes along with them, without shame and baggage.
Artists who are featured in Genital Panic include: Linda Troeller, Ben Fain, Sara Clarken, Amber Hawk Swanson, Marcus Desieno, Clifford Owens, Barbara DeGenevieve, Gina Stucchio, Kale Roberts, Karen Havens, Kim Turner-Smith, Julie Weitz, Loren Erdrich, Lena Marquise, Christine Comple, Jaro Studencki, Karen Havens, Roger Clay Palmer, Taylor Pilote
Group Show Curated by Neil Bender + Noelle Mason
February 24 – March 24, 2018
CUNSTHAUS
Opening :: February 24, 2018 :: 7–9pm
Exhibiting Artists are Linda Troeller, Ben Fain, Sara Clarken, Amber Hawk Swanson, Marcus Desieno, Clifford Owens, Barbara DeGenevieve, Gina Stucchio, Kale Roberts, Karen Havens, Kim Turner-Smith, Julie Weitz, Loren Erdrich, Lena Marquise, Christine Comple, Jaro Studencki, Karen Havens, Roger Clay Palmer, Taylor Pilote
CUNSTHAUS is pleased to announce Genital Panic. A group exhibition curated by Noelle Mason and Neil Bender. Genital Panic is an exhibition of artwork that presents bodies in a straight-forward, humorous, unapologetic and earnest way. The title is borrowed from artist Valie Export’s oft-imitated work of the same name. A work that imaged Export “man-spreading” with the crotch cut from her jeans brandishing an automatic weapon. America’s relationship to nude and naked imagery is both unnecessarily complicated and overly simplistic, cashing in on the tantalizing, titillating, and pornographic while simultaneously attempting to legislate puritanical moral judgments. This strange and strained relationship with our bodies, and more specifically our genitalia, including all forms of censorship, shame, and lack of direct factual education seems to produce at best embarrassment and humorous misunderstanding and at worst misogyny, assault, mutilation, violence and even death. Rather than focus on the omnipresent political climate, with Genital Panic our mission is to present work that celebrates our ‘nether regions,’ and all that comes along with them, without shame and baggage.
Artists who are featured in Genital Panic include: Linda Troeller, Ben Fain, Sara Clarken, Amber Hawk Swanson, Marcus Desieno, Clifford Owens, Barbara DeGenevieve, Gina Stucchio, Kale Roberts, Karen Havens, Kim Turner-Smith, Julie Weitz, Loren Erdrich, Lena Marquise, Christine Comple, Jaro Studencki, Karen Havens, Roger Clay Palmer, Taylor Pilote
LIZN'BOW workshop at La Sierra Nevada de Santa Marta Colombia, 2017
A TALK SHOW WITH LIZ'N'BOW
Collaborative performance with Liz'N'Bow + Community Stepping Stones
January 12 – 27, 2018
CUNSTHAUS + Tempus Project Space
Talk Show :: January 27, 2018 :: 6–9pm
Miami-based artists and children’s rights activists Liz Ferrer and Bow Tie work collectively as LIZN’BOW, dedicated to empowering children and youths. They state, “We are interested in learning from kids as much as we are in teaching them.” LIZN’BOW will be Tempus Projects Artists in Residence for the month of January, and will present collaborative artworks at both the Project Space and Cunsthaus.
Beginning January 12th, LIZN’BOW are conducting New Media workshops focused on deconstructing identity, self, and place – all realized through the talk show format. These workshops are in collaboration with participants ages 7–14 from Community Stepping Stones in Sulphur Springs, a nonprofit organization dedicated to using an arts-infused curriculum to inspire, educate, mentor and prepare at-risk youth to become successful adults. Participants will learn basic video editing and storytelling skills, and will exhibit their final artworks at Cunsthaus as part of the exhibition A Talk Show with LIZN’BOW.
LIVE TALK SHOW STARTS AT 6:30PM.
LIZN’BOW was formed in 2015 by Liz Ferrer and Bow Tie. Ferrer earned her BFA in Theatre from Florida International University, and Tie earned their BFA in Digital Arts from the University of Oregon and their MFA from the School of the Art Institute of Chicago. The collective has produced workshops at the Bass Museum, Miami; Breakthrough Miami Outreach; and the Institute of Contemporary Art, Miami.
Collaborative performance with Liz'N'Bow + Community Stepping Stones
January 12 – 27, 2018
CUNSTHAUS + Tempus Project Space
Talk Show :: January 27, 2018 :: 6–9pm
Miami-based artists and children’s rights activists Liz Ferrer and Bow Tie work collectively as LIZN’BOW, dedicated to empowering children and youths. They state, “We are interested in learning from kids as much as we are in teaching them.” LIZN’BOW will be Tempus Projects Artists in Residence for the month of January, and will present collaborative artworks at both the Project Space and Cunsthaus.
Beginning January 12th, LIZN’BOW are conducting New Media workshops focused on deconstructing identity, self, and place – all realized through the talk show format. These workshops are in collaboration with participants ages 7–14 from Community Stepping Stones in Sulphur Springs, a nonprofit organization dedicated to using an arts-infused curriculum to inspire, educate, mentor and prepare at-risk youth to become successful adults. Participants will learn basic video editing and storytelling skills, and will exhibit their final artworks at Cunsthaus as part of the exhibition A Talk Show with LIZN’BOW.
LIVE TALK SHOW STARTS AT 6:30PM.
LIZN’BOW was formed in 2015 by Liz Ferrer and Bow Tie. Ferrer earned her BFA in Theatre from Florida International University, and Tie earned their BFA in Digital Arts from the University of Oregon and their MFA from the School of the Art Institute of Chicago. The collective has produced workshops at the Bass Museum, Miami; Breakthrough Miami Outreach; and the Institute of Contemporary Art, Miami.
BARE YOUR TEETH
Installation by Desireé Moore
November 18 – January 5, 2017
CUNSTHAUS
Opening :: November 18, 2017 :: 7–9pm
Continuing its mission to bring engaging exhibitions to the Tampa Bay Area through a collaborative and feminist curatorial perspective, Cunsthaus is proud to present Bare Your Teeth, a site-specific installation by multidisciplinary artist Desireé opening November 18th, 2017 from 7-9PM and closing January 5th, 2018.
Working primarily in film and video, Moore (b. 1986, Indianapolis; lives in St. Petersburg, FL) explores the social complexities of gender, and specifically the cultural norms assigned to women and girls. She states, “Bare Your Teeth isolates moments of gesture to consider the feminine experience within culturally accepted sexism and harassment. In some ways, these tactics have been perpetuated into normalcy, a convenient disguise protected by civility. Benevolence is not a shield, and ignorance is not acceptable.” These issues are timely, as women continue to step forward publicly with stories of sexual abuse and harassment in Hollywood and the art world. The harassment is not new, but the widespread public acknowledgment of it is.
Renowned author Margaret Atwood has stated, “Men are afraid that women will laugh at them. Women are afraid that men will kill them.” Through video and sculpture, Bare Your Teeth examines the power dynamics at work in women’s laughter and smiles, and the ways that the smallest gestures by a woman become sexualized.
Moore earnerd her MFA in 2013 from the University of South Florida and her BFA from Herron School of Art and Design in Indianapolis. Her video projects have been screened in group exhibitions across the country, including the John and Mable Ringling Museum of Art in Sarasota as part of the three-venue Skyway: A Contemporary Collaboration. Moore is the recipient of a 2017 Creative Pinellas Emerging Artist Grant.
Installation by Desireé Moore
November 18 – January 5, 2017
CUNSTHAUS
Opening :: November 18, 2017 :: 7–9pm
Continuing its mission to bring engaging exhibitions to the Tampa Bay Area through a collaborative and feminist curatorial perspective, Cunsthaus is proud to present Bare Your Teeth, a site-specific installation by multidisciplinary artist Desireé opening November 18th, 2017 from 7-9PM and closing January 5th, 2018.
Working primarily in film and video, Moore (b. 1986, Indianapolis; lives in St. Petersburg, FL) explores the social complexities of gender, and specifically the cultural norms assigned to women and girls. She states, “Bare Your Teeth isolates moments of gesture to consider the feminine experience within culturally accepted sexism and harassment. In some ways, these tactics have been perpetuated into normalcy, a convenient disguise protected by civility. Benevolence is not a shield, and ignorance is not acceptable.” These issues are timely, as women continue to step forward publicly with stories of sexual abuse and harassment in Hollywood and the art world. The harassment is not new, but the widespread public acknowledgment of it is.
Renowned author Margaret Atwood has stated, “Men are afraid that women will laugh at them. Women are afraid that men will kill them.” Through video and sculpture, Bare Your Teeth examines the power dynamics at work in women’s laughter and smiles, and the ways that the smallest gestures by a woman become sexualized.
Moore earnerd her MFA in 2013 from the University of South Florida and her BFA from Herron School of Art and Design in Indianapolis. Her video projects have been screened in group exhibitions across the country, including the John and Mable Ringling Museum of Art in Sarasota as part of the three-venue Skyway: A Contemporary Collaboration. Moore is the recipient of a 2017 Creative Pinellas Emerging Artist Grant.
Blue Spray Paint Quilt, 4.75' x 6.5', 2016, detail shot
FOUR QUILTS
Recent Works by Coulter Fussell
October 14 – November 11, 2017
CUNSTHAUS
Opening :: October 14, 2017 :: 7–9pm
Cunsthaus is happy to present Four Quilts, by Coulter Fussell. This solo exhibition of abstract quilts is a selection of quilts pulled from a much larger body of work spanning over the course of almost four years. The quilts selected for exhibition at CunstHaus represent a progression, which proceeded quilt by quilt in her exploration of combining used fabrics with the logic of abstract painting.
Fussell’s work opens the door to the mysteries and histories of worn, shredded, faded fabrics while balancing on the tightrope between the traditional wholeness of quilting composition and the focused nature of painting composition.
Four Quilts opens at CUNSTHAUS on Saturday, October 14th and runs until Saturday, November 11th.
Coulter Fussell was born and raised in Columbus, GA. She learned quilting from her mother, a master quilter, and she learned about painting from her father, and artist and former museum curator. Coulter owes a vintage fabric store and experimental textile studio in Water Valley, MS. She lives there with her two young sons.
Recent Works by Coulter Fussell
October 14 – November 11, 2017
CUNSTHAUS
Opening :: October 14, 2017 :: 7–9pm
Cunsthaus is happy to present Four Quilts, by Coulter Fussell. This solo exhibition of abstract quilts is a selection of quilts pulled from a much larger body of work spanning over the course of almost four years. The quilts selected for exhibition at CunstHaus represent a progression, which proceeded quilt by quilt in her exploration of combining used fabrics with the logic of abstract painting.
Fussell’s work opens the door to the mysteries and histories of worn, shredded, faded fabrics while balancing on the tightrope between the traditional wholeness of quilting composition and the focused nature of painting composition.
Four Quilts opens at CUNSTHAUS on Saturday, October 14th and runs until Saturday, November 11th.
Coulter Fussell was born and raised in Columbus, GA. She learned quilting from her mother, a master quilter, and she learned about painting from her father, and artist and former museum curator. Coulter owes a vintage fabric store and experimental textile studio in Water Valley, MS. She lives there with her two young sons.
Yoga (Partner Stretches), 42 x 56 in., oil on canvas, 2017
WORK IT OUT
Recent Works by Caitlin Albritton
September 1 – 30, 2017
CUNSTHAUS
Opening :: September 1, 2017 :: 6–9pm
CUNSTHAUS is pleased to present Work it out, by Caitlin Albritton. This solo exhibit of oil on canvas works is from the artist's Gym Series, which examines the gym as a place where everyday antics are amplified in a stage-like environment where there is a hyperawareness of our bodies in a public space. This artificial space is a surrogate of other spheres of our lives that intensify competition, gender issues, body politics, and the propaganda of progress.
As gym culture continues to grow, the grounds are quickly shifting with regard to gym fashion, body trends, and the commercialization of strength, self-confidence, and happiness. Taking inspiration from trips to her local gym, Albritton is interested in exploring the politics of looking through both male and female gazes, as people sneak glimpses of others through makeshift windows in gym equipment or other visual screens. As the backlash against the heroic or romantic notions of bodily perfection is glorified on social media, this collection of work emphasizes the absurd and strangeness of the body as well as serious topics through this empathetic humor.
There is an old gym motto, “Work until failure,” that seems to describe the self as a machine. When we ask a stranger, “What do you do? ” we are validating ourselves by our production. Our bodies and minds try to keep up with an unattainable mechanical sensibility; which is something the artist plans on further exploring in future performances. Inspired by this concept of physical workload Albritton’s work reflects a society that is overworked.
Work it out will open at CUNSTHAUS on Friday, September 1st, in conjunction with First Friday Art in the Heights. The show runs until Saturday, September 30th.
Caitlin Albritton was born and raised in Tampa, Florida. She graduated from Savannah College of Art and Design in 2012 in painting and a minor in ceramics. She has exhibited her works in galleries in Florida, Georgia, New York, and Texas. Eight of her paintings are in SCAD’s Permanent Collection. She is currently a low-residency Studio Art MFA student at Maryland Institute College of Art, but lives and works in Tampa, Florida.
Recent Works by Caitlin Albritton
September 1 – 30, 2017
CUNSTHAUS
Opening :: September 1, 2017 :: 6–9pm
CUNSTHAUS is pleased to present Work it out, by Caitlin Albritton. This solo exhibit of oil on canvas works is from the artist's Gym Series, which examines the gym as a place where everyday antics are amplified in a stage-like environment where there is a hyperawareness of our bodies in a public space. This artificial space is a surrogate of other spheres of our lives that intensify competition, gender issues, body politics, and the propaganda of progress.
As gym culture continues to grow, the grounds are quickly shifting with regard to gym fashion, body trends, and the commercialization of strength, self-confidence, and happiness. Taking inspiration from trips to her local gym, Albritton is interested in exploring the politics of looking through both male and female gazes, as people sneak glimpses of others through makeshift windows in gym equipment or other visual screens. As the backlash against the heroic or romantic notions of bodily perfection is glorified on social media, this collection of work emphasizes the absurd and strangeness of the body as well as serious topics through this empathetic humor.
There is an old gym motto, “Work until failure,” that seems to describe the self as a machine. When we ask a stranger, “What do you do? ” we are validating ourselves by our production. Our bodies and minds try to keep up with an unattainable mechanical sensibility; which is something the artist plans on further exploring in future performances. Inspired by this concept of physical workload Albritton’s work reflects a society that is overworked.
Work it out will open at CUNSTHAUS on Friday, September 1st, in conjunction with First Friday Art in the Heights. The show runs until Saturday, September 30th.
Caitlin Albritton was born and raised in Tampa, Florida. She graduated from Savannah College of Art and Design in 2012 in painting and a minor in ceramics. She has exhibited her works in galleries in Florida, Georgia, New York, and Texas. Eight of her paintings are in SCAD’s Permanent Collection. She is currently a low-residency Studio Art MFA student at Maryland Institute College of Art, but lives and works in Tampa, Florida.
(100 PITCHERS) OFHONEY
Installation by Michael Hooker
July 22 – August 19, 2017
CUNSTHAUS
Opening :: July 22, 2017 :: 7–9pm
Reading :: August 4, 2017 :: 6–9pm
Bees as Psychopomp Dream Tending Ritual :: August 19, 2017 :: 7–9pm
CUNSTHAUS is pleased to present (100 Pitchers) ofHoney, a multi-media installation by Micheal Hooker, an arts-based psychology writer and performance artist.
Grounded in embodiment practices used in art and therapy, Hooker’s work in influenced by relational participation and archaic rituals that shape our language and worldviews. In an attempt to reflect these intersections, Hooker primarily uses the voice and body in live performances, film installations, and both literal and figurative mixed-media collages.
Inspired by a Jack Gilbert poem that reads, “My love is a hundred pitchers of honey,” Hooker’s project, (100 Pitchers) ofHoney, specifically deals with interfused qualities that resound in both the fatal epidemic experienced by bees called colony collapse disorder and the traumatic effects of transgenerational alcoholism. Meant as an ecofeminist mode of healing such transgressions, the performative project explores the themes of sisterhood, collaboration, dreamwork, contemplative practices, and active participation with the natural and social worlds. In keeping with these themes, Hooker had engaged a number of female artists from across the country with the installation including EO Constantatos, Paola Hernadez, Erin Kennedy Taylor, Victoria Valencia (New York), Janet Fredricks (Vermont), Ngaire Young (California), Aubrey Bramble (Washington), and Katie Rafferty (Louisiana).
(100 Pitchers) ofHoney will open at CUNSTHAUS on Saturday, July 22nd, with a participatory performance by Hooker, and will be on view through Saturday, August 19th, with an additional performance scheduled for the closing reception.
Trained in massage and polarity therapy, Hooker has taught at The Florida School of Massage and The Swedish Institute of Manhattan where she developed her own style of integrating contemporary art into somatic therapy lesson plans. In 2009 and 2011, Hooker was the recipient of a “Best of the Bay Award” for her musicianship and in 2013 her film, Honey1, was exhibited at MoMA for an interactive video event called Abstract Currents. Hooker has led workshops in non-violent communication across the east coast of the United States and serves on the board of an international non-profit called We Make Peace, which is resolved to instilling these skills in educational institutions. Hooker is currently seeking a Master’s degree in clinical psychology with a focus on participatory arts-based therapy at Goddard College. This fall Hooker is opening Lector, Florida’s first literary [natural] wine bar located in Tampa Heights. Learn more about Lector Social Club at lectorsocialclub.com
In conjunction with Micheal Hooker's exhibition (100 Pitchers) ofHoney, the artist invites participants to 'Bees as Psychopomp Dream Tending Ritual' cultivating the myth of bees as psychopomp in our local community. With the help of the bees as spirit-guides, participants will explore dreams through story-telling and embodiment practices that amplify their imagery and offer personal and transpersonal meanings. Attendants are invited to participate in a dream-chant recital the next evening at the closing of the exhibition (100 Pitchers) ofHoney on August 19th.
Installation by Michael Hooker
July 22 – August 19, 2017
CUNSTHAUS
Opening :: July 22, 2017 :: 7–9pm
Reading :: August 4, 2017 :: 6–9pm
Bees as Psychopomp Dream Tending Ritual :: August 19, 2017 :: 7–9pm
CUNSTHAUS is pleased to present (100 Pitchers) ofHoney, a multi-media installation by Micheal Hooker, an arts-based psychology writer and performance artist.
Grounded in embodiment practices used in art and therapy, Hooker’s work in influenced by relational participation and archaic rituals that shape our language and worldviews. In an attempt to reflect these intersections, Hooker primarily uses the voice and body in live performances, film installations, and both literal and figurative mixed-media collages.
Inspired by a Jack Gilbert poem that reads, “My love is a hundred pitchers of honey,” Hooker’s project, (100 Pitchers) ofHoney, specifically deals with interfused qualities that resound in both the fatal epidemic experienced by bees called colony collapse disorder and the traumatic effects of transgenerational alcoholism. Meant as an ecofeminist mode of healing such transgressions, the performative project explores the themes of sisterhood, collaboration, dreamwork, contemplative practices, and active participation with the natural and social worlds. In keeping with these themes, Hooker had engaged a number of female artists from across the country with the installation including EO Constantatos, Paola Hernadez, Erin Kennedy Taylor, Victoria Valencia (New York), Janet Fredricks (Vermont), Ngaire Young (California), Aubrey Bramble (Washington), and Katie Rafferty (Louisiana).
(100 Pitchers) ofHoney will open at CUNSTHAUS on Saturday, July 22nd, with a participatory performance by Hooker, and will be on view through Saturday, August 19th, with an additional performance scheduled for the closing reception.
Trained in massage and polarity therapy, Hooker has taught at The Florida School of Massage and The Swedish Institute of Manhattan where she developed her own style of integrating contemporary art into somatic therapy lesson plans. In 2009 and 2011, Hooker was the recipient of a “Best of the Bay Award” for her musicianship and in 2013 her film, Honey1, was exhibited at MoMA for an interactive video event called Abstract Currents. Hooker has led workshops in non-violent communication across the east coast of the United States and serves on the board of an international non-profit called We Make Peace, which is resolved to instilling these skills in educational institutions. Hooker is currently seeking a Master’s degree in clinical psychology with a focus on participatory arts-based therapy at Goddard College. This fall Hooker is opening Lector, Florida’s first literary [natural] wine bar located in Tampa Heights. Learn more about Lector Social Club at lectorsocialclub.com
In conjunction with Micheal Hooker's exhibition (100 Pitchers) ofHoney, the artist invites participants to 'Bees as Psychopomp Dream Tending Ritual' cultivating the myth of bees as psychopomp in our local community. With the help of the bees as spirit-guides, participants will explore dreams through story-telling and embodiment practices that amplify their imagery and offer personal and transpersonal meanings. Attendants are invited to participate in a dream-chant recital the next evening at the closing of the exhibition (100 Pitchers) ofHoney on August 19th.
Maxx and Bran, Unique chromogenic photogram, 2017. 96 x 57"
(OTHER) PEOPLE IN LOVE
Recent Works by Pat Blocher
June 10 – July 21, 2017
CUNSTHAUS
Opening :: June 10, 2017 :: 7–9pm
Cunsthaus is proud to present (Other) People In Love, by Pat Blocher. The exhibition features a series of photograms made by lining couples' beds with photosensitive paper. The paper records any light which penetrates their bedding as well as shows wear from their movements during the night. The exposure lasts from the time the people go to bed until the time they wake up.
Recent Works by Pat Blocher
June 10 – July 21, 2017
CUNSTHAUS
Opening :: June 10, 2017 :: 7–9pm
Cunsthaus is proud to present (Other) People In Love, by Pat Blocher. The exhibition features a series of photograms made by lining couples' beds with photosensitive paper. The paper records any light which penetrates their bedding as well as shows wear from their movements during the night. The exposure lasts from the time the people go to bed until the time they wake up.
Rage for Order (detail), 2016
black & white silver gelatin photogram
MIRROR LAMP HAMMER
Recent Works by Anthea Behm
April 15 – June 3, 2017
CUNSTHAUS
Opening :: April 15, 2017 :: 7–10pm
Cunsthaus is proud to celebrate its one-year anniversary with the presentation of a new photo-based series by Anthea Behm, a critically engaged artist who works between the mediums of photography, video, drawing, and performance.
Behm’s photograms engage the connections between two seemingly distinct media: drawing, characterized by gesture and the artist’s hand, and photography, an ostensibly objective representation of the world around us. To make these camera-less, silver gelatin prints, the artist exposes photographic paper to light, and then draws images—primarily sourced from the internet—on the paper using developer solution. The print then goes through a conventional darkroom photography process: stop bath, fixer, and wash. Represented here are the everyday things whose given reality we take for granted: pockets, shoes, politics, language. In these images, they are shown to exist not solely as objects to be reflected in a photographic instant (as in a mirror), nor merely as the subjective illumination of our minds (as if we created the world through the lamp of our imagination). The world we experience is rather an entanglement of the subjective and the objective, the analog and the digital, the formed and the formless. And our visions, like hammers, maintain the power to reshape and reimagine the forms of our existence.
Behm received her MFA from the School of the Art Institute of Chicago, and BFA from the College of Fine Arts, University of New South Wales, Australia. She participated in the Whitney Museum of American Art Independent Study Program; the Core Program, Museum of Fine Art Houston; and the Skowhegan School of Painting and Sculpture. Her work has been reviewed in The New York Times, Kaleidoscope, and Art & Australia, and her writing has been published in Feminism Reframed: Reflections on Art and Difference, Cambridge Scholars Publishing. Behm has recently exhibited at the Kadist Foundation, San Francisco, and the Orlando Museum of Art and currently teaches at the University of Florida, Gainesville.
Recent Works by Anthea Behm
April 15 – June 3, 2017
CUNSTHAUS
Opening :: April 15, 2017 :: 7–10pm
Cunsthaus is proud to celebrate its one-year anniversary with the presentation of a new photo-based series by Anthea Behm, a critically engaged artist who works between the mediums of photography, video, drawing, and performance.
Behm’s photograms engage the connections between two seemingly distinct media: drawing, characterized by gesture and the artist’s hand, and photography, an ostensibly objective representation of the world around us. To make these camera-less, silver gelatin prints, the artist exposes photographic paper to light, and then draws images—primarily sourced from the internet—on the paper using developer solution. The print then goes through a conventional darkroom photography process: stop bath, fixer, and wash. Represented here are the everyday things whose given reality we take for granted: pockets, shoes, politics, language. In these images, they are shown to exist not solely as objects to be reflected in a photographic instant (as in a mirror), nor merely as the subjective illumination of our minds (as if we created the world through the lamp of our imagination). The world we experience is rather an entanglement of the subjective and the objective, the analog and the digital, the formed and the formless. And our visions, like hammers, maintain the power to reshape and reimagine the forms of our existence.
Behm received her MFA from the School of the Art Institute of Chicago, and BFA from the College of Fine Arts, University of New South Wales, Australia. She participated in the Whitney Museum of American Art Independent Study Program; the Core Program, Museum of Fine Art Houston; and the Skowhegan School of Painting and Sculpture. Her work has been reviewed in The New York Times, Kaleidoscope, and Art & Australia, and her writing has been published in Feminism Reframed: Reflections on Art and Difference, Cambridge Scholars Publishing. Behm has recently exhibited at the Kadist Foundation, San Francisco, and the Orlando Museum of Art and currently teaches at the University of Florida, Gainesville.
ANGELA DEANE
Open Studio
April 7, 2017
CUNSTHAUS
Angela Deane has been in residence at Cunsthaus since late March working on a series entitled, "Ghost Photographs". It is a body of work she began during a residency in the town of Truth or Consequences, New Mexico. Her interventions on found vernacular photographs are playful provocations, which revel in the very plastic nature of a photograph. By painting out the figures, the images are transformed and their original context subsumed. Angela’s work has been exhibited in venues across the United States and her recent works will be included in a major exhibition in South Korea this summer. Angela will open the doors of her studio to visitors on Friday from 6-9 for First Friday on April 7.
Open Studio
April 7, 2017
CUNSTHAUS
Angela Deane has been in residence at Cunsthaus since late March working on a series entitled, "Ghost Photographs". It is a body of work she began during a residency in the town of Truth or Consequences, New Mexico. Her interventions on found vernacular photographs are playful provocations, which revel in the very plastic nature of a photograph. By painting out the figures, the images are transformed and their original context subsumed. Angela’s work has been exhibited in venues across the United States and her recent works will be included in a major exhibition in South Korea this summer. Angela will open the doors of her studio to visitors on Friday from 6-9 for First Friday on April 7.
WE WANT A PRESIDENT
Juried Group Exhibition
January 21 – February 18, 2017
CUNSTHAUS
Opening :: January 21, 2017 :: 7–9pm
CUNSTHAUS is pleased to present We Want a President, as a means for reflection, discussion and activism that explores our demands and desires for a Head of State. Selections were made by guest juror, Margaret Miller. The exhibition is scheduled to open Saturday, January 21st and run through February 18th. This all-media exhibition will feature works inspired by artist Zoe Leonard’s 1992 manifesto “I want a president.” Exhibiting artist include Monique Blom, Will Douglas, Keiff Jones, Vincent Kral, Daniela Mora, Libbi Ponce, Ivan Riascos, and Bridge Club Collective.
Juried Group Exhibition
January 21 – February 18, 2017
CUNSTHAUS
Opening :: January 21, 2017 :: 7–9pm
CUNSTHAUS is pleased to present We Want a President, as a means for reflection, discussion and activism that explores our demands and desires for a Head of State. Selections were made by guest juror, Margaret Miller. The exhibition is scheduled to open Saturday, January 21st and run through February 18th. This all-media exhibition will feature works inspired by artist Zoe Leonard’s 1992 manifesto “I want a president.” Exhibiting artist include Monique Blom, Will Douglas, Keiff Jones, Vincent Kral, Daniela Mora, Libbi Ponce, Ivan Riascos, and Bridge Club Collective.
PUSSY RIOT
Video Screenings
January 6, 2017
CUNSTHAUS
One Night Screening :: January 6, 2017 :: 7–10pm
In continuing efforts to provide engaging cultural programs and experiences through a collaborative and feminist curatorial perspective, CUNSTHAUS is proud to present a series of music video screenings by Russian artists and activists Pussy Riot opening on Friday, January 6th from 7-10pm.
Admission is free but donations are encouraged.
All contributions will be donated to Planned Parenthood.
Known for their blend of radical performance and leftist ideals, Pussy Riot became the focus of international attention in 2012 as members Nadya Tolokonnikova, Masha Alyokhina and Yekaterina Samutsevich were arrested and jailed after performing an anti-Putin “punk prayer” in Moscow’s Christ the Saviour Cathedral. As Pussy Riot researcher Masha Gessen has written, “Pussy Riot are the first real dissidents of the Putin era, but like all dissidents they're individual actors, perpetually out on a limb. Their actions have had dire but clear consequences, and in return for the hardships they've faced, they have received a voice and a mission.” Sonic Youth’s Thurston Moore has deemed Pussy Riot “One of the most important groups of our time.”
A vocal and active proponent of free speech in Russia, Pussy Riot has turned its attention to the United States, as evidenced by their most recent video “Make America Great Again” which will be screened at CUNSTHAUS. Also to be shown are the Russian-language video “Organs” with an English translation and “Straight Outta Vagina,” co-written with TV On The Radio’s, Dave Sitek. Of this song, Tolokonnikova told The Guardian, “I believe the idea of powerful female sexuality is much bigger than any populist megalomaniac man.” These music videos epitomize the brash and brave energy of Pussy Riot, and further their role as international protesters. CUNSTHAUS has worked with Pussy Riot co-founder Nadya Tolokonnikova to secure permission for these screenings.
Video Screenings
January 6, 2017
CUNSTHAUS
One Night Screening :: January 6, 2017 :: 7–10pm
In continuing efforts to provide engaging cultural programs and experiences through a collaborative and feminist curatorial perspective, CUNSTHAUS is proud to present a series of music video screenings by Russian artists and activists Pussy Riot opening on Friday, January 6th from 7-10pm.
Admission is free but donations are encouraged.
All contributions will be donated to Planned Parenthood.
Known for their blend of radical performance and leftist ideals, Pussy Riot became the focus of international attention in 2012 as members Nadya Tolokonnikova, Masha Alyokhina and Yekaterina Samutsevich were arrested and jailed after performing an anti-Putin “punk prayer” in Moscow’s Christ the Saviour Cathedral. As Pussy Riot researcher Masha Gessen has written, “Pussy Riot are the first real dissidents of the Putin era, but like all dissidents they're individual actors, perpetually out on a limb. Their actions have had dire but clear consequences, and in return for the hardships they've faced, they have received a voice and a mission.” Sonic Youth’s Thurston Moore has deemed Pussy Riot “One of the most important groups of our time.”
A vocal and active proponent of free speech in Russia, Pussy Riot has turned its attention to the United States, as evidenced by their most recent video “Make America Great Again” which will be screened at CUNSTHAUS. Also to be shown are the Russian-language video “Organs” with an English translation and “Straight Outta Vagina,” co-written with TV On The Radio’s, Dave Sitek. Of this song, Tolokonnikova told The Guardian, “I believe the idea of powerful female sexuality is much bigger than any populist megalomaniac man.” These music videos epitomize the brash and brave energy of Pussy Riot, and further their role as international protesters. CUNSTHAUS has worked with Pussy Riot co-founder Nadya Tolokonnikova to secure permission for these screenings.
THE SHADOW OF THE OBJECT
Video by Julie Weitz
November 4 – December 4, 2016
CUNSTHAUS
Opening :: November 4, 2016 :: 6–9pm
Cunsthaus is pleased to present The Shadow of the Object by LA-based artist Julie Weitz. The exhibition features Weitz’s new video of the same title, which is a vivid hallucination of the artist’s exploration of her body as a sculptural object. Shot almost entirely with a GoPro camera attached to her head and hips, Weitz insinuates the perspective of a lover as she interacts with a headless, limbless sculpture of herself. Layered in dreamlike sequences of saturated color, the video’s hypnotic imagery is accompanied by a resonating soundtrack composed of binaural beats and recordings. In question is the artist’s relationship to herself as an object of desire, enacted through sculptural and photographic means.
Julie Weitz is a visual artist based in Los Angeles. Her videos, installations and photographs examine the experience of embodiment in the digital realm. She uses physical props, often cast from her own body parts, and combines "anti-CGI" aesthetics to make work that blurs the boundaries between sensory perception and material reality. Weitz's immersive video installation Touch Museum premiered at Young Projects in Los Angeles last winter. The exhibition received critical attention in Artforum, The L.A. Times, and on KCRW. Before moving to L.A. in 2013, Weitz taught painting and drawing as Associate Professor of Art at the University of South Florida in Tampa for eight years.
To see images of prior exhibits of the artist’s work, please visit JULIEWEITZ.COM
Video by Julie Weitz
November 4 – December 4, 2016
CUNSTHAUS
Opening :: November 4, 2016 :: 6–9pm
Cunsthaus is pleased to present The Shadow of the Object by LA-based artist Julie Weitz. The exhibition features Weitz’s new video of the same title, which is a vivid hallucination of the artist’s exploration of her body as a sculptural object. Shot almost entirely with a GoPro camera attached to her head and hips, Weitz insinuates the perspective of a lover as she interacts with a headless, limbless sculpture of herself. Layered in dreamlike sequences of saturated color, the video’s hypnotic imagery is accompanied by a resonating soundtrack composed of binaural beats and recordings. In question is the artist’s relationship to herself as an object of desire, enacted through sculptural and photographic means.
Julie Weitz is a visual artist based in Los Angeles. Her videos, installations and photographs examine the experience of embodiment in the digital realm. She uses physical props, often cast from her own body parts, and combines "anti-CGI" aesthetics to make work that blurs the boundaries between sensory perception and material reality. Weitz's immersive video installation Touch Museum premiered at Young Projects in Los Angeles last winter. The exhibition received critical attention in Artforum, The L.A. Times, and on KCRW. Before moving to L.A. in 2013, Weitz taught painting and drawing as Associate Professor of Art at the University of South Florida in Tampa for eight years.
To see images of prior exhibits of the artist’s work, please visit JULIEWEITZ.COM
CRANIOTOME
Directed by Mikaela Williams + Whirlynn Garcia
October 30, 2016
CUNSTHAUS
One Night Performance :: October 30, 2016 :: 7:30–10pm
CunstHaus is proud to announce the first CO/LAB collaboration. A one-night only interactive installation accompanied by performance and music. Come out Sunday, October 30th and walk through your brain to explore what paradigm you might find, featuring you in a dreamlike, All Hallows' Eve nightmare of illusions. The installation may be remembered like a dream or nightmare after exiting. This exhibit may leave you questioning your own reality and why thoughts in general are processed in a surreal manner.
Directed by Mikaela Williams and Whirlynn Garcia
Featuring:
Alexandra Worthy
Jimmy Neely
and
Gino Capone
CO/LAB, a curated sub-series that sends musicians, composers, performance artists, visual artists and filmmakers to the woodshed to defy and expand the limits of their own mediums. SoundLabs at CUNSTHAUS aims to host collaborations that will very in medium as much as the unheard voices throughout the community.
Directed by Mikaela Williams + Whirlynn Garcia
October 30, 2016
CUNSTHAUS
One Night Performance :: October 30, 2016 :: 7:30–10pm
CunstHaus is proud to announce the first CO/LAB collaboration. A one-night only interactive installation accompanied by performance and music. Come out Sunday, October 30th and walk through your brain to explore what paradigm you might find, featuring you in a dreamlike, All Hallows' Eve nightmare of illusions. The installation may be remembered like a dream or nightmare after exiting. This exhibit may leave you questioning your own reality and why thoughts in general are processed in a surreal manner.
Directed by Mikaela Williams and Whirlynn Garcia
Featuring:
Alexandra Worthy
Jimmy Neely
and
Gino Capone
CO/LAB, a curated sub-series that sends musicians, composers, performance artists, visual artists and filmmakers to the woodshed to defy and expand the limits of their own mediums. SoundLabs at CUNSTHAUS aims to host collaborations that will very in medium as much as the unheard voices throughout the community.
LOW BUDGET, HIATUS
Recent Works by April Childers
October 1–29, 2016
CUNSTHAUS
Opening :: October 1, 2016 :: 6–9pm
CUNSTHAUS is proud to announce new exhibition Low Budget, Hiatus. A solo exhibition with works by artist April Childers.
You are rockin that hollow log of a shell.
Keep it up, wait a sec...
Long story, short script.
Orphan Log
The story of the dude that threw the plate up in the air
cause he said he wanted to see the moon in the daytime.
Scene is L(Y)FE
Who are they playing that music for?
I guess if they like it, then that means we all like it.
MUSTARD OF THE BEAT HOE!
*********************************************************
April Childers' exhibitions include Regina Rex, NY, NY., New Capital, Chicago, IL., Field Projects, NY, NY., Brooklyn Academy of Music (BAM), NY, NY., Bruce High Quality Foundation, NY, NY., White Projects, Paris, FR. Kimberly Klark, Ridgewood, NY., Zola / Liebermann Gallery, Chicago, IL. Emerson Dorsch, Miami, FL. and Imersten, Vienna, AT. April is part of the collaborative duo, Destineez Child. She is also co-director of L.O.G., an experimental exhibition space in Chapel Hill, NC. April lives and works in Ridgewood, NY and Chapel Hill, NC.
Recent Works by April Childers
October 1–29, 2016
CUNSTHAUS
Opening :: October 1, 2016 :: 6–9pm
CUNSTHAUS is proud to announce new exhibition Low Budget, Hiatus. A solo exhibition with works by artist April Childers.
You are rockin that hollow log of a shell.
Keep it up, wait a sec...
Long story, short script.
Orphan Log
The story of the dude that threw the plate up in the air
cause he said he wanted to see the moon in the daytime.
Scene is L(Y)FE
Who are they playing that music for?
I guess if they like it, then that means we all like it.
MUSTARD OF THE BEAT HOE!
*********************************************************
April Childers' exhibitions include Regina Rex, NY, NY., New Capital, Chicago, IL., Field Projects, NY, NY., Brooklyn Academy of Music (BAM), NY, NY., Bruce High Quality Foundation, NY, NY., White Projects, Paris, FR. Kimberly Klark, Ridgewood, NY., Zola / Liebermann Gallery, Chicago, IL. Emerson Dorsch, Miami, FL. and Imersten, Vienna, AT. April is part of the collaborative duo, Destineez Child. She is also co-director of L.O.G., an experimental exhibition space in Chapel Hill, NC. April lives and works in Ridgewood, NY and Chapel Hill, NC.
FOUR SCORES
Performance by Clifford Owens
September 3, 2016
CUNSTHAUS
One Night Performance :: 7–8PM
Four Scores will feature Clifford Owens’ interpretation of a selection of performance scores—written or graphical instructions for actions—written specifically for Owens by an inter-generational group of African-American artists, including William Pope L., Lynette Yiadom Boyake, Terry Adkins, Glenn Ligon and Lorraine O’Grady.
Clifford Owens’ art has appeared in numerous group and solo exhibitions. His solo exhibitions include Anthology: Clifford Owens Museum of Modern Art PS1 (2011-2012), Better the Rebel You Know Home, Manchester, England (2014), and Perspectives 173: Clifford Owens Contemporary Arts Museum Houston (2011). His many group exhibitions include, Radical Presence: Black Performance in Contemporary Art Contemporary Arts Museum (2012 - 2014), Greater New York 2005 Museum of Modern Art PS1 (2005), Freestyle The Studio Museum in Harlem (2001), and Performance Now (2013 - 2014).
He studied at The School of the Art Institute of Chicago, Rutgers University, and the Whitney Museum Independent Study Program. He has received numerous grants and fellowships including the William H. Johnson Prize, the Art Matters Grant, the Louis Tiffany Comfort Award, a New York Foundation for the Arts Fellowship, the New York Community Trust, the Lambent Foundation, and the Rutgers University Ralph Bunche Distinguished Graduate Fellowship. Publications, reviews, and interviews about his work include New York Times, Art +Auction, Village Voice, Modern Painters, Art in America, Art Forum, The New Yorker, BOMB, The Wall Street Journal, The Drama Review, Greater New York 2005, Performa: New Visual Art Performance, Rethinking Contemporary Art and Multicultural Education, and Why Art Photography? He has written for exhibition catalogues, the New York Times, Art Forum, and Performing Arts Journal. He is represented by INVISIBLE-EXPORTS in New York City.
Performance by Clifford Owens
September 3, 2016
CUNSTHAUS
One Night Performance :: 7–8PM
Four Scores will feature Clifford Owens’ interpretation of a selection of performance scores—written or graphical instructions for actions—written specifically for Owens by an inter-generational group of African-American artists, including William Pope L., Lynette Yiadom Boyake, Terry Adkins, Glenn Ligon and Lorraine O’Grady.
Clifford Owens’ art has appeared in numerous group and solo exhibitions. His solo exhibitions include Anthology: Clifford Owens Museum of Modern Art PS1 (2011-2012), Better the Rebel You Know Home, Manchester, England (2014), and Perspectives 173: Clifford Owens Contemporary Arts Museum Houston (2011). His many group exhibitions include, Radical Presence: Black Performance in Contemporary Art Contemporary Arts Museum (2012 - 2014), Greater New York 2005 Museum of Modern Art PS1 (2005), Freestyle The Studio Museum in Harlem (2001), and Performance Now (2013 - 2014).
He studied at The School of the Art Institute of Chicago, Rutgers University, and the Whitney Museum Independent Study Program. He has received numerous grants and fellowships including the William H. Johnson Prize, the Art Matters Grant, the Louis Tiffany Comfort Award, a New York Foundation for the Arts Fellowship, the New York Community Trust, the Lambent Foundation, and the Rutgers University Ralph Bunche Distinguished Graduate Fellowship. Publications, reviews, and interviews about his work include New York Times, Art +Auction, Village Voice, Modern Painters, Art in America, Art Forum, The New Yorker, BOMB, The Wall Street Journal, The Drama Review, Greater New York 2005, Performa: New Visual Art Performance, Rethinking Contemporary Art and Multicultural Education, and Why Art Photography? He has written for exhibition catalogues, the New York Times, Art Forum, and Performing Arts Journal. He is represented by INVISIBLE-EXPORTS in New York City.
SUBJECTIVE CAMERA LIBRARY
Recent Works by Ed Steck
August 5 – September 2, 2016
CUNSTHAUS
Opening :: August 5, 2016 :: 6–10PM
Please join us Friday September 2nd for an Artist Talk & reading by Steck during First Fridays Seminole Heights from 7 - 9 pm.
Subjective Camera Library is a re-purposing of both visual and text research materials for a larger book project on the production and distribution of a niche market of independent films in the 1970s and 1980s. The project includes books, prints, and other physical materials in an attempt to redistribute narrative keywords, isolated screenshots, and collective perspectives on horror, adult, and exploitation films. The exhibition looks at the complicated relationship between perceptions of fiction and the mirroring of both fantasy and reality. The exhibition primarily revolves around an accumulative library of volumes composed of user-generated narrative keywords documenting the patterns of viewer perspective and focus.
Ed Steck is the author of numerous works - more recently including: The Garden: Synthetic Environment for Analysis and Simulation (Ugly Duckling Presse, 2013), The Rose (Hassla Books, 2013, with Adam Marnie), sleep as information/the fountain is a water feature (COR&P, 2014), DoorGraphicDataRecovery (Or Worse Press, 2016), Far Rainbow (Make Now Books, 2016), Subjective Camera Library (Troll Thread, 2016), and Universal Core Architecture (Resolving Host, 2016). He holds a Master of Fine Arts from Bard College Milton Avery Graduate School of the Arts. His work has been exhibited nationally and internationally, including at Center for Ongoing Research & Projects in Columbus, Ohio, and at West in The Hague, Netherlands. Steck is the editor of Theme Can (www.theme-can.com). He currently lives and works in Tampa, Florida.
Recent Works by Ed Steck
August 5 – September 2, 2016
CUNSTHAUS
Opening :: August 5, 2016 :: 6–10PM
Please join us Friday September 2nd for an Artist Talk & reading by Steck during First Fridays Seminole Heights from 7 - 9 pm.
Subjective Camera Library is a re-purposing of both visual and text research materials for a larger book project on the production and distribution of a niche market of independent films in the 1970s and 1980s. The project includes books, prints, and other physical materials in an attempt to redistribute narrative keywords, isolated screenshots, and collective perspectives on horror, adult, and exploitation films. The exhibition looks at the complicated relationship between perceptions of fiction and the mirroring of both fantasy and reality. The exhibition primarily revolves around an accumulative library of volumes composed of user-generated narrative keywords documenting the patterns of viewer perspective and focus.
Ed Steck is the author of numerous works - more recently including: The Garden: Synthetic Environment for Analysis and Simulation (Ugly Duckling Presse, 2013), The Rose (Hassla Books, 2013, with Adam Marnie), sleep as information/the fountain is a water feature (COR&P, 2014), DoorGraphicDataRecovery (Or Worse Press, 2016), Far Rainbow (Make Now Books, 2016), Subjective Camera Library (Troll Thread, 2016), and Universal Core Architecture (Resolving Host, 2016). He holds a Master of Fine Arts from Bard College Milton Avery Graduate School of the Arts. His work has been exhibited nationally and internationally, including at Center for Ongoing Research & Projects in Columbus, Ohio, and at West in The Hague, Netherlands. Steck is the editor of Theme Can (www.theme-can.com). He currently lives and works in Tampa, Florida.