The Great Ruins of Saturn

 
The Great Ruins of Saturn
By Alvaro Urbano
97 Kenmare Street, New York, NY

 

Exhibition Opening:
Saturday, December 4th from 5-7 pm [RSVP]
Please note that the public opening is free and all are welcome to attend. Proof of vaccination will be required to enter the gallery space.

 

Gallery Hours:
Wednesdays – Saturdays, 12-6 pm
December 8th, 2021 – February 26th, 2022
(Closed December 23rd – January 1st)

 

#greatruinsofsaturn     @alvaro_urbano     @storefrontnyc   

 

“There’s a great, big, beautiful tomorrow and it’s just a dream away!”
Song lyrics for the Carousel of Progress (1964)
by Richard & Robert Sherman, commissioned by Walt Disney

 

“Man’s Achievements on a Shrinking Globe in an Expanding Universe” stated the dedication of the 1964 New York World’s Fair, held at Flushing Meadows Corona Park – once a sprawling ash dump in the heart of the borough of Queens.

 

The 650-acre fair site was populated by hundreds of temporary structures and attended by 51 million people. Amidst all the attractions, the colossal New York State Pavilion, with its space age design and its boasting rights as the largest and tallest pavilion at the fair, embodied the spectacle of “man’s achievements” (or of those by certain men, such as Governor Nelson Rockefeller, World’s Fair President Robert Moses, and pavilion architect Philip Johnson).

 

57 years later, this once colorful symbol that sought to project the ultimate vision of progress, optimism, and power lies largely dormant. Its concrete vestige now casts shadows upon its surroundings…and its original vision. While other structures from the fair have been repurposed, rehabilitated, and moved to various sites, the New York State Pavilion, with its central structure known as the Tent of Tomorrow, still awaits its grand departure.

 

The Great Ruins of Saturn by artist Alvaro Urbano speculates upon its unknown future. Through the technique of shadow puppetry, Urbano presents a film and an installation that playfully and satirically resurface stories from the Tent of Tomorrow and its politically and socially charged past. Urbano’s work situates the neglected pavilion in a theater occupied by a cast of inanimate characters, bringing them to life in order to question both obsolete and contemporary notions of growth and development.

 

Untethered from its original site, the building relinquishes the bright lights of achievement and instead seeks an otherworldly ending. In the process, it escapes the shadows formed by the still-thriving promises of a techno-capitalist future.

 

RSVP for the public opening here.

 

About the Artist

Alvaro Urbano (b. 1983, Madrid, Spain) is a visual artist based in Berlin. He studied at the Escuela Técnica Superior de Madrid (ETSAM) and the Institut für Raumexperimente of the Universität der Künste in Berlin. He is currently a professor at the École Nationale Supérieure des Beaux-Arts in Paris. Urbano’s practice embraces a variety of media, from performance to spatial installations that unfold throughout an experimental process. Often using architecture, theatre, and heterotopia as points of departure, his work invites dialogue in newly conceived environments – exposing conflicts between reality and fiction that redefine and render time-space based situations. Recently, his work has explored and researched the futures of abandoned and vacant World’s Fair pavilions, as in his 2020 show The Awakening at La Casa Encendida (Madrid), which animated the 1958 Spanish Pavilion in Brussels. The Great Ruins of Saturn is Urbano’s first solo exhibition in the U.S.

 

Building Cycles

The Great Ruins of Saturn is presented as part of Building Cycles, Storefront’s ongoing curatorial program that examines building as both a place and a process. The Great Ruins of Saturn follows four exhibitions in the cycle, Aquí­ vive gente, Ministry for All,  Arabesque, and Something Broke.

 

 

Credits

The Great Ruins of Saturn by Alvaro Urbano. Graphic design by Estudio Herrera. Organized by Storefront for Art and Architecture, 2021.

 

Film Credits:
Artist: Alvaro Urbano
Puppeteers and Scenography: Victor Ame Navarro, Yao Liao, Luli Pérez, and Elena Peters
Music: Coeval
Editing: Joji Koyama
Graphic Design: Estudio Herrera
Commissioned by: Storefront for Art and Architecture with the collaboration of Acción Cultural Española, AC/E

 

Storefront for Art and Architecture Team:

José Esparza Chong Cuy, Executive Director & Chief Curator

Jinny Khanduja, Deputy Director

Eduardo Meneses, Gallery and Operations Manager

 

Support

The Great Ruins of Saturn is presented in collaboration with Acción Cultural Española (AC/E), as well as with the support of Silman, ChertLüdde, Travesía Cuatro, and Sotheby’s. Lighting design is supported by L’Observatoire International, with contributions from Lutron / KETRA, Lumenture, and O’Blaney Rinker Associates.

 

Building Cycles has been made possible through the support of the Graham Foundation, as well as from DS+R; KPF; Steven Holl Architects; the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by Storefront’s Board of Directors, members, and individual donors.

 

          

 

           

 

                       

 

 

             

 

 

         

 

 

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Closing Event: Something Broke

Friday, November 5th, 2021
97 Kenmare Street, New York, NY
Silkscreen Station: 4 – 7 pm ET
Virtual Performance by Mariela Scafati: 4:30 pm ET
 
$25 requested donation per attendee; free for members of Storefront. Tote bags and t-shirts will be provided; guests can also bring their own (light colored, pre-ironed) items to print. Storefront’s membership program allows us to remain open and is crucial to our ability to present new work in the gallery space and beyond.
 
Please note that in accordance with New York State regulations, proof of vaccination will be required to enter the gallery space.
 
#somethingbroke   #algoserompio   @scafatiscafati   @storefrontnyc
 
 
Join us next Friday for an event to mark the closing of Something Broke: 2011–Windows–2021 by Mariela Scafati.
 
Drawing upon the artist’s installation at Storefront as well as her work as one of the founders of Serigrafistas Queer (Queer Silkscreeners), attendees are invited to learn the method of silkscreening in order to print on t-shirts and tote bags with an original design by Scafati (pictured above). T-shirts and tote bags will be provided by Storefront for the event, and guests can also bring their own (light-colored and ironed) cloth items to print on. At 4:30 pm, a live virtual performance, Kamishibai Windows (presented by the artist in person from ArteBA in Buenos Aires) will be screened from inside the gallery space and on Storefront’s instagram at @storefrontnyc.
 
About the Exhibition
“A self portrait in reds and pinks,” offers Scafati. Something Broke is a diary of the personal and the collective, in the form of paintings that are both poems and protest signs. It’s a window into the artist’s body as a painter, a teacher, an activist, a queer silkscreener, and – as of recently – a mother. It’s a spectrum of visceral crimsons.
 
These reds and pinks emerge from the artist’s bonds of affection through activism, and from an entanglement of art, politics, and life. They are windows that frame the subjectivities of a body that seeks to inhabit other ways of being.
 
Read more about the exhibition here.
 
RSVP for the event here. Please note that space is limited and entry at the door will be on a first come, first served basis. For non-members: to confirm your attendance, you can make the requested donation or renew/join our membership program in advance of the event.
 
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Support
 
With special thanks to Diego Bianchi, curator of the performance program at ArteBA 21.
 
The silkscreen printing station at this event supports Works in Progress, a nonprofit organization that provides printing services and education.
 
Storefront’s programming is made possible through general support from BKSK; DS+R; KPF; Steven Holl Architects; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by Storefront’s Board of Directors, members, and individual donors.
 
 

Sandfuture

Tuesday, September 21st, 2021

6:00 pm – 8:00 pm

97 Kenmare Street, New York

 

Justin Beal in conversation with Felicity Scott

On the occasion of the launch of Sandfuture by Justin Beal

 

[RSVP]  

 

Please note that in accordance with New York State regulations, proof of vaccination will be required to enter the gallery space.

 

#sfevents     @thejustinbeal     @storefrontnyc

 

Architect Minoru Yamasaki (1912–1986) remains on the margins of history despite the enormous influence of his work on American architecture and society. That Yamasaki’s most famous projects—the Pruitt-Igoe apartments in St. Louis and the original World Trade Center in New York—were both destroyed on national television, thirty years apart, makes his relative obscurity all the more remarkable.

 

Sandfuture by Justin Beal is a work of literary non-fiction that recounts the life and work of Minoru Yamasaki, told through the eyes of a contemporary artist who considers how objects gain meaning and how (and for whom) architectural history is written.

 

New York City changes drastically after a decade bracketed by terrorism and natural disaster. From the central thread of Yamasaki’s life, Sandfuture spirals outward to include reflections on a wide range of subjects, from the figure of the architect in literature and film and transformations in the contemporary art market to the perils of sick buildings and the broader social and political implications of how, and for whom, cities are built. 

 

Join us for an event with artist and author Justin Beal, in conversation with scholar Felicity Scott, to celebrate the launch of the book. This event is free and open to the public. RSVPs are encouraged.

 

Justin Beal is an artist with an extensive exhibition history in the United States and Europe. He graduated from Yale University with a degree in architecture and continued his studies at the Whitney Independent Study Program and the University of Southern California. His work has been reviewed in the New York Times, the New Yorker, Artforum, Frieze, Art in America, and the Los Angeles Times and is included in the permanent collections of the Albright Knox Museum, the Hammer Museum, and the Museum of Contemporary Art Los Angeles. Beal teaches at Hunter College. Sandfuture is his first book.

 

Felicity D. Scott is Professor of Architecture, Director of the PhD program in Architecture (History and Theory), and Co-Director of the program in Critical, Curatorial and Conceptual Practices in Architecture (CCCP) at the Graduate School of Architecture, Planning and Preservation, Columbia University. Her work as a historian and theorist focuses on articulating genealogies of political and theoretical engagement with questions of techno-scientific, environmental, and geopolitical transformation within modern and contemporary architecture, art, and media, as well as upon the discourses, institutions and social movements that have shaped and defined these disciplines, sometimes evidently, sometimes less so.

Algo se rompió

 
Information about the exhibition in English here.
 

Algo se rompió: 2011–Windows–2021
Mariela Scafati
97 Kenmare Street, New York, NY

 

Inauguración:
Jueves 29 de julio, de 6 a 8 pm [RSVP]

 

Horas de la galería:
De miércoles a sábados, de 12 a 6 pm
29 de julio-6 de noviembre de 2021

 

#algoserompio  #somethingbroke  @scafatiscafati  @storefrontnyc   

 

“El cuerpo, barricada fluída”, afirma uno de los 60 afiches monocromáticos pintados a mano por Mariela Scafati en tonos que van del rojo militante al rosa salvaje. Para esta instalación, Scafati regresa a 2011, cuando presentó una exposición titulada Windows en Buenos Aires. Diez años después, la artista revisita y amplía este cuerpo de trabajo, recontextualizando la obra tras una década intermedia de activismos transfeministas que han tenido un impacto intenso en ella y en quienes la rodean. “No sé si llego con palabras a definir esos diez años, posiblemente sí, con los colores”.

 

“Un autorretrato en rojos y rosas”, ofrece Scafati a modo de descripción. Algo se rompió es un diario de lo personal y lo colectivo en forma de pinturas que son a la vez poemas y carteles de protesta. Es una ventana al cuerpo de la artista como pintora, docente, activista, serigrafista queer y, recientemente, como madre. Es un espectro de carmesíes viscerales.

 

Es el color de la solidaridad. “Felicidad infinita en la plaza”, escribió en 2011. Windows se presentó inicialmente durante una acalorada elección presidencial en Argentina y en un momento de gran entusiasmo por el movimiento de los Indignados en contra de la austeridad en España. El trabajo incorpora ideas de sus asambleas, sus modos de organización en espacio público y las estrategias creativas que surgieron de estos esfuerzos, muchos de los cuales fueron heredados de Reclaim the Streets, la Primavera Árabe y otros movimientos sociales globales y locales.

 

Es el color de atención. “Ataques de cariño por tí”, pronunció mientras transmisiones de todo el mundo parecían estar en streaming permanentemente en las ventanas de la pantalla de su laptop. En 2021, al dejar abierta una ventana de su casa, pasó una vecina que le dijo “Avísame si puedo ayudarte en algo.” Este gesto de apoyo se volvió más común que nunca durante la pandemia y lo sigue siendo.

 

Es el color de la audacia. “Sí, se puede. Sonreir, llorar, son parte de lo mismo”, declaró aquella vez con un sentido más despreocupado. Ahora, diez años después, la sensación es distinta. Es un sentido de esperanza mezclada con melancolía, entendiendo que hemos estado aquí antes pero sin estar seguros de lo que sucederá después.

 

Es el color de la desesperación. “Soledad constante, incluso entre la multitud”, recuerda. Ahora, aunque la conectividad se expande a través de WhatsApp y más allá, es difícil escapar de la sensación de aislamiento, como si algo se rompiera en la red que nos une.

 

Estos rojos y rosas surgen de lazos de afecto de la artista a través del activismo y del entrelazamiento de arte, política y vida. Son ventanas que enmarcan las subjetividades de un cuerpo que busca otras formas de ser.

 

Sobra la artista

Mariela Scafati (1973) es pintora, serigrafista queer y docente. Ha vivido y trabajado en Buenos Aires desde 1997. En el 2000, tuvo lugar su primera muestra individual en la galería Belleza y felicidad en Buenos Aires. Una de sus últimas exposiciones colectivas, Transformación, se presentó en el Museo Nacional de Grabado de Argentina y en la onceava Bienal de Berlín. Scafati ha participado en proyectos colectivos y colaborativos vinculados a la serigrafía, la educación, la radio y el teatro. Desde 2007, ha sido integrante de Serigrafistas Queer, un no-grupo que convoca a encuentros para crear consignas que están impresos en camisetas para usar en las marchas del orgullo LGBTTTIQ+, manifestaciones feministas, escuelas, hospitales, museos y asambleas. Desde 2013, ha sido parte de Cromoactivismo, un grupo que usa el color para intervenir poéticamente y transversalmente en los acontecimientos políticos y sociales. En 2020, se sumó a un colectivo que está construyendo la Huerta Agroecológica Transfeminista en Buenos Aires.

 

Building Cycles

Algo se rompió se presenta como parte de Building Cycles, un programa curatorial de Storefront que examina “building” como lugar y proceso. Algo se rompió sigue a tres exposiciones del ciclo, Aquí­ vive gente, Ministry for All, y Arabesque.

 

 

Créditos

Algo se rompió: 2011–Windows–2021 por Mariela Scafati. Diseño gráfico por Julián Solís Morales. Organizado por Storefront for Art and Architecture, 2021.

 

Un agradecimiento especial a Isla Flotante.

 

Equipo de Storefront for Art and Architecture:

José Esparza Chong Cuy, Director ejecutivo y curador en jefe

Jinny Khanduja, Subdirectora

Eduardo Meneses, Manager de galería y operaciones

 

Apoyo

Building Cycles ha sido posible gracias al apoyo de la Fundación Graham, así como de BKSK, DS + R; KPF; Steven Holl Architects; el Consejo de las Artes del Estado de Nueva York con el apoyo del Gobernador Andrew Cuomo y la Legislatura del Estado de Nueva York; fondos públicos del Departamento de Asuntos Culturales de la Ciudad de Nueva York en asociación con el Concejo Municipal; y por la Junta Directiva, los miembros y los donantes individuales de Storefront.

 

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Something Broke

 
Información de la exposición en español aquí.
 

Something Broke: 2011–Windows–2021
By Mariela Scafati
97 Kenmare Street, New York, NY

 

Exhibition Opening:
Thursday, July 29th from 6–8 pm [RSVP]

 

Gallery Hours:
Wednesdays – Saturdays, 12-6 pm
July 29th–November 6th, 2021

 

#somethingbroke  #algoserompio  @scafatiscafati  @storefrontnyc   

 

“The body, fluid barricade,” states one of 60 monochrome posters hand-painted by artist Mariela Scafati in shades that range from militant red to wild pink. For this installation, Scafati reaches back to 2011, when she presented an exhibition entitled Windows in Buenos Aires. Ten years later, she revisits and expands upon this body of work, recontextualizing it in light of the intermediate decade of transfeminist activism that has intensely impacted the artist and those around her. “I don’t know if I can define these ten years with words, but possibly with colors.”

 

“A self portrait in reds and pinks,” offers Scafati by way of description. Something Broke is a diary of the personal and the collective, in the form of paintings that are both poems and protest signs. It’s a window into the artist’s body as a painter, a teacher, an activist, a queer silkscreener, and – as of recently – a mother. It’s a spectrum of visceral crimsons.

 

It’s the color of solidarity. “Infinite happiness on the street,” she wrote in 2011. Windows was initially presented during a heated presidential election in Argentina, and at a time of great enthusiasm for the Indignados Movement against austerity policies in Spain. The work incorporated ideas from the assemblies, modes of organization in public space, and creative strategies that emerged from these efforts, many of which were inherited from Reclaim the Streets, the Arab Spring, and other global and local social movements.

 

It’s the color of attention. “Rush of affection for you,” she pronounced, as broadcasts from around the world seemed to be permanently streaming on the windows of her computer screen. In 2021, upon leaving a window open in her house, a neighbor passed by and said “Let me know if you need anything.” This gesture of support became more common than ever before during the pandemic, and it continues to be.

 

It’s the color of boldness. “Sí se puede. To smile, to cry, they are part of the same,” she declared at the time with a sense of lightheartedness. Now, ten years later, the feeling is different. It’s a sense of hope mixed with melancholy, knowing that we’ve been here before and uncertain what will happen next.

 

It’s the color of despair. “Constant loneliness, even between the crowd,” she remembers. Now, even as connectivity expands through WhatsApp and beyond, it’s hard to escape a feeling of isolation, as if something broke in the network that unites us.

 

These reds and pinks emerge from the artist’s bonds of affection through activism, and from an entanglement of art, politics, and life. They are windows that frame the subjectivities of a body that seeks to inhabit other ways of being.

 

About the Artist

Mariela Scafati (1973) is a painter, queer silkscreener, and teacher. She has lived and worked in Buenos Aires since 1997. In 2000, her first solo show took place at Belleza y felicidad gallery in Buenos Aires. One of her most recent group exhibitions, Transformation, was presented at the National Museum of Engraving in Argentina and at the 11th Berlin Biennial. Scafati has participated in collective and collaborative projects related to screenprinting, education, radio, and theater. Since 2007, she has been a member of Queer Silkscreeners, a non-group that calls meetings to create slogans that are printed on T-shirts for use at LGBTQIA+ pride marches, feminist demonstrations, schools, hospitals, museums, and assemblies. Since 2013, she has been a part of Cromoactivismo, a group that uses color to intervene poetically and transversally in political and social events. In 2020, she joined a collective that is constructing the Transfeminist Agroecological Garden in Buenos Aires.

 

Building Cycles

Something Broke is presented as part of Building Cycles, Storefront’s ongoing curatorial program that examines building as both a place and a process. Something Broke follows three exhibitions in the cycle, Aquí­ vive gente, Ministry for All, and Arabesque.

 

 

Credits

Something Broke: 2011–Windows–2021 by Mariela Scafati. Graphic design by Julián Solís Morales. Organized by Storefront for Art and Architecture, 2021.

 

A special thanks to Isla Flotante.

 

Storefront for Art and Architecture Team:

José Esparza Chong Cuy, Executive Director and Chief Curator

Jinny Khanduja, Deputy Director

Eduardo Meneses, Gallery and Operations Manager

 

Support

Building Cycles has been made possible through the support of the Graham Foundation, as well as from BKSK, DS+R; KPF; Steven Holl Architects; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by Storefront’s Board of Directors, members, and individual donors.

 

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Live Performance: A Long Evening with Christian Nyampeta

Wednesday, May 26th, 2021

7:00 pm – 9:00 pm (performance starts at sunset)

97 Kenmare Street, New York

 

[RSVP]    [About the Project]

 

#sfevents     #alongevening      @christiannyampeta      @storefrontnyc

 

Join us for a live performance by artist Christian Nyampeta to conclude his extended meta-concert at Storefront for Art and Architecture, A Long Evening with Christian Nyampeta.

 

Learn more about the project and see photos here and below.

 

About the Project

A year of social distancing has made time, touch, and gesture elusive. The spaces people inhabit together are increasingly temporal and psychological, rather than physical.

 

This extended meta-concert at Storefront for Art and Architecture spatializes artist Christian Nyampeta’s recent album, An Evening with Christian Nyampeta. Over the course of the last decade, Nyampeta has been making musical experiments as a way to commemorate the shifts caused by major events: the Fukushima nuclear disaster, police shootings, the intensification of tyrannical regimes, and the current pandemic, to name a few. Each track emerges from Nyampeta’s intimate act of seeking the company of artists, musicians, theorists, and other figures. He mixes their ideas with his own and translates these allusive collaborations into sonic compositions. In doing so, he imbues them with what he calls a sociography of emotions, collectivizing personal experiences into structures of feelings.

 

A Long Evening with Christian Nyampeta, like its namesake album, is presented during a brief hiatus in the regular course of operating, born as an impromptu act of solidarity. It stretches that brief period of time that sits between day and night, between public and private, between outside and inside, between what the world is and what it could be. Offering a time zone of respite from the exhaustion, loss, grief, and conflict of our current era, it instead imagines a moment of belonging, joy, generosity, and creation in the face of an ever challenging world. In the process, Nyampeta asks a crucial question that provokes a more hopeful future: how do we rest together? 

 

This event is open to all who would like to attend. Please RSVP here.

A Long Evening with Christian Nyampeta

A Long Evening

with Christian Nyampeta

Begins April 8th, 2021 

97 Kenmare Street, New York, NY

 

Begins: Thursday, April 8th from 6-8 pm [RSVP]

Ongoing: Wednesday – Saturday from 12-5 pm until May 26th, 2021

Please note that masks are required for entry, and social distancing protocols apply.

 

#alongevening      @christiannyampeta       @storefrontnyc

 

A year of social distancing has made time, touch, and gesture elusive. The spaces people inhabit together are increasingly temporal and psychological, rather than physical.

 

This extended meta-concert at Storefront for Art and Architecture spatializes artist Christian Nyampeta’s recent album, An Evening with Christian Nyampeta. Over the course of the last decade, Nyampeta has been making musical experiments as a way to commemorate the shifts caused by major events: the Fukushima nuclear disaster, police shootings, the intensification of tyrannical regimes, and the current pandemic, to name a few. Each track emerges from Nyampeta’s intimate act of seeking the company of artists, musicians, theorists, and other figures. He mixes their ideas with his own and translates these allusive collaborations into sonic compositions. In doing so, he imbues them with what he calls a sociography of emotions, collectivizing personal experiences into structures of feelings.

 

A Long Evening with Christian Nyampeta, like its namesake album, is presented during a brief hiatus in the regular course of operating, born as an impromptu act of solidarity. It stretches that brief period of time that sits between day and night, between public and private, between outside and inside, between what the world is and what it could be. Offering a time zone of respite from the exhaustion, loss, grief, and conflict of our current era, it instead imagines a moment of belonging, joy, generosity, and creation in the face of an ever challenging world. In the process, Nyampeta asks a crucial question that provokes a more hopeful future: how do we rest together? 

 

About the Artist

Christian Nyampeta lives nearby Storefront, from where he organizes programs, exhibitions, screenings, performances, and pedagogical experiments in New York, the Netherlands, London, and beyond. His 2018 film Sometimes It Was Beautiful will be premiered in the US at the Guggenheim Museum on April 30th, 2021 in a solo exhibition curated by Xiaoyu Weng.

 

On Maintenance

A Long Evening is presented as part of On Maintenance, Storefront’s year-long interim program in the midst of the global pandemic. The program introduces an interjection and a moment of pause in our previously scheduled programming to address aspects of maintenance and care, exploring what it means to both sustain and rehaul our spaces, our social and political systems, and our bodies and minds.

 

Credits

A Long Evening with Christian Nyampeta. Organized by Storefront for Art and Architecture, 2021. 

 

Storefront for Art and Architecture Team

José Esparza Chong Cuy, Executive Director & Chief Curator

Jinny Khanduja, Deputy Director

Jessica Kwok, Gallery and Operations Manager

 

Support      

Storefront’s programming is made possible through general support from BKSK; DS+R; KPF; Steven Holl Architects; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by Storefront’s Board of Directors, members, and individual donors.

 

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Re-Source Closing Event

Tuesday, March 30th, 2021

6:00 pm – 7:30 pm

Zoom (link will be provided upon RSVP)

 

[RSVP]    [About the Exhibition]

 

#sfevents     #resource      @storefrontnyc

 

As we close Re-Source, a combined exhibition and benefit that re-opened Storefront’s gallery space in November seven months after the start of the pandemic, we invite members of the Benefit Committee and members of Storefront to join us in conversation with many of the 26 architects and designers whose work was presented in the exhibition.

 

Re-Source participants will share their thoughts and approach on their work and maintaining their practices, as well as how they’re thinking about resources in this unique moment. An open conversation will follow.

 

Learn more about the exhibition, see photos of works, and join the Benefit Committee here.

 

About the Exhibition

Stacks of used plywood, steel studs and pipes, obsolete electronics, broken heaters, and unidentified cables. Boxes with dusty newsprints and stationary, excess light bulbs and fluorescent tube lights, tripod stands, wheels, vinyl banners, carpets, tarps, and sandbags. Leftover paint, glue and epoxy, plastic bags full of nails, screws, hinges and L-brackets, buckets of cleaning supplies, and more.

 

Throughout the years – decades even – Storefront for Art and Architecture has accumulated these and many other objects, tools, materials, and equipment. They took root over time, filling every drawer and corner, and growing exponentially with the perhaps unrealistic expectation that they would be reused in upcoming projects.

 

Now, as a global pandemic demands us all to realign our goals and reimagine our near- and long-term futures, the need for processes of renewal is clear. At Storefront, we take this opportunity to shed old ways of doing and being, and to affirm the need to embrace methods that are ever more thoughtful, responsible, and empathetic.

 

Re-Source, Storefront’s first in-person exhibition since the lockdown, is the beginning of what’s to come. Drawing upon our material and social resources, the exhibition invites 26 architects and designers who have worked with Storefront in its recent history to create new works with leftover and surplus items from our office, gallery, and storage spaces. Through this process, we seek to give new life to the things we hold, and to open up space that is crucial for new ways of working, making, and thinking.

 

At a time when anxiety and opportunity collide, Re-Source also doubles as a fundraising initiative to replace crucial financial resources lost due to the cancelation of Storefront’s annual Spring Benefit. The exhibition is presented as part of our interim program, On Maintenance, which introduces an interjection and a moment of pause in our previously scheduled programming to address the many aspects of maintenance, exploring what it means to both sustain and rehaul our spaces, our social and political systems, and our bodies and minds.

 

Read more about the exhibition, see all the works, and learn more about joining the Benefit Committee here

 

This event is open to Re-Source participants, Benefit Committee members, and members of Storefront. Please RSVP here.

StorefrontTV Season 3: On Maintenance

 

[Tune In]

[Sign up for Reminders

[About Season 3]

 

JUMP TO EPISODES

Episode 1: Noches vacías by Mariela Scafati

Episode 2: Before Wearout: by Jessica Kairé

Episode 3: Collective Wakes by Sumayya Vally

Episode 4: Se va a caer by Julieta Gil

Episode 5: Recapture by Leslie Hewitt

Episode 6: Why Not Stand? by Yolande Daniels

Episode 7: Tomorrow Is So Far by Alvaro Urbano

Episode 8: Ziyarat (زیارت) by Samaneh Moafi

Episode 9: 2Maintain by Devin Kenny

Episode 10: Documenting Practice by BRANDT : HAFERD

Episode 11: She Finally Caught A Breath by Papi Juice

Episode 12: Unmet Needs by Melanie Gilligan

Episode 13: Re-model by Rafael Domenech

Episode 14: Cistern by Vivien Sansour

 

 

TUNE IN:

 

Episodes of StorefrontTV Season 3 will air weekly on Wednesdays at 6 pm ET here on Storefront’s website, as well as on YouTube and Instagram Live. Each episode is brief, usually between 5-10 minutes.

 

Tune in below on Wednesday, September 23rd from 6:00-6:05 pm ET for Episode 14: Cistern by Vivien Sansour, the final episode of the season. To watch episodes from past weeks, see episode description sections below, or check out our YouTube playlist.

 

 

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ABOUT SEASON 3:

 

Print

 

StorefrontTV is an online broadcast channel created in 2014 that presents experimental programming about the built environment. In 2020, Storefront launches the third season of StorefrontTV with the theme On Maintenance.

 

Presenting newly commissioned videos by artists and architects, this season aims to explore and redefine the notion of maintenance. Participants interpret “maintenance” in various ways, some shared and others divergent, and many reflecting upon particularities of our current moment. Episodes address topics such as the radical reinterpretation of societal values, efforts to avoid wear on the body and mind, networks of people that sustain a neighborhood, nostalgia for unrealized change with the passing of time, and the spatial expertise of domestic laborers, among others.

 

Each episode provides artists and architects with a space to playfully and critically address a key aspect of social life and culture through the lens of maintenance. Learn more about forthcoming episodes below, and stay tuned for the full schedule.

 

StorefrontTV Season 3: On Maintenance is broadcast weekly on Wednesdays at 6 pm Eastern. Episodes are brief, between 5-10 minutes each, so we encourage you to subscribe to our YouTube channel, sign up for reminders, and follow us on Instagram at @storefrontnyc.

 

Learn more about the previous season of StorefrontTV here.

 

Image: StorefrontTV Season 3: On Maintenance. Design

by Pentagram/Natasha Jen, Jonathan Katav, Ran Zheng

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EPISODE 1:

 

Noches vacías (Empty Nights

Mariela Scafati (with music by Daiana Rose)

 

Wednesday, June 24th, 2020 from 6:00-6:05 pm ET

 

 

I can’t remove the cat hair from my clothes

nor do I want to

I’m in phase 1

if anything at all

naming at least one place

and there’s no way to cover up that everything is ignored 

I am comforted by the memory of some gesture, of your voice or your gaze

sometimes I dream

other times I sleep,

those times give me

some notion of life

the cat looks at the glass of water

it keeps walking

neither thirst nor the damn habit of throwing the glass

nor looking from the table at the glasses and the puddle of water

a calm that is impossible to sustain

not even the damn habit.

 

I’m sharing this “table theatre” that I made one night, accompanied by the song Noches vacías” (“Empty Nights”), a melancholic version by Daiana Rose interpreted from the well-known track by Gilda. I chose to use my hands in an attempt at closeness, and to be able to think about what, from this time, we wish to endure and what we are no longer willing to hold onto. 

 

— Mariela Scafati

 

About Episode 1

In the first episode of StorefrontTV Season 3, Buenos Aires-based artist Mariela Scafati questions the notion of maintenance by exploring the absurdity of the concept of “normalcy” in our current times, and contemplating the values that shape our societies. Although Scafati’s exhibition Bodybuildings would have been on view at Storefront’s gallery space this summer, she is ready to embrace the challenge of meaningful change brought on by the current moment. 

 

About the Artists

Mariela Scafati (b. 1973) is a Buenos Aires-based artist using mediums of painting, installation, screen printing, and performance to address issues of gender rights and identity. Scafati completed her studies in Visual Arts at the E.S.A.V. in Bahía Blanca, Argentina. She has been exhibiting works inside and outside of Argentina since 1988. She is a co-founder of Taller Popular de Serigrafía (Popular Silkscreen Workshop), created collectively with the Popular Assembly of San Telmo that emerged during the December 2001 insurrection. She has also been a part of the non-group Serigrafistas Queer (Queer Silkscreeners) since 2007, as well as a member of Cromoactivismo (Chromoactivism). Scafati has worked at the Centro de Investigaciones Artísticas (Center of Artistic Investigations) since 2010, and has participated in many other group-based and collaborative projects that range in medium from education to printmaking, radio, and theater.

 

Daiana Rose (b. 1980) is a visual artist and a member of Cromoactivismo (Chromoactivism) and Serigrafistas Queer (Queer Silkscreeners). Her work focuses on drawing and performance. She is interested in using her art for communication and learning, and in exploring art as a method of emotional survival. Rose is a graduate of the Lola Mora National School of Fine Arts and a CIA2015 Fellow. Some of her individual exhibitions include Miss Verduritas (CC Recoleta, 2009), A Florencio (Orange Green Gallery, 2013), Bullfighting (Agatha Costure, 2014), and I am attracted by what it brings, I am attracted by what attracts (UV Gallery, 2018). In 2019, she released an album of 11 songs entitled Este peludo sentir (This Furry Feeling) with the label Otros Formas, produced by Lola Granillo. Since 2018, she has been performing this music in various locations. 

 

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EPISODE 2:

 

Before Wearout:

Jessica Kairé

 

Wednesday, July 1st, 2020 from 6:00-6:10 pm ET

 

 

While visiting relatives in Kochi, Japan, my partner’s hometown, the international lockdown caused by coronavirus catches us off guard, and we remain abroad in semi-quarantine for three months. Before Wearout: portrays some cultural nuances of domestic life that I encounter while living in this new environment. In a small space, I perform a sequence of actions that viewers can try at home using resources they have on hand. For me, these include a futon, a pomelo, and some cleaning tools.

 

Though not without a struggle, I try to do as the locals do. I learn about the culture by conversing with my mother-in-law, eating seasonal produce, and browsing old housewives’ magazines. I reflect upon being confined to a context that never seems to change, and the sense of weariness that this can create. Now that I find myself having “more time than life,” I consider the importance of establishing self-care methods to avoid wearout, and the ways in which mundane actions gain new meaning as we see things around us suddenly shifting.

 

— Jessica Kairé
 

About Episode 2

In Before Wearout:, the second episode of StorefrontTV Season 3, artist Jessica Kairé performs the notion of maintenance by practicing small actions of self-care while quarantined far from home. Playing with the notion of “wear” as a noun and a verb, her actions acknowledge both the newness and consistency of her surroundings in a time when everything has changed.

 

About the Artist

Jessica Kairé (Guatemala, 1980) is an artist and educator based in New York, and co-founder and co-director of NuMu (Nuevo Museo de Arte Contemporáneo), an egg-shaped museum located in Guatemala City that aims to satiate the lack of other contemporary art institutions in the country. In her practice, Kairé combines artistic and domestic elements to create works that engage the public in various forms of activation such as eating, manipulating and wearing. She is particularly interested in appropriating materials, objects and contexts that are informed by personal or collective conflict, and altering the way we relate to them through an often playful and humorous approach. Her work has been shown at museums, institutions, and galleries such as the Los Angeles County Museum of Art (LACMA); Proyectos Ultravioleta, Guatemala City; Museo Jumex, Mexico City; SITElines.2018 Biennial, Santa Fe; 2da Gran Bienal Tropical, Loíza, Puerto Rico; and more.  

 

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EPISODE 3:

 

Collective Wakes

(and Other Spatial Acts of Resistance)

Sumayya Vally

 

Wednesday, July 8th, 2020 from 6:00-6:10 pm ET

 

 
An exercise in place-making:
 

     1. Chase former evil dwellers.

     2. Remove dirt.

     3. Dig a hole, place salt in it.

     4. Cover the hole with soil.

     5. Draw a circle of hot ashes within the limit of the cleared space.

     6. Have three priests gather around it with a bucket of water in the middle.

     7. Mix coarse salt in the water.

     8. Pray over the water, simultaneously sprinkling it around.

 
— Sumayya Vally
 

About Episode 3

In Collective Wakes (and Other Spatial Acts of Resistance), the third episode of StorefrontTV Season 3, Sumayya Vally presents a choreography of “wakes,” both difficult and celebratory. Drawing upon literary and scholarly works as well as historical and contemporary imagery from public gatherings and advocacy movements, Collective Wakes explores what it means to maintain community over time.

 

About the Artist

Sumayya Vally is the founder and principal of Counterspace. Her design, research and pedagogical practice is committed to finding expression for hybrid identity and contested territory. She is obsessed with Johannesburg as a laboratory for finding speculative histories, future archaeologies, and design languages; often with the intent to reveal the invisible. Her work is often forensic, and draws on performance, the supernatural, the wayward and the overlooked as generative places of history and work. She is presently based between Johannesburg and London as the lead designer for the Serpentine Pavilion 2020/20 Plus 1.

 

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EPISODE 4:

 

Se va a caer (It’s Gonna Fall)

Julieta Gil (with Concepción Huerta)

 

Wednesday, July 15th, 2020 from 6:00-6:05 pm ET

 

 

On March 8th, Women’s Day, millions of us marched in the public sphere, demonstrating and resisting together. That day, we took a collective vow to dedicate our lives to putting an end to this violence.

 

The day before the protests, I panicked. My cries merged with the cries that emanate from the bodies of the countless women, non-binary, and trans people who have undergone systemic violence that goes unrecognized, unseen, and nonexistent.

 

Now, under lockdown, many are confined to the very spaces where the violence originates. Still, we took a vow. Today, I feel like I am part of something bigger than myself – something so big that it can make another thing fall.

 

I really think it’s gonna fall.

The patriarchy is gonna fall.

 

— Julieta Gil

 

About Episode 4

In Se va a caer (It’s Gonna Fall), the fourth episode of StorefrontTV Season 3, Julieta Gil builds upon a series of works entitled Nuestra Victoria (Our Victory) about a prominent Mexico City monument, the Ángel de la Independencia (Angel of Independence). Last summer, hours after serving as the site of protests focused on violence against women, the Ángel was boarded up. The government soon began working on its restoration, erasing the voices of protest that it carried. Se va a caer (It’s Gonna Fall), created in collaboration with Concepción Huerta, allows the words and actions of civil resistance to be maintained in our collective memory.

 

About the Artists

Julieta Gil (b. 1987) is a visual artist based in Mexico City. Her creative research incorporates installation, sculpture, 3D animation, and print in order to explore topics of simulation, as well as the overlaps that occur in the interaction between physical and digital realities. Through her work, she creates narratives that reflect upon institutional pasts, presents, and futures. Julieta holds an MFA from UCLA Media Arts, and a BArch from the Universidad Iberoamericana in Mexico City. In 2015-16, she was a grant recipient of Mexico’s National Fund for Culture and Arts in the field of art and technology research and production. Her work has been presented in spaces such as: the Laboratorio de Arte Alameda (Mexico City), the Nevada Museum of Art (Reno, NV), Future Gallery (Mexico City), Human Resources (Los Angeles, CA), and Zuecca Projects (Venice, Italy). 

 

Concepción Huerta (b. 1986) explores sound through recordings of everyday objects and instruments which, when reproduced and manipulated with tape recorders and processed tapes, create atmospheres based on ambient and noise elements. She creates sound narratives that construct previously invisible stories, eschewing the boundaries of musical genre. She has played in VOLTA, Meditatio Sonus, Overflows, Translation II, Articulations of Silence, THRESHOLD, Aural, Remains, NSMBL, Anxrmal, No Idea Festival, and C4NM, among others. She has also collaborated with many artists, some of whom include: Enrique Arriaga, Turning Torso, Fernando Vigueras, Rodrigo Ambriz, Martín Escalante, Arcangelo Constantini, CNDSD, Viian, Nika Milano, Mabe Fratti, Gibrana Cervantes, Camille Mandoki, Alejandro Morse, among others.

  

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EPISODE 5:

 

Recapture

Leslie Hewitt

 

Wednesday, July 22nd, 2020 from 6:00-6:25 pm ET

 

Screen Shot 2020-07-17 at 12.05.39 PM

 

Though I never actually visited the National Memorial African Bookstore myself, images of the bookstore have flooded my imagination to this very day. In this mental space of post-memory, literature, the chaos of embodied knowledge, and the misremembering of things past, I play with computer code, concrete poetry, and the freeing feeling of chance and happenstance as a place to begin anew. The typefaces of PL/I and IBM Plex Mono serve as foils to potentially instinctual sensory responses that may be stimulated by the temporal poetry present in this in situ documentation of the work “Forty-two.”

 

— Leslie Hewitt

 

About Episode 5

In Recapture, the fifth episode of StorefrontTV Season 3, Leslie Hewitt presents documentation of a work entitled Forty-two (2019), a text-based html programmed video that explores the intersection of concrete poetry, memory, and the “technoscape.” The words generated in the work are collected from archival images of books that circulated through the National Memorial African Bookstore, an iconic space that maintained a subversive presence in Harlem, New York City for forty-two years (from 1932 to 1974). Through the work, Hewitt strives to create a sensory experience of a forgone space where art, politics, and activism converged, placing ideas of resilience and fortitude front of mind.

 

About the Artist

Leslie Hewitt’s approach to photography and sculpture reimagines the art historical still-life genre from a post-minimalist perspective. Her geometric compositions, which she frames and crystallizes through the disciplines of photography and film theory, are spare assemblages of ordinary effects and materials, suggesting the porosity between intimate and sociopolitical histories. Interested in the mechanisms behind the construction of meaning and memory, she decisively challenges both by unfolding manifestly formal, rather than didactic, connections. Her distinct play on syncopation and juxtaposition make her work discursive and beautifully layered. Hewitt further works with site-specific installation, autonomous sculptures, drawings, and the moving image as modalities to contend equally with shifting notions of space and time. Hewitt has held residencies at the Studio Museum in Harlem, the Museum of Fine Arts, Houston, Project Row Houses, the Radcliffe Institute for Advanced Study at Harvard University, Konstepidemin in Göteborg, Sweden and the American Academy in Berlin, Germany amongst others. She is an associate professor of art at The Cooper Union for the Advancement of Science and Art.

 

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EPISODE 6:

 

Why Not Stand?

Yolande Daniels

Edited by Julieta Gil

 

Wednesday, July 29th, 2020 from 6:00-6:05 pm ET

 

 

Instructions for a standing piss using OURStandard FEMME™pissoire:

      (To be repeated multiple times on a daily basis, with variations as needed)

 

1. Place your bag on the service shelf in front of the mirror.

2. Stand facing the FEMME™pissoire. Walk up to the urinal and position your feet on the silhouettes on either side of the floor mat. Do not squat, sit, or turn backwards.

3. Face the urinal and look into the mirror. If you have the time, say an affirmation that feels true to you.

4. Position your thighs at the rubber wings on either side of the urinal. This should be the only point of contact. Once you learn this posture, you will no longer need the wings.

5. Stand and remain clothed. With its second zipper at the crotch, the FEMME™p-system pants eliminate the need to lift, drop, or pull down. Use the p-system ring (which doubles as jewelry) to open the crotch zipper.

6. Tilt your pelvis up. Touch yourself to direct the flow of urine. Or, just because. Focus on fostering awareness and controlling the flow. Over time, you will master aiming.

7. Use the spigot to clean, as you would with a bidet.

8. Use the air dryer attachment to dry yourself.

9. Zip your pants closed using the tab-less crotch zipper.

10. Check yourself in the mirror. As you make any final adjustments, focus on fostering awareness of your actions while challenging “proper” toilet protocols.

11. Confront your discomforts. Do they uphold gender binaries? While the FEMME™pissoire was designed to give women parity, the object and components are gender neutral. 

12. Don’t forget your bag as you exit.

 

— Yolande Daniels

 

About Episode 6

In Why Not Stand?, the sixth episode of StorefrontTV Season 3, Yolande Daniels showcases the OURStandard FEMME™pissoire, a prototype urinal that she originally designed in 1992. The urinal creates a system of objects and accessories that together propose a reimagining of the gendered protocols that inform toilet use. Through the FEMMEpissoire, Why Not Stand? challenges misconceptions of female anatomy, fears of touching and female agency, and the maintenance of societal structures that attempt to raise modest girls to be chaste women.

 

About the Artist

Yolande Daniels is a co-founding design principal of studioSUMO whose works have been exhibited at the Venice Biennale for Architecture, and have been the recipient of various project and firm awards and grants including the AIA Design Awards for Museums and Education Buildings, Emerging Voices Award, Design Vanguard Award, Young Architects Forum, New York State Council on the Arts, and New York Foundation for the Arts. Daniels is a fellow of the American Academy in Rome and the Independent Study Program of the Whitney Museum of American Art. She has taught architecture at the University of Southern California, Massachusetts Institute of Technology, Columbia University (M.Arch ‘90), the University of Michigan, Washington University, and City College, CUNY (BS.Arch ’87), and held positions as the Saarinen chair at Yale University, Silcott chair at Howard University, and interim-director of the Master of Architecture Program at Parsons School of Design.

 

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EPISODE 7:

 

Tomorrow Is So Far

Alvaro Urbano

 

Wednesday, August 5th, 2020 from 6:00-6:05 pm ET

 

 

                                    Today

 

“I miss you.”   6:00 PM ✓✓

 

                                       “When are we seeing each other?”   6:03 PM ✓✓

 

“Tomorrow.”   6:03 PM ✓✓

 

                                        “Tomorrow is so far.”   6:05 PM ✓

— Alvaro Urbano

 

About Episode 7

In Tomorrow Is So Far, the seventh episode of StorefrontTV Season 3, Alvaro Urbano presents a trailer to an unknown future. A man is alone, outside, busy. His actions fade in and out of his surroundings; he at once becomes part of the landscape and stands starkly apart from it. Tomorrow Is So Far, filmed on a sculptural set created by the artist and acted out by his partner, Petrit Halilaj, is a cinematic teaser that blurs the lines between fiction and reality and between the natural and the artificial, provoking us to contemplate how we maintain human and environmental connections over time.

 

About the Artist

Alvaro Urbano lives and works in Berlin and is currently a professor at the École Nationale Supérieure des Beaux-Arts de Paris, France. He studied at the Institut für Raumexperimente at the Universität der Künste. He has received the Villa Romana Fellowship and has attended The Artists and Architects in Residence at MAK, Los Angeles. His works have been exhibited at Bundeskunsthalle, Bonn; Kunsthalle Düsseldorf; Boghossian Foundation, Brussels; Kölnischer Kunstverein, Cologne; Hamburger Bahnhof, Berlin; CAB, Brussels; Moscow International Biennale for Young Art, Moscow; PAC, Padiglione d’Arte Contemporanea, Milan; S.A.L.T.S., Basel; and Neue Nationalgalerie, Berlin, among others. His solo show The Awakening—co-organized by Storefront for Art and Architecture and La Casa Encendida in Madrid— is currently on view at La Casa Encendida and will be presented next year at Storefront as part of its ongoing Building Cycles program.

 

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EPISODE 8:

 

Ziyarat (زیارت)

Samaneh Moafi

 

Wednesday, August 12th, 2020 from 6:00-6:10 pm ET

 


In
Ziyarat (The Pilgrimage), Jalal al-e Ahmad tells the story of his visit to a dam on the waters of Khuzestan:

 

“The space was like that of a temple. That generator was the altar, the area in between was the sanctuary, the blue shade of light was the holy scent, and the sounds of the turbine – which you couldn’t see – were the humming voices of worship. It wasn’t just the temple; the act of ziyarat had also changed. Instead of the Ayat prayer, the one that you would perform to the floods, or the Istisqa prayer, which you would perform to the skies for rain, now, upon entering the temple, you were to perform in silence one rakat of quandary. This temple entrapped the forces of rains and floods with the curves of a generator’s copper coils, and enslaved them all to the click of a switch that could be turned on, or off.” 

 

I share with you a ziyarat to these same waters: the Dez and Karkheh rivers. The floods and the rains wash the villages of Khuzestan, and the dams and the canals maintain its plantations of sugarcane. A curse echoes in these loose waters; I report on it as it appears from a distance, between differing satellite images, archive photographs, documentation from my travels, written reports, and social media footage. 

 

— Samaneh Moafi

 

About Episode 8

In Ziyarat (زیارت), the eighth episode of StorefrontTV Season 3, Samaneh Moafi conducts a “pilgrimage” to the Dez and Karkheh rivers in the Khuzestan Province of southwest Iran. This performative retelling of a story by writer and anthropologist Jalal al-e Ahmad weaves together personal, media, and archival documentation. Ziyarat (زیارت) uses installation, objects, imagery, and movement to shed light upon the maintenance of the sugarcane industry and its relationship to water and the ecology of place.

 

About the Artist

Samaneh Moafi is a researcher and practitioner in architecture. She is a member of Forensic Architecture in the UK, where she develops investigative techniques for environmental violence and oversees the Center for Contemporary Nature. She has a PhD from the Architectural Association (AA), where she completed her thesis on Iran’s contemporary history of state-initiated mass housing, emancipatory practices of female residents, and the intersection of domesticity with gender and class. Samaneh’s practice is a cross between the scales of territory and the domestic, and it involves engagement with historical and contemporary archives through mixed-media installations, video animations and essay writing. Her work and contributions have been exhibited globally in forums such as the Sharjah Architecture Triennial (2019), Tate Britain (2018), MACBA (2017), Venice Architecture Biennale (2016), and Gwangju Biennale (2013).

 

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EPISODE 9:

 

2Maintain

Devin Kenny

 

Wednesday, August 19th, 2020 from 6:00-6:10 pm ET

 


 

I grew up listening to younger elders talkin’ stylishly, solemnly, greasy about what they did to

maintain self. I later learned that they were usually talking about illegal substances –

ancient processes, ones people close to me enjoyed, ones that shouldn’t be illegal at all…

“I give you the seed-bearing plants and herbs to use,” ones that were only made illegal to

prevent the Hearsts and other tycoons from losing money –

different forms of the decorative noose, and trying to make the moon look like a warning.

 

— Devin Kenny

 

About Episode 9

In 2Maintain, the ninth episode of StorefrontTV Season 3, Devin Kenny considers various forms of Black self-care and sociality, exploring why some are considered harmless and others are criminalized. He tends to houseplants using a nail clipper, a tool normally associated with human hygiene, and presents a new song, “if you get arrested (demo),” as well as an original poem. 2Maintain interrogates the notion of maintenance in our time, presenting a juxtaposition between two current realities: police are to maintain the status quo, while self-care is to maintain the spirit.

 

About the Artist

Devin Kenny is an interdisciplinary artist, writer, and musician. Raised on the south side of Chicago, Illinois, he relocated to New York City to study at The Cooper Union as a teen. He continued his practice through the Bruce High Quality Foundation University (Brooklyn), Skowhegan School of Painting and Sculpture (Madison, Maine), SOMA Summer (Mexico City), and the Whitney Independent Study Program (New York). He has done collaborations with Justin Allen, Lucas Pinheiro, the Center for Experimental Lectures, Triple Canopy, Rhizome, Andrea Solstad, and various art and music venues in New York, Chicago, Los Angeles, Houston, and elsewhere including: The Kitchen, Goethe Institut, Recess, Julia Stoschek Collection Düsseldorf, CAMH, OCCII, SculptureCenter, REDCAT, MoMA PS1, Freak City, and Performance Space. He received an MFA in 2013 from UCLA. 

 

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EPISODE 10:

 

Documenting Practice

BRANDT : HAFERD

 

Wednesday, August 26th, 2020 from 6:00-6:20 pm ET

 


 

We produce space, and our spaces produce us…

 

Documentation is both a self-conscious performance and a process of unveiling.

 

We document to reveal the connections between our spaces, actors, and labor.

 

We document the elements that form a practice of recurring events.

 

We document to acknowledge the thinness of the line between cultural production, collective maintenance, and self sustenance

 

We document to demystify and make transparent work that is situated in the world, and that is critically part of the now.  

 

We document to investigate:

 

The Everyday and the Mundane

Territory

Embeddedness

The Ethics of Care

Aesthetics, and the links between

Media or Mediums

Sounds / Footage / Images / GIFs…or Animations / Quotes / References

Processes…from the digital realm of email to the recording screen or Zoom call

 

In the constant act of maintaining this diffuse and sublimated landscape, we document to reclaim the body as primary actor and instrument. 

 

BRANDT : HAFERD

 

About Episode 10

In Documenting Practice, the tenth episode of  StorefrontTV Season 3, BRANDT : HAFERD documents the sustenance of a practice, exploring collaboration as a series of daily, monthly, and seasonal “rituals.” Documenting Practice breaks down barriers between domestic, public, and professional realms, proposing that, in order to maintain culture, we must learn to radically conflate and intersect spaces that may have previously seemed distinctly separate by design.

 

About the Artist

BRANDT : HAFERD is a Harlem-based architecture and design studio led by Jerome W Haferd & K Brandt Knapp since 2012. They work with private clients, institutions, and city governments. Their body of work includes academic research and a range of built projects – from the domestic to the workplace to the urban – that challenge the limits of practice. Some of the interests they explore include: Performance and Play, Abstract vs. Built Form, Nature and Territory, and the Individual vs. the Collective. Through experimental projects, the studio imagines ways in which public space can drive innovation at multiple scales. Haferd and Knapp were winners of the inaugural 2012 Folly competition held by the Architectural League of New York and Socrates Sculpture Park. In 2015, they presented the installation caesura at Harlem’s Marcus Garvey Park in collaboration with artist Jessica Feldman. The studio recently won the 2019 Zero Threshold competition for barrier-free housing with their project Side by Side. They are also recipients of the 2020 AIA New Practices New York.

 

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EPISODE 11:

 

She Finally Caught A Breath

Papi Juice

 

Wednesday, September 2nd, 2020 from 6:00-6:05 pm ET

 

 

What does care look like when we’re breaking down? How do we retain our sanity in a place that’s always pushing us to the edge? What’s the cost of a city that rushes us all the time? What do we do when a decade of growth screeches to a halt? And now, what time is wine time?

 

Let the mourning process begin as it will blossom into acceptance. 

 

— Papi Juice

 

About Episode 11

In She Finally Caught A Breath, the eleventh episode of StorefrontTV Season 3, Papi Juice ruminates on the meaning of adaptation, growth, and change. In a narrative composed of fragments – a bike ride through empty streets, a beach hang, a virtual event, a rooftop sunset, a recording session –  Papi Juice asserts that in order to overcome discomfort, we must acknowledge it. She Finally Caught A Breath is a snapshot of our time, giving us permission to slow down, to pivot, and to seek the ultimate comfort in taking a deep breath.

 

About the Artist

Papi Juice is an art collective that aims to affirm and celebrate the lives of queer and trans people of color. With co-founders and resident DJs Oscar Nñ, Adam R, and illustrator Mohammed Fayaz, Papi Juice lives at the intersection of art, music, and nightlife. Since Papi Juice’s inception in 2013, the collective has been changing the face of nightlife in New York City and beyond with intentional platforms for artists of color, including panels, workshops, artist residencies, performances, and, of course, fabled DJ sets and all night parties. Papi Juice has featured artists such as Princess Nokia, MikeQ, Indya Moore, Juliana Huxtable, Helado Negro, and Yaeji. Papi Juice has also partnered with institutions such as The Brooklyn Museum, MoMA PS1, El Museo del Barrio, Creative Time, The Metropolitan Museum of Art, Toronto Pride, Red Bull Music Academy, and many more.

  

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EPISODE 12:

 

Unmet Needs

Melanie Gilligan

 

Wednesday, September 9th, 2020 from 6:00-6:10 pm ET

 

 

Care is labour and dignity, formal and informal, skilled and intimate, systemic and individual, unequally distributed and accessed, racialized and feminized, essential and undervalued, the maintenance of our relationships.

 

Meeting with a person who researches health equity and social determinants of health, I learn that in Ontario, Canada, aging immigrants do not receive adequate support for their health and well-being. Meeting with a person who works in retirement living and long-term care, I hear what it is like to give support to older people. It becomes clear that care work is often given by people who should be paid much more, and some who are not paid at all. Despite this context, through the work of caring for older people, important relationships are built and sustained.

 

— Melanie Gilligan

 

About Episode 12

In Unmet Needs, the twelfth episode of StorefrontTV Season 3, Melanie Gilligan addresses the context of commodified and informal care for aging people in Ontario, Canada. Through conversations with a researcher and a care worker, she considers multiple types of caregiving relationships, investigating manifestations of intimacy, value of labor, agency, and access. Unmet Needs is a timely portrayal of the crucial relationships that maintain the physical and emotional health of one of society’s most vulnerable demographic groups.

 

About the Artist

Melanie Gilligan (b. 1979) works in a way that reconceives television drama and its links to various forms of non-fictional moving images in order to discuss contemporary political conditions. She studied fine art at Central Saint Martins, London, and was a fellow at the Whitney Independent Study Program, New York. She is a PhD candidate at the Royal Institute of Art in Stockholm. Solo exhibitions include those at Kunsthaus Glarus (2017); The Wattis, San Francisco (2016); Künstlerhaus, Halle für Kunst & Medien, Graz (2016); and de Appel arts centre, Amsterdam (2015). She has contributed to group exhibitions at Kunstmuseum Basel (2019); Kiasma, Helsinki (2017); Les Ateliers de Rennes – Biennale d’Art Contemporain, Rennes (2016); Haus der Kulturen der Welt, Berlin (2016); British Art Show 8, Leeds (2015); Fridericianum, Kassel (2015); and MoMA PS1, New York (2014).

  

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EPISODE 13:

 

Re-model: la ciudad más allá de la ciudad

Rafael Domenech

 

Wednesday, September 16th, 2020 from 6:00-6:20 pm ET

 

 

— por donde hacia la luz huye el sonido —* 

 

Through the cracks, the building breathes, producing consecutive echo chambers. Paint chips fall from the walls, creating curtains of dust visible only when the sun peeks inside.

 

                                               go up the stairs.

                          I walk inside,

           morning, 

Every

 

I inhabit a decommissioned building.

 

I saunter through the city as I wander through books. It all unfolds, creating an architecture of fragments that scaffolds images of consumption, of dwelling.

 

The book,

                  the architecture

                                             of the endless space

                                                                                where language and image collide.

 

– Rafael Domenech


*Severo Sarduy, Big Bang (Barcelona: Tusquests Editores, 1974), 25. 

 

About Episode 13

In Re-model: la ciudad más allá de la ciudad, the thirteenth episode of StorefrontTV Season 3, Rafael Domenech examines the relationship between city and building, exploring how we dwell in different spaces and inhabit multiple realities. In a decommissioned high school building in Yonkers that he has occupied for the last few years, Domenech conducts a daily routine of 5 minute repairs, replacing vandalized windows, installing lighting systems, and repurposing unused faucets and toilets. Re-model juxtaposes footage from these tasks with concrete poetry by the artist, proposing maintenance as a form of irreverence in a society of replacement.

 

About the Artist

Rafael Domenech was born in Havana, Cuba. Domenech is interested in globalized socio-economical infrastructures, contemporary material productions and their relationships to the continual evolution of the urban landscape, the production of architecture, and the manufacturing of language. Through a multidisciplinary artistic practice, he employs notions of radical architecture and public programing as tactics for an exploration of different typologies of objects, experimental publications — artist books, and architectural models. His work has been exhibited at SculptureCenter and Socrates Sculpture Park, Long Island City; The Bass Museum, Miami Beach; Phillip and Patricia Frost Art Museum, Miami; Bronx Museum of the Arts, New York; Artium Museum, Vitoria, Spain; Fredric Snitzer Gallery, Miami; and The Rockefeller Foundation, New York. He has received awards from the Rockefeller Brothers Fund, Tulsa Artist Fellowship, and the Cintas Fellowship. He holds an MFA from Columbia University.

   

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EPISODE 14:

 

Cistern

Vivien Sansour

In collaboration with Samar Hazboun

Music by Emel Mathlouthi

 

WATCH LIVE on Wednesday, September 23rd, 2020 from 6:00-6:05 pm ET

 

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In this very small terrain I call home, imagining a different reality is imperative for survival. As Palentinians, we are constantly trying to figure out ways to maintain ourselves in a system that abhors us and that considers our presence an obstacle to the fulfilment of its vision as a “land without a people.”

 

Along with the challenges of climate change, Palestinians are facing real thirst; we are granted water only in small allowances. We often find ourselves having to figure out how to save water for cut-off days, as well as how to preempt dry days.

 

In August of 2020, we completed the building of a rain harvesting cistern, a project I embarked upon in order to ensure that my plants don’t die of thirst and that I am able to produce food on this terrain, especially in times of crisis. In the process of digging, we came across a few crystallized rocks; a reminder that 100 million years ago – before humans existed – this place was submerged in water and belonged only to the natural world. 

 

– Vivien Sansour

 

About Episode 14

In Cistern, the fourteenth (and final) episode of StorefrontTV Season 3, Vivien Sansour presents a new community project, a water harvesting cistern in Bethlehem. Sansour, along with artist Samar Hazboun, documents the site, emphasizing the importance of water for the survival of all living beings. Cistern is a performative ode to the maintenance of a people, based in both a brutal reality and a fantastical world.

 

About the Artist

Vivien Sansour is an artist and conservationist. She is the founder of The Palestine Heirloom Seed Library and the Traveling Kitchen project, initiatives that aim to bring seed heritage back to the dinner table so we can “eat our history rather than store it away as a relic of the past.” Her work has been exhibited in various arts and culture institutions, including the 2019 Chicago Architecture Biennial and the Victoria and Albert Museum. Her performance “Autonomia” was selected for the closing of the Venice Art Biennale in 2019. Vivien works with farmers worldwide on issues relating to food and seed sovereignty. She uses images, sketch, film, soil, seeds, and plants to enliven old cultural tales in contemporary presentations, and to advocate for the protection of biodiversity as a cultural and political act. Vivien was field producer for Anthony Bourdain: Parts Unknown in 2013. She has also worked with Dan Saladino from the BBC Food Program, among others. She is an enthusiastic cook and often refers to herself as “a proud PhD dropout.”

 

Image: Still from Vivien Sansour’s CisternSeptember 2020.

Photo by Samar Hazboun, courtesy of the artist

Storefront + Michael Sorkin

 
On March 26th, Storefront’s staff and board were deeply saddened to learn of the passing of a dear friend, colleague, mentor, and advisor, Michael Sorkin, from complications due to COVID-19. The photo above was taken earlier this year on a visit of staff to his Tribeca studio, where we spent time catching up with him and hearing more about the recent publications and advocacy projects led by his nonprofit organization, Terreform

 

Michael was a member of Storefront’s Advisory Board for decades and presented many projects at the gallery over the years, including solo shows such as Suburbs of Utopia and group projects such as After Tilted Arc, Postopolis, a design competition for Petrosino Park, and many more. His architectural and scholarly practice resonated deeply with Storefront’s mission to cultivate experimental and critical ideas about the built environment.

 

Those close to Michael will remember his sharp mind and passionate sense of ethics, and his ability to connect disparate ideas, geographies, and philosophies in a single conversation. His wit and humor will be sorely missed.

 

We wish peace and comfort to all of Michael’s loved ones, and are grateful for his legacy and contributions to the fields of architecture, planning, social justice, and beyond.
 
See additional tributes at Terreform.
 
See below for a links to a selection of Michael’s projects at Storefront over the years: