Explores the power of language and the duality of existing between cultures. In particular, artists Labkhand Olfatmanesh and Gazelle Samizay will investigate the way memories and trauma express themselves differently in one’s native language vs. a second language.
Side Street project
… --- … (SOS)
Saturday, July 17th, 2021 Time: 12:00-3:00pm
Location: Parking lot behind Torrance Art Museum
Curator: Labkhand Olfatmanesh
Producer: Rebekah Neel
Featuring work by Chantal Cherry, Jireh Deng, Chiho Harazak,Ruoyi Shi, Shima Tajbakhsh, Rebekah Neel
Title: The Idea: A series of identically sized framed "rooms" that are open to various artists in the collective to fill or utilize how they choose around the theme of post-covid social anxiety. These will be about the size of a phone booth. We are interested in focusing on the shared experience we have around navigating new social interactions after a prolonged time of social distancing. Using the inside/outside space of the artist's individual box to convey the intimate lived reality of how the artist has/is processing this change and transition is the focus. Mediums: Installation / Visual / Performance / Movement / Sound / Open to others! Themes: Placement/Displacement, Home, Inside, Anxiety, Transformation, Interaction
MiM Gallery is pleased to present It’s NEGATIVE, a group photography exhibition curated by
Featuring work by Alex Turner, Aline Smithson, Jonas Yip, Odette England, Rafael Soldi, Tarrah Krajnak, Tomiko Jones, and Tooraj Khamenehzadeh.
Saturday, April 10- May 29, 2021
Asian Art Museum debuts exciting, emotional short works from West to East Asia — and beyond. After Hope: Videos of Resistance invites audiences to immerse themselves in a new kind of multimedia experience, a series of 54 short videos, from over 60 artists, that explore the role of hope in contemporary art and activism.
After Hope is organized by Abby Chen, head of contemporary art at the Asian Art Museum; Padma Maitland, assistant professor of architectural history and theory at California Polytechnic State University, San Luis Obispo; and Viv Liu, research assistant for contemporary art at the Asian Art Museum. Part of a three-part project, After Hope: Videos of Resistance showcases how relevant and accessible video artworks convey the power and potential of global solidarity.
September 25, 2020 – December 31, 2021.
Asian Art Museum, Lee Gallery, 200 Larkin St., San Francisco
The South Asian Womxn’s Creative Collective presents
April 1–May 15, 2021
at the Jamaica Center for Arts and Learning (JCAL)
Curated by Grace Aneiza Ali
Encounters features fourteen women from the South Asian diaspora who came together across geographical, cultural, political, and religious boundaries. Working as “artist pairs” and grounded in an ethos of friendship, creative partnership, and community-building, their artworks illuminate shared bonds and histories, reveal personal and political narratives that may have been otherwise unknown or invisible, signal an economy of care, and envision a equitable future in which women thrive.
In an effort to find comfort and connectedness through art, architecture, and design, Helms Bakery District in partnership with the Culver City Arts Foundation, is launching Projecting Possibilities, a video installation featuring a new artist each week for 52 weeks, an entire year of rotating digital art exhibitions to celebrate, nourish, support, and promote artists.
That’s one of the most appealing features of “We Are Here / HereWe Are.” The serendipity of art encounters in public places is embedded in ordinary experience. Going into art museums and galleries is certainly gratifying, but these works thrive beyond institutions or the marketplace Certainly, some works can be taxing. Next to the driveway into an abandoned parking garage on a Sherman Oaks side street, Labkhand Olfatmanesh translates a conundrum about natural and social pressures that women encounter. Her installation features a dozen fluid-filled plastic bags, all tied up in a tree with yards of twine. A bag at the top, just out of reach, holds a baby doll, while another at the base is empty, flattened and held down on the ground by a rock. Within the installation’s plain reference to a tree of life, a subtle intimation of violence echoes in the context of abstention fromelevated motherhood. The tree, unsurprisingly, is an evergreen.
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