In Broad Daylight: Women Street Artists from Greece
May 19 - June 30
Curated by Vassiliki Vayenou and Blanka Amezkua
Video research by Dr. Konstantina Drakopoulou
Olga Alexopoulou, Lebaniz Blonde, Cleo43, Dizi, Simoni Fontana, Nique
Saturday, May 19, 6-9pm
Wednesday, May 23, 6-8pm
Artist Talk moderated by Lady K Fever
Saturday, May 26, 2-5pm
Children's Workshop with Cleo43
Saturday, May 26, 6-9pm
Gathering + Open Mic
Wednesday, June 13, 6pm
Friday, June 15, 6:30pm
[Pose] Ta Bombe Film Screening
In Greece, graffiti emerged in the early 80s, in big and small cities, suburban neighborhoods and rural areas, coinciding chronologically with other European and American cities. In recent years, Greek street artists have been painstakingly recording and commenting upon the changes caused in Greek society by the financial crisis–both on personal and social levels through their art. At the same time, they join the larger international dialogue around political and social issues. The force of graffiti as a tool for activating the public's critical skills and awareness, the immediacy of its message, its easy free accessibility and transformative powers render it one of the most democratic artistic practices.
The exhibition In Broad Daylight features the work of Greek female street artists distinguished by both the quality of their work and their dynamic attitude towards freedom of expression. It includes artworks, audiovisual material, articles and books on Greek graffiti and is complemented by a series of public events, providing general information of Greek street art with the hope of arousing further interest in this scene's impressive diversity and social impact.
In Broad Daylight hosts a section of the quadrennial international public art film festival Top to Bottom, which takes place in Athens, Greece and is curated by Andreas Fakis for the independent cultural foundation Studio 4.
April 4 - May 12
Curated by Kiara Ventura
Nicole Bello, Rocio Marie Cabrera, Dana Davenport, Monica Hernandez, Caseena Karim, Jheyda McGarrell, RAFiA Santana, Solaris Sapiente
Saturday, March 31, 6-9pm
Opening Reception with Performance by Megan Curet at 7pm
Thursday, April 5, 7pm
Utilizing the Internet to Raise Your Voice as Young Female Artists of Color Panel Discussion with Rocio Marie Cabrera, Monica Hernandez, Jheyda McGarrell and RAFiA Santana
Friday, April 13, 6:30-9:30pm
Spi(Cy-Fi)lm Screening and Discussion for QTPOC
Wednesday, April 18, 6:30pm
El Sistema Afro-Latin Dance Workshop with Megan Curet
Friday, April 20, 6-9pm
Odiosas BX present: Weirdo of Color Open Mic
Wednesday, April 25 and May 9, 6:30-7:30pm
Saturday, May 5, 5-8pm
BREATHE: Circle for My Sistas Workshop for Bronx Girls 14-18
Saturday, May 12, 7-9pm
Curated by Kiara Ventura, winner of BAS inaugural Curatorial Open Call | Emerging Bronx Voices, FOR US reflects loud unapologetic portraits by 8 young women of color. Artworks speak to the artists' history, lineage, and pressures of daily lived experience. Dedicated to other women of color, the exhibition and its public programs examine how images can drive their process of healing. How can these images on and offline be used to take agency and manifest their future? Featuring sculpture, installation, video, painting, photography and library, the gallery will function as a safe space.
Feb 14 - March 24
Curated by Gabriel de Guzman
Saturday, February 10
6-9pm: Opening Reception
7:30: Performance by Tatlo (Sara Jimenez and Jade Yumang)
Saturday, February 24
6:30-9:30pm: The Gathering + Open Mic
Wednesday, March 7
6:30pm: Artist Talk with Kris Grey, Sara Jimenez and jc lenochan
Saturday, March 24
6:30-9:30pm: The Gathering + Open Mic
Curated by Gabriel de Guzman, Historical Amnesia exposes and grapples with the lasting effects of colonialism, exoticism, and intolerance on today’s culture. Featuring Kris Grey, Sara Jimenez, jc lenochan, Joiri Minaya, and Jade Yumang, artists sift through forms of loss, obscurity, and trauma by using the body as a conduit. These artists recover suppressed narratives, giving body to the hushed voices of those who have been relegated to the status of Other.
This exhibition is especially timely during our current political climate, as affordable health care, women’s reproductive rights, and equality for LGBT people are under threat. Black, brown, female, and LGBT bodies are becoming political battlegrounds. While these artists uncover injustices of the past, they reveal the continued need to inform and empower individual and collective memory. The exhibition will be populated by sculpture, drawings, and video, as well as installations that consider aspects of the space and the experience of the viewer. At the opening reception, artists will also activate the space, giving the exhibition themes another corporal dimension.
Historical Amnesia points to the ruptures in accepted histories and power structures. The artists open up these fissures, allowing diverse narratives to come to the surface. Using intricate processes, they portray the figure as a vehicle through which shadowy pasts are given material form. In this way, the artists serve as quasi-archaeologists, collecting and repositioning cultural residue, uncovering stories that were buried by time and neglect.
All should be or will soon be perfect—with the help of the latest purchase—or if that is not enough than surely there's a pharmaceutical drug that can help cover up that nagging sense of discontent. An entire society is in flight from reality. As our planetary ecosystem increasingly shows signs of buckling under the rapacious demands of human extraction, manufacturing and consumption we will one day, in the perhaps not too distant future, discover the inescapable truth of human and even planetary mortality.
The paintings and sculpture of Jonathan Shimony investigate a world spinning out of control. The mad quest for power and money has increasingly led to a vision of humans as little different from commodities bought and sold in the market. The list of corruption in various parts of American business and government seems unending. There is no apparent limit to the number of human lives willingly sacrificed without regret to advance the power and wealth of those already holding the most important reins of society.
Michael McCarthy's works, seemingly serene and peaceful, engender feelings of anxiety as we linger with them. The near absence of human references leads one to wonder where the humans have gone. Might these series of photographs be traces of the (beautiful and beguiling) calm after the storm and violence depicted in so many of the paintings by Shimony? Pictures of a world left behind, no longer occupied by humans?