I'm incredibly excited to be part of @MoMA PS1’s #VWSundaySessions for Anti Bodies curated / presented by Topical Cream. Please please go to Anti Bodies on Sunday January 28. Get your tickets and find more information here.
Opening tmrw in Kitchener Canada - check it out if you're in the area!
Hey I have a little feature in this month's Artforum, check it out :)
I'm stoked to be included in this exhibition “New Black Portraitures,” an online exhibition curated by Aria Dean, assistant curator of net art and digital culture at Rhizome. Part of First Look: New Art Online, copresented by Rhizome and the New Museum.
Opening Saturday Oct 14th, 6pm - 9pm
October 14th - November 12th
“This quasi-object is not an object, but it is one nevertheless, since it is not a subject, since it is in the world; it is also a quasi-subject, since it marks or designates a subject who, without it, would not be a subject.” - Michel Serres
Songs for Presidents is pleased to present Something’s Come Between Us, curated by Sessa Englund, opening the fourth season in our space at 1673 Gates. Something’s Come Between Us explores the theory of the quasi-object as put forward by Michel Serres as it relates to passive objects, vulnerability and aggression, through the works of Rindon Johnson, Jes Fan, Victoria Haynes, Hanna Umin and Sessa Englund. Vulnerability is something that not everyone is afforded. It’s something to be measured, protected, and deployed; it is something that can be superimposed, consented to, and also used as a defense. The objects we create and employ to lengthen the distance between our bodies and our vulnerability allows for more breathing room; they allow us to control this distance, to deflect it, reposition it or beckon it closer. The object as a revealing trait of its sculptor, as an indicator of the identity of the artist, or as evidence of lived experiences or of hidden depths, resonates with Serres’ proposal.
Sliding scale $5-10 // No one turned away for lack of funds.
An event series creating and building a space for trans, non-binary, and gender non-conforming artists/makers/thinkers and audiences.
The third installment featuring a video by Rindon Johnson (they/them) and Ser Serpas (she/her), a reading of poetry by Leigh Marques (they/them), an installation by Carmichael Jones (they/them), a performance by Jahmal B Golden (they/them), and the release of a zine by Misty Pollen (she/her).
:) thanks toEric Lawton & Daphne Takahashi I'm showing some old and new work @ Westbeth Gallery in the dope AF group show "Discursive Selves" thru August 11th in NYC
Come celebrate the release of these 3 books (of which mine is one :) on May 7th @ Haeler Echo in New York:
- Penny Goring, NETTLE BOY (Publishing House, May 2017)
- Rin Johnson, Meet in the Corner (Publishing House, May 2017) VR video with sound, with a limited artist’s edition of 50 Google Cardboards
- Sera Brandon Castro Serpas, amores perros (Publishing House, May 2017)
I'm stoked to have a film screening @ Anthology Film Archives, I'll be showing and reading new work
“Godothers” presents five works reflecting on fluidity in gender, language, and political life: where being trans or fluid is not necessarily the primary content, but where genderqueer or trans experiences contribute to a politics of rewriting and relating deeply. With SILENCE, Sarah Mendelsohn projects into the American writer Susan Sontag’s 1993 “gender-blind” production of WAITING FOR GODOT in Sarajevo. Rami George writes into a stranger’s romantic history: scenes of American protests, friendships, and hazy interiors circa 1960s-90s – UNTITLED (STANLEY, MY SECOND LOVER) holds memories of tenderness and radical ambition alternately close and very distant. Geo Wyeth and Mariah Garnett cast themselves as family members, rewriting their genders, adapting their speech. Geo becomes HW CLOBBA: “the artist’s dead godmother, a native New Yorker, reluctant real estate appraiser, and communist.” In OTHER & FATHER, Mariah queers her father, reenacting scenes from an earlier life, in 1970s Belfast. Rindon Johnson projects variously, rewriting their family, name, and body. Their poetry traces the ways our families reside within our names and bodies, our environments, our politics. We’re often looking for new ones.
Psyched to be included in this amazing show @ Fort Gansevoort - Opens March 16th - Runs from March 17th - May 7th
I want to invite you to the Air Sheets Issue 3 Release party at the MoMA Library (4 W.54th St) in the Raymond Roussel Reading Room, on Monday the 13th @ 8pm. I'll be doing a projection installation and reading some of my newer poems. If you'd like to come, please shoot me a mail through the portal on my about page and I'll put you on the list.
I'm stoked to show some brand new Vaseline Videos + Haunting, 2016 @ SPRING/BREAK Art Show, here's a bit more info about the room #2345
In light of the current culture - where facts can be “alternative” and reactions digitally immortalized - the focus of this exhibition came to center around the complex nature of how we consume reality, as well as how art affects reality. The exhibition was designed to invoke the feeling of being hypnotically suspended in the sublime beauty of the artworks, and allow the viewer to revel in the concepts they allude to as a recognizable and alluring reality, while also underscoring the fragility of utopia, nature, and beauty - as a way of mirroring the fragile moment of realizing when the reflection is not real in the way that we perhaps initially thought it to be.
Reality may appear exquisite, but there is always more behind the surface; nothing is literal (no matter how genuine), and in truth, an artwork may connect truth, fantasy, fiction, reality, reflection, matter, and ideas, which then become expressed into unique forms. Ultimately, this exhibition celebrates the infinitude that an artwork can unlock, and is a select presentation of some of the most compelling artists today.
Kate M. Blomquist
Curated by Teriha Yaegashi
TUESDAY FEB 28
Collector's | 11am - 3pm
Press | 3pm - 5pm
Vernissage | 5pm - 9pm
WEDNESDAY MAR 1 - MONDAY MAR 6
VIP Hour | 11am - 12pm*
Open to public | 12pm - 6pm
The black mirror was a commonly used optical device among landscape painters in the eighteenth century. Known as the Claude Glass, after Claude Lorraine, for the subtle tonal effects produced, this technology, which prefigured the photographic lens, required the operator to turn their back on a scene in order to frame it, and was associated with the aesthetic of the picturesque.
Originating from the word 'descry'—to catch sight of—scrying is the divinatory practice of foretelling the future with the aid of a reflective surface. While the media used can vary, the black mirror has become a popular instrument among seers. Utilitarian and mythical, the obsidian mirror provokes a future that is literally retrospective, and makes claims toward truth through its manipulation of the mechanics of vision.
A space of active, magical, and fundamentally mediated visualization, the mirror is a compelling shared conceit in the work of Justin Allen, Rin Johnson, Diamond Stingily, and Deborah Willis.