July 25, 2018 at 5:09am

The Queens Museum in New York has revealed the list of forty-three artists and collectives participating in its upcoming Queens International biennial, titled “Volumes,” which will open on October 7. Hailing from fifteen neighborhoods and representing several generations, the majority of the featured artists are women. The institution also launched the exhibition’s website, which will serve as an alternative way to experience the event.Established in 2002, the Queens International highlights the contemporary cultural production of communities in the borough. Organized by Sophia Marisa Lucas, assistant curator at the Queens Museum, and the New York–based performance artist Baseera Khan, this year’s edition will explore systems of knowledge production in the digital and analog realms. Taking inspiration from the historical emergence of the public library and its ability to confront cultural changes brought about by the internet, “Volumes” will focus on the role of artists as “professional non-specialists” who are able to encapsulate our everyday virtual lives.

“Many artworks in the exhibition address the analog and digital, but they aren’t about nostalgia vs. the status quo,” Lucas said in a statement. “These artists propose analogues within those frameworks, they exacerbate or collapse those distinctions, and conjure opportunities for integration. There is a lot of possibility and speculation, but there is also a specter of pathos and futility. When I first introduced the exhibition in formation to Baseera last winter, she summed it up with this brilliant phrase: ‘cheerfully apocalyptic.’”

Designed by artist Ryan Kuo, who is known for addressing organizational hierarchies and information architecture in his works, the exhibition website will serve as a virtual 3-D model of the venue that is organized on a 2-D plane. The website is intended to serve simultaneously as an experiential tool and an extension of the ideas within the exhibition.

“Taking ‘Volumes’ as a cue, the website grid is composed of an HTML table that threatens (but usually fails, thanks to QI 2018’s actual voices and bodies) to visually tabulate the data within a universal hierarchy,” said Kuo. “The computer tirelessly garbles the text while cutups of the floor plans and animated flythroughs of the virtual galleries give form to truths, half-truths, and algorithmic untruths about the promises of a biennial.”

Additionally, for the first time, the Queens Museum is partnering with the Queens Library to present artworks in select library branches.

The full list of participating artists is as follows:

Damali Abrams

Haley Bueschlen

Gabo Camnitzer

Emmy Catedral

Camel Collective (Anthony Graves and Carla Herrera-Prats)

Kanad Chakrabarti

Jesse Chun

Oscar Rene Cornejo

Chris Domenick

Brian Droitcour and Christine Wong Yap

ray ferreira

Christina Freeman

Milford Graves

Janet Henry

Camille Hoffman

Kim Hoeckele

Heidi Howard and Liz Phillips

Qiren Hu

Juan Iribarren

Paolo Javier and David Mason

Peter Kaspar

Patrick Killoran

Ernesto Klar

Essye Klempner

Mo Kong

Ani Liu

Umber Majeed

Emilio Martinez Poppe

Gloria Maximo

Asif Mian

Wardell Milan

Beatrice Modisett

Arthur Ou

KT Pe Benito

Raycaster (Ziv Schneider and Shirin Anlen)

Gabriela Salazar

Jaret Vadera

Mary A. Valverde

Cullen Washington

Jack Whitten

Air Rights: a series of artist-made flags, Jevijoe Vitug

Air Rights: a series of artist-made flags, Jevijoe Vitug

IMG-1143Air Rights: a series of artist-made flags curated by  Christina Freeman.
Flag Raising:  Artist’s Arm by Jevijoe Vitug

Thursday, July 5th
Flag Raising, 5pm
As part of the Opening Exhibition of Pintados: Portraits of Immigrants as Ancestors

Speaking to solidarity with immigrants and the working class, this flag, created by Jevijoe Vitug, embraces the image of a raised fist as an early symbol of union organizing.  On the arm are the artist’s own tattoos of ocean waves and the flight pattern of birds, referencing his personal experiences with movement and migration. The layered images offer multiple meanings, including immigrant (in)visibility or stripes as prison bars.

Facebook Data Download Party

Facebook Data Download Party
Download / Deal / Delete : a night of Facebook Tomfoolery
39-31 29t St, Long Island City 11101
Organized by Christina Freeman

You’ve spent years of hard work amassing information about yourself on Facebook. You deserve a party!

Play thematic Bingo and drinking games while watching Mark Zuckerberg’s congressional testimony!

Enjoy a public reading of the Facebook Terms of Service!

Download your Facebook history and then sell it to me for 75 cents a pop (that’s the going rate these days). I promise I will only use your information for art!

Delete your Facebook account while making new Friends IRL!

Bring your own laptop or use the Flux iMac. First 10 downloads win a free USB stick.

Data dealing and tech support all night long!

Air Rights: Stitch N Bitch with Coralina Rodriguez Meyer

Air Rights: Stitch N Bitch with Coralina Rodriguez Meyer

Coralina Rodriguez Meyer

Flag Raising: Cunt Quilt, by Coralina Rodriguez Meyer

Saturday, April 7th
Stitch’n’bitch, noon – 4pm at Flux Factory
Flag Raising, 5pm at The Windmill Community Garden
across the street from Flux Factory!

Cunt Quilt Air Rights Statement

The Cunt Quilt is the official flag for the City of Today for Feminine Urbanism to be flown at FluxFactory’s Air Rights space. Airing the nation’s laundry after the 2016 US election, the artist began a national Underwear Audit to collect worn-out women’s underwear to sew onto Queen-sized bedsheets by feminists at quarterly craft gatherings. Born on protester’s backs at marches, the quilts represent an intersectional women’s movement. A performance of citizenship in three acts; the Underwear Audit accounts for our bodies, the Stitch n Bitches build feminist solidarity, and the Cunt Quilt holds our governing bodies accountable. The project will continue until there is a woman in the Whitehouse.

Like the Queens immigrant community (unwavering in the face of brutal forces), the Air Rights Cunt Quilt occupies a marginal, yet symbolic space in a larger movement. The Cunt Quilt migrates its origins from the “Arpilleras” (South American sculptural quilts) craft tradition to North America. Arpilleras originated during the modern Chilean genocide and spread across marginalized communities. The forbidden narrative textile reliefs were a form of political resistance and economic independence made by mourning indigenous mothers with clothing scraps from their “Desaparecidos” (disappeared) children. Arpilleras were performed at protests and sold as subversive souvenirs depicting everyday life under the Pinochet dictatorship. Translated to the North American context – where quilt history ranges from Betsy Ross’ first American flag, to Sojourner Truth’s underground railroad maps and Suffragette sewing circles; the Cunt Quilts are a guide to building solidarity and making invisible women’s power present in North American politics.

Air Rights

While air rights are conventionally framed in terms of potential real estate development, the term legally defines who may “control, occupy, or use the vertical air space above a property.” Playing with this idea, air rights here point to the value of (vertical) community space as a site for creative expression, stemming from the first amendment of the Bill of Rights. In this series, artists are invited to occupy the air space traditionally reserved for governments, symbols of nationhood, and real estate developers, exercising their first amendment right to freedom of speech.

Coralina Rodriguez Meyer is an indigenous South-American Brooklyn based artist who translates structural violence into minority heirlooms. Raised queer between the rural American South and the Caribbean, she mends her mixed-race, latinx, semi-able identity into satirical booby-traps. Coralina performs her citizenship by engaging viewers to become builders of their humorous, hysteric future. She began building the City of Today for Feminine Urbanism in 2009 to propose intimate solutions for urban scale problems. After studying painting at MICA, she completed her architecture BFA at Parsons (2004), and studio art MFA at Hunter College (2013). Coralina held fellowships at the Artist’s Institute NY, SU Florence Italy and the UDK Berlin to study Nazi utopian architecture with Hito Steyerl. In 2012 she researched her Inca heritage at the Museo de Sitio Machu Picchu fellowship, to create works connecting the khipu social structures to urban American iconography. She has been a resident of Mildred’s Lane and the Bronx Museum AIM program. Coralina received awards from VSA Arts, the Kennedy Center, NYFA, Scholastics and Young Arts. She has been featured in the NY Times, Village Voice, Hyperallergic, Paper Magazine, Univision, Nylon Magazine and Jezebel. Coralina’s work has been exhibited at Bronx Museum, Miami Art Museum, the Smithsonian Museum International Gallery, Miami University Museum, Kunstlerhaus Brethanien Berlin, NYU Kimmel Center, Bitforms, Andrew Edlin, AIR gallery, KMAC Museum and the Corcoran.