“Perhaps the most seductive (if not politically salient) works on offer involve two participatory projects. Christina Freeman’s UltraViolet Archive is one of them. The interactive installation features a library bookshelf of “Challenged, Banned, and Obliterated” books (some familiar and others unexpected); a round table with chairs; and a single computer for curious visitors looking to explore the digital archive. Emilio Martinez Poppe’s End Credits for the Places That Make Us, meanwhile, includes a monitor, keyboard, and mouse. Found on the second floor, with two additional sets elsewhere on the ground level, the screen asks visitors to reflect on and engage with notions of placemaking, community, and belonging with preloaded prompts.”
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.
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.
I’m excited to announce a new curatorial project at the Windmill Community Garden across from Flux Factory, entitled Air Rights: a series of artist-made flags
Saturday February 24, 2018 at 8:30pm
Windmill Community Garden
39-22 29th Street
Long Island City
Revised U.S. Flag #4 (Francisco Franklin), designed by Francisco Franklin as part of the series Revised U.S. Flag by Maya Grace Misra, combines elements from the United States flag and the flag of his home country, Panamá.
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. http://www.fluxfactory.org/upcoming/air-rights-a-series-of-artist-made-flags/
February 24- March 31
Artist Statement by Maya Grace Misra
“In my project Revised U.S. Flag, I invite individuals who have immigrated to the United States to redesign the national flag based on their own experiences and their assessment of the nation’s values. . . The result is a compilation of flags representing the many voices of the people of the United States. The
project serves to celebrate our national diversity, while questioning whether or not our national symbols can truly represent all people.”