Name: Second Sundays: March 2020
Start: 2020-03-08
End: 2020-03-08
Location: Pioneer Works

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PW Closure 10/19

Pioneer Works is closed to the public today, October 19, for a Friends of Firefighters event. 

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Own the Archive Sale

This week only, we’re heavily discounting our #PWPress publications to make way for new projects. Find artist-created books for $5, $10, & $15—sales raised from the PW Store are reinvested into funding new, ambitious projects by emerging and underrepresented artists and writers.

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From November 28 through December 14, take 20% off products in the Gift Guide with code: ULTRAFESTIVE. 

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Pioneer Works will be closed for normal gallery hours this October 14 & 15 for Ragas Live Festival 2023, learn more 

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Please note, Pioneer Works will be closed for daily admissions until July 7th. We 

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Celebrate 10 years of Pioneer Works by shopping the PW Press Archive Sale! Through October 31, take 10% off Pioneer Works Press items with code 

Flash Flood Closures

Building Closures Due to Flash Floods

Due to weather conditions, Pioneer Works is suspending open gallery hours for Friday, September 29. MHYSA's performance has been rescheduled for Sunday, October 1, with all tickets being transferred to the new date.

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 for the entire month of April and receive an automatic 20% off books, records, apparel, and more. Members save 35%—learn more about membership 

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We’re making Pioneer Works accessible to all! While our building is temporarily closed until this September, we are continuing to host offsite programming. See upcoming programs 

Aura Closure 5/27

Please note:

 will close early at 5pm on Saturday, May 27. Learn more and plan your visit 

CEO Announcement

Just Announced: Pioneer Works Names Mara Manus Chief Executive Officer

The Board of Directors of Pioneer Works is pleased to announce that Mara Manus, former Executive Director for New York State Council on the Arts (NYSCA), has been appointed as the organization’s new Chief Executive Officer. 

PW Closed 11/11

We're closed all day Friday, November 11 for our annual Village Fête Benefit. To learn more about the After Party and get tickets, visit 

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We're pleased to announce the first major renovation of Pioneer Works! To accommodate the first phase of our construction, we're temporarily relocating to 133 Imlay Street opening in Spring 2022.

Early Closure 5/10/23

Due to programming, Pioneer Works will be closed to the public on Wednesday, May 10. We will be open from Thursday through Sunday for the remainder of the week. Learn more and plan your visit 

Food and Drinks by The Awkward Scone and Pioneer Works Bar

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

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This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
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Record Selections by Names You Can Trust 
<a href="https://www.nyctrust.com/about-us/" rel="noopener" target="_blank">Names You Can Trust</a> is an independent record label based out of Brooklyn, NY. Since 2004, the label has manufactured a mix of vintage &#038; modern sounds typical of the New York experience — spanning Afro-Latin, Reggae, Disco, Dance, &#038; Instrumental Music. NYCT has operated on the cutting edge of the intimate connection between New York City’s immigrant population and its global roots, having debuted several new-generational acts from the burgeoning markets of South America including Colombia, Brazil, Peru, &#038; Argentina. The label&#8217;s constantly expanding roster is a perfect glimpse into the local yet global New York City underground.
<a href="https://www.thefareastnyc.com/" rel="noopener" target="_blank">The Far East</a> 
Brooklyn’s The Far East pull inspiration from a foundation of Jamaican rhythm; bringing new, heavy magic to a classic sound. The Far East immerse themselves completely in the often forgotten beauty of rub a dub, lovers rock, and classic dancehall.

The Far East and Record Selections by Names You Can Trust

Jaimie Warren’s THE MIRACLE, the artist’s first institutional solo show in New York, features daily activations and culminates in an over-the-top musical production titled THE MIRACLE, THE MUSICAL on April 4th and 11th.
Resembling a high school musical backdrop, a vintage Disney ride, or the campy gore of a community-built haunted house, THE MIRACLE is a DIY, oversized supernatural set for performance made up of animatronics, costumes, and special effects. It references iconic horror movies such as A Nightmare on Elm Street (1984), B-movie camp extravaganzas, drag theater, and musical comedies. A large forest recalls The Swamps of Sadness from The NeverEnding Story (1984), while an oversized bedroom, modeled after Rhonda Shears’ late-night, cult classic USA Up All Night (1989-1998), becomes the home of Regan MacNeil from The Exorcist (1973). The occult and satanic panic mingle harmoniously with Jim Henson’s Muppets and 80s and 90s coming-of-age sitcoms.
More than any one narrative or reference, THE MIRACLE is an amalgamation of many, combined and reconstituted to disorienting, comical effect. Acting as artistic director, Warren solicited characters and ideas from collaborators of all ages during months of extensive workshops leading up to THE MIRACLE, THE MUSICAL. The workshops were held with artist peers and multiple Red Hook-based organizations, including Red Hook Art Project, Beam Center and Cora Dance. Throwing her various participants’ ideas into the mix, Warren not only furthered THE MIRACLE’s nearly endless allusions but decentered her own authorship with the personal, pop cultural inventories of others. Synthesized into one collaborative masterwork, the exhibition’s title alludes to the miracle of collective art making while also nodding to Queen’s singular frontman Freddie Mercury, a recurring character in Warren’s practice.
Taken together, THE MIRACLE speaks to the power of cinema and pop culture to render, in larger than life form, the fears and insecurities of childhood. It engages the capacity of popular entertainment to bring people together around shared cultural touchstones, producing a show defined by both strangeness and joy.

This exhibition is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

About the Artist

Jaimie Warren is a multidisciplinary artist and Co-Director/Co-Creator of the community arts project and fake public access TV show Whoop Dee Doo. She is a NYFA Fellow in Interdisciplinary Arts and has been awarded artist residencies in New York with the Sharpe-Walentas Studio Program, Pioneer Works, BRICworkspace, Abrons AIRspace, and Yaddo. Warren’s work has been featured in publications including The New York Times, Art in America, artnet, ArtNews, and Artforum, among others. She is the recipient of the Baum Award for An Emerging American Photographer, and is a featured artist in ART21's documentary series New York Close Up. She has had solo exhibitions at Higher Pictures, The Hole, and american medium, all in New York. Selected group exhibitions and performances include Showroom Mama, Rotterdam; Getsumin, Osaka; Extrapool, Nijmegen, Netherlands; Cement Fondue, Sydney; the Ullens Center for Contemporary Art, Beijing; the San Diego Museum of Art, San Diego; Centre d'Art, Catalonia, Spain; Spritmuseum, Stockholm; PROYECTOSMONCLOVA, Mexico City; and the Warhol Museum, Pittsburgh. More information is available at <a href="http://www.dontyoufeelbetter.com/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://www.dontyoufeelbetter.com&amp;source=gmail&amp;ust=1578675045563000&amp;usg=AFQjCNEarnwIUQrRMkEeAX0_AK2pzZEm-Q">www.dontyoufeelbetter.com</a>

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Jaimie Warren: THE MIRACLE

More Than Cinema will present four film works by Motoharu Jonouchi (b. 1935 in Ibaraki Prefecture, Japan) and Keiichi Tanaami (b. 1936 in Tokyo, Japan), two seminal figures whose practices contributed to the emergence and dynamism of the Expanded Cinema movement in Japan. Following extensive research and preservation efforts by the Philadelphia-based non-profit organization <a href="http://www.collabjapan.org/" target="_blank" rel="noopener noreferrer">Collaborative Cataloging Japan</a> (CCJ), the exhibition offers an entryway to understanding the development of the avant-garde movement, which pushed moving image beyond the traditional screening format and instead into space itself, addressing architecture and the body with performance and multimedia presentations.
The selected works came out of a seismic moment in Japan during the 1960s and 1970s, when critical discussions around the intersections of art, media, politics, and underground culture ushered in bold artistic experimentations. Jonouchi’s works of the early 1960s, which precede the arrival of the term ‘Expanded Cinema’ in Japan and were among the genre’s earliest examples, illuminate an emerging tendency to break away from traditional cinematic practice. His Hi Red Center Shelter Plan (1964) exists as a rare documentation of a performance organized by the collective Hi Red Center, wherein the weight and proportions of key cultural figures–such as Yoko Ono, Nam June Paik, and Yasunao Tone–are diligently measured as a parody of the private bomb shelter constructions prompted by Cold War fears. Presented first in 1966, the work responds and engages with Hi Red Center’s actions, as opposed to merely capturing them. Tanaami’s works, on the other hand, illustrate a separate entryway into the movement that came out of his thoughts and experiments on design. Human Events (1975), for instance, was made for a dance performance and is comprised of extreme close up images of a dancer’s body, each scattered throughout a two-by-three composition that defies the familiar order of human anatomy.
To provide further context to the genre, each of these works will be accompanied by essays by the co-curators and archival materials that have been newly digitized by CCJ. Pioneer Works will also present a special evening of performances by artists Shuzo Azuchi Gulliver (b. 1947 in Shiga, Japan) and Katsu Kanai (b. 1936 in Kanagawa, Japan) on Wednesday, April 1st. Both contemporaries of Jonouchi and Tanaami, Gulliver and Kanai will re-stage historical performances that adapt various modes of literary readings, either referencing or paying tribute to Expanded Cinema events from the era. Notably, More Than Cinema and these accompanying performances will take place concurrently with Gulliver’s installation Cinematic Illumination at The Museum of Modern Art, New York’s new space The Studio, alongside a host of auxiliary events in various to-be-announced venues across the city.
<div style="position: relative; padding-top: 56.25%; margin: 2rem 0; border: 0;"><iframe style="position: absolute; top: 0; left: 0; width: 100%; height: 100%; border: 0;" src="https://onlineviewingroom.com/embedding/?Exhibition_ID=E000878" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div>
Presented by Pioneer Works, More Than Cinema is organized by Collaborative Cataloging Japan, and curated by Go Hirasawa, Julian Ross, and Ann Adachi-Tasch. The exhibition coincides with Shuzo Azuchi Gulliver: Cinematic Illumination, on view at The Museum of Modern Art, New York from March 28 through April 26 and organized by Sophie Cavoulacos, Assistant Curator, Department of Film. 
More Than Cinema was made possible with generous support from the National Endowment of the Arts, Japan-US Friendship Commission, the Japan Foundation, New York, and W.L.S. Spencer Foundation.This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. 
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About the Artists
Motoharu Jonouchi (b. 1935, Ibaraki Prefecture–1986, Tokyo) entered Nihon University Fine Art Department. He was actively involved in the establishment of Nihon University Film Study Club and directed The Record of N (1959), which documented the damage caused by the Isewan Typhoon (Typhoon Vera), and embodies qualities seen in the theoretic juncture of the avant-garde and documentary filmmaking, highly considered by experimental filmmakers at the time. Around this time Jonouchi and Kanbara established VAN Film Science Research Center, another forum for collaborative creation of films where he worked with figures of different genres including Hiroshi Teshigahara, Shusaku Arakawa, Sho Kazakura, Genpei Akasegawa, Takehisa Kosugi, and others.
Keiichi Tanaami (b. 1936, Tokyo) is an artist, graphic designer and animation filmmaker. While still a student at the Mushashino Art University, his career took off when he received a special selection award at the 1958 Japan Advertising Art Exhibition. He participated in the Animation Festival at Sogetsu Art Center in 1965 and 1966, after which his animation works frequently screened at international film festivals such as International Short Film Festival Oberhausen, New York Film Festival, and Ottawa International Animation Festival. Tanaami became known as a leading figure of pop art and psychedelic art in Japan as his print-based, sculptural works and films grew increasingly popular in the 1960-70s. Now represented by NANZUKA, his career continues to be as prolific as ever with works exhibited recently at Walker Art Center, Museum of Modern Art (New York), Hamburger Bahnhof, and Tate Modern.
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Motoharu Jonouchi and Keiichi Tanaami: More Than Cinema

Lizzi Bougatsos is an artist and performer. A singer for the band Gang Gang Dance and punk/noise outfit I.U.D. for over a decade, Bougatsos has performed at Kunsthalle Zurich, The Whitney Museum, The Sydney Opera House, The Museum of Modern Art, Hirshhorn Museum and Sculpture Garden, and Bergen Kunsthall.  Her work has been exhibited at Hauser &amp; Wirth, Gladstone Gallery, Museo d’arte Contemporanea di Roma, Kunste Werke, MoMa PS1, Participant Inc., American Fine Arts Co., Reena Spaulings, and James Fuentes Gallery. Bougatsos is a recipient of the Rema Hort Mann Foundation grant, and her work is included in The Astrup Fearnley Museet for Moderne Kunst and The Dikeou Collection.

Lizzi Bougatsos

Xenia Bond (b. 1992, London) works in sculpture and installation. She graduated from the Stäedelscule in Frankfurt under Judith Hopf and the Slade School of Fine Art in London. Bond’s exhibitions include: Husslehof, APT Gallery, Zona Mista, Studio Picknick, and Neue Alte Brücke. She is interested in the formal relationship of materials and their reception as emotives, and communicating external relationships in her life. Bond’s works are neither immersive nor “looking outside.” These polarities are avoided. Instead the aim is to provoke a reaction between the imagination of the self and the viewer. The drift of signs and possible narratives, both concrete and imagined, characterize Bond’s works.

Xenia Bond

Claudia Bitran (1986–) is a Brooklyn-based painting and video artist. Bitran holds an MFA from RISD and a BFA from the Universidad Catolica de Chile.

She has exhibited at Muhlenberg College, Practice Gallery, Brooklyn Bridge Park, Museo de Artes Visuales, and elsewhere. Bitran has held residencies at the Skowhegan School of Painting and Sculpture, the Bemis Center for Contemporary Arts, and more. Grants and awards include: The New York Trust Van Lier Fellowship, Hammersley Grant, Emergency Grant Foundation for Contemporary Arts, Jerome Foundation Grant for Emerging Filmmakers, 1st Prize Britney Spears Dance Challenge, 1st Prize UFO McDonald’s Painting Competition, 1st honorable mention at Bienal de Artes Mediales.

Claudia Bitran

Erin Johnson is an artist living and working in Brooklyn. Her single and multi-channel video installations blend documentary, experimental, and narrative filmmaking devices and foreground the ways in which individual lives and sociopolitical realities merge. Comprised of footage of site-specific performances, the videos explore how power structures are communicated through relationships, focusing on histories of nationalism and place. Her work has been exhibited at deCordova Sculpture Park and Museum, Berkeley Art Museum, Portland Museum of Art, Rubin Center for the Visual Arts, Vox Populi, and the Telfair Museums. She received an MFA and Certificate in New Media from UC Berkeley in 2013 and attended Skowhegan School of Painting &amp; Sculpture in 2019.

Erin Johnson

Alexandra Bell (b. 1983, Chicago, IL) is a multidisciplinary artist who investigates the complexities of narrative, information consumption, and perception. Utilizing various media, she deconstructs language and imagery to explore the tension between marginal experiences and dominant histories. Through investigative research, she considers the ways media frameworks construct memory and inform discursive practices around race, politics, and culture. Her work has been exhibited at Jeffrey Deitch Gallery, MoMA PS1, and the Whitney Museum of Art. She received the 2018 International Center of Photography Infinity Award in the applied category. She is a 2019 CatchLight Fellow.

Alexandra Bell

Ari Melenciano is a Brooklyn-based electromedia artist, futurist, and researcher who explores how various forms of design impact the human experience. At Pioneer Works, she will continue her research and development in experimentation of audio-visual experiences through HCI technologies, modular synthesis, computer vision, and design.

She is the founder of Afrotectopia, a social institution designed to build community around socially minded innovation, art, design, technology, Black culture and activism. Ari teaches creative technology and design at NYU and Pratt University. She is currently incubating experimental audio-visual work at New Inc in partnership with Rhizome and Nokia Bell Labs.

Ari Melenciano

Woody Sullender is an artist based in Queens, NY. His pieces encompass a myriad of media including sculpture, video games, performance, theater, music, installation, architecture, origami, and sonic weaponry. His recent work utilizes video game space as an arena to undermine specific modernist ideologies and rituals of music reception.

Sullender has performed internationally at venues such as the Kitchen (with Sergei Tcherepnin), Issue Project Room (Brooklyn), the Schindler House (Los Angeles), SculptureCenter (NYC), the Stedelijk Museum (Amsterdam), Les Instants Chavirés (Paris), Chicago Cultural Center, and the River to River Festival, among others. 

He is the founding co-editor (with Bill Dietz) of the sonic arts publication <a href="https://earwaveevent.org/" target="_blank" rel="noopener noreferrer">Ear | Wave | Event</a>.

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Woody Sullender

LaJuné is a new media artist and creative technologist creating art that integrates performance, extended reality, and physical computing to question our current forms of communication. LaJuné has had the opportunity to show and speak about their work at National Sawdust, Creative Tech Week, and Art &amp;&amp; Code's Weird Reality. LaJuné was previously the Director of Skating at Figure Skating in Harlem, where they integrated STEAM and figure skating to teach girls of color about movement and technology. They have continued their research on Blackness, movement, and technology during residencies at Eyebeam, Barbarian Group, and Barnard College.

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LaJuné McMillian

C. Lavender is a multi-disciplinary sound artist, sound healing practitioner, and educator whose work spans through live performance, recording, installations, videos, and workshops. C. Lavender has performed, lectured, and hosted workshops at The Guggenheim, Hirshhorn Museum, Issue Project Room, The Rubin Museum, MoMA PS1, The Brooklyn Botanic Garden, Fridman Gallery, and Rensselaer Polytechnic Institute among other venues. She studied Deep Listening with its founder Pauline Oliveros while volunteering at The Deep Listening Institute. In 2016 she taught a ten-week class for children about the scientific and artistic aspects of sound.

Lavender has albums and recordings featured on the labels Ecstatic Peace!, RVNG Intl, Primitive Languages, and Hot Releases.

C. Lavender

Join music resident C. Lavender on the top of the sound container with sweeping NYC views for a meditative sound bath, an improvised concert for meditation and relaxation. Find a moment of calm this Second Sunday.

Sunset Sound Bath

Join us in the Garden to gaze at the stars through telescopes with the <a href="https://www.aaa.org/" rel="noopener" target="_blank">Amateur Astronomers Association of NY</a>. 
*Weather permitting

Stargazing with the Amateur Astronomers Association of NY

&#8220;The Movement&#8221; is a zine created by and for the youth of Red Hook. The focus of this edition is a collaboration between &#8220;The Movement&#8221; and EXTRABACON to bring awareness to and celebrate Kidney Awareness month.

The Movement: EXTRABACON

Tech Resident Woody Sullender presents a music album, entitled Four Movements, constructed in a video game space. Visitors are invited to navigate this authored world via controller.

Four Movements

Join us in the Science Studios and let the extraordinary wildlife stories and wilderness of Australia wash over you. Weird and wonderful animals like nowhere else on Earth:Seven Worlds, One Planet, the film.

Before the Fires

Award-winning online radio station 8 Ball Radio is taking over our Media Lab. After their live DJ set, listen to their livestream of the concert at 7pm at 8ballradio.nyc

8 Ball Radio

SS_202003_3x2 (1)

 the artist’s first institutional solo show in New York, features daily activations and culminates in an over-the-top musical production titled 

Resembling a high school musical backdrop, a vintage Disney ride, or the campy gore of a community-built haunted house,

 is a DIY, oversized supernatural set for performance made up of animatronics, costumes, and special effects. It references iconic horror movies such as 

 (1984), B-movie camp extravaganzas, drag theater, and musical comedies. A large forest recalls The Swamps of Sadness from 

 (1984), while an oversized bedroom, modeled after Rhonda Shears’ late-night, cult classic 

(1989-1998), becomes the home of Regan MacNeil from 

 (1973). The occult and satanic panic mingle harmoniously with Jim Henson’s Muppets and 80s and 90s coming-of-age sitcoms.

More than any one narrative or reference, 

 is an amalgamation of many, combined and reconstituted to disorienting, comical effect. Acting as artistic director, Warren solicited characters and ideas from collaborators of all ages during months of extensive workshops leading up to 

. The workshops were held with artist peers and multiple Red Hook-based organizations, including Red Hook Art Project, Beam Center and Cora Dance. Throwing her various participants’ ideas into the mix, Warren not only furthered 

’s nearly endless allusions but decentered her own authorship with the personal, pop cultural inventories of others. Synthesized into one collaborative masterwork, the exhibition’s title alludes to the miracle of collective art making while also nodding to Queen’s singular frontman Freddie Mercury, a recurring character in Warren’s practice.

 speaks to the power of cinema and pop culture to render, in larger than life form, the fears and insecurities of childhood. It engages the capacity of popular entertainment to bring people together around shared cultural touchstones, producing a show defined by both strangeness and joy.

This exhibition is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

 is a multidisciplinary artist and Co-Director/Co-Creator of the community arts project and fake public access TV show 

. She is a NYFA Fellow in Interdisciplinary Arts and has been awarded artist residencies in New York with the Sharpe-Walentas Studio Program, Pioneer Works, BRICworkspace, Abrons AIRspace, and Yaddo. Warren’s work has been featured in publications including 

, among others. She is the recipient of the Baum Award for An Emerging American Photographer, and is a featured artist in ART21’s documentary series 

. She has had solo exhibitions at Higher Pictures, The Hole, and american medium, all in New York. Selected group exhibitions and performances include Showroom Mama, Rotterdam; Getsumin, Osaka; Extrapool, Nijmegen, Netherlands; Cement Fondue, Sydney; the Ullens Center for Contemporary Art, Beijing; the San Diego Museum of Art, San Diego; Centre d’Art, Catalonia, Spain; Spritmuseum, Stockholm; PROYECTOSMONCLOVA, Mexico City; and the Warhol Museum, Pittsburgh. 

THE MIRACLE

Jaimie Warren’s THE MIRACLE, the artist’s first institutional solo show in New York, features daily activations and culminates in an over-the-top musical production titled THE MIRACLE, THE MUSICAL on April 4th and 11th.
Resembling a high school musical backdrop, a vintage Disney ride, or the campy gore of a community-built haunted house, THE MIRACLE is a DIY, oversized supernatural set for performance made up of animatronics, costumes, and special effects. It references iconic horror movies such as A Nightmare on Elm Street (1984), B-movie camp extravaganzas, drag theater, and musical comedies. A large forest recalls The Swamps of Sadness from The NeverEnding Story (1984), while an oversized bedroom, modeled after Rhonda Shears’ late-night, cult classic USA Up All Night (1989-1998), becomes the home of Regan MacNeil from The Exorcist (1973). The occult and satanic panic mingle harmoniously with Jim Henson’s Muppets and 80s and 90s coming-of-age sitcoms.
More than any one narrative or reference, THE MIRACLE is an amalgamation of many, combined and reconstituted to disorienting, comical effect. Acting as artistic director, Warren solicited characters and ideas from collaborators of all ages during months of extensive workshops leading up to THE MIRACLE, THE MUSICAL. The workshops were held with artist peers and multiple Red Hook-based organizations, including Red Hook Art Project, Beam Center and Cora Dance. Throwing her various participants’ ideas into the mix, Warren not only furthered THE MIRACLE’s nearly endless allusions but decentered her own authorship with the personal, pop cultural inventories of others. Synthesized into one collaborative masterwork, the exhibition’s title alludes to the miracle of collective art making while also nodding to Queen’s singular frontman Freddie Mercury, a recurring character in Warren’s practice.
Taken together, THE MIRACLE speaks to the power of cinema and pop culture to render, in larger than life form, the fears and insecurities of childhood. It engages the capacity of popular entertainment to bring people together around shared cultural touchstones, producing a show defined by both strangeness and joy.
This exhibition is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
About the Artist
Jaimie Warren is a multidisciplinary artist and Co-Director/Co-Creator of the community arts project and fake public access TV show Whoop Dee Doo. She is a NYFA Fellow in Interdisciplinary Arts and has been awarded artist residencies in New York with the Sharpe-Walentas Studio Program, Pioneer Works, BRICworkspace, Abrons AIRspace, and Yaddo. Warren’s work has been featured in publications including The New York Times, Art in America, artnet, ArtNews, and Artforum, among others. She is the recipient of the Baum Award for An Emerging American Photographer, and is a featured artist in ART21&#8217;s documentary series New York Close Up. She has had solo exhibitions at Higher Pictures, The Hole, and american medium, all in New York. Selected group exhibitions and performances include Showroom Mama, Rotterdam; Getsumin, Osaka; Extrapool, Nijmegen, Netherlands; Cement Fondue, Sydney; the Ullens Center for Contemporary Art, Beijing; the San Diego Museum of Art, San Diego; Centre d&#8217;Art, Catalonia, Spain; Spritmuseum, Stockholm; PROYECTOSMONCLOVA, Mexico City; and the Warhol Museum, Pittsburgh. More information is available at <a href="http://www.dontyoufeelbetter.com/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://www.dontyoufeelbetter.com&amp;source=gmail&amp;ust=1578675045563000&amp;usg=AFQjCNEarnwIUQrRMkEeAX0_AK2pzZEm-Q">www.dontyoufeelbetter.com</a>
<img loading="lazy" class="alignnone size-medium wp-image-11345" src="https://sunset.pioneerworks.org/wp-content/uploads/dclaLogo_color_2-300x54.jpg" alt="" width="300" height="54" srcset="https://sunset.pioneerworks.org/wp-content/uploads/dclaLogo_color_2-300x54.jpg 300w, https://sunset.pioneerworks.org/wp-content/uploads/dclaLogo_color_2-768x139.jpg 768w, https://sunset.pioneerworks.org/wp-content/uploads/dclaLogo_color_2.jpg 1008w" sizes="(max-width: 300px) 100vw, 300px" />
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unnamed (4)

Jaimie Warren’s THE MIRACLE, the artist’s first institutional solo show in New York, features daily activations and culminates in an over-the-top musical production titled THE MIRACLE, THE MUSICAL on April 4th and 11th.
Resembling a high school musical backdrop, a vintage Disney ride, or the campy gore of a community-built haunted house, THE MIRACLE is a DIY, oversized supernatural set for performance made up of animatronics, costumes, and special effects. It references iconic horror movies such as A Nightmare on Elm Street (1984), B-movie camp extravaganzas, drag theater, and musical comedies. A large forest recalls The Swamps of Sadness from The NeverEnding Story (1984), while an oversized bedroom, modeled after Rhonda Shears’ late-night, cult classic USA Up All Night (1989-1998), becomes the home of Regan MacNeil from The Exorcist (1973). The occult and satanic panic mingle harmoniously with Jim Henson’s Muppets and 80s and 90s coming-of-age sitcoms.
More than any one narrative or reference, THE MIRACLE is an amalgamation of many, combined and reconstituted to disorienting, comical effect. Acting as artistic director, Warren solicited characters and ideas from collaborators of all ages during months of extensive workshops leading up to THE MIRACLE, THE MUSICAL. The workshops were held with artist peers and multiple Red Hook-based organizations, including Red Hook Art Project, Beam Center and Cora Dance. Throwing her various participants’ ideas into the mix, Warren not only furthered THE MIRACLE’s nearly endless allusions but decentered her own authorship with the personal, pop cultural inventories of others. Synthesized into one collaborative masterwork, the exhibition’s title alludes to the miracle of collective art making while also nodding to Queen’s singular frontman Freddie Mercury, a recurring character in Warren’s practice.
Taken together, THE MIRACLE speaks to the power of cinema and pop culture to render, in larger than life form, the fears and insecurities of childhood. It engages the capacity of popular entertainment to bring people together around shared cultural touchstones, producing a show defined by both strangeness and joy.
This exhibition is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
About the Artist
Jaimie Warren is a multidisciplinary artist and Co-Director/Co-Creator of the community arts project and fake public access TV show Whoop Dee Doo. She is a NYFA Fellow in Interdisciplinary Arts and has been awarded artist residencies in New York with the Sharpe-Walentas Studio Program, Pioneer Works, BRICworkspace, Abrons AIRspace, and Yaddo. Warren’s work has been featured in publications including The New York Times, Art in America, artnet, ArtNews, and Artforum, among others. She is the recipient of the Baum Award for An Emerging American Photographer, and is a featured artist in ART21&#8217;s documentary series New York Close Up. She has had solo exhibitions at Higher Pictures, The Hole, and american medium, all in New York. Selected group exhibitions and performances include Showroom Mama, Rotterdam; Getsumin, Osaka; Extrapool, Nijmegen, Netherlands; Cement Fondue, Sydney; the Ullens Center for Contemporary Art, Beijing; the San Diego Museum of Art, San Diego; Centre d&#8217;Art, Catalonia, Spain; Spritmuseum, Stockholm; PROYECTOSMONCLOVA, Mexico City; and the Warhol Museum, Pittsburgh. More information is available at <a href="http://www.dontyoufeelbetter.com/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://www.dontyoufeelbetter.com&amp;source=gmail&amp;ust=1578675045563000&amp;usg=AFQjCNEarnwIUQrRMkEeAX0_AK2pzZEm-Q">www.dontyoufeelbetter.com</a>
<img loading="lazy" class="alignnone size-medium wp-image-11345" src="https://sunset.pioneerworks.org/wp-content/uploads/dclaLogo_color_2-300x54.jpg" alt="" width="300" height="54" />
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will present four film works by Motoharu Jonouchi (b. 1935 in Ibaraki Prefecture, Japan) and Keiichi Tanaami (b. 1936 in Tokyo, Japan), two seminal figures whose practices contributed to the emergence and dynamism of the Expanded Cinema movement in Japan. Following extensive research and preservation efforts by the Philadelphia-based non-profit organization 

 (CCJ), the exhibition offers an entryway to understanding the development of the avant-garde movement, which pushed moving image beyond the traditional screening format and instead into space itself, addressing architecture and the body with performance and multimedia presentations.

The selected works came out of a seismic moment in Japan during the 1960s and 1970s, when critical discussions around the intersections of art, media, politics, and underground culture ushered in bold artistic experimentations. Jonouchi’s works of the early 1960s, which precede the arrival of the term ‘Expanded Cinema’ in Japan and were among the genre’s earliest examples, illuminate an emerging tendency to break away from traditional cinematic practice. His 

 (1964) exists as a rare documentation of a performance organized by the collective Hi Red Center, wherein the weight and proportions of key cultural figures–such as Yoko Ono, Nam June Paik, and Yasunao Tone–are diligently measured as a parody of the private bomb shelter constructions prompted by Cold War fears. Presented first in 1966, the work responds and engages with Hi Red Center’s actions, as opposed to merely capturing them. Tanaami’s works, on the other hand, illustrate a separate entryway into the movement that came out of his thoughts and experiments on design. 

 (1975), for instance, was made for a dance performance and is comprised of extreme close up images of a dancer’s body, each scattered throughout a two-by-three composition that defies the familiar order of human anatomy.

To provide further context to the genre, each of these works will be accompanied by essays by the co-curators and archival materials that have been newly digitized by CCJ. Pioneer Works will also present a special evening of performances by artists Shuzo Azuchi Gulliver (b. 1947 in Shiga, Japan) and Katsu Kanai (b. 1936 in Kanagawa, Japan) on Wednesday, April 1st. Both contemporaries of Jonouchi and Tanaami, Gulliver and Kanai will re-stage historical performances that adapt various modes of literary readings, either referencing or paying tribute to Expanded Cinema events from the era. Notably, 

 and these accompanying performances will take place concurrently with Gulliver’s installation 

 at The Museum of Modern Art, New York’s new space The Studio, alongside a host of auxiliary events in various to-be-announced venues across the city.

 is organized by Collaborative Cataloging Japan, and curated by Go Hirasawa, Julian Ross, and Ann Adachi-Tasch. The exhibition coincides with Shuzo Azuchi Gulliver: 

, on view at The Museum of Modern Art, New York from March 28 through April 26 and organized by Sophie Cavoulacos, Assistant Curator, Department of Film.

 was made possible with generous support from the National Endowment of the Arts, Japan-US Friendship Commission, the Japan Foundation, New York, and W.L.S. Spencer Foundation.This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Please note that this exhibition contains nudity and adult content.

 (b. 1935, Ibaraki Prefecture–1986, Tokyo) entered Nihon University Fine Art Department. He was actively involved in the establishment of Nihon University Film Study Club and directed 

 (1959), which documented the damage caused by the Isewan Typhoon (Typhoon Vera), and embodies qualities seen in the theoretic juncture of the avant-garde and documentary filmmaking, highly considered by experimental filmmakers at the time. Around this time Jonouchi and Kanbara established VAN Film Science Research Center, another forum for collaborative creation of films where he worked with figures of different genres including Hiroshi Teshigahara, Shusaku Arakawa, Sho Kazakura, Genpei Akasegawa, Takehisa Kosugi, and others.

(b. 1936, Tokyo) is an artist, graphic designer and animation filmmaker. While still a student at the Mushashino Art University, his career took off when he received a special selection award at the 1958 Japan Advertising Art Exhibition. He participated in the Animation Festival at Sogetsu Art Center in 1965 and 1966, after which his animation works frequently screened at international film festivals such as International Short Film Festival Oberhausen, New York Film Festival, and Ottawa International Animation Festival. Tanaami became known as a leading figure of pop art and psychedelic art in Japan as his print-based, sculptural works and films grew increasingly popular in the 1960-70s. Now represented by NANZUKA, his career continues to be as prolific as ever with works exhibited recently at Walker Art Center, Museum of Modern Art (New York), Hamburger Bahnhof, and Tate Modern.

More Than Cinema

More Than Cinema will present four film works by Motoharu Jonouchi (b. 1935 in Ibaraki Prefecture, Japan) and Keiichi Tanaami (b. 1936 in Tokyo, Japan), two seminal figures whose practices contributed to the emergence and dynamism of the Expanded Cinema movement in Japan. Following extensive research and preservation efforts by the Philadelphia-based non-profit organization <a href="http://www.collabjapan.org/" target="_blank" rel="noopener noreferrer">Collaborative Cataloging Japan</a> (CCJ), the exhibition offers an entryway to understanding the development of the avant-garde movement, which pushed moving image beyond the traditional screening format and instead into space itself, addressing architecture and the body with performance and multimedia presentations.
The selected works came out of a seismic moment in Japan during the 1960s and 1970s, when critical discussions around the intersections of art, media, politics, and underground culture ushered in bold artistic experimentations. Jonouchi’s works of the early 1960s, which precede the arrival of the term ‘Expanded Cinema’ in Japan and were among the genre’s earliest examples, illuminate an emerging tendency to break away from traditional cinematic practice. His Hi Red Center Shelter Plan (1964) exists as a rare documentation of a performance organized by the collective Hi Red Center, wherein the weight and proportions of key cultural figures–such as Yoko Ono, Nam June Paik, and Yasunao Tone–are diligently measured as a parody of the private bomb shelter constructions prompted by Cold War fears. Presented first in 1966, the work responds and engages with Hi Red Center’s actions, as opposed to merely capturing them. Tanaami’s works, on the other hand, illustrate a separate entryway into the movement that came out of his thoughts and experiments on design. Human Events (1975), for instance, was made for a dance performance and is comprised of extreme close up images of a dancer’s body, each scattered throughout a two-by-three composition that defies the familiar order of human anatomy.
To provide further context to the genre, each of these works will be accompanied by essays by the co-curators and archival materials that have been newly digitized by CCJ. Pioneer Works will also present a special evening of performances by artists Shuzo Azuchi Gulliver (b. 1947 in Shiga, Japan) and Katsu Kanai (b. 1936 in Kanagawa, Japan) on Wednesday, April 1st. Both contemporaries of Jonouchi and Tanaami, Gulliver and Kanai will re-stage historical performances that adapt various modes of literary readings, either referencing or paying tribute to Expanded Cinema events from the era. Notably, More Than Cinema and these accompanying performances will take place concurrently with Gulliver’s installation Cinematic Illumination at The Museum of Modern Art, New York’s new space The Studio, alongside a host of auxiliary events in various to-be-announced venues across the city.
<div style="position: relative; padding-top: 56.25%; margin: 2rem 0; border: 0;"><iframe style="position: absolute; top: 0; left: 0; width: 100%; height: 100%; border: 0;" src="https://onlineviewingroom.com/embedding/?Exhibition_ID=E000878" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div>
Presented by Pioneer Works, More Than Cinema is organized by Collaborative Cataloging Japan, and curated by Go Hirasawa, Julian Ross, and Ann Adachi-Tasch. The exhibition coincides with Shuzo Azuchi Gulliver: Cinematic Illumination, on view at The Museum of Modern Art, New York from March 28 through April 26 and organized by Sophie Cavoulacos, Assistant Curator, Department of Film. 
More Than Cinema was made possible with generous support from the National Endowment of the Arts, Japan-US Friendship Commission, the Japan Foundation, New York, and W.L.S. Spencer Foundation.This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. 
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<div class="p-rich_text_section">Please note that this exhibition contains nudity and adult content.</div>
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About the Artists
Motoharu Jonouchi (b. 1935, Ibaraki Prefecture–1986, Tokyo) entered Nihon University Fine Art Department. He was actively involved in the establishment of Nihon University Film Study Club and directed The Record of N (1959), which documented the damage caused by the Isewan Typhoon (Typhoon Vera), and embodies qualities seen in the theoretic juncture of the avant-garde and documentary filmmaking, highly considered by experimental filmmakers at the time. Around this time Jonouchi and Kanbara established VAN Film Science Research Center, another forum for collaborative creation of films where he worked with figures of different genres including Hiroshi Teshigahara, Shusaku Arakawa, Sho Kazakura, Genpei Akasegawa, Takehisa Kosugi, and others.
Keiichi Tanaami (b. 1936, Tokyo) is an artist, graphic designer and animation filmmaker. While still a student at the Mushashino Art University, his career took off when he received a special selection award at the 1958 Japan Advertising Art Exhibition. He participated in the Animation Festival at Sogetsu Art Center in 1965 and 1966, after which his animation works frequently screened at international film festivals such as International Short Film Festival Oberhausen, New York Film Festival, and Ottawa International Animation Festival. Tanaami became known as a leading figure of pop art and psychedelic art in Japan as his print-based, sculptural works and films grew increasingly popular in the 1960-70s. Now represented by NANZUKA, his career continues to be as prolific as ever with works exhibited recently at Walker Art Center, Museum of Modern Art (New York), Hamburger Bahnhof, and Tate Modern.
<img loading="lazy" class="alignnone size-medium wp-image-11351" src="https://sunset.pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-300x85.png" alt="" width="300" height="85" srcset="https://sunset.pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-300x85.png 300w, https://sunset.pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-768x217.png 768w, https://sunset.pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-1024x289.png 1024w, https://sunset.pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-1600x452.png 1600w, https://sunset.pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo.png 2000w" sizes="(max-width: 300px) 100vw, 300px" />
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<figure class="wp-block-image"><img loading="lazy" width="676" height="152" class="wp-image-11640" src="https://sunset.pioneerworks.org/wp-content/uploads/Logo_WLSSF-1.jpg" alt="" srcset="https://sunset.pioneerworks.org/wp-content/uploads/Logo_WLSSF-1.jpg 676w, https://sunset.pioneerworks.org/wp-content/uploads/Logo_WLSSF-1-300x67.jpg 300w" sizes="(max-width: 676px) 100vw, 676px" />
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Hi_Red_eary-00-14-38-516

More Than Cinema will present four film works by Motoharu Jonouchi (b. 1935 in Ibaraki Prefecture, Japan) and Keiichi Tanaami (b. 1936 in Tokyo, Japan), two seminal figures whose practices contributed to the emergence and dynamism of the Expanded Cinema movement in Japan. Following extensive research and preservation efforts by the Philadelphia-based non-profit organization <a href="http://www.collabjapan.org/" target="_blank" rel="noopener noreferrer">Collaborative Cataloging Japan</a> (CCJ), the exhibition offers an entryway to understanding the development of the avant-garde movement, which pushed moving image beyond the traditional screening format and instead into space itself, addressing architecture and the body with performance and multimedia presentations.
The selected works came out of a seismic moment in Japan during the 1960s and 1970s, when critical discussions around the intersections of art, media, politics, and underground culture ushered in bold artistic experimentations. Jonouchi’s works of the early 1960s, which precede the arrival of the term ‘Expanded Cinema’ in Japan and were among the genre’s earliest examples, illuminate an emerging tendency to break away from traditional cinematic practice. His Hi Red Center Shelter Plan (1964) exists as a rare documentation of a performance organized by the collective Hi Red Center, wherein the weight and proportions of key cultural figures–such as Yoko Ono, Nam June Paik, and Yasunao Tone–are diligently measured as a parody of the private bomb shelter constructions prompted by Cold War fears. Presented first in 1966, the work responds and engages with Hi Red Center’s actions, as opposed to merely capturing them. Tanaami’s works, on the other hand, illustrate a separate entryway into the movement that came out of his thoughts and experiments on design. Human Events (1975), for instance, was made for a dance performance and is comprised of extreme close up images of a dancer’s body, each scattered throughout a two-by-three composition that defies the familiar order of human anatomy.
To provide further context to the genre, each of these works will be accompanied by essays by the co-curators and archival materials that have been newly digitized by CCJ. Pioneer Works will also present a special evening of performances by artists Shuzo Azuchi Gulliver (b. 1947 in Shiga, Japan) and Katsu Kanai (b. 1936 in Kanagawa, Japan) on Wednesday, April 1st. Both contemporaries of Jonouchi and Tanaami, Gulliver and Kanai will re-stage historical performances that adapt various modes of literary readings, either referencing or paying tribute to Expanded Cinema events from the era. Notably, More Than Cinema and these accompanying performances will take place concurrently with Gulliver’s installation Cinematic Illumination at The Museum of Modern Art, New York’s new space The Studio, alongside a host of auxiliary events in various to-be-announced venues across the city.
<div style="position: relative; padding-top: 56.25%; margin: 2rem 0; border: 0;"><iframe style="position: absolute; top: 0; left: 0; width: 100%; height: 100%; border: 0;" src="https://onlineviewingroom.com/embedding/?Exhibition_ID=E000878" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div>
Presented by Pioneer Works, More Than Cinema is organized by Collaborative Cataloging Japan, and curated by Go Hirasawa, Julian Ross, and Ann Adachi-Tasch. The exhibition coincides with Shuzo Azuchi Gulliver: Cinematic Illumination, on view at The Museum of Modern Art, New York from March 28 through April 26 and organized by Sophie Cavoulacos, Assistant Curator, Department of Film. 
More Than Cinema was made possible with generous support from the National Endowment of the Arts, Japan-US Friendship Commission, the Japan Foundation, New York, and W.L.S. Spencer Foundation.This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. 
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<div class="p-rich_text_section">Please note that this exhibition contains nudity and adult content.</div>
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About the Artists
Motoharu Jonouchi (b. 1935, Ibaraki Prefecture–1986, Tokyo) entered Nihon University Fine Art Department. He was actively involved in the establishment of Nihon University Film Study Club and directed The Record of N (1959), which documented the damage caused by the Isewan Typhoon (Typhoon Vera), and embodies qualities seen in the theoretic juncture of the avant-garde and documentary filmmaking, highly considered by experimental filmmakers at the time. Around this time Jonouchi and Kanbara established VAN Film Science Research Center, another forum for collaborative creation of films where he worked with figures of different genres including Hiroshi Teshigahara, Shusaku Arakawa, Sho Kazakura, Genpei Akasegawa, Takehisa Kosugi, and others.
Keiichi Tanaami (b. 1936, Tokyo) is an artist, graphic designer and animation filmmaker. While still a student at the Mushashino Art University, his career took off when he received a special selection award at the 1958 Japan Advertising Art Exhibition. He participated in the Animation Festival at Sogetsu Art Center in 1965 and 1966, after which his animation works frequently screened at international film festivals such as International Short Film Festival Oberhausen, New York Film Festival, and Ottawa International Animation Festival. Tanaami became known as a leading figure of pop art and psychedelic art in Japan as his print-based, sculptural works and films grew increasingly popular in the 1960-70s. Now represented by NANZUKA, his career continues to be as prolific as ever with works exhibited recently at Walker Art Center, Museum of Modern Art (New York), Hamburger Bahnhof, and Tate Modern.
<img loading="lazy" class="alignnone size-medium wp-image-11351" src="https://pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-300x85.png" alt="" width="300" height="85" srcset="https://pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-300x85.png 300w, https://pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-768x217.png 768w, https://pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-1024x289.png 1024w, https://pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo-1600x452.png 1600w, https://pioneerworks.org/wp-content/uploads/COLLABORATIVE-CATALOGING-JAPAN-logo.png 2000w" sizes="(max-width: 300px) 100vw, 300px" />
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Lizzi Bougatsos is an artist and performer. A singer for the band Gang Gang Dance and punk/noise outfit I.U.D. for over a decade, Bougatsos has performed at Kunsthalle Zurich, The Whitney Museum, The Sydney Opera House, The Museum of Modern Art, Hirshhorn Museum and Sculpture Garden, and Bergen Kunsthall. Her work has been exhibited at Hauser & Wirth, Gladstone Gallery, Museo d’arte Contemporanea di Roma, Kunste Werke, MoMa PS1, Participant Inc., American Fine Arts Co., Reena Spaulings, and James Fuentes Gallery. Bougatsos is a recipient of the Rema Hort Mann Foundation grant, and her work is included in The Astrup Fearnley Museet for Moderne Kunst and The Dikeou Collection.

Lizzi Bougatsos is an artist and performer. A singer for the band Gang Gang Dance and punk/noise outfit I.U.D. for over a decade, Bougatsos has performed at Kunsthalle Zurich, The Whitney Museum, The Sydney Opera House, The Museum of Modern Art, Hirshhorn Museum and Sculpture Garden, and Bergen Kunsthall.  Her work has been exhibited at Hauser &amp; Wirth, Gladstone Gallery, Museo d’arte Contemporanea di Roma, Kunste Werke, MoMa PS1, Participant Inc., American Fine Arts Co., Reena Spaulings, and James Fuentes Gallery. Bougatsos is a recipient of the Rema Hort Mann Foundation grant, and her work is included in The Astrup Fearnley Museet for Moderne Kunst and The Dikeou Collection.

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Lizzi Bougatsos, Meditations on a Flow Break Up, 2017

Lizzi Bougatsos, performance still with Kim Gordon_Penny Slinger, 2019

Xenia Bond (b. 1992, London) works in sculpture and installation. She graduated from the Stäedelscule in Frankfurt under Judith Hopf and the Slade School of Fine Art in London. Bond’s exhibitions include: Husslehof, APT Gallery, Zona Mista, Studio Picknick, and Neue Alte Brücke. She is interested in the formal relationship of materials and their reception as emotives, and communicating external relationships in her life. Bond’s works are neither immersive nor “looking outside.” These polarities are avoided. Instead the aim is to provoke a reaction between the imagination of the self and the viewer. The drift of signs and possible narratives, both concrete and imagined, characterize Bond’s works.

Xenia Bond (b. 1992, London) works in sculpture and installation. She graduated from the Stäedelscule in Frankfurt under Judith Hopf and the Slade School of Fine Art in London. Bond’s exhibitions include: Husslehof, APT Gallery, Zona Mista, Studio Picknick, and Neue Alte Brücke. She is interested in the formal relationship of materials and their reception as emotives, and communicating external relationships in her life. Bond’s works are neither immersive nor “looking outside.” These polarities are avoided. Instead the aim is to provoke a reaction between the imagination of the self and the viewer. The drift of signs and possible narratives, both concrete and imagined, characterize Bond’s works.

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Xenia Bond 4, 2019

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Xenia Bond 5, 2019

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Xenia Bond 8, 2019

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Xenia Bond 9, 2019

Xenia Bond 6, 2019

Claudia Bitran (1986–) is a Brooklyn-based painting and video artist. Bitran holds an MFA from RISD and a BFA from the Universidad Catolica de Chile.

She has exhibited at Muhlenberg College, Practice Gallery, Brooklyn Bridge Park, Museo de Artes Visuales, and elsewhere. Bitran has held residencies at the Skowhegan School of Painting and Sculpture, the Bemis Center for Contemporary Arts, and more. Grants and awards include: The New York Trust Van Lier Fellowship, Hammersley Grant, Emergency Grant Foundation for Contemporary Arts, Jerome Foundation Grant for Emerging Filmmakers, 1st Prize Britney Spears Dance Challenge, 1st Prize UFO McDonald’s Painting Competition, 1st honorable mention at Bienal de Artes Mediales.

Claudia Bitran (1986–) is a Brooklyn-based painting and video artist. Bitran holds an MFA from RISD and a BFA from the Universidad Catolica de Chile.
She has exhibited at Muhlenberg College, Practice Gallery, Brooklyn Bridge Park, Museo de Artes Visuales, and elsewhere. Bitran has held residencies at the Skowhegan School of Painting and Sculpture, the Bemis Center for Contemporary Arts, and more. Grants and awards include: The New York Trust Van Lier Fellowship, Hammersley Grant, Emergency Grant Foundation for Contemporary Arts, Jerome Foundation Grant for Emerging Filmmakers, 1st Prize Britney Spears Dance Challenge, 1st Prize UFO McDonald’s Painting Competition, 1st honorable mention at Bienal de Artes Mediales.

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Claudia Bitran 2018_Filters_12 light boxes_Pencil on Plastic and wood

claudia-bitran_fallen_2019_video-animation-instalation-tvs_-cindy-rucker-gallery

Claudia Bitran_Fallen_2019_Video Animation Instalation TVs_ Cindy Rucker Gallery

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Claudia Bitran_Untitled_2019_Acrylic on MDF_ Site specific Install Miami

Claudia Bitran_White Shoes_2018_Acrilic and Latex on MDF_22 free standing paintings_Practice Gallery

Erin Johnson is an artist living and working in Brooklyn. Her single and multi-channel video installations blend documentary, experimental, and narrative filmmaking devices and foreground the ways in which individual lives and sociopolitical realities merge. Comprised of footage of site-specific performances, the videos explore how power structures are communicated through relationships, focusing on histories of nationalism and place. Her work has been exhibited at deCordova Sculpture Park and Museum, Berkeley Art Museum, Portland Museum of Art, Rubin Center for the Visual Arts, Vox Populi, and the Telfair Museums. She received an MFA and Certificate in New Media from UC Berkeley in 2013 and attended Skowhegan School of Painting & Sculpture in 2019.

Erin Johnson is an artist living and working in Brooklyn. Her single and multi-channel video installations blend documentary, experimental, and narrative filmmaking devices and foreground the ways in which individual lives and sociopolitical realities merge. Comprised of footage of site-specific performances, the videos explore how power structures are communicated through relationships, focusing on histories of nationalism and place. Her work has been exhibited at deCordova Sculpture Park and Museum, Berkeley Art Museum, Portland Museum of Art, Rubin Center for the Visual Arts, Vox Populi, and the Telfair Museums. She received an MFA and Certificate in New Media from UC Berkeley in 2013 and attended Skowhegan School of Painting &amp; Sculpture in 2019.

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Erin_Johnson_HeavyWater_2018_4

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Erin_Johnson_SalidasyEntradas_2018_1

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Erin_Johnson_HeavyWater_2018_3

Erin Johnson is an artist living and working in Brooklyn. Her single and multi-channel video installations blend documentary, experimental, and narrative filmmaking devices and foreground the ways in which individual lives and sociopolitical realities merge. Comprised of footage of site-specific performances, the videos explore how power structures are communicated through relationships, focusing on histories of nationalism and place. Her work has been exhibited at deCordova Sculpture Park and Museum, Berkeley Art Museum, Portland Museum of Art, Rubin Center for the Visual Arts, Vox Populi, and the Telfair Museums. She received an MFA and Certificate in New Media from UC Berkeley in 2013 and attended Skowhegan School of Painting &amp; Sculpture in 2019.

Alexandra Bell (b. 1983, Chicago, IL) is a multidisciplinary artist who investigates the complexities of narrative, information consumption, and perception. Utilizing various media, she deconstructs language and imagery to explore the tension between marginal experiences and dominant histories. Through investigative research, she considers the ways media frameworks construct memory and inform discursive practices around race, politics, and culture. Her work has been exhibited at Jeffrey Deitch Gallery, MoMA PS1, and the Whitney Museum of Art. She received the 2018 International Center of Photography Infinity Award in the applied category. She is a 2019 CatchLight Fellow.

Alexandra Bell (b. 1983, Chicago, IL) is a multidisciplinary artist who investigates the complexities of narrative, information consumption, and perception. Utilizing various media, she deconstructs language and imagery to explore the tension between marginal experiences and dominant histories. Through investigative research, she considers the ways media frameworks construct memory and inform discursive practices around race, politics, and culture. Her work has been exhibited at Jeffrey Deitch Gallery, MoMA PS1, and the Whitney Museum of Art. She received the 2018 International Center of Photography Infinity Award in the applied category. She is a 2019 CatchLight Fellow.

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Bell_Alexandra_A Teenager With Promise_2017

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Bell_Alexandra_Charlottesville_2017

bell_alexandra_olympic-threat_2017

Bell_Alexandra_Olympic Threat_2017

bell_alexandra_no-humans-involved02_2019

Bell_Alexandra_No Humans Involved02_2019

Bell_Alexandra_A Teenager With Promise Annotated_2017

Ari Melenciano is a Brooklyn-based electromedia artist, futurist, and researcher who explores how various forms of design impact the human experience. At Pioneer Works, she will continue her research and development in experimentation of audio-visual experiences through HCI technologies, modular synthesis, computer vision, and design.

She is the founder of Afrotectopia, a social institution designed to build community around socially minded innovation, art, design, technology, Black culture and activism. Ari teaches creative technology and design at NYU and Pratt University. She is currently incubating experimental audio-visual work at New Inc in partnership with Rhizome and Nokia Bell Labs.

Ari Melenciano is a Brooklyn-based electromedia artist, futurist, and researcher who explores how various forms of design impact the human experience. At Pioneer Works, she will continue her research and development in experimentation of audio-visual experiences through HCI technologies, modular synthesis, computer vision, and design.
She is the founder of Afrotectopia, a social institution designed to build community around socially minded innovation, art, design, technology, Black culture and activism. Ari teaches creative technology and design at NYU and Pratt University. She is currently incubating experimental audio-visual work at New Inc in partnership with Rhizome and Nokia Bell Labs.

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Ari_Computational_Concerts.008

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Ari_Computational_Concerts.009

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Ari_Computational_Concerts.010

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Woody Sullender is an artist based in Queens, NY. His pieces encompass a myriad of media including sculpture, video games, performance, theater, music, installation, architecture, origami, and sonic weaponry. His recent work utilizes video game space as an arena to undermine specific modernist ideologies and rituals of music reception.

Sullender has performed internationally at venues such as the Kitchen (with Sergei Tcherepnin), Issue Project Room (Brooklyn), the Schindler House (Los Angeles), SculptureCenter (NYC), the Stedelijk Museum (Amsterdam), Les Instants Chavirés (Paris), Chicago Cultural Center, and the River to River Festival, among others.

He is the founding co-editor (with Bill Dietz) of the sonic arts publication 

Woody Sullender is an artist based in Queens, NY. His pieces encompass a myriad of media including sculpture, video games, performance, theater, music, installation, architecture, origami, and sonic weaponry. His recent work utilizes video game space as an arena to undermine specific modernist ideologies and rituals of music reception.
Sullender has performed internationally at venues such as the Kitchen (with Sergei Tcherepnin), Issue Project Room (Brooklyn), the Schindler House (Los Angeles), SculptureCenter (NYC), the Stedelijk Museum (Amsterdam), Les Instants Chavirés (Paris), Chicago Cultural Center, and the River to River Festival, among others. 
He is the founding co-editor (with Bill Dietz) of the sonic arts publication <a href="https://earwaveevent.org/" target="_blank" rel="noopener noreferrer">Ear | Wave | Event</a>.
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LaJuné is a new media artist and creative technologist creating art that integrates performance, extended reality, and physical computing to question our current forms of communication. LaJuné has had the opportunity to show and speak about their work at National Sawdust, Creative Tech Week, and Art && Code’s Weird Reality. LaJuné was previously the Director of Skating at Figure Skating in Harlem, where they integrated STEAM and figure skating to teach girls of color about movement and technology. They have continued their research on Blackness, movement, and technology during residencies at Eyebeam, Barbarian Group, and Barnard College.

LaJuné is a new media artist and creative technologist creating art that integrates performance, extended reality, and physical computing to question our current forms of communication. LaJuné has had the opportunity to show and speak about their work at National Sawdust, Creative Tech Week, and Art &amp;&amp; Code&#8217;s Weird Reality. LaJuné was previously the Director of Skating at Figure Skating in Harlem, where they integrated STEAM and figure skating to teach girls of color about movement and technology. They have continued their research on Blackness, movement, and technology during residencies at Eyebeam, Barbarian Group, and Barnard College.
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