Name: Second Sundays: November 2022
Start: 2022-11-13
End: 2022-11-13
Location: Pioneer Works

Second Sundays is our signature event series that engages Pioneer Works disciplines through live music, food, artist’s open studios, and programs. Join us this November for a day of sensory fueled workshops, new work from Cora Dance, a vibrant evening of live music co-presented with Barbès, plus much more! 

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

NYC Cultural Affairs

 centers on a newly commissioned multimedia installation that takes inspiration from the seminal film and video artist’s ongoing interests in science and math—particularly, memory, thought formation, and numerical expressions. Combining original footage and segments culled from his extensive archives, the immersive video work extends across 100 feet of the institution’s interior architecture, projecting flickering images throughout its windows that simulate the ways in which ideas appear in the human mind.

Atlas envisions the brick wall of Pioneer Works’ Main Hall as an analogue for the brain, divided into left and right sections. Unified by an original score by musician and collaborator 

, the video toggles between numerical fantasies, dance sequences, abstract compositions, scientific ruminations, and internet memes to encapsulate the artist’s disparate thoughts and ideas. The work builds on a series of projections that he has completed over the past few years, including 

 (2019) on the 2.5-acre facade of Chicago’s Merchandise Mart and 

 (2021) on a free-standing, 19th-century Indian Pleasure Pavilion at Luhring Augustine Gallery.

The artist notes, “I have been making large-scale, site-specific installations since 2007, and animating the architecture of Pioneer Works represents my biggest challenge to date. Instead of creating a single wall-sized composition, I am creating twenty-six distinct videos projected to fit the windows, and filling the voids in between. I consider space and time to be my media, and this has led me to a fascination with physics, consciousness and cosmology—scientific themes woven together with my sustained interest in portraiture, performance and dance."

Since his beginnings as filmmaker-in-residence for Merce Cunningham Dance Company during the early 1970s, Atlas has collapsed the barriers between dance, performance, and media, often collaborating with a dynamic roster of creative figures to harness a distinctly multidisciplinary and experimental point of view. 

 continues a number of these working relationships.

A prominent component of the installation is a stage designed by artist 

, who previously collaborated with Atlas at the San Francisco Museum of Modern Art (2009) and South London Gallery (2011), in collaboration with 

, which transforms industrial scaffolding into an armature for performances featuring ongoing and new collaborators, and discussions that consider the theoretical origins of consciousness and mathematical sequences. A direct response to Atlas’s video, Tajima’s sculptural environment makes a conceptual connection between black holes and the meridian system that maps and circulates energy within the human body—both of which represent the ungraspable and unknowable, within and beyond.

Analogous to the action of acupuncture needles, javelins puncture illuminated, gradient surfaces that outline both black hole star formations and energy pressure points of the body. In ancient times, javelins were used for hunting, sport and war, and now is the common name for the handheld missile used by Ukrainian forces to defend against the Russian invasion. Embodying chaos and entropy, the spears rupture the hole diagrams and grid architecture, resisting the imperative to control, systematize and contain.


 (b. 1949 in St. Louis; lives and works in New York City) has been a pioneering figure in film and video for over five decades. Atlas has extended the limits of his medium, forging new territory in a far-reaching range of genres, stylistic approaches, and techniques. Throughout his production, the artist has consistently fostered collaborative relationships, working intimately with such artists and performers as Leigh Bowery, Michael Clark, Douglas Dunn, Marina Abramovic, Yvonne Rainer, Mika Tajima/New Humans, Antony and the Johnsons, and most notably, Merce Cunningham, for whom he served as in-house videographer for a decade from the early 1970s through 1983; their close working relationship continued until Cunningham’s death in 2009. In 2017, the Hammer Museum acquired Atlas’s video 

, which had been recently featured in the 57th International Art Exhibition of the Venice Biennial. His work is also included in the permanent collections of major institutions worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; San Francisco Museum of Art; Tate Modern, London; Centre Georges Pompidou, Paris; among others. In 2017, Atlas and choreographers Rashaun Mitchell and Silas Riener premiered 

, a new two-part work consisting of a stereoscopic 3D film and a dance performance with real-time video mixing. In 2019, he unveiled a new commission for Art on theMART: a site-specific video work that spanned across the 2.5 acre river-façade of theMART in Chicago. The artist has received a Guggenheim Fellowship, three Bessie (New York Dance and Performance) Awards, the 2006 John Cage Award from the Foundation for Contemporary Arts, and a USA Artists Gracie Fellowship.

(b. 1975 in Los Angeles; lives and works in New York City)  is an artist whose practice materializes techniques developed to shape the physicality, productivity, and desires of the human body. Her sculptures, paintings, videos, and installations focus on the embodied experience of ortho-architectonic control and computational life. From architectural systems to ergonomic design to psychographic data, Tajima's works operate in the space between the immaterial and the tangible to create heightened encounters that target the senses and emotions of the viewer, underlining the dynamics of control and agency. Tajima holds a BA in Fine Arts and East Asian Studies from Bryn Mawr College, Bryn Mawr, PA, and an MFA from Columbia University, School of the Arts, New York, NY. Selected exhibitions include 

San Francisco Museum of Modern Art, San Francisco, CA; 

 at Borusan Contemporary, Istanbul, Turkey; 

, Whitney Museum of American Art, New York, NY; 

, Castello di Rivoli and GAM, Torino, Italy; 

All Watched Over by Machines of Loving Grace

, Sculpture Center, New York, NY. Her work is also in public collections that include Los Angeles County Museum of Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; San Francisco Museum of Modern Art, San Francisco, CA; Dallas Museum of Art, Dallas, TX; Albright-Knox Art Gallery, Buffalo, NY; Hirshhorn Museum and Sculpture Garden, Washington, D.C.

 (b. 1991; lives and works in New York City) is a multidisciplinary artist, who works primarily in music and video. With Sediment Club—a project functioning across the genres of no-wave, noise rock and improvisation, founded alongside Austin Julian and Jackie McDermott in 2009—Bozic has toured North America extensively, and collaborated with artists such as improvisor Michael Foster, poet and thinker Felix Bernstein, and post-punk pioneers Bush Tetras. Additionally, he founded LGHQ with Garrett Rosenblum in 2014, and produced electronic scores for artists such as Charles Atlas, Violet Dennison, Jordan Strafer and Larry Bovik. Through his various projects, he has released music with independent labels such as Wharf Cat Records, Ramp Local, Anno, Crude Tapes, NNA Tapes, Feeding Tube Records and Softspot Records. He has performed or shown his work in different galleries and art spaces including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; The Kitchen, New York; Entrance, New York; and The Glove, Brooklyn; among others.

 is curated by Gabriel Florenz. Lead funding for the exhibition is provided by Bruce M. Halpryn and Chas Riebe. Commissioning sponsorship is provided by VIA Art Fund, with significant support from the National Endowment for the Arts. Additional support is provided by the Robert Lehman Foundation, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

The Mathematics of Consciousness

Charles Atlas: The Mathematics of Consciousness

 marks the latest chapter in the artist’s ongoing project titled 

Trans-Pakistan Zindabad (Long Live Trans-Pakistan)

, which brings together augmented reality, ceramic sculptures, and video to explore nostalgia, gentrification, and urbanization in Lahore and South Asia. The media installation is the first solo institutional presentation by the Pioneer Works former technology artist-in-residence.

Majeed turns to her own familial history and archives as the conceptual basis for her project—particularly, her uncle’s failed tourism company ‘Trans-Pakistan,’ which she has digitally reimagined as “Trans-Pakistan Adventure Services.” Another point of inspiration is Bahria Town, the privately-owned real estate developments found throughout Pakistan. Within Lahore’s iteration of Bahria Town, European landmarks such as the Eiffel Tower and Trafalgar Square reify Western interests, but remain cloaked in a pervasive, Islamic security apparatus. Throughout her serial project, Majeed reinterprets these built environments as speculative, exploratory spaces for examining prevailing logics around race, gender, sexuality, and capital.

The installation features a distorted replication of  a monumental fountain located at the center of a roundabout in Bahria Town, distinguished by protruding horse figures. Majeed’s rendition is distorted not only by the addition of new sculptural features but also by augmented reality that animates the sculpture with galloping horses and plastic bags emanating as pools of water. Majeed stages a second augmented reality component on a low platform covered in black and white tiles: pixelated and lenticularized Urdu text emerging from an undulating, checkered abyss, creating the illusion of depth and embodying the theme of diasporic double consciousness. These features not only employ symbols that recur throughout the artist’s practices in drawing and video, but also build on the kitsch “digital” culture derived from Lahore’s urbanscape and subaltern.

A monochrome motif surrounds the environment, bearing graphic patterns and Urdu text adapted from historical poems that describe the collapsing of land and sky. This text is intentionally translated to ‘queer’ the gendered nouns and verbs that wrap around the gallery’s walls. Among these patterns are arrows that direct viewers to move about the gallery in a counterclockwise direction, a way of subverting conventional modes of thinking within urban planning. The multimedia environment is further united by a singular musical score in which sounds recorded in Bahria Town are glitched and woven together into ambient noise.

 explores themes of doubling and revels in dichotomies to navigate the personal and the governmental, the kitsch and the corporate, the real and the digital.

Umber Majeed (b. 1989, New York, NY) is a multidisciplinary visual artist and educator. She received her MFA from Parsons the New School for Design in 2016 and graduated from Beaconhouse National University in Lahore, Pakistan in 2013. Her writing, performance, and animation work engage with familial archives to explore Pakistani state, urban, and digital infrastructure through a feminist lens. Majeed has had two solo exhibitions: 

In the Name of Hypersurface of the Present

Trans-Pakistan Zindabad (Facts about the Earth)

, 1708 Gallery, Richmond, Virgina (2021). The artist has also shown in venues across Pakistan, North America, and Europe. Recent group exhibitions include; 

, The Slought Foundation, Philadelphia (2012); 

, The State Hermitage Museum, St.Petersburg, Russia (2015); 

, Queens Museum, New York (2018). She is a recipient of numerous fellowships including the HWP Fellowship, Ashkal Alwan, Beirut, Lebanon (2017); Refiguring Feminist Futures Web Residency, Akademie Schloss Solitude & ZKM, Germany (2018); the Digital Earth Fellowship, Hivos, the Netherlands (2018-19); and the Technology Residency, Pioneer Works, Brooklyn (2020). Her work has been acquired by several private collections, including the Lekha and Anupam Poddar Collection at the Devi Art Foundation in Gurgaon, India.

 is curated by Gabriel Florenz, and supported by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Made in Trans-Pakistan

Umber Majeed: Made in Trans-Pakistan

, the artist’s first institutional solo presentation, comprises three newly commissioned shadow box sculptures, hung on a visually striking custom fabric wrapped around the gallery’s walls. These works, her largest to date, mark the first time that the artist has incorporated full figures within the sculptural series she has developed over the past five years, which delves into the portrayal of female subjects through the aesthetic devices of shallow relief.

The artist turns to disparate sources to act as visual guides within her practice, such as early 20th-century fashion plates that featured illustrations of women dressed in the era’s latest styles and functioned as precursors to contemporary fashion magazines; the artist is drawn to the ways in which color and line dramatize the evolving trends from that time. Greco-Roman bas-reliefs and Medieval church carvings provide additional sources of inspiration—not only for the ways in which the body is fit within the confines of an architectural space, but also for the emphasis on emotive postures and hand gestures. Kielar’s work is united by a surrealist undertone that points to artist Hans Bellmer, who arranged handmade dolls into uncanny configurations. Though vastly different in conceptual aim and technical form, Kielar shares a similar interest in animating her sculptures with a sense of mystery and internal life.

The consistent thread through these references is the underlying intent to approach the human body as a vessel that can change shape to meet the cultural tides around it. Kielar is interested in continuing a tradition of distorting and manipulating the female form, in a manner that shows its evolving position within art. She bases her figures on archetypes, such as the Muse or the Amazon, that have lingered through the ages and inspired constant reinterpretation. In focusing on these classic roles, she brings the viewer’s attention to the complex dynamics of strength, beauty, vulnerability, sex, and heroism that have always circulated around female identity. She also opens a larger discussion around the constant expansion of expectations placed on women and their bodies, and the effect that these changes have on their perception of themselves.

The artist compresses the formal distinctions of sculpture and painting by melding aspects of each into a unified field of symbols and dimensionality. In each work, a single female subject is constructed through the arrangement of individual shapes that have been carved from foam and wrapped in a fabric bearing a pattern of the artist’s design. Each section of the subject’s body appears to float within a box that is encased in the same fabric, creating an overall effect of a figure that ripples between abstraction and representation.


(b. 1978, New York, NY) earned a BFA from The Cooper Union School of Art, New York and an MFA from Columbia University, New York. Kielar has presented solo exhibitions at venues such as Rachel Uffner Gallery, New York; Locust Projects, Miami; Casey Kaplan, New York; and Daniel Reich Gallery, New York. She has also been included in group exhibitions at the Rubell Family Collection, Miami; the Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville; the FLAG Art Foundation, New York; White Columns, New York; and the Zabludowicz Collection, London, among others. In Fall 2021, Kielar created work for the exhibition 

, which opened at Ba-tsu Gallery, Tokyo, and traveled to Chateau de la Colle Noire, Montrauroux. Her work can be found in the permanent collections of the Dikeou Collection, Denver; the Christian Dior Art Collection, Paris; the Henry Art Gallery, Seattle; the New Century Art Foundation, Singapore; the Rubell Family Collection, Miami; the Tang Teaching Museum and Art Gallery, Saratoga Springs; and the Zabludowicz Collection, London. Kielar lives and works in Brooklyn.

 is curated by Gabriel Florenz with Vivian Chui. Major funding for the exhibition is provided by the Coby Foundation. Additional support is provided by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Shadow Box

Anya Kielar: Shadow Box

ann/drew gayle is a Brooklyn based multidisciplinary artist whose work is natal to liminal and unnamed spaces. They hope their work can function as a provocation to peak experiences that can only be found in ambiguity and the blurring of lines, social relations, definitions, and roles. Perhaps temporary utopias can exist in a world in desperate need of light. (they/them)

ann/drew gayle

Alex Mctigue received his MFA in Visual Arts from Columbia University and a BFA in Photography from SVA. His practice often puts pressure on the overlap between photography and language. In 2017 he was a participant of the SOMA summer residency program in Mexico City. His recently published book, Of the night, by the city, was made in conjunction with Penumbra Foundation during the risograph print residency program in the summer of 2021. 

He has previously taught at The Cooper Union, and currently teaches in the photography department at the School of Visual Arts in New York City.

Alex Mctigue 

Bianca Abdi-Boragi is a French-Berber-American artist who received her MFA from the Yale School of Art and her BFA from ENSAPC (Paris). Her work has been featured in Hyperallergic, Artnet, and Artspiel among others, and her solo shows include the Border Project Space Gallery and CADAF Art Fair. She has exhibited with SPRING/BREAK Art Show, the NYC French Consulate, Chashama Gallery, the Flux Factory, the Immigrant Artist Biennial, Field Project Gallery, NURTUREart Gallery, and internationally. Bianca received the JUNCTURE Fellowship in Art and International Human Rights from Yale Law School and was a resident at NARS, MASS MoCA's studios, the Centquatre, Paris, and more.

Bianca Abdi-Boragi

Younes Baba-Ali is an artist-alchemist who measures and mixes technology, objects, sound, video, and photography with political, social, and ecological issues in places uncommon to art practice. Baba-Ali was awarded the Léopold Sédar Senghor prize during the 2012 African Contemporary Art Biennial of Dakar and the Boghossian prize during the 2014 Belgian Art Prize Art’Contest. He has participated in several international exhibitions, including Kunstenfestivaldesarts, the Biennale de Lubumbashi, Brussels Background, Brussels in Song Eun : Imagining Cities Beyond Technology 2.0, For a Brave New Brussels, Digital Imaginaries – Africas in Production, ZKM, One Place After Another, The Marrakech Biennale, Documenta 14, Biennale of Contemporary African Art, Commissions, KANAL – Centre Pompidou, and Gemischte Gefühle, Tempelhof.

Younes Baba-Ali is an artist-alchemist who measures and mixes technology, objects, sound, video, and photography with political, social, and ecological issues in places uncommon to art practice. Baba-Ali was awarded the Léopold Sédar Senghor prize during the 2012 African Contemporary Art Biennial of Dakar and the Boghossian prize during the 2014 Belgian Art Prize Art’Contest. He has participated in several international exhibitions, including Kunstenfestivaldesarts, the Biennale de Lubumbashi, Brussels Background, Brussels in Song Eun : Imagining Cities Beyond Technology 2.0, For a Brave New Brussels, Digital Imaginaries &#8211; Africas in Production, ZKM, One Place After Another, The Marrakech Biennale, Documenta 14, Biennale of Contemporary African Art, Commissions, KANAL &#8211; Centre Pompidou, and Gemischte Gefühle, Tempelhof.

Younes Baba-Ali

Jonathan Ojekunle is a Brooklyn, NY based artist who specializes in portraits. He was born and raised in Oyo state, Nigeria to a father who was an artist and a mother who is a teacher. Jonathan earned a Bachelor of Arts from Obafemi Awolowo University, Ile Ife Nigeria. He recently completed his Masters of Fine Art, with a concentration in sculpture, at CUNY Brooklyn College, Brooklyn NY. Over the years, Jonathan has worked on various commissions for individuals, government and professionals. Moving to America was a transformational experience for him. His new portraits are an effort to understand how he sees himself and in a new environment.

Jonathan Ojekunle

Azzah Sultan is an interdisciplinary artist who received her BFA from Parsons School of Design and her MFA at Washington State University. Born in Abu Dhabi, Azzah is a Malaysian native who grew up in Malaysia, Saudi, Finland, Bahrain, and is currently based in New York. She has exhibited her work at The New School, Parsons Paris Gallery, S.A.D. Gallery, The Bushwick Collective, BUFU Studios, The Ely Center, Sotheby’s Institute, and more. Her work strives to transcend the fallacy that Muslim women are oppressed by the nature of their religious customs while also speaking on the issues of navigating her identity through culture, immigration, and finding home through installation strategies.

Azzah Sultan is an interdisciplinary artist who received her BFA from Parsons School of Design and her MFA at Washington State University. Born in Abu Dhabi, Azzah is a Malaysian native who grew up in Malaysia, Saudi, Finland, Bahrain, and is currently based in New York. She has exhibited her work at The New School, Parsons Paris Gallery, S.A.D. Gallery, The Bushwick Collective, BUFU Studios, The Ely Center, Sotheby’s Institute, and more. Her work strives to transcend the fallacy that Muslim women are oppressed by the nature of their religious customs while also speaking on the issues of navigating her identity through culture, immigration, and finding home through installation strategies.

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EH_c029VUAAYGPs_1322 - Azzah Sultan

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Processed with VSCO with a6 preset

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Trotter & Sholer- Anak Dara-8 - Azzah Sultan

trotter-sholer-anak-dara-3-azzah-sultan

Trotter & Sholer- Anak Dara-3 - Azzah Sultan

melipat &#8211; Azzah Sultan

Azzah Sultan

Brian Swift is a menswear designer who was born and raised in NYC, though he considers the internet his current home.

He graduated from Parsons in 2018 with a BFA in menswear design.

Upon graduating, Swift launched Alacritous: a queer nightlife label reinvigorating clothing and accessories for the internet age. Alacritous draws inspiration from emerging technologies, memes, and sci-fi films to yield collections that are eclectic, reflective and remixable. Past collections have synthesized digital techniques with exquisite handcraft. This has resulted in unlikely pairings, such as machine knits with crystal pavé, algorithmic textile prints and CNC-cut vinyl denim appliqués.

Brian Swift

Nahee Kim (she/they) is an artist, teacher, and web programmer who is performing “nahee.app” on social media. nahee.app is a speculative program that writes itself by interpreting Nahee’s sexual identity, preference, and experiences as computational objects. nahee.app creates sex code and documentation and partner matching algorithms by converting mechanisms of existing programming languages and network protocols into provocative interactions. It expands its code about sexual behavior to human reproduction by programming its own experimental family through the project <Daddy Residency> with new forms of intimacy. Based in New York and Seoul, Nahee is 1/3 of the Korean artist collective <업체eobchae> and a member of NEWINC.

Nahee Kim (she/they) is an artist, teacher, and web programmer who is performing “nahee.app” on social media. nahee.app is a speculative program that writes itself by interpreting Nahee’s sexual identity, preference, and experiences as computational objects. nahee.app creates sex code and documentation and partner matching algorithms by converting mechanisms of existing programming languages and network protocols into provocative interactions. It expands its code about sexual behavior to human reproduction by programming its own experimental family through the project &lt;Daddy Residency&gt; with new forms of intimacy. Based in New York and Seoul, Nahee is 1/3 of the Korean artist collective &lt;업체eobchae&gt; and a member of NEWINC.

torrents_of_sex-nahee-kim

torrents_of_sex - Nahee Kim

handshake_erotica-nahee-kim

handshake_erotica - Nahee Kim

daddy-residency-open-call-nahee-kim

daddy-residency-open-call - Nahee Kim

cybersecurity4uterus-nahee-kim

cybersecurity4uterus - Nahee Kim

nahee_app_run_daddy_app &#8211; Nahee Kim

Nahee Kim

Using their knowledge of color, shapes, counting and object identification young guests can explore the Charles Atlas, Anya Keilar and Umber Majeed’s exhibitions on view in the main hall, 2nd and 3rd floor gallery. Bring your completed scavenger hunt back to the front desk for a prize!

Exhibition Scavenger Hunt

Pick up your film from the Free Film: NYC with WORTHLESSSTUDIOS and grab a copy of past Free Film books. WORTHLESSSTUDIOS’ fourth iteration of FREE FILM, FREE FILM: NYC, turns towards its home city to start uncovering a new truth about the old topic of community.


Free Film Pick Up

WORTHLESSSTUDIOS will screen three short films documenting families and loved ones on the birthdays of Oscar Grant (2015), Mario Woods (2016), and Philando Castile (2016). The films were created by filmmaker Mohammad Gorjestani and his creative studio and production company Even/Odd and are part of 1-800 Happy Birthday, an exhibition honoring Black and Brown lives killed by police. Originally a voicemail project, now transformed into a large-scale exhibition at WORTHLESSSTUDIOS in East Williamsburg. 1-800 Happy Birthday is presented by arts nonprofit WORTHLESSSTUDIOS with the aim of honoring the lives of those lost too soon. You can find out more in the <a href="https://www.nytimes.com/2022/09/23/arts/design/happy-birthday-police-deaths.html">NYTimes</a>, <a href="https://gothamist.com/arts-entertainment/a-new-exhibition-in-brooklyn-celebrates-the-lives-of-individuals-killed-by-police">Gothamist</a> and <a href="https://hyperallergic.com/767575/nyc-exhibition-celebrates-black-and-brown-lives-taken-by-police/">Hyperallergic</A>.

WORTHLESSSTUDIOS 1-800 Happy Birthday Films

This latest episode of the Broadcast Monologues takes us into Bell Burnell's personal story of discovering pulsars, with animations by Micah Ganske.


PW Broadcast Monologues Screening: Discover Dead Stars with Dame Bell Burnell

LOCATION: PIONEER ST. SIDEWALK
 
Join the Amateur Astronomers Association of New York at the sidewalk across from the Pioneer Works entrance for solar viewing. Telescopes will be provided between 1:00 and 4:00 pm. *Weather permitting*

SOLARGAZING WITH THE AMATEUR ASTRONOMERS ASSOCIATION OF NY

Learn about the soils around you by using our primary tools of our bodies - observation, touch, and smell to understand soils and the factors that determine soil health and resilience. Be a contributor to the larger study of the history and resilience of Red Hook soils. Learn more at <a href=" http://www.socialecologies.net">socialecologies.net</a>
 
This workshop is supported in part by Columbia Climate Imaginations Network, a community of creative people who support and inspire one another to imagine just, resilient and dynamic climate futures. Learn more and get connected at climateimaginations.org!

Substrate / Substratum - Red Hook Soils Workshop with Nance Klehm and Jacob Blecher of Social Ecologies

Note: meet in Garden at Pioneer St. gate
 
Dive into the shared project of landscape reading, a step in deep mapping process at two different identified soil acupuncture points in Red Hook. Be a contributor to the larger study of the history and resilience of Red Hook soils. This workshop will travel outside of Pioneer Works and return at 4PM.
 
This workshop is sponsored by Columbia Climate Imaginations Network, a community of creative people who support and inspire one another to imagine just, resilient and dynamic climate futures. Learn more and get connected at climateimaginations.org!

Red Hook Landscape Reading Walking Tour with Nance Klehm of Social Ecologies

In response to Charles Atlas's exhibition The Mathematics of Consciousness, Cora Dance will present a variation on sections of their latest work-in-progress, Grove. Choreographed by Shannon Hummel, the work will be performed by professional company member Katie Dean, youth apprentices Anais Dallett and Z'Yanah Gonzalez, and members of the Cora Youth Companies. 


Cora Dance Performance: Grove

Join exhibiting artist Anya Kielar as she guides participants through her stencil making process that informed her exhibition.

Stencil Making Mini Workshop with Anya Kielar

Join artists Leslie Ruckman and Gal Nissim to make edible sculptures to share with migrating birds in NYC. Together we'll get to know these magnificent creatures and dream of multispecies futures.

For The Birds, an edible art workshop

Columbia Climate Imaginations Network is a community of creative folks at Columbia Climate School who work together to build connections around climate change, imagination, and artistic practice. Come visit them in the Science Studios—try soil painting, explore ceramics processes, and discover mud fabrics. climateimaginations.org

Earth, Dirt, and Soil, with the Columbia Climate Imaginations Network

Get to know our current artists-in-residence in their work through Open Studios.

Open Studios

DJs: LITTLE DYNASTY (Names You Can Trust) and OLIVIER CONAN (Barbès)

Eva Salina, Willa Roberts and Maria Sonevytsky first sang together in Ensemble Hilka as part of The Chornobyl Songs Project, which was released by the Smithsonian's Folkways label. Hilka was coached by Yevhen Yefremov from Kyiv, Ukraine – the founder of the influential village style vocal group Drevo. When the project ended, Eva, Willa and Maria decided to learn some more Ukrainian songs and that's how "Zozulka" came to be. The a cappella trio specializes in the polyphonic repertoires of Central and Eastern Ukraine. https://mariasonevytsky.com/music/zozulka/



ZOZULKA

La Manga is an all-women collective that features NY based musicians from Colombia and Venezuela and draws from the great Caribbean musical diaspora. Led by veteran percussionist Daniela Serna (LaDama) La Manga is inspired by Afro-Colombian traditions such as bullerengue and baile cantandos as well as cumbia and gaita. The five women bring a spirit of communal celebration with a high energy all-vocals and percussion repertoire. 
Andrea Chavarro / vocals and maracas 
Katherine Ocampo / percussion; vocals 
Mafer Bandola / percussion; vocals 
Lina Silva / percussion; vocals 
Daniela Serna / percussion; vocals and direction

LA MANGA

Guitarist Amit Peled plays what could be described as Mediterranean surf, with a surfing style that owes much to the Middle Eastern side of Dick Dale, or the Western side of Omar Khorshid. Habbina Habbina, named after a beloved song by syrian singer Farid El-Atrache, takes its inspiration from Egyptian pop, Greek tunes as well as all sorts of retro-Mediterranean-hits, James Bond Soundtracks, Umm Kulthum, Ari San and many more.