<p><meta charset="utf-8"><span data-mce-fragment="1">Explore ephemera created by current and alumni visual arts, music, and tech residents. Your purchases directly support the artists.   </span></p>

<p><span data-mce-fragment="1"><meta charset="utf-8">Protective 13” laptop case in polyester neoprene, featuring a digital halftone moire print designed by Brian Swift during his Pioneer Works Technology Residency. Case features a 3D rubber Alacritous label and purple elastic satin tape. The case is lined in black neoprene to keep your laptop clean and dry.</span> <br></p>
<p><strong>All orders will ship out the first week of December   </strong></p>

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Alacritous Laptop Case

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Enamel "LOVE ME" pin by <a href="https://pioneerworks.org/residency/rachel-stern">Rachel Stern</a>

LOVE ME Pin

<span data-mce-fragment="1"><a href="https://pioneerworks.org/residency/betsy-kenyon">Betsy Kenyon</a>’s book of pinhole photography, <i data-mce-fragment="1">Slumber</i>, dwells in the overnight intimacy of bedrooms, its subjects cocooned in their private environments. Created during the most stringent isolation protocols of the Covid pandemic, <i data-mce-fragment="1">Slumber</i> images New York City’s population living out surreal</span><span data-mce-fragment="1"> times. </span>

Slumber

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<p><span data-mce-fragment="1"><a href="https://pioneerworks.org/residency/naeem-juwan">Naeem Juwan</a> is a songwriter and rapper from Baltimore. First emerging under his moniker “Spank Rock” with the release of 2006’s YoYoYoYoYo. He then released Bangers and Cash in 2007— an EP with a then-up-and-coming Benny Blanco. He then released another album and an EP over the next few years. in 2020 Naeem released “Startisha” his debut album under his own name to critical acclaim. Rolling Stones stating “It’s tempting to describe Naeem’s new album, Startisha, as a grand reinvention, but really it feels like an epiphany.” He has spent much of the last decade stretching his creative legs in a variety of ways: he’s hit the road with artists ranging from the Avalanches and Bon Iver to Big Red Machine and Mouse on Mars, took part in a 37d03d residency in Berlin, and was selected as the music resident in 2019 at Pioneer Works. He is currently working on his next Album.</span></p>
<p><span data-mce-fragment="1"><meta charset="utf-8">Following his debut album “Startisha,” Naeem returns with “How Can We Lose When We’re So Sincere,” a collection of cover songs paying homage to the revolutionary musicians of Minneapolis such as Prince, Andre Simon, Fog and Justin Vernon. A limited edition rose gold metallic cassette, with album artwork by artist Alex Da Corte, and design by Eric Timothy Carlson, this album of historic and completely reimagined recordings, unavailable on streaming platforms, is destined to become a true collector’s item. </span></p>

"How Can We Lose When We’re So Sincere" Cassette Tape

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Pimo Dictionary

<p><meta charset="utf-8"><i data-mce-fragment="1">Bodies of Wood </i><span data-mce-fragment="1">is a personal essay in the lineage of testimonial writing by survivors of sexual violence. It weaves together the unsettling process of confronting traumatic memory with insights from queer and feminist theory. Printed copies were originally part of the gallery exhibition of the same name at Peninsula Art Space (2016) and the Aperture Foundation (2017).</span></p>
<p><meta charset="utf-8">Through photography, sculpture and installation I disassemble codified systems of power that inhibit the connection between individuals and communities. I am drawn towards people and places whose identities are largely self-made. In these I find evidence of a deeply exercised freedom of imagination that is as much a tool for survival as it is an embodiment of the resilience of the creative force. My images act as antithesis to estrangement. Through intimacy we transcend the chasm that disconnects us from one another and our own inner-dialogue, fundamentally reshaping entrenched patterns of power and oppression. - <a href="https://pioneerworks.org/residency/rowan-renee">Rowan Renee</a></p>
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Bodies of Wood Zine

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<p><meta charset="utf-8"><i data-mce-fragment="1">No Honor, No Heart </i><span data-mce-fragment="1">is a zine that compiles redacted personal e-mails from a dispute with a former partner, a copyright lawyer, over access and ownership of images of the artist’s own nude body. The text that remains is an experimental visual poem that makes visible the tension and bitterness that explodes when the trenchant power dynamics of heterosexuality are challenged. The zine accompanied the exhibition </span><i data-mce-fragment="1">Together, But Separate </i><span data-mce-fragment="1">at the Center for Visual Arts: Toledo (2018).</span></p>
<p><span data-mce-fragment="1"><meta charset="utf-8">Through photography, sculpture and installation I disassemble codified systems of power that inhibit the connection between individuals and communities. I am drawn towards people and places whose identities are largely self-made. In these I find evidence of a deeply exercised freedom of imagination that is as much a tool for survival as it is an embodiment of the resilience of the creative force. My images act as antithesis to estrangement. Through intimacy we transcend the chasm that disconnects us from one another and our own inner-dialogue, fundamentally reshaping entrenched patterns of power and oppression. - <a href="https://pioneerworks.org/residency/rowan-renee">Rowan Renee</a></span></p>

No Honor No Heart Zine

"Hello World" Cassette Tape

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<p><meta charset="utf-8"><span>New Topographics is an aqueous collection of drum driven, ambient adjacent, hypnotic soundscapes that radiate from a liminal zone between the physical and the digital. Following an impulse toward percussive abstraction, Matt Evans (Tigue, Bearthoven, Man Forever) collages the sounds of writing, typing, morse code and others— swirling sonic byproducts from our communication systems— with percussive improvisations and synthesized “creatures” to trace imagined landscapes in a sea of noise. Synthetics and acoustics cross currents, unifying rubbery harmonies, wandering melodies, and incidental noises into a dreamy cybernetic ecology.</span></p>
<p><span data-mce-fragment="1"><a href="https://pioneerworks.org/residency/matt-evans">Matt Evans</a> is a composer and percussionist producing acoustic and electronic music, collaborative performances, and concept-driven recording projects through an eco-fictional lens. Taking cues from interwoven organic species, entangled online networks, and intersectional thinking, Evans uses drum-driven hypnotic soundscapes and embodied improvisatory performance to question the unknowable and absurd relationships between the human experience, capital-driven consumerism, and ecological systems. These projects imagine new ways to care for ecosystems and communities while engaging in art-making that applies research, ritual, and abstraction.</span></p>

New Topographics (CD)

"What is Made Bright by the Loss of your Light?" Sticker

<p><strong>Giclée print on archival cotton rag paper with four deckled edges.</strong></p>
<p><strong>Unlimited edition; signed by the artist.</strong></p>
<p><em><strong>100% of profits will go towards feeding, vetting and rehoming the neighborhood street cats of Red Hook.</strong></em></p>
<p><span data-mce-fragment="1">"At the start of Covid I fell into looking after a colony of stray cats that live in a truck lot in Red Hook. Most of the ones I look after are dumped pets and they're not equipped to survive outside without help. Sales of this print will go towards caretaking costs of this colony (food, vet bills and rehoming the friendly ones) and to Brooklyn locals who self fund TNR (Trap-Neuter-Release), which helps keep the neighbourhood cat populations under control. </span></p>
<p><span data-mce-fragment="1">The drawing text comes from the cat-sitting instructions I would leave for my two cats Mike and Kelley in Melbourne, Australia, named after the artist Mike Kelley (RIP)."</span></p>
<p><span style="text-decoration: underline;"><strong><a href="https://pioneerworks.org/residency/jess-johnson-simon-ward">Jess Johnson</a></strong></span> was born in Tauranga, New Zealand in 1979. In 2016, she relocated permanently to New York after twelve years of living and working in Melbourne, Australia. Her practice is influenced by the speculative intersections between language, science fiction, culture, and technology. Her drawings depict complex worlds that combine densely layered patterns, objects, and figures within architectural settings. Johnson’s drawings are often displayed within constructed environments that act as physical portals into her speculative worlds. Her recent collaborations with Simon Ward have involved translating her drawings into animated video and virtual reality, giving audiences the simulated experience of entering the hypnotic realms depicted in her drawings. Johnson’s work has been exhibited at Jack Hanley Gallery, New York, NY; Art Basel, Hong Kong, China; Talbot Rice Gallery, Edinburgh, Scotland; Hubei Museum of Art, Wuhan, China; Centre Clark, Montreal, Canada; National Gallery of Australia, Canberra, Australia; Museum of Contemporary Art, Sydney, Australia; Alaska Projects, Sydney, Australia; Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand; Artspace, Auckland, New Zealand; and National Gallery of Victoria, Heidi Museum of Modern Art, Monash University Museum of Art, and Gertrude Contemporary, all in Melbourne, Australia.</p>
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If They Cry Feed Them More: Red Hook Street Cats Charity Print

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<p><span style="text-decoration: underline;"><strong><a href="https://pioneerworks.org/residency/long-distance-poison">Long Distance Poison</a></strong></span> is the NY-based experimental electronics duo of Nathan Cearley and Erica Bradbury. The duo has spent the last decade exploring the corners of extended, transportive synth sessions sculpted from Cearley’s psuedo-random and generative modular systems and Bradbury’s intuitive analog keyboards. Their musical textures range from smeared synthetic washes to crunched, distorted tones, to segments of glistening arpeggios. LDP has performed at the Ende Tymes Festival, the Basilica Hudson 24-Hour Drone Festival, The Wassaic Project, the MOMA PS1 NY Art Book Fair, the Voice of the Valley Noise Festival and Pioneer Works. In 2015, they did a residency at Clocktower Galley called Sacred Music After a God, and in 2017 they did a video synthesis installation at Printed Matter for their mind control experiment Rheomodes. They have releases on Hausu Mountain, Deep Distance, Oxtail Recordings, Constellation Tatsu, Ecstatic Peace!, Foxy Digitalis, Baked Tapes, VCO Recordings and other fine strange imprints.</p>
<p>Astro Topoi was released by UK label Deep Distance in the fall of 2018. Recorded in Brooklyn, the long form song "Ausunya" was originally conceived as part of their summer residency for the Clocktower Gallery at Pioneer Works and originally performed there. The album features art by Deep Distance/Polytechnic Youth label owner Dom Martin and a back cover essay by poet Peter Milne Greiner.<br></p>

Astro Topoi Vinyl LP

<p><meta charset="utf-8"><span data-mce-fragment="1">“During the global pandemic, an increasingly contentious political landscape and the surge of energy from re-dedicating ourselves to racial justice in America, I’ve witnessed my incredible peers balance fear, bravery, a commitment to family, and to local and global communities of underrepresented people. I’ve seen them create art in response and build new systems of support. But among my friends, especially my female-identifying friends and especially those of us who are mothers, many of us are being asked to do the undoable daily. I wanted a message to remind the world that through change-making, we can’t let ourselves become kindling. I don’t want us to burn out. All the crises in the world today are asking us to run more and more current through the little filaments of our minds and souls, but when those go out, does it leave the world a brighter place? Of course, it doesn’t. The social, economic, physical, political, intellectual demands of a movement must bring with it the great care for and value of each human being who is part of it.”</span></p>
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<span style="text-decoration: underline;"> <a href="https://pioneerworks.org/residency/amelia-winger-bearskin">Amelia Winger-Bearskin</a></span> is an artist who innovates with artificial intelligence in ways that make a positive impact on our community and the environment. </h4>

"who benefits from your burnout?" Sticker

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<span data-mce-fragment="1"><strong><span style="text-decoration: underline;"><a href="https://pioneerworks.org/residency/aki-onda">Aki Onda</a></span> </strong>has channelled the spirit of the late Korean artist Nam June Paik via radio transmission in Nam June’s Spirit Was Speaking to Me. Paik is known for his association with shamanism, a practice that consistently surfaces in his works. With a portable radio in hand, Onda communicates with his spirit from a distance—collecting field recordings of cryptic broadcasts and messages on anonymous radio stations. This work was originally commissioned by documeta 14, and it will be on view as an installation at the Toronto Biennial of Art from March 26 - June 5, 2022. </span>

Nam June's Spirit Was Speaking to Me LP

<p data-mce-fragment="1"><span style="font-weight: 400;" data-mce-fragment="1" data-mce-style="font-weight: 400;"><span style="text-decoration: underline;"><strong><a href="https://pioneerworks.org/residency/nicholas-oh">Dave Kim the Potter</a> </strong></span>uses influences from his Korean heritage to create unique, aesthetic and functional work. He believes that by creating work that is in direct dialogue with historic Korean pottery, he is preserving a culture that is slowly dissipating in modern society. Currently based in Brooklyn, NY, he continues to carry on older traditions within a contemporary multicultural context.</span></p>
<p data-mce-fragment="1"><span style="font-weight: 400;" data-mce-fragment="1" data-mce-style="font-weight: 400;">Each pottery Kim creates is centered on form, surface, color, and material— elements he derives from traditional Korean pottery techniques. His work incorporates a variety of styles: Sang-gam (Korean inlay technique), Baek-ja (porcelain-ware typically known for Moonjars), and Bun-cheong (technique that uses stamps). The work also reflects new techniques Kim devised in his practice through </span><span style="font-weight: 400;" data-mce-fragment="1" data-mce-style="font-weight: 400;">experimentation.</span></p>
<p data-mce-fragment="1"><span style="font-weight: 400;" data-mce-fragment="1" data-mce-style="font-weight: 400;">Kim is invested in creating work that both revitalizes and  honors the core tenets of Korean pottery: simplicity in natural, unpretentious beauty.</span></p>
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Nick Oh Pottery

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Ear Wave Event Booklet

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<span data-mce-fragment="1">How can thoughtfully and intentionally listening to our world inspire our creative practices? What insights can we gain when we delve into the immersive world of sound, which permeates our every moment? In </span><i data-mce-fragment="1"><span data-mce-fragment="1">Transcendent Waves</span></i><span data-mce-fragment="1">, sound healing practitioner, meditation teacher, and artist <strong><a href="https://pioneerworks.org/residency/c-lavender">Lavender Suarez</a></strong> outlines how listening can unlock moments of creative spark, self-awareness, and mindfulness in a work that is equal parts how-to guide and contemplative artist’s workbook. Suarez's illustrated meditations combine the open-ended freedom of Yoko Ono’s </span><i data-mce-fragment="1"><span data-mce-fragment="1">Grapefruit</span></i><span data-mce-fragment="1"> with the profound psychological insights of Oliver Sacks to offer a modern take on the impact of listening in a world that gets louder every day. Featuring an introduction by Bibbe Hansen—artist, Warhol star, and daughter of Fluxus cofounder Al Hansen</span><i data-mce-fragment="1"><span data-mce-fragment="1">—Transcendent Waves</span></i><span data-mce-fragment="1"> compiles scientific evidence, anecdotes, and thoughtful prompts for readers to manifest a sense of wonderment and appreciation for the intricacies of listening and the new perspectives it can bring to our daily creative worlds.</span><br>
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Lavender Suarez: Transcendent Waves

<div dir="ltr" data-mce-fragment="1"><strong><i data-mce-fragment="1">2022</i></strong></div>
<div dir="ltr" data-mce-fragment="1"><strong><i data-mce-fragment="1">Open Editon</i></strong></div>
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<i data-mce-fragment="1">Lilit the Empathic Demon</i><span data-mce-fragment="1"> </span>is a multidisciplinary project conjuring the aerial spirit demon, Lilit (Lilith), whose story traces back to ancient Sumerian, Akkadian, and Judaic mythology Asking us to consider whose stories, memories, and experiences are occluded in the process of demonization, <i data-mce-fragment="1">Lilit the Empathic Demon</i><span data-mce-fragment="1"> </span>builds on the artist’s research into the insidious side of empathy, empathy fatigue, trauma-healing modalities, and astrology as storytelling. <br><br>
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<div dir="ltr" data-mce-fragment="1">Text Lilit the Demon SUMMON to 8335751049 </div>

Shapeshifting Language Silk Print

<div data-mce-fragment="1" dir="ltr"><strong><i data-mce-fragment="1">Open Edition 2022</i></strong></div>
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<i data-mce-fragment="1">Lilit the Empathic Demon</i><span data-mce-fragment="1"> </span>is a multidisciplinary project conjuring the aerial spirit demon, Lilit (Lilith), whose story traces back to ancient Sumerian, Akkadian, and Judaic mythology Asking us to consider whose stories, memories, and experiences are occluded in the process of demonization, <i data-mce-fragment="1">Lilit the Empathic Demon</i><span data-mce-fragment="1"> </span>builds on the artist’s research into the insidious side of empathy, empathy fatigue, trauma-healing modalities, and astrology as storytelling. </div>
<div data-mce-fragment="1" dir="ltr">Text Lilit the Demon SUMMON to 8335751049    </div>

The Demon of Trust Silk Print

<span style="font-weight: 400;" data-mce-fragment="1" data-mce-style="font-weight: 400;">Everyone can agree that Valentine’s Day is the best holiday. To mark this festival of love, eros, and camaraderie  f<span data-mce-fragment="1">ormer resident </span><strong><a href="https://pioneerworks.org/residency/rachel-stern" data-mce-fragment="1" data-mce-href="https://pioneerworks.org/residency/rachel-stern">Rachel Stern</a></strong> has been making a romantic zine annually since 2014. Picking on various themes of love, desire, and heart break she thinks of these zines as classic Valentine’s—little paper gifts to show just how much she loves you. </span>

Valentine Zines

<span data-mce-fragment="1">When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use.<br data-mce-fragment="1">The creation and use of the </span><span class="a-text-italic" data-mce-fragment="1">Cyberfeminism Index</span><span data-mce-fragment="1"> is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor and researcher Mindy Seu (who began the project during a fellowship at the Harvard Law School’s Berkman Klein Center for the Internet &amp; Society, later presenting it at the New Museum), it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art. </span>