Current Exhibitions

Alisha Wormsley and Kite present a tactile collage of thinking, becoming, speaking, and dreaming—not across from, but next to and with each other. The sound installation presented at REDCAT invites the audience to experience the voices of “Black and Indigenous Dreaming Workshop” while lying down and/or at rest, as a starting point for co-dreaming a new world. This will form part of REDCAT's Oklahoma Intertribal Noise Symposium.

For more information, please visit REDCAT's website here.

FREE! Masks required.

In this talk, Oglála Lakȟóta performance artist Suzanne Kite will investigate our current and future relationships to nonhumans, especially to technology and artificial intelligence, as well as developing protocols through her artistic practice. Humans already are surrounded by objects which are not understood to be intelligent or even alive, and which are seen as unworthy of relations. How can humanity create a future — one that includes relations to technology and artificial intelligence — without an ethical-ontological orientation that guides us to understand what is worthy of relation and what is not? In order to create relations with any nonhuman entity, not just entities which seem human, the first steps are to acknowledge, understand, and know that the nonhuman are ‘being’ in the first place. Indigenous ontologies already exist to understand forms of ‘being’ which are outside of humanity.

For more information, please visit Wesleyan University's website here.

Makȟóčheowápi Akézaptaŋ (Fifteen Maps) explores the Hudson River site known as Cruger Island, which was “purchased” in the 19th century by John Cruger, who used it as a backdrop for stolen Mayan ruins he transported as casts from Honduras. By the 1960s, Cruger Island had become a place for archeological excavations that displaced Indigenous artifacts and remains now held by the New York State Museum. Confronting those histories, Kite interrogates these knowledge systems and explores how AI might function as a conduit for alternative ways of nonhuman knowing. In this experimental lecture, multimedia artist Kite will explore how artificial intelligence reproduces the logics of coloniality, flattening land, people, and lifeworlds into objects of knowledge—data points to be extracted.

Please join us for a post-lecture reception, held in the LUMA lobby.

This lecture is a part of the Disturbance, Re-Animation, and Emergent Archives Conference held October 20–22, 2022 at Bard College.

For more information, please visit the Fisher Center's website here.

Monday, October 24, 2022
7-10pm

Sunview Luncheonette
221 Nassau Avenue
Brooklyn 11222

RSVP directly at amy.ruhl@gmail.com

You are invited to a fundraiser (both in person and virtually) to help Flowers in the Basement (Kite, Mel Elberg, Alisha B. Wormsley, Frances Rodriguez, Tsedaye Makonnen and Amy Ruhl) continue towards their goal of producing a touring performance while compensating members for their time and labor.  What is Flowers in the Basement you ask?

Flowers in the Basement is the name of both a project and a collective consisting of Kite, Mel Elberg, Alisha B. Wormsley, Frances Ines Rodriguez, Tsedaye Makonnen, and Amy Ruhl formed to create new work and speculate on insurgent, utopian alternatives to our current forms of reproductive labor. Bringing together a group of core collaborators working in vast fields of inquiry — Afrofuturism; queer, speculative, intersectional and Marxist feminisms, Lakota epistemologies; and LatinX and African migration narratives — their mode of collaboration forges collectivity while respecting the autonomy of each artists’ individual praxis. Their devising/scoring strategies for live performance range from traditional means of workshopping and improvisation to generating AI texts based on mutual input. View our trailer

Please follow this link for donations.