Walker Art Center They Are Waiting for You Laure Prouvost Sam Belinfante

Imaging a New Utopia

August - November, 2020

Co-curated by Gwyneth Shanks and AB Dark-brown

Imaging a New Utopia presents a semester-long program of experimental shorts, documentaries, and characteristic films that explore filmic futures through race, gender, sexuality, and place. The series peculiarly features works that middle ritual and operation, similar theater, dance, voguing, and experimental music.

Always, Already, Haunting, "disss-co," Haunt

May 24- June 15, 2019

Curators: Nia Nottage, Gwyneth Shanks, and Simon Wu

In 1975, the Whitney Museum of American Fine art presented a solo exhibition of Minnie Evans, an artist from North Carolina whose drawings and paintings were inspired by visions that she witnessed in her dreams. The exhibition was curated by her longtime friend and abet Nina Howell Starr. It was one of xi solo shows of African American artists staged in the wake of activism by the Black Emergency Cultural Coalition, who criticized the Whitney's underrepresentation of black artists and curators. Then, as now, Evans'south work escapes terms such as "folk art" or "outsider fine art" grafted onto it, instead producing its ain internal logics.

 In 1991, Evans became the principal source of inspiration for the dance filmPraise Business firm, directed by Julie Dash in collaboration with Jawole Willa Jo Zollar, the founder and creative director of the trip the light fantastic company Urban Bush-league Women. Zollar recalls kickoff encountering Evans's work at the Brooklyn Museum, most probably in the 1982 exhibitionBlackness Folk Art in America, 1930–1980. Zollar and Dash's protagonist, as well every bit the main character of Zollar's theatrical work that inspired the film, is loosely based on their interpretation of Evans's piece of work and biography.Praise House imagines Evans as an important and, although deceased by 1991, contemporaneous artistic influence. Evans's work animates a politics of memory, inheritance, and intergenerational exchange that together create ahaunt, a frequented place, beyond infinite and time that grounds the structure of the exhibition.

In 2019, against a properties of cultural institutions that are ever more than eager to represent certain types of "fugitive" bodies, Ever, Already, Haunting, "disss-co," Haunt proposes haunting as a representational illogic, an embodied and affective practice that rejects the production of user-friendly or easily read narratives. Haunting aims to redress the historical violences, absences, and omissions laden in the trappings of institutional "diversity." Instead, this exhibition foregrounds the social worlds that environment and orbit art institutions—the club, the park, the cruising space, the archive, and the cemetery—lingering on the desires, pleasures, and mournings entangled inside them.

The exhibition features works byJulie Dash,Minnie Evans,Félix González Torres,Green-Wood Cemetery,shawné michaelain holloway,Nina Howell Starr,Asif Mian,Guadalupe Rosales,Mariana Valencia,Julie Tolentino,The Whitney Archives, andJawole Willa Jo Zollar.

The Kitchen, New York, New York, U.s.a.

Curated through the Whitney Contained Study Program

Photos past Jason Hirata

All That Can Happen

May 24 at 7:xxx PM, 2019; The Kitchen, New York

Presented in conjuncture with the exhibition Always, Already, Haunting, "disss-co," Haunt, co-curated by Nia Nottage, Gwyneth Shanks, and Simon Wu

Collaborating with dancer Mariana Valencia and DJ Jazmin Romero, Guadalupe Rosales created her kickoff performance activation for the opening of E'er, Already, Haunting, "disss-co," Haunt at The Kitchen in New York.

Rosales's committee,All That Tin Happen, included a Go-Become Box-cum-vitrine of 1990s rave, dance crew, and social club ephemera, materials that were donated to the artist by friends, family members, and her broader community in Eastward Los Angeles. The slice, similar much of Rosales'south works, also functions as a memorial to her cousin, Ever Sanchez, who was murdered in 1996 at age 20.

Her piece includes numerous snap shots and formal portraits of immature people from East Los Angeles, and Mariana Valencia, performing atop the box, adopted their poses: a slow score that was both echo of the gild and mourning ritual. During the performance, the lights in the gallery all shifted to a cobalt blue, and Jazmin Romero's sound score—a mix of Rosales's sister'due south vocalisation recounting the night of their cousin's murder and gild beats—filled the space, a sonic and optic experience that sought to transform the gallery into a collective site for celebration, conviviality, and mourning.

Rosales'due south performance likewise included an appearance by the Klique Car club, who hosted a block party on the street in front end of The Kitchen.

The Kitchen, New York, New York

Public Tour, Green-Wood Cemetery

June i at half dozen:30–8:30 PM, 2019; Greenish-Wood Cemetery, Brooklyn

Presented in conjuncture with the exhibition Always, Already, Haunting, "disss-co," Haunt, co-curated by Nia Nottage, Gwyneth Shanks, and Simon Wu

The Greenish-Forest Cemetery is famous for its elaborate private burial lots and architecturally significant monuments. However, its lesser expensive public lots comprise about half of all burials at the cemetery. As part of the exhibition Always, Already, Haunting, "disss-co," Haunt at The Kitchen, Greenish-Wood's Manager of Preservation and Restoration, Neela Wickremesinghe, and Manager of Programs and Special Projects, Harry Weil, led a guided exploration of these sites. This newly commissioned tour highlighted the "Colored Lots," seven burial lots on the cemetery'due south southern edge, including 1 for The Colored Orphan Aviary. These burial lots were recently renamed the "Freedom Lots."  Over one,300 are laid to balance here, making it one of the largest existing burying grounds for African Americans who lived in New York Urban center in the last two centuries. Wickremesinghe and Weil presented this history of the cemetery based on their on-going enquiry into the social and political history of the urban center fabricated legible through the cemetery's histories and archives.

Green-Wood Cemetery, Brooklyn, New York

Photo by Simon Wu

Rabih Mroué: Again we are defeated

Dec 20, 2018–Feb 23, 2020

Curators: Gwyneth Shanks and Allie Tepper

Over again nosotros are defeated presents a pick of new works by Rabih Mroué, whose practice spans theater, performance, music, and visual art. His piece of work explores gimmicky Middle Eastern life worlds and (geo)political fabric effects, drawing, in particular, from his feel of the Lebanese Civil War (1975–1990). In this installation, the Berlin-based artist focuses on the ways in which electric current tearing conflicts are mediated through print journalism. What images are presented and what histories are occluded?

This work continues Mroué's project of revealing and resisting the representational politics or images of state of war, particularly as such images seek to document or attest to violence in the Middle Due east and North Africa. Through selectively obscuring content culled from newspapers and engaging with the intimate and meditative act of cartoon, Mroué offers his own reading of these events and some other way of processing the everyday atrocities of war. Mroué has produced some 200 drawings and collages likewise as video on the subject, in which he serially tracks the recurring impressions of conflict. When amassed as shown here, the works create an homage to the haunting presence of the dead.

Walker Art Center, Minneapolis, Minnesota, United states of america

Photos by Bobby Rogers, courtesy Walker Art Centre, Minneapolis

Untitled: a procession on the borders of something that has already shifted

Co-curators Gwyneth Shanks and Sarah Lewis-Cappellari

Untitled: a procession on the borders of something that has already shifted uses fences to explore questions around privacy, private property, privilege, displacement, and belonging. Shanks, in collaboration with Sarah Lewis-Cappellari, examines what it means to pass through a neighborhood, lingering in the histories, communities, materials, textures, and memories that make upward such spaces.

Taking the grade of a public plan and procession through private and public spaces in Echo Park,Untitled features the voices of invited collaborators, who include a landscape architect, an academic expert on residential zoning laws and the history of racial dispossession in Echo Park, a Chicanx creative person whose drawing do includes portraits of E Los Angeles's residential landscape, and Echo Park residents who explore their memories and connections to the neighborhood. The functioning culminates in an empty lot marked for residential evolution, a space understood as nascent with potentiality and conflicting desires. An open up space, an unbuilt—for now—infinite for speculation.

Click here for a downloadable PDF of the programme notes, which includes more detailed descriptions of each collaborator.

Untitled: a procedure on the boarders of something that has already shifted was commissioned past Materials & Applications for the exhibition, Privacies Infrastructures, and was funded in office through the Foundation for Contemporary Arts Emergency Grants and the Graham Foundation.

Curatorial Squad

Devised and directed by Sarah Lewis-Cappellariand Gwyneth Shanks

Text by Sarah Lewis-Cappellariand Gwyneth Shanks

Performance GuidesDorit Cypisand Loren Fenton

Recorded speakers and additional text by Dana Cuff, David Godshall, Vincent H.,Grace Lara,Manuel Lopez, Jesenia R., andGabriela R.

Additional Performances byVincent H., Grace Lara, Jesenia R., and Gabriela R.

A Different Kind of Intimacy: Queer and Radical Functioning at the Walker, 1990-1995

February 22 -June i, 2018

Curator: Gwyneth Shanks

In the politically and socially polarized atmosphere of the tardily 1980s and 90s—fueled by the bourgeois mandates of the Reagan Assistants and the era's civilization wars—feminist, anti-racist, and queer performance artists achieved a newfound voice and influence. Queer sexualities, subversive sex, and the experiences of artists of color were central to the work of artists like Ron Athey, Karen Finley, Ishmael Houston-Jones, Bill T. Jones, Patrick Scully, and the lesbian theater group Split Britches. These artists, amongst others, found institutional support at the Walker Art Center, which championed their experimental and often politically risky work.A Different Kind of Intimacyexplores how artists performed affinity and protest, and features ephemera, video, and photographs, inviting viewers to reflect upon the aesthetic and political turbulence of the period.

Walker Art Center, Minneapolis, Minnesota, Us

Photos by Gwyneth Shanks

Laure Prouvost in collaboration with Sam Belinfante and Pierre Droulers:They Are Waiting for You

February 9–10, 2018

Curators: Philip Bither with Gwyneth Shanks

For this earth premiere, inquisitive French-built-in conceptual artist Laure Prouvost presents her first major production for the stage. The winner of the 2013 Turner Prize, Prouvost is known for weaving together fiction and fact to create circuitous and humorous stories that challenge the ways we create our own life histories. Expect an unpredictable yet thoroughly mannerly experimental mash-upwards of video piece of work, dance, immersive stage décor, and choral music. Prouvost is joined past artist Sam Belinfante, renowned dance creative person Pierre Droulers—one of Belgium and French republic's leading choreographers—and musicians from Minnesota and New York.

Walker Art Center, Minneapolis, Minnesota, USA

Photos courtesy Walker Art Middle, Minneapolis

Laure Prouvost: They Are Waiting for You

Oct 12, 2017–Feb xi, 2018

Curators: Victoria Sung with Gwyneth Shanks

Laure Prouvost (French republic, b. 1978; lives and works in Antwerp) produces absorbing moving prototype and sound installations in which she conflates reality with fiction and art with everyday life. Prouvost's environments often confound expectations through a rapid-fire succession of audio and image. Narrated in the artist'southward soft, seductive voice, they are interspersed with spoken and written instructions that directly address the viewer. Combining painting, sculpture, and establish objects alongside her projected images, Prouvost lures the viewer-turned-participant into an abstracted, preverbal state of consciousness from which to rediscover the joy of learning linguistic communication, words, and meanings.

In 2013 Prouvost won the Turner Prize for her installationWantee, co-commissioned by Grizedale Arts and Tate Britain for the Tate's Schwitters in Great britain evidence that year.

Walker Art Center, Minneapolis, Minnesota, Us

Photos courtesy Walker Art Center, Minneapolis

Bouchra Ouizguen:Corbeaux (Crows)

Curator: Philip Bither with Julie Voigt and Gwyneth Shanks

Equal parts living sculpture and ecstatic performance catharsis, this work by Moroccan choreographer Bouchra Ouizguen offers an experience both intimate and public. Presented in nontheatrical spaces with a 22-member collective of Moroccan and Minnesotan women, Ouizguen'due south mystical music and movement effect has been riveting audiences throughout the world.

September 23, 2017
Minneapolis Sculpture Garden, 12 apex
Rain Location: Walker Art Centre, Hennepin Lounge and Cargill Lounge

North Commons Park, Minneapolis, iv pm
Rain Location: North Commons Recreation Middle gym

September 24, 2017
Rice Park, St. Paul, 1 pm
Rain Location: Landmark Center atrium

Walker Art Center, Minneapolis, Minnesota, USA

Photos courtesy Walker Art Heart, Minneapolis

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Source: https://www.gwynethshanks.com/curatorial-practice