Art

The immigrant Artist Biennial

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Artists who take risks inspire me the most. Risks with mediums, subject matter, genres, disciplines. Artists who explore from the gut, who do not follow trends too much, who are audacious, interdisciplinary, experimental, political, feminist, difficult to categorize, exciting.

You are your own poetry machine!

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We can all be poets and linguistic warriors. And if we can win our wars for the liberation of language we can win something else in the bargain: The ability to express ourselves again. Or at least have fun trying.

SANGRíA

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The search for peace is an endless human endeavor. I feel that we live in an increasingly violent and unstable time, and I think it is important to counteract violence and fear by promoting art performances that inspire tolerance and mutual understanding

Yogis on the Road interviews Katie Cercone

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“The yoga economy mostly runs on unpaid labor and who has time for that? People who are of a certain comfortable economic position. Side note, the Western women are also killing it. We’re bringing down the patriarchy”

no single form of death has an essence

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There is a difference between the ‘is’ of identity and the ‘is’ of prediction. There is no single thing that is death, AND there is no single property which the many forms of deaths share. For that matter, no single form of death has an essence. We thus live not so much in a patchwork quilt of death, but a kaleidoscope of deaths.

NON GRATA at Grace Space

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NON GRATA GROUP [ESTONIA / GLOBAL] Fri, November 22, 2019Doors 8:30 Performance 9:00Grace Exhibition Space182 Avenue C, New York, New York 11206 Wild Visuals,…

the final historian, the final cultural avatar

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There’s a plight being delivered. She has a fetish for being the final historian, the final cultural avatar, she feeds the need and hence must take the persona of goddess, a tragedian and cremator of worlds. In a world of diffracted male fact she becomes a curator of new worlds. It’s a heavy responsibility bearing distress, loneliness as well as good bourn. She builds using memory, imagination and exterior English, that is, a language that remains out of touch with both itself and her cerebral thoughts. The collection reads like a long message in a bottle, from someone who lives elsewhere, and knows more than what would be found in a normal message or letter.