"muse muse, a muse muse, muse amuse..."

This was the core inspiration for muse muse, the group show which opened on Friday at the Czech Center NY. With the goal of mirroring the democratic, driven revolutionaries of the first Czechoslovak Republic, a group of current curators and artists gathered to give new meaning to the concept of "muse". We sat down with two of the curators, Marie Tomanova and Thomas Beachdel, to talk about how they're re-inventing the identity of one of the industry's most important relationships.

"muse muse" will be on view through April 6th. Find the full list of curators and artists included below the interview.

Can you explain the role of the Czech Center in realizing this show? Did you decide to do something there and then the idea for Muse Muse materialized, or was it the other way around?

The Czech Center New York founded The Bohemian Creative Hub, a program dedicated to supporting working artists and fostering public engagement with the creative process. The Bohemian Creative Hub’s vision is inspired by Thomas. M. Messer, the Director of the Solomon R. Guggenheim Museum in New York for 27 years, who was of Czechoslovakian heritage and who epitomized a spirit of risk taking, innovation and resourcefulness.

Part of that program is the New Bohemia Exhibition Series created to support young artists and cross-cultural exchange. Muse Muse is a part of that series, for which we also helped organize Youth Explosion: The New Bohemia in July 2016, and Baby I Like It Raw: Post-Eastern Bloc Photography and Video in March 2017.

The idea for Muse Muse began as a way to celebrate the 100 year anniversary of the first Czechoslovak Republic and the democratic ideals ushered in by Tomáš Garrigue Masaryk. This is why we invited multiple curators to each choose artists to include in the show, as the First Republic was a powerful and meaningful shift from the singular voice of a Monarch to the many voices of a Republic. This show examines the transformation of identity and self against the background of post 1918 political and social change reflected in the shift initiated by the First Republic. Stressing the freedom of a multiplicity of voices and viewpoints, the inclusion of multiple curators mirrors a democratic vision centered around the theme of creating and celebrating new identities. In a word, this show is about freedom.

How did you decide who would be in the Curator group? What was the criteria? Are there any themes that connect all these artists in their practices, outside of being chosen by the group of curators?

As we began to put the show together, we started by asking friends who are curators to participate and to start thinking about artists they would like to include based on the general themes of identity, transformation, and freedom. As the list of curators and artists started to come together, we changed the title from Against the Grain to Muse Muse, as what began to emerge, almost magically, was the fourth, and perhaps most important, theme revolving around the relationship between artist and curator. It was a very intimate and special process to begin to speak with curators such as India Salvor Menuez, Lissa Rivera, Antonia Marsh, David C. Terry, and Richie Shazam, and to see how invested they are with the artists they were including, such as Jahmal B Golden, Naomi Okubo, Grace Ahlbom, Jaimie Warren, and Theresa Chromati and Martine Gutierrez. For these curators, these are not just artist that they chose to fit a theme, they are artists that they believe in, and with whom they have very meaningful relationships. Theophilos Constantinou and Nemo Librizzi’s close work together is also emblematic of this, as well as that of Jo Rosenthal whose zine for the show, VirtuosoVirtuoso, brought together distinct voices. For Marie Tomanova there is something about Pixy Liao’s work. Michal Nanoru had no question about Dusan Tomanek. For Thomas Beachdel, Aaron Young has been in his mind for over a decade... In particular, our interaction with Richie helped us realize that the show was not just about a multiplicity of voices, but about the unique relationship between curator and artist, artist and curator, hence Muse Muse.

It seems like the art world has appropriated the idea of “curator” with galleries and art fairs getting commercialized and so focused on monetary gain… How does this show stand up to that, and how can it continue to do so? Do you have plans to do another project on this subject?

To us, it seems like everything now is “curated,” a “carefully” and “tastefully” “elite” selection of goods, and services—everything from coffee to closets; and this should probably come as no surprise under such an onslaught of consumer capitalist culture. On one level, then, the idea of having multiple curators could neutralize, we hope, the idea of the elite voice of one CURATOR, particularly in emphasizing not the idea of the curator as a selection mechanism, but the curator as a relationship. That is what we tried to do with Muse Muse—to emphasize the relationship between curator and artist as a symbiotic and inspirational one that goes both ways, that goes all ways.

We loved working with so many people who each brought us into their intimate worlds and relationships, and we hope that this is clear to the viewer of the show. When one looks at the works in the show, what we hope they see is not only the work itself, but some ethereal hint of the essence of the artist and curator. Each is showing the viewer who they are, each is letting us all in. It is a privilege to see beyond any veil, and we hope that this may be what is special about art (or literature or poetry); it goes beyond the surface, it gets inside. Going forward, we look to get inside, always get inside.

During the opening, several young women were deeply touched by Theresa Chromati’s paintings and were overheard discussing with the artist her work and what they meant, almost in tears—they were tears of identification, not sadness. It was a powerful moment, one brought forth not only by the work itself, but by the relationship of Richie and Theresa. That is the Muse Muse…Muse.

Your press release is so poetic, and it really emphasizes the inspiration you got from language, and the music to the word “muse”. Do you think that this concept can be carried over to other mediums? (music, writing, design, whatever…)

Definitely. Between you and us…muse muse, amuse a muse, a muse muse crawls over miu miu to erode an old-fashioned (tired) patriarchal vision of artist and muse to grow stronger on the absolute absence of Harvey Weinstein and ilk (fuck them…no, not reallyJ).

I know you referenced early 1900’s politics, but did current politics play a part in putting together this show?

Absolutely. We are tired of power and money and exploitation. Really tired of exploitation, money, and power.

Richie Shazam, Martine Gutierrez, Thomas Beachdel, Theresa Chromati

Richie Shazam, Thomas Beachel, Marie Tomanova

Curator Artist:

Thomas Beachdel Aaron Young

Theophilos Constantinou Nemo Librizzi

Richie Shazam Theresa Chromati / Martine Gutierrez

Antonia Marsh Grace Ahlbom

India Salvor Menuez Jahmal B Golden

Michal Nanoru Dušan Tománek

Lissa Rivera Naomi Okubo

Jo Rosenthal VirtuosoVirtuoso zine: Medar de la Cruz, Kellian Delice, Emma Kohlmann, Mica Levine, Hayley Martell, Marian Martin, Ambar Navarro, Kat Rose, Emerson Rosenthal, Charlie Rubin, Leticia Sampedro, Shane Saunders, Andrea Sisson, Marie Tomanova, Amanda Wallace, Thomas Watkiss, Linda Yang, Yulia Zinshtein, Dale Zine

David C. Terry Jaimie Warren

Marie Tomanova Pixy Liao

Art

Pamela Sneed’s Speaking Tongue opens at Dashwood Projects

November 15, 2024

Pamela Sneed’s latest exhibition, Speaking Tongue, will be on view at Dashwood Projects from November 20 to December 21. The show features twenty watercolor and ink paintings inspired by her recent trip to Kenya, where she was deeply moved by the elegance of giraffes, the landscapes, and the energy of Nairobi.

Blending her background as a poet and visual artist, Sneed’s work reflects on themes of identity, nature, and connection. Her paintings capture the beauty and spirit of the animals she encountered, alongside reflections on her own experiences as part of the African diaspora.

This exhibition marks Sneed’s first solo show with Dashwood Projects and will be accompanied by a new book, also titled Speaking Tongue, to be released in December.

By Enzo Holdt
Artworks by Pamela Sneed

Art

Tiebreaker - Alvin Armstrong

November 15, 2024

There is a moment of silence right before the play. Just before the racket strikes the ball as it hangs weightless in the air, breathless and charged. It’s the fleeting yet decisive instant that can alter the course of the match, determining who wins and who loses.

Alvin Armstrong depicts this crucial moment in his new exhibition Tiebreaker, symbolizing the risks and rewards of competition. It’s an implication of something else at stake, where athletes push not only their bodies, but their spirits to the absolute limit.

The dynamic figures embody the strength, grace, and agility juxtaposed by the vibrant color palette evoking not just the joy of competition but the charged energy of the court.

Tiebreaker is opening Thursday, November 16th at Anna Zorina Gallery.

By Rea Brayshaw
Artworks by Alvin Armstrong

Art

The Things People Are Ashamed To Take Photos Of: The Photography and Films of Yuhan Cheng

Yuhan’s latest exhibition of photo and video work titled 窗子外 Outside the Window, Inside the Tank 鱼缸里 takes its namesake from what could’ve been a mundane encounter. A month after moving to New York City from Chengdu, China, they stumbled across an abandoned fish tank left curbside. It reminded them of “the rotating fish in a tank that faded into the background of their mother’s home in Chengdu”, a thread connecting childhood familiarity that transformed into a symbol of greater significance in adulthood. A tank is a world within a world; a microcosm secluded from the broader chaos of the outside. Since then Yuhan has captured the other kinds of “fish tanks” closest to them in their photography and short films. Not literal ones necessarily– but intimate confined spaces in Chengdu and NYC where time stands still.

In the midst of taking snapshots of loved ones, Yuhan decided to turn their tender but examining lens on themselves. They realized shooting self-portraits unraveled a deeper understanding of their own nonbinary gender and queer sexuality. Yuhan admits in one of their short films “I hide from looking at my own body.” Yet, in the seclusion of their room which doubles as a dark room, Yuhan began to develop their first nude photos chronicling the subtle wounds; bitten cuticles, bruises, and scrapes they’ve accumulated involuntarily, once again documenting the things people choose to hide.

窗子外 Outside the Window, Inside the Tank 鱼缸里, debuted at FAR-NEAR Studio Hours a gallery in Chinatown focused on expanding the art world's view of Asia and Asian artists curated by Lulu Yao Gioiello. The event merged Yuhan’s works from the past three years, including 70 photographs, three short documentaries, and one installation. There was something uncanny about the gallery’s atmosphere – from the dollar store teal green curtains obscuring every window to the clusters of framed photos mimicking how photos of relatives are displayed in one’s childhood home, to the darkened lighting that was both disorienting and cozy. All these details were meticulously chosen to imitate the rooms depicted in Yuhan’s films and photography. In other words, the audience was invited to Yuhan’s “fishtank”, to share the odd balance of comfort and unease of being known intimately. We talked to Yuhan at Cafe Reggio to understand how their latest body of work came into being.

Initially, I was exploring my friends’ identities through the lens, but slowly, it became a tool to confront and understand my own queerness and gender identity.

Ora Margolis— Were any memories/childhood experiences you had in Chengdu important to how you've developed as an artist?

Yuhan Cheng— Growing up in Chengdu, especially in a military household, shaped and gave me a source of contention how I understood my identity. There was always a sense of conflict when it came to my body and feeling like I didn’t quite fit the expectations around me. This tension has been a driving force in my practice, pushing me to explore identity and belonging in my work.

Tell us a bit about your latest exhibition Outside the Window, Inside the Tank at Far. What headspace were you in when taking these photos?

YC— Outside the Window, Inside the Tank is about the fluidity of self; our bodies, our environments, and our identities. The idea of water as both a symbol of confinement and freedom is central to the photos and film that comprise the exhibit. This fluidity much like how I see my experience moving between Chengdu and New York, where similar feelings follow me no matter where I am. Water mirrors the body, the frame, and the room, which are all containers of the self.

Previously, you’ve said you wanted the exhibition space to look "like your room". How did you make that happen and why is your NYC room important to you?

YC— My room in NYC is an extension of my identity. It’s where I feel vulnerable and where I explore myself most openly. It’s a manifestation of my sense of self. I recreated certain elements in the exhibition—the green sheer curtains, the dollar store shower curtain with bubbles, and the center installation depicted a self-portrait deteriorating in water, reminiscent of a fish in a tank. This room, like any other room or container, magnifies the tension of self-exploration.

Has your idea or comfort with your gender identity and /sexuality changed since you’ve delved into photography?

YC— Yes. The process of photography and filming has been a mirror to my own understanding of self. Initially, I was exploring my friends’ identities through the lens, but slowly, it became a tool to confront and understand my own queerness and gender identity. The process of photographing my queer friends and then myself allowed me to come to terms with who I am.

How did you and Lulu Yao of FAR-NEAR Studio meet, and what makes her a good collaborator?

YC— We first connected when I reached out with my series Princess of Funan River. Lulu understood the struggles and complexities in the work and she invited me to expand on those ideas with her. Our collaboration has worked because Lulu truly resonates with the themes I’m drawn to, like fluidity, transformation, and the intimacy of navigating belonging.

After completing Fish Tank and Remnants of an Amateur Film, what kind of movie do you want to make next?

YC— Right now, I’m more focused on writing. I need to understand what I want to say before making another film. Writing helps me find clarity;it’s a crucial part of my process.

What kind of camera do you use and why?

YC— I use a Canon AE-1. I started with it and I still love it. It's small, spontaneous, easy to use, and light. It allows me to capture moments naturally without overthinking.

What's your biggest fear?

YC— Being disconnected from my sense of self, from others, and from the things I love.

When do you feel most like yourself?

YC— It’s during those fleeting moments when I complete a project. That feeling fades quickly, leaving me searching for the next project to reconnect with that sense of fulfillment.

How do you want people to feel when they interact with your art?

YC— I want them to feel whatever resonates with them. I don’t want to prescribe the experience; it should feel right for each person.

Your work focuses on the close knit communities that surround you or various metaphorical “fish tanks”. What communities do you feel closest to?
YC— The queer artist community, both in Chengdu and NYC, has been a source of comfort and understanding for me. There’s something about shared struggles and shared creative language that feels like home.

What's the biggest difference between living life as a queer artist in NYC and in Chengdu?

YC— In both NYC and Chengdu, I’m learning more about myself. NYC offers a sense of freedom, while Chengdu is home, a place of comfort and history. Neither place defines me but both are significant parts of my path.

What are your next moves/goals?

YC— I want to continue exploring both film and photography, expanding my narrative style and experimenting across mediums. During my show, I found new ways of seeing my photographs such as by adding a window screen between frames or letting a self-portrait fade and grow mold in water. These approaches allowed me to see my work not just as 2D images but as 3D objects.

I want to keep pushing the boundaries of how photo and film can interact, and I’m also interested in trying photojournalism. My focus remains on collaborating across mediums and continuing to accumulate experiences that I can translate into sincere honest work.