This week: Juliana Soltis’ Going Off Script: The Ornamented Suites for Cello at the Creative Alliance, Sunhee Kim Jung: The Camouflage at The Peale’s temporary home in Carroll Mansion, Baltimore, A History Block by Block – Photography by James Singewald at the Baltimore Architecture Foundation, Roots & Raíces Festival 2019 at Creative Alliance, NATURA NATURANS Session 1: Different Statuses for Nature at Washington Project for the Arts, School 33 Art Center’s 40th Anniversary Exhibition, NONUMENT 01::McKeldin Fountain and Hoesy Corona: Imaginary Construct at VisArts, Hidden Paths: An Exhibition About Walking As Art artist talks at Cardinal, and Afro House Concert No.9.
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Going Off Script: The Ornamented Suites for Cello
Tuesday, September 10th • 7-8:30pm
3134 Eastern Avenue : 21224
The Bach you know is only the beginning.
Beloved for generations, the music of Johann Sebastian Bach has inspired millions – but what if the music we know and love was incomplete?
Join cellist Juliana Soltis as she breaks with 200 years of tradition to revive the long-lost practice of spontaneous improvisation in J.S. Bach’s Six Suites for Unaccompanied Cello. Performed entirely on historical instruments, including a rarely-heard 5-string violoncello piccolo, these are the Bach cello suites as they have not been played in centuries – and a musical experience you won’t soon forget.
Baltimore, A History Block by Block: Photography by James Singewald | Opening Reception
Thursday, September 12th • 5-7pm
Architects Bookstore – Baltimore Architecture Foundation
11 1/2 West Chase Street : 21201
On view August 19 – October 21
James Singewald is a photographer and archivist currently documenting Baltimore’s architecture and researching its history. Prior to Baltimore, he spent ten years living in Philadelphia photographing neighborhoods and industrial spaces prior to the rapid redevelopment and gentrification that has changed many parts of the city in the past ten years or more. He received his BFA from The University of the Arts in 2002 and his MFA from Maryland Institute College of Art in 2010. His work has been featured in various solo and group exhibitions at galleries and institutions including The Peale Center (Baltimore, MD), Maryland Art Place (Baltimore, MD), Full Circle Gallery (Baltimore, MD), Maryland Historical Society (Baltimore, MD), Pixilated Federal Hill, (Baltimore, MD), Jordan Faye Contemporary (Baltimore, MD), Washington Project for the Arts (Washington, D.C.), Gallery CA (Baltimore, MD), The University of the Arts (Philadelphia, PA), Maryland Institute College of Art (Baltimore, MD), and the Reginald F. Lewis Museum (Baltimore, MD). James has also presented his work at institutions including Johns Hopkins University and Loyola University. In 2010 he self-published his first book titled, Old Town, East Baltimore, and his work has been highlighted in publications including Juxtapoz Magazine, The Baltimore Sun, Baltimore City Paper, and Urbanite Magazine.
Roots & Raíces Festival 2019
Friday, September 13th + Saturday, September 14th
3134 Eastern Avenue : 21224
- Purchase General Admission tickets for $70 which includes admission to the Gala starting at 7pm, a dinner, live entertainment, a film feature and the awards ceremony.
- Purchase a Sponsorship ticket of $100+ that includes all the above and special admission to our cocktail hour at 6pm and entrance to the afterparty on September 14.
- At night we will have a ticketed Music & Art Festival co-hosted by La Factoria and Roots & Raíces (pre-sale tickets are $10; $15 at the door)
NATURA NATURANS | Session 1: Different Statuses for Nature
Friday, September 13th + Saturday, September 14th
Washington Project for the Arts
2124 8th Street, NW : Washington DC
“Nature” and “wilderness” are cultural representations: they are reflections of our own desires and phantasms. Despite their meanings and differences, these concepts both refer to what is non-human. The evolution of these notions reflects our relationship with the world. Are the notions of “nature” and “wilderness” helpful when thinking about our relationship with the environment or are they restrictive and outdated concepts? What happens when parts of nature become legal entities? How do we discuss the notion of “property” in the Anthropocene? How do we evaluate our moral responsibility for climate change? How do non-human made objects raise ethical questions about their legal statuses in our contemporary society?
School 33 Art Center’s 40th Anniversary Exhibition | Opening
Friday, September 13th • 6-9pm
School 33 Art Center
1427 Light Street : 21230
Presented by the Baltimore Office of Promotion & The Arts, School 33 Art Center’s 40th Anniversary Exhibition celebrates the history of the nonprofit art space’s ongoing commitment to local, regional and national contemporary artists. Using the entire building’s gallery spaces, the anniversary exhibition features more than 40 regional visual artists who have shown in the galleries over the years. School 33 Art Center’s 40th Anniversary Exhibition includes works from a wide variety of media and visual disciplines.
Curated by Melissa Webb and Megan Koeppel, School 33 Art Center’s 40th Anniversary Exhibition artists are: Sobia Ahmad / Kyle Bauer / Dennis Beach / Tommy Bobo / John Bohl / James Bouche’ / David Brown / Carolyn Case / Cindy Cheng / Wesley Clark / Richard Cleaver / Emily Culver / Paul Daniel / Linda DePalma / Michelle Dickson / Elliot Doughtie / Peter Dubeau / Dan Dudrow / Liz Ensz / Neil Feather / Erin Fostel / Roxanna Alger Geffen / C Harvey / Lillian Bayley Hoover / Ryan Hoover / Kei Ito and Andrew Paul Keiper / Megan Lewis / Scott Pennington / Giulia Piera Livi / Beverly Ress / Jann Rosen-Queralt / Rachel Schmidt / Ernest Shaw / Jo Smail / Alessandra Torres / Colette Veasey-Cullors / Howie Lee Weiss / James Williams II / Marcia Wolfson-Ray / Jessie Unterhalter and Katie Truhn.
Established in 1979, School 33 Art Center has long been a bridge between contemporary artists and the viewing public, showcasing and sustaining emerging, mid-career, and established artists from Baltimore and beyond. School 33 continues to present carefully curated exhibits in three gallery spaces, offer studio space and mentorship to working artists, feature exhibition-speciﬁc artist talks and workshops, art classes for adults and children, and produce city-wide events such as the annual School 33 Open Studio Tour taking place October 12 & 13 and October 26 & 27, 2019.
For more information on School 33 Art Center’s events and exhibitions, call
443-263-4350 or visit www.school33.org.
NONUMENT 01::McKeldin Fountain | Opening Reception
Friday, September 13th • 6-9pm
VisArts Center – Concourse Gallery
155 Gibbs Street : Rockville
Lisa Moren’s media-based art considers monuments, history, public spaces Eastern Europe by collecting ordinary memories from former communist citizens. In 2015 she collaborated with two Slovenian artists on a Baltimore public art project that celebrated the ordinary citizens that make public space vibrant. The final outcome of their project is NONUMENT 01::McKeldin Fountain, an exhibition centered on Baltimore’s rare public fountain that was demolished in 2017. In opposition to bronze and stone, nonument [or “no monument”] celebrates the transitory nature of everyday experiences using new and emerging media forms. McKeldin Fountain located in a Free Speech zone in Baltimore’s Inner Harbor and popular among local workers, tourists and residents. The story of McKeldin Fountain is an example of the escalating privatization of public spaces world-wide, a trend that continues to diminish access to full participation and free speech for ordinary people in everyday urban life. The project documents memories of activists living in the Square during Occupy Baltimore; Women in Black and Black Lives Matter; along with performers, artists, rappers, teachers, a lawyer, a former Baltimore mayor and personal poetic and political stories imbued with the frail democracy of this public Square.
About the Artists:
Lisa Moren is a multi-disciplinary artist whose works with emerging media, public space and works-on-paper. For more than 10 years she has worked with communities to document under-represented memories from Berlin and cities in Central and Eastern Europe that were archived as interactive installations. Lisa has exhibited her work widely at the Chelsea Art Museum, Cranbrook Art Museum and many international venues including Ars Electronica and Akademie der Kunste and the Artists Research Network, part of LaTrobe University in Melbourne, Australia. She has received numerous awards including the National Endowment for the Arts, a multi-year recipient of the Maryland State Arts Council, CEC Artslink International, a Saul Zaentz Innovation Fellow at Johns Hopkins University and many others. Her writing has appeared in Performance Research, Visible Language, Inter Arts Actuel, New Media Caucus for “Algorithmic Pollution: Artists working with Landscape, Surveillance and Code” and “CYBER INSECURITY” and her own books on Intermedia and Issues in Contemporary Theory for “Command Z: Artists Working with Phenomena and Technology.” Lisa Moren is a Professor of Visual Art at the University of Maryland, Baltimore County and the Graduate Program Director of the M.F.A. program in Intermedia + Digital Art. She lives in Baltimore with her husband and two children. www.lisamoren.com
Jaimes Mayhew is an interdisciplinary artist whose work is collaborative, and based in his interests of land use, speculation and installed environments. Mayhew has received awards and grants from The Fulbright Commission, The Maryland State Arts Council, the Baltimore Museum of Art and Provisions Library. Mayhew’s work has been shown at The Baltimore Museum of Art (Maryland), Arlington Arts Center (Virginia), Eyebeam (New York City), Mass MoCa (Massachusetts), Conflux Festival (Brooklyn), The Chapel of St. Cecilia (Brooklyn, New York), The Red Dawns Festival (Slovenia), 808 Gallery (Boston), The Transmodern Festival (Baltimore, Maryland), Goucher College (Baltimore, Maryland), Hoffmannsgallerí (Reykjavík, Iceland) among others. Mayhew has given talks about his work at Rhode Island School of Design, Emerson College, The Center for Innovation, Research and Creativity in the Arts at UMBC, Johns Hopkins University, Cranbrook Academy of Art, George Washington University and the Corcoran School of Art. His work has been published in Art Papers, Undercurrents Journal, Baltimore City Paper, Washington City Paper, and the Boston Globe. For more information see: www.enginesofthefuture.com.
Neja Tomšič is a visual artist and poet from Ljubljana, Slovenia. Since graduating in painting at the Academy of Fine Arts in Ljubljana she has been part of several group and solo exhibitions, performing and publishing poetry and prose among others. She researches documentary cinema and related practices in the contemporary art context, which is also the topic of her PhD research at the Department of Philosophy and Theory of Visual Culture at the University of Primorska.
She is a co-founder of MoTA – Museum of Transitory Art, a research and production platform devoted to transitory art and its project space in Ljubljana, formerly the MoTA Point, now the MoTA LAB. Since 2008, she has produced and curated solo exhibitions and projects (Marina Rosenfeld, Jorge Rodriguez Gerada, Lexa Walsh, Baraga etc), group exhibitions (the Ghostwriter Project, Arte/Facts, Cartographies of Transitions, etc), Sonica and Sonica Classics concert series (with Charlemagne Palestine, Hildur Gudnadottir, Jozef van Wissem, Valerio Tricoli, Jason Lescalleet, etc), the Sonica Festival (from 2009 in different venues and public spaces in Ljubljana), symposia (Cartographies of Transition in Nicosia, Cyprus; Third Culture in Ljubljana). She edited the RoboVox.Your Voice reader monuments and robotos, published at rx:tx; Outerviews. Conversations with artists and TRIBE – Excercises in Transitory Art, published by MoTA. She was a Goethe Institut fellow and recipient of ArtsLink Fellowship, followed by the ArtsLink individual projects grant for the project NONUMENT01: The McKeldin Fountain. In 2014-15 she performed in Škrip Inc, a theatre play directed by Jelena Rusjan and was part of the Screech Orchestra group (2011-2013) which toured widely, in New York City among other. She created live visuals for performances of singer Katja Šulc, and performed at festivals Druga Godba, Lent, Dreams Festival and at the Recollets Center in Paris, among others. Her recent project is Tea for Ten: The Opium Clippers, a visual essay joining research and hand painted ceramic tea sets, depicting maritime history related to the opium trade in the 2nd half of 18th and 19th century.
Martin Bricelj Baraga is an artist based in Ljubljana, Slovenia. His interactive works, audiovisual performances and collaborative work research the relation between man and machine, social aspects of contemporary popular culture, future monumentalism and political dimensions of mediated realities of today. His large-scale, architectural installations question symbols and myths as a series of time and space-based experiments. Martin has exhibited worldwide including ICA in London, Sonar in Barcelona, Columbia University in New York, FACT Liverpool, Kinetica ArtFair, Centro cultural Recoleta in Buenos Aires, Kunsthaus Graz, Kaapelithas in Helsinki, Museums Quartier in Vienna, GLOW in Eindhoven and many others. His work has been reviewed and published by Wired, boingboing.net, Pecha Kucha, the New York Art magazine, Harper Collins, El Pais, Actar, Mladina and others. DarkStar, won the GLOWNEXT Festival commission and was exhibited in Eindhoven with over 400,000 visitors and his recent installation Cyanometer at WRO Media Art Biennale 2017 won the critics first prize. His project Everlandia at the ICA London was listed among the Top five events nation-wide in UK Times. Other media highlights include a special feature in TimeOut London, and interviews on BBC Radio1, wemakemoney-notart; and in the Slovenian Mladina and Sobotna priloga, among others. Martin Bricelj Baraga is the director of MoTA – Museum of Transitory Art and the founder of SONICA Festival in Ljubljana, Slovenia. For more information see www.baraga.net
Hoesy Corona: Imaginary Construct | Opening Reception + Artist Talk
Friday, September 13th • 6-9pm
VisArts Center – Common Ground Gallery
155 Gibbs Street : Rockville
Hoesy Corona’s uncategorized works draw from his personal experiences as a queer Latinx immigrant in the United States. His works oftentimes confront and delight viewers with some of the most pressing issues of our time. Recurring themes of race/class/gender, otherness, celebration, isolation, and the climate crisis are all present throughout his work.
Imaginary Construct is a site-responsive installation made using digital tools as well as hand cut black and white vinyl letters adhered to a clear substrate that deconstruct the word “white”. Making the invisible slightly more visible.
Imaginary Construct is a part of the ongoing series White Constructions, begun in 2016, in which Corona considers the arbitrary and deliberate construction of race in the United States and its negative effects on black and brown people. Insisting that the hierarchy of ones racial profile in the US is not innate, or natural but is instead a deliberate social construct created by the powers-that-be in an effort to subjugate non-white people.
Imaginary Construct reminds the viewer that language is alive, used to craft the world, and can be constructed or deconstructed at any given time to change the way we relate to each other.Imaginary Construct invites us to reconsider and reconstruct our personal, political, and national relationship to the faulty and dangerous notion of race.
About the artist: Hoesy Corona has shown compelling works and inventive sculptures fitted to the human body internationally in Greece, France, and in the USA at various institutional, private, public and underground venues including among others The Hirshhorn Museum and Sculpture Garden (2017); The Baltimore Museum of Art (2011, 2012, 2014); Athens School of Fine Arts (2018); The Walters Art Museum (2017); The Heurich House Museum (2018); The Peale Center (2016); Songs for Presidents Gallery (2015); Gallery CA (2015); Decker Gallery (2013, 2015, 2017); Smithsonian Arts and Industries Building (2018); The Brooklyn International Performance Art Festival (2014); Greenbelt Arts Center (2015); The Fine Arts Work Center (2014, 2015, 2016); VisArts (2013); The Creative Alliance (2015); IAU College(2005); and the Haggerty Museum (2005). In addition to maintaining a prolific studio practice, Corona also organizes nomadic contemporary art exhibitions in the U.S.A.. His curatorial efforts include: A Monumental Absence, solo performance by Najee H.F., Confederate Monument Plinth, Baltimore, Maryland ; Mother/Sister/Daughter, at The Artist Run Art Fair 2017, Artscape, Baltimore, Maryland ; Light Happenings pt II, Light City 2017, Baltimore, Maryland;Labbodies Performance Art Review 2016″, Spacecamp Gallery, Baltimore, Maryland, July 2016; “White Guilt Confessional”, Solo show by April Danielle Lewi,, Artist Run Art Fair, Baltimore, Maryland, 2016; “Borders Boundaries and Barricades” a Performance art review, Gallery CA, Baltimore, Maryland, 2015 ; “Blood Cube and Spitface” solo show by Emilia Penannen, Platform Gallery (2015); “The Multiplicity and Flexibility of the Self State”, Performancy-Forum-Quinquennial, Grace Exhibition Space, Brooklyn, New York, 2015 ;”Over|Under Limbo”, Transmodern Festival Baltimore, Maryland 2014; “Fast Forward Future”, Baltimore Museum of Art, Baltimore, Maryland 2014. “Rooms Play” and “Rooms Play 2”, The Copycat Theatre, Current Space, Baltimore, Maryland 2010, 2011.
Recent honors include a Tulsa Artist Fellowship 2019-2020; a Halcyon Arts Lab Fellowship 2017-2018 in Washington, D.C.; a Merriweather District Artist in Residence 2018; an Andy Warhol Foundation Grit Fund Grant administered by The Contemporary in Visual Arts 2017; a Robert W. Deutsch Foundation’s Ruby’s Project Grants in Visual Art 2016-17; a Light City public art commission 2017; an Ox-Bow School of Art Fall Artist in Residence 2017; a CHM Sculpture Park and Fellowship 2016-2017; a Light City Artist in Residence Winter 2016 in Baltimore’s Station North; a Cafe Con Leche Latino Artist Resident in Pittsburgh,PA Spring 2016; a Fine Arts Work Center Award; a Pelham Printmaking Residency;was a Janet and Walter Sondheim Prize Semifinalist in 2013,2015,2017; a Maryland State Arts Council Individual Artist Award 2013; a Baker Artist Awards B-Grant (The Copycat Theatre); and was included in Creative Capital’s “On Our Radar 2016.
Sunhee Kim Jung: The Camouflage | Opening Reception
** new date ** Saturday, September 12th • 5-8pm
800 East Lombard Street : 21202
Sunhee Kim Jung’s The Camouflage is the Peale’s inaugural exhibition at its temporary residence, the Carroll Mansion. These large scale paintings respect and honor the men and women who put their lives in danger serving in the U.S. Military. Soldiers are camouflaged in the battlefield to avoid physical danger and death, but they often camouflage their human emotions as well: the emotions of anxiety and uncertainty of their future and the longing to be home with their loved ones.
These emotions can appear to be weaknesses: “only the strong survive.” The Camouflaged series is a salute to all those brave men and women of the military, who have and will sacrifice themselves for others. Sunhee Kim Jung’s paintings express her desire to protect providing them with an extra layer of camouflage, in the hope they will come home safe.
Hidden Paths: An Exhibition About Walking As Art | Artist Talks
Saturday, September 14th • 2pm
1758 Park Avenue : 21217
Sept. 7–Nov. 8, 2019
Artists: Miguel Braceli, Susie Brandt, Graham Coreil-Allen, J$Fur, Malcolm Peacock, Ada Pinkston, Todd Shalom
Baltimore gallery Cardinal’s final exhibition of the year will take place mostly outside of its Bolton Hill walls.Hidden Paths: An Exhibition About Walking As Art from Sept. 7 to Nov. 8 will include five participatory artist-led walks around Baltimore in addition to a traditional gallery component.
The exhibition engages seven artists, mostly based or recently based in Baltimore, five of whom will lead high-concept tours of the city. Each tour is meant to make participants see their city in a new way.
“I noticed how rich Baltimore’s scene is in terms of performance art, and I started seeing artists taking walks and having that being central to the piece or being the work itself,” said Alexander Jarman, Cardinal co-founder andHidden Paths curator. “These art works happen in real-time out in the world. Hidden Paths challenges what is an exhibition. Artists are creating scenarios, but no one is sure what will happen during the experience. We’re inviting people to go on these artist-led walks and learn from artists how to look at their neighborhoods in a different way and learn something new, whether it’s personal, political or geographical. Some people will be walking down streets they’ve never walked down before.”
To open the exhibition on Sept. 7, Todd Shalom, founder of New York City walking-as-art festival Elastic City, will lead an improvised tour at 3:30 p.m. of the Bolton Hill neighborhood surrounding Cardinal, when he will share tactics and strategies for how to show up and occupy a place and create walking art. The walk begins and ends at Cardinal, where there will be an opening reception from 5 to 8 p.m.
On Oct. 19 at 2 p.m. Rubys grant recipient Ada Pinkston will lead a Post-Colonial Historical Monuments Tour and guide participants to former confederate monuments in Baltimore, culminating in a workshop at the Enoch Pratt Library.
Closing the exhibition on Nov. 8 at 7 p.m. is a 90-minute tour, Arches & Access Evening Wander by Graham Coreil-Allen, who will lead participants through Druid Hill Park and the surrounding community, with a focus on the history of the park, the challenging impacts of surrounding highways on local neighborhoods and engineering behind the ongoing reservoir construction. The walk is part of Coreil-Allen’s OSI-Baltimore Community Fellowship and in partnership with The Access Project for Druid Hill Park (TAP Druid Hill).
Malcolm Peacock and J$Fur will also lead walks, and Miguel Braceli and Susie Brandt will host artist talks of their perambulatory art projects. A gallery installation of ephemera and visual material from the artists will be on view at Cardinal’s gallery space from Sept. 7 to Oct. 5, including a sound installation of ambient noises from around Baltimore by J$Fur, a zine of Pinkston’s Confederate statue project, and more.
For more information on the walks and exhibition, visit www.cardinalspace.com. Gallery hours are Wednesday 5:30-8:30 p.m. and Saturday 12-4 p.m.
Sept. 14: Artist Talks by Miguel Braceli and Susie Brandt at 2 p.m. at Cardinal
Sept. 21: Artist-Led Walk by J$Fur at 2 p.m. Meet at Cardinal.
Oct. 5: Artist-Led Walk by Malcolm Peacock, TBD
Oct. 19: Post-Colonial Historical Monuments TourArtist-Led Walk by Ada Pinkston at 2 p.m. at Bolton Hill confederate monument (corner of Mosher St. and W. Mt. Royal Ave.)
Nov. 8: Arches & Access Evening Wander Artist-Led Walk by Graham Coreil-Allen at 7 p.m. at Druid Hill Madison Avenue Gates
Images: Ada Pinkston
Afro House Concert No. 9
Saturday, September 14th • 7pm
The Afro House sound, which we call 25th Century Music, is rooted in the compositions Scott Patterson wrote after returning from a two month solo trek in the mountains, it is the music that was inspired by a dramatic shift in his life that involved becoming a husband and father in a new city, and the wisps of melodies in his head that eventually reach for a lyric. From the outer most reaches of the cosmos to the mountain tops, Afro House presents Afro House Concert No.9.
The Baltimore-based Afro House Concert Series is a celebration of the city’s extraordinary maker scene. The series features Afro House ensembles (including the Astronaut Symphony), special guests, and local food, beverage and tech makers.
The concert will be held in a private home. You will be provided with the location of the concert after you have purchased a ticket(s).
Link to purchase tickets: https://www.artful.ly/store/
More information about Afro House can be found here: https://www.afrohouse.org/