#cuchifritos gallery

[cnvisualart]

(Installation photo credit: Hai Zhang)

Exhibition | Ah New Riddim: A Marked (Black) Axiological Shift at Cuchifritos Gallery + Project Space

Can the axiologies and stories oscillating at the margins mark the discourse of Western logic positioned at the center, and how might this marking register in visual representations of the urban?

Ah New Riddim (2023) is the third and final iteration of the multimedia series Constructs and Context Relativity (2019-2023) by interdisciplinary artist Christie Neptune. The installation and interactive documentary examines the spatial-temporal relationship of memory and place embedded within the implosion of dancehall culture in East Flatbush. The film utilizes 80’s dancehall archival footage, the quiet of black subjectivity, and concentric interactive storytelling to expound the relationship between black globality and dancehall in the American urban. In a pivot around her embodied experience as a black Caribbean American, Neptune considers the potential of black popular culture in marking space.

In Ah New Riddim, concentric storytelling registers a cacophony of black perspectives. Neptune’s subjective experience in the American urban and the migration stories of community members in East Flatbush pivot around dancehall home video of Neptune’s father. Research, writing, and art produced from this series work to frame an artistic intelligence around Marked Axiological Shifts, a concept introduced by Neptune in a recent essay that defines a new language in visual culture grounded in African world-making cosmologies.

Marked Axiological Shifts are nonlinear and interactive artistic approaches that register a perpetual reimagining of black futures across space and time. It marks the decorum of modern cinema and visual culture with the conventions of African temporality to foster multiple planes of perspectives and fields of movement within concentric forward moving narratives mapped across moving images, sculpture, performance art, and print. In this exhibition, six channels of video interface with scaffolded speakers made of mirror, LED monitors, and wood. The speakers, a re-articulation of the Caribbean Sound System tradition, add further nuance to the filmic encounter in space. As material, screen, haptic surface, and sculptural unit, the sound system transmits information that doubles the spectator’s spatial perception. Upon contact, the spectator experiences temporal disjuncture caused by the collapse of their point of view, embodied form, and projected media upon the unit’s reflective surface. The gesture fosters multiple fields of viewing within a single expressive form, an element integral to African frameworks of temporality.

Ah New Riddim demonstrates the potential of black popular culture within representational practices that speaks across both dominant and marginal spatialities. This new framework of understanding considers the agency of marked axiological shifts within discursive urban space, an intervention that superimposes a wide aperture of black subjectivity(s) upon the narrow plane of the American urban.

This exhibition draws from Christie Neptune’s research paper “Ah New Riddim: A Marked (Black) Axiological Shift Across Space and Time” [READ HERE]

August 04, 2023 to September 16, 2023 Cuchifritos Gallery and Project Space Inside Essex Market, 88 Essex St #21, New York, NY 10002

Exhibition Link: https://www.artistsallianceinc.org/exhibitions/

Thank you to every supporter who contributed to make this exhibition happen:

Foundation of Contemporary Art, MIT Council of the Arts, MIT Art, Culture, and Technology program, Artist Alliance Inc., Cecile Chong, Emily B. Yang, Tariku Shiferaw, Larry Cook, Ayesha Charles, Jenna Charles, Terence Washington, David Freedman, Claire Watson, Mike Tan, Jodi Waynberg, Micaela Martegani, Jeff Swinton, Carl Hazelwood, Aisha White, Milk Spawn, Cari Sarel, Vivian Chui, Paul So, Camilo Alvarez, Kelsey Scott, Mike Brown, Darla Migan and Mary Lee Hodgens.

[tigerstrikesasteroidnetwork]

NY / if you surrender

Dominique Duroseau, Took dis long to get here, and i still had to whisper. Black duck cloth, contractor bag, gaffer tape, laser etched text on leather, chain, gems, pins 14"x22"

if you surrender January 7 – February 11, 2023 The gallery will be open Sat & Sun from 1pm – 6pm and by appointment

Tiger Strikes Asteroid New York is pleased to present if you surrender, a group exhibition curated by Molly Davy and Daniel Johnson, featuring works by Sophie Chalk, Edi Dai, Dominique Duroseau, Sandra Erbacher, Lisa Kill, Jasmin Risk, and Anne Clare Rogers.

The works in if you surrender explore the way bodies can be a site of translation, bridging the natural world to the inner self. Each artist uses their body to transform ideas into tangible forms, integrating themes of renewal, labor and power. Together, the works invite the viewer to reflect on the tension between intimacy and abstraction. The artists employ a range of mediums and techniques that ask viewers to let go for a little bit and see where you end up.

Sophie Chalk (b. Australia, they/them) is a transdisciplinary photographic artist working primarily with concepts of queer ecology and historical archive. Working across methods from 19th-Century historical alternative photographic processes to cameraless methods such as botanical printing and some of their own creation. Chalk’s work’s feature falsified archives of queer bodies through to ephemeral, color-shifting botanical prints created by misusing museum-grade chemistry. Their practice ultimately examines the role of the photographic in the contemporary landscape as a medium that has the potential to invite us to re-see and witness again.

Edi Dai is an interdisciplinary artist who weaves, spins, and grows small batches of naturally colored cotton, investigating the complexities hidden within objects considered to be quotidian in nature. Their practice questions how bureaucracy is used to uphold power structures that reinforce exploitative labor conditions and wage discrimination. Dai received an MFA in Painting and Printmaking from the Yale School of Art in 2019 and a BA in Studio Art from the University of California, Irvine in 2010. They are currently an Artist in Residence at 18th Street Arts Center.

Dominique Duroseau (b. Chicago) is a Newark-based artist born in Chicago, raised in Haiti. Her interdisciplinary practice explores themes of racism, socio-cultural issues, and existential dehumanization. Her exhibitions, performances and screenings include SATELLITE ART and PULSE Play, The Kitchen, The Brooklyn Museum, New Museum, El Museo del Barrio, The Newark Museum, Project for Empty Space. Her recent exhibitions and talks include: solo exhibition at A.I.R. Gallery, panelist at Black Portraiture[s] at Harvard and lecturer at Vassar. She has received artist residencies from Gallery Aferro, Index Art Center and the Wassaic Project. Duroseau holds a Bachelor of Architecture and a Master of Arts in Fine Arts.

Sandra Erbacher (b. Germany) is an interdisciplinary artist living and working in New Jersey and New York. She earned her MFA from the University of Wisconsin-Madison (2014) and her BFA from Camberwell College of Art (2009). She also holds a BA and MA in Sociology from Goldsmiths College, University of London. Erbacher has exhibited nationally and internationally at Cuchifritos, ISCP, Stellar Projects, the Atlanta Contemporary Art Center and the Chazen Museum of Art. Most recently, Erbacher won a Manhattan Graphics Center Scholarship (2022). She has also participated in the 2019 Artist Alliance Inc LES Studio Program and the 2017-18 Lower Manhattan Cultural Council Workspace Residency.

Lisa Kill (b. MN) makes collages and paperworks out of found materials such as receipts, dot-matrix paper and adhesive labels. Her work alludes to one-off prints which are processed with washes of inks, household chemicals and solvents. Kill received her Bachelors of Fine Arts from the Minneapolis College of Art and Design in 2015. She currently lives and works in Saint Paul, MN.

Jasmin Risk (they/them) is a NY-based interdisciplinary artist whose work uses textiles as support and material. Risk is interested in research-creation, and the metaphoric potentials of textiles. Their work repurposes found discarded textiles, and uses knitting, felting, and mending to examine trauma and reconsider healing. They are a CFDA scholar and an MFA Textiles candidate at Parsons.

Anne Clare Rogers (b. MN) has received fellowships to such residencies as Fine Arts Work Center in Provincetown, MA and Ox-bow school of Art in Saugatuck, MI. Rogers holds an MFA in Sculpture from the University of Texas at Austin and currently lives and works in Baltimore, MD.

Curated by

Molly Davy (b. MN, she/her) is a writer, researcher, and educator interested in the intersection of performance and the archive. Her work focuses on the relationship between natural and built environments, and the potentialities between Environmental Science and the Humanities. Davy is Associate Director, Operations and Part-Time Faculty at Parsons School of Design | The New School. She is Visiting Associate Professor in the department of Humanities and Media Studies at Pratt Institute where she teaches in collaboration with Architecture faculty. Davy holds an MA in Media Studies and Visual Culture from New York University and a BA in Art History and Gender Studies from St. Catherine University.

Daniel AnTon Johnson (b. DE, he/him) is an artist with a diverse practice based in photography, language, film, and video. His work examines how technology shapes notions of identity within popular culture and contemporary visual media. Johnson has taught and lectured at School of Visual Arts, Adelphi University, Rutgers University-Newark, and Columbia University, and mentored teens at ICP and The Harlem School of the Arts. Johnson holds an MFA in Photography, Video and Related Media from the School of Visual Arts, and an MA in English from Washington College. He currently resides in Brooklyn.

All that you touch You change. All that you Change Changes you.

Octavia Butler

Tiger Strikes Asteroid’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

photos by Dalia Amara

[luigipresicce]

La nascita del Minotauro / The birth of the Minotaur

Performance aperta al pubblico, visibile da un buco Cuchifritos Gallery, Essex Street Market, New York City, USA Dal 22 febbraio al 3 marzo, 2018 Produzione l’Artista e Artists Alliance inc, New York City Fotografia: Dario Lasagni Video: Stefano Giuri

*

Open performance, visible from a hole Cuchifritos Gallery, Essex Street Market, New York City, USA From February 22 to March 3, 2018 Production by the Artist and Artists Alliance inc, New York City Photo by Dario Lasagni Video by Stefano Giuri

[woodstocktour]

Boa tarde, meus amores. Viemos aqui ter uma conversinha bem sincera com vocês. Gostaríamos muito que lessem tudo e que também ficassem a vontade para comentar suas opiniões sobre na nossa dm, ask ou até no forms que vamos disponibilizar no final desse post!

Então vamos lá, essa conversa se inicia com um pedido de desculpas. Nós sumimos nesses últimos dias, praticamente deixamos a central abandonada e não divulgamos o rp: nos perdoem. De verdade, a gente sente muito. Sabemos que é totalmente nossa culpa essa parte. Não estou citando isso como justificativa, não, mas apenas um motivo para quem estiver curioso: desanimamos com algumas coisas que players que já não estão mais conosco fizeram no começo da comunidade, como o sumiço de 95% do rp logo após a abertura. E novamente, isso não é justificativa, deveríamos ter continuado tranquilas por consideração a quem se manteve ativo nesse tempo e até quem voltou a ficar ativo depois. Pisamos muito na bola, e por isso, pedimos desculpas de coração. Mas queremos arrumar isso, queremos pedir mais uma chance para vocês! Temos certeza que feito do jeito certo, a Woodstock pode ser uma comunidade que dura bastante tempo e dê para todos os players e personagens um ótimo desenvolvimento! E para isso, já temos um planejamento!

Temos algumas propostas para vocês, meus amores. Aceitamos total sugestões também, caso queiram nos dar essa segunda chance!

A) Resetar totalmente a comunidade

Apertar aquele botãozinho de reset e começar de novo! Sem isso de “vamos fechar pra abrir de novo”, não. Reset imediato, mesmo! Começaríamos de novo, desconsiderando o que foi feito até então, mas sem a necessidade de reaplicação.

B) Reset da Tour

Consideraríamos que essa semana de interação foi uma semana de PR da tour, de divulgação e checagens de som em NY, sem os shows oficiais. Todo mundo mantém os personagens como estão, não precisa enviar ficha novamente (a não ser que queira, mesmo). Como se você tivesse jogando RPG de mesa, e o mestre decidiu que vocês vão recomeçar a aventura, então todo mundo volta pro começo da dungeon!

C) Continuar exatamente como está

Continuamos mesmo com esse reconhecimento de erro, e seguimos em frente melhorando todos os eventos e engajamento a partir desse exato segundo. 

D) Continuar como está, mas com desenvolvimento IC

Manteríamos o que foi desenvolvido até agora, mas com o seguinte twist: acabou de acontecer o show de NY e em IC, foi um desastre! A equipe de marketing fez tudo errado, os staffs e bandas não estavam bem preparados, e nem a infra-estrutura! Foi tudo em cima da hora e todos os sites grandes de notícias claramente percebendo isso, sendo a principal notícia da semana. Seguiríamos daí.

E são essas propostas que nós temos para vocês! O que acham? Vale a pena continuar de alguma dessas formas para vocês, meus amores? Sejam sinceros com a gente, hm? Pois também sem vocês jogando e interagindo na tl, a comunidade jamais vai andar! Então se vamos seguir juntos nessa, vamos pedir para que vocês estejam também dispostos a ficar na tl e engajar com pessoas fora do grupo dos amigos. Isso inclui comentar as fotos, os fleets e principalmente os starter tweets da galera toda! Precisamos muito desse tipo de atividade, bebês. Nunca se sabe, vai que criam uma conexão incrível dessa forma para seus personagens? 

Novamente, nós pedimos os mais sinceros perdão onde erramos. No plot drop corrido, na postagem do cronograma extremamente em cima da hora, e principalmente por sumirmos um pouco da central. Espero que nos perdoem por isso, de verdade. Queremos muito essa segunda chance com vocês. Vamos fazer um jogo incrível juntos, hm?

Caso realmente geral esteja disposto a continuar, vamos seguir da seguinte forma: postaremos um tweet ou um post mesmo explicando qual foi a decisão, e como seguiremos caso tenha tido um reset ou uma notícia IC para ser compartilhada! Logo após, postaremos o AC, onde várias vagas vão liberar para quem quiser mudar ou fazer ou outro personagem. E assim, com a linha do tempo da comunidade decidida, vamos começar a planejar uma task focada em POVs e desenvolvimento pessoal do char, valendo pontos. Além disso, já temos mais uma proposta para vocês: vamos sugerir atividades diárias para vocês, para aumentar a possibilidade de desenvolvimento de personagem fora de tasks, plot drops e eventos de todos vocês! Segue abaixo:

CRONOGRAMA

De segunda à quinta-feira teremos o evento Passaporte Nova Iorquino: a gerência da turnê preparou algumas recomendações de lugares a conhecer para além dos previsíveis. Um bairro será elencado como destino por dia, e 200 pontos extras para a lojinha serão conferidos a quem visitar 3 ou mais atrações listadas para o bairro, tweetar sobre e enviar o link dos tweets para a central. Eventos semelhantes ao do passaporte serão feitos em outras paradas da turnê.

Dumbo, Brooklyn, NYC

Brooklyn Bridge Park (parque embaixo da ponte)

Jane’s Carousel (um carrossel envolto em um domo de vidro que é muito bonito)

Brooklyn Flea (mercado popular de coisas usadas)

Klompching Gallery (galeria de arte)

Powerhouse Arena (livraria enorme)

East Harlem, Manhattan, NYC

Crack is Wack mural (uma peça de arte urbana em uma quadra de handebol)

Amor Cubano (restaurante com música ao vivo)

El Museo del Barrio (Estamos Bien, exposição de artistas latinos contemporâneos)

Casa Latina Music Shop (loja de instrumentos e discos)

Poet’s Den Gallery and Theater (open mic night de poetas)

Jamaica, Queens, NYC

Jamaica Bay Wildlife Refuge (santuário da vida animal)

Bar 360 (rooftop bar com vista incrível)

Curtis “50 Cent” Jackson Community Garden (ajude a plantar algumas mudas)

Jamaica Bay Riding Academy (hora de cavalgar)

The Afrikan Poetry Theatre Inc. (show de jazz)

Fordham Bronx, NYC

New York Botanical Garden (plantinhas lindas)

Edgar Allan Poe Cottage (antiga residência do autor)

Paradise Theater (exibição de curtas metragens de alunos da NYU)

188 Bakery Cuchifritos (pequeno restaurante especializado em comida latina e sucos)

Bronx Zoo (animais lindinhos e atividades de arvorismo)

Sexta-feira: passagem de som para todos os artistas (roadies e bandas inclusos) - O horário das passagens de som acontecerão sempre em ordem alfabética, apenas alterando se a banda comunicar a organização do evento de algum imprevisto naquele horário. Pedimos aos mesmos que avisem com no mínimo três dias úteis de antecedência.

10h - 12h: Broad Daylight 12h - 14h: California 99 14h - 16h: Creatures of the Wild 16h - 18h: Dead At Last 18h - 20h: Sucker Punch

Enquanto isso, os fãs estarão reunidos em um restaurante para uma nova tradição: o almoço de sexta-feira, bancado pela organização da turnê, e que tem como objetivo promover a interação entre os ocupantes dos diferentes ônibus.

Sábado: Primeiro dia de show. Presença de todas as bandas e todos os roadies obrigatória, mesmo não se apresentando no dia. O cronograma dos shows serão apresentados assim que chegarem a cidade destino.

12 de Setembro: Nova Iorque - NY

18h30 - 19h50: California 99

20h - 21h20: Creatures of the Wild

21h30 - 23h: Sucker Punch

19 de Setembro: Buffalo - NY

20h - 21h20: Dead At Last

21h30 - 23h: California 99

26 de Setembro: Rochester - NY

19h - 19h55: Sucker Punch

20h - 20h55: California 99

21h - 21h55: Creatures of the Wild

22h - 22h55: Dead At Last

23h - 23h55: Broad Daylight

Domingo: Segundo dia de show. Presença de todas as bandas e todos os roadies obrigatória, mesmo não se apresentando no dia. O cronograma dos shows serão apresentados assim que chegarem a cidade destino.

13 de Setembro: Nova Iorque - NY

20h - 21h20: Broad Daylight

21h30 - 23h: Dead At Last

20 de Setembro: Buffalo - NY

18h30 - 19h50: Sucker Punch

20h - 21h20: Broad Daylight

21h30 - 23h: Creatures of the Wild

27 de Setembro: Rochester - NY

19h - 19h55: Creatures of the Wild

20h - 20h55: Broad Daylight

21h - 21h55: Dead At Last

22h - 22h55: California 99

23h - 23h55: Sucker Punch

Essa é nossa proposta para vocês de um cronograma elaborado diário, e nosso compromisso de agora em diante é trazer a programação sempre com antecedência e organização. Caso se sinta mais confortável, fizemos um forms para que você possa expressar sua opinião anonimamente sem limite de caracteres ou julgamentos, e este também pode ser usado para dizer qual das opções você prefere. Queremos reforçar que não planejamos de maneira alguma fechar a comunidade - continuem interagindo, movimentando a timeline e seguindo com seu desenvolvimento! Obrigada pela leitura até aqui, e aguardamos seu retorno para fazer um post definitivo sobre como seguiremos daqui para frente ainda hoje!

[naijaboi]

Posted @withregram • @creativesrebuildny Join us this Friday, December 10 for the opening of ART/WORK: How the Government-Funded CETA Jobs Program Put Artists to Work, a major exhibition highlighting the history and significance of the federal Comprehensive Employment and Training Act (CETA) jobs program (1973-1981). CETA employed over 10,000 artists and cultural workers across the nation, and serves as a precedent for envisioning how we can create sustained investment in artists’ labor today. Presented by City Lore (@city_lore) in partnership with Artists Alliance Inc. (@aai_nyc), ART/WORK spotlights the achievements of CETA-funded artists projects in New York City, which sent over 600 visual artists, poets, dancers, performers, and photographers, among many other specialists, into New York area schools, libraries, museums, nursing homes, prisons, and more. The exhibition explores the impact of CETA on arts workforce development across the United States, and its relevance to recent efforts to include the arts community in the nation’s pandemic recovery. As exhibition curator Molly Garfinkel notes, “CETA helped demonstrate that artists and cultural workers deserve to be considered a critical part of the U.S. labor force.” Join us on the Lower East Side this Friday, and stay tuned for future programming presented in partnership with Creatives Rebuild New York! Opening Reception: Friday, December 10, 2021 6:00-8:00pm at Cuchifritos Gallery + Project Space, 88 Essex Street (inside Essex Market) 7:00-9:00pm at City Lore Gallery, 56 East 1st St. (Exhibition on view at both locations through February/March 2022.) 📸 “City Artists Protesting Funding Cuts, 1978.” Photo: Blaise Tobia https://www.instagram.com/p/CXRKr1yFahy/?utm_medium=tumblr

[khalilhumam]

How a New York City public market is keeping a neighborhood’s ‘third place’ alive during COVID-19

New Post has been published on http://khalilhumam.com/how-a-new-york-city-public-market-is-keeping-a-neighborhoods-third-place-alive-during-covid-19/

How a New York City public market is keeping a neighborhood’s ‘third place’ alive during COVID-19

By Laura Scherling, Ed.D., Lauren Margolis With the country caught in limbo between reopening and combatting the resurgence of COVID-19, the pandemic’s effects on small businesses and communities are only beginning to unfold. Between March and early May, more than 100,000 small businesses across the country closed their doors for good, and in the months since, businesses are closing at even higher rates. Microbusinesses (those with fewer than five employees) are particularly vulnerable, meaning cities and towns risk losing their “third places” that provide valuable cultural spaces and economic benefits. In New York City—where the pandemic’s economic ramifications hit hardest and earliest—the city’s small businesses are still struggling to hold on. Commercial tenants are falling behind in rent payments at unprecedented rates and many long-standing establishments and cultural institutions have permanently shuttered. Fears abound regarding the city’s ability to regain its vibrancy and sense of place after the crisis subsides. Public markets play a critical role in this uncertain landscape. Not only do they provide essential foods and services, they also support independent retailers who are at heightened risk of closure and help places retain their unique, local character. This week is National Farmers Market Week, which is meant to nationally recognize the value markets bring to their communities. To mark the occasion, this piece will take a closer look at how one New York City public market is adapting to the ever-shifting COVID-19 crisis, supporting a diverse family of independent vendors, and providing a semblance of place during this uncertain time.

Preserving culture and history in place

Essex Market, a historic public marketplace in New York City’s Lower East Side, has a long history of serving as a space for gathering, cultural expression, and local entrepreneurship through times of both prosperity and crisis. In an economy that favors supermarket chains and big-box retailers, this is a vital, yet precarious role. Since the market opened in 1888 as a hub for pushcart peddlers in a predominantly Jewish neighborhood, Essex Market has continuously adapted to serve and reflect the diversity of its community. In 1940, it transitioned to a permanent indoor market in a much-changed neighborhood of Italian, Latino or Hispanic, and Chinese residents. During World War II’s rationing and food shortages, it became a center for food education and a place for demonstrations. In the 1950s, amid further neighborhood demographic change, it adapted once more by altering its products and services to better meet the growing Puerto Rican community’s needs. Through the 1960s and 1970s, when many residents were gravitating toward large chain supermarkets, the market shifted its management structure to the city-funded nonprofit New York City Economic Development Corporation (NYCEDC), which continues to manage the market for public benefit and economic sustainability. Today, Essex Market is a mixed-use location that supports arts and culture with the Cuchifritos Gallery + Project Space (a space for emerging, underrepresented artists) and entrepreneurial programming for neighborhood youth through La Tiendita (a program for girls to sell fair-trade products and help women and mothers develop professional skills to reenter the workforce). Amid COVID-19, they are adapting once again. The market is covering the cost of additional safety precautions (from cleaning to hand-sanitizer stations), providing vendors with training and assistance to transition to online sales, and adjusting hours to reserve time for vulnerable New Yorkers, including seniors, at-risk customers, and essential service workers. Across generations of shifting neighborhood contexts—from demographic transitions to economic downturns to wartime conflict to changing demand for goods and services to the current pandemic—Essex Market has maintained its role of reflecting community culture and providing a space for residents to gather, collaborate, and grow. 

Supporting affordability and access for small businesses  

Aside from providing a third place for community and programming, Essex Market is a lifeline for vendors, entrepreneurs, and residents in need of essential services. The market’s nonprofit management structure—in which NYCEDC oversees operations to ensure affordable food access and neighborhood benefit—fosters affordability, public benefit, and minority- and women-owned small business supports in its business model. It offers vendors rent at below-market rates and provides assistance to build out their physical spaces, ensuring that long-standing businesses such as Essex Farm Fruits & Vegetables, New Star Fish, Viva Fruits & Vegetables, Luna Brothers, Luis Meat Market, and Ni Japanese Deli can maintain a physical location in the neighborhood amid rising costs. The market’s nonprofit model of providing fresh food has enabled grocers to keep prices low and provide sustainable and equitable access to fresh food for community residents. Market vendors report a third of their sales from Supplemental Nutrition Assistance Program (SNAP) payments, selling fresh, culturally relevant produce and—in ordinary times—spearheading efforts to increase food access for low-income residents by hosting free cooking and nutrition workshops for seniors and children. Amid the COVID-19 pandemic, they’ve partnered with an online grocery-delivery service to continue offering these critical goods, and have seen online demand increase by more than 9,000%. In the wake of declining in-person patronage, reduced revenues, and the added costs of safety precautions during the pandemic—combined with the growing real estate and resource pressures facing public markets across the country—Essex Market’s ability to continue business as usual is under pressure. But the market has withstood its fair share of crises before, and though this one is certainly different, the business structure of the public market is designed to withstand economic challenges. This model may render it better able to weather the pressures facing community spaces across the country.

Valuing the importance of ‘third places’

During unprecedented public health and economic insecurity, cities and neighborhoods across the nation risk losing the spaces that preserve history, culture, and community. For New York City to retain the character and sense of place that residents love, it will take more than just defeating the virus and returning to economic normalcy. We will also need investment in public places like Essex Market to preserve community institutions and cultural memory.

[mydustcollector]

[紐約州] 紐約 下東城 Lower east side

紐約濃郁的異國風情在任何地方都沒有比在曼哈頓下東城更為明顯。移民於19世紀末開始在下東城定居。意大利人，中國人和猶太人在這裡建立���獨特的社區，在陌生的土地中間保留著他們的語言，習俗，飲食和宗教。下東城遍布了各國餐館，而且價位通常比較便宜。

紐約最豐富多彩的民族社區是中國城，中國城發展很快，目前的範圍已經超越了小意大利和下東城的區域。這裡的遍布亞洲雜貨店，禮品店和數百家中國餐館。僅存的小意大利區在 Mulberry 跟 Grand streets之間 。 20世紀初的唐人街主要是一個男性社區，由最初去加州的移民組成。工資則寄回給他們在中國的家人，因為根據當時的移民法，他們的家人被禁止來美國。早期中國城是封閉隔離的社區，有不同的堂口資助和控制不同範圍。一些正常堂口只是提供貸款的家庭協會。另外的堂口則會因為爭奪勢力彼此交戰，例如On Leong和Hip Sing。Doyers Street被稱為“Bloody Angle 血腥角”；許多械鬥都是在這裡發生。1933年之後堂口之間的休戰為中國城帶來了和平。到1940年，這裡已經成為許多中產階級的家庭。來自香港的移民和企業也帶來了二戰後繁榮社會。今天，超過八萬華裔美國人住在這裡。

Old Police Headquarters

舊警察總部在1909年完工​​，主要的門廊和端部涼亭都帶有科林斯式的柱子，穹頂主導著天際線。在禁酒令期間，從警察總部到Bowery的Grand Street被稱為私酒天堂 ，除非警察突襲臨檢，否則很容易獲得酒類。酒商為了打點警察付出了高昂的代價。警察於1973年搬到新的總部，1985年之後這裡變成了豪華出租公寓  。

Little Italy

大部分的意大利南方移民在19世紀時來到紐約，那時的居住條件很差，房屋的建造非常緊密，以至於陽光永遠不會到達較低的窗戶或後院。超過四萬人居住在小義大利，衛生條件差導致肺結核等疾病盛行。小意大利的人口已經減少到五千，而中國城的擴張也已經入侵了傳統的小意大利區。

Old St. Patrick’s Cathedral

St. Patrick’s 大教堂成立於1809年，是紐約最古老的教堂之一。大火在1860年代摧毀了原始建築，目前看到的是後來重建的。教堂下方是金庫，裡面有紐約最著名的餐館老闆之一 Delmonicos的遺體。另外一個聖人 (Pierre Toussaint) 也埋在教堂的墓園中，Toussaint是1766年在海地出生的奴隸，後來被帶到紐約，在紐約他以自由人的身份生活，後來靠著做假髮賺了些錢。富有之後他致力於照顧紐約的窮人跟霍亂病人，並用他的錢建立了一個孤兒院。

Engine Company No. 31

消防局在19世紀是重要的建築，所以被蓋得特別漂亮。這個1895年的消防局 是仿造法國羅亞爾河城堡所建造的。

The Pickle Guys

1900年代初期猶太人的醃製店曾經遍布紐約下東城區，Pickle Guys遵循古老的東歐食譜，將醃菜存放在裝滿鹽水，大蒜和香料的桶中；這種作法可以使醃菜連續保存數月。醃菜品種包括全酸，四分之三，半酸， 跟辣味。沒有添加任何化學藥品或防腐劑。這家商店還提供醃製的西紅柿，醃製的芹菜，橄欖，蘑菇，辣椒，曬乾的西紅柿，甜菜根，酸菜和鯡魚。

Economy Candy

這家家族擁有的糖果店自1937年以來一直是下東城的地標，庫存有數百種糖果，堅果和乾果。這家商店鋪滿了從地板到天花板的架子，上面堆滿了老式的提款機，是下東城為數不多的幾家幾乎保持名稱不變的企業之一。這家商店出售來自世界各地的糖果和美食。

Essex Street Market

Essex Street Market 是由前市長Fiorello H. La Guardia於1938年創建的， Essex Street Market創建之前有許多推車攤販常常佔用狹窄街道讓警車和消防車無法進出，也造成交通擁堵，Essex Street Market讓這些攤販有固定空間可以販賣他們的東西，解決了交通亂象。現在市場內有許多賣肉類，起司，農產品和香料的攤位。 

[creativinn]

(Photos) Art Exhibition Precedes Destruction of Old Essex Street Retail Market

Photos by Roger Bultot.

The new Essex Market has been open for about six months, and the old historic Essex Street Market building on the north side of Delancey Street will soon by knocked down to make room for yet another new apartment building as part of Essex Crossing. For the past couple of months, the Cuchifritos Gallery/Artists Alliance hosted a final exhibition in the abandoned, doomed 80 year-old structure (it closed this past weekend).

The installation, 00 00 00 00 00 [Essex Street Retail Market], was the creation of Italian artist Andrea Nacciarriti.  Photographer Roger Bultot viewed the exhibition and shared a collection of images with us. As Artists Alliance explained on its website:

The history of Essex Street Market is deeply ingrained in the history of New York City. Along every wall, inch of floor, and vendor display, one can find traces of the generations of residents who moved through the space. Responding to the building’s currently abandoned state, Nacciarriti will work inside of the historic location to realize a site-responsive intervention that reacts to existing environmental conditions—natural and artificial light, empty corridors, widespread silences—and introduces external objects produced by the artist. Marking Cuchifritos Gallery + Project Space’s very last show in its old home, this final work unfolds along a solitary and mysterious path throughout the Market. A series of quiet and subtle gestures, these disappearing interventions become a paradox; the architecture’s fictional resistance to its impending destruction.

After signing a waiver, visitors equipped with flashlights had the chance to explore the pitch-black environment practically alone. The low visibility was pierced by a bright white cube: the former Cuchifritos gallery, now housed in the location across the street. Its door and partitions were ripped away in a pile nearby, echoing other architectural instances of institutional critique removing gallery facades or opening up such hermetic spaces. The only foreign object introduced to the building was a representation of time in the form of a mysterious, red digital clock, reminiscent of the giant one in Union Square, counting down presumably to the end of the show’s run and thus civilian access.

Cuchifritos Gallery has relocated to the new market. You can see the current exhibition schedule here.

This content was originally published here.

[atsweetys]

Raul grew up between El Paso and Ciudad Juarez, Mexico, and his drawings often reference the landscape, buildings, and characters from his childhood. Raul’s work on Lowriders in Space is done completely in ballpoint pen, a decision to reference his first tools as a young artist, often making fan art of comic book characters. For this interactive exhibition at Cuchifritos, Raul’s original illustrations from the “Lowriders” series will be installed in allusion to newsstand vendors’ displays in Ciudad Juarez, along with a wall that will be available for visitors to the gallery to draw characters from the series or create their own.

This project is the second installment of Sweety’s Radio: Edición Especial, on view through July 30, 2017.

*     *     *

Raul the Third is an award winning illustrator and artist from El Paso, Texas. He is the 2017 winner of the Pura Belpré Illustrator Award for his work on the critically acclaimed children’s book series Lowriders in Space from Chronicle Books which he co-created with author Cathy Camper. Lowriders in Space follows three friends Lupe Impala, El Chavo Flapjack, and Elirio Malaria who work in an auto body show and have dreams of entering a car competition. They find creative solutions to build a lowrider, and the journey takes them outside of the planet’s atmosphere.

*     *     *

Sweety’s Radio is a live talk-show/installation project developed by Sweety’s – a curatorial initiative conceived by artists Julia Mata, Bryan Rodriguez Cambana, Ximena Izquierdo Ugaz, and Eduardo Restrepo Castaño that since 2013, works on seeking out spaces and producing events dedicated to the labor of black and brown artists.

At Cuchifritos, the collective will host Edición Especial, a special iteration of Sweety’s Radio that focuses on Spanish-speaking cultural producers, as a means to bridge the conversations taking place amongst black and brown (Spanish-speaking) communities in and outside of the U.S. From June 27th through July 30th Sweety’s programming will consist of weekly interviews featuring four invited artists whose work will take over the Cuchifritos space for each week, culminating in a collaborative installation by the four members of Sweety’s.

In response to the local community surrounding Cuchifritos and Essex Street Market, as well as the history of the Lower East Side as Loisaida, and the curators’ personal investment as immigrants and first generation, Sweety’s brings together four artists: Cecilia Gentili, Emanuel Xavier, Raul Gonzalez III, Elia Alba.

[yarnsale70-blog]

9 Art Events to Attend in New York City This Week - - ARTnews

Elizabeth Renstrom, Bury Your Trolls, 2018. “San Gennaro 2018.”

COURTESY THE ARTIST AND BAXTER ST.

TUESDAY, DECEMBER 11

Opening: “San Gennaro 2018” at Baxter St. at the Camera Club of New York What began as a booth at the San Gennaro Festival in New York—which fills Little Italy with carnival games and food vendors every year—is now an exhibition organized by artists Nicole Bull and Kaz Senju. Portraits of the booth’s attendees, captured by emerging artists, will be on view at this show, which is part of Baxter St.’s series of guest-curated exhibitions. Works by Pixy Liao, Elizabeth Renstrom, Marco Scozzaro, and others will be displayed, along with the custom backdrops that the photos were set against. Baxter St. at the Camera Club of New York, 128 Baxter Street, 6–8 p.m.

WEDNESDAY, DECEMBER 12

Opening: Walter Robinson at Johannes Vogt Gallery In his first exhibition with Johannes Vogt Gallery, titled “Salad, Candles, and Money,” Walter Robinson will present three new paintings—Joy’s Salad, Spa Candles, and Keep It Coming. The show focuses on notions of health and spirituality, and places these concerns within the context of late capitalism. Robinson’s work typically takes the form of brushy figurative paintings of everyday items and tableaux that resemble the covers of pulp novels. Vice, virtue, and combinations of the two are frequently his themes, and his new works also draw on such lusty subject matter. Johannes Vogt Gallery, 958 Madison Avenue, 6–8 p.m.

Anthony McCall, Smoke Screen I, 2017, gelatin silver print mounted on museum board and aluminum.

COURTESY THE ARTIST AND SEAN KELLY, NEW YORK

THURSDAY, DECEMBER 13

Opening: Anthony McCall at Sean Kelly Titled “Split Second,” this show features two new “solid-light” installations of the kind that Anthony McCall began producing in 1973. His light installations incorporate elements of sculpture, architecture, cinema, and drawing in projected beams that bring film into the third dimension. Alongside these pieces will be a horizontal work titled Doubling Back, which debuted at the 2004 Whitney Biennial, as well as a selection of black and white photographs, many of which have never been shown in America. Sean Kelly Gallery, 475 10th Avenue, 6–8 p.m.

Concert: Justin Vivian Bond at Joe’s Pub In what has come to be an annual tradition, singer/artist Justin Vivian Bond will present a month-long run of shows (through Dec. 22) featuring holiday music in a singular cabaret style. Last year’s show was called “Justin Vivian Bond: Manger Danger! Jesus as a Weapon and a Tool” (in reference to a similarly titled New Museum show in which Bond was a featured artist), and past shows have taken memorable titles like “The Bi-Polar Express” and “Star of Light! An Evening of Bi-Polar Witchy Wonder.” In keeping with this wintry theme, Bond’s latest show is titled “Refrigerated.” Expect music, monologuing, and more, all in tune with what can be both light and dark about the holidays. Joe’s Pub, 425 Lafayette Street, 9 p.m. Tickets $45

Xandra Ibarra, En Proceso (still), 2016, video.

COURTESY THE ARTIST

FRIDAY, DECEMBER 14

Exhibition: “Extremely absorbent and increasingly hollow” at Cuchifritos Gallery + Project Space The three artists in this group exhibition, which is curated by Alexis Wilkinson and organized in collaboration with the Abrons Art Center, address “ideas of consumption and contamination, abundance, and void” while considering “how value is perceived and assigned,” according to a press release. Featuring a performance by Sandra Ibarra and participatory food-focused actions by Alison Kuo, the show will also include work by Tiffany Jaeyeon Shin, who often incorporates fermentation processes in sculptural pieces that draw connections between human digestion and colonialism. Cuchifritos Gallery + Project Space, 120 Essex Street, 12–6 p.m.

SATURDAY, DECEMBER 15

Exhibition: Kevin Beasley at Whitney Museum “A View of a Landscape,” Kevin Beasley’s first solo show in a New York museum, will focus on the mechanical and sonic capabilities of the cotton gin. A gin motor has been transferred from Maplesville, Alabama, and hooked up to a uniquely designed sound system that sends audio from the room containing the device to a separate listening area. Beasley and other artists will also interact with the installation. In a statement, the artist said, “The cotton gin, invented by Eli Whitney in 1973, increased the number of slaves by over 70 percent, deepening the trauma for Black folks in America. As the invention evolved and emancipation was declared, Black people have been working to reconcile our relationship to class, labor, race, and human rights within the structure of laws. For me, this exhibition embodies a continued reconciliation that can extend to the broader public.” Whitney Museum, 99 Gansevoort Street, 10:30 a.m.–10 p.m.

Kevin Beasley, Rebuilding of the cotton gin motor, 2016.

CARLOS VELA-PRADO/COURTESY THE ARTIST AND CASEY KAPLAN, NEW YORK

Exhibition: “Some Kind of Halfway Place” at Higher Pictures Organized by artist Joshua Citarella (whose dystopian compositions were recently featured in a solo exhibition at 9 Herkimer Place gallery in Brooklyn), this group show will showcase 14 artists whose work deals with capitalism’s stranglehold on societal progress. “We occupy ‘the non-place,’ an ever perpetuated present, beyond which we cannot see or imagine,” a press release reads. “Has the future been cancelled? Or is it foreclosed? These artists attempt to peek behind that curtain and plot a new course out of our current position.” Included will be works by Eleanor Antin, Aria Dean, Joao Enxuto and Erica Love, and Felicity Hammond, among others. Higher Pictures, 980 Madison Avenue, 11 a.m.–6 p.m.

Opening: “Extreme (Dis)order: Art, Displacement, & the Ban” at Queens Museum Curated by Osman Can Yerebakan and organized by the Artistic Freedom Initiative, a human rights organization that provides pro bono representation for at-risk immigrant artists, this group exhibition deals with the ramifications of placing restrictions on the movements of people and their ideas. The show spotlights work made by artists that the group has supported, many of whom have been immediately impacted by the recent travel ban. Among the 11 artists in the show are Rashwan Abdelbaki, Ali Chitsaz, and Reem Gibriel. Queens Museum, New York City Building, Corona, 3–6 p.m.

Concert: Phil Kline at Washington Square Park “Unsilent Night,” a wandering congregation assembled every December in New York by the composer Phil Kline, invites viewers to bring speakers and boomboxes to broadcast one of four tracks of an original composition via cassette, CD, or digital file. Participants then create a sort of majestic soundscape parade while walking a route chosen by Kline, with a starting point in Washington Square Park and an end in Tompkins Square Park, where the 45-minute concert concludes. Washington Square Park, 5:45 p.m.

Source: http://www.artnews.com/2018/12/10/9-art-events-attend-new-york-city-week-45/

[cnvisualart]

Upcoming | Artist Talk + Performance

Join me closing night for an artist talk and interactive performance highlighting my exhibition and thesis Ah New Riddim at Cuchifritos Gallery + Project space.

Ah New Riddim (2023), is an immersive multi-channel installation and interactive documentary that examines the spatial-temporal relations of memory and place embedded within the implosion of dancehall culture in East Flatbush. The film and installation utilizes 80’s dancehall archival footage of my father, the quiet of black subjectivity, and concentric interactive storytelling to expound the relationship between black globality, and dancehall in the American urban. In a pivot around my embodied experience as a black Caribbean, I consider the potential of popular culture in marking space. 

September 16, 2023m 4pm-8pm Cuchifritos Gallery and Project Space Inside Essex Market, 88 Essex St #21, New York, NY 10002

Exhibition Link: https://www.artistsallianceinc.org/ah-new-riddim/

Thesis Paper: https://dspace.mit.edu/handle/1721.1/151230

[talbottodugdale-blog]

Artist interview with Editha Mesina by W. Yi

Artist: Editha Mesina

Website: http://edithamesina.com

About: Editha Mesina was born in Quezon City, Philippines. She is a member of the faculty at the Department of Photography & Imaging at NYU Tisch School of the Arts. Her photographs have been exhibited in New York City at the Center for Book Arts, Cuchifritos Gallery, Artist Space, Clocktower Gallery, Ceres Gallery, A.I.R. Gallery as well as at the West Kortright Center, East Meredith; the Parrish Art Museum, Southampton; the Fenimore Art Museum, Cooperstown; the Philip Slein Gallery, St. Louis; PIP Galleries, Pingyao China; and the Palais de Glace, Buenos Aires among others.  Mesina is an Alex G. Nason, New York Foundation for the Arts Fellow in Photography.

In March 2019, I had an hour of the interview talking with Editha about her series of Large format works, Self-portraits in the vintage mirrors. The following records are translated from written notes, the meaning and ideas are the same, but may not be the exact words people said.

Q: What camera do you use? (Are the works created by) 35mm or Large format camera?

A: I used the large format 4 x 5 in the nineties.

Q: Using a large format camera is such detailed work. For taking self-portraits, how do you focus? Do you use a mannequin, or hire an assistant? How do you style the light?

A: I used stand-ins. Having a mannequin is helpful, especially when you need to portrait the gesture of the body. You do not have to buy, a scarf wrapping on the chair, or something of the size of a head can work as well. The way I focused was to stick a piece of paper with texts/letters on a round object, you first put it at where head, eyes, is supposed to position, and then focus on the text through the camera. Open up the lens when you are focusing. This way, my eyes in the image is sharp. I have strobes at my home. I used the strobe light.

Q: In this era of digitalization, many artists are moving to digital working processes, what does it mean to you of working in analog?

A: As an artist, you have to compare both methods, see which way bring your more advantages to achieve your arts.  The goal is to push your ideas further. Black and white analog photography has a contemplative quality to it. I know there exists a notion that artists romanticize things through historical processes. My take on this is that artists weigh the advantage and disadvantages (or a method: whether to work in analog or digital, which type of historical processes method you use). What does it bring to your arts? First, MAKE AN IDEA. Resolve about yourself. Your art expands on your concept.

Q: What is your concept of “Self” series?

A: I think my images are organic. I found myself always observing. I like to look at people in the eyes. The eyes tell a lot about people. As I render the subject, I am thinking. The images in the old mirror have many layers, as a metaphor for identity. The rust in the mirror worked like filters. I moved to here (The United States) in the 90s. There is not much place (at least at that time) for me to stand in art history. You will need to understand, as a woman of color, there was few visual links to me or representation of my community at that time. Me taking self-portrait is really about gaining control of my images. I was trying to shape the fashion of how a woman looks.

(PS: The idea reminds me of a Japanese artist’s exhibition, Yasumasa Morimura: Ego Obscura)

Q: What is the most attractive quality working in film? To some people, a photograph is like a water puddle of time with memories in it. I remember when I took a polaroid of my mom, she was so happy to have a tangible picture of the film paper. She said it is unreplaceable in the future. People develop an attachment to something personal. How do you think about it?

A: I spend a long time on my photos. In the darkroom, develop, and printing. It is a meaningful way to make photos. I am glad that your mother said it is nice to have something tangible. In terms of what media brings to us, in this digital era, the mass production of images is almost counter-cultural, where people tend to spend less time contemplating because there are so many things going on. Artists have to be genuine about their works. Things that are meaningful are very humanly.

[damaliabrams]

Me last night at Ayana Evans' UnSafe Panel Discussion for her solo exhibition A Black Woman's Art Show And...A White Man's Exhibition. 👑 Ayana is performing one last time for the show's closing tomorrow 3-17-19 at 4 PM. Go! 👑 Thanks to Clarinda from @culturepusher for snapping this photo. 👑 #art #nyc #Blackwomen (at Cuchifritos Gallery + Project Space) https://www.instagram.com/damaliabrams/p/BvF0VtnFKf5/?utm_source=ig_tumblr_share&igshid=sb093eae0py

[christenclifford]

Ayana Evans new work at Cuchifritos gallery in the Essex Street Market. I love these Mylar prints. But if you want to buy one, but it soon because as of the 15th, the show changes from A Black Woman’s Exhibition ....to a White Man’s Show -and prices double! 🤣🤣🤣🤣🤣 - soooo good. On one the works is a signed cushioned black toilet seat. 😂🤯💋 so funny and pointed. Excellent work. @ayana.m.evans #feministart #womenshistorymonth #name5womenartists @efa_nyc #blackwomanartist https://www.instagram.com/p/BuyiOCql2SV/?utm_source=ig_tumblr_share&igshid=9mdxfbs0tofk

[jmarksthespots]

[#POPUPSHOP] Essex Street Market #BlockParty!  Presented by Essex Street Market  Live Music by Nikhil P. Yerawadekar & Low Mentality, Yotoco + DJ Mickey Perez Saturday, May 20 | 12–5PM  120 Essex Street New York, NY 10002  Admission: FREE  To RSVP, visit eventbrite.com/e/essex-street-market-block-party-tickets-33023785030

After 77 years in our historic building, we're coming up on our final year at 120 Essex Street before we move across Delancey Street to the new Essex Crossing location. To celebrate all those years of business -- and many more to come in our new home! -- we're psyched to announce our Annual Birthday Block Party on Saturday, May 20th from 12pm-5pm!

Our big Block Party brings the best of Essex Street Market combined with Lower East Side favorites like Ice & Vice, The Bao Shoppe, and Petee's Pies for a feast you won't forget. We're rolling out the pushcarts and popping open the umbrellas, and truly tapping into our Market's iconic history -- May is Lower East Side History Month, after all!

Get a taste of this authentic food destination, including everything from fresh cut coconuts, to homemade tamales, to Japanese street fare. You can find us partying out on Essex Street (directly in front of the Market) swinging to live groovy tunes, too. We're also getting crazy with face-painting, temporary tattoos, and balloon-making -- perfect for families and kids-at-heart, too.

Join us on May 20th from 12pm-5pm for the Essex Street Market Block Party -- this event is FREE but we appreciate an RSVP!

NEW: PARTICIPATING VENDORS!

Osaka Grub Puebla Mexican Saxelby Cheesemongers Luna Brothers Viva Fruit & Vegetables Ni Deli Tra La La Arancini Bros. Pain D'Avignon Cuchifrito's Gallery Ice & Vice Petee's Pie Cafe Katja The Bao Shoppe Grey Lady Patacon Pisao River Coyote

[abcnorio]

The Correspondence of Imaginary Places May 26 - June 18

ABC No Rio in Exile at Cuchifritos in the Essex Street Market

OPENING: Friday May 26, 6:00 - 8:00pm VIEWING HOURS: Tuesday – Sunday, 12:00-6:00pm

CoIP investigates cultural realities of navigating a global society across the real and imagined conceptual, environmental and socio-political distances that it spans. CoIP artists explored how we imagine places we have never visited by creating works in distant locations through dialogue with another artist on-site.

Artist Pairs: Carol Warner & Sarah Breen Lovett, Kyle Dean Ford & Connie Anthes, Lauren Smith & Sarah McEwan / Julie Montgarrett, Anya Rosen & Zanny Begg, Artcodex & Jacquelene Drinkall, Jason Lujan & Aleshia Lonsdale, Melissa Staiger & Margaret Roberts.

Curated by Alex Wisser and Sarah Breen Lovett in Australia, with Scott Seabolt, Jill O’Bryan and Kate Ruck as Curatorial Assistant in America.

Cuchifritos Gallery + Project Space 120 Essex Street (located inside Essex Street Market)

Exhibition at Cuchifritos supported in part by the New York City Department of Cultural Affairs and the New York State Council on the Arts.