#curatorial residency

[dutch-and-flemish-painters]

Jacques-Albert Senave - Copyist in a gallery of the Louvre -

oil on panel, height: 28.5 cm (11.2 in); width: 36.2 cm (14.2 in)

Louvre Museum

The Louvre or the Louvre Museum is a national art museum in Paris, France. It is located on the Right Bank of the Seine in the city's 1st arrondissement (district or ward) and home to some of the most canonical works of Western art, including the Mona Lisa and the Venus de Milo. The museum is housed in the Louvre Palace, originally built in the late 12th to 13th century under Philip II. Remnants of the Medieval Louvre fortress are visible in the basement of the museum. Due to urban expansion, the fortress eventually lost its defensive function, and in 1546 Francis I converted it into the primary residence of the French kings.

The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces.

The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed from 1796 until 1801. The collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon's abdication, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic. The collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.

The Musée du Louvre contains approximately 500,000 objects and displays 35,000 works of art in eight curatorial departments with more than 60,600 m2 (652,000 sq ft) dedicated to the permanent collection. The Louvre exhibits sculptures, objets d'art, paintings, drawings, and archaeological finds. At any given point in time, approximately 38,000 objects from prehistory to the 21st century are being exhibited over an area of 72,735 m2 (782,910 sq ft), making it the largest museum in the world. It received 8.9 million visitors in 2023, 14 percent more than in 2022, but still below the 10.1 million visitors in 2018, making it the most-visited museum in the world.

Jacques-Albert Senave (1758–1823) was a Flemish painter mainly active in Paris during the late 18th and early 19th centuries. He is known for his genre scenes, history paintings, landscapes, city views, market scenes and portraits.

[elainespavlding]

was that [ SARAH GUSTAFSSON ] spotted in the lobby of the infamous arconia hotel? must just be, [ ELAINE SPAULDING ] the [ TWENTY-SIX  ] year old [ CURATORIAL ASSISTANT ]. whenever i hear [ CARRY ME OUT BY MITSKI ] it reminds me of them. [ SHE/HER ] are known for being [ CONTROLLING ] and [ UPTIGHT ] but they make up for that by being [ MODEST ] and [ RELIABLE ]. they have been living at the arconia for [ EIGHT YEARS ON AND OFF ].

full name — elaine freja spaulding nickname(s) — don't even try it age — twenty-six date of birth — september 19th place of birth — new canaan, ct religion — lutheran sexuality — heterosexual education level — elaine's recently completed a master of philosophy in art history at st. andrew's (she also double-majored in art & archaeology and museum studies at princeton university for her bachelors)

residence — the arconia <3 previously: her family's estate in new canaan, and then the family's city residence in gramercy park

family — rupert spaulding (father) and fadela spaulding (mother) and then three older brothers named tristan, ralph, and hugo. finances — quite comfortable, i must say $$$$$$$$$

overview.

elaine’s family absolutely reeks of Old Money™ from all sides. rupert spaulding’s family’s wealth can be tied back to the railroads and westward expansion before eventually delving into various investments and financial services (plus there's relation to the famous wallenberg family through his mother).

her father is the acting ceo of an investment firm in new york city that her great-grandfather founded and rupert keeps a separate apartment in the city away from the family to live in during the work week because sometimes to make a marriage work you gotta put space between the two of you.

her mother fadela is from london but her wealth extends to the beginnings of bmce bank and the bank of africa. fadela is a socialite, philanthropist, and all-around nitpicker with a thousand and one life regrets.

elaine has three older brothers with the youngest of the bunch being five years older than her. elaine was something of a “miracle baby” to her parents. all her life, fadela wanted a little daughter but after three rough pregnancies, she wound up with all sons, so when their little accident happened well after they decided to have no more children, she was absolutely thrilled to find out it was a girl.

elaine was pampered and given everything a little debutante-to-be ought to have, but that lavishness came with a price. elaine was the Miracle Baby, the daughter her parents longed for, and the last thing she wanted to do was mess up the image they had for her. she had to be perfect.

that need, of course, isn't healthy! surprise! elaine experienced an adolescence marked by extreme emotional outbursts and debilitating compulsions. by the end of high school it all came to a head, but that's.... [redacted] information

once she reached adulthood, elaine has had the privilege to focus on nothing but the thing she's passionate about: art (her specialty is european art and the art of the italian renaissance). she's traveled europe and she completed her masters. now, she's back in new york to start her job as a curatorial assistant at the frick collection. her plan is to spend a couple years there before she starts working toward her phd in art history.

since the age of 18, and after The Incident and a series of disagreements with her mother, elaine's parents started to pay for a suite at the arconia for her to stay in when the need arose. whenever she's in the city, that's usually where she is.

personality traits.

positive: sophisticated, conscientious, astute, strong-willed, meticulous, practical, romantic

negative: judgmental, high-strung, standoffish, queen of too high standards, nitpicky, pedantic

misc headcanons.

elaine has taken ballet and piano lessons since she was 4 years old. she has little old russian lady trauma skjdfnskjd.

when not at work, elaine is likely at theaters such as the metrograph, the walter reade, the angelika film center, etc. so when you insult cinephiles who watch black and white european movies told from the point of view of a dog, you're insulting HER 💔

her favorite place at the arconia is the daily grind coffee bar. caffeine addiction vibes.

elaine really, really hates physical touch. it is something that has been destructive to her relationships and how she generally interacts with people.

PINTEREST | PLAYLIST

[cosmicanger]

Peter Bradley, Scrapple From The Apple, 2021, acrylic and glass on canvas, 85 × 84 inches; 215.9 × 213.4 cm

I wish to revisit and elaborate further on the assertion that refraining from confronting anti-Blackness would have undeniably facilitated a more amenable existence. The notion that my past proclivity for critiquing the arts was merely an act of self-indulgence is not only fallacious but also symptomatic of a broader tendency towards anti-Black denial. Opting to be a perennially agreeable token would indeed have afforded me an easier path. This phenomenon resonates with the poignant words of James Baldwin, underscoring how Black criticality is often criminalized to an extent where concerted efforts converge to make an exemplar of those who dare to voice dissent, thus deterring others from following suit. The arts community, it seems, is intent on making such an example of me, unequivocally signaling a desire to dissuade any future Black artist from addressing anti-Blackness as forthrightly as I have in the past. Effectively, the implicit message is that should I dare to confront anti-Blackness—whether in the past, present, or future—most within the arts establishment will ensure that I encounter insurmountable obstacles. These barriers include difficulties in finding gallery representation, the impediment of dedicating myself to art full time, thereby diminishing my capacity for self-care, healthcare, and the sustained sale of my artworks.

In critiquing the white artists and the broader art world, a recurrent theme emerges—discomfort and ire arise when confronted with the assertion that their support is extended primarily to Black individuals lacking a coherent analysis of anti-Blackness. The predilection for endorsing Black artists who refrain from denouncing blatant or subtle acts of anti-Blackness becomes glaringly evident. Averse to having their biases dissected, especially by white artists, individuals are either oblivious to the extent of their bigotry or, if cognizant, disinclined to pay the price for grace, even if it had a tangible value. Moreover, the arts community exhibits a propensity to react with hostility when confronted with their bigotry, preferring to bask in the shame of their intentions rather than engaging in a constructive dialogue to address the impact of their actions. The pattern extends to shooting the proverbial messenger, typically a Black individual courageous enough to point out systemic issues. Regrettably, it appears that the majority of artists under the age of 40 harbor anti-Black sentiments that echo the biases of their predecessors, a disheartening revelation, particularly as these individuals may perceive themselves as progressive. Ironically, there are individuals in the Midwest and the South, residing outside the art world's insular enclaves, who demonstrate less anti-Black sentiment than the majority of white artists who believe the contrary.

While not absolving non-Black individuals under the American poverty line, particularly white individuals in that category, the arts sector emerges as an anti-Black conservative playground, adorned with the trappings of neoliberalism. Conversing with the average white artist in 2023, transitioning into 2024, reveals a disheartening lack of growth since the uprisings in Ferguson in 2014. Their purported activism often proves to be performative, marked by fetishization or tokenization, without genuine concern for anyone beyond themselves.

As I enter the new year, my focus shifts toward reconciliation with some figures in the art world, I have no ill towards any Black art person moving into 2024. I intend to reserve my critical commentary for a posthumous memoir, directing my energies towards engaging in art or curatorial pursuits full time. This strategic redirection aims to afford me the necessary resources, time, and stamina for self-care in a pandemic that persists unabated. My reputation precedes me; evidently, individuals within the art community believe they can act with impunity in private conversations but refrain from such conduct in the presence of witnesses. Steadfast adherence to principles centered on the most marginalized Black individuals and the active combatting of anti-Blackness within the neoliberal art world appears to be deemed a transgression. Strikingly, overt anti-Black sentiments, as well as coded and passive manifestations, receive tacit approval and, in most cases, encouragement and reward. The discrepancy is particularly glaring when considering the material and spiritual support accorded to those who have contributed significantly less to the arts than I have since the pandemic began.

Moving forward into 2024, my fervent hope is that all Black artists and art workers receive the material support they require, irrespective of their stance on coddling whiteness or their willingness to accept criticism, whether paid or otherwise. Sadly, given the prevailing conditions, this aspiration may prove elusive. The observable trend suggests that Black individuals barred from prestigious galleries that fund production costs or omitted from biennials prior to Oct 7th will likely encounter further marginalization. The 'vocal' presence in the arts will, regrettably, veer even closer to resembling white individuals virtue signaling more than ever before. The pervasive backlash and prejudice witnessed after the Black art market boom of 2014-2020, compounded by the current white backlash endorsing occupiers in various interconnected genocides, present a devastating reality. Nevertheless, my enduring faith in Black people and Black art remains unwavering.

In 2024, 'Ancient Clay' will exclusively feature posts highlighting art that resonates with my aesthetic sensibilities and those I personally engage with during in-person visits.

[outpost51]

Happy WBW!

Tell me one of the details of your world building that makes you the most excited! What do you want to talk about the most?

Happy WBW!!!!

Well, I’ve talked about the vampire council — how about where the vampires came from?

When a mommy bat loves a daddy bat very much—

Just kidding, follow me!!

SO!! Vampires were Oopsied into existence by angels — “But Kobbl I thought angels were Life’s children!!” You are correct! But pobody’s nerfect in this world, not even the goddesses, they all live and love and fuck up and sometimes they do a bit of all three.

If you recall I’m being so pretentious asdfasds, there are four “levels” of fallen: parvia, mediocri, indigni, and nefasi. And as I’ve said before, only three angels have ever become nefasi, and only one has survived getting booted off the Edge (hard to fly when they’ve ripped off your wings): Phada, one of the vigilisi. She was patrolling the Veil when she came across what she thought was a half dead human woman being dragged through the Veil by imps — angels aren’t supposed to interfere with living humans, humans get burned or sick or worse, but it was Phada’s job to prevent Abominations from crossing the Veil, and a human dying on Their Side was a surefire way of making one, so they could… forgive this interference, right? Her mother is curatori, so she’s bound to have some of that healing in her, just enough to get the girl back on her feet so she can run.

Fun fucking fact. You know how when indigni (violent offenses, third “worst” fallen, subjective) are cast out, their wings are shredded and they’re left for dead at the border? They look pretty damn human when laying on their backs.

Fun fact numero second. Ever wonder what happens when a fallen drinks from an angel? BAD SHIT. BAD SHIT HAPPENS, PHADA.

Isri (the indigni in question) got her wings back! Oops!! And then went on a rampage! Double oops!! And then Miss Bleeding Heart, in an effort to fix her fuckup, went after her! Triple oops!! She’s not supposed to leave her fucking patrol!! She’s supposed to call the praesti!! So Isri has herself a fucking FEAST in a nearby village, and Phada — y’all know Phada, our “hero” — manages to behead her with a shovel stop her just in time to leave one (1) person mostly alive.

Fun fact letter 3. Remember how angels aren’t supposed to interfere with living humans? How they get burned or sick or worse? Yeah, this falls under “or worse”. So the girl — Josseline, if you’re wondering — “survives” her injuries thanks to Captain My-Mom-Is-Curatori and gets elevated to not-quite divinity, hovering somewhere between angels and Something Else.

Of course, being a good little cloudbaby, Phada went home and fessed up, hoping that admitting what had happened would—

Yeah, she got about halfway through “so the body was an indigni” when the Seven (imperatori, they’re the angel judges) were like:

… and dragged her kicking and screaming to the Edge. Her wings hang above the central seat in the hall of justice as an example — Altael (imperatori primus, that’s his chair her wings hang above) loves telling that story.

Phada survived her fall and vanished into the Wilds (the place where even Outlands residents refuse to go).

Josseline found herself a town to rule over, Tagnan, and unintentionally Turned the governor’s wife, Sophie; Josseline didn’t quite drain her all the way, because Sophie fought back and got Josseline’s blood in her mouth.

Friends, Romans, countrymen— that is our first bloodline. Sang-d’origine.

“But what about the other twelve bloodlines!!” Haaaaa about that.

See, angels are busy making New Shiny Souls and keeping the Holy Holding Tank and patrolling the Veil, someone has to deal with the Icky Nasty Corrupted Souls that get stuck on the humans’ side. Enter Death’s cleanup crew: demons. They eat the Icky Nasties. But angels got to make a new Thing!! What if we made a new thing also!! Well one of ‘em figured out the Vampire Formula and made the Phystrokhi — our first daywalkers. (Lightsiders, they call themselves).

The Fae are just greedy little shits. Some Unseelie asshole worked out the Vampire Formula and made the first Darksiders: the Shadow Watch. And if the Unseelie get something, the Seelie are petulant until they Also get that Thing. Enter the Midnight Descendants.

And shit spiraled from there!! There was a fucking vampire-werewolf war!! There are dhampires now!! This is why we can’t have anything nice!! PHADA.

[bossymarmalade]

Mandel Institute for Nonprofit Leadership – Mandel Cultural Leadership Program

This two-year fellowship program, which includes a $20,000 yearly stipend, is for artists and producers who aim to reimagine Jewish life and galvanize action on a range of social issues through their creative work.

Deadline: April 17, 2023 | mandelinstitute.org

Velvetpark – LGBTQ+ Visual Artist Residency

This residency is open to LGBTQ+ visual artists at any point in their careers. The resident will receive six months of studio space in Brooklyn to develop and complete a body of work. The application fee is $25.

Deadline: May 12, 2023 | velvetparkmedia.com

The Caribbean Digital Virtual Artist’s Residency

This six-month virtual residency will provide digital media artists of the Caribbean and its diasporas with a $5,000 cash stipend, curatorial mentorship, virtual studio visits, and more.

Deadline: April 15, 2023 | caribbeandigitalnyc.net

The Latinx Project at NYU – Artist in Residence

Emerging or mid-career artists living and working anywhere in the US can apply for this residency, which includes an honorarium of up to $12,000, an $8,000 budget for a solo presentation at NYU, and more.

Deadline: May 1, 2023 | latinxproject.nyu.edu

[shelleytheodore]

CV

SHELLEY THEODORE Born in Brisbane, Australia Lives and works in London, Barcelona and France https://shelleytheodore.tumblr.com/ https://www.axisweb.org/p/shelleytheodore/ EDUCATION 2012 MA Visual Art (Fine Art), Camberwell College of Art, University of the Arts, London 1995 Bachelor of Fine Art (Hons), Goldsmiths College, University of London 1992 Dept of Continuing Education, Goldsmiths College, University of London, Certificate in Art 1980 Bachelor of Social Work, University of Queensland, Australia SELECTED EXHIBITIONS AND PUBLICATIONS 2022 Artist Feature Special Issue: Best Artists of 2022 Magazine 43, Hong Kong 2022 Magazine 43 Film Friday featured artist April 2022 https://magazine43.substack.com 2021 Deptford X Festival, Art in the open Supported Application Guide shapeslewisham introducing@shelley_theodore 23 March 2021 Deptford London 2021 Post Analogue Labyrinth IV, virtual exhibition, https://www.artsteps.com/view/ 6092eeaca33cc06fe89a823f 2019 Post Analogue Labyrinth Ill, as part of DEPTFORD X FRINGE, AAJA Deptford 2018 Post Analogue Labyrinth 11, Sister Midnight Records 4 Tanners Hill London Gaze, Axisweb: Contemporary Art UK Network, online exhibition Aesthetica Issue 81, p157, Artists' Directory, Published on Jan 24,2018 2017 Drawing Open, 26 -28 May, No Format Gallery, Arch 29, Rolt Street, Deptford 2016 Prison Drawing Project, Dean Road Prison, Scarborough, UK Artrooms Fair 2016, Melia Whitehouse Hotel, London 2015 Uncertain States Annual, Mile End Art Pavilion, Mile End 2014 Pala, an online digital program of artist's film and video works curated by Laura Mansfield 2013 Bloomberg New Contemporaries 2013, Spike Island, Bristol, and ICA, London 8 STUDIOS FROM HERE, Faircharm Studios, Deptford Postcard From My Studio, Acme Project Space 44 Bonner Road, Bethnal Green, London 2012 Crash OPEN, Charlie Dutton Gallery, 1a Princeton Street, London The Salon Art Prize Exhibition 2012, Matt Roberts Art, 25b Vyner Street, London Jerwood Drawing Prize Exhibition 2012, Jerwood Space, London No Now, Space Station Sixty Five, Kennington Bend over Shirley, Beaconsfield Contemporary Art 2011 CCW Artist Moving Image, HMV Curzon, Wimbledon 'Chain letter' worldwide exhibition 2011, GIBSMIR family, Zurich, Switzerland. Flash in the Pan, curated by Naomi Sidefin and David Crawford, Beaconsfield Contemporary Art The Unsung Heroes of the studio, ASYLUM, The Chapel, Caroline Gardens, Peckham 2010 Peckham Space Open, Peckham Space, Peckham Deptford X Fringe Award, Deptford X Fringe Nunhead Open Art Exhibition, The Surgery, Nunhead 2009 Creekside Open, selected by Mark Wallinger, APT Gallery, Deptford Creekside Open, selected by Jenni Lomax, APT Gallery, Deptford 2008 London Art Fair, Islington, Beverley Knowles Fine Art 2007 London Art Fair, Islington, Beverley Knowles Fine Art RESIDENCIES 2022 Studio Residency, San Quirze Safaja, Barcelona 2021 Photography Workshop with Architect Lisa Harmey and architecture students University of Cardiff, UK 2015 'Backs to the Future' Residency, FIVE YEARS 66 Richmond Studios, 8 Andrews Road, E84QN 2014 2014 LUX Critical forum, London 2012 Gasworks Curatorial Workshop, Gasworks 2011 Urban fabric 2 (UF2) Paradox Conference, Crawford College of Art and Design, Cork, Ireland 'Sculptural Drawing Collaboration', The Woodmill Project Space, Bermondsey

[sentientglue]

'skins (ecdysis 4)' and 'ecdysis 5'. photo transfers (toner and clear gesso) on glass, found frames. 2023

Installation shot, exhibited as part of my first curatorial project; a group show titled 'IN FLUX: Liminal Longing', in Sydney, Aus.

This work is made using photographs taken on my artist residency in Hämeekyrö, Finland earlier this year, feating my fellow Australian resident Gab Paananen. Props to them for braving the snow wearing nothing but a layer of silver leaf foil 🤧

[vulpiano]

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From the Video Hook-Ups Archive:

Interview with Bob Bicknell-Knight

Bob Bicknell-Knight is an artist and curator based in London. He is the director of contemporary art platform isthisit? and co-founder of A217gallery.

Marilyn Roxie of VIDEO HOOK-UPS: What other curatorial platforms, online or off, inspired isthisit?

Bob Bicknell-Knight: There were a few spaces I was interested in and looked to before I launched isthisit?, particularly other digital galleries that showed me that this was an actual possibility. A few years ago I had a fairly naive sense of the internet and wasn’t even aware that online galleries existed. I remember looking at Chrystal Gallery, an online space that literally duplicated the white cube of the stereotypical gallery and Lawrence Lek’s Bonus Levels, particularly A Collective Tower. Made for Art Licks in 2013, this was essentially an artwork that transported 21 London based galleries into an interactive landscape. Still fairly close to simply duplicating the standard offline gallery setting, but that idea of interactivity really grabbed me. I was also seeing Delta Sorority’s online residency program unfold at the time, as well as generally looking at lots of websites that facilitate physical galleries too. In general though I think everything you see and do influences your practice and daily life in various ways, so it’s quite hard to pin these things down to specific inspirations.

VH: How have you found balancing your own personal art practice with curating online and off, and are there ways that these overlap?

BBK: I see everything that I do as one encompassing practice, if I were to split up these labels into different sections it would be impossible to navigate. So I see my curation as an extension of my art and vice versa which allows for a continuous overlap of ideas and interests. This is one of the reasons why I’ve inserted my own artwork into some of the exhibitions I’ve curated in the past, as they’re usually focused around ideas I’m currently interested and invested in. Obviously there are times where I’ll spend more time sending emails for my curation than making actual work, but I think that’s the same across the board these days. Artists have had to adapt and become their own promoters and gallerists, applying for funding and navigating that balance of actual art making with everything else that’s involved with the production of a new piece. So yes, everything overlaps and I think that’s an important way of keeping everything under control and manageable.

VH: What atmosphere and positive attributes do you think the format of an online exhibition lends to video that differs from the traditional physical gallery space with projections or darkened rooms? I have found that there is something intimidating particularly about people actually picking up the pair of headphones offered and listening to the audio accompanying a piece in a physical gallery space.

BBK: For me having a video work available to view in an online space is great. Being afforded the ability to actually spend time with a film, rather than continually worrying about the time or whether there’s a comfortable place to sit, is definitely a positive attribute of having access to video art on the internet. Watching a film in a gallery context can be a frustrating exercise sometimes, which usually translates to watching it when you get home on the internet, although there are many instances of the work being no-where to be found online; a slightly unexpected turn of events when every blockbuster film seems to have been pirated and streamed hundreds of thousands of times. I do understand the necessity for not having a video accessible online, digital editions, exclusivity, etc, but that doesn’t make it any less frustrating. Bearing this in mind however, when a video truly grabs you, is installed magnificently and hooked up to an incredible speaker system, truly drawing you in, it’s hard to say that it’s not the definitive watching experience.

I always think of a Jon Rafman installation; sinking into a ball pit or being trapped in a seemingly innocuous piece of office furniture. These are amazing experiences. It’s just not the same when you’re watching in bed, pausing every so often to chat to a roommate whilst simultaneously scrolling through your Facebook feed. It’s a balancing act.

In the hyper-connected world of today, constantly multi-tasking, I sometimes see an immersive video work as an excuse to simply relax into it, to put down your phone and just watch it. Who needs to check Instagram when a snake is swallowing itself in front of you? This is why VR interests me so much, you can no longer look away from the work, and it’s quite hard to take a selfie whilst consuming it.

VH: What do you see as the future of online gallery experiences, for isthisit? or more generally?

BBK: It’s unfortunate, but due to the lack of funding for the majority of online projects, isthisit? and many other spaces like it on the internet are all inherently doomed to fail, fading into the abyss where the domain name will eventually be allowed to expire. They are, and will continue to be, free cultural spaces that involve a lot of time and effort on the part of the unpaid organisers. Obviously that’s a very pessimistic point of view to have, but I feel like it’s an important aspect of these micro organisations that needs to be highlighted.

Bearing this in mind, I obviously hope to continue with isthisit? for many years to come, hopefully having a permanent physical space in the future to realise more experimental offline exhibitions, gaining sponsorships for the magazine and building a portfolio of digital artworks to sell on the shop side of the website. The increased affordability of technology like VR will definitely broaden what can be done on the internet with virtual gallery spaces, although right now there’s a widening hardware class divide that’s never going to be truly resolved. It’s a shame, but after undergoing online projects for a while, I’ve begun to realise that the internet isn’t as great as everyone wants you to think it is.

[jonathanferraragallery]

TIFFANY CALVERT received her MFA in 2005 from the Mason Gross School of the Arts at Rutgers and her BA in 1998 from Oberlin College. She first exhibited at Jonathan Ferrara Gallery in the 2020 group exhibition Art in Doom, curated by Matthew Weldon Showman. Calvert’s work has also been exhibited at the Lawrimore Project (Seattle, WA), E.TAY Gallery (NY), the Speed Museum (Louisville, KY), the Susquehanna Art Museum (PA), and Cadogan Contemporary (London, UK), among others. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. She is Associate Professor of Art at the Hite Institute of Art & Design, University of Louisville and a member of the Tiger Strikes Asteroid curatorial collective.

As an artist, Tiffany Calvert applies contemporary painting techniques to historical imagery. Her recent work uses the seventeenth-century Dutch floral still life as a springboard for exploring the shifting nature of human perception. Calvert’s paintings incorporate diverse technologies, including fresco, 3D modeling, and data manipulation. The exhibition includes eight new paintings from her latest series which uses image generating machine learning models (StyleGAN) trained on images of 1,007 historical still life paintings to create the image printed on canvas. A digitally-designed large format vinyl stencil is then applied to the surface before being painted on with oils. When the stencil is peeled off it creates hard edges, and preserves areas of the print. John Yau, in his Hyperallergic profile, compares their “improvisational riffs and fractured views” to de Kooning.

[planta-alta]

Kekena Corvalán es profesora, curadora y escritora feminista de Argentina. Su práctica agencia territorios desde lo artístico-curatorial, lo educativo y la política. Activa en aulas, salas de museo y calles. Es autora de Curaduría Afectiva, entre otros textos, y realiza exposiciones colectivas de artistas mujeres y comunidades LGBTQIaz con perspectiva interseccional.

En Madrid viene a dar una conferencia dentro del ciclo Visión y presencia en el Museo Thyssen-Bornemisza.  En este contexto, presenta el proyecto ‘Red Artchivas’, una investigación y trabajo de campo que, desde hace más de quince años, busca amplificar el recorrido de mujeres y disidencias en prácticas artísticas colectivas, territorializadas y sensibles. El estudio gira en torno a dos grupos que desarrollan su trabajo teniendo como base la amistad entre artistas mujeres: las Pipi Sherman (Claudia García Lorente y Julieta Basso), residentes en Mar del Plata, y las Caudillas del Barro (Susana Zapata, Tina Núñez Caminos y Luciana Pirro), residentes en Victoria, Entre Ríos.

***

Kekena Corvalán is a professor, curator and feminist writer from Argentina. His practice agencies territories from the artistic-curatorial, educational and political. Active in classrooms, museum rooms and the streets. She is the author of Affective Curation, among other texts, and holds collective exhibitions of women artists and LGBTQIaz communities with an intersectional perspective.

In Madrid she comes to give a conference within the Vision and Presence cycle at the Thyssen-Bornemisza Museum.  In this context, she presents the 'Red Artchivas' project, a research and field work that, for more than fifteen years, has sought to amplify the journey of women and dissidents in collective, territorialized and sensitive artistic practices. The study revolves around two groups that develop their work based on the friendship between female artists: the Pipi Sherman (Claudia García Lorente and Julieta Basso), residents of Mar del Plata, and the Caudillas del Barro (Susana Zapata, Tina Núñez Caminos and Luciana Pirro), residents of Victoria, Entre Ríos.

[sfacgalleries]

Artist Talk: Miguel Arzabe and Daniela Rivera from San Francisco Arts Commission on Vimeo.

Wednesday, June 26, 2024 | 6:30pm SFAC Main Gallery

Join exhibiting artists Miguel Arzabe and Daniela Rivera for a conversation about their work and process. Moderated by Matthew Villar Miranda, curatorial associate at Berkeley Art Museum.

This program is planned in conjunction with the exhibition Praxis of Local Knowledge on view at the SFAC Main Gallery through August 17, 2024.

About the Panelists Miguel Arzabe is a visual artist who lives and works in Oakland. He had recent solo shows at Shulamit Nazarian Gallery (Los Angeles, CA) and Johansson Projects (Oakland, CA). Arzabe’s work has been featured in such festivals as Hors Pistes (Centre Pompidou, Paris), Festival du Nouveau Cinéma (Montreal), and the Geumgang Nature Art Biennale (Gongju, South Korea); and in museums and galleries including MAC Lyon (France), MARS Milan (Italy), RM Projects (Auckland), FIFI Projects (Mexico City), Marylhurst University (Oregon), the Contemporary Jewish Museum, Berkeley Art Museum, the CCA Wattis Institute, and the San Francisco Museum of Modern Art. Arzabe’s work is held in public collections such as the Harn Museum in Gainesville, Florida, Albuquerque Museum of Art, Oakland Museum of California, the de Young Museum, San Francisco Arts Commission, the State of California, as well as numerous private collections. He has attended many residencies including Facebook AIR, Headlands Center for the Arts, Montalvo Arts Center, Millay Arts, and Santa Fe Art Institute. He holds a BS from Carnegie Mellon University, an MS from Arizona State University, and an MFA from UC Berkeley. In 2022 Arzabe was awarded the San Francisco Bay Area Artadia Award. In 2023 he was awarded a Pollock-Krasner Foundation Grant and and a Golden Foundation Residency. In 2024 he was a SECA award finalist.

Born in Santiago, Chile, Daniela Rivera received her BFA from Pontifcia Universidad Católica de Chile in 1996 and her MFA from the School of the Museum of Fine Arts at Tufts, Boston in 2006. She is currently Professor of Studio Art at Wellesley College. She has exhibited widely in Latin American cities including Santiago, Chile, as well as in the United States. She has been awarded residencies at Loghaven, Headland Center for the Arts, Surf Point, Proyecto ACE in Buenos Aires, Vermont Studio Arts Center, and the Skowhegan School of Paintings and Sculpture. And she has been the recipient of notable fellowships and grants including from The Chiaro Award, The Rappaport Prize, Now + There, the Massachusetts Cultural Council Award, VSC, the National Association of Latino Arts and Culture, the Berkshire Taconic Foundation, The FONDART in Chile, and the Saint Botolph Club foundation Distinguish Artist Award. Recent or upcoming exhibitions include: New Worlds, NMWA, Washington DC, 2024, Donde el Cielo Toca la Tierra, Matucana 100, Santiago Chile, 2024, Praxis of Local Knowledge, San Francisco Art Commission, San Francisco, Labored Landscapes; Where The Sky Touches the Earth, Fitchburg Art Museum, Fragmentos para una Historia del Olvido/ Fragments for a History of Displacement, The Davis Museum, Wellesley College, Wellesley, MA (2018–2019); En Busca de los Andes, solo exhibition with Proyecto ACE, Buenos Aires, Argentina (June 2019); Sobremesa (Karaoke Politics), a public art project developed as her Now + There Accelerator Fellowship.

Matthew Villar Miranda (he/they/siya) is Curatorial Associate at the Berkeley Art Museum and Pacific Film Archive. In their former position as Visual Arts Curatorial Fellow at the Walker Art Center, they worked on exhibitions by Julie Mehretu, Pao Houa Her, Paul Chan, and Pacita Abad. They serve on the Board of Stakeholders Museums Moving Forward (MMF), a Ford and Mellon Foundation-funded initiative of an intergenerational, cross-institutional coalition of art museum professionals committed to advancing equity across the museum field. In 2021, they co-curated the Art for Justice Fund-supported exhibition Undoing Time: Art and Histories of Incarceration at the Arizona State University Art Museum (ASUAM). They received their BA in History of Art from UC Berkeley (2013) and graduated among the inaugural class of ASU-Los Angeles County Museum of Art Master's Fellowship in Art History (2021).

[sorrynoroomsavailable]

Резиденція Вибачте Номерів Немає Лізавета Герман – Курувати з любовʼю: виклики і пригоди українських кураторок 30 серпня, 2024 Дабл рум 1114, готель Інтурист-Закарпаття

“Чому кураторство — складний, але щиро цікавий професійний шлях в Україні ? Як відкрити галерею сучасного в країні, де «ринку нема»? Які виставки потрібні аудиторії під час великої війни ? Під час зустрічі, Лізавета поділиться багатоманітним досвідом десятирічної практики незалежного кураторства спільно з Марією Ланько; розповість про роботу галереї The Naked Room та викилики продюсування українського павільйону на венеційській бієнале, який відкрився на другий місяць повномасштабного вторгнення; покаже улюблені проекти і пояснить, до як цього всього стосується Ужгород”.

Програма резиденції ВНН звертає увагу на роль культури та мистецтва в часи російсько-української війни, має на меті реалізацію інституційно критичних проектів пов'язаних з культурною спадщиною (матеріальною і нематеріальною), розвитком художньо-культурних інституцій.

Програму резиденції ВНН та участь Лізавети Герман реалізовано завдяки грантовій підтримці від The Académie des beaux-arts in Paris (French Academy of Fine Arts)

(eng)

Residence Sorry No Rooms Available Lizaveta German – Curate with love: challenges and adventures of Ukrainian female curators August 30, 2024 Double room 1114, Hotel Intourist-Zakarpattia

“Why is curatorship a difficult, but genuinely interesting professional path in Ukraine? How to open a modern gallery in a country where “there is no market”? What exhibitions did the audience need during the Great War? During the meeting, Lizaveta will share her multifaceted experience of ten years of independent curatorial practice together with Maria Lanko; will talk about the work of The Naked Room gallery and the challenges of producing the Ukrainian pavilion at the Venice Biennale, which opened on the second month of a full-scale invasion; will show his favorite projects and explain how Uzhhorod is related to all this.“

The SNRA residency program draws attention to the role of culture and art during the russian-Ukrainian war, aims to implement institutionally critical projects related to cultural heritage (tangible and intangible), development of artistic-cultural institutions.

The SNRA residency program and the participation of Lizaveta German were implemented thanks to grant support from The Académie des beaux-arts in Paris (French Academy of Fine Arts)

_

Photo credit Petro Ryaska

[br0000ken]

One Day We Will Look Back and Realize that All Along We Were Blooming by Ella Wijt /// 엘라 위트의 "언젠가 우리는 돌아보고 깨닫게 될 것이다, 우리가 줄곧 꽃피우고 있었음을"

Curatorial Proposition: Ella Wijt is one of the artist-collaborators in the Pavilion who already had a residency in Gwangju in 2023. The invitation to Ella is to continue and re-contextualize her work within the Pavilion's effort to deepen the relation between Gwangju and other localities. The act of collecting flower arrangements itself has become a way of experiencing the changing landscape of the city. Old shops are decreasing in the city center. Empty buildings seem to co-exist with new hip restaurants. The painted banner was made during her past residency by using natural pigments made out of plants around Horanggasy Art Polygon, the residency site. The image represents hills that connect Gwangju and Ella's past hometown, Bandung.

큐레이터의 제안: 엘라 위트는 2023년에 이미 광주에서 레지던시를 한 경험이 있는 파빌리온의 작가-협력자 중 한 명입니다. 엘라에게 보낸 초대는 파빌리온이 광주와 다른 지역 간의 관계를 심화시키려는 노력의 일환으로 그녀의 작업을 계속하고 재맥락화하기 위한 것입니다. 꽃 장식을 수집하는 행위 자체가 도시의 변화하는 풍경을 경험하는 방법이 되었습니다. 도심에서는 오래된 상점들이 줄어들고 있습니다. 빈 건물들이 새로운 힙한 레스토랑들과 공존하는 것처럼 보입니다. 그려진 배너는 그녀의 이전 레지던시 기간 동안 레지던시 장소인 호랑가시 아트 폴리곤 주변의 식물로 만든 천연 안료를 사용하여 제작되었습니다. 이 이미지는 광주와 엘라의 고향인 반둥을 연결하는 언덕을 표현합니다.

Artist Statement: During my stay in Gwangju, I have seen many boards of flower arrangements on the streets. The ones that I see were made to congratulate the opening of a space. These boards are made of plastic flowers, with ribbons and a few fresh flowers. Usually, after the event is finished, these flowers would be discarded in trash bins.

These flower boards caught my attention because there is a similar version of these in Indonesia, but they are made from fresh flowers on rectangular-shaped boards.

I find this gesture of congratulating with big flower boards as quite an interesting contemporary tradition. The fact that there is a version of it in Gwangju reminds me of home. It's a way that is shared between my home and this place, and maybe other places too. To me, these flower boards are a reminder of home.

To minimize the flowers from being thrown away, I decided to start collecting as many of these flowers as possible, disassemble them, and rearrange them for my work.

By collecting these flower i am remembering home. By disassembling them I am searching for home. By rearranging them in a different form i am building a memory of home and it helps me to feel at home, by putting them in Indonesia Pavilion, these flowers become my home.

….

….

….

…and then I realize, blooming starts from home.

Photo Credit: Yudha Kusuma P.

////

작가의 말: 광주에 머무는 동안 거리에서 많은 꽃 장식 게시판을 보았습니다. 제가 본 것들은 공간의 개업을 축하하기 위해 만들어진 것들이었습니다. 이 게시판들은 플라스틱 꽃으로 만들어져 있고, 리본과 약간의 생화가 함께 사용됩니다. 보통 행사가 끝나면 이 꽃들은 쓰레기통에 버려집니다.

이 꽃 장식 게시판들은 인도네시아에도 비슷한 버전이 있어서 제 눈길을 끌었습니다. 다만 인도네시아의 것은 직사각형 모양의 판에 생화로 만들어집니다.

저는 큰 꽃 게시판으로 축하하는 이 제스처가 꽤 흥미로운 현대적 전통이라고 생각합니다. 광주에도 이와 비슷한 버전이 있다는 사실이 저에게 고향을 떠올리게 합니다. 이는 제 고향과 이곳, 그리고 아마도 다른 곳들 사이에 공유되는 방식입니다. 저에게 이 꽃 게시판들은 고향을 상기시키는 것입니다.

꽃들이 버려지는 것을 최소화하기 위해, 저는 가능한 한 많은 이 꽃들을 수집하고, 해체한 다음, 제 작품을 위해 재배치하기로 결정했습니다.

이 꽃들을 수집하면서 저는 고향을 기억합니다. 그것들을 해체하면서 저는 고향을 찾고 있습니다. 그것들을 다른 형태로 재배치하면서 저는 고향의 기억을 만들고 있으며, 이는 제가 집에 있는 것처럼 느끼는 데 도움이 됩니다. 인도네시아 파빌리온에 그것들을 놓음으로써, 이 꽃들은 제 집이 됩니다.

….

….

….

...그리고 나서 깨닫게 되었죠, 꽃피움은 집에서부터 시작된다는 것을.

사진 제공: 유다 쿠스마 P.

[kolajmag]

CALL TO ARTISTS

Plantations as Buildings, Metaphors, and Systems of Power

Early Deadline to Apply: Sunday, 18 August 2024. As part of a year-long investigation of castles as buildings, metaphors, and systems of power, Kolaj Institute will host a week-long artist residency in New Orleans focused on Plantations from 13-17 October 2024. During this residency, collage artists come to New Orleans and explore the history of Plantations and learn how to adapt their artist practice to pick up the unfinished work of history and make art that contributes to the civic discourse. Through interactive sessions, visits to plantations, and collaborative collage making, artists will explore their process and practice; present a slideshow of their work; receive supportive, critical, curatorial feedback about their ideas; and discuss contemporary issues. After the Residency, artists will be invited to propose artwork for inclusion in Kolaj Institute’s Castle Project, an exhibition, book, and related programs in 2025-2026 that invite viewers to consider how the history of castles, colonies, plantations, and corporations relate to one another and shape the world we live in today. Read More

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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

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[tommasoevangelista]

VIS à VIS FUORILUOGO 27

Artists in residence Project

5 – 25 agosto 2023

Carpinone (IS), artista in residenza OPIEMME

Lucito (CB), artista in residenza Ivano Troisi

Dal 5 agosto 2023 prende avvio la nuova edizione di VIS à VIS Fuoriluogo 27, programma internazionale di residenze artistiche che quest’anno ospita gli artisti Opiemme a Carpinone (IS), e Ivano Troisi a Lucito (CB).

Il progetto, diretto dall’associazione culturale Limiti Inchiusi (Paolo Borrelli e Fausto Colavecchia), è a cura di Tommaso Evangelista. Il programma internazionale di residenze artistiche VIS à VIS Fuoriluogo, che quest’anno giunge alla tredicesima edizione - dall’avvio nel 2012 da parte dell’associazione culturale Limiti Inchiusi - segna il proseguimento dell’azione curatoriale degli anni precedenti con gli artisti ospitati su invito diretto da parte dell’associazione e del curatore, e le opere pensate in dialogo con spazi e contesti specifici. Inoltre, le residenze, mantenendo l’identità che le hanno sinora caratterizzate, ovvero il forte rapporto con le comunità, vengono messe in relazione a degli obiettivi specifici legati ai singoli luoghi.

In questa edizione per quanto concerne Lucito si lavorerà sulla realizzazione di un’opera d’arte pubblica, opera che andrà ad ampliare la già ricca raccolta comunale che accoglie, oltre ad un ricco corpus di lavori di Antonio Pettinicchi, anche il gruppo più ampio di opere legate al progetto Vis à Vis, mentre per Carpinone, per la prima volta coinvolto nel progetto quale primo comune della provincia di Isernia, si lavorerà sull’interazione con la popolazione nella realizzazione di un’opera d’arte pubblica e partecipata, pensata quale un percorso di parole e di idee.

Come ad ogni edizione gli artisti, insieme ai curatori, renderanno vitale la residenza con una serie di workshop, incontri e una restituzione finale che segnerà anche la consegna del lavoro svolto alla collettività. La residenza sarà testimoniata da un catalogo e da un video-documentario che sarà presentato a dicembre.

Limiti inchiusi, tra le associazioni promotrici di STARE - Associazione delle Residenze d'artista italiane -, si dimostra tra le residenze artistiche più longeve e interessanti dedicate alle aree interne e alle comunità locali.

Gli artisti invitati a VIS à VIS Fuoriluogo 27 sono Opiemme che lavorerà a Carpinone (IS), e Ivano Troisi (Salerno 1984) che opererà a Lucito.

Ivano Troisi (Salerno 1984), vive e lavora tra Arezzo e Salerno. Formatosi all’Accademia di Belle Arti di Roma, il suo lavoro parte dall’osservazione della natura per attuare un’analisi dei processi che ne caratterizzano trasformazioni e mutazioni. Tra le sue mostre più importanti troviamo: Se il dubbio nello spazio è dello spazio, MACRO Museo d’Arte Contemporanea Roma, a cura di Nemanja Cvijanovic e Maria Adele Del Vecchio (2014); Galleria Tiziana Di Caro, Salerno (2012 e 2014); Leggerezza della terra, Tempo Imperfetto. Sguardi presenti sul Museo Archeologico Provinciale di Salerno, un progetto della Fondazione Filiberto Menna, a cura di Antonello Tolve e Stefania Zuliani (2014); Prima, Galleria Nicola Pedana, Caserta (2018); Ex voto, Museo Archelogico, Pontecagnano (2019); Il sussurro del mondo, Fondazione Plart, Napoli, a cura di Luca Beatrice (2020); Rethinking Nature, Museo Madre Napoli, a cura di Kathryn Weir e Ilaria Conti (2022). Nel 2014 Troisi è stato nominato per il Prima Pagina Art Prize, il concorso promosso da Il Resto del Carlino e Quotidiano.Net, nell’ambito di Arte Fiera Bologna. Nel 2017 ha preso parte al programma di residenze per artisti BoCS Art Cosenza. Nel 2019 è invitato ad Open Dream Treviso, a cura di Flavio Arensi, Valentino Catricalà e Martina Cavallarin. Successivamente partecipa a varie collettive da ricordare: La potenza dell’arte contemporanea, Pinacoteca Provinciale di Potenza, a cura di Lorenzo Benedetti e Opere, idee, progetti, persone dalla collezione del Madre, Castello Macchiaroli, Teggiano (SA) a cura di Andrea Viliani e Silvia Salvati, è presente nella collezione “Doni” - Imago Mundi Luciano Benetton Collection e nell’Atlante dell’arte contemporanea a Napoli e in Campania, a cura di Vincenzo Trione (Electa, 2017). Nel 2022 è invitato da La Quadriennale di Roma a Partecipare ad una Masterclass di Hans Ulrich Obrist, intitolata L'ideologia del curatore, nella Sala Tenerari di Palazzo Braschi, Roma. www.ivanotroisi.com

Opiemme è un gruppo di Torino (Italia), formato da Margherita Berardinelli e Davide Bonatti. La pratica di Opiemme indaga i confini tra parole e immagini, alla ricerca di nuovi modi di presentare la poesia. Dal 2000 la ricerca di Opiemme si concentra sull'arte pubblica volta a diffondere la poesia al pubblico, con performance collettive, installazioni e interventi di poesia di strada. Ciò ha portato Opiemme ad esibirsi in diverse città europee in collaborazione con diverse fondazioni di poeti con l'obiettivo di creare nuove occasioni di lettura, come per il murale dipinto per le Fondazioni Fernando Pessoa e Josè Saramago a Lisbona, o una facciata di 12 piani dedicata a Wisława Poesia Szymborska a Danzica, o un intervento pittorico a Krakow in occasione del centenario della poetessa polacca. www.opiemme.com

Limiti inchiusi è un’associazione di produzione culturale e artistica con sede a Limosano in provincia di Campobasso. Fondata nel 1994, promuove progetti d’arte contemporanea dal respiro internazionale in costante dialogo con il territorio del Molise, come indagine sul paesaggio e i paesi molisani. Con residenze d'artista, mostre, installazioni d’arte pubblica, workshop, laboratori ed incontri, Limiti inchiusi pone al centro il territorio regionale per rileggerlo e mapparlo nei suoi cambiamenti, creando nuove narrazioni. Il lavoro svolto negli anni, documentato con numerose pubblicazioni, ha riguardato la produzione di opere d’arte, la didattica con le nuove generazioni, la ricerca e l’inclusione sociale con uno sguardo attento alle emergenze e problematiche delle comunità coinvolte. Dal 2012, con la direzione degli artisti Paolo Borrelli e Fausto Colavecchia, l'associazione ha inaugurato i programmi internazionali di Residenze per artisti Vis à Vis Fuoriluogo e Vis à Vis Flâneur. Nel 2021 Limiti inchiusi è tra i soci fondatori di STARE – Associazione delle Residenze d'artista italiane.

[theselfdoubtdiaries]

18th June 2024,

Dear Fran,

ergh sorry. I really fell off the bandwagon this time. Not in a bad way I don't think. A lot has happened hey? We installed and opened a show, i packed up and moved to Darwin and started a new job, met. a boy just before I left and he followed me here. Now I've already deinstalled one exhibition and installed another! All in the span of a couple of months.

So I'm sorry it's been a while since I wrote but I didnt feel the need or pull to until this morning. Life has been to busy adjusting to feel like I've had the time to be properly reflective. I did try to go to a cafe this morning and write, but I had forgotten the password to log in and well, it just wasnt to be.

What else? I went to a friends performance art experiment on Friday night. After a 1 week residency with 2 other artist from Brisbane they put on a 40 min absurdist piece. It was quite good. We had a few chats after about the differences between visual and performing residencies. They have such short timelines and sound quite intense. What else? I know how to make focaccia now? So that's a thing. I've run out of flower now though...

I didn't really have much else specific to say, except that i feel oddly at peace at the moment. I still dont have a studio but it doesnt bother me hugely because, im not feeling to urge to make because im being creative and learning so much at work at the moment. Like building up my graphic design skills or getting to do more curatorial work...its still creative, but in other ways. I know we've talked about it but it just feels nice to notice that a bit and be present with it.

I'm excited to contemplate putting together a touring pack for us and our exhibition now. It's a bit of work but at least I have an idea of what to do now, the standard I would want etc.

Anyway, the above images are of the gallery install of Violet Bond's solo show. I love her and her work so much. She's such a cracker. They're not printed on photo paper, but proper cotton rag art paper which has made the blacks super matt and deep and intense. They're so emotive and dramatic in person.

The second one is titled "The Lovely Bones no.5" and is right near my desk at work, when I sit downstairs at reception.

That's all. I think being here is helping repair certain aspects of my relationship with nature. Relationships to fire in the landscape are so different here.

xxxx Zoë