Author: radiator

This is How My Brain Works

September 8 – 30, 2012

Opening reception: Friday, Sept. 7, 6:00 – 8:00 pm

Donovan Barrow, Brian Belott, Natasha Bowdoin, Maximus Clarke, Floto+Warner, Sara Klar, Todd Knopke, Michael Lee, Elisa Lendvay, Abraham McNally, Andrew Mount, Ryan Sarah Murphy, Francesca Pastine, Javier Pinon, Leslie Siegel

Curated by Michael Lee

Radiator Gallery is pleased to announce the opening of its sixth show This Is How My Brain Works, a group exhibition that inaugurates the gallery’s second season. With over 30 works made by sixteen artists, the show examines the practice of collage through its many iterations and permutations ranging from works on paper to artist books, photographs, sculpture, textiles, digital projections and video. Through the presentation of visually diverse but not conceptually disparate works, the show helps define collage as both a working method still robust at the turn of the 21 century but more importantly as a manner of processing information either willfully or uncontrollably. The show’s title is a comical send-up of the precognitive jumble that is the necessary basis for the eventual creation of meaningful logic in the human brain.

Whether culled from magazine pages, scavenged from a neighbor’s recycling bin, plucked from the uncharted corners of the internet–or the physical corner of an urban street—this group of artists shares a love for material with a history. It can be cultural memory, what artist Christian Marclay describes as the “recognition of the source material with the pleasurable violence of transformation”, or it can manifest itself in the physical wear objects undergo with the passing of time. Whatever the case, the audience’s synapses begin to fire upon seeing this new/old thing well before a fully formed idea congeals in their heads. This is what all art is about. Collage highlights this fact.

The current generation of collage and assemblage artists is conversant in the standard and accepted history of the form as modernist paradigm par excellence. While this history obviously informs artists in this show, they have an advantage over their predecessors in contextualizing this working method as pre-modern far more easily due simply to their place in time. The palimpsests of ancient cities and the collage roots of film projection start to seem much closer when looked at from this perspective. What was once considered an artistic reaction to the specific age of communication can be seen in retrospect as a responsive method to connect art and the world in any age.

Michael Lee is an artist and teacher. This is his first curatorial effort. He was awarded a residency at Cooper Union in 2005 and at the Robert Blackburn Printmaking Studio in 2008. Michael earned a BFA in art history from The University of Texas at Austin and an MFA in painting from Hunter College in New York.




Break / Step

June 8 – July 8, 2012

Hours: Saturday and Sunday 3-6 pm

Curated by Eileen Jeng

Esther Choi, Rachel Hayes, Todd Knopke, Rena Leinberger, Stephanie Loveless, Alan Lupiani, Angel Otero, Ian Pedigo, Armita Raafat, Sara Greenberger Rafferty, Peter Soriano, Miryana Todorova and Sebastian Vallejo

Radiator Gallery presents Break / Step, a group exhibition featuring artists, currently based in the New York metropolitan area, whose works embody deconstruction in creation and vary in techniques. The imagery, act, and aestheticization of deconstruction play an important part in contemporary art, especially in process-oriented works that focus on materiality. The title refers to the movement when soldiers are instructed to “break step” when crossing structures, such as bridges, sensitive to resonance. The unified rhythm is intentionally broken to create a new sound and image.

In the matrix that composes our urban environments, buildings, land, and materials are constantly being developed or constructed, deconstructed, and reconstructed. Materials are recycled and reused, sometimes in creative ways. Land erodes, only to be built upon or preserved again. On a practical level, the infrastructure of cities, like New York, is constantly being reconstituted and the act of deconstruction occurs everyday — which begs the question: what is the nature of creation when construction and deconstruction are integral parts of the process?

Over the past four decades, contemporary artists have continuously challenged the medium utilized and process involved in works of art; narratives are broken, reinterpreted, and recreated. The artists in Break / Step use various traditional and innovative media, such as oil paint, fabric, plastic bags, glass, and industrial tubing. Surfaces are highly mediated. Images are re-construed, deconstituted, and altered. Sounds are fragmented. And public and private spaces are transformed. Chance, risk, and failure are evident and inevitable.

Abstracted in composition, these paintings, sculptures, photographs, installations, performances, films, and videos gain transformative dimensions. Out of disclarity and fragmentation, clarity and fresh perspectives re-form and develop. Some works produce a confounding affect, evoking a sense of tension. The artists examine aesthetic and formal qualities in their work, and some confront personal memories and histories as well as address cultural, social, and identity issues. Many dichotomies are suggested, such as permanence and impermanence, stability and instability, utopia and dystopia, reality and illusion.

Eileen Jeng is an independent writer and curator and the archivist at Sperone Westwater in New York. Her latest project includes Facture at AIRPLANE in Brooklyn among others. She was a research assistant in the Department of Contemporary Art at The Art Institute of Chicago, and she was involved in various exhibitions, including FLOAT at Socrates Sculpture Park in Long Island City in 2007. She earned an MA in arts administration and policy from The School of the Art Institute of Chicago and a BA in art history and advertising from Syracuse University.




Don’t Worry What Happens Happens Mostly Without You

May 4 – June, 2012

Opening Reception: May 4, 6 – 9PM

Performance by Marni Kotak: ….PM

Artists: Jeanie Choi, Camilo Godoy, Ted Kerr, James Richards, Aldrin Valdez, Sam Vernon Curated by Kris Nuzzi

Radiator Gallery presents Don’t Worry What Happens Happens Mostly Without You, an exhibition that explores the personal identities of artists Jeanie Choi, Camilo Godoy, Ted Kerr, James Richards, Aldrin Valdez and Sam Vernon, as they navigate through a world 
shaped by experiences of marginalization, silencing and difference. Whether speaking from their own life, recreating a historical memory or representing an underrepresented community, their work explores poetic and subtle ways to communicate issues of immigration, race, queerness and desire. Together they reveal the connections and differences between these loaded social issues and invite the viewer to share in their intimate experiences.

Artist Jeanie Choi explores our longing to confess the unspeakable. Through a series of collaborations, her work mediates a language through gesture and silence by examining the relationships between the confessor and the unreciprocated other. Using photography, video and performance, the reiteration of symbols and mistranslations never reach a conclusion, but reassure us that we are all trying to broaden the possibilities of truth between us.

Camilo Godoyʼs work is concerned with the politics of migration and citizenship in the U.S. by drawing upon the immigrant experience and playing upon narratives extracted from government documents. Through these intimate and powerful works, we hear their personal stories in deportation proceedings while addressing the quotidian struggles detained immigrants face in the U.S.

Ted Kerr’s piece FOR MYSELF IN THE SCENE is a poster installation comprised of 3 posters that are available for viewers to take. Through the work, Ted works to find himself amid socio-political-sexual anxieties produced in a time of ongoing AIDS, increased articulation of queer vs. LGBT politics, self-as-brand and digital culture. Using the poster, a format popularized during the AIDS crisis by Fierce Pussy, Gran Fury and General Idea, this work explores identity, activism and visual culture.

At the same time, James Richards’ poster Donʼt Worry is inspired by a quote by Joseph Albers and is part of an ongoing project by James and artist Matt Keegan. He works with existing text, accessible images and footage from disparate sources that he then remixes and returns back into the world.

Aldrin Valdez tells his story through an installation that is a personal mix of collage and family photos, piecing together memories of his childhood. He presents images of being a child in the Philippines, photos of his parents in the U.S. when he and his siblings had not immigrated to America yet, and collages that explore patterns and surfaces.

Exploring identity and memory, Sam Vernon creates fictional characters that symbolize parts of her culture while blending aspects of neo-futurism with stereotypes, images, spirits and ghosts. Her work takes the form of drawing, painting, installation, photography and printmaking to pay homage to the past, while addressing questions of postcoloniality, racialization, sexuality and historical memory. Her work reminds us that our ghosts and past histories always remain with us and at times are unsettling and challenge us to remember.

The exhibition is on view from May 4th to May 27th 2012. The opening reception will feature a performance by Marni Kotak. In conjunction with the exhibition, on Sunday, May 20th, there will be an event on deportation titled Retracing I.C.E., organized by artist Camilo Godoy. On Sunday, May 27th, there will be a salon organized by Ted Kerr and Kris Nuzzi titled I am not alone in this way, featuring live performances that invite viewers to consider how our most intimate ways of being—striving and surviving, often in a hostile world—can be viewed as responsible for positive social change.

Kris Nuzzi is a Brooklyn based independent curator and currently works as an art advisor. She received her BA in art history from Pratt Institute in Brooklyn and her MA in the art market from the Fashion Institute of Technology in New York, where her focus was site-specific installation art. She is the 2011-2012 recipient of the Lori Ledis Curatorial Fellowship, where she had the opportunity to curate the exhibition Figured as well as organize the public program Embody at the BRIC Rotunda Gallery. She is a former intern and continued supporter and volunteer for Visual AIDS, using art to fight AIDS through initiating dialogue and supporting HIV+ artists to remind us that AIDS is not over.




From Life

April 6- 28, 2012

Opening Reception: Friday, April 6, 6-9pm

Curated by Zoe Pettijohn Schade and Christopher Schade

Andras Borocz, Marc Connor, Alec Dartley, Anna Ehrsam, Douglas Goldberg, Nancy Goldring, Everest Hall, Colin Hunt, Joshua Marsh, Israel Martinez, Zoe Pettijohn Schade, Christopher Schade, and Dan Sutherland.

Radiator Gallery is pleased to present From Life, a group exhibition on view from April 6- 28. The exhibition is guest curated by artists Zoe Pettijohn Schade and Christopher Schade and features works on paper, paintings, sculpture, and sound art from thirteen artists from Hungary, Mexico and the United States.

The curatorial theme of the show centers around the idea that contrary to nostalgic associations, the most compelling aspect of working from observation is that by definition one is engaging in the immediate present. The artists in the exhibition examine the complications of perception through the act of observation. These investigations do not necessarily result in realism. Instead, the work in the show is a testament to a range of interests and responses.

Several of the artists construct elaborate models that serve as experimental foundations for their work. Colin Hunt, Joshua Marsh, and Zoe Pettijohn Schade observe the strange and counter intuitive phenomena of light and space acting upon their perception. Nancy Goldring and Dan Sutherland take the specific visual cues embedded in what they are seeing and use it as a basis for abstraction. The resulting work lies in the realm between recognition of concrete reality and the ethers of the mind.

Marc Connor, Alec Dartley and Christopher Schade share this approach to abstraction and observation through landscape. Contrary to the controlled atmosphere of the studio, these artists immerse themselves in their subject and extract visual ideas from a sea of information.

The psychological and cultural associations of the observed subject are vital to the works of Andras Borocz, Anna Ehrsam, Douglas Goldberg, Everest Hall, and Israel Martinez. Each of these artists seeks to amplify the content implicit in the objects observed through the direct sampling, isolation, repetition and the intensity of their depiction. All of the artists in the exhibition use the limitations of the present material world as a means to gain insight.





A project of Radiator Gallery, NY and bäckerstrasse4, Vienna

Nov. 23. 2013 – Jan. 12. 2014

Opening reception: November 22, 2013, 6-9 pm

Artists: Rasmus Albertsen, Adam Frelin, Mathias Kessler, Olaf Osten, Judith Saupper, Raphaele Shirley, Borjana Ventzislavova Curator: Boris Kostadinov

Mind the Gap is a long-term project that promotes dialogue among artists working in the United States and Austria. It includes discussions, artists’ talks and two group exhibitions: in New York (2013) and in Vienna (2014).

Mind the Gap speculates on the idea that our time could be described as “technological Middle Ages”––a dystopian metaphor for swift technological advancement concurrent with the rise of disadvantaged communities and compromised societies; a condition of scientific progress occurring during crises of collapsing financial and outdated capitalist systems; an era which bases its mythology on technological products that do not provide any alternatives for reforms of anachronistic public models.

Mind the Gap also reflects upon social linguistics. Its basis is a “translation” of the sophisticated language of innovations into mass language, just as in the Middle Ages complicated religious postulates were translated into the language of the illiterate peasants through visual arts.

Finaly the project examines a great paradox recalling a classic dichotomy from ancient times: nature versus culture. An advanced technological society is impossible without natural resources, and constantly strives to fix its broken relationship with nature by offering artificial “natural products” to the consumer. The purpose of Mind the Gap is to examine the ways we perceive ourselves in the current technological, political and cultural landscape. The exhibition presents artists’ reflections that move between a personal approach and overarching metaphors, between the romantic idea of progress and visions of dystopia.

Such dystopia can be seen in the video Hrami by Rasmus Albetsen, who works with visual clichés harkening back to classic black and white cinema. Tension and a sense of mysterious conspiracy, secret phone calls and complicated relationships between the characters abound in the artist’s Hitchcock-like approach. However the mysterious building, the demand for logic in an illogical space and the perverse lust for unauthorized experiment in an environment where evil is master, are reminiscent of David Lynch.

In another video, Terranauts by Adam Frelin, a teenage couple finds and uses a discarded box as a means of exploring their own earthly habitat of Los Angeles. With text printed on it, the box appears as if it once contained parts for NASA’s Kepler Mission (a satellite searching for inhabitable planets). The piece’s new way of framing reality refers to the history of architecture––many Japanese gardens areonly meant to be viewed through a building that acts as a framing device.

Hidden Agendas is a site-specific piece by Mathias Kessler designed specially for Radiator Gallery. The artistʼs idea is to bring the place of energy production back into the realm of domesticity, to suggest that the urban environment today is the place of consumption. Cities are not a point of production anymore, but are rather sites where energy and products are being consumed. Kesslerʼs second piece in the show, Das Eismeer. Die gescheiterte Hoffnung, is inspired by a painting by Caspar David Friedrich. The 3D replica is placed in the freezer compartment of a refrigerator unit which is also stocked with beer. Das Eismeer provides a humorous comment on the global problem of deglaciating polar ice caps.

The work by Olaf Osten, Pendeln 090 (Pendulums 090) monumentalizes various casual and intimate moments, which he has recorded in a notebook, and reflects on the phenomenon of change of physical space in a digital environment. It further asks questions such as: What is the sense of time and space for two people residing on different continents when communicating through the internet? What would happen if they had to meet physically? Despite their desire they would fully embrace technology, by the very use of an aircraft for their actual meeting.

Similar to maps, plans, and atlases, which try to make elusive topics clear by squeezing them into a measurable scale, the series Socialatlas by Judith Saupper attempts to counter human fears with the help of a “technical plan.” Another work by the same artist, Oh, Sweet Suburbia … is an object that represents an altered layout of a typical village or suburban neighborhood. The piece comments on the modern cityʼs vertical structures that have replaced the traditional horizontal ones, thus changing the meanings of “personal” and “private” and exemplifying current political and economic hierarchies.

E-inTime2 by Raphaele Shirley is a sound and light sculpture which occupies the space between past, present and future, and between the realms of nature and science. The sounds are based on philosophical and religious texts collected from around the globe and in different times: modern time discoveries, science fiction excerpts from films, literature and contemporary news. Shirleyʼs second work in the show is an ironic game with the history of technology. A vintage projector is awkardly invested with today’s technology – an mp3 player and a video projector, in an attempt to reactivate the old machine.

In the landscapes by Borjana Ventzislavova nature is transformed into a symbol––powerful and impressive without further details. Depicting nostalgic deserts with a lack of human presence, We Are Nowhere and Itʼs Now and Itʼs Just Me in There and I Am Naked bring associations of cataclysm and catastrophe. Neon signs that have, absurdly, remained lit are the only remaining artifacts, replete with obscure and desperate content. Finally, in her installation Help, the artist materializes the desert and sounds a clear and unequivocal call for help.

Special Event, November 24 (Sunday), 11:30 AM / Artists’ Talk // Moderator: Boris Kostadinov. Special guests: Tamas Veszi (Radiator Gallery), Silvie Aigner (bäckerstrasse4).

The exhibition is supported by the Austrian Cultural Forum New York and Bundesministerium für Unterricht, Kunst and Kultur, Austria




Heat Chaos Resistance – It’s Time To Live In The Scattered Sun

October 25 – November 15, 2013

Opening Reception Friday Oct 25, 6 – 9 pm / Closing Reception Friday Nov 15, 6 – 9 pm

Maximus Clarke, Peggy Cyphers, Stefan Eins, Alyssa E. Fanning, Nancy Goldring, Alexander Heir, Nick Kline, Mike McLean, Gary Petersen, James Siena, Michael Taussig, Lisa Walker

Curated by Alyssa E. Fanning

Radiator Gallery is pleased to present Heat Chaos Resistance – It’s Time To Live In The Scattered Sun, a sociopolitically-conscious print and drawing exhibition displaying the work of twelve contemporary artists. The exhibition features examples of both process: artist maquettes that serve as a ‘stage’ for photography; watercolor drawings that work in conjunction with text as part of ethnographic studies taking ultimate shape in books; graphite and gouache drawings inspired by the graphic clarity of the print; and product: anti-war digital prints and posters; monoprints that envision a brief meeting with cosmological time; screen prints that explore a reconciliation between the spirit and physical worlds; etchings that offer abstract accounts of the human condition; pigment prints that find inspiration from news photographs of people in disastrous situations; and zines documenting a generation’s battle with the War on Terror.

Heat Chaos Resistance – It’s Time To Live In The Scattered Sun (the latter half of the title is from the Doors’ “Waiting For The Sun”) was conceived in the spring and summer of 2013, a period that witnessed a burst of political activity, from the announcement that levels of heattrapping carbon dioxide were at an all time high, to explosions of protest in Gaza, Turkey, to the global “March Against Monsanto”, to widespread protest in Brazil, to the leaking of U.S. and U.K. government surveillance and classified files, to bloody revolts in Egypt and Syria, and to the looming threat of U.S. military action in Syria. The heat of the warm months represented an incubator for activism as one event after another boiled over between May and October.

Heat Chaos Resistance examines the print, a medium with a history of sociopolitical content and context – from Kathe Kollwitz’s poignant prints depicting the tragedy of war in the early 20th century, to the direct action posters of ACT UP in the later 20th century – its potential to reflect the injustice and perils of the world around us today; to translate our state of despair into visible forms of protest and empowerment, to spread awareness, and to reflect, teach and heal.

Alyssa E. Fanning is an artist, writer and curator. She received her BFA from Pratt Institute in Brooklyn, New York in 2008 and her MFA from Montclair State University in Montclair, New Jersey in 2012. Fanning has exhibited across the United States at spaces including White Box and ABC No Rio, New York, NY; Mortville, Chicago, IL; the University of South Florida, Tampa, FL; and the Arts at Marks Garage, Honolulu, HI, among others. Fanning has curated with the Manhattan based curatorial collective, BROADTHINKING, and independently. In 2012 Fanning self-published her own monograph Disaster Off the Hackensack. Fanning has been involved in social activism since 2001 when she joined Bergen Action Network, Bergen County, NJ, a grassroots activist organization dedicated to fighting government and environmental injustices.



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The Left Over Method

Sept 6th – Oct 13th, 2013

Opening Friday, Sept 6th 2013 6 – 9PM

Curated by Marion Daniel

Artists: Chloé Dugit-Gros, Morgane Fourey, Benjamin Hochart, Florentine & Alexandre Lamarche-Ovize, Marion Robin, Aurélie Sement, Olivier Soulerin.

La Couleuvre (Saint-Ouen, 93, France) and Radiator Gallery (New York, United States) are two independent contemporary art spaces that organize an exchange. Two exhibition projects are being presented in New York (September 6th, 2013) and in Saint-Ouen, (September 20th, 2013): The Left Over Method, i.e. the «remains method» or what to bring with you? What do you move when change your location? How the practice transforms, adapts, changes radically – or not?

The concept:

An exhibition of young artists living in France will take place in New York. In conjunction, an exhibition of Radiator Gallery artists living in New York will be held in Saint-Ouen, near Paris. The goal of the endeavor is not to repeat the Paris show in New York or vice-versa, but to examine what it means today in an environment of globalization and virtuality to move from one place to another. What does it mean to move the location of the workshop, to move the place of one’s practice?

The questions asked each time are: How does your work change when it changes location? What is most important for you in the move? Is it a necessity? What does the move change in your art practice?

What do we keep?

A series of further questions was asked of the two groups of artists: What work do you choose to show when transportation conditions are minimal? How do you intend to show this work? How do you adapt it to the new situation? How does this work communicate the place, and the moving from one point to another?

Presentation of the artists from Paris in New York

Chloé Dugit-Gros (born in 1981) is a sculptor as well as a drawer and a video artist who is developing a video work that moves shapes and objects in front of the camera to create a kind of ephemeral sculptures always moving. She will present two of her latest video creations.

Morgane Fourey (born 1984) plays on the ambiguity between the object and its image and working on the issue of scam and truth – false items. In this recent work , she has worked on everything that makes the perks of art : Packing and particles, wedging plaster or marble cardboard, plasterboard , painted plaster. She will propose a specific project to Radiator Gallery.

Benjamin Hochart (born in 1982) is working with different media such as drawing, sculpture and painting. He invented a method of drawing based on a musical approach (Dodecaphonies, Noise drawings, etc.). He is also working with choreographs. He will be showing some editions directly connected with his work processes.

Florentine & Alexandre Lamarche-Ovize (born in 1978 and 1980) are a couple of artists adopting a singular language where plastic research mixes painting, sculpture, drawing and photography. They will be showing a graphic “diary” which took form in their studio near Paris and will exist as a different piece in the space of Radiator Gallery.

Marion Robin (born 1981) is developing a pictorial work that takes shape based on poetics of places. She is interested in the details of the architecture that she amplifies, remakes and diverts. She will intervene directly in the space at Radiator Gallery.

Aurélie Sement (born 1982): is a video artist. Her films are about architecture, worksites, gestures of people working, etc. She is working on spaces being created. “Poussière” (Dust) proposes a poetical approach of an intermediate location, where we don’t know exactly what is seen and unseen.

Olivier Soulerin (born in 1973) operates his practice by producing paintings, sculptures, drawings and videos. His abstract vocabulary is based on a very accurate observation of reality. He will propose drawings and a wall painting in connection with the space of Radiator Gallery.

The places:

La Couleuvre i n Saint-Ouen is a collective of artists ( Frédérique Lucien, Philippe Richard, Pierre Mabille, Olivier Soulerin) and theorist (Marion Daniel), which organizes four exhibitions per year: an exchange with another organization in France or abroad , a carte blanche to a curator or artist-curator and a group exhibition made by one of the members.

La Couleuvre also has a library, subjective library, which hosts each projects works on paper or multiples and is also a white card to publishers (young Lefthand editions, for example). La Couleuvre organizes cinema screenings between exhibitions , two of the members being actresses (Elina Löwensohn, Romanian-born French-American) and a director (Bertrand Mandico).

Radiator Gallery is a venue in Long Island City that is run by artist Tamas Veszi. The gallery provides local and international curators and artist-curators an opportunity to work within a multi-disciplinary setting. Radiator recently partnered with the Embassy of Israel to exhibit a project by the artist Guy Goldstein and collaborated with Art Market Budapest to present works by Hungarian photographers. For each project, the gallery organizes numerous special events, readings and discussions.


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A cage went in search of a bird

Radiator Arts, May 10th – June 19th 2013

Opening Reception: May 10th 6-9 pm

Franz Kafka, Eve Bailey, Rachel Bernstein, Ryan V Brennan, Diana Heise, Roxanne Jackson, Coralina Meyer, Sono Osato, Malingering Uvula (Camilla Ha and Michael Merck) Gabriela Vainsencher. Curated by Sarah Walko.

The exhibition “The City of K. Franz Kafka and Prague” permanently on display at the Kafka Museum was the impetus for this exhibition. Kafka’s relationship with cities through his surreal lens coupled with his imagination and during the context of his time brought the simultaneous nightmare/dreamscape of the budding technological age into the realm of the real in his stories, projecting super psyches onto our cities.

The artists in this exhibition are all exploring the surreal space of our time now. Large cultural and philosophical shifts due to massive environmental and economic challenges and the level of technology we are reaching and working with daily is all ushering in new branches of consciousness and new approaches to how we live. The artists, like Kafka did, address our current cosmic predicament in various ways; our relationship with nature, our relationship to self within today’s technological tools, and with objects of alchemical/shamanic ritual and ceremony. They are writing out the dreamscapes of our now and a vision of the future that lacks the pasts’ patriarchal aesthetic and imagines the opening up of a future with more feminine traits, including acts of reclamation and the healing of our past and ourselves within our cities.

About the curator:

Sarah Walko is a multimedia artist and writer. She is currently the executive director of Triangle Arts Association. El Cadaver Exquisito, a feature length experimental documentary collaboration film she created with with director Victor Ruano and Rossemberg Rivas, is currently in festival circuits and her second film Lux/Nox with collaborator Malado Baldwin is in post production. Her fiction and non fiction essays have been published by While Whale Review Literary Journal and Hyperallergic Art Blog where she is a regular contributing writer. Her visual artwork has been published by The Dirty Goat, Redivider, Blood Lotus, Apple Valley Review, 2 River, A Capella Zoo, Awosting Alchemy, 5×5 Literary Magazine, Bathhouse, Cincinnati Review and Host Publications. Her recent exhibitions include Preternatural at the Museum of Nature, a science museum in Canada, Codex Dynamic in New York and Wonder Cabinet at Flux Factory in New York. She has participated in many artists residency programs including one currently at the Elizabeth Foundation in New York and she is working on new sculpture/installations, film and a novel.




Let’s Face It



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So Real