The table is a microcosm of infrastructure. A long table implies hierarchy. There’s a head of the table, an illustration of patriarchy. Service starts and ends at a place. For artists, GeoVanna Gonzalez and Najja Moon, designing a group of objects that reject this place setting means every decision is imagined as an equal opportunity access point. Motivated by Naima Green’s Pur·suit deck which features photographs of queer womxn, trans, non-binary, and gender-nonconforming people, Gonzalez and Moon approach this project considering the complexity of
function as they challenge how an object can be absolved of expectations attached to gender. During Miami Art Week, Supplement Projects will host a spades tournament where Green’s cards will be accompanied with excessive amounts of shit talking at a table designed by Gonzalez and Moon. In the spirit of all the great, queer, magical, blackness that is this place setting, the art journal, ARTS.BLACK is supporting this project as a collaborator, and celebrating their 5 year anniversary.
ARTS.BLACK is a journal of art criticism from Black perspectives predicated on the belief that art criticism should be an accessible dialogue – a tool through which we question, celebrate, and talk back to the global world of contemporary art. The journal is edited by Taylor Renee and Jessica Lynne.
is one of twelve satellite events initiated by Tlaxcala 3 (Mexico City) and the Institute of Endotic Research (Berlin) critically engaging with the 30th anniversary since the fall of the Berlin Wall. Comprised of a film screening, a round table discussion, a listening station, and a documentary exercise in recipe recreation, the Miami edition hosted by Supplement Projects, will focus on the ways in which ideas of "progress" evolve, de-evolve, and change over time. This one day encounter invites participants to consider a “wall” as more than a physical or historical marker, but instead as a departure point to examine before and afters, insides and outsides, and ultimately the way in which ideas of progress are formed, clash, or are propelled forward and upward by power and hegemonic structures.
ORGANIZED BY:
GeoVanna Gonzalez & Natalia Zuluaga
Program
3pm
“Vaya a casa e infórmese sobre Bolivia” a film screening with Frita's Autonomous Department
4pm
Documentary exercise in recipe reproduction from “Con Nuestros Propios Esfuerzos” and “El Libro de la Familia” with Ernesto Oroza
4:30pm
Group discussion led by Stephanie Wakefield on “Inhabiting the Anthropocene Back Loop”
5pm
"AABBCCDV" (2012), 12” record by Erik Smith. Listening session with Radical Archives
Program Downloads
Con Nuestros Propios Esfuerzos
Inhabiting the Anthropocene back loop
by Stephanie Wakefield.
is a group show comprised of artists who use visual language dominant in the digital realm to engage questions of e-identity formation, and social interactions that play out in our imaginations--despite the absence of a physical presence.
The exhibition considers the internet as a place not void of strategic categorization and intervention. In Will Fredo’s short film TRAMA, he chronicles his own family history. He fuses pivotal scenes from telenovelas and viral moments within social media. He also includes news coverage of tragic events in Guatemalan history like the Indigenous occupation and subsequent burning of the Spanish embassy in 1980. Fredo’s interpretation borders the ironic in its quest to display a complex and traumatic collective history.
Part of the human condition is a waving preoccupation with our own mortality and impermanence. These artists are interested in the internet as ephemeral, and also, its capacity to provide a glimpse into how our contributions are archived and remain beyond our physical existence.
In Joiri Minaya’s process for #dominicanwomengooglesearch she cuts out images from a google search for “Dominican women.” She collages body parts with a cliche’ tropical print resulting in a critique of the tropical imagination and sexualization of Caribbean womxn as exotic, seductive, and consenting without exception. This juxtaposition engages questions of conditioned desire and highlights the tension between our ability to manipulate an algorithm insistent on classifying our online behavior, and the unfolding of our own understanding of shared culture, identity, and gender norms.
In [Unsubscribe] the internet serves as a source shaped by many communities, human and non-human, to present complex perspectives on heteronormativity, economic sense, social engagement, and identity. While we welcome the internet’s limitlessness potential, we insist on remaining critical of its use, dissemination of information, and perception as neutral turf
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Curated by: GeoVanna Gonzalez and Naiomy Guerrero.
Header photo credit: Stefan Hagen.
is an exhibition hosted in a shared home and backyard. This domestic, private space is used as a lens through which the intricacies of identity, memory, and tradition can be explored. The exhibition seeks to export and amplify messages communicated by our bodies and how they relate to the gaps and rooms in our domestic spaces.
A fundamental shift in how we live together and apart from each other is taking place. Multigenerational and communal households are increasing rapidly, as are one-parent families. More of us are choosing to live alone, but we still inhabit the same architecture as we shape our identities, grow into our bodies. We continue to sit around the same kitchen table as we share the stories of our days.
Households are haunted by old conventions that don’t serve our current needs. The discord between our nature to lean into the traditional and our newfound desire to act on what feels liberating or contemporary is often translated through tension and distress.
As participating artist Mahogany L. Browne writers, “There is risk in the reveal. The domestic space, the space where we prepare to perform our public selves, the space where we retreat, to recharge, to revitalize our spirits for yet another go around with this thing called life. This space, the domestic space is the backstage of life.”
During Miami Art Week, Supplement Projects launched its ‘soft opening’. The ‘Rest Stops’, offered coffee and tea while organizations, artists, curators and others presented, shared work, or just took part in conversations; it offered a time to connect with others in a very human and personal way, in a space that felt far
Supplement Projects is a communal home and a studio, alternative art space & community meeting point. The project explores ideas of domesticity with the urban landscape. As a place of comfort, communication, gathering and rest, it offers a provocative alternative to the often commercialized, hyperreal spaces of art galleries and institutions.
