Jun
27
to Aug 1

La Basurita

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La Basurita
Mariposa Divina
June 27th - August 1st, 2025

Opening Reception: Friday, June 27th, 7-10pm

A fable / crónicá:

My only childhood memory is my mother whispering in my ear, “Little basurita, one day you will die.” It turned me on. For the first time, I realized my godlike power.The secret name was revealed, and after wailing and a loud gasp, I could feel massive butterfly wings sprouting through my shoulder blades. I flew past my own desert grave, then reincarnated as MARIPOSA DIVINA, a transexual in a windy city far from home. My new life was no paradise, but I made friends with the serpent women, and we made a protective pact to watch each others’ backs and crochet our broken hearts together. 

[Mariposa’s poem of El Espejo:The Mirror, from when I was nine] Dec, 30, 2005

Con el espejo veo mi rostro

Y el espejo me cuida, no otro

Con el yo voy a estar

Y alli me voy a quedar

Con el veo cosas maravillosas

Fantasía, logros , y mariposas

Preparare mi veliz 

Para ir con él y ser feliz

Mi espejo se llama miguel

Y no me separare de el 


In the mirror I see my face

Only the mirror takes care of me, no one else

I will be with him 

And that's where I’ll stay 

With him I see wonderful things

Fantasies, realisations, and butterflies

I’ve prepared my suitcase 

To go with him and be happy 

My mirror’s name is Miguel 

And I will never separate from him 


La Basurita  is a tender, hopeful tragedy in three nonlinear acts, populated by glazed ceramic stransculptures and fabricated metal shapes wrapping around the landscapes of Co-Prosperity’s window exhibition spaces. The acts, in no particular order, and without giving away which window maqueta maps onto our many secret names, are as follows:  

ACT !  [ Pleasuregarden / Sueño con Serpientes ] 

Genderfluid fashion and giddy get-ups! Butterflies frolicking in the light of golden hour! When I close my eyes and the sun swirls on my lids, this is the dissociative parable of paradise I see. Here in the pleasuregarden I can play and flirt with the earth to my ass’s content. Writhing in pleasure, I multiply and bloom a thousand little deaths. 

Act ? [Darkness / Rot / Transformation ] 

I face my death over and over, then cross to the other side. Memento mori is ancient medicine.

 I lean into the mirror and take a selfie with my dark shadow selves. 

ACT </3 [ Exceptional Friendships / Creating stars ] 

Resting in my friends’ arms: is this where home is?. Even if it’s ephemeral I can trust we will find each other again in our memories, dreams, and promises. 

Visual reference points / inspiration: 

Niki de Saint Phalle’s Queen Califia’s Magic Circle in California, Ana Teresa Fernandez’s border performance art in heels, Javier Tellez’s human cannonball, Helio Oiticica’s Parangolés,  Asco’s walking murals, Ana Mendieta’s facial hair transplant performances, Adrian Piper’s Mything Being, Sofia Moreno’s trash gender art with needles, heels and snakes, Gloria Anzaldúa’s Sueño Con Serpientes chapter in Borderlands. 

Keywords:

Archetypes, matrilineal, faerie, frolicking, paradisepleasuregardens, trash/asco, turning windows into mirrors, inner child, world-making, fables, snake women, healing, rest, composure, holding self, dissociation, imagining, nonbinary faggotry and friends, sensual play, maquetas, disposability, fashion. 

View Event →
Jun
27
to Aug 1

Numbers Game

Photo Credits: Sandra Oviedo

Numbers Game
Britt Ransom
June 27th - August 1st, 2025

Opening Reception: Friday, June 27th, 7:00pm - 10:00pm

Numbers Game is an exhibition by Britt Ransom, the great-great-granddaughter of Reverdy C. Ransom and Emma Ransom, that traces the inheritance of spiritual leadership, social service, and civil resistance. Through sculpture, digital fabrication, archival media, and interactive optics, this exhibition excavates the layered history of Reverdy C. Ransom’s civil rights work in Chicago during the Progressive Era and connects it to present-day movements for racial and economic justice.

At the center of this exhibition is the story of Ransom’s founding of the Institutional Church and Social Settlement in 1896, located at 3825 Dearborn Street on Chicago’s South Side, a building that no longer exists. More than a place of worship, the church was a pioneering social experiment: one of the first Black-led religious institutions to integrate faith, education, physical health, community organizing, and social services under one roof. It included a kindergarten, nursery, gymnasium, library, and clubs for boys and girls, all aimed at serving the growing Black population migrating to Chicago during the early waves of the Great Migration. The Institutional Church stood as a vital response to the influx of Black Southerners seeking safety and opportunity in a city that was often just as segregated and economically punishing as the Jim Crow South they had fled.

Ransom was not alone in this endeavor. He forged strategic and lasting alliances with some of Chicago’s most prominent Progressive reformers, including Jane Addams, Clarence Darrow, Dr. Frank W. Gunsaulus, and Bishop Samuel Fallows. These figures recognized in Ransom a peer—a leader whose theology was grounded in action, whose sermons catalyzed reform, and whose gathering space offered tangible services to the city’s most vulnerable. Jane Addams, the founder of Hull House, played a particularly significant role. She understood the risk Ransom was taking and the urgency of his mission. Shortly after the purchase of the old "Railroad Chapel" building that would become the Institutional Church, Addams helped secure its first external donation. Through her network, a check was sent from a philanthropist in California—marking the beginning of what would become a network of white and Black supporters committed to the settlement’s mission.

Addams’s support was not symbolic—it was strategic. She publicly endorsed the work of Ransom's settlement, visited regularly, and included it in broader coalitions of Progressive reform across the city. Alongside her were Rev. Graham Taylor of Chicago Commons, Mary McDowell of the University of Chicago Settlement, and Clarence Darrow, the famous criminal defense attorney. Darrow notably worked with Ransom during the 1902 Chicago Stockyards strike, helping to mediate racial tensions between Black strikebreakers and white union laborers. Ransom, risking personal harm, walked into the yards himself to convince the strikers that Black laborers were not their enemy, but fellow workers caught in an exploitative system. He then invited both Black and white laborers to his church for an unprecedented public forum, where dialogue—not violence—prevailed.

Despite these successes, Ransom’s greatest challenge—and his most dangerous act of resistance—came in the form of his public campaign against policy gambling, an underground lottery system that was thriving in the community during this time. Once he realized that his sermons were being used by congregation members to choose numbers for the game, Ransom spoke out in opposition. His campaign to expose those who were profiting from the game which ultimately led to a personal encounter with Policy Sam. In 1903, his church was bombed with the intent to kill him. Ransom survived, as did the settlement, though badly damaged. 

Photo Credits: Melissa Tran

In this exhibition, Ransom’s work is represented through a symbolic vocabulary drawn from the Aunt Sally’s Policy Players Dream Book. In the dream-language of policy gambling—objects like the bell, book, key, train, ladder, lamp, and brick house, had coded meanings and specific numbers assigned to them within the game- players would then use these numbers to place their bets. Recontextualized here, they become metaphors of Ransom’s resistance: the bell sounding a warning, the book and lamp reflecting his intellectual and spiritual light, the key signifying access and transformation, the train representing migration and mobility, the ladder echoing his vision of racial uplift, and the brick house as both church and fortress. 

The 3D printed reimagined policy game objects—symbols of exploitation and coded hope—face black obsidian mirrors creates a space for reflection, divination, and reorientation. Traditionally used in spiritual practices for scrying and ancestral communication, obsidian mirrors serve as portals to the unseen, allowing one to look both backward into history and forward into possibility. Their dark, reflective surfaces suggest that knowledge is not always found in clarity, but in shadow, memory, and multiplicity. Here, the viewer is invited to confront the past not as something gone, but as a continuing presence—one that can still inform vision, intuition, and resistance. Recreated casts of policy gambling tickets appear throughout the exhibition, referencing original tickets that are now extremely rare; most were casually produced, used daily, and quickly discarded, making surviving examples—especially those with meaningful number sets—difficult to recover. 

Interactive teleidoscopes—optical devices that in this case, refract historical and present day images of significant sites in the Ransom story, create layered patterns. Inspired by the Ransoms’ visit to the 1893 Chicago World’s Fair, where they encountered the Yerkes Telescope, these devices invite viewers to consider how history is distorted, repeated, and reframed through personal and collective lenses. Looking through them, audiences encounter archival images from the Ransom family alongside present-day scenes from South Side Chicago and Wilberforce, Ohio.

Lenses—both scientific and spiritual—serve as tools for examining how the past remains embedded in the present. The teleidoscope, allows us to see backwards in time, while the black obsidian mirror, rooted in ancestral and divinatory practices, invites inward reflection and intuitive knowledge. Together, these optical instruments challenge the viewer to consider history not as distant or static, but as something actively refracted through personal vision and collective memory. 

Other elements in the exhibition continue threads of time-space dialogue. 3D-printed roses recall the anonymous banker who donated fresh flowers to the Institutional Church every week—roses that were then handed out in saloons, pool halls, and street corners on the Southside of Chicago, offering beauty in the midst of despair as a way to call together community. These small gestures, like Ransom’s sermons, were both radical and restorative at the time calling people to come together.

Reverdy C. Ransom’s influence extended far beyond Chicago; he was a founding member of the Niagara Movement, the early civil rights organization led by W.E.B. Du Bois. At the movement’s 1906 meeting at Harpers Ferry, Ransom delivered his now-famous speech, The Spirit of John Brown, invoking the legacy of the abolitionist to call for moral courage, direct action, and racial justice. This powerful address positioned Ransom as a leading voice of prophetic resistance, linking the Black freedom struggle to broader histories of radical abolition. His work with Du Bois and the Niagara Movement helped lay the intellectual and organizational groundwork for the NAACP, cementing his national significance as both a preacher and civil rights pioneer.

Numbers Game also includes digitally fabricated architectural elements 3D Scanned and recreated from the Tawawa Chimney Corner House—Ransom’s family home in Wilberforce, Ohio, now being restored by the Bishop Reverdy C. and Emma S. Ransom Foundation. This structure grounds the exhibition in a spatial legacy of sanctuary, history, and forward vision, connecting the South Side of Chicago to one of the earliest centers of Black education in the United States.

Numbers Game also includes a selection of historical books that deepen the archival and narrative context of the work. These include an original Aunt Sally’s Policy Player’s Dream Book, published on Dearborn Street and used to interpret dreams into lottery numbers; The Pilgrimage of Harriet Ransom’s Son, an autobiographical text written by Reverdy C. Ransom himself; foundational histories of the AME Church; and an original souvenir book from the 1893 World’s Fair, where the Ransoms first encountered the Yerkes Telescope. Together, these texts anchor the sculptural and symbolic elements of the exhibition in lived, documented experience.

Through these varied components—sculpture, interactive media, archival documents, and metaphor—the exhibition frames Reverdy C. Ransom not only as a prominent bishop, but as a builder of moral infrastructure, someone who understood that justice required more than belief—it required buildings, coalitions, and the willingness to stand in the fire. Numbers Game insists that the past is not behind us. It is beneath our feet and reflected in our eyes—refracted, living, and unfinished.


Artist Bio:

Britt Ransom is an artist whose practice probes the lines between human, animal, and environmental relationships through sculpture and installations that are made using digital fabrication processes. Ransom’s work is systematic both in construction and in concept, often a direct reflection of observed microcosms found at the surface of our feet, developed in the web of a digital mesh, and made to explore the braided entanglements between ourselves and the other species of plants and animals with whom we share space.

Ransom is the recipient of the Heinz Endowment Creative Development award, Joan Mitchell Center Residency, Los Angeles Clean Tech Incubator (LACI) Residency, and the ZERO1 American Arts Incubator. Her work has been shown most recently at Louisiana State University (Baton Rouge), The Ogden Museum of Southern Art (New Orleans), Contemporary Art Center (New Orleans) Ohr-O’Keefe Museum (Biloxi), Honor Fraser (Los Angeles), Royale Projects (Los Angeles), and Schering Stiftung (Transmediale, Berlin).

Her writing has been published in Antennae (2024), In and Out of View: Art and the Dynamics of Circulation, Suppression, and Censorship (2021), Leonardo Journal published by MIT Press (2019), The 3D Additivist Cookbook (2016), and The Routledge Handbook on Biology in Art, Architecture, and Design, Routledge Press Essay (2016).

Ransom was the SIGGRAPH Studio and Art Gallery Chairs in 2017 and 2019. She currently serves on the Board of Directors for the Emma S. and Reverdy C. Ransom Foundation and Freedom to Grow Legacy Center in New Orleans. She received her BFA from The Ohio State University in Art and Technology (2008) and her MFA from the University of Illinois at Chicago in Electronic Visualization / New Media (2011).

Photo Credits: Melissa Tran

View Event →
Jul
17
to Jul 27

Subversion Summer Camp: SCHEDULEx

subVersion Summer Camp is a Do-It-Together series of gatherings and calls to action!  MOST PROGRAMS EVENTS and MEALS are FREE TO THE PUBLIC. To help fund the camp you can donate and become a Camper and pin for $25, or become a Parent of a Camper for $100. ( or make yer donation at Co-Prosperity)

We have invited artists, educators, musicians, filmmakers, activists, designers, and workers of all stripes to converge in Chicago this summer to help us make posters, music, t-shirts and merit badges while we make friends, comrades, and plans. Let’s make camp.

Join us in Bridgeport, the Community of the Future (and beyond), for ten days of camaraderie, fun and resistance to the spread of fascist culture. subVersion Summer Camp will foster collective re-education through public conversations, workshops, classes and happenings. We’ll present a broad range of creative forms of protest, and participants will be able to choose their own solidarity adventure… kickball or tag, puppets or banners, ballots or stink bombs? Schedule is below.

THURSDAY, JULY 17TH

Printervention:Exhibition - 6:00PM - 10:00 pm

@ Research House for Asian Art • 3217 S. Morgan St

subVersion Summer Camp will open with a selection of prints and posters exhibited in the gallery where most of our Art Building will take place. Most of the works on display ones printed by Public Media Institute and Lumpen Magazine over the past few decades. Some are ones we have collected over the years and many are ones created for Summer Camp. Come make or share your own.

We will be freely distributing stickers, zines and prints we have made for Summer Camp. You can stop by and pick some up to display in your neighborhood or street corner.

Meet the Lost Boys - 6:00 - 7:00 PM

Hosted by: Lizzy May

@ Co-Prosperity • 3219 S Morgan St

A performance & a spell: come meet the lost boys and devise a ritual for community, resistance, magic, and mischief. Neverland is an unpoliced world: a space where chosen family and the spirit of the dance floor are guides. We invite you to witness a scene from our queer rewrite of Peter Pan. After the scene, we will guide you to join in spell‑casting, moving with us to weave a ritual of connection and queer magic. 

Hand Coloring LED LIGHTS: A Workshop for a New Muralism - 6:00 - 7:15 PM

@ Research House for Asian Art • 3217 S. Morgan St

This workshop experiments with hand coloring / hand tinting ubiquitous LED storefront lights in service of a new CoProsperity initiative--a community wheatpaste wall (10x30') on the south wall of the building.  Workshop attendees will experiment handpainting LED lights to be permanently installed as a new 'diy frame' around this community wall.  

Easy Peasy Papier - Mache 101 for Adults - 6:00 - 9:00 PM

Hosted by: Jen Grant

@ 1048 w 37th st. Unit 102 ( Trash Castle Studio, in the Bubbly Dynamics building )

Think outside the piñata! Let's start at the very beginning to learn, collaborate, and experiment with the cheap and cheerful art of papier-mâché. Meet us at Trash Castle for an introduction to the basic tools and techniques pretty much anyone can use to take an idea and turn it into an object.

The Box - Social Exploration through Community Devising - 7:00 - 10:00PM

Hosted by: Kevin Aoussou

@ Co-Prosperity • 3219 S Morgan St

This is a workshop to explore our responses to the current moment, inviting artists of all mediums to be in creative exploration.  If you are a physical or visual performer, please join us for a community conversation, followed by a community creative jam session!

Squiggle Build - 8:00 - 10:00 PM

Hosted by: ¡Anímate! Studio

@ Research House for Asian Art • 3217 S. Morgan St

Play, dream, and collaborate to transform familiar materials into imaginative landscapes. Throughout the event, help create (and re-create!) a one-of-a-kind experimental creation—out of pool noodles! Together we can build new spaces and imagine new possibilities.


FRIDAY JULY 18TH

Hand Coloring LED LIGHTS: A Workshop for a new Muralism continued - 12:00 - 5:00 PM

@ Research House for Asian Art • 3217 S. Morgan St

Workshop attendees will continue handpainting LED lights to be permanently installed as a new 'diy frame' around this community wall.

Mending is Power - 6:00 - 8:00 PM

Hosted by: Parvathi Krishnan

@ Research House for Asian Art • 3217 S. Morgan St

What if the skill to repair the things we wear to death was quite literally at your finger tips? Mending our clothing is empowering. It gives the wearer the choice to extend the life of something they want to keep in their closet and out of the landfills. Learners will gain basic sewing skills like threading a needle and mending techniques like patching or parachute stitching to carry home. Instead of adding a well loved garment to a "to-mend" pile, we can tackle it together one thread at a time! RSVP HERE!

Please bring a garment you would like to mend (small holes, rips, and tears work best!)

Failure as a Doorway - 6:15 - 7:00 PM

Hosted by: Madison Mae Parker

@ Co-Prosperity • 3219 S Morgan St

Failure as a Doorway: A performance lecture on failure inspired by Jose Esteban Munoz, Hanif Abduraqqib, Caroline Polachek, and The Labyrinth.

Part performance lecture, part movement/somatic exploration of failure, and undoing our relationship to perfectionism and production, with a relocation of where our relationship to making might begin. 

The Covenant of The Dead: The Resident Evils of Race,Space, and Decay - 7:15 - 8:15 PM 

Hosted by: L Ditaway

@ Co-Prosperity • 3219 S Morgan St

A workshop that explores how an apocalypse doesn't have to look like a zombie film or an aggressive war zone but it can also look a lot like the  south side of Chicago. So how do we thrive in a disaster that isn't as recognizable? In this workshop we'll break up into three groups, XXX amount of days till, When the Asteroid Hit, and the walking dead. Where we will strategize harm prevention plans while cross examining previous natural disasters, epidemics and human conflicts. We will create a memory map of loss whether of time, inclusion, opportunities,  life, and etc  specific to our communities. In order to connect  the causes of harm so the last group can focus on world building off of our collective memory. What small, medium, and  large actions can we take to make our communities more accessible and easier to navigate? While also forming a cycle of habits that can prevent future harm from realizing.

Decentralized Knowledge and Contemporary De-Schooling - 8:30 - 9:30 PM

Hosted by: Earl Power Murphy

@ Co-Prosperity • 3219 S Morgan St

An introductory discussion into alternative ways of Learning; nurturing a collective Narrative; and shifting from Knowledge ownership towards stewardship. Thinking of ourselves as caretakers and active contributors to our shared Story.


SATURDAY JULY 19TH

Printervention: Wheatpasting - 1:00 - 3:00 PM MOving to 2-4pm due to rain

Hosted by: Marszewski

@ Research House for Asian Art • 3217 S. Morgan St
Assemble at the Research house by 3 pm • instillation moves to Co-Prosperity at 3:15pm

Learn how to wheatpaste printed posters and more onto the exterior wall of Co-Prosperity. We will be using prints from the PMI archive as well as those made during the subVersion Summer Camp.

Printervention: Neighbors United RISO Poster Build Workshop - 1:45 - 3:15 PM

Hosted by: Javier Viñuela

@ Research House for Asian Art • 3217 S. Morgan St

Neighbors United for Migrant Support is a mutual aid organization based in Hyde Park which provides free legal services for asylum seekers in their applications. This workshop will host an orientation/teach in on our services directed towards Spanish speakers to be able to conduct interview translations, and to get a network of people to accompany our community members to court, as well as a RISO poster session emphasized on ways of resistance, protest, and informative actions. Overall, this will be an opportunity to connect and build community around a paramount cause in the country nowadays.

——

Tie Dye Power - 3:00 - 6:00 PM

Hosted by: Jim Dye

@ Parking Lot across the street from Co-Prosperity

Show your colors while you are on the street. Learn how to tie dye your own shirt. There will be an short introduction on different ways to tie dye at 3:00PM. Come by during the program hours and you will be able to tie dye your own shirt. Bring a cotton shirt to the workshop or buy one of our blanks.

Protest Music: Song Writing Lab - 3:30 - 5:00 PM

Hosted by: Stacy Erenberg and members of The Nest, directed by Bridgeport Music Collective

@ Bridgeport Music Collective • 3201 S Morgan St,

Participants will use voice, percussion, pen and paper to write songs that:

* Can be used as a way to communicate tactics, strategy and important messages of hope and resistance to people in liberation struggles.

* Use lyrics and melodies of both known and newly created chants/songs to educate, inspire, and influence change in society.

Led by Stacy Erenberg and members of The Nest, an incubator for voice training, performance, and improvisation.

Disarming Police: Protest and Direct Action Tactics - 4:00 - 5:00 PM

@Co-Prosperity • 3219 S Morgan St

Disarming Police:  Practical, tactical methods for doing what you want to, with minimal interference from police.  


Summer Camp BBQ - 5:00- 6:00 PM

Parking Lot across the street from Co-Prosperity  • 3219 S Morgan St

Enjoy a subVersion Summer Camp BBQ with us.

Printervention: Silk Screen Printing - 5:00 - 7:00 pm

Hosted by: Hoofprint

@ Research House for Asian Art • 3217 S. Morgan St

Join members of Hoofprint as they pull screens on paper and apparel. Stop by during the Bar B Q and grab some fresh prints to take home with you.

Why we need American Marxism 6:00 - 7:30 PM

Hosted by: Carlos Garrido

@ Co-Prosperity • 3219 S Morgan St

For the U.S. left to succeed, it must re-centralize itself in the working masses and dispel its purity fetish outlook, replacing it with the dialectical materialist worldview - the best working tool and sharpest weapon that Marxism offers the proletariat.


SUNDAY JULY 20TH

Histories of Counterinsurgency from Latin America - 12:00 - 2:00 PM

Hosted by: Katie Zien

@ Co-Prosperity • 3219 S Morgan St

A discussion of histories of counterinsurgency, with a special focus on the Cold War in Latin America

Printervention: Protest Posters - 12:30pm - 3:30 pm

Hosted by: CHema Skandal!

@ Research House for Asian Art • 3217 S. Morgan St

A basic workshop for people interested in making posters to communicate loud ideas. Attend “PROTEST POSTERS” so you can print yours and take them home.

Registration for this event is required, sign up here!

Printervention: Wheatpasting - 12:30PM - 3:30 pm

Hosted by: Marszewski

@ Research House for Asian Art • 3217 S. Morgan St

We continue to wheat paste our Co-Prosperity Wall. We will also set up button making, money stamping and continue to silk screen paper and apparel.

Zines of Revolution: Displaced Voices and Reclaiming Home - 3:30pm - 5:00 pm

Hosted by: Maco Soto, Melanie Diaz, & Spencer Harrigan

@ Research House for Asian Art • 3217 S. Morgan St

This workshop is an immersive workshop designed to empower participants to reclaim and amplify their narratives through the radical medium of zine-making. It begins by delving into a brief subversive history of zines, highlighting their role as a DIY, anti-establishment platform for marginalized voices and counter-narratives. We will then explore examples of zines and center around addressing the theme of one’s sense of “home.” We will discuss migration, immigration, and diaspora, demonstrating how personal stories become acts of resistance and community-building against dominant, often dehumanizing, portrayals. Finally, participants will be guided through a hands-on zine creation session, encouraged to translate their own unique journeys of home, displacement, and belonging into tangible, self-published acts of revolutionary truth-telling.

Sobre las olas - 4:00PM - 6:00 PM

Hosted by: Contratiempo: Juanjose Rivas

@ Co-Prosperity • 3219 S Morgan St

El sonido es un fantasma: viaja, se filtra, transforma y se disuelve. Lo que heredamos no siempre hace ruido, pero nos atraviesa. A veces canta como una melodía olvidada en una feria. Este taller invita a les estudiantes a sumergirse en la arqueología íntima de sus propias herencias sonoras. A través de la escucha expandida, la apropiación, la escritura y la composición espontánea, construiremos un paisaje sonoro compartido compuesto de migraciones, ruidos, genealogías fracturadas y armonías inconclusas.

(SPANISH PROGRAMMING)

Register for this program by emailing talleres@contratiempo.org

Summer Camp BBQ - 6:00PM - 7:00 PM

Co-Prosperity  • 3219 S Morgan St

Enjoy a subVersion Summer Camp BBQ with us.

-

Take It Down, Build It Up: Short VIDEO WorkS - 7:00PM - 9:00 PM

@ Co-Prosperity • 3219 S Morgan St

This screening of experimental videos highlights work interpretively documenting collective action surrounding the War on Terror, George Floyd protests, Anti-Vietnam War actions, Standing Rock protests, efforts to critique and dismantle Confederate monuments, and an intervention by drag queens at a Donald Trump casino. 


MONDAY JULY 21ST

"The Artist as Leader" - 6:00PM - 8:00 PM

Hosted by: Tom Tresser

@ Co-Prosperity • 3219 S Morgan St

The Artist As Leader - Say What? It's time to take your creative chops into public life, buster. The Far Right kicked the shit out of the arts during Culture Wars 1990 - and we took it. The result: MAGA America. So, we need you to either run for local office or help someone you respect run. And to do so as a champion of the public sector, science, the rule of law, peace, equity, and creativity. Are you up for the challenge? It's just democracy and the planet on the table. No biggie.

[Power] Of the People - 6:00PM - 7:15 PM

Hosted by: Silvia González

@ Research House for Asian Art • 3217 S. Morgan St

“Ain’t no power like the power of the people…”

 What is power? What can an empowered collective build together? What can the act of play teach us about structures of power? 

During this teach-in about power and its many implications, we will be playing movement based Theater of the Oppressed games, shaping ideas, and co-creating gestures of possibility. There will be zine templates and collage materials to support visual interpretation from our collective experiences of the hour. Visual and historical models of collective autonomy will be brought in for discussion and include worker and BIPOC led journalism, artists and organizers of the past and present such as Augusto Boal, bell hooks, The Black Panther Party for Self Defense, Emory Douglas, Rebecca Solnit, Robyn Maynard, Leanne Betasamosake Simpson, Mariame Kaba and more. 

“…‘cause the power of the people don’t stop!”

Workplace Protocol Toolkit Workshop by Chicago Community and Workers’ Rights - 7:15pm - 8:15 PM

Hosted by: CCWR (Chicago Community Workers Rights)

@ Research House for Asian Art • 3217 S. Morgan St

Join CCWR for a workshop on their new 'Workplace Protocol Toolkit'—a resource to help workers and employers create clear procedures if federal, state, or local agents come to the workplace. Learn how to protect your rights, request a workplace protocol, and keep all workers safe, regardless of immigration status.


TUESDAY JULY 22ND

Building Maroon Infrastructures: Counter-territories, Counter-logistics, Survival Programs - 6:00 - 8:00 PM

Hosted by: Muindi Fanuel Muindi 

@ Co-Prosperity • 3219 S Morgan St 

This workshop explores maroon infrastructures as living, adaptive systems that resist the coercive order of Empire while creating conditions for planetary abolition. Drawing from AbdouMaliq Simone’s concept of “the surround,” we will examine how fugitivity gives rise not only to escape but to world-making—to infrastructures that hold refusal and endurance in dynamic tension.

Using the analogy of a communal meal, the workshop will unpack four interwoven dimensions of maroon life: (1) Administrative Statements as recipes for collective care; (2) Technical Implements as tools for survival, concealment, and mobility; (3) Built Environments as fugitive architectures and escape routes; and (4) Dramatic Elements as the actors and forces shaping maroon dynamics.

Participants will engage historical and contemporary examples—from the Underground Railroad and quilombos to Black Panther survival programs and diasporic counter-logistics—to explore how these infrastructures unsettle dominant systems while prefiguring alternative futures.

This is not a workshop about nostalgia or heritage, but about practice—how we prototype autonomous forms of life under conditions of constraint, through relational tactics of care, evasion, and insurgency. Together, we will trace the rhythms, tools, and spatial strategies through which maroon communities have survived, adapted, and rehearsed the impossible.

Plant life is abundant and so are you! An invitation to water your relationship with plants - 6:00 - 8:00 PM

@ Research House for Asian Art • 3217 S. Morgan St

Seed collection, plant cuttings, food, medicine, nature-based arts! Scarcity mindset is out; creating abundance through relationships with plant life is in! Before you go to the store to buy veggies, flowers, or a new houseplant, learn how you can grow your own with what you already have in your home (or in your friend/neighbor’s home). 

Take small moments to become familiar with plant relatives that surround us. When you’re ready, you can take steps to tend to and share the bounty. 

Screening of 'La montaña', 2023 - 8:00PM - 10:00 PM

Hosted by: Contratiempo

@ Co-Prosperity • 3219 S Morgan St

A film log of the maritime journey of a delegation of seven indigenous rebels from Chiapas to Europe in the midst of the pandemic. During the Atlantic crossing, the story and generational change of the EZLN (Zapatista Army of National Liberation) is narrated, based on the idea that in order to change the world we must first change the way we look at it. Squadron 4-2-1. The documentary will have English subtitles.

Queer Everyday: Collage & Talk - 8:00PM - 10:00 PM

@ Research House for Asian Art • 3217 S. Morgan St

Queer Everyday is a hands-on workshop where we share stories about queer identity, everyday life, and feeling at home (or not). We start with a talk and short freewriting, then turn words into colorful collage pages for a zine we make together. Come, chat, cut, collage!


WEDNESDAY JULY 23RD

VOZU Workshop - 5:45PM - 8:00 PM

Hosted by: Lumpen Radio: Juanjose Rivas

@ Research House for Asian Art • 3217 S. Morgan St

This is a collective-building workshop of hybrid technological instruments. It is based on the idea of planned obsolescence and tech recycling as a means of resistance. Through the assembly of an auto amplified wind instrument, we will work with recycled materials–electronical residues and obsolete components– to transform them into autonomous sonic devices.

THERE IS LIMITED AVAILABILITY TO THIS WORKSHOP. YOU MUST RSVP @ lumpenradio@publicmediainstitute.com

Zine Club at Life on Marz - 7:00 - 9:00 PM

Hosted by: Cynthia Hanifin

@ Life on Marz Community Club • 1950 N Wetern Ave

For our Zine Club Chicago on Marz event at Life on Marz in July, we'll invite attendees to create pages for a collaborative zine with the theme Subversion. The zine will be distributed in print and digitally to the community.

Raise Your Voice with Intangible Choir - 7:30- 9:30 PM

Hosted by: Julie Pomerleau

@ Research House for Asian Art • 3217 S. Morgan St

Intangible Choir is a community choir that meets twice monthly at Tangible Books. Join us to learn how to raise your voice with energizing vocal warm ups. We'll perform some protest songs and you can sing along with us!

Perfect Pancakes - Subversive Digital Media - 7:30 - 9:00 PM

Hosted by: Holland Willcox

@ Co-Prosperity • 3219 S Morgan St

A crash-course in creating subversive digital media! After introductions and a brief survey in subversive video history & appreciation, we will demo a writer's room style workshopping session, discuss production design on a small budget, and produce a small simple piece prepared for minimal acting skills. Finally, there will be a screening of "Perfect Pancakes", a subversive daytime talkshow. Participants will build skills and confidence in creating their own subversive media.


THURSDAY, JULY 24TH

Climate Wayfinding - 6:00PM -9:00 PM

@ Research House for Asian Art • 3217 S. Morgan St

Many people are looking at the climate crisis with distress and grappling with the question: “what can I do?” Climate Wayfinding is a proven program created by The All We Can Save Project for holding questions and gaining clarity, courage, and community for our climate journeys. In this mini-workshop, participants will look inward, outward, and forward to identify and activate their unique contributions and explore key capacities for climate engagement.

Theatre of the Oppressed Workshop - 8:00 - 9:00 PM

Hosted by: Daphne Agosin

@ Co-Prosperity • 3219 S Morgan St

The goal of this workshop is to get to know each other better to develop trust and discover shared goals among colleagues and participants. To build courage together. Courage can come in following up, in patience, in dedication, in healing, in creating... This workshop is meant to reflect on how we confront fears, conflicts and contradictions in a way that can bring us closer instead of apart. 

One exciting and special thing about Theater of the Oppressed and devised theater is that everyone is invited fully, not only to follow along, but rather to investigate collective decision-making. We facilitate and not direct; we acknowledge that everyone is a leader in their own endeavors and that is celebrated. 

In the equation of oppressed and oppressor, which TO bases its structure in, there is no side we want to be in. No progressive feels content in either spot; we are trying to build systems rid of both entities. But in these workshops people may fall on both ends of those categories, and that is the nature of our organizing times. How much that will affect our work together is another open question to investigate in this workshop. 

Clowntown Presents: Year 2045 - 9:00 - 9:30 PM

Hosted by: ClownTown

@ Co-Prosperity • 3219 S Morgan St

Join ClownTown in the year 2045 to celebrate the death of the billionaire class. In shadow puppet glory, ClownTown will recount the tale of the fated revolution... 

ClownTown is a collective based in Humboldt Park that hosts monthly(ish) parties, installations, and performances with absurd themes, freaky plotlines, and anti-capitalist directions. This performance comes from a recent party titled: Year 2045, the Future is Calling. 


FRIDAY, JULY 25TH

Mock Congress - 5:30 - 7:00 pm

Hosted by: David Nasca

@ Co-Prosperity • 3219 S Morgan St

Imagine we all just pulled the emergency stop lever on our train wreck of a "democratic" government and had a chance to rewrite the constitution? Many countries eventually realize that their constitutions actually suck and do just that, and our most exhausted founding fathers who got everything right provided us with that emergency exit. Join us in a mock constitutional congress (and in mocking Congress) as we think about ways to restructure the US constitution to promote progressive politics and bring democracy back to the people.

The Battle of Halsted: Labor & Justice - 7:00 - 8:30 PM

Hosted by: Under the Tree Podcast & Pilsen Community Books

@ Cermak & Halsted

Join us in recreating a pivotal moment in Chicago and labor history! The great labor uprising of 1877 arrived to Chicago and nearly brought the city and it's business titans to its knees -- mass strikes, walkouts, running battles and fiery speeches from labor leaders incited violent reprisals from police and national guard troops resulting in the deaths of over 30 civilians. With striking parallels to our current political moment, our re-enactment of this uprising hopes to ensure that this history and the lives lost are memorialized and the lessons carried forward.

More info here https://www.chicagolaborhistory.org/home

Bass Camp PARTY - 8:30 - 11:30 PM

Hosted by: Teddy Sandler (tdy)

@ Co-Prosperity • 3219 S Morgan St

Riding the wave of dance. Feel each campy beat with a fab DJ lineup (TBA) of underground selectors and music makers, propelling the next gen of Chicago rave. Sthesia collabs with subVersion to present Bass Camp at Co-Prosperity.


SATURDAY, JULY 26TH

Printervention: Migrant Solidarity Zine Print-Run - 11am - 2pm

Hosted by: CHema Skandal!

@ Research House for Asian Art • 3217 S. Morgan St

Zines are an awesome and fun communication tool! This workshop is an introduction to everything a Zinester should know. Join us, learn and share, make a migration-related zine and create community.

Registration for this event is required, sign up here!

Impulse & Intention: A Mindfulness Collage - 2:00 - 4:00 PM

Hosted by: Lily Cox

@ Research House for Asian Art • 3217 S. Morgan St

This society raises us to lean heavily into impulses that aid the empire and to repress all else. Collage is a beautiful way to lean into impulse through the chosen images, and intentionality through what is fixed to the page. Let’s practice mindfulness through art! 

Dear Renad, To Gaza With Love - 2:00 - 3:00 PM

Hosted by: Rachel Hoffman and Leah Grynheim, Jewish Voice for Peace Chicago

@ Co-Prosperity • 3219 S Morgan St

Join us for an art-based workshop for young people to reflect and honor the experiences of Gazan Children and share their own thoughts and feelings through video and letter writing/art-making!

*This workshop curriculum is primarily for ages 8 years old and above.

ScreenING OF Alfonso Arau's Mojado Power - 8:00 - 10:00 pm

@ Co-Prosperity • 3219 S Morgan St

The story centers on an undocumented worker, who after various escapades, constructs a plan to unify indocumentados(undocumented persons) and Chicanos. His emblem is a decal advocating “mojado power”, that is, the unity of all persons of Mexican origin in the United States.


SUNDAY, JULY 27TH

Working 2050: A Sci Fi Journaling Workshop for Hopeful Futures - 12:00 - 2:00 PM

Hosted by: H. Kappe-Klote

@ Tangible Books

In this immersive speculative fiction journaling workshop, participants will take on the role of a future worker: maybe you’re a gig nurse for algae farms, a digital janitor scrubbing legacy media, or a community defense baker in a flooded zone. We’ll use writing prompts, somatic cues, and short movement exercises to generate first-person speculative “journal entries” from these future selves. Then, we’ll talk: What does it take to keep working — and caring — in a future built on the wreckage of this one?

We’ll borrow from trauma-informed fitness, somatic narrative, speculative oral history, and very low-tech roleplay. 

What you’ll leave with: A written journal entry from your 2050 self, a character sketch for your future working body, some nervous system tools for surviving the present.

project for a street corner - 2:00- 4:30 PM

Hosted by: L Napier

@ Co-Prosperity • 3219 S Morgan St

“project for a street corner” is a framework for artists/activists to devise creative protest within crowded public space. In this workshop and performance, you will collaborate with a group to create an experimental covert performance to change the behavior of an existing crowd, through your own performative intervention. During the workshop, you will observe a site, discuss how crowds behave within that site, and devise strategies to covertly change  crowd behavior through collectively using your own embodied behaviors. Then we will test out our strategies on-site. To map out what patterns emerge, our performative interventions will be video documented from above.

Chicago Radicalism 101 Bus Tour - 3:00 - 6:00 pm- SOLD OUT

Hosted by: Paul Durica

@ Marz Community Brewing • 3636 Iron St.

Explore over a century of civil disobedience in Chicago on this bus tour, from the Lager Beer Riot to the DNC. Learn how the past has made our present and can help us to imagine a just, equitable future. This bus tour starts and ends at Marz Community Brewing Co. It includes beers and Non - alcoholic beverages.

Travesuras Colectivas: DIY Art for Resistance - 4:30 - 6:00 PM

Hosted by: Alondra Jara

@ Research House for Asian Art • 3217 S. Morgan St

This two-part workshop explores poster-making as a powerful form of creative expression and collective resistance. Using a range of accessible, DIY approaches- such as printmaking, textiles, collage, and hand-drawn design, we'll create bold posters that reflect defiance, liberation, and imagining new futures in these times. 

Open to all skill levels and grounded in values of accessibility, care, and creative autonomy, this workshop centers art as a practice of community-building and liberation. Come to experiment, reflect, and connect!

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Jun
13
to Jun 15

The Bridge Performance Incubator

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The Bridge Performance Incubator Showcase

 June 13th & 14th | 7:30-10:30 PM

@ Co-Prosperity (3219-21 S Morgan St)

 Join us for an inspiring evening of performance art, presented by ten dynamic artists who have spent the past ten weeks immersed in creative exploration at Hyde Park Art Center. This culminating showcase is the result of The Bridge Performance Incubator, a professional development program designed to spark bold ideas, nurture embodied practices, and support the creation of new work.

 Through a seminar-style course, artists engaged in deep dialogue, collaboration, and experimentation—receiving critical resources and guidance to evolve their practice and bring new or developing projects to life. 

This showcase celebrates their journey and the vibrant, ever-growing performance art community in Chicago.

 SCHEDULE:

 June 13. 7:30 - 10:30 PM

Artists: Reid Arowood, Pruthvish Dangat, Hannah Marcus, Makayla Lindsay, and Hesam Salehbeig 

Saturday, June 14. 7:30 - 10:30 PM

Artists: Amari Amai, Ry Douglas // Deacon Weekend Denis, Jacquelyn Carmen Guerrero, Veronica Casado Hernández and Zach Sun

 

Produced by: Rosé Hernández & Sofía Gabriel

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May
2
to Jun 14

Parallel To Hell

Parallel to Hell
Le Hien Minh
May 2nd - June 6th, 2025

Opening Reception: Friday, May 2nd, 6-9pm

Le Hien Minh, Me So Horny, 2025. Courtesy of the artist.

For her solo show at Co-Prosperity titled Parallel to Hell, Le Hien Minh presents a new body of work comprising two sculptures and a large hand-painted, site-specific text-based work. This body of work critically examines how American pop culture has impacted Vietnamese female identity. Drawing from a wide range of sources, including Hollywood films, American pop music, Vietnam War iconography, and traditional Vietnamese motifs, she weaves these elements together to create powerful objects that radiate an otherworldly aura. Le Hien Minh approaches this new work through a surrealist and metaphysical lens, blending fantasy and nightmare to create artwork that is both alluring and unsettling.

Me So Horny, 2025

Traditional Vietnamese handmade Dó paper, buffalo skull, ceramic mask, wood, sound.

Me So Horny is part of Le Hien Minh’s ongoing series of sculptural works reflecting on the experience of Vietnamese women in the United States, and the layered impact of American pop culture shaped by war, Orientalism, and media.

The title references a phrase widely known in American pop culture, first spoken by a Vietnamese sex worker character in Full Metal Jacket and later repurposed in a 1990’s hip-hop song. Here, Minh reclaims and transforms this charged phrase through a symbolic fusion of materials: a buffalo skull, an animal of spiritual and cultural significance in Vietnam, is combined with the face of an Asian woman and an oversized strand of prayer beads. In its original iteration, a sound component further re-contextualizes the phrase into a meditative, monk-like chant, subverting its original meaning. The result is a haunting and powerful work that oscillates between the sacred and the profane.

(Please note: the sound element is not included in this installation at Co-Prosperity due to spatial limitations.)

One of these days these boots are gonna walk all over you, 2025

Traditional Vietnamese handmade Dó paper, thigh-high boots, bioplastic, wood.

Continuing her exploration of the Vietnamese female experience in the United States, the piece interrogates how American pop culture, shaped by war, fantasy, and media stereotypes, has impacted popular perception.

The title references a lyric from Nancy Sinatra’s 1966 hit, famously featured in Full Metal Jacket during a scene depicting a Vietnamese sex worker interacting with American soldiers during the Vietnam war. Central to the work are thigh-high boots, associated with sex work, featuring horn-like forms evoking the buffalo, an animal deeply rooted in Vietnamese cultural symbolism. Suspended in front are large ornamental, asian symbolic charms, including the lotus, Vietnam’s national flower. 

Through this layered visual language, Minh transforms loaded cultural references into symbols of agency, and defiance.

Untitled, Site-specific text-based work, 2025

Traditional Vietnamese handmade Dó paper, acrylic paint.

For the gallery’s large front window, Le Hien Minh applies traditional Vietnamese handmade Dó paper to cover the entire surface. Across it, she hand-paints a striking sentence in soft pastel pink: "One of these days these boots are gonna walk all over you." Lifted from Nancy Sinatra’s iconic song and stripped of its original pop context, the phrase takes on a darker, more ominous tone. In this new setting, the words evoke the brute force of marching armies and the trauma of war. The delicate materiality of the paper contrasts with the threatening undertone of the text, amplifying the tension between fragility and power.

Text written by Gregory Jewett. Photo(s) by Laurel Hauge. Courtesy for the Artist and Co-Prosperity. 

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May
2
to Jun 14

How To See In The Dark

How To See In The Dark
Eva Davidova, Dakota Gearhart, Garrett Laroy Johnson, Alberto Ortega-Trejo
May 2nd - June 6th, 2025

Opening Reception: Friday, May 2nd, 6-9pm

Workshop: Muindi Fanuel Muindi

Organized by Center for Concrete and Abstract Machines

Co-Prosperity Gallery is pleased to present How to See in the Dark, a group exhibition organized by CCAM, the Center for Concrete and Abstract Machines, opening on May 2nd. Artists Eva Davidova (NYC), Dakota Gearhart (NYC), Garrett Laroy Johnson (Chicago), and Alberto Ortega-Trejo (Chicago) respond to the unspoken headline of our contemporary moment: the d*rk enlightenment espoused by reactionary technopriests is upon us. How to understand this moment as artists, organizers, educators, workers, dreamers? A line from cyberneticist Heinz von Foerster often quoted by Chicago activist-artist stalwart Brian Holmes gives the show its wings: “If you want to see, learn how to act.”

Of course, the quippy “how to” offers no silver bullets, but How to See in the Dark does intend to mobilize the American can-do spirit. Emphasis on spirit. The viewer is asked to “stay with the weirder" to confront ways of thinking and acting we might have dismissed, a call to break open old convictions, and a challenge to step beyond closed systems of thinking, seeing, and acting. It is a meditation on the paradox of our times, an abandonment of purity politics. The exhibition wrestles with the cycles of history and nature, from witch hunts and genocides to tectonic shifts and cosmic phenomena. In doing so, the show challenges the viewer to reckon with the current moment on more-than-human time-scales, to accept that as a best case scenario, we find ourselves experiencing the solstice of a thousand years of darkness. Through this exhibition, the artist advocates for an intergenerational project rooted in revolutionary optimism, a collective shift towards a cyber-ecological spirituality (eco-techno-theo practices) that confronts darkness head-on without the promise of salvation. An Infopoetics workshop featuring scholar Muindi Fanuel Muindi (Chicago) is offered on Saturday, May 24th. A symposium with panels and more is offered on Sunday, June 1st.

How To See in the Dark: Closing Activations 

June 1st @ Co-Prosperity

3219-21 S Morgan St, Chicago, IL 60608 

Symposium: 11:00AM - 3:00PM

How to See in the Dark's symposium gathers artists, scholars, and activist's to refract the show's theme through their various socially engaged, activist, and philosophical practices: music, dance, image making, writing and computational media.

Panel 1: Signs, Signals, and Sigils 

Hosted by: Eva Davidova, Grace Grace Grace & Muindi Fanuel Muindi

11:00AM - 12:30PM 

while (experience == actual){

signified = signifying;

signifying = signified;

}
Processual aesthetic experience is born out of the ab- and adduction of sociopsychical ensembles. Signs, thought to be tethered inextricably to the thing they symbolize, are mutated at the molecular level by their co-imbricated perception and action. The signpost for the thing underway becomes the sign itself, signals sigilize becoming. This panel circumscribes aesthetic experience's "underway-ness", and follows its pointers to a literally magical nexus of technics, religion, scientific articulation, poiesis, that beckons ecosophic spiritual practices for a politics yet-to-come.   

Panel 2: Footwork, Rootwork, and Wakework 

Hosted by: Anna Martine Whitehead, Angel Bat Dawid, Thomas Defrantz, jada-amina

1:00PM - 3:00PM

Black life has never depended on the promise of light. Ever since the barracoon, the exit through the Door of No Return, the hold of the ship, Black people have learned to navigate the dark—not as deficit, but as depth—because the dual pressures of fungibility and fugitivity demand it. This panel explores how, in evading the perils of the searchlight, flashlight, spotlight, and limelight, Black survival has involved profound creativity in the fields of rhythm, ritual, and remembrance.

Closing Reception: 7PM - 10PM

Closing Performances: 8PM - 9PM

Following the symposium, How to See in the Dark's closing reception will run from 7-10 Sunday June 1. At 8:30, we will host a dynamic couplet of performances by artists Eva Davidova, Odette Stout, and Grace Grace Grace that works through the project's thematic emphasis on the immanence of vision.

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Feb
28
to Apr 11

The possibility of an expanse and what interrupts it

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The possibility of an expanse and what interrupts it 
Mariel Harari
February 28–April 11, 2025 

Opening Reception: February 28, 6:00–9:00pm

The possibility of an expanse and what interrupts it is a site specific window installation featuring new work by Mariel Harari opening on February 28 through April 11 at Co-prosperity. The work explores how human made systems impact organic beings. Physically, focusing on the way plants grow in relation to sidewalks, buildings and pollutants. Emotionally, investigating how memory can both reinforce imposed values and hierarchies, or be drawn on to untangle them.

The installation consists of fiber, sculpture, drawing, photo and video. A large blue textile presents something uncontained, images of an arm, thumb, bricks and sidewalk squares are stitched on to interrupt the blue. Hybrid sculptures present combinations of trees growing into buildings, self portraiture and limbs emerging from a cocoon of drawn memories, and plants growing from cracks in cement. The video strings together footage from Harari’s walks around Chicago, observing how and where plants contend with imposed environment, the encompassing nature of sky, and what can be learned from openness and softening contrived delineations.

The possibility of an expanse and what interrupts it

Essay

By Christina Nafziger

Living in Chicago, you become both hyper-aware and oblivious to the architecture you move through. The architecture of this city pushes and pulls you in different directions, it forces you down certain paths while deterring you from others. Sidewalks, rows of houses, public parks, fences, and brick walls alter our path and influence our choices. Turn right and take the shady path under a row of trees, or turn left and avoid the uneven and cracked concrete? Through a mixture of planned and unplanned places and paths, our experience moving within this city is inevitably influenced by these structures. Whether we notice them or not, architectural elements are there, affecting our choices.

These are the details that artist Mariel Harari draws out in her exhibition The possibility of an expanse and what interrupts it at Co-Prosperity. Through photography, textiles, video, and mixed media installations, Harari offers us a glimpse of a crack in a sidewalk, a tree that has grown bent to one side to avoid a wall, a column of bricks that was once perhaps a part of a building. Each piece draws attention to the details in the architecture around us that often go unseen yet continuously change and shape the way we engage with the world around us. 

What if architecture wasn’t just the buildings we see on our way to our favorite local haunt? Can our body be an architecture, one that is made up of moments and memories instead of bricks and concrete? This is the thread that Harari is pulling at as she unravels what shapes us. Like the tree that grows at an angle in order to catch the sun, the body acts and reacts based on our surroundings. Do we take the path of least resistance, or do we risk it all and choose to push through the crack in the pavement for a chance to thrive?

In The possibility of an expanse and what interrupts it, Harari leans into this connection between the body and architecture by not only inserting her likeness into the work, but also through the inclusion of small, almost hidden objects ripe with intimacy. In her piece that is the exhibition’s namesake, a wall of hand painted fabric cascades from the ceiling in mostly shades of blue. In the top center, the artist has sewn a self-portrait originally drawn in pencil. Surrounding the portrait are various patches sewn onto the fabric. In the middle of the piece, this patchwork creates the shape of a forearm and thumb. Within The possibility of an expanse and what interrupts it, just as throughout the exhibition, the viewer can find references to the human body: a leg, a limb, a foot, a face. But what is hidden quite literally underneath the surface of this piece are small parts of the artist herself. Locks of Harari’s hair can be found sewn into this large fabric piece, as well as the artist’s baby teeth. The body is fractured, pulled apart, and sewn back together through Harari’s own hand. 

Another materially ambitious piece is Tree, which beautifully blends hand painted cotton, ink, wood, color pencil, wax pastel, inkjet on silk, and more to form an installation that, like The possibility of an expanse and what interrupts it, has a quality of being fractured and mended. Emphasizing our surrounding environment rather than the body, Tree is both familiar and alien. Yes, it is recognizable as a tree, but the tree sports colors that don’t match with our reality. The branches, too, are representational, but a large, slightly opaque photo of a treetop next to a building creates a stand-in for this section of the tree. The artist cleverly plays with different opacities and materials in a way that fuses together fantasy and reality, forming an aesthetic that draws our attention to the tiny details in the environment that holds us—whether that be the architecture of our surroundings or the architecture of our bodies.

This oscillation between physical architecture and the body, between elements like bricks and limbs, comes to a head in Harari’s piece Cocoon Baby 2 (Feral). Hanging from the ceiling, this mixed-media piece has the head of a human (the artist’s self portrait) but with body parts that do not completely match the human-like features. Cocoon Baby’s limbs seem to be somewhat out of place, if they are not missing completely. Her torso seems to be opening up, as if we have caught her mid-transformation: the breaking of the cocoon. Elements of our surroundings can be seen on her body: a drawing of a brick column on her stomach, tree branches that sprout from her arms. Like each person’s identity, elements of the environment have found its way onto and into Cocoon Baby, causing her to bend, mold, and mutate into different shapes. However, there is an element of hope. Even while holding elements of her environment, even while containing her experiences and memories, Cocoon Baby is opening up. She is finding a way to live, to thrive, to transform into something beautiful under the circumstances, despite the systems she lives within. Like the weed that flourishes in the smallest of openings, Cocoon Baby finds a way.

Nearby is Brick Memory Brick; a small, brick-like sculpture made of slightly transparent biomaterial. We can almost see what’s inside, what memory this brick holds. For me, witnessing this piece was a grounding moment in the exhibition. We are all built brick-by-brick from the moments that made us. We are created from memories that influence how we move through the world, just as architecture shapes the way we choose our path. Will you be like this brick, static, unmoving, and unyielding until it crumbles? Or will we be like Cocoon Baby 2 (Feral), and break ourselves open? As the artist puts it, there is “possibility [in] an expanse.” Perhaps this crack in the sidewalk—this moment of rupture, this breaking open—is the chance we need to open up and transform, to flourish in spite of everything.


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Feb
28
to Apr 11

BAUBO UNEARTHED: A Trove of Mystery, Laughter in the Face of Grief, A Conjuring

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BAUBO UNEARTHED:
A Trove of Mystery
Laughter in the Face of Grief
A Conjuring

February 28–April 11, 2025

Opening Reception: February 28, 6:00–9:00pm

Co-Prosperity presents BAUBO UNEARTHED, a celebration of joyful resistance in the face of despair and oppression. The exhibition is a tribute to the ancient figure Baubo, whose bawdy humor served as a catalyst for transformation, breaking the grief of the goddess Demeter and restoring the cycles of life, as held in the lore of the Eleusinian Mysteries.  

Curated by Stephany Colunga, BAUBO UNEARTHED is presented as a museum-like display of mythic and historical narratives and artifacts alongside a contemporary art showcase. It features a diverse group of inter/national artists united by the spirit of Baubo, directly and by way of embodiment. Through sculpture, painting, performance, jewelry, video, and sound installation, the works (re)introduce this elusive figure, aiming to transmute collective grief, foster radical empathy, and ignite defiance through laughter.  

Baubo emerges as a symbol of unapologetic apotropaic joy, feminine rage, queer love, and the power of vulnerability, urging viewers to dismantle despair, engage with their suffering, and envision nourishing, interconnected futures. The exhibition emphasizes reclaiming agency and rekindling curiosity, wonder, and hope as acts of rebellion against oppressive systems.  

BAUBO UNEARTHED, Stephany Colunga’s curatorial debut, showcases work from around the world, gathering together artists in various stages of their lives and careers. This is a culmination of years of self-supported research—including a trip to the sanctuary of Demeter in Priene in southern Turkey where the Baubo votives were discovered, along with a visit to the Altes Museum in Berlin where the figurines reside. Colunga’s own contributions to the show include metal-work, ceramics, video, and installation, an evolution and unfolding of the sensitive, intuitive work she is known for.

A special evening of performances will take place on the Spring equinox, March 21st, from 7:00 to 10:00pm. These performances tie the exhibition to the Eleusinian Mysteries, which mark the return of Persephone from Hades and the renewal of life. This conjuring of spring will feature performances by Alicia McDaid (McDazzler), Karly Bergmann, Chicago band SHRIFT, and more

Contributing artists:
Crackhead Barney
KS Brewer
Amanda Joy Calobrisi
Stephany Colunga
Baylen Levore
Yolanda McLellan
Alicia McDaid
Helen Welton

Celebrate the Spring Equinox on March 21 from 6:30–10:00PM at Co-Prosperity

As part of our current exhibition BAUBO UNEARTHED, we are hosting a special evening of performances on the Spring Equinox! These performances tie the exhibition to the Eleusinian Mysteries, which mark the return of Persephone from Hades and the renewal of life. This conjuring of Spring will feature performances by Alicia McDaid aka McDazzler (Philly/L.A.), Karly Bergmann (Mnpls), Bakantez, Shrift, and Xina Xurner (L.A.). Come be renewed and energized by the spirit of Baubo and the connecting ritual of laughter and dance.

Doors open at 6:30pm to view the exhibition, performances start at 7:30pm. 

ABOUT THE PERFORMERS:

Xina Xurner is an experimental music/performance collaboration between Marvin Astorga and Young Joon Kwak, whose cathartic performances combine DIY and power electronics, mutated vocals, and bad drag to expand ideas about queer and trans bodies. Their music combines a variety of genres (including happy hardcore, industrial, drone metal, and techno-opera), in order to create sadical and sexperimental noise-diva-dance anthems that evoke a sense of death, decay, and transformation. 

It has been over a decade since they returned to play in their old home of Chicago! A special treat. Xina Xurner will make you sweat!

McDazzler Alicia McDaid is a performance/video artist, painter, and actress whose work depicts a shattering of the self into infinite personas. She contracted 2 STDs when she lost her virginity in Trenton, New Jersey in 1990 and recently starred in the film Trash The Musical by Loretta Fahrenholz. This will be Alicia's debut performance in Chicago. She will be performing a mix of her characters. Stephany considers her to be a modern day Baubo in the flesh! Not to be missed!

Bakantez formed in 2022 as the solo electronic project of Hanna Elliott, former member of the proto-Industrial duo HOGG. The project's name plays off of the word Bacchantes, the female followers of Dionysus who inspired his ecstatic rites. Over the years of creative development, Hanna has retained consistent themes of libidinal physicality, tactility, and tumultuous introspection. Her project Bakantez sonically consists of electro-acoustic sampling, sequencing, synthesis, and processed vocals reminiscent of sound collage, minimal wave, and noise. 

Shrift Uniting the smooth bass of toxic nerd Jill Lloyd Flanagan (Forced into Femininity, Cb Radio Gorgeous), the vocals of local funnyman Carly Wicks (Dog Problem), electrical saxophone by the large-mitted Sonia Monet (Nakamura Lock) and the punishing beats of museum replicator Janice Lim (Gula Gila) into a semi-coherent sound; Shrift is the band your mom would favorite on SoundCloud and add to her Mixcloud favorites. Whether you’re a creator, a disruptor, or just ruining the city for fun, get ready to nod your head vigorously to their up-tempo sound. 

Karly Gesine Bergmann's one-person show, Baubo, is at the intersection of puppetry, mask, and clown. The performance channels sleepover energy and the kind of late-night silliness that comes with it, and invites the audience to participate in the ritual summoning of the goddess. If successful, everyone will leave with the goddess' protective blessing.

Karly Gesine Bergmann is a performer and maker who conducts experiments in the science of enchantment—often through puppetry, but always through handmade, object-based work. Her work often centers around endings, death, and what we choose to preserve. Also, camel toes. Her article "Babuo: A Cross-Disciplinary Approach to a Vagina Puppet" is published in Puppetry International, and her monthly newsletter, Pussy Clown, is on Substack. Her puppetry work has been seen on stages in Los Angeles, Chicago, Minneapolis, and Italy. She has toured nationally as a performer and puppeteer with the emmy-nominated Manual Cinema, was a recipient of the Edes Prize for Emerging Artists, and firmly believes that silliness is sacred.


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FRUIT COCKTAIL CAKE
Dec
6
to Jan 17

FRUIT COCKTAIL CAKE

FRUIT COCKTAIL CAKE
Andy Nicholas Li
December 6, 2024 - January 17, 2025

Co-Prosperity presents FRUIT COCKTAIL CAKE, the first solo exhibition of Chicago artist Andy Nicholas Li. 

When you let the child cut the cake, the possibilities come open. Among family and friends, the birthday child makes the first slice with a kitchen knife, through the whipped cream and the glossy red letters. The idea is to pose for the picture: a kid with a knife in hand, comedy found in the edges of fear. He would never do anything with that knife but cut the cake and smile. Even though he plays with swords and scissors and cuts the hair off of Barbie to repaint her in his gay image of beauty. 

Clocks and calendars move in circles, as do the fruits on top of a Chinese fruit cocktail cake: the sliced kiwis and strawberries, the plump balls of cantaloupe. Each birthday marks the occasion of aging, as the child moves into adolescence. The parents reckon with the adult child: how is it that the wiggling bundle in the crib is now thinking and moving for himself? The adult confronts his own uneasy transformation: what happens when growth feels inconsistent with time? The adult and the child show up and shift within the same aging body. The aging child stares into the mirror and restructures the possibilities for who he was and will become.

FRUIT COCKTAIL CAKE is an exhibition of drawing, sculpture, and installation that examines the psychic terrain crossed between the child and the adult. Allured by the modularity of the alphabet and childhood toys, Andy constructs wall drawings with painted strips, a playroom with folded cardboard props, and messages with letters and gestures. On display in the windows of Co-Prosperity, queer signals punctuate the reflective surfaces in the form of rainbow fruits, family pictures reinterpreted, and postures of flamboyance and melancholy.

The location of this exhibition in Bridgeport is especially significant, the neighborhood where Andy grew up. He ran around with his cousins in White Sox parking lots, was called names on the street, and now takes his parents out to lunch on Halsted. The show saunters through the celebratory traditions with which Andy grew up in a Cantonese home in Chicago. It draws from the tales of children’s capacity to live between recreation and danger, as in Julio Cortázar’s short story “In the Name of Bobby.” Finally, it investigates the act of clowning, where the adult takes the world with the openness of the child.

Artist Bio
Andy Nicholas Li is an artist and educator based in Chicago, IL and Ithaca, NY. Andy works with drawing, installation, fiction, and food to conjure the contradictions of identity and intimacy. Symbols and materials in Andy’s work bear the sticky construction of a person, between Cantonese, Midwestern, queer, lonely, childish, grown. 

Andy’s work has been exhibited at ACRE Projects, the Granoff Center for the Creative Arts, and Hyde Park Art Center, among others. Collaborative projects have appeared at places like AS220, Museum of Contemporary Art Chicago, and the Singapore Art Book Fair. Andy’s short story, “Prologue to the Death of Julian,” was published in The Notre Dame Review. Some of Andy’s paintings are featured in New American Paintings, Midwest #167. Andy has also spent time at residencies and workshops at ACRE, the Bridge Program at Hyde Park Art Center, Ox-Bow School of Art, Ragdale, and the Society for the Humanities at Cornell University.

From 2019-2023 Andy worked at Marwen, developing exhibitions and programs for alumni and young artists in Chicago. Andy holds a BA from Brown University, and is an MFA candidate in Art at Cornell University.



Exhibition Review
and the knife used to feed us by Joelle Mercedes 

and the knife used to feed us

The lore or etymology of “cocktail” points us in many directions. The one I find the most curious describes the act of gingering, or to feague a horse. This practice requires inserting an irritant, such as ginger, into the anus of a horse, which encourages the animal to carry its tail high and move in a more buoyant manner. 

Image Credit: Eugene I-Peng Tang 

The anus is an erogenous zone 
The anus is the anchor 
The anus is a multitude of nerves 

Pin the tail on the donkey 
Tip over the cow 
Make me your dog 

Image Credit: Joelle Mercedes 

smear slice spit spurious 
spice stitch spoon sticky 
skull sponge scar slime 
spirit scaffold suspension 
saliva sex spine sorbet 
soufflé sufferable sit soil

Window One: 
The black curtain provides a backdrop for five drawings—a colorful house on a teal submerging surface, ghosts sitting on a dining room table, a bedroom with a charcoal-stained mattress, a face with a forearm or an insect hovering over it with a belt, and an adolescent in a cheerful pose, wearing knee high socks, and a flaccid penis.  

Image Credit: Eugene I-Peng Tang 

The background installation uses white strips to render a triangular roof alongside a large circular image that reminds me of a fruit cocktail cake, and modular building toys designed for toddlers. The strips also illustrate a centipede, hungry caterpillar-like intestine, that bleeds into the foreground. 

Image Credit: Eugene I-Peng Tang 

Image Credit: Colectivo Multipolar 

This window is a feast of illusions. The foreground uses watercolor strips to construct other characters by a table. One figure is in a seated position as a child would be when opening their birthday gifts. Another figure with a muscular body holds a knife, and cuts open a colorful multi-tiered cake. All the distinct elements begin to integrate, transmuting the scenes of domesticity into a garden filled with ouroboros and a ring of fire made of confetti. The sun and the penetrating force of the streetlights activate this carnival childhood of desire and night terror. 

Window Two: 
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Image Credit: Eugene I-Peng Tang 

Countersexual Manifesto by Paul B. Preciado, translated by Kevin Gerry Dunn 

manipulate my material manipulate my material manipulate my material
manipulate my material manipulate my material manipulate my material
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manipulate my material manipulate my material manipulate my material
manipulate my material manipulate my material manipulate my material
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manipulate my material manipulate my material manipulate my material
manipulate my material manipulate my material manipulate my material
manipulate my material manipulate my material manipulate my material
manipulate my material manipulate my material manipulate my material
manipulate my material manipulate my material manipulate my material
manipulate my material manipulate my material manipulate my material
manipulate my material manipulate my material manipulate my material
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manipulate my material manipulate my material manipulate my material
manipulate my material manipulate my material manipulate my material 




Window Three: 
This beauty of a beast is phenotypically an intersection between the PBS children's animated series Arthur, a wild coyote starting back, and the Leather Daddy archetype. This figure is alluring yet unsettling, like one encountered in a Grimm Brothers’ fairytale. Tread lightly as the charms of cannibalism radiate throughout this window. The sweaty horse awaits its procedure against the barn house and prairie. 

Image Credit: Eugene I-Peng Tang 

Andy is my sister in rigor. I asked him to help me compose a reading list to guide the viewer through all the show's idiosyncrasies. 

Playing and Reality & The Squiggle Game by D.W. Winnicott 
Knots by R.D. Laing 
● “In the Name of Bobby” by Julio Cortázar 
Clown: The Physical Comedian by Joe Dieffenbacher 
Sexuality Beyond Consent: Risk, Race, Traumatophilia by Avgi Saketopoulou (borrowed from
Zachary Nicol’s expansive library) 
The Art of Cruelty by Maggie Nelson 
How to Love by Thich Nhat Hanh, a short essay on “Channeling Sexual Energy” 

Andy and I love continuous research: reading, watching YouTube videos, attending film festivals, embodied practices, listening to DJ mixes, describing unique textures in food and humor, and frequently seeking quietude. We are two Tasmanian devils born during the most erotic time of the year. We share the planet Venus as our astrological natal chart ruler. We are united by red and a meticulous variety of particularities. We met in the driftless region of the Midwest at an art residency. We became close along the prairie, the stream, the river, the mosquitoes, and the starlight skies. 

Image Credit: Andy Li 

I first encountered the work of Apichatpong Weerasethakul at Specialty Video & DVD in Andersonville. The store is no longer open but when I lived on the North Side ten years ago it was fundamental to my growth as an artist and filmmaker. They carried experimental porn, the Criterion Collection, B movies, cult classics, films from auteur directors, films that blurred the lines of genre, and so much more. I borrowed Tropical Malady on DVD and watched it on the old television in my carpeted living room. I was alone watching the film, overwhelmed by the saturated darkness, the bubbly tenderness between Keng and Tong, the titillating waltz/haunt between tiger and soldier, the movie theater scene, the licking of the knuckles, and all the spiritual transfiguration. The film brought my carnal desires to the foreground, and revealed deep entanglements between humans and animals. The human submits to the animal, and the animal submits to the human. 

“Monster, I give you my spirit, my flesh and my memories,” Keng’s voice says. 

Andy and I connect deeply through our love of Weerasethakul. His slow cinema gives us a playground where we can come to our bodies, wild desires, and braininess with devotion. The work of the exhibition is slow cinema.

The quotidian, silence, repetition, nothingness, long takes, landscape, stillness, little dialogue, meditative quality.

Now I want us to taste the Fruit Cocktail Cake. Cut yourself a slice. As you enter the fluffy cake into your mouth, picture your adolescence. The squishiness of your brain is still developing, this moist substance, this ripe fruit. 


Squiggle Wrestle

Performance with Andy Nicholas Li and Zachary Nicol

Thursday January 16, 2025 at 7pm

Andy Nicholas Li and Zachary Nicol will perform a "squiggle wrestle" in the windows of Co-Prosperity, as a closing event to Andy's exhibition, FRUIT COCKTAIL CAKE. This performance spins the playful methods of D.W. Winnicott's squiggle game in child therapy, where Winnicott and the child draw intuitive squiggles and respond to each other by completing the drawing into creatures and symbols. Andy and Zachary will explore physical play with instinct and reaction, drawing from wrestling, cuddling, and dance improv. 

Hot tea will be available for audience members. Please feel free to bring your own mug!

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Entre ritos y portales
Dec
6
to Jan 17

Entre ritos y portales


Entre ritos y portales
Final Activations & Closing Reception

Collective tour by the artists and curator: January 15, 7pm

Closing reception & performances: January 17, 6-9pm

Performances:

Alden Burkes and Kushala Vora, 35 gestures towards

Kat Bawdenm, Every cell in your body has a weight an expanded cinema performance exploring memory, death, and mothering.

Veronica Anne Salinas a sound assemblage using field recordings, ambient textures, and light for an embodied sonic experience. 


Entre ritos y portales 
Sebastian Bruno-Harris, Gabriela Estrada, Sofía Fernández Díaz, Mariana Noreña, Frank Vega, Kushala Vora, and Irene Wa.
Curated by Sofía Gabriel in collaboration with the artists. 

Entre ritos y portales (Amidst rites and portals) presents the introspective journeys, embodied experiences, and rituals of seven artists who are deepening their connection with nature and reclaiming their bond with the Earth. 

By embracing ephemerality, the artists reflect on the remnants of our existence: what lingers after we are gone? They meditate on the impermanence of both art and life itself, inviting us to return to life's origins (the seed, the womb) and unlearn the systems that have disconnected us from nature and each other.

This exhibition explores the intersection of visual art and performativity, with the body at the heart of the creative process and the viewer’s experience. Whether through action, movement, or creation itself, the artists draw inspiration from the body, infusing their work with an embodied presence that evolves with every interaction.

Entre ritos y portales, nothing remains static. The works are alive, evolving over time—growing, moving, expanding, or disappearing—creating an environment for an uncertain journey.

Entre ritos y portales presenta viajes introspectivos, experiencias y rituales de siete artistas conectados con la naturaleza y reclamando un vínculo con la Tierra.

Abrazando lo efímero, los artistas reflexionan sobre nuestra existencia y cuestionan lo que persistirá una vez que hayamos desaparecido. Contemplando la impermanencia tanto del arte como de la vida, los artistas nos invitan a volver al origen. A emprender un retorno a la semilla, al vientre materno, a oponernos a los sistemas que nos han deshumanizado y desconectado de la naturaleza.

Esta exhibición explora el diálogo entre las artes visuales y la performatividad, con el cuerpo en el centro del proceso creativo y en la experiencia del público. Ya sea a través de la acción, el movimiento o la creación misma, los artistas se inspiran en el cuerpo, fundiendo su obra con una presencia encarnada que evoluciona con cada interacción.

Entre ritos y portales, nada permanece estático. Las obras están vivas, evolucionando con el tiempo: creciendo, moviéndose, expandiéndose o desapareciendo; creando un entorno para un viaje incierto.

Final Response to "Entre ritos y portales" at Co-Pro

Essay by Nicky Ni

I came to Entre ritos y portales on a sunny Saturday afternoon, jet-lagged. It had stopped snowing. I tried to stump the wetness off my shoes as I swung the door open, finding not a soul inside. The sun gleamed on the reflective surfaces of the sculptures near the windows: clayware, glass, metal. A musky, warm smell imbued the stillness, the kind of welcoming serenity found in a temple.

The show is eventful at every sight level. Some pieces blossom ankle-high, while others are suspended from the ceiling. Mariana Noreña G’s horizontal line on the ground, made of quinoa seeds, ash, and coil, that stretches across the entrance—as though demarcating a beginning—has dissipated, leaving only the label stubbornly stuck to the wall. Next to it, Gabriela Estrada performs through a video titled God Has a Mother (2024). The artist, whose bust is cropped just beneath her eyes by the camera frame, is covered with red clay. She speaks about mothers and daughters, vigorously, passionately; she chants female vitality and resilience into an incantation as she shovels handfuls of clay into her mouth and chews on them with rigor.

Further down, Noreña’s other piece The House That Lives Within Me (2023) opens up like a parasol in mid-air, a human-size lampshade that hovers over a round, elevated island concentric to the larger basin within which it sits. To activate this piece is to stand on the island that can only hold one pair of feet and observe around: looking up, lit by natural light, is the dazzling inner shade made of pulped corn husks; down below, water from Lake Michigan has etched the bottom and sides of the steel basin with turquoise, cyan, and ochre.

Other suspended objects are a lot more sensitive, in a way as though they knew they were hanging and swinging. Irene Wa.’s Flower crate (2024) by the entrance, like a halved cacao fruit bleeding in raspberry red, undulates to the small current of air I have brought inside. It responds to my presence.

Sofía Fernández Diáz’s monumental installation Umbral (2024) transforms the enclosed low-ceiling nook beneath the mezzanine level into an altar. Two rows of long strips of ink-steeped paper, earthy, streaky, each about a foot wide, hang from the ceiling, angled perpendicular to the side of the wall. The paper is coated with beeswax. Its dizzying smell punctures the space—a pungent scent of protection. I wasn’t sure what the beaded wood stick that hung from the wall at the end of this pathway signified, nor could I unravel the riddles about those individual red beans, like little offerings, cradled by minuscule baskets pinned to the wall, but they brought me curious bits of delight.

“The works are alive, evolving over time—growing, moving, expanding, or disappearing—creating an environment for an uncertain journey,” curator Sofía Gabriel states in the opening text. This statement is most apt for Diáz’s Azul (2024), which has a whole universe spilled over a large piece of watercolor paper laid out on a low platform. A row of dainty jars and small bottles contain electric-blue ink of various shades are conjured from oxidized copper. At the opening, and perhaps throughout the show, whatever has been poured and layered on top of the paper has now formed a geography of wonder. Mounds of crystals have accumulated, like mushroom clouds frozen in time; puddles of liquids have turned into salty lakes, their mesmerizing abyssal blue dotted by crystallizing whitecaps.

This azure and cerulean converse with the energetic splashes of paint on Frank Vega’s vertical canvases hinged together to stand like a folding screen. This “screen” is part of a pair with one on each side of the gallery. In front of the other set, a small low table displays what looks like ceramic snakeskin fragments. They bear the same scaly patterns as that which has been impressed into the painted surface—as though they slithered across the canvas. But they are much thicker than skin, seeming almost armature-like where they are layered. These pieces, some only partially glazed with the colors of molasses and coffee, fill a woven basket in the corner of the table and lay loose on the tabletop. Three ouroboros have been disrupted by a pair of mallets. I imagine how Frank used the mallets to break the circles, shattering eternity into small pieces.

Fragmentation is celebrated in this show. It sprawls symmetrically like a skeletal Rorschach inkblot in Irene Wa.’s wall-based The Remains (2024). It is also sweetly hinted at in Kushala Vora’s Everything carries me to you (2024), a tiled ceramic relief that is expressive and attentive to details like one of Ruth Duckworth’s. The seam between two tiles cuts right through a hand, separating the reach from its intention. The assemblage made by Sebastian Bruno-Harris, titled Bracket Axon Salad Knots (2024), is a deconstructed cabinet of curiosity that unfolds into myriad fragmented memory objects: vines and vessels, a newel post, easels and ladders, hooks and sconces—they are the ornaments of gravity, the temptations of precarity. One small photograph, discretely attached to a door, shows a tunnel where stalactites have grown from the ceiling. The cave formations would be an appropriate metaphor for Entre ritos y portales, a collection of works that exemplify the work of time by showcasing process, growth, decay, and the love and respect the artists all share for the materials they use and see as sacred.

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