Jun
12
to Jul 24

Monument of Offering

Monument of Offering
Dana Lynn Harper

June 12th - July 24th, 2026

Opening reception: June 12th

The works in this exhibition explore the idealized ancestral lands I have never visited: Indonesia, my mother’s birthplace, and China and Vietnam, where my maternal lineage originates. Drawing from family history, cultural research, and historical art references, these locations are imagined rather than remembered. Landscapes are positioned behind gates, referencing the physical and emotional inaccessibility of my familial history. Through dreamy, constructed environments, I engage with compositional and symbolic motifs found in Chinese watercolor landscape painting, using the study of traditional craft as a form of reconnection. Wrought iron gates allude to systems of exclusion and control shaped by colonial histories, while also reflecting my personal experience growing up in an affluent white neighborhood. The fencing operates simultaneously as a barrier and as a structure of reverence and protection, similar to the way family history is often hidden from descendants.

Folding and cascading fabrics occupy interior spaces, evoking both luxury and the instability of memory, history, and inherited knowledge. Each window functions as an individual work, offering a distinct perspective on this fractured connection to ancestral lands. These window installations correspond to different times of day: morning, night, and sunset, using shifts in light and color to suggest the passage of time and the fluctuating clarity of familial memory. The rabbit, my Chinese zodiac sign, dances between worlds, representing my own spirit, a being moving between the past and future, an animal that carries the legacy and light of her family. 

Ritual objects and gestures serve as a means of connecting to the past while offering a prayer for the future. Throughout the work, ritual is represented through the presence of candles, both real and electronic. Across cultures, candles have been used as conduits between the living and the spiritual realm, serving as protection, remembrance, and offerings. Here, they activate the space by marking sites of attention and intention: honoring my ancestors, inviting moments of reflection, and creating an opening for communion between past, present, and future.

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Jun
12
to Jul 24

Delightful Sempahores

Delightful Sempahores
Zach Hill / Coco Klockner / Zante Moore with programming by Matt Morris 

June 12th - July 24th, 2026

Opening reception: June 12th

Switch-Hook Projects opens on June 12th hosted by Co-Prosperity 

Zach Hill, Coco Klockner, and Zante Moore with programming by Matt Morris 

A semaphore is an apparatus for long distance signaling, a lamp, a flag, a smoke signal. 

From the Greek sema, sign, and phoros, bearer. The works in Delightful Semaphores are sign-bearers. They employ, interrogate and metabolize the signs of identity formation and legibility. An acute awareness of how signs can be employed to signal or disguise, to critique or adorn is not incidental to queer life but innate to it. It is this literacy, built through necessity and desire in equal measure, that is deployed in the work of Zach Hill, Coco Clockner, Zante Moore. Delightful Semaphores is surrealist and pragmatic, neither hopeful nor despairing.

Zach Hill's drawings dance and sway, boundaries becoming containers for color. The sculptural frames that pull them off the wall are adorned with found objects whose double entendre carry a bawdy and knowing wit. His video-sculpture, Ultimate Avenger, a frankenstein of lighting rigs, translucent casts and looping videos does not represent queer nightlife so much as collapse its constituent parts. 

Coco Klockner’s wall sculptures are an uncanny marriage between the symbolic and the strange. Playful cartoon motifs take on a detached and quiet energy as they sink into industrial carpeting, their lines burnt in resembling the brand of a hot iron. Brass punctures foam with an organic yet alien form. A plastic love heart adorns one of the carpet panels. Imagery that might otherwise read as girlish or decorative, rendered here without sentiment.

Zante Moore assembles a world of familiar images, abandoned memes and emojis of an internet culture that replenishes itself indefinitely. They are revived in wheatpasted collages interrupting a large-scale airbrush landscape. A field of sunflowers, the final resting place for what once circulated as shared shorthand for mood, identity and communication. 

Matt Morris will present a fragrance workshop in conjunction with the exhibition. Participants in this free programming will be introduced to ways that scent has been utilized as a social signifier for queer communities and as an approach to defining and caring for non-normative conceptions of self—from lesbianism in the 1940s to gender fluid fantasies of a glamorous boudoir; from Brooklyn warehouse parties to Berlin night clubs; Parisian brothels to Las Vegas casino simulacra; Britney Spears fandoms to the signature perfume of trans nightlife superstar Amanda Lepore. This exploration will examine the ways perfumes have defied gender codes across periods and articulated desire beyond the explicitly visible or named. 

Artist Bios:

Zante Moore is an artist from Tulsa, Oklahoma. They’re currently based out of Chicago. IL. Moore received their BFA in Photography from the Kansas City Art Institute, and received an interdisciplinary MFA from the University of Illinois Chicago. They create large installations and worldbuild through airbrush, photography, collage, technology, and computer games. Their work has been exhibited at Elastic arts, Gallery400 and ingrown gallery. 

Coco Klockner is an artist and writer. She is the author of the speculative novella K-Y (Genderfail Press, 2019), and her essays have appeared in Texte zur Kunst, Spike Art Magazine, Disclaimer/Liquid Architecture, and The Whitney Review. Klockner’s sound work has been included in Musik Installationen Nürnberg (2022) as well as MoMA PS1’s Greater New York (2026), and she has had solo exhibitions at Silke Lindner, New York; Bad Water, Knoxville, TN; stop-gap projects, Columbia, MO; The Anderson Gallery, Richmond, VA; and SculptureCenter, New York.

Zach Hill is an interdisciplinary artist, educator, and curator working between sculpture, drawing, and moving image. He has been awarded the Mary L. Nohl Fellowship, Toby Devan Lewis Fellowship, two Illuminate the Arts Grants, and a Ruth Arts Mary L. Nohl Alumni Award along with a full fellowship to Vermont Studio Center and has attended other residencies such as Bunker Projects, RAIR, Elsewhere Museum, and Stove Works. His work has been exhibited at The Haggerty Museum of Art, Flux Factory on Governors Island, The Luminary, Peep Projects, Fjord, Grizzly Grizzly, All Street Gallery, and VisArts among other locations. Alongside these more traditional venues, he also creates nightlife visuals for various queer parties such as Sonidero, Virtues, and LYLAS and has completed multiple sculptural commissions for Honcho Campout.

Matt Morris is an artist, perfumer, and writer based in Chicago. Morris has presented artwork internationally including Andrew Kreps, Margot Samel, and Tiger Strikes Asteroid, New York; Musée de la Fraise and Ruschman, Berlin, Germany; Netwerk Aalst, Aalst, Belgium; Krabbesholm Højskole, Skive, Denmark; / Slash, San Francisco, CA; Espace Maurice, Montreal, Quebec; DePaul Art Museum, Ruschman, and LVL3, Chicago, IL; Mary + Leigh Block Museum of Art, Evanston, IL; Elmhurst Art Museum, Elmhurst, IL; and the Contemporary Arts Center, Cincinnati, OH. Morris has contributed to Femme Art Review, Fragrantica, Heart Note Press, Everyone Is a Girl, VISCOSE, QED, artforum.com, Art Papers, ARTnews, Flash Art, and X-TRA—additional writing appears in numerous exhibition catalogues and artist monographs. Morris is a transplant from southern Louisiana who holds a BFA from the Art Academy of Cincinnati and earned an MFA in Art Theory + Practice from Northwestern University, as well as a Certificate in Gender + Sexuality Studies. Morris is an Adjunct Assistant Professor at the School of the Art Institute of Chicago.  

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Jun
1
5:30 PM17:30

Community Kitchen Dinners: Recipes for Survivance

Community Kitchen Dinners: 
Recipes for Survivance 

SAVE THE DATE:
July 6 (Cuba)
The Community Kitchen Dinner for Cuba will be fundraising for Global Health Partners 
https://ghpartners.org/

June 1 (Palestine) + June 15 (Iran)

@ Marz Community Brewing | 3630 Iron Street, Chicago

[PALESTINE DINNER IS SOLD OUT]
Please consider donating directly to the causes down below!
Sudki’s Kitchen: https://donorbox.org/gaza2026/fundraiser/amer-abdulla
New Forms of Survivance: https://www.gofundme.com/f/bring-gazans-artists-voices-to-chicago

[IRAN DINNER IS SOLD OUT]
Please consider donating directly to the causes down below!

Join us for a series of community kitchen dinners, made from recipes for survivance, storytelling, and solidarity.

Survivance, as writer Gerald Vizenor explains, is an active sense of presence over absence, the continuance of stories, and the refusal of mere victimhood; in those dinners we are showing cultures that practice survivance through the continuance of recipes from their homeland gathering around a dinner table. 

Inspired by artist projects responding to the imperial occupations of Iraq and Afghanistan including Enemy Kitchen and Combat Kitchen, Community Kitchen Dinners will feature conversations around food, memory, migration from regions the US/Israel empire is currently devastating.

Two seatings each night: 
5:30 - 7:00 PM + 7:30 - 9:00 PM

June 15th tickets

Monday, June 15, 2026 - IRAN
Led by artist Hesam Salehbeig

[SOLD OUT]
Please consider donating directly to the causes down below!
Artist Hesam Salehbeig will prepare an Iranian meal for the second gathering of COMMUNITY KITCHEN DINNERS.

“Iranian cuisine, much like Persian carpet weaving, is fundamentally a folk art shaped within the homes of ordinary people and carried through generations by women across cities and villages. Although exceptional examples have emerged from aristocratic households and royal courts, the essence of Iranian cooking remains rooted in domestic knowledge, memory, and care. Professional cooking differs not in method, but in scale: the chef reproduces the cooking of household women with larger quantities and greater equipment, always attempting to reach the depth and precision of home cooking.”

(Ketab-e Mostatab-e Ashpazi by Najaf Daryabandari and Fahimeh Rastkar, 2009.)

For the second dinner, Hesam draws from recipes gathered from Iranian women throughout his life, alongside recipes preserved through the work of researchers and archival projects across different periods and regions of Iran.

A portion of the proceeds will be donated to support a family whose home destroyed during the war in Iran. Many families have been displaced or deeply affected, and this gathering hopes to contribute, even modestly, to the rebuilding of their lives and communities. 

Hesam Salehbeig (they/them) is an Iranian, Chicago-based interdisciplinary artist and curator. Rooted in diasporic memory and Iranian mystical cosmologies, their work explores embodiment, self-transformation, and self-authorship through immersive and durational forms, often creating dialogues between Eastern cultural traditions and contemporary performance practices.

TICKETS FOR THIS EVENT HAVE SOLD OUT

Sliding scale ticket sales $25-$100 will go 100% toward causes selected by each host.
More details, menus, and good meals with good people coming soon.

Presented by Public Media Institute, in collaboration with Marz Community Brewing, 

Monday, June 1, 2026 - PALESTINE
Led by artist Linda Abdullah

[SOLD OUT]
Please consider donating directly to the causes down below!
Sudki’s Kitchen: https://donorbox.org/gaza2026/fundraiser/amer-abdulla
New Forms of Survivance: https://www.gofundme.com/f/bring-gazans-artists-voices-to-chicago

Artist Linda Abdullah is collaborating with Cedars Palestine Kitchen to share recipes from her homeland Palestine. Food recipes in Palestine are often passed down through generations of women in the family. Each region in Palestine will prepare the same dish in their own distinct way, which adds the unique flavors shaped by land offerings and geographies. Linda has collected recipes from Palestinian women in her life and compiled them in her own home-cook notebook, sharing two recipes in the first gathering of Community Kitchen Dinners.

Proceeds from the dinner will be split between two initiatives:

  1. Support Sudki’s field kitchen operating in Rafah.*
    https://donorbox.org/gaza2026/fundraiser/amer-abdulla

  2. Help bring the artworks of 14 Palestinian artists from Gaza to Chicago for Linda’s upcoming curatorial project, New Forms of Survival**, opening November 7th at Watershed Art & Ecology. 
    https://www.gofundme.com/f/bring-gazans-artists-voices-to-chicago

TICKETS FOR THIS EVENT HAVE SOLD OUT

*More about Sudki’s Kitchen:

Imagine feeding 2,500 dignified Palestinians a day right now in the heart of southern Gaza.

We can achieve this with your support by building and supplying a new field kitchen in Rafah - a lifeline amidst desperation - brought to life by a collaborative vision between Chicago based Palestinian restaurant, Cedars & not-for-profit charitable organization, Pious Projects.

Cedars’ founder Sudki Abdullah was a displaced Palestinian refugee. His life mission was to feed as many human beings as possible while alive.

We carry his torch into Gaza, silencing hunger & reigniting hope. In his honor, we name this Gaza field kitchen “Sudki’s Kitchen.”

More information about Pious Projects of America: Pious Projects is a not-for-profit charitable organization founded in 2014. Pious created a way for people to take part in humanitarian charitable projects from all over the world. Pious collaborates with like-minded non-profits across the world, most recently with the Bill & Melinda Gates Foundation, as part of the “For Mama” campaign, which works to alleviate the maternal mortality crisis globally.

Please consider donating directly to the cause:
https://donorbox.org/gaza2026/fundraiser/amer-abdulla

**More about New Forms of Survivance exhibition:

New Forms of Survivance 
Curated by Linda Abdullah & Faten Nastas Mitwasi

@ Watershed Art & Ecology, Chicago
November 7 - December 5

From November 7th to December 5th, 2026, New Forms of Survivance will be exhibited at Watershed Art & Ecology, shedding light on a group of Palestinian artists from Gaza. This exhibition features -some of the same artists from the 2024 exhibition Landscapes from Under the Rubble at Co-Prosperity, which foregrounded immediate responses to destruction.

Three years after October 7th, these artists are now forcibly dispersed; some of them live across the diaspora, while others are internally displaced within the Gaza Strip. New Forms of Survivance, however, reflects not only genocide and loss, but also sumud (steadfastness), resilience, and transformation. 

Survivance, as writer Gerald Vizenor explains, is an active sense of presence over absence, the continuance of stories, and the refusal of mere victimhood; the Palestinian artists in this exhibition practice survivance through art. As artist Basel Almaquosi reflects, “I draw in order to remain awake as a sensitive human being; the war does not erase my dignity and humanity.” Working with whatever materials are available—diluted spices, pomegranate, charcoal, tea, coffee, or hibiscus—these artists produce expressive marks on modest surfaces, like school notebooks and ruled paper. The drawings function as a form of diaristic testimony from within a war zone. When the artist and professor Suhail Salem began sharing daily sketches on Facebook, he described them as “our only window to tell the world: we are still alive.” 

New Forms of Survivance celebrates the work of Palestinian artists and offers a platform through which they share their stories, reflect on their fears, and express their dreams. Against genocidal violence, the artists from Gaza continue to pursue creative expression as a testament to their love of life. The artworks offer alternative ways of seeing, manifesting the evolving relationship between the artists’ lived realities and their creative practices over the past three years.

Please consider donating directly to the cause:
https://www.gofundme.com/f/bring-gazans-artists-voices-to-chicago

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Apr
7
to May 7

Love In The Time Of Resistance

Photo Credits: Sandra Oviedo

Love In The Time Of Resistance

April 7 - May 7, 2026

A Co-Prosperity window show and activation showcasing an incomplete collection of art and design in response to operation Metro Surge in Minneapolis, MN, created by artists near and far. 

The posters, banners, buttons, stickers, whistles, zines, and other items gathered were created in response to the Operation Metro Surge, which was focused in Minneapolis, but affected all of Minnesota. As communities came together to look out for each other, artists and non-artists produced pieces that spoke to feelings that many were experiencing…

What is gathered here for this exhibition is in no way everything that was created. It is an incomplete archive. That said, it is emblematic of the larger response of art and design.

This show is presented anonymously. In short, it is by and for those in Minnesota who experienced Operation Metro Surge. It is by and for those who grew accustomed to falling asleep to the sound of helicopters. It is by and for those who stood on street corners in freezing temperatures with nothing more than whistles in order to keep their neighbors safe. It is by and for those who love their community and those who lost members of their community.

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Apr
7
to May 7

Tuneful Places

Image: John Carson, American Medley, 1981-6

Tuneful Places 
John Carson / Martin Folan / Max Guy / Léann Herlihy / Niamh Schmidtke / Frank Wasser

Curated by Michele Horrigan and Sean Lynch 

Opening reception Tuesday 7 April, 4-7pm

In April 2026, Ireland’s Askeaton Contemporary Arts continues a growing relationship with the city of Chicago, presenting a series of exhibitions bringing together artist-led activities of the Irish art scene and American Midwest. As part of this initiative Co-Prosperity host Tuneful Places, a group exhibition exploring artists that disrupt and challenge representations of geography, state and capital within an Irish idiom.

John Carson’s American Medley embodies a tour to fifty locations in the United States famed in popular music, from ‘What Made Milwaukee Famous to ‘Chattanooga Choo Choo’ and more in-between. Postcards and Polaroid photographs were initially sent back to Carson’s native Belfast, displayed during the conflict of The Troubles of Northern Ireland in the window at one of Carson’s favourite haunts, Delany’s ‘American-style’ diner. Carson’s chase of the American dream is one of myth-busting – Frank Sinatra’s crooning ‘Chicago is my kind of town’ is juxtaposed with an image of a mound of rubble from a demolition site that constitutes what Carson actually saw when he visited here.

Martin Folan (1955-2014) worked with the Traveller community of Limerick, realising collaborative artworks that addressed the inherent racism towards indigenous ethnic communities in Ireland. At that time, and today throughout the island, large stone boulders are placed at roadside parking and traffic lay-bys as barriers to prevent Travellers practicing a traditional nomadic way of life. The boulder, in this form, represents exclusion. In 1991, Take Away The Stone was realised - a large fiberglass replica of a rock pushed over seven days in the Irish landscape, followed by a pilgrimage of hundreds demanding civil rights and respect for Traveller identity. 

Max Guy’s No Reason sees him annually film Chicago’s Saint Patrick’s Day Parade and the famous ceremony of dyeing the city’s river green. The green dye is mixed by Plumbers Union Local 130 and is so saturated that its colour can be easily altered in video post-production technology. Guy enacts this alchemy, as a mediation on the cultural significance and shrinking of Chicago's Irish diaspora and the ecological implications of the water’s flow. 

Léann Herlihy’s The Long Internecine Quarrel is an account of the artist’s court case against Ireland’s taxman, the Revenue Commissioners. In a whirlwind of administrative chaos, Herlihy was denied a tax break offered by the Irish state for art. Their public billboard artwork was categorized by authorities as an advertisement and form of self-promotion, devoid of artistic merit. After several unsuccessful appeals, Herlihy gathered a folder of evidence and initiated legal proceedings, winning their case in the latter half of 2024.

Niamh Schmidtke’s Drafting communication, drafting climate, drafting futures is a fictional exchange between the wind, represented as Aos Sí (the supernatural race in Celtic mythology considered true spirits of nature) and a multinational venture capital firm. Mimicking passive-aggressive corporate chatter and policy Schmidtke researched while on an artist residency at the European Investment Bank in Luxembourg, they ask how value is ascribed to nature, and how global finance’s role in climate breakdown becomes evident. 

Frank Wasser debuts a new video and salvaged sculptural arrangement, recalling the recent closure of The Complex, one of Ireland’s key experimental cultural venues. Falling prey to the increasing gentrification and profit-seeking of the Dublin’s inner city, Wasser salvaged pub signs from the venue and transports them to Chicago, while onscreen he creates a spiralling narrative, addressing the intrinsic desire for grassroots cultural production and artistic communities to rally against the blatant aggression of contemporary city policy and corporatization.  

A programme of audio artworks and interviews with exhibiting artists will feature on LUMPEN FM, broadcasting WLPN-LP 105.5FM and at www.lumpenradio.com 24 hours a day.

Askeaton Contemporary Arts is an artist-led organisation based in the west of Ireland since 2006. An ongoing residency programme creates critical cultural encounters in the midst of the Irish countryside each summer, while public programmes and exhibitions in Askeaton and elsewhere over two decades have found innovative public contexts and resilient relationships for new forms of artmaking to emerge. 

askeatonarts.com

Tuneful Places is supported by Culture Ireland, Hyde Park Arts Center’s Jackman Goldwasser artist-in-residence programme, EXPO Chicago and The Irish Consulate of Chicago 

Photo Credits: Sandra Oviedo

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Jan
31
to Mar 14

SEPARATIONS

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SEPARATIONS
Eli Show + Angela Zonunpari
Saturday, Jan. 31 – Saturday, Mar 14, 2026

Opening Reception: Saturday, January 31st 6 - 10pm

In SEPARATIONS, artists Eli Show and Angela Zonunpari explore the arbitrary boundaries between art and life, and how they intertwine if given space and time. As “incidental collaborators,” they navigate the mysticisms of creation and the everyday utility of objects. By easily transitioning between these “separations,” they show connections between their art practices and their lives. The artists are based in Sioux Falls, South Dakota.

Artist Bios

Eli Show (he/him) is an artist living and working in Sioux Falls, South Dakota. He attended the University of South Dakota and went on to receive his masters in fine art from Syracuse University in New York where he lived for a number of years. Show is the preparator (“the builder of exhibits”) at the Old Courthouse Museum; a member of Hooks (formerly We All Have Hooks For Hands) for over 15 years, touring the country multiple times and releasing records worldwide; and recently served as the Art Director for Headlights Theater, a local nonprofit bringing professional dance and music performances to parking lots.
http://elishow.com
https://elishow.studio
https://weallhavehooksforhands.com

Angela Zonunpari (she/her) is an artist and editor living in Sioux Falls, South Dakota; with roots in north and northeast India. Her interdisciplinary practice includes texts and textiles. She received her masters in arts journalism from Syracuse University, New York, and before that pursued her education, lived, and worked in New Delhi and other parts of India. Currently, Zonunpari is the managing editor of Arts Midwest’s storytelling program. She has worked at Fresh Produce and Ipso Gallery in Sioux Falls, and with nonprofits and newsrooms in the U.S. and in India.
http://angelazonunpari.com/
https://nobusinessmagazine.com

Photo Credits: Sandra Oviedo

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Jan
31
to Mar 14

Carrier

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Photo(s) by Robert Chase Heishman for Bob.

Carrier

Curated by Bosco Bae and John Neff
Saturday, Jan. 31 – Saturday, Mar 14, 2026

Opening Reception: Saturday, January 31st 6 - 10pm

Artists: Gregory Bae, Rashayla Marie Brown, Robert Chase Heishman, Kiku Hibino, Kellie Romany, olivier,
Maggie Wong

Carrier is a group exhibition centered on a sixty-foot-long paper and tape collage scroll by the late Chicago-based Korean-American artist Gregory Bae. The work was created from non-alphabetical printed elements, such as punctuation marks and technical graphics, cut from radio instruction manuals. Carrier brings together a group of primarily Chicago-based artists, several of them collaborators and friends of Bae, to respond to the scroll.

Structured around a “score” developed by the curators, the exhibition invited the artists to engage with the scroll as a prompt: something to be read, misread, translated, withheld, or activated. The works exhibited consider how meaning is formed through fragments, omissions, and margins — elements that are often present but overlooked.

Bae’s scroll draws from three radio instruction manuals, sources designed to transmit information clearly and efficiently. By isolating punctuation, diagrams, and residual marks from these texts, Bae redirected attention away from instruction and toward what remains once printed language is stripped of its intended functions. The resulting visual abstraction evokes multiple reference points at once: ancient scrolls, Modernist musical notation, and the gestural mark-making associated with Abstract Expressionism. Bae described his interest in the “leftover margins, blank negative shapes, disassociated symbols and punctuation” that tend to disappear when systems prioritize clarity, order, and rule-following.

At the exhibition opening, Bae’s scroll will be presented fully unrolled for the first time. The opening will also include a talk by co-curator John Neff, who spent several months attempting to make a single-shot, high-resolution image of the entire scroll. That project began in conversation with Bae prior to his death and continued afterward, raising questions about authorship, access, and the limits of documentation. Neff’s talk reflects on those attempts and on the challenges of translating an object that resists easy re-presentation.

Following the opening, the scroll will remain concealed for the duration of the exhibition. This decision emphasizes the tension between presence and absence that runs throughout the project. With the scroll physically hidden, its influence will persist through the works, performances, and discussions it has set in motion.

The exhibition will conclude with a series of closing performances from Kiku Hibino (March 13) and Rashayla Marie Brown (March 7). These events will continue the exploration of the scroll as a score, particularly through sound and musical interpretation, and may include collaboration with Lumpen Radio.

An exhibition booklet, featuring an essay by Dr. Bosco Bae along with Neff’s interpretation of a 2019 interview he conducted with Gregory Bae about the scroll, will be printed at the end of the exhibition. The publication will also include a collaborative syllabi extending the exhibition’s inquiry into pedagogical and collective forms of knowledge-sharing.

Rather than positioning Gregory Bae’s work as a singular legacy, Carrier treats the scroll as a living site of exchange. The exhibition foregrounds how shared histories, relationships, and informal systems of learning continue to shape artistic practice, often through what remains unspoken, unseen, or unresolved.

Performance by Rashayla Marie Brown on March 7, 2026; Saturday @7:00pm

The End(s) of Suffering
Rashayla Marie Brown (RMB)

Duration: 30 Mins

RMB will compose a vocal landscape inspired by Greg Bae's scroll and friendship-building practices in general, using a microphone and looper with her own voice. This performance will incorporate gestures and elements of ancestral veneration from a variety of traditions of which RMB is a practitioner, including Buddhism and Lucumí. 

Rashayla Marie Brown (RMB) is an undisciplinary™ artist-scholar working across performance, photography, and film to examine power, ethics, visibility, and perception. Her globally exhibited projects include Embassy of Foreign Artists, Geneva; Metrograph, NYC; Museum of Contemporary Art, Chicago; Museum of the African Diaspora, San Francisco; Royal Academy of Arts, London; Slamdance Film Festival, Park City; and Turbine Hall, Johannesburg. RMB holds degrees from Yale and SAIC and is completing a PhD at Northwestern Performance Studies focused on reparations and collaboration. RMB also hosts the podcast, Rage to Master, on creative survival in chaotic times.

Performance by Kikù Hibino on March 13, 2026; Friday @ 7:00pm

OFF.Manual 
Kikù Hibino 

Duration: 30 minutes

OFF. Manual is a high-volume noise performance that responds to Gregory Bae’s interest in “leftover margins” and “disassociated symbols”—elements that disappear when systems prioritize clarity, order, and rule-following. The performance activates these excluded elements, pushing beyond regulatory frameworks into chaos and toward new order. That new order, once formed, becomes the next structure to be dismantled.

Working across five sound sources, including guitar and bass amplifiers, the thirty-minute work moves through four states: Infinity, and/or, Excess, Ghost.

Kikù Hibino is a Chicago-based sound artist and director of Signal Noise, an independent platform for experimental sound and video art. Working across installation, performance, and recording, he uses voice, text, and noise to create tension between music and non-music while exploring non-linear temporality within time-based media.

Recent releases include Sky Trajectories (Superpang, 2024) and Fell to Fern (Superpang, 2022). His forthcoming collaboration with Merzbow, Rococo ∞ Echomatter (Superpang, 2026), explores excessive ornamentation and discontinuous editing within noise composition.

Hibino’s work has been presented at the Museum of Contemporary Art Chicago, Wrightwood 659, Bemis Center for Contemporary Arts, the Reva and David Logan Center for the Arts, the Utah Museum of Contemporary Art, Experimental Sound Studio, Chicago Cultural Center, Elastic Arts, and Hyde Park Art Center, among others.

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