Swallows across the globe make seasonal migrations between the northern and southern hemispheres, often unaware of the distinct qualities of their own journey, and the similarities to swallows afar.
There is an instinctive reference to collective memory and ancestral experience that allows the swallow to delineate its path in the world.
The swallow as metaphor came to represent the Black migrant condition: a life shaped by displacement from forces beyond one’s control, yet marked by direction, resilience, and grace.
Through intergenerational exchanges, the swallow makes its attempt to get home, at times to no avail. It moves through the realm of ancestral intelligence as microhistories overlap, diverge, and run parallel.
However no matter the distance traveled nor the duration of the journey, the swallow never forgets home.
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These are not necessarily interactive games nor the art assets that make up those games. Instead, they are game elements that have been remixed and recomposited in order to create new works. whether that is the art that makes up the components of games, games themselves as art, or a third category I refer to as crosssectional game art.
When I think of games, I think of portals. We gain access to a world different from our own,
yet the formal experience of a videogame itself (typically a controller and a monitor) works as a framing of the experience that keeps us tethered to our world.
What happens when you mess with this form?
Can the reshaping of the frame that bounds the experience change how we experience the trip through the portal?
to weave, to slit, to fit,
to create tension. Is the cold more intimate?
Cold Connection:
A type of assembly in which the materials are joined, but never entirely.
They are one but still transparently and structurally two.
Rules:
1. Everything must be completed in one hour. If any part is not consumed (swallowed), you lose.
2. Before the time starts, you will be allowed to take one bite. If you are satisfied, the time will start upon your acceptable approval. Once the time starts, it will not stop.
3. Once you have started, you are not allowed to stand up or leave.
4. You will be disqualified if anyone assists you in cutting, preparing, or consuming.
5. You do not have to consume the fat, but you will be judged.
6.
Should you become ill, the contest is over. Please use the container provided.
7. You are required to pay the full amount up front.
Zavier
Anansi took residence in my bottle of sorrel
Eight feet tall
Swimming just behind the glass
You can’t see through the recycled containers of hibiscus blood
Beauty slightly bruised the shade of stained royal Purple eyes tinged with the Fury of a dying god
So, I said good evening To the one who sits In the corner of the room And between floorboards
And was carried across oceans Seas of blue-green and black Waves cresting as flowers for the graves
FEAST began with a simple premise: the dinner table meets the pool table.
This exhibition was conceived as a Gesamtkunswerk of paintings, handmade ceramic pieces to accompany an original table design, and a live performance.
The guests become elements of the game, and in this matrix, they are transformed into the artist's muses. The FEAST is no different than the game.
Strategies emerge before the “break” unleashes chaos. Momentum builds. One person pockets ball after ball, steering the entire table.
When strategy is overtaken by chance, the formal barriers of order and rule disappear.
These are from an experience that will be a film, supposedly.
When bodies, organisms, and rituals
末mori日 ensues as a speculative landscape cease to exist,
where traces of presence linger
as memory and gesture.
Through experimental analog methods including mordançage, Polaroid emulsion lifts, and large-format silver gelatin prints,
Martin explores themes of place, aging, and decay.
The exhibition features a large-scale video projection of floating Polaroid emulsions, photographs of industrial sites and bodies, and landscapes from the Sierra Nevada region.
Martin’s process-based approach emphasizes the materiality and slowness of photography, unraveling the medium’s layers to reveal the photograph as a physical, dimensional object.
Her work creates a tension between experimental photographic processes and images that capture the body and landscape in states of transformation and flux.
77
A FILM ABOUT SURFING THREE YEARS IN THE MAKING
FEATURING AN ALL ORIGINAL SOUNDTRACK BY MAX
MADE POSSIBLE BY BABE CASTLETM
Inspired by historic houses, thoughtfully arranged interiors,
and collections of wellloved knick-knacks,
Keepsakes reflects on how we shape spaces—and how those spaces shape us.
“The more you look, the more you find.”
exploring the intersection between
and identity. memory,
my work explores the body changing, transforming,
and coming undone through material processes.
It sits in the space between attraction and repulsion,
where the bodily familiarity of the works pulls viewers in but quickly the grotesqueness provokes unease.
These works explore materiality and color
What happens when we detach ourselves from what we once found soothing?
When things that are soft and sweet become
distorted from the reality we once placed them in?
This work explores how materials of comfort can invoke a sense of tension and unease
when occupying the same space as traditional art forms.
Somewhere between the flatness of the canvas and the protrusion of the sculpture, there existed a third world.
Not quite flat,
When his overbearing mother arrives unannounced,
a serial killer scrambles to keep her from discovering
trace
outward, around their absence,
Aysu wanted to emphasize how deeply the notions of the present and memory relate to family and the home.
She grapples with not only what fades,
but what remains of loved ones and the places that they inhabit.
Most crucially, she contemplates how
to cherish what stands the test of time.
Dane makes large-scale, interactive sculptures inviting viewers to support,
to repair and build
Gestures of breaking and tearing meet
the gentleness of pressing and holding the form together.
klick und surr is a body of work by Princeton senior László Wenk, a History major minoring in Visual Arts,
exploring both his family’s lived experiences as well as the political apparatus of the German division between 1961 and 1989.
Through the medium of photography and the archive, the work considers how systems of surveillance, separation, and ideology shape familial memory.
Drawing on the visual identities of East and West Germany, as well as personal histories, the project moves between intimate spaces and political tensions.
The title, klick und surr, evokes the sounds of the mechanical shutter and film advancement, highlighting how images act as both instruments of observation and tools of memory preservation.
The project asks how images can carry the weight of familial memory and lived experiences
165 while confronting the structures of political surveillance and division that produced it.
How do they mold and morph our narratives, bodies, and psyches?
How do we cope, and how may we still learn to thrive?
I find momentary reprieve in ritual processes, where skin meets material.
The work becomes a proxy, an index, a photographic record, together a register of otherwise erased presence.
The final forms are inevitably harsh,
but an incongruous, enduring comfort remains.
vis faculty: Colleen Asper, Zimra Beiner, Tina Campt, Laura Coombs, Martha Friedman, Christopher Harris, Daniel Heyman, Deana Lawson, Dani Levine, Annabeth Marks, Pam Lins, Moon Molson, Medhin Paolos, Nicolás Pereda, Bent-Jorgen Perlmutt, Este Puerta, Eileen Quinlan, David Reinfurt, Joe Scanlan, Tim Szetela, James Welling, Jeff Whetstone, Kristine Woods
lewis center for the A rts
administration: Dan Benevento, Dawn M. Capizzi, Judith Hamera, Crystal Henderson-Napoli, Mary K. O'Connor, Cathy Sterner, Kim Wassall, Marion Friedman Young
E xternal A ffairs: Angel Gardner
No part of this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from the artist