Come celebrate Words on Paper, N-o-nS…e;nSI/c::::a_L’s first guest-edited issue. Curated by Meital Yaniv, the book features writings by Cara Despain, Abigail Han, Ali Kheradyar, M, Anna Knecht Schwarzer, Toisha Tucker, Suné Woods, and Meital Yaniv. Copies will be available for purchase at this event.
“We live between the objects we make and the pages we write.
This is about that moment when you put the brush aside, close the editing program, cover the clay with a wet towel, emerge from the darkroom, and step onto a fresh page. There is a poem resounding in your head that’s finally ready to come out.
How much color is used to overcome a letter? How many words hide beneath an object? Can a sentence be disrupted by a red string, by a shattered glass, by a gold stain? Does a paragraph have a shadow? Do you write in order to make art or make art in order to write?”
In 2016, Meital Yaniv sent the above provocation to seven artists—Cara Despain, Abigail Han, Ali Kheradyar, M, Anna Knecht Schwarzer, Toisha Tucker, and Suné Woods—each with discreet writing practices. What resulted was an exhibition of the artists’ works, which became the host and incubator for five reading events that took place at LAST Projects in Los Angeles during a brief two-week period in a tense political moment—a few months before the 2016 election.
Combined with the prompt of the reading events, the exhibition became a workshop for creating and presenting brand new writing. The short timeframe ensured the brewing of raw experimentation, forcing artists to produce largely unrehearsed and unedited pieces.
As the artists sat in a circle, taking turns reading their works aloud without prescribed order, the gallery space housing their artworks also began to house their words.
Words on Paper is a documentation of process. This book follows the dually organic and deliberate structure that the readings took. Each chapter is marked by each of the events, along with links to audio recordings of the writings, read in the artist’s own voice.
Experimentation asks for inconsistency. It asks that no singular thread be held. Instead, we invite you to sit down and join the circle.
N-o-nS…e;nSI/c::::a_L is an annual publication of critical and experimental texts by artists, writers, and other thinkers. Founded in 2013 by artists Páll Haukur and Vivian Sming, the publication seeks to provide a place where visual artists and writers alike can freely explore and experiment with language and meaning—whether in its theoretical, poetic, or narrative-based form. In 2015, artist Alice Wang joined the collaborative as a fellow editor.
Abigail Han is an artist, originally from Singapore and based in Los Angeles. She makes experimental films and uses performance, video, installation, and drawing in her work. Han’s artistic trajectories create a space for the negotiation between political and domestic spheres inspired by the imagined nation-state of Singapore. Han’s work deals with obscuring the line between the private and the public through the investigation of ideas revolving around language, national identity and the family. Her work has been exhibited in Singapore, Los Angeles, Minnesota, Hong Kong, Paris, and the Czech Republic. She recently graduated with an MFA from the California Institute of the Arts and has a BA in Cinema and Media Studies from Carleton College, Northfield, MN.
Ali Kheradyar’s interdisciplinary practice explores gender and sexuality through performative gestures in photography, video, movement, sound, and text. With an ongoing interest in ‘the frame,’ Kheradyar isolates and presents imagery as performance to draw attention to moments of intimacy and desire. Kheradyar’s Iranian heritage informs the work and the representation of the body; elements are veiled yet revealed, while a tendency towards minimalism brings the body to the forefront. Kheradyar received a Bachelor of Arts in Dance, Music, and Performance from NYU’s Gallatin School, a Master of Arts in Performance Studies from NYU’s Tisch School of the Arts, and a Master of Fine Arts from the California Institute of the Arts. Kheradyar’s work has been exhibited at the Craft and Folk Art Museum, Torrance Art Museum, Visitor Welcome Center, MiM Gallery, Western Project, PØST, Third Streaming, and Project Space Kreuzberg. Ali Kheradyar lives and works in Los Angeles.
Anna Knecht Schwarzer is an artist, writer, and plant enthusiast living in portland, OR. She is indebted to Marlboro College for a BA in Feminist Philosophy and Visual Art and CalArts for a MFA in Photography and Media. Her practice centers around radical negativity, presence and disappearance and works to recognize, explore, and dismantle systems of oppression, particularly against women and queer communities. Her work takes many forms including writing, listening, activism, and visual art.
Cara Despain was born in Salt Lake City, Utah and currently lives and works in Miami, Florida. She holds a B.F.A. from the University of Utah (2006). In 2012, she was selected for the Salt Lake City Mayor’s Award in the visual arts, and in 2016 she was selected for the South Florida Consortium Fellowship. Recent exhibitions include Autobody in Buenos Aires, Argentina, Locally Sourced at the American University Museum in Washington D.C.; Voces Feroces in Santiago, Chile; open sesame at The Lumber Room, Portland, Oregon; and Seeing the Stone solo exhibition at Contemporary Utah Art Center in Salt Lake City. In Miami recent exhibitions include Fantastical Vizcaya at Vizcaya Museum and Gardens, Slow Burn solo exhibition at Spinello Projects, and No Man’s Land at Rubell Family Collection. In 2014 she was the Art Director for the feature length film The Strongest Man that premiered at the Sundance Film Festival in 2015. She is also a founding board member of the Davey Foundation, a grant-giving foundation that gives grants to emerging filmmakers and playwrights. She has also initiated curatorial projects, and from 2009-11 she founded and operated GARFO Art Center in Salt Lake City, Utah in an abandoned schoolhouse. She is an art writer who has been published in various magazines, and contributes in to The Miami Rail and Line Script Diray and recently curated a journal editon for Site 95. From 2012-2015, she was Foundation Education Manager at the Rubell Family Collection. She is currently curator and artistic manager of Jim Williams’ archive and estate.
M (b. San Jose, CA) is a multi-disciplinary artist, living and working in Los Angeles. Her work explores the notion of community, body, and land in relation to increasing processes of digitization. She received her MFA from CalArts in 2012.
Born in 1984, in Tel-Aviv Israel, Meital Yaniv is an interdisciplinary visual artist writer and filmmaker currently working in Los Angeles. Yaniv’s practice is built on a visual dialogue that bridges the personal and political conditions at the core of her origin. Yaniv conceives alternative practices for re-experiencing traumatic events through mirroring the other. Her book, Spectrum for an Untouchable, was published in October 2016. Together with Eve LaFountain and Ali Kheradyar, Yaniv initiated the conversation series, Feminism Today in May 2013. Her work has been exhibited at Visitor Welcome Center, LACE, LAST Projects, PØST, Photo LA, Cirrus Gallery, Shulamit Gallery, Raid Projects, For Your Art Gallery in Los Angeles. Mana Contemporary and Catalyst Ranch in Chicago and The Alice Gallery in Seattle. Yaniv holds an MFA from California Institute of the Arts and a BFA from Bezalel Academy of Art and Design.
Suné Woods is an artist living in Los Angeles. Her work takes the form of multi-channel video installations, photographs, and collage. Woods practice examines absences and vulnerabilities within cultural and social histories. She also uses microsomal sites such as family to understand larger sociological phenomenon, imperialist mechanisms, & formations of knowledge. She is interested in how language is emoted, guarded, and translated through the absence/presence of a physical body. She has participated in residencies at Headlands Center of the Arts, Vermont Studio Center, The Center for Photography at Woodstock, and Light Work. Woods is a recipient of the Visions from the New California initiative, The John Gutmann Fellowship Award, and The Baum Award for an Emerging American Photographer. Woods has served as Visiting Faculty in the CalArts Photography & Media Program, Vermont College of Fine Arts Visual Art Program, and has mentored fellows and organized lectures with at land’s edge, an experimental platform for visual research and catalyst for decolonial thought and action in Los Angeles.
Toisha Tucker was born in Oklahoma. She is a QPOC, conceptual artist, creative writer and activist citizen. She received her BA in Philosophy and History with a concentration in English Literature from Cornell University in 2002, her Post Baccalaureate in Visual Arts with distinction from UC Berkeley Extension in 2009, completed additional coursework at SAIC in 2010 and in 2013 received her MFA from the University of Pennsylvania’s Graduate School of Design. She has exhibited in Rosendale, Omaha, San Francisco, Philadelphia, Boston, Los Angeles, Chicago, New York and Verona. Toisha is an Affiliated Fellow of the American Academy in Rome, AIR Alumni of the Bemis Center for Contemporary Arts and Alumna of CUAC Feminist Artist Residency. Her short fiction After Jacob’s Room was published in the Vassar Review in 2016. She co-curated #PERSIST in 2017. She was a Field Organizer for Hillary for America in 2016. She currently resides in Brooklyn. Toisha’s work deals largely within epistemological, literary and linguistic investigations. She is particularly interested in how we can illuminate and re-imagine our perceptions and manifestations of social constructions and her works have addressed a spectrum of themes including: time, memory, collective conscious, personal dystopia, nostalgia, feminism, identity and the search for contentment. Toisha’s current work uses art as a platform for cultural activism, reacting to contemporary societal issues and events. She also explores the identity of the individual within the context of group/self and the boundaries of humanity, and posits new constructions of humanity and virtual space for transhumanist/post-singularity technologically-dependent future realities in which she explores her conception of technology as a prosthetic limb of desire and disability that moves us further away from our ability to be empathetic.