Wednesday, July 27, 2022

EVENTS! RESIDENCY APPLICATIONS! INTERVIEW! JULY!!!

 


DIRT

PALACE

JULY 2022

 
 


 


Applications for Winter residency opportunities are live!!!!
Find info on the residencies offered and how to apply

HERE

 

YOUTH WORKSHOPS
AT THE WEDDING CAKE HOUSE

 

Animation by Sam Shorr on the Gif-o-Graph (with vintage WCH Wallpaper!!) 

KIDS WORKSHOPS! WORDS! PICTURES! SOUNDS! 
Next Week at the Wedding Cake House, we're about to embark on a test residency for families!!!
We're super excited! As part of this we will be hosting a series of youth workshops that are free & open to the public on a first come first serve RSVP basis.

Workshops will be held on the Wedding Cake House lawn (though we will have rain plans) and are geared to kids between 9 & 12 years old (slightly older/younger = ok).

July 13th-16th
Workshops will be between 1:30 & 4pm


and the line up is looking like it will be:
Wed July 13th:  Shadow Boxes with Natasha Brennan
Thursday July 14th:  Wild Sounds with Kai Van Vlack
Friday July 15th:  Animation with the GIF-O-Graph team
 Saturday July 16th:  Persona Poem workshop with Charlotte Abotsi.

Keep an eye on the Wedding Cake House instagram (@Weddingcakehouse_residencies) for more info, or email us at weddingcakehouseresidencies@gmail.com
 

 

 
 
 

WINDOW




NEW INTERVIEW WITH STOREFRONT WINDOW ARTIST CAITLIN CALI!!!

New Interview with Storefront Window Gallery Artist Caitlin Cali is up on our blog!!!
Writer Sara Wintz speaks with Cali about her work and installation

Check it out HERE





JUNE - JULY WINDOW ARTIST:

CAITLIN CALI 



 

Caitlin Cali has been living in Providence for 12 years, and in that time she has been a mentor and teacher at wonderful places like New Urban Arts and AS220 Youth and she has worked a million different other jobs too. Lately she draws and paints and just started making some etchings. She lives with sweet earth angel cats. She makes art about the dark side and how it makes everything you love so special and precious and hilarious. 



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Storefront Window Gallery Projects are made possible in part through support from the City of Providence Arts Culture Tourism Department.

 

UPDATES ************

FROM THE PEOPLE OF THE PALACE!! 
 

 

NATASHA BRENNAN

Hi Internet World! What a sweet summer it has been so far- my barista job unionized (yay for all us seven stars employees!) (Thimble the cat showing solidarity below). I made some t-shirts and some other things and I'm planning on making even more. The City Arts spring session wrapped up awesomely and I'm teaching with them again for summer camp- hooray! H
 


 

ELLEN (LN) FOSTER

June was too much working and not enough swimming. Here’s to July + August being more about swimming. Over the past few months, I did try out the letterpress, play a noise fest, DJ a wedding, and figure out how to hook up the subs to the PA for a dance party. 

Honored to have played the 10th installment of Savage Weekend. Check out this beautiful flyer Ryan Martin made for Savage Weekend X @ one of my fave places to play, the Nightlight <3



Wall Wymyn has a show in Philadelphia coming up on July 12th. It has been feeling good to get back into our collaborative sound practice. Flyer by Gladys Harlow [streetrat].



A few other Celestine solo performances are in the works. One at AS220 for Wendy Hyatt’s (The Suicide Magnets) birthday on July 26th will be fun. Flyer by Wendy




Hit me up to go swimming and blading as much as possible while the days are long.


 

KAI VAN VLACK 
Hello sweet friends. I contributed vocals, electronics, and writing to a benefit compilation and zine, “Felony For Existing”, out on Middle-Man Records. Funds generated by the compilation are donated to transgender mutual aid funds and indiviual trans people’s gofundmes. The track I contributed to, “Crater to Darn”, is my attempt to make sense out of the combination of grief, anger, and mortal terror that I felt after the suicide of a transgender child in the family of someone close to me and my sense of hopelessness in a social apparatus that offers only conditional support to people for whom that support is a matter of life or death.



My next performance will be on July 9th in Brooklyn, NY at Gold Sounds Bar with Seed (MA), Rong (MA), and Strega Nona (NY)



No recs other than my band’s album “The Branches on Either Side” which was released last month on Middle-Man Records and Zegema Beach records. CDs are still available and LPs are forthcoming. It would mean the world to me if you gave it a listen.




 

YSANEL TORRES


 

A Six-Panel Public Art Installation at Sarto

Taking out-door seating to a new level, YSANEL's hand-painted depictions of scenes in Providence from day to night have been up since the beginning of June. Take a look yourself - you can see them at 86 Dorrance St, Providence, RI. 

Check out her TikTok process video! 

 

New Chalk Mural at CIC Providence!

As an addition to one of their many creative networking events, CIC Providence and Venture Cafe have teamed up to commission YSANEL for a chalk mural space transformation in their upstairs lounge/ co-working area. This mural is interactive and invites people to write in the word bubbles and buildings with chalk overtime. Check it out in person at 225 Dyer St, Providence, RI. 

Read Press
Watch Process TikTok Video

Watch Time Lapse Video

UPCOMING EXHIBITIONS
+ ART MARKETS:


Waterfire's first ever Accelerate Cohort of 5 local artists, including YSANEL, Julio Berroa, OZMA, Jared Winslow and Sydney Sousa, will be showcasing work in collaboration at the WaterFire Arts Center for an exhibition they've named, "This Must Be The Place". The opening reception is Thursday, June 30th from 6-9pm. Your invited:


An international + inclusive space and organization for BIPOC artists and creatives located in Worcester, MA called El Salon is co-curating a show with Co-Arts Gallery at Revival Brewery in the first week of July. Come check out what YSANEL and all of the incredible artists will showcase!

There will be many artists and vendors at this event, including YSANEL selling exclusive artwork and merchandise! Hope to see you there!




JOSEPHINE DEVANBU 


"The Situation" Carved Bar of Ivory Soap, 2022




XANDER MARRO

CLEANING. PACKING. REARRANGING. 
A FORM, SORT OF ABOUT THIS CHANGE, 
AND OTHER THINGS. CLICK HERE

 

 
PIPPI ZORNOZA

 
HARPY (GYNA BOOTLEG + RECTRIX) will be playing Fuck the Fourth Fest this Sunday... 6:30pm at the main stage?
Fest is 3p - 1am at AS220
get tickets at fuckthefourth.com


Then RECTRIX will be performing at Summer Scum 7!!
July 22nd and 23rd @ TV EYE in Queens!!!

 
 

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LIBRARY HI-LITES!

MONTHLY PICTORIAL TREAT FROM THE DUSTY SHELVES OF THE DIRT PALACE

FURTHERING THE QUEST TO SPREAD FUN LIKE GIN AND JUICE, MOSTLY GIN



CHECK IT OUT a binder of documentation of an artist project celebrating the Summer Solstice in 1977! People, in the olde days this is what you’d have to do to manage a grant from the Parks Department (because there was no Department of Art Culture & Tourism)! Slides, cashed checks, a handwritten accounting ledger, newspaper clippings, typed memos!




 

 

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BULLETIN BOARD
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GO OUTSIDE! 
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Wednesday, June 29, 2022

Caitlin Cali in Convo with Sara Wintz

For this next series of Storefront Window Installations we'll be pairing our exhibiting artists with other artists and curators for interview conversations. This spring we were pleased to host Caitlin Cali's installation .

Caitlin Cali has been living in Providence for 12 years, and in that time she has been a mentor and teacher at wonderful places like New Urban Arts and AS220 Youth and she has worked a million different other jobs too. Lately she draws and paints and just started making some etchings. She lives with sweet earth angel cats. She makes art about the dark side and how it makes everything you love so special and precious and hilarious. 


Below is a convo between Caitlin and author Sara Wintz.


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SW: What’s the title of this installation? How did you start thinking about it? How did you make it? 


CC: I didn't come up with a title for the installation. I thought about the cars and people going by and what I wanted to say to them and I felt like people might like to see creatures and colors and the message of "i love you". I used foam core and an Exacto-knife and cut out big creature shapes and then painted them with acrylic paint and then drew the black lines on with a fat marker. 





SW: How did it feel to make something on a larger scale? What was that process like?


CC: It took longer. It was fun to see things in the end, but more work physically than compared to just drawing small stuff in a sketchbook.



SW: All these characters seem very happy to be partying in the storefront window, smiling at Olneyville Square. In some ways, it’s like a mirror or a portal. What’s your relationship with Olneyville Square and Dirt Palace been like over the last 12 years? How have you felt about either or both of those spaces? 


CC: Thank you! I wanted them to be happy, early summer feeling,  bright and sparkly. I love Olneyville Square, I have lots of memories, especially early ones of when I first moved to Providence and met so many cool artists and people and a lot of them lived around there. And so many art shows, experiences, memories. It makes our little Providence so special. And it is a big satisfying feeling and an honor to be a part of the long line of art shown in the window! 





SW: I like the portraits that you’ve been making recently of people’s houses. When I look at them, I always try to guess who lives inside the house you made. What inspired you to accept commissions for house portraits? What’s that creative process been like? How has it changed the way that you think about structures like home? 


CC: Thanks! I like the feeling of being inside, being safe and cozy. It's a luxurious feeling and I think houses or homes are sometimes entities of their own, like the house is a creature. People usually say they want something specific like their pets in the window, or a certain plant or a time of day, or something specific to add into the house portrait. The structure comes alive with the other beings it houses. 



SW: Tell me about your ideal home? Has that changed over the course of your life? 


CC: I just want somewhere safe and simple and basic and cozy. Small. Snug. I want a garden and I want basic stuff, no bells and whistles, nothing fancy or techy or advanced.  And I want privacy and I want my house to be tidy and colorful and full of good smells and food cooking and friends stopping by and my cats lounging around in the sun. I want to take care of things. Keep stuff running and clean and cared for. 


SW: In your work, there are often these detailed, other-worldly creatures: a smiling butterfly, a cat smelling a flower, a cool mermaid. How do you think of, imagine these creatures? Do they have names? Have they always been a part of your work? 



CC: I guess I like creatures haha!! I don't know where they come from. They do not have names usually. They have always been a part of my work. I used to have a sketch book when I was a kid and I had sections that were like chapters and they were like "giants" "ghosts" "monsters".





SW: Pippi and I are wondering about your Instagram alter-ego (“Caitlin Cali’s Shadow”), mentalpus. What’s the plus side of posting art on social media under an alter ego? What’s the down side? Pippi says “...the black and white drawings ARE SO BLEAK!!! Like gut wrenching. It really is my favorite thing… I wish she would make a zine of those like 40 or so black and white drawings. Because I want one!” Is a zine in the works? 




CC: I just figured I would keep my crappy over-emotional sketchbook diary separate from my other stuff. I wanted a page that was just for dumping my emo stuff. I guess the downside is that I shared my ugly mentalpus! Yeah, I can get so deep into the emotions of life! It is actually so helpful to be able to draw how I feel because sometimes there are no words. No zine in the works! 



SW: When I look at your Dirt Palace installation from the sidewalk, I can’t decide which character I like the best: the tall, smiling pink tulip or the smallest smiling green leaf in the window, or the sun-like creatures who say “[eye] <3 u.” Why and how does the sun have so much love to give? If it’s not for the immediate viewer, who is the sun giving its love to?


CC: Aww, thank you! The "i love you" things are kind of sun creatures! I had not thought of them as creatures but more like decorative word bubbles. The sun is pretty nurturing though! And its cool that you perceived them as creatures too! The love is meant for everyone! We need so much love. 


 


SW: When I look at your Dirt Palace installation while driving by in my car, I wonder how the rest of the drivers feel about this installation. Is there a message or a feeling that you hope to convey with this work? Something you hope that drivers experience when they pass by? 


CC: I hope some whimsy, some inner smile, or a little curiosity or even just the nice eye feel of looking at bright colors and sparkles. And LOVE!





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Sara Wintz is the author of Walking Across A Field We Are Focused On At This Time Now (Ugly Duckling Press), an epic poem about histories, and a chapbook called The Lauras (sus press). Watch me read poems at Tupelo Quarterly or BAM/PFA. More interviews and articles at The Creative IndependentThe Poetry Foundation, Art Papers, and Open Space.



















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This installation and interview were made possible in part through support from the City of Providence Department of Art, Culture + Tourism.

Wednesday, May 18, 2022

Matatag Kami: We Are Resilient, conversation between artist Regina Gutierrez & curator Thea Quiray Tagle

For this next series of Storefront Window Installations we'll be pairing our exhibiting artists with other artists and curators for interview conversations. This spring we were pleased to host Regina Gutierrez's installation Matatag Kami: We Are Resilient.


Regina Gutierrez is a first- generation Filipinx born and raised in New York. Currently studying sculpture in their second year at the Rhode Island School of Design, Regina has found a multidisciplinary skill set necessary in expanding their art practice that centers transness, identity, and racialized bodies. Their work pushes forth informed concepts and self-respected mediums, embracing histories of metalwork, plaster casting, mural making, and personal writing. Actively involved in making art more accessible, they are familiar to public gallery spaces local to Long Island and Providence, including the Heckscher Museum, All County Art Exhibitions, The Baldwin Public Library, and Adelphi University, and The Providence Art Club showcasing work annually within these community driven spaces for the past 5 years. Outside of their public highschool’s art department, Regina has studied fine arts at NYSSSA, FIT, and Adelphi University, creating work that further projects their Filipinx identity onto the formally white framed gallery space. Into the periphery of their practice, Regina takes interest in Trans theory and sociology, and has been an assistant to the Head Pastry Chef at the Wythe Hotel in Brooklyn, AKA likes baking, bikes occasionally, writes personally, and is an outspoken advocate for queer marginalized bodies within gallery spaces.

Below is a conversation between Regina and curator Thea Quiray Tagle















TQT: Regina, I wanted to begin by reflecting on the Tagalog phrase “matatag kami” that repeats in the background of your mural. It loosely translates to “we are stable” or “we are solid,” and I’d love to hear more about what kinds of solidity or stability this piece is gesturing towards. Filipino people in the homeland and in the global diaspora are often described by mainstream news outlets as “resilient” in the face of so much adversity– banding together as a community after a typhoon hits their island, or being strong despite living in poverty conditions. Were you thinking about these forms of resilience in making the mural, and/or did you have other kinds of stability in mind? 

RG: Of course! I’ve found a sense of home in being resilient through establishing community; but those forms of stability are unstable in themselves. No singular form of representation will ever capture each dynamic response to a colonized history and westernized culture. Recently I’ve been more interested in what it could mean to interrupt traditional means of stability: interrupt the impartial loving (though we are worth every moment of radical joy), I feel we must begin to meet each other’s eyes over stories of hurt. It seems counterintuitive in the way that dis-identification holds an often confused but obvious subversion of culture and code switching. I mean to say “matatag kami'' in a way that refutes everything yet still begs of embrace. I place my body between each matriarchal figure of my parent’s generation to force a dynamic sense of motherhood / being a daughter / niece / or sister to. I am only relative to any non-binary Filipinx that allows themselves queer visibility, but every moment of tension and relation held within my family proves this interruption of a generational landscape. The adaptability: the understanding cannot die. Loving is not to feel limited, it will bleed into every generation in the way pain carries too. I say this all now because stability will only come from interruption, and that is what builds resilience– even if it only begins in changing how we find each other beautiful for enduring so much. 


TQT: This mural centers a cut-out self-portrait, with two rows of faces radiating outwards from this point. The left side features the faces from your mother’s side of the family, and the right row of portraits represents your father’s side of the family. There is an interesting overlap and collision between the faces in each row, where individual features begin to blend together and where time becomes circular (no one looks older or younger than the person next to them). Can you say a bit about how you are thinking about family lineages and histories, and how your representations of your family break a linear or unidirectional timeline of understanding cultural inheritances? And do you have any specific names and stories about the people represented here that you’d like to share with the public? 


RG: I begin at the center, not as a focal point but as a base, creating hyper specific representation through varying physiognomy or obsessively projected Filipino features that become indistinguishable to a singular person. I don’t mean for it to be minimizing either. The multiplicity is ever present for me: especially in how my family history is relayed back to me.

Anyone is everyone &

From the left side: goes. 

My face laughing

Carmelita Gonzalez (my mom’s mother)

My face smiling

Laleine Gutierrez (my mom)

My face straight

Lola Apay (my dad’s aunt)

My face solemn

Grammy GoGo (my dad’s aunt)

My face gentle

Marking the similarities between each face, every expression memorialized in family photos of festivals and gatherings, it’s nice to find yourself in people you can only imagine as an extension of one singular thing. That thing simultaneously being so unifying yet torn apart: I can’t help but feel like these images from the 70’s and 80’s of relatives getting married, sharing a beer while floating in a river, or playing instruments lounging on an abandoned jeepney: I can’t help but feel like these are images of me. Similarly, I can’t help but feel there is no singular image of me at all. My face sandwiches these matriarchal figures but none of these faces are ours, they are the faces of every other face that finds itself in it too; embodying the confused generational disconnect or cultural bridge or radical joy and queer orientation. 




TQT: Related to the second question, I love the smiles of the people on the left panels of the mural. The literal and metaphoric connection between these figures is enhanced by the shared physiognomy of their mouths, but the similarities to me actually come out more through the feelings these images communicate– these folks look joyful, happy, perhaps all laughing at the same inside joke. I wonder if you think family resemblances come from shared genetic materials, or if you’re more interested in the shared cultural and social experiences Filipino folks have even if they don’t share the same blood? 






RG: Yes, entirely ! The shared cultural experience. That is what makes us, that is where I find parts of home– scattered across reference images used for this piece. The expressions allude to the stories and settings and community wherein the photos were taken. The idea of setting a hyper specific basis by borrowing these noses, my mother’s eyes, the way my grandma’s cheek bones curve when laughing, and the quiet smiles given by my great aunts– it is all to acknowledge those who understand while simultaneously projecting the representation for those that don’t live the similar experiences. It’s all so relative, but the expressions portrayed are for sharing– in every sense, between sharing the same smiles to showing you what our smiles look like.



TQT: If I can shift a little, one of my favorite aspects of this mural is its large scale and the refractions of light off the glitter sprinkled on the figures’ faces. Paired with the repeating text, these faces become queer in their excess– large, exuberant, bright. I know that you’ve only recently moved to working in this large scale– in the past year, you’ve made six murals! Can you share what working with glitter/bling on these larger surfaces has opened up for your practice? 

























RG: Visibility. Definitely excess. Etherealness. Queer associations.  The glitter was honestly an afterthought, and perhaps an easy entry. As I note in the artist’s statement, I only wanted the words “Maganda Ako” to barely bleed through the skin. Though the bleeding does not have to be as visceral: the bleeding, or seeping rather, is something that cannot be helped. I think what I enjoy most of the glitter is how it creates this contrast in all of its subtlety. The glitter grows compliant in its subversion too, it follows the rules in the color blocking and is contained by the outline of the font– I think it’s presence is making me consider more how identifiable I want to be in the face of queer art. Is the association so necessary? Does it have to be obvious? Specifically in the face of queer abstraction, I’m still trailing between the use of concealment as a form of protection in contrast to highlighting specific focal points lingering between each face I paint.

TQT: I think it is so powerful to encounter Filipinx faces in a window front mural placed on a busy street corner in Olneyville, a largely Latinx community with first- and second-generation folks from the Caribbean, Central and South America. Because of our shared histories of Spanish colonization, US militarism, and migration experiences across multiple land and sea borders, I think of us as Filiprimos to the Latinx community! Do you think this mural helps open up dialogues about Filipinx-Latinx solidarity, and/or do you want the mural to do that? 































RG: I’ve been trailing through this book “Latinos of Asia: How Filipino Americans Break the Rules'' by Anthony Christian Ocampo that a Filipina friend lent to me earlier this year when I’d shared how difficult it’s been trying to understand my body within this institution littered with privilege: RISD. I keep lingering in this one chapter, “Filipinos Aren’t Asian” and Other Lessons from College where Ocampo interviews various students at predominantly white institutions along the west coast. I found myself aligning with a lot of the sentiments shared by these students, and that reoriented understanding of what it means to be Asian in America forced a disentanglement of my Filipino-Asian-American identity from this white washed version contained by the “model minority” myth. The term in itself is a form of erasure that only further perpetuates this whitewashed sense of othering, pitting marginalized bodies against one another and rendering the oppression of Asian Americans as invisible. I used to fear cultural tourism but came to realize that reclamation of culture is so much more valuable. I only hope the mural facilitates these kinds of conversations about internalized oppression as result of colonization, or at least provides a sense of community rather than imposed identity. Understanding where I lie in relation to it all is important to explicitly representing who I am through my practice and creating an image for those alike to find themselves in too.

TQT: My last question is about food. Maybe because I was raised in a Filipino Catholic household, when I see a line of faces/individuals in a painting, my mind immediately goes to the Last Supper prints that seem to be in every Filipino dining room or kitchen. If you and the family members in your mural were having their own Last Supper, what food would be on the table? (I would hope for kare-kare with bagoong, leche flan, and pinakbet at my family table, that’s for sure!!!). Thank you so much for making this work and for taking the time to talk with me about it. Maraming salamat!  


RG: Ah, classics. 

Spring picnic style, it’d totally be a lineup of:

Definitely kare-kare too, lumpia, pork barbeque.

Fried talapia with white rice and my mom’s homemade salsa.

Halo-halo, sapin-sapin with latik, and ginataang bilo-bilo as the sweet treats !

Oh and ambrosia fruit salad, perfectly chilled– almost frozen.

It’s been kind. Thank you Thea, sincerely.


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Thea Quiray Tagle is a Filipinx femme curator, writer, and an assistant professor of queer studies and critical ethnic studies at UMass Boston. Thea is a co-curator for New York Now, a photo triennial at the Museum of the City of New York that engages themes and issues of the contemporary city. www.theaquiraytagle.com


photographer credit: erina c. alejo

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This installation and interview were made possible in part through support from the City of Providence Department of Art, Culture + Tourism.