RACHEL LIBESKIND
The Circumcision of Christ and Modern Oblivion
105 New Bond Street London W1S 1DN Phone +44 (0) 2074955101 www.continiartuk.com info@continiartuk.com Rachel Libeskind The Circumcision of Christ and Modern Oblivion 4th October – 31st October With special thanks to the Managing Director of ContiniArtUK, Cristian Contini, that made this exhibition possible. Curator Dr. Diego Giolitti Co-Curator Ulia Rabko Assistant Curator Josh Rowell Exhibition Manager Andrea Maffioli Photography Emma Cook Robert Ducrow Tim Mahoney
Contributors InĂŞs Alberty Kavitha Balasingham Olivia Brunt Lia De Souza Sanchez Nicole Beatrice Malizia Masha Nosova Patricia Santana Vega Natalia Xylouri Technicians Young Gun Lee Jaques Smith
Rachel would also like to thank Leo Steinberg and Ludovica Rossi Purini.
RACHEL LIBESKIND The
Circumcision of Christ and Modern Oblivion
The brotherhood of Judaism and Christianity: unveiling the mystery, recalling the memory, accepting the evidence by Dr. Diego Giolitti
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Rachel Libeskind in conversation with Dr. Diego Giolitti
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Artworks
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Appendix
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The brotherhood of Judaism and Christianity: unveiling the mystery, recalling the memory, accepting the evidence. Dr. Diego Giolitti I met Rachel Libeskind in Poland; she immediately stole my mind and my heart. I could tell that, from an artistic point of view, we shared the same thoughts and views. The message that Rachel Libeskind is trying to communicate through her work is no other than the eternal respect for humanity. With her exhibition “The Circumcision of Christ and Modern Oblivion”, she intends to shed light on reconciliation; on the love and respect for diversity; on tolerance; on religion and the connection that human beings have with it as well as the different levels in which they can connect with it. Essentially, all those views highlight the same thesis; all beings are branches that belong to the same tree, they all produce the same fruit and equally beautiful blossoms grow on all of them. Therefore, the aim for everyone is always the same: to catch the sunlight. Rachel Libeskind’s exhibition is a celebration of this sunlight. But now let me tell you a story….. Let me give you a tour of the backstage of this incredible exhibition. The circumcision of baby Jesus, the rite evoking the beginning of Jesus’ life, that is being celebrated eight days after Christmas on the first of January every year, could only be of particular significance within the Christian liturgy. Both Catholics and Orthodox Christians have celebrated the circumcision of Christ for 1,500 years, liturgically, without question; nevertheless, this celebration was always a minor one. The feast was removed from the Roman Catholic liturgical calendar in 1960. This event is of particular importance, not only historically speaking, but also because it is an essential factor in order to clarify the debates about the eventual “de-Judaisation” of Jesus, which commenced from the early centuries and continued until the 20th century. Another fact that needs to be highlighted at this point is that the Latin Roman unilateral abolition seems to have been made in a very light manner. The Feast of the Circumcision of Christ is explicitly mentioned at the Council of Florence as being celebrated simultaneously by Armenians and the Romans as a sign of union.
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In 2012, leading biblical scholars and theologians made an appeal to Pope Benedict for restoring the Feast of the Circumcision of Christ on the 1st of January. The eight points on which they are insisting within a few pages are the following: omit nothing from the life of Jesus; fulfilment of the old covenant and obedience of the law; the link to the imposition of the name of Jesus; the sexual identity of the Messiah; the respect of the Lex Orandi inherited from the past centuries; the ecumenical dimension; the Jewish identity of Jesus; the Christology of the Feast of Mary, Mother of God. Nevertheless, what is not being mentioned in this appeal is the potential impact of the “Spiritual Circumcision”. The arguments of the aforementioned scholarly exegetes are not all bred from the same litter. As a result, the argument for Lex Orandi can be interpreted as being against the Feast of the Circumcision. The most decisive of all arguments, which is also one of the most essential arguments for Christian theology, is the one regarding the incarnation. Jesus’ Jewish identity has not always been at the centre of Christian statements and we could even argue that it has often been neglected in the story. The essential nature of the law of the human condition, that is, we are all somebody from somewhere, to be part of a story and part of a community, needs to be understood and at all times respected. This view is essentially interconnected with the necessity of the creation of an alliance between God’s chosen people and humanity. Consequently, the Feast of the Circumcision cannot, and will never be able to, leave out this aspect of the incarnation. The arguments of the biblical scholars and theologians are indeed excellent, but to what extent are they audible in this day and age? We could probably claim that two of the arguments seem to be eligible nowadays, and they are even fundamental for our time. Those are, the Jewish identity of Jesus, and, Jesus’ sexual identity. These arguments are interconnected with a third argument, equally important, which is that of not overlooking the life of Jesus. Besides, we shall not forget that the mystery of the incarnation brings us closer to the very heart of the Christian Revelation. The mystery of the incarnation is also clearly dependent on the Nativity, without any significant additions to the mere birth. This is a perspective that strongly echoes Simon Mimouni, who has mentioned, in the same publication: From the moment we defend the bodily character of Jesus being born in a specific context, in this case the Judea, and by making him part of everything in this environment, one feels obliged to mention his circumcision and also his presentation to the Temple.
One might wonder what could the outcome of such a request be. It would certainly be difficult to oppose this request by saying anything theological or pastoral, especially if we think of the aforementioned arguments to be of unequal importance. In any case, the Jewishness of Jesus is not being disputed by anyone, this is a fact that could even suggest a brotherhood between Christians and Jews, that goes all the way back to antiquity. What should also be highlighted at this point is the fact that ritual circumcision is a source of enrichment for the understanding of Christian baptism. We shall add to this view a dimension that is rarely noted; spiritual circumcision, like physical circumcision, is done to a human being by another human being and, firstly, by God. Man cannot circumcise himself, and this is the greatest strength of his image when it is used in the field of morality. Likewise, baptism is received by other human beings and God is the one that leads this action. In this case, God gives to his existence a tangible form through the mediation of a Christian community and a minister ordained for the purpose of personifying such a gift. The interaction of the two aforementioned rites is thus taken to a different dimension, which takes place beyond the time and space of our perception. It would be reasonable to associate them with the eschatological notion of the “eighth day”, the concrete date chosen for the Jewish ritual circumcision. This dimension of the “eighth day” could also maintain awareness about the meaning of circumcision for Christians. From the Fathers of the Church and, without interruption, the appearance of the risen Christ to his disciples on the first day of the week (“eight days after” (Jn 20,26)); the pace was set for the Eucharistic celebrations constitutive of Christian communities, in an opening to a future fulfilment. We saw in Saint Cyprien this amazing and explicit link with Sunday as the day of “spiritual circumcision”. The “eighth day” is both the salvation and the announcement of its completion. If we may translate this in classic theological terms, it is the “already there” and “not yet” of the Kingdom. Thomas Aquinas perceives circumcision to be a profession of faith of the Jews, and, he writes, “Their faith was for the future”. The baptismal covenant is still marked by an expectation. Contemporary theology and spirituality are also remarkably imbued when taken to this dimension of incompleteness. Furthermore, this dimension also reveals an additional proximity with Judaism and its messianism. It is needless to say, that those arguments shed light to the strong link between circumcision and baptism, a link that should thus be valuated and respected by Christians.
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The following text is a conversation held between Dr. Diego Giolitti and Rachel Libeskind, ahead of the artist’s solo exhibition at ContiniArtUK. Libeskind discusses the themes and ideas being explored throughout the show, The Circumcision of Christ and Modern Oblivion. DG: First of all, I would like to ask how you came up with the concept for this exhibition, the “The Circumcision of Christ”? RL: I discovered the topic “Circumcision of Christ” through the relic of Christ. I was reading these medieval texts that described nuns who were starving themselves to death; I discovered that they were having revelations of Christ’s foreskin appearing in their mouths. Of course, in a modern context, this is pretty racy. So I began to do some research in order to understand the context of the foreskin in the medieval ages; I started to realise that historically it was a very important material object, an object that everybody was after. This is actually a topic for a book that I will one day write; there is a huge conspiracy involving the Vatican stealing the foreskin and that it remains hidden in the Vatican archives to this day. Anyway, I discovered this relic; I love relics, I think they’re a fascinating part of the history of civilisation. That we actually believe in dead flesh containing power amazes me. So I began to form this idea, at the start I never really knew how I wanted this project to come to fruition as an artistic outpoint, rather than just an academic idea or an investigation. Then I discovered that Wal-Mart, America’s largest retailer, makes these custom photo tapestries. You can send them any image you want and they make you these amazing, digitally fabricated, woven tapestries with a digital loom. So I began making them and I couldn’t stop. To me, the end products are such strange, revealing and revelatory objects. Not only this, but they are also very subtle in some ways; formally, they are these massive tapestries hanging on the wall, but they contain so much aura and connotation. It’s interesting because I’ve noticed how people’s brains tend to switch off when they see renaissance imagery. So you can have 15 images of the circumcision of Christ on a wall and it will take somebody about 25 minutes of sitting right in front of them to even realise what they are looking at; the penis of Christ being snipped. This is really fascinating to me. At the same time, they are also highly performative because they really force the audience into a strange position that they are not aware of what they’re getting themselves into, when they first look at the work.
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DG: I also find it very interesting that, correct me if I am wrong, this was also the subject of your dissertation at Harvard. Did you only develop this as text or was visual art also involved? RL: At the time I was making very experimental work, I did an entire presentation of my thesis in which I recreated a church. I actually based this on Kurt Schwitters, one of my favourite artists, Merzbau that he had in Hanover, which he actually called the ‘Cathedral of Unfulfilled Erotic Desire’. A lot of my work deals with collage and appropriation, and, in my thesis, I was very interested in Schwitters, which led me to recreate this cathedral which I actually named the ‘Unfulfilled Foreskin’. So my thesis was divided between academic research and a recreation of an altar and a church, which everything evolved from. One day I will definitely write a book about this - that’s next.
DG: With this project, I find that there are two aspects running side by side, that are extremely interesting. One, which we have already discussed, is that the circumcision of Christ is one of those events that, historically, the Catholic church has tried to suppress. Catholics substitute the initiation ritual with the Baptism, to the extent that you can face excommunication if you talk about the Holy prepuce. Although this doesn’t happen anymore we can still understand how sensitive the subject is. And the second highly significant idea that you touch on is that Judaism and Christianity comes from the same common roots, from this we can actually try to understand each other better and show that there is a common ground between everything, do you see this? RL: Yes, definitely. I think that it is also an eternal story. It is not only a story of circumcision, it’s also a story of the Judaic and Christian tradition in general and the relationship between the individual and God. Of course, as a Jew it’s difficult for me because I love Catholicism and I love Christian iconography on a formal, aesthetic and conceptive level; I consider it to be some of the best art ever made. It’s difficult for me because I get into a sort of conundrum when I ask myself if I believe that the relic of Christ, Christ’s foreskin, had power? Do I believe that Christ was a powerful being? Obviously, my religion doesn’t tell me that Jesus Christ was the son of God, but I think that there is some shared ground there and, on a sort of Freudian level, it’s very interesting to talk about the marring of the body, the marring of the child’s body and being out of control of that societal violence opposed upon the body. Then, how that violence gets carried out onto all sorts of different types of narrative about sacrifice, about a covenant with God through spiritual baptism. To me, it definitely links the traditions together. DG: Jesus Christ’s sexual identity is accentuated here. Not only that, I didn’t know about the Middle Ages – that the nuns were having actual revelations of Jesus Christ’s foreskin accumulating in their mouths. There seems to be a running theme of sexuality and identity that I find extremely interesting. RL: I completely agree - forgive me for going off on a tangent here - but I’m personally very interested in early medieval times. In particular, the mass transition from Paganism to Christianity by the year 1000 over the entirety of Western Europe. By the time Christianity
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had reached Scandinavia and the tips of Scotland questions such as “Is Christ’s body just an illusion?”, “is Christ the spirit of God, but his body human?”, “is Christ’s flesh powerful enough because it contains a magic of God?” were so important to early Christianity and, like most divergent curiosity in religion, they were completely squashed by mainstream Christianity by the height of the medieval ages. So, it’s interesting to think about that period in the 14th century when nuns were talking about the foreskin of Christ appearing in their mouths, to consider the physicality of Christ. That they actually believed the foreskin was an apparition - a miraculous relic coming to them in moments of incredible starvation, is fascinating. It brings into play another, highly interesting, aspect - the equation of food - it’s radical to equate Christ’s foreskin to sustenance. DG: This is also an idiosyncratic perspective, if the Catholic Church accepts the story of the circumcision as true, they also go against the belief that Jesus Christ, with every particle of his body, was resurrected and went to heaven. A contradiction is created between the foreskin and the resurrection, how can we believe both events happened, the foreskin certainly becomes problematic for the church. RL: Exactly, it shouldn’t exist. The history behind it is fascinating, so many people have claimed to have the foreskin over the centuries. This is why I love relics and early Christianity, it’s so absurd, it’s so fun, it’s so crazy; throughout history, and often at the same time, all these different people claimed to have the foreskin. Different popes have claimed to have it, different kings have claimed to have it, people in the East have claimed to have it. Even as recently as the 1980’s, in a town called Calcata in Italy, there was a single church that claimed to have the foreskin, they even celebrated the Feast of the Circumcision. It was the only church in Western Catholicism that still celebrated the Feast of the Circumcision on the 1st of January. The Vatican said that it didn’t want the church celebrating this anymore because it was too divergent, too in line with Eastern Orthodoxy; in Greece and Russia and other parts of eastern Europe, if you’re there on January 1st, they still celebrate the Feast of the Circumcision, it is still very much practiced. And then mysteriously the foreskin in Calcata was stolen. Someone wrote a book about it a couple of years ago, about this story of the stolen foreskin, and the Vatican refuses to make any comment about it now.
DG: As you say, there have been many foreskins of Jesus Christ around the world and, interestingly enough, the relics were present in geographical areas of power of Christianity. I think it was in Poitiers in France, they had it in Rome. RL: Yes, and it is fascinating if you think about it because what other part of the body of Christ would have more power than a piece of his penis? Really, it is the most powerful part; the very thing that can make more of him. A piece of that is the most potent object in connection to God. I find this very interesting, and to put this idea into context, one of my favourite words is phallogocentrism, which is the concept that history is written by the penis. DG: I am also interested in the work from a technical perspective; you selected different paintings depicting the circumcision of Jesus Christ. Most of these images are from the 16th and 17th century and they are from different artists and different parts of the world. How did you come up with this particular selection? RL: This is actually a very personal anecdote that I’ll tell you: four years ago I had a terrible accident skiing and I shattered my arm, it was a very traumatic experience and I had to be airlifted to hospital. The injury meant I couldn’t make work for about a year…. Shortly before the accident, however, I had this moment when I walked into a church and I saw this painting of the circumcision. I was struck by what an incredibly ubiquitous topic this actually is; as ubiquitous as the Pietà in sculpture, the image of Christ on the Cross, or the last supper – it’s as ubiquitous as any of them. So, in that moment, I had a sort of revelation; there are thousands of these paintings actually that I haven’t even looked up, but they exist in our subconscious. Then I had this terrible accident, and I was basically in a position where I had to sit around, unable to make any work for a year, so I continued my research on this project. I specifically started researching all of the paintings depicting the scene and these images are a selection of my favourites. It’s interesting because there are a lot of sculptures and reliquaries that are depicting the circumcision of Christ that I like more because they are actually from an earlier period but they don’t look as good on tapestries.
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DG: I feel that this exhibition is very relevant nowadays when it comes to themes such as anti-Semitism and Christian identity. The quantity of elements present is fascinating from an educational point of view. Especially when these are to a contemporary setting. Like you said, it’s about the power of observation, I saw some of these paintings in real life. The representation of the circumcised Christ did not pass my mind. RL: And when you actually look at it and you realise that all the people in the paintings are looking at the penis of a baby in a painting, that someone actually painted 5 or 15 people all with their eyes on a penis of a 8 day old child and someone with a knife is about to cut it - it’s an extremely radical thing. The fact that it’s a ubiquitous topic of painting blows my mind. DG: So is this the first time that you’re exhibiting your tapestries? RL: Yes, I’ve only shown these tapestries as part of a performance about a month ago in New York, where I did a sort of ‘performance lecture’ with them around but they were only up for a few days. DG: Well, we are very honoured to be the first to exhibit your tapestries as works in their own right. What was the reaction of the audience at the performance? RL: It was very good, it’s interesting because, to be honest, I initially only made these works for performance. I was nervous about whether they can exist on their own without the context of me as the maker presenting them. So I made them for this particular ‘performance lecture’ and I set them up as though we were in the archive room of the ‘Museum of the Foreskin’. It’s a ridiculous, absurd performance in which I am a ‘historian of the foreskin’ and I talk to the audience and ask them probing questions like “who here is circumcised?” and “who here is not circumcised?”, “who here has seen a circumcised penis?”. It borders between something that is actually very serious and academic, and something that is sort of seen as pseudo sexual and kind of out there with
the audience. The reception was really good, people really liked it, they were genuinely interested. There was an interesting breakdown in the audience between people that were Catholic, who had a familiarity with the imagery and the body of Christ, and people that weren’t Catholic - who were much more blown away and much more shocked. And that I thought was very interesting, I was pleased to see Catholics that were interested in it and felt as though it has always existed in their subconscious lives, but they have never truly looked at it. And the rest of the audience was fascinated, there reaction was “what is this new information, I’ve never heard of this before.” So in that respect - I really liked it. For me, there is nothing more exciting than making art that is actually transmitting real information and history that is important to civilizational context.
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DG: This happened in New York in 2016, but what are your expectations of this exhibition happening in London in 2016? Between you and I, I have a feeling that we are going to get different results. RL: Probably, I think it’s interesting work, I think what’s nice about the work is that it allows different people to access it through different channels of interest. Like you said, on a cultural level, on a sexual level, on a level of just talking about institutional observation, I think that’s the nice thing about the work, hopefully that will translate. DG: And I also like this link between Judaism and Christianity, provoking the idea that the fundamental stories are common to everyone. Can you tell me more about the technical side of the tapestries and their physical construction? RL: They are very archival in their constitution, in the way that they are built. I used a digital loom so they are very tight. As I mentioned, they were made by WalMart, which is something that I like, but I also struggle with. Personally, I don’t really care that they were made at WalMart but when some people find out, they think it’s like a great joke on the American mass market. To me, in a lot of ways, the work is actually about that. I left on those little American tags that they come with which say, “Made in the USA”; I was initially going to cut them off but then I realised that perhaps they can work. I’ve continued to push this idea and even used eBay to source the nails that I want to hang the tapestries with. I literally did a search for “Jesus nails” one day and it came up with these old, rusted nails that are supposed to resemble Roman crucifixion nails. Obviously they’re entirely fake, they’re being produced now, but again it’s about using these modern vehicles, the internet and mass market, in order to re tell this ancient story. I just find them to be such interesting objects.
DG: They are, Rachel. You’re embracing something; again, it’s about linking the cultural entities together. The old world, Europe, the tradition, the religion and the new world, America, mass consumerism and so on. It’s highly intriguing. RL: If we’re talking about artistic process I think it’s important to note that I’m not spending hours of my life on a loom making tapestries. I’m more involved in the intellectual process and the history itself and less with the physical process, which is nice for me. It’s amazing that there is a machine like that allows me to turn my ideas into reality, and I just get it sent back to me in the post. People who came to look at them at my studio in New York would say to me “if I bought this, could I make this into a rug?” “Could I use it as a blanket in my home?” “Does it have to be hung?”, “Could I put this behind glass?”. Which got me thinking about the fact that it’s nice that the work doesn’t have to exist as a tapestry.
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DG: That was my next question. I wanted to ask you what you expect collectors to do with these tapestries. How would you want collectors to approach and display the artwork? RL: I would tell people that however they envision having it, they should have it. This work is not necessarily wall bound - so if somebody wanted to have it draped on an object, they could have it like that. If somebody wanted to have it as a blanket or something like that, they could also have it that way, even though that’s somewhat absurd. DG: Absolutely. Art is not about first impressions, but also the way in which one engages with it and how affects them in their everyday life. Art should connect with the audience on a personal level. RL: Beautiful!
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The Circumcision of Christ (Bening), 2016, Tapestry made by digital loom, One of a kind, 203x152 cm, 80x60 in 23
The Circumcision of Christ (Bening), Back
The Circumcision of Christ (Bening), Detail 25
The Circumcision of Christ (Bellini), 2016, Tapestry made by digital loom, One of a kind, 152x203 cm, 60x80 in 27
The Circumcision of Christ (Bellini), Back
The Circumcision of Christ (Bellini), Detail 29
The Circumcision of Christ (Dürer), 2016, Tapestry made by digital loom, One of a kind, 203x152 cm, 80x60 in 31
The Circumcision of Christ (Dürer), Back
The Circumcision of Christ (Dürer), Detail 33
The Circumcision of Christ (Herlin), 2016, Tapestry made by digital loom, One of a kind, 127x152 cm, 50x60 in 35
The Circumcision of Christ (Herlin), Back
The Circumcision of Christ (Herlin), Detail 37
The Circumcision of Christ (Curradi), 2016, Tapestry made by digital loom, One of a kind, 152x127 cm, 60x50 in 39
The Circumcision of Christ (Curradi), Back
The Circumcision of Christ (Curradi), Detail 41
The Circumcision of Christ (Esteban), 2016, Tapestry made by digital loom, One of a kind, 152x127 cm, 60x50 in 43
The Circumcision of Christ (Esteban), Back
The Circumcision of Christ (Esteban), Detail 45
The Circumcision of Christ (Baegert), 2016, Tapestry made by digital loom, One of a kind, 152x127 cm, 60x50 in 47
The Circumcision of Christ (Baegert), Back
The Circumcision of Christ (Baegert), Detail 49
The Circumcision of Christ (Reni), 2016, Tapestry made by digital loom, One of a kind, 203x152 cm, 80x60 in 51
The Circumcision of Christ (Reni), Back
The Circumcision of Christ (Reni), Detail 53
The Circumcision of Christ (Holbein), 2016, Tapestry made by digital loom, One of a kind, 203x152 cm, 80x60 in 55
The Circumcision of Christ (Holbein), Back
The Circumcision of Christ (Holbein), Detail 57
The Circumcision of Christ (Goltz), 2016, Tapestry made by digital loom, One of a kind, 203x152 cm, 80x60 in 59
The Circumcision of Christ (Goltz), Back
The Circumcision of Christ (Goltz), Detail 61
The Circumcision of Christ (Mantegna), 2016, Tapestry made by digital loom, One of a kind, 203x152 cm, 80x60 in 63
The Circumcision of Christ (Mantegna), Back
The Circumcision of Christ (Mantegna), Detail 65
The Circumcision of Christ (Anonymous from the Flemish School), 2016, Tapestry made by digital loom, One of a kind, 203x152 cm, 80x60 in 67
The Circumcision of Christ (Anonymous from the Flemish School), Back
The Circumcision of Christ (Anonymous from the Flemish School), Detail 69
The Circumcision of Christ (From the French Book of Hours), 2016, Tapestry made by digital loom, One of a kind, 203x152 cm, 80x60 in 71
The Circumcision of Christ (From the French Book of Hours), Back
The Circumcision of Christ (From the French Book of Hours), Detail 73
The Circumcision of Christ (Giovannini), 2016, Tapestry made by digital loom, One of a kind, 203x152 cm, 80x60 in 75
The Circumcision of Christ (Giovannini), Back
The Circumcision of Christ (Giovannini), Detail 77
The Circumcision of Christ (Anonymous), 2016, Tapestry made by digital loom, One of a kind, 152x127 cm, 60x50 in 79
The Circumcision of Christ (Anonymous), Back
The Circumcision of Christ (Anonymous), Detail 81
The Circumcision of Christ (Goltz), 2016, Tapestry made by digital loom, One of a kind, 152x127 cm, 60x50 in 83
The Circumcision of Christ (Goltz), Back
The Circumcision of Christ (Goltz), Detail 85
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Biography Rachel D. Libeskind, born 1989 in Milan, Italy, was raised in Berlin, Germany before moving to the USA in 2003. She graduated with honors in Visual Studies from Harvard University in 2011. Libeskind has had solo shows in NYC, Rome and Milan and has participated in group shows in Italy, London, Paris and New York. The artist completed a residency at Robert Wilson’s Watermill Center in Long Island in 2012 and is the 2014 winner of the Arts Student’s League Fellowship to create work at their studios in upstate NY as well as the Arteles residency program in rural Finland. Rachel Libeskind has quickly become known for an interdisciplinary approach to her practice which incorporates everything from canvas and collage, to performance and installation. Drawing inspiration from themes both personal and public, Libeskind has created a body of work that intelligently marries historical and contemporary notions of identity, gender, reappropriation and reproduction, creating a situation where social commentary and materiality go side by side.
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Selected Shows & Residencies September 2016 WOP Art Fair Works Exhibited with ContiniArtUK Lugano, Switzerland July 2016 “Minerva Presents” Performance and Group Exhibition Cuevas Tilleard Gallery New York, New York July 2016 “Summer Reading” Performance and Readings Fortnight Gallery New York, New York July 2016 Fine Art Club Solo Presentation and Happening Lazy Susan Gallery New York, New York July 2016 Book Exhibition Wildpalms Berliner Imbiss, Dusseldorf June 2016 “Summer Reading” Works exhibited Fortnight Gallery New York, New York
April 2016 International Art Fair Warsaw Performance and Works Exhibited Warsaw, Poland December 2015 Performance Installation for Jonah Bokaer Site 109 Gallery New York, New York October 2015 “Houseworld” An Immersive Theater Experience Site-Specific performance Brooklyn, New York October 2015 “American Gothic” (an original opera) Multi-channel video installation Pioneer Works Brooklyn, New York September 18th, 2015 “Conceived without Sin” Performance and group exhibition Radiator Gallery Long Island City, New York September 2015 START Fair London Works Exhibited with Allude Room Gallery London, U.K.
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June 10-20, 2015 Hotel Chelsea: Inaugural Young Artists Festival Performance and Installation New York, New York May 14-17, 2015 Art Miami in New York Work Exhibited by No Longer Empty Gallery New York, New York January 2015 Hansel & Gretel Pocket Utopia “The Rachel Libeskind Society” 511 West 22nd Street NY, NY February 2015 Bas Fisher Invitational Site Specific Installation and exhibition LA VOIX HUMAINE: An Opera Miami, Florida July 2014 Festival di Spoleto The Traveling Bag Performance & Installation Spoleto, Italy May 10th, 2014 ENTER: National Media Arts Festival of Lithuania Works Exhibited Vilniaus g. 245, Lithuania MARCH 2014 Art Student’s League Residency at Vytlacil Sparkill, NY
November 2012 Residency at the Watermill Center Watermill, New York October 2012 Galerie Zurcher Group Exhibition Paris, France
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