“Zhang is interested in the place of politics in individuals’ lives – the uneventful, domestic and secular sides of politics,” writes independent curator Zoe Meng Jiang, “...the essay films of Zhang show how the personal lives of his generation are hypermediated by politics. It is a generation growing up in between the two cold wars, and left in the discrepancies between socialism and capitalism, and between nationalism and globalization. Filmmaking is a way to retrieve personal memories from grand narratives (The First Line of China); or to create communal memories when the condition for collective actions is forfeited (Wander).
“Looking at these films and the oeuvre they attest to, we find time and again the same desire to uncover powerful contemporary strategies, writes curator Caroline Ferreira on Elizabeth Orr’s work, “...shot in 2021 in the middle of a global pandemic, (Mind Gamed) immediately evokes that other invisible monster which has taken over the planet since the beginning of 2020 — that other foreign body which has come to contaminate healthy bodies.”
Reflecting on Center is not a particular point on earth independent curator Banyi Huang writes, "As ‘aliens’ whose survival is dependent on the endless demonstration of their distinction, immigrant artists and art workers are often propelled by linear vision,attachment to authorship, and even obsessive-compulsive control over one’s narrative. Therefore, these long, patient shots that fully reveal space and its inhabitants push back against hyperactivity, our limited understanding of productivity, and social constraints--they force me, the viewer, to detect small details, and be confronted with the relationship between space and place, the body and identity."
Activist and writer Andrea Nikté Juarez Mendoza responds to Tanika Williams’ Sanctuary: “I have your eyes / So in the mirror I stand / And I see you looking back at me / Your love is in the schoolbooks / And the good cooked food / I felt your embrace in the warmth of new blankets / And heard your footsteps as I walked in shoes you sent to me / I have seen you in all the ways / one sees without eyes / Knowing you have loved me in all the ways one loves without touch/ Together / we filled the gaps.”
Writer, artist, and farmer, Jah Elyse Sayers responds to Jonathan González's video The Smallest Unit Is Each Other reflecting on how the work "holds open a space for feeling out, thinking through, and beginning or renewing a commitment to experiencing ourselves, that is being, differently, by only ever being-with."
The recent surge in hate crimes against Asian Americans and Pacific Islanders is rooted in the systemic normalization of nationalism and xenophobia that seeks to destroy our vision of a better world. At BRIC, we celebrate our beloved community of artists, creators, teachers, neighbors and friends. We believe we are enriched by the diversity of this community and will raise our voice against those that believe otherwise.
If you're considering visiting BRIC during the ongoing COVID-19 pandemic, we ask that you review the following rules and guidelines to ensure the safety of our staff and other visitors. BRIC Media Center, Cafe, and Stoop remain closed to the public at this time.
Common thematic concerns of Caitlin Cherry's work orbit around female subjectivity and the Black woman’s experience. “Not everyday women,” Cherry views her subjects through the lens of technology where they become beautifully superhuman, glossy, misunderstood, and disfigured.
Zachary Fabri works across the mediums of sculpture, video, and performance. Inspired by both the visceral and material world, his video and performance work captures his body engaging with a site’s built environment, Black identities, and his Brooklyn neighborhood.