I am one of 8 Artist who has been selected to be part of "The Prepared Table"—is the second series of artist-centered workshops dedicated to sharing the history, holdings, and knowledge of the archive. Suturing material history and contemporary art practice—archival and curatorial experience—Rivers works in partnership with Amistad Research Center to advance contemporary art and thought that makes a study of history and advance research on diasporic knowledge and experience. In 2020, Rivers and Amistad began an international research residency program. As they continue their international residency program, welcoming artists into the community from afar, they designed The Prepared Table to center the practices of artists in their own community, to connect them with the rich archival resources at Amistad, and to help facilitate exchange and collaboration between artists working in a range of media and fields of study. The Amistad Research Center is committed to collecting, preserving, and providing open access to original materials that reference the social and cultural importance of America's ethnic and racial history, the African Diaspora, human relations, and civil rights. Located in Tilton Memorial Hall on the campus of Tulane University, New Orleans.
Rivers Institute for Contemporary Art & Thought (Rivers) is a non-profit institute for research and publishing, exhibitions and convenings on art of the global diaspora. Based in New Orleans, Rivers recognizes art as forms of thought shaped by geographic, social, political, environmental, and economic histories and commits to research at the confluence of diverse bodies of knowledge.

Curated by Aaron Levi Garvey: Director of Curatorial Affairs at the Jule Collins Smith Museum.

Through “Radical Naturalism,” The Jule invites contemporary artists inspired by nature to research their main collection of John James Audubon’ prints. Inviting the artist to engage with, question and critique John James Audubon’s evolving legacy. The 19th-century artist dedicated his life to hunting and trapping North American specimens, documenting the species of birds, insects and plants that he encountered. The exhibition will be the result of research and work produced in connection with the collection in the form of a personal exhibition.

Artist in Residencies at the Joan Mitchell Center.
Residencies at the Joan Mitchell Center provide the crucial elements of time and space for artistic experimentation—while offering artists opportunities to engage with arts professionals, partner arts organizations, and others in the community. 35 artists selected for its 2021 Artist-in-Residence program. The artists, all of whom are based in New Orleans, and two of whom work as a collective, were chosen from among more than 150 applicants by a jury of artists and arts professionals from New Orleans and across the country. Residents were chosen with an eye toward: an expressed need for dedicated studio space to further develop their practices; the potential career impact of a residency; a demonstrated commitment to studio practice; and the presentation of a cohesive body of work that speaks to creative vision and innovation.

"Salon de l'Estampe contemporaine"

The 1st Contemporary Print Fair brings together 13 Swiss artists in the Wallpaper Museum. The exhibition highlights the ancient and unique practice of printmaking through the works of contemporary artists.

"Bodies of Knowledge" curated by Katie Pfohl and Allison Young

"Bodies of Knowledge" brings together eleven international contemporary artists to reflect on the role that language plays in defining our cultural identities, using materials ranging from books and silent film to ink and musical scores.

Monroe Fellows Research Grant

The Monroe Fellowship program aims to promote research on the Gulf South. Scholars, writers, and creative artists whose projects focus on or take place within the bioregion stretching from Texas to Florida will be choose for the merit of the proposed research and its potential to result in a new understandings of environmental issue.

Studio in The Wood

Located in a unique wooded setting within the city of New Orleans, A Studio in the Woods has an established record of pairing land preservation with intimate artist residencies centered on environmental challenges and connecting artists to the local community.

SHIFTING PERSPECTIVES is a duo show with the artist Clare Kenny.

The series of works by Manon Bellet offers a snapshot of the artist’s experiments. Everything seems frozen and paradoxically in eternal movement. In the new painting series Sunfast, by using thermochromic, temperature-activated pigment on canvas, Manon Bellet reveals to us, a chemical and thermal process which becomes visible or invisible only by the heat of the sun touching the surface. The work slowly changes in front of our eyes, it lives, and it survives under the heat, which gives a living an existential aspect to the work able to correspond to our own endangered environment in constant, perpetual change.

HOLE IN TIME is a group show curated by Victore Mazière.

This group show take the idea of uchronie, speaking of past and possible futures, and will approach political, ecological and ontological angles as background.

Contemporary On-site presents MEMO, an installation of work Manon Bellet curated by Aaron Levi Garvey and Stevie Covart Garvey of Long Road Projects.

MEMO highlights the vulnerability of the natural environment and its impending destruction. As visitors move throughout the installation, their presence alters the collective works on view. Burning Air – a work comprised of burnt silk paper fragments – shifts and stirs while Golden Waste – an interactive work of perfumed paper made from the scents collected from endangered areas of the Louisiana wetlands – dulls over time. These pieces act as a metaphor for lost or soon to be lost environments. MEMO endeavors to visually illustrate how delicate and fleeting nature can be with mankind’s sustained impact.

This exhibition presents the work of artists who examine the relationships of objects— which hold importance beyond their physical form—to experiences of places and cultural identities. Artists were asked to submit works that evoke their own sense of emotionality, sacredness, and personal connection to their cultures and beliefs through objects found and made. When faced with conflict or duress, what sacred objects or physical memories would be the first in hand and tucked away for safekeeping? What forms serve to tell your cultural story to the next generation? What is the history communicated by your chosen medium? Are objects singular and distinctly self-reflective, or do they portray individual history as copy, reproduction, or commodity in a global economy of exchange? How do histories of colonization and cultural domination figure in the objects with which we most closely identify?
This exhibition is organized by the Contemporary Arts Center, New Orleans, and curated by Aaron Levi Garvey.

The exhibition, will take place at the same time as the Aalborg Festival, during which various events are organized. The idea of inviting Swiss artists to the exhibition in the Kunsthalle here came from the discussion that contemporary Swiss art is rarely negotiated in the Nordic context, while Austrian and German artists often get a platform. In return, one can say that Scandinavian art is not really a big topic in Switzerland either. Switzerland may take the often-repeated role of the isolated island in the center of Europe.

The show Toxicité radieuse (Radiant toxicity) offers a snapshot of the artist’s experiments. Everything seems frozen and paradoxically in eternal movement. By using crystal liquid Ink on glass slides. Manon Bellet reveals to us, a chemical and thermal process which becomes visible only by the heat of the projector. The work slowly changes in the front of our eyes, it lives, and it survives under extreme heat, thus giving a living aspect to the work able to correspond to our own endangered environment in constant, perpetual change. The toxicity of the chemical mixture that would frighten us in a natural environment, ends up seducing us by its radiations.

The exhibition theme takes references from the book of the French writer Georges Bataille, "La part maudite" (The Accursed Share), a philosophical and economic essay published in 1949 exploring the notion of "unconditional loss." The economy in question no longer depends on a logic of profit and consumption, but a much broader consideration, taking into account "the effervescence of life", the energy resources of the Earth, and "the excedente energy".
Curated by Léa Bismuth

In 1974, roughly two years before the founding of the CAC, the artist Gordon Matta-Clark, together with a group of artists including some native to Southeastern Louisiana, coined the term Anarchitecture. A word used to title an exhibition, to describe a form of thinking, to bind a community of friends and artists, and to acknowledge space as a social and formal condition, Anarchitecture pointed to an interdisciplinary spirit of the times that helped usher in contemporary arts centers across the country, and significantly, in New Orleans. For commemoration of the 40th Anniversary of the founding of the CAC, this exhibition also serves as a formal meditation on the concept of Anarchitecture, an elision of the words architecture and anarchy.
Curated by Andrea Andersson, Chief Curator of Visual Arts, CAC

An exhibition about contemporary drawing and drawing matter, related to the collection of the museum.
Curated by Carole Haensler

The exhibition "Kollision Im Labyrinth der unheimlichen Zufälle", goes back to the observation that many contemporary artists use techniques and principles which were implemented in the 1920s and '30s by the Surrealists, or that they are exploring similar experimental forms of artistic work as (frottage, Rayographie, Décalcomanie etc.). In addition, a visual similarity between the works presented can be use to detect the Surrealists, who strikes a similar note of unease in the viewer.
Curated by Marie josé Ourtilane & Conny Becker.

In 2015, the Museum of Fine Arts will hold the 8th Triennial of Contemporary Prints and bringing together twenty contemporary artists, selected by an international panel of experts in contemporary art. While previous editions of the Triennial of Contemporary Prints focused on Swiss production, that of 2015 will be decidedly international.

Curated by Nathalie Herschdorfer.

The annual exhibition of Kunstkredit Basel-Stadt 2015 held at the Kunsthalle Basel. Curated by Samuel Leuenberger, the exhibition shows works acquired in 2014 from the Kunstkeditkommission.