FUTURE 400, an initiative of the Netherlands Consulate General of New York, endeavors to honor 400 years of Dutch-New York history with honesty and integrity, creating space for others who share this common heritage to voice their feelings and experiences at this monumental moment. Partners from cultural to commercial fields, from the New York area to the Netherlands will come together to create new work and new opportunities to continue writing the next chapter of our shared story, a collective…
FUTURE 400.
Baltimore Museum of Art Acquires Beatrice Glow's "Colonial Desires" →
BMA Announces Acquisition of More Than 150 Artworks For Its Encyclopedic Collection
New works represent ongoing effort to diversify the range of voices, narratives, and artforms represented in the museum’s holdings BALTIMORE, MD
(January 17, 2023)—The Baltimore Museum of Art (BMA) announced today that it has acquired, through purchase and gift, 162 works of art, capturing a wide range of artistic perspectives and innovations. The latest group of acquisitions highlights the museum’s expanded efforts to close critical gaps across the full range of its collection departments. This work emphasizes both historic and contemporary omissions and focuses on revealing the fuller spectrum of voices and practices that have shaped the development of art across time, culture, and geography. The new acquisitions also continue the BMA’s work to support Baltimorebased and -affiliated artists at pivotal moments in their careers. Among some of the highlights are historic and contemporary paintings and works on paper by Sarah Biffin, Lucy Bull, Nancy Ellen Craig, Cianne Fragione, Beatrice Glow, Rachel Jones, Bertina Lopes, Nengi Omuku, Anil Revri, Deborah Roberts, Esphyr Slobodkina, Lilly Steiner, Joan Witek, and Bai Yiluo; video work by Alan Michelson; sculpture and objects by Brent Crothers, Theaster Gates, Duane Linklater, and Eva Zeisel; photographs by Daido Moriyama, Dodo Jing Ming, Kimbei Kusakabe, Shikeith, Wei Rong, and Wang Wusheng; and works by Baltimore artists Nefertiti Goodman, Erin Fostel, and Jackie Milad.
Video of the Week Virtual Reality Art →
Yale-NUS College Artist-in-Residence
Last year, I spent almost 6 months in Singapore as the Yale-NUS College Artist-in-Residence. This was an amazing portal that opened up during the pandemic wherein I got to travel, meet new friends, work with students in person, make new works (many now being show at Baltimore Museum of Art) an enormous workspace at Gillman Barracks as part of the NTU CCA artist residency program and of course, eat delicious Singaporean food. The very brilliant Prof. Tom White coordinated my residency. Luckily, he is also an acclaimed photographer and journalist, so the result is that he documented various stages of my journey with his interdisciplinary know-how. It was also joyful to watch this video and see the wise curator Siddharta Perez and two brilliant students, Aarti Pillai and Ishmam Ahmed, share their practice as well.
OPEN STUDIOS | May 1-2, 2-6pm | Gillman Barracks
See the full press release here: https://www.yale-nus.edu.sg/newsroom/yale-nus-college-artist-in-residences-open-studio-and-podcast-series/
Download the pdf version here.
Aromatic Realities – a portrayal of narratives via multimedia and multisensory experiences by Artist-in-Residence Beatrice Glow
“I titled this talk Aromatic Realities to evoke what is often unseen, yet pervades our lives,” Ms Glow shared. “I also wanted to signal all the ‘AR’s in our lives. ‘AR’ is known as augmented reality technology, but what does it really mean to augment our realities? It’s not just a new technological experience, it’s also about expanding our senses,” she added, noting all the ‘ARs’ that she’s fascinated by including ‘Asian/Americas relations’ and ‘archives reimagined’.
Artist Beatrice Glow joins Yale-NUS College Artist-in-Residence (AIR) programme
18 January 2021
Yale-NUS marks new partnership with NTU Centre for Contemporary Art Singapore, Glow to be featured in NTU’s Residencies OPEN
Yale-NUS AIR is supported by the Tan Chin Tuan Chinese Culture and Civilisation Programme
Multimedia artist Beatrice Glow has joined the Yale-NUS College Artist-in-Residence (AIR) programme and will be in residence from January to May 2021.
Grounded in community practice, Ms Glow’s multimedia and multi-sensory work explores circulations of objects, people and cultures. During her residency at Yale-NUS, Ms Glow will collaborate with students and community members on a research-creation project that delves into Chinese, Singaporean, and greater Southeast Asian visual and olfactory culture in relation to trade histories that continue to impact our present and environmental futures. She will trace the pathways in which Chinese decorative arts as well as migration flows have influenced global cultural productions. Proposed sites of investigation include the collections at the Asian Civilisations Museum, NUS Museum, NUS BABA House, and the famed William Farquhar Collection of Natural History Drawings consisting of botanical watercolours by anonymous Chinese artists commissioned by William Farquhar at the dawn of Singapore’s colonial era under British rule.
In a new partnership with Nanyang Technological University Centre for Contemporary Art Singapore (NTU CCA), artists in the Yale-NUS AIR programme will now pursue their creative works in a studio at Gillman Barracks and collaborate in upcoming programmes. Ms Glow will be Yale-NUS’s first artist-in-residence participating in NTU CCA’s Residencies OPEN held on 22 and 23 January 2021, as part of the Singapore Art Week.
Yale-NUS Instructor of Humanities (Documentary, Photojournalism and Visual Communication) and AIR Coordinator Tom White said, “The AIR programme embodies the networked, collaborative ethos at the heart of the liberal arts and sciences. This is something needed, now more than ever in these challenging times, when our engagement with art and its intersection with various disciplines consistently reminds us of the essential role art must play in our society. Furthermore, the new partnership with NTU CCA is an opportunity to strengthen the College’s connections with the arts community in Singapore, and enables us to contribute more widely to their efforts.”
At Yale-NUS, Ms Glow will also be teaching an art practice studio course titled Media Arts for Just Futures. Through art theory, practice and students’ own creative output, the course will teach students how to use art to engage actively and meaningfully with the existential crisis of climate change. This will be informed by what they have learned about climate change through the College’s interdisciplinary curriculum, including our Common Curriculum.
On her artwork, Ms Glow said, “I leverage interactive multimedia experiences, olfactory and sculptural installations, paintings and drawings, and participatory workshops as storytelling tools to shift dominant narratives and highlight human interconnectivity. Through my residency at Yale-NUS, I hope to further my collaborations with the vibrant communities in Southeast Asia and anchor my work within the histories of the spice trade while uncovering new contemporary relevance.”
Ms Glow is part of the Yale-NUS AIR programme, following inaugural artists Andrew S Yang and Christa Donner, and Singaporean artist Chen Sai Hua Kuan who were in residence in 2020. Ms Glow completed a BFA in Studio Art at New York University and has received awards from Smithsonian Artist Research Fellowship, Artist-in-Residence at the Asian/Pacific/American Institute at New York University, Hemispheric Institute of Performance and Politics Emerging Artist Fellow, and was a Fulbright Scholar for Performance Art. Her past works have referenced the forms and histories of decorative art objects that reveal colonialist histories such as porcelain and mantones de manila, embroidered Chinese silk shawls that became readapted as a Spanish traditional shawl.
As the first Artist-in-Residence programme positioned within a liberal arts and sciences college in Asia, the Yale-NUS AIR programme supports meaningful community engagements with artists to contribute towards nurturing a vibrant arts community in Singapore, hosting local and international artists engaging with a diverse artistic community within the College and beyond. Supported by the Tan Chin Tuan Foundation through the Tan Chin Tuan Chinese Culture and Civilisation Programme, residency artists each teach a course at the College and create new artworks that reflect upon Chinese culture and civilisation. The AIR programme will host additional artists each semester through 2022. Upcoming artists include those working in installation, theatre and photography.
Yale-NUS Dean of Faculty and Professor of Social Sciences (Public Health and Psychology) Jeannette Ickovics shared, “We are delighted to welcome Beatrice Glow to our College community, her work is beautiful and inspiring in its expression of multi-culturalism and use of multimedia. We also are grateful to the Tan Chin Tuan Foundation for their ongoing support.”
For past press releases, see “Yale-NUS College launches Artist-in-Residence programme” and “When going means staying.
For media enquiries, please contact publicaffairs@yale-nus.edu.sg.
MassArt Climate Change and Contemporary Art Lecture Series Nov. 17, 2020
HEAL-IN — A Multisensory Experience + 9.2.2020 Online Event
Dear Artists #WFH featured on FRONT Triennial's Whisper Session #4 →
Flowers and Forts in Taipei Times
Beatrice Glow is an interdisciplinary artist working in a variety of mediums, including performance, painting, experiential technology, olfactory art and video. For Flowers and Forts, currently on view at Taipei Contemporary Art Center (台北當代藝術中心), Glow presents a series of video works, prints on silk and parts of her ongoing research project between Mannahatta (today’s Manhattan) and Rhun of the Banda Islands in Indonesia. Both islands share traces of traumatic pasts under European colonization and were exchanged by the Dutch and English in 1667. Glow’s research revolves around the wild flowers growing around historical forts, which suggests a narrative of exploitation, regeneration and resilience.
■ Taipei Contemporary Art Center (台北當代藝術中心), 11, Ln 49, Baoan St, Taipei City (保安街49巷11號), tel: (02) 2550-1231. Open Tuesday to Sunday from 1pm to 7pm
■ Until Nov. 10
Source: http://www.taipeitimes.com/News/feat/archives/2019/10/18/2003724150
⤞女頭目的未來學 #4⤝ 〈花語碉堡〉// ⤞Female Avatars’ Futurist Statement #4⤝ Flowers and Forts
(For English, Please Scroll Down)
⤞女頭目的未來學 #4⤝
Beatrice Glow --〈花語碉堡〉
時間:2019.10.19 - 11.10,每週二到日,1-7pm
地點:台北當代藝術中心 TCAC (台北市大同區保安街49巷11號1樓,近捷運大橋頭站)
開幕:2019.10.19 6pm
台北當代藝術中心(TCAC)推出2019全新帶狀節目《女頭目的未來學》,第四回合為美國藝術家 Beatrice Glow 呈現〈花語碉堡〉。展覽呈現 Glow 由 2015 年開始的計畫《洛倫哈頓: 雙島記 》的部分研究,該計畫以錄像裝置與數位印刷的絲絹呈現美國紐約曼哈頓以及印尼班達群島的洛倫島(Rhun)由一紙條約而交纏在一起的歷史。
英國與荷蘭持續數十年的香料戰爭,在雙方於 1667 年簽訂布雷達條約劃下句點。荷蘭將被美國原住民稱為 Mannahatta (今曼哈頓)的所有權讓予英國,得到英國佔領的印尼班達群島的洛倫島。〈花語碉堡〉回溯這段歷史,在這兩個曾發生對當地原住民大屠殺歷史的島上,座落著相似的星形碉堡。這些遺跡不僅作為歐洲霸權以及壓榨殖民地的證據,同時也串連起兩個相距遙遠的土地上的人民與文化。Glow 拜訪洛倫島時,發現遺跡附近生長著野花,而當地居民會帶著花朵至此憑弔大屠殺的過去。
〈花語碉堡〉回溯歷史的創傷,並置性質對立卻關係交纏花朵與碉堡的圖像,是對剝削,重生,反抗反覆循環過程的隱喻。如藝術家所言:「在毒物學中,一株藥用植物根據劑量的不同,可以治療也可傷人。」花朵往往作為女性的象徵,不單是因為美麗,也是貶低其女性作為主體的能動性。但事實美麗作為武器也是一種生存方式,同時也是女性力量與韌性的展現。
⤞關於藝術家⤝
Beatrice Glow 創作媒材多元,使用行為藝術、繪畫、體驗性科技合作、氣味藝術、雕塑性裝置與影像游移於主流敘事之間。她是 2019-2020 Lower Manhattan Cultural Council Workspace 工作室藝術家 , 2018-19 Smithsonian 藝術家研究學者和 2018-19 Smack Mellon 工作室計劃藝術家。也是 2017-18 年美國藝術孵化器(American Arts Incubator)的 ZERO1 藝術家,該計畫注重提昇原住民與和非裔厄瓜多爾的能見度。她在紐約大學(New York University)的 2016-17 年度亞太地區╱美國研究所主持了虛擬和增強現實項目〈尋路項目〉和〈Mannahatta VR〉,以及與原住民環境管理結盟的公共設施〈Lenapeway〉。她獲得了 2013 年Franklin Furnace 基金的〈浮動圖書館〉補助,這是哈德遜河 Lilac 博物館輪船的快閃式公共空間。作為 2008-9 年度 Fulbright 學者,她發展有關亞洲移民至秘魯的移民博物館計畫以及出版三語系的藝術家書籍。
舉行過的個展包括 Beatrice Glow: Spice Roots/Routes(紐約大學藝廊,2017), Lenapeway(紐約大學藝廊, 2016), Aromérica Parfumeur(智利國家美術館, Santiago, Concepción, 2016), Rhunhattan Tearoom(紐約 Wave Hill, 2015)。群展包括 2017 年檀香山雙年展,紐約公園大道軍械庫和印度尼西亞國家美術館。同時是杜克大學出版社的《文化政治雜誌》報導藝術家。作為半球學會理事會成員,她與夥伴共同創立了演繹亞洲╱美洲:融合運動工作組。她擁有紐約大學藝術學士學位,同時擔任視覺藝術學院 MFA 藝術教師以及紐約-紐華克公共歷史計畫的策略經理。
⤞女頭目的未來學:母系‧生產‧生態⤝
TCAC推出2019全新帶狀節目《女頭目的未來學》,以系列展覽與公眾參與活動帶領觀眾想像:母系的生產將如何領導與批判科技與資本主義治理的社會。我們希望在超越邊界的前提下討論唐納‧哈洛威談的女性「類同」。以此為背景,《女頭目的未來學》重新檢視第四波女性主義中科技對女性賦權的樂觀,以及馬克思女性主義與生態女性主義的方法學。
參展藝術家多在網路時代成長,其中有些擁有身為離散族群的生命軌跡,他們享受60-70年代的女性主義運動成果,但仍弔詭地在生命歷程中面對不同程度的性別暴力。跨文化的背景使他們將性別權力的討論延伸到不同的空間,包括情動、個人歷史、去殖民、環境生態。參展藝術家以個人敘事回應本展的潛在台詞:「如果不成為母親,女性藝術家如何面對女性認同相關的藝術生產?」母系回應父權暴力的方式,絕不是生理、同質、抽象、排除他者的。我們希望女頭目透過各種「跨」,來化身為溝通者與預言者,連結男子、女人、酷兒、移民、非人類。或者說,女頭目的預言,是一個包容跨物種的未來生態系統。
《女頭目的未來學》由徐詩雨與李雨潔共同策展。
#FemaleAvatarsFuturistStatement #TCAC #TaipeiContemporaryArtCenter #FlowersandForts
《女頭目的未來學》獲國家文化藝術基金會與台北市文化局支持。
⤞Female Avatars’ Futurist Statement #4⤝
Beatrice Glow -- Flowers and Forts
Time: 2019.10.19 - 11.10, Tue. - Sun., 1-7pm
Venue: Taipei Contemporary Art Center (1 Fl, No.11, Lane 49, Baoan Street, Datong District, 10346 Taipei)
Opening: 2019.10.19 6pm
The fourth exhibition of the Female Avatars’ Futurist Statement series, Flowers and Forts, is presented by artist Beatrice Glow. The exhibition consists of video works and prints on silk, presenting parts of Glow’s long-term research project Rhunhattan: A Tale of Two Islands since 2015. The project focuses on the history that connects two islands, Mannahatta/Manhattan and Rhun of the Banda Islands, Indonesia.
Lasting over decades, the Spice War between the Dutch and the English came to an end with the Treaty of Breda in 1667. The two parties agreed to exchange their colonial territories of Mannahatta/Manhattan and Rhun of the Banda Islands, Indonesia. On each island, there are identically shaped star forts (trace italienne) that each witnessed the massacre of native peoples. The fortifications are architectural markers of European domination and extraction that link together lands, people, and cultures across the globe; they signify shared histories and cultural heritages. When Glow visited Fort Nassau in Banda Neira, Maluku, Indonesia, she found wild flowers growing in forts. Upon inquiring, she learned of local practices of bringing flowers to commemorate difficult histories.
Flowers and Forts traces traumatic memories in history. By juxtaposing the images of flower and forts, two seemingly disparate subjects, the works allude to cycles of exploitation, regeneration and resilience. As the artists mentions: “In the field of toxicology, a medicinal plant administered at different dosages can either heal or kill.” Flowers are often analogies for women not only to praise beauty, but also to minimize presence and agency. However, a beautiful plant could be weaponized as a means for survival, an embodiment of feminine power and resilience.
⤞The Artist⤝
Beatrice Glow is an interdisciplinary artist leveraging participatory performance, painting, experiential technology collaborations, olfactory art, sculptural installations and video to shift dominant narratives. She is a 2019-2020 Lower Manhattan Cultural Council Workspace Artist, 2018-19 Smithsonian Artist Research Fellow and 2018-19 Smack Mellon Studio Program Artist. She was a 2017-18 ZERO1 American Arts Incubator artist amplifying Indigenous and Afro-Ecuadorian voices. Her 2016-17 Asian/Pacific/American Institute at New York University residency led to virtual and augmented reality projects “The Wayfinding Project” and “Mannahatta VR,” and public installation “Lenapeway” in allyship with Indigenous environmental stewardship. She received a 2013 Franklin Furnace Fund grant for “Floating Library”—a pop-up public space aboard the Hudson River’s Lilac Museum Steamship. As a 2008-9 Fulbright Scholar, she developed a migratory museum and trilingual artist book on Asian migration to Peru.
Notable activities include solo exhibitions "Spice Roots/Routes” (2017) at NYU Institute of Fine Arts, “Aromérica Parfumeur” (2016) at Museo Nacional de Bellas Artes de Chile and “Rhunhattan Tearoom” (2015) at Wave Hill; group shows at Honolulu Biennial 2017, Park Avenue Armory and Galeri Nasional Indonesia; and a Duke University Press’ Cultural Politics Journal artist feature. As a Hemispheric Institute Council Member, she co-founded the Performing Asian/Americas: Converging Movements workgroup. She holds a BFA in Studio Art from New York University and is a School of Visual Arts MFA Art Practice faculty member and strategy manager for the New York - Newark Public History Project.
⤞Female Avatars’ Futurist Statement: Matrilineage, Production, Ecosystem⤝
In 2019 TCAC is launching a new program called Female Avatars’ Futurist Statement. Through this series of exhibitions and public workshops, we hope to unite leaders and art workers who share a vision of matrilineal production. Reflecting on the dominance of information technology and capitalism, which hinder genuine equality and diversity in our society, we look for new directions for feminist “affinities” across borders. Female Avatars’ Futurist Statement cautiously examines the techno-optimism embedded in the fourth-wave feminist movement, and perspectives inspired by Marxist Feminism and Ecofeminism.
Participating artists grew up in the information age, and many of them experienced diaspora. They enjoyed the achievement of feminist movements in the 1960s and 1970s, which, however, do not guarantee a world without gender violence. Their cross-cultural backgrounds enable them to extend the discussion about gender power to various aspects regarding affect, personal histories, decoloniality, and ecosystem. Their individual narratives respond to the underlying note of the exhibition: “How does a [woman] artist cope with [her] practice without being a mother?” Art of the so-called “maternal lineage” does not refer to sex- and gender-specific products, nor is it homogenous, exclusive, or instrumentalized. The future avatars have to be communicators and prophets who can form an alliance with men, women, queer people, immigrants, and non-humans. Thus, this futurist statement delineates an ecosystem that accommodates all species.
Female Avatars’ Futurist Statement is curated by Shih-yu Hsu and Yu-Chieh Li.
#FemaleAvatarsFuturistStatement #TCAC #TaipeiContemporaryArtCenter #FlowersandForts
Female Avatars’ Futurist Statement is supported by the National Culture and Arts Foundation and The Department of Cultural Affairs, Taipei City Government.
The Land On Which We Gather
Smithsonian Artist Research Fellows Lunchbag Talk
Center for Folklife and Cultural Heritage Speakers
ART UNCOVERED — INTERVIEW
July 30, 2019. Podcast Interview on the Art Uncovered series discussing ongoing projects including Mannahatta VR and Rhunhattan: A Tale of Two Islands. Click here to listen.
https://player.fm/series/art-uncovered/beatrice-glow-kllshqZkngNPSgJa
EMPATHY Exhibition at Smack Mellon
Aromerica Parfumeur gets a rosy mention in French olfactory magazine NEZ!
Come for a studio visit June 21st in Tribeca!
The White Street Studio is pleased to participate in Tribeca Art & Culture Night, a quarterly art festival, with an Open Studios special event to take place June 21, 2018 from 6 pm - 9 pm. For one night only, the artists will share with the public their creative process and new works. Participating artists include Regina Silvers, Edward Love, Erin Ko, Michael P. Jenkins, Andrew Tomasulo, Janine Shelffo and Beatrice Glow. Please RSVP at https://bit.ly/2sCfBu5.
BEATRICE GLOW TO PARTICIPATE IN THE 2018 SMITHSONIAN ARTIST RESEARCH FELLOWSHIP IN WASHINGTON D.C
New York-based, Silicon Valley-born, Beatrice Glow will participate in a 2018 Smithsonian Artist Research Fellowship, an innovative research-based artist residency program, at the Smithsonian Institution’s National Portrait Gallery and The National Numismatics Collections at the National Museum of American History.