Hi, I’m Adriel Luis. I am an artist, curator, and community organizer who believes in the social power of our collective imagination. I curate  community-centered art shows, make art that thrives on collaboration, and share ideas for cultivating creative, ambitious, loving ways to address today’s most pressing issues.

Photo by Carmille Garcia

Bio

Adriel Luis is a community organizer, artist, writer, and curator who believes that collective liberation can happen in poetic ways. His life’s work is focused on the mutual thriving of artistic integrity and social vigilance. He is a part of the iLL-Literacy arts collective, which creates music and media to strengthen Black and Asian coalitions, and is creative director of Bombshelltoe, a collaborative of artists and leaders from frontline communities responding to nuclear histories. Adriel is the Curator of Digital and Emerging Practice at the Smithsonian Asian Pacific American Center, where he advocates for equitable practices in museums and institutions. His ancestors are rooted in Toisan, China, and migrated through Hong Kong, Mexico, and the United States. Adriel was born on Ohlone land.

Adriel has curated projects in a range of venues including several museums across the Smithsonian in Washington D.C.; MoMA and Pearl River Mart in New York City; Queensland Art Gallery in Brisbane, Australia; Silo Park in Auckland, Aotearoa; Atom Bar in Buenos Aires, Argentina; and an abandoned Foodland in Honolulu, Hawaiʻi. His writing has appeared in Poetry Magazine, the Asian American Literary Review, and Smithsonian Magazine. He has spoken at the Tate Modern, Yale University, the National Museum of African American History and Culture, and the China Academy of Fine Arts. His performance venues include the Brooklyn Academy of Music, SXSW, the John F. Kennedy Center, and the American University of Paris. He has a degree in human ecologies from UC Davis in Community and Regional Development and a minor in Asian American Studies.

Photo by Jess X. Snow

Contact

Please get in touch via a@drzzl.com or the form below. TTYS!
*email address is encoded, please type it out manually instead of copy+paste


     

    Most of what I do is with

    Phenomenoun

    A creative shop that finds beautiful approaches to difficult conversations.

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    As founder & chief designer, I collaborate with artists, museums, non-profits, and companies to curate exhibitions, websites, events & other artistic experiences.

    Bombshelltoe

    An arts collective that highlights the human side of nuclear issues.

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    As creative director, I partner with founder & nuke expert Lovely Umayam to envision compelling ways to draw public attention to nuclear policy, science & history. In particular, we amplify the complex relationships these topics have with indigenous people & other communities of color.

    BOMBSHELLTOE.COM

    iLL-Literacy

    An ever-evolving ensemble chasing the limits of words, music & art.

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    Dahlak Brathwaite, Nico Cary and I have operated as iLL-Literacy for over a decade. As a restless arts collective, we’ve found ourselves on tour as a funk band, in theater festivals as actors, in the studio as music producers and in universities as arts activism scholars.

    ILL-LITERACY.COM

    SmithsonianAPA

    A community-centered museum at the edge of creative culture.

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    The Smithsonian Asian Pacific American Center is not located in a building, but instead exists as ephemeral experiences throughout the world. As Curator of Digital & Emerging Practice, I investigate how artists, activists & thinkers inform our notions of self & society.

    SMITHSONIANAPA.ORG


     

    Current / Recent

    I’m currently researching, critiquing & imagining beyond how histories of colonization shape our everyday lives. Most of my current projects investigate what connects indigeneity, diaspora & belonging. Right now I’m reading and thinking about origin/creation stories, histories of healing practices, and digital intimacy.

    Bravespace

    Online

    A New Music Compilation for Meditation, Mindfulness, and Collective Healing

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    Above image: Bravespace cover art by Amanda Phingbodhipakkiya

    Bravespace is a compilation of original songs, sounds, and meditations created by Asian American women and non-binary artists and musicians, presented by the Smithsonian Asian Pacific American Center. Arriving amidst a period of collective trauma and heightened xenophobic violence, Bravespace offers listeners a refuge for contemplation, grief, and growth.

    Commissioned at the beginning of the 2020 COVID-19 lockdown, APAC spent almost three years collaborating with these musicians, artists, and cultural practitioners to vividly capture how an intensely challenging moment could lead to personal discovery and collective healing. Bravespace, which received critical support from the Smithsonian American Women’s History Initiative, adds complexity to the greater landscape of meditation and healing arts tools by centering perspectives that have long been marginalized.

    Curated and produced by
    Adriel Luis
    Hollis Wong-Wear
    Erika Shimizu

    Participating artists
    Low Leaf
    MILCK
    Arushi Jain
    Our Daughter
    Kwonyin
    Erika Shimizu
    Ana Roxanne
    Hollis
    mayx
    JusMoni
    Chong the Nomad
    Amanda Phingbodhipakkiya

    Listen on Spotify

    Listen on Apple Music

    Listen on all platforms

    Keeping Ourselves Collected

    Journal of Museum Education

    Researhing the Smithsonian's imperial legacy and current role in racial discourse.

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    The Smithsonian Institution’s public narrative often glosses over the United States Exploring Expedition (1838–1842), the historic endeavor led by Charles Wilkes that seized over 4000 specimens, artifacts, and human remains throughout Asia, the Pacific Islands, and the western coasts of the Americas, which later became the foundation of the Smithsonian’s collections.

    Today, the Smithsonian is revered for holding one of the world’s most expansive collections, a world-class resource for “the increase and diffusion of knowledge.” Yet, the framework of the Smithsonian as a flagship for American exceptionalism is in growing tension with campaigns to highlight communities of color which are increasingly intersectional, fluid, and diasporic.

    The Smithsonian Asian Pacific American Center has met these challenges by introducing Culture Labs to instill emerging practices and community principles. This paper investigates the history and implications of museum programming and education practices that engage and transmute the imperial legacies of institutions.

    Read in the Journal of Museum Education, Vol 47

    Read the open access version

    Ways of Knowing

    Diné Bikéyah

    A multimedia project that recalls nuclear history from Navajo perspectives.

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    Above image: Daisy Garnanez, photo by Carmille Garcia

    Ways of Knowing is a multimedia arts project exploring how generations of Navajo stories and community organizing became tools to overcome the mental and physical trauma of uranium mines and nuclear tests. By sharing these narratives through immersive video, essays, and social media clips, Ways of Knowing presents how nuclear weapons production connect with issues such as forced displacement, cultural loss, and environmental exploitation. This project aims to give these stories and the people behind them a much-deserved spotlight – to show that their history and knowledge matter – and that their experiences are a relevant and essential piece of the global conversation on nuclear weapons.

    The primary work-in-progress for Ways of Knowing is a 360 film that examines the geographic and historic landscape of Navajo Nation. Directed by Kayla Briët, the narrative unfolds through the voices of Navajo community members whose lives have been impacted by uranium mining.

    Ways of Knowing is a production of Bombshelltoe. Co-produced by Lovely Umayam, Sunny Dooley & Adriel Luis. Film directed by Kayla Briët. Photography by Carmille Garcia.

    WAYSOFKNOWING.US

    Bigger Than the Internet

    Online

    A story about museums and the digital colonization of the web.

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    Museums are increasingly expressing interest in equity, social justice, and even decolonization, in large part due to their growing investment in online spaces where such topics have risen to the top of public consciousness. But this investment has also led to heightened dependency on internet and social media platforms which center profit and gain, often through data mining, invasive advertisements, misinformation, and other behavior which run counter to principles of open and democratic society. Thus, museums’ aspirations to be participants and leaders in public service are at odds with the capitalistic endeavors of the companies which they have tethered to their notions of success. This paper investigates the relationship between museums and exploitive data collection practices, from their colonial histories to their uncertain futures. In recognition of decolonizing methodologies, the writer invites the reader through personal narrative, cross-disciplinary research, and a few hot takes.

    READ THE ARTICLE

    The concept for Bigger Than the Internet began in 2018 when I was invited by scholar Dana Allen-Greil to offer a guest lecture for a museum studies course at Georgetown University on digital curation. While I began writing this with the intention of formally publishing it in an academic journal, upon completing it I decided to share it in the spirit of the thinkers who inspired it and who I reference throughout – widely accessible, open for community feedback, and free. While I am open to sharing this with formal publications, I am committed to presenting this research and these ideas as part of an ongoing conversation unrestricted by exclusionary forums and paywalls. I am grateful for scholars Jaclyn Roessel, Wendy Ng, and Audrey Hudson for contributing edits and feedback, and I’m honored to have debuted this on June 2, 2021 through [COLLECTIVE LIBERATION] DISRUPT, DISMANTLE, MANIFEST, an equity coalition convening facilitated by Museums and Race, MASS Action, Museum Workers Speak, Death to Museums, The Incluseum, Museums Are Not Neutral, Empathetic Museum, and Visitors of Color; andon June 3, 2021 in an episode of DISCOVERY presented by the Knight Foundation.

     

    The Color Curtain Project

    Washington, D.C.

    An art book & culinary experience that reflects on Afro-Asian solidarity & community.

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    The Color Curtain Project is a series of dinner parties and art book presentations that bring individuals of African- and Asian-American identities together. By breaking bread, learning history, and sharing stories, the project encourages constructive dialogue around political and social justice challenges that entwine African- and Asian-American experiences today.

    The project takes its name from The Color Curtain (1956), a travelogue by Richard Wright, who authored the American literary classics Native Son and Black Boy. The Color Curtain summarizes Wright’s observations as an African-American reporter covering the Bandung Conference  an epic convening in April 1955 held in Bandung, Indonesia between twenty-nine Asian and African countries eager to establish a coalition denouncing racism, colonialism, and nuclear war. The Color Curtain is not a comprehensive or technical account of what transpired in Bandung; Wright did not delve into the political and bureaucratic dealings between statesmen. Rather, The Color Curtain offers a personal snapshot of his experience witnessing the collision of Afro-Asian identities, and their collective struggle to find political, economic, and social freedom after many decades of colonial rule.

    Many people do not know about The Bandung Conference or The Color Curtain, but their  themes, achievements, and shortcomings still reverberate today. The Color Curtain Project aims to celebrate and critically reflect on the connections between past and present by offering a contemporary interpretation over dinner and urging guests to think about what has changed, if at all, between the Afro-Asian diasporic relationship since 1955.

    The Color Curtain Project is a collaboration between Washington, DC- and New York-based scholars, artists, and entrepreneurs: Tammy Nguyen, Aerica Shimizu Banks, Seda Nak, Desirée Venn Frederic, Lovely Umayam & Adriel Luis.

    THECOLORCURTAINPROJECT.COM

    Lifelines

    Online

    Accounting for the experiences of women in nuclear policy during the Covid-19 pandemic

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    Lifelines is a collection of personal reflections about the experiences of nuclear policy and technical practitioners during the height of the Covid-19 pandemic (2020 - 2021). Many of these stories come from women in the field who, like everyone else, suffered the immediate physical and mental strain of this crisis: fear of widespread illness and death; the loneliness of lockdown; and the exhaustion from a frenetic lifestyle that collapsed the boundary between personal and professional space.

    Yet they also wrestle with biases and challenges — as nuclear experts who double as mothers, or junior and mid-careers reckoning with gender barriers reinscribed in virtual, socially-distant work environments — that complicate their vision of a secure future for the world and for themselves.

    Introduction by
    Lovely Umayam

    Illustrations by
    Elisa Reverman

    Essays by
    Victoria Wu
    Anu Damale
    Chantell Murphy
    Ana Velasco

    Anecdotes from
    The Gender Champions for Nuclear Policy Gendered Impacts of Covid-19 Survey

    Web design by
    Adriel Luis

    Visit Lifelines


     

    Curation

    I see my curatorial practice as a method of community organizing, and my work with Smithsonian Culture Labs and independent exhibitions are efforts to build spaces for people to gather and grow. I am most interested in curating with large groups, and see these as opportunities to cultivate lasting relationships.

    3AM - Time Sensitive

    3AM: Time Sensitive

    Reston, VA

    The Myanmar collective's U.S. debut examines the depths of global empathy and solidarity.

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    Above image: From 3AM, Still in the Present.

    Tephra Institute of Contemporary Art (Tephra ICA) presents Time Sensitive, an exhibition of works by Myanmar artist collective, 3AM, curated by Adriel Luis. Since 2016, members Ma Ei, Ko Latt, and Yadanar Win have collaborated on works that dissolve the lines between art and activism, performance, and media.

    Still from Civil War (2021)

    3AM's work responds to social conditions that are pressing in Myanmar, but that resonate throughout the world – the repression of social critique, the complexities of queer life, and the effects of globalization, to name a few. Ever since Myanmar's military coup in February this year, internet shutdowns, public uprisings, and police violence against demonstrators and artists, the nation's turmoils have been placed back in the global spotlight.

    Tephra ICA is pleased to show 3AM's works in the United States for the first time in support of the collective's efforts to share Myanmar's lived experiences, critical perspectives, and radical imaginations with the rest of the world.

    3AM: Time Sensitive was viewable at the Tephra Institute of Contemporary Art in Reston, VA from August 28, 2021 to January 8, 2022.

    DETAILS @ TEPHRAICA.ORG

    Wavelength

    Smithsonian Folklife Festival

    A series of art projects that illustrate the connection between humans and sea life.

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    Wavelength was a series of art projects presented at the 2022 Smithsonian Folklife Festival that demonstrated the connections between humans and sea life. Works included: a mosaic of a whale and dolphin composed of origami sea creatures folded through community sessions led by artist and legendary skateboarder Peggy Oki; a series of stone shark sculptures created by Tongva artist and scholar L Frank Manriquez; a life-sized baby humpback whale sculpture and an installation of stickers depicting fish names in ʻŌlelo Hawaiʻi by artist and ocean engineer Jane Chang Mi; and screen prints by Soul & Ink Crew.

    Photos by Phillip R. Lee

    In the Future

    New York City

    Jess X. Snow presents a portal to the future where our Asian community is safe.

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    This mural on Mosco St in Manhattan’s Chinatown imagines a future where we transcend white supremacy and anti-Asian violence. It was envisioned and painted with youth in the W.O.W. Project community in Chinatown, and BIPOC community members. The mural depicts a youth holding a red envelope casting a spotlight on Chinatown elders in monumental embrace as indigenous plants of Lenapehoking (NYC) grow from the concrete and soar into the sky above them. 🌱 Starting this fall, visitors to the mural will be able to use Augmented Reality to see the mural animate to life and immerse themselves a virtual healing space of ambient music and letters depicting wishes for the future written by community members. Visitors globally are invited to share an offering that manifests safety, mutual care, and communal protection for the future of our Asian community in a virtual mural experience.


    Photos by Marion Aguas

    Funded by:
    Wing on Wo Projects
    Smithsonian APA Center
    NYU A/P/A Institute

    Producing Team:
    Mei Lum, Denise Zhou and Adriel Luis

    Assistants & Teaching Artists:
    Singha Hon, Zoraida Ingles, Jia Sung, Tomie Arai

    🌹Graphic Design Team:
    Art direction: Tiffany Jen
    Type Design & Layout: Michael Enten

    DETAILS @ JESSXSNOW.COM

    There, There

    Online

    Seoul and D.C. artists reflect on what it means to be present in an era of absence.

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    What does it mean to be present in a year marked with so much absence? When we look back and say “I was there,” where will that have been? In this online exhibition, four artists respond to shifting notions of selfhood, togetherness, civic participation, and what it means to be a part of this moment.

    There, There features new works by Julia Kwon, Lisa Park, Nara Park, and Young-Hae Chang Heavy Industries, and is curated by Adriel Luis.

    It is a part of IA&A at Hillyer’s Sister Cities grant from the DC Commission on the Arts and Humanities to facilitate artistic exchange between Washington, DC and Seoul, South Korea. Many thanks to our partners at The Korean Cultural Center Washington, D.C., and all the collaborators and artists involved in this exhibition.

    Featuring

    Lisa Park, #data-driven vlog, 2020, video

    Julia Kwon, Back To Normal is Not Enough, 2020, mixed media

    YOUNG-HAE CHANG HEAVY INDUSTRIES, IS THAT ALL THERE IS?, 2020, video

    Nara Park, Mediation I, 2020, 3D-printed nylon sculpture

    This online exhibitions runs until January 15, 2021

    VIEW THE EXHIBITION

    Care Package

    Online

    Poems, meditations, films, and other cultural nutrients for times like this.

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    We are able to exhibit courage and strength in our greatest moments – but what about our most impossible times? Where do we find wisdom within the vast unknown? How do we stay grounded when everything is up in the air?

    Care Package is a collection of creative offerings by artists, writers, and scholars who the Smithsonian Asian Pacific American Center collaborated with in recent years. The works take a range of approaches to addressing uncertainty, anxiety, and grief through vision, reflection, and healing. Most have been exhibited in past programs, but have never been made widely accessible until now.

    Featuring
    Yumi Sakugawa
    Jess X. Snow, Kit Yan & Peter Pa
    Sham-e-Ali Nayeem and Qais Essar
    Whakarongo by Jack Gray
    Photosynth by Low Leaf, Alex Abalos & Adam Labuen
    Current, I by Lehua M. Taitano
    Tea(r)ism, by Naoko Wowsugi
    Kitchen Remedies People's Kitchen Collective
    The Corner of Heart-to-Hearts by Chad Shomura & Yumi Sakugawa
    What Time Is It On The Clock Of The World? by Nobuko Miyamoto & Juan Perez

    VIEW THE EXHIBITION

    Te Whāinga

    Auckland

    A Culture Lab on civility, and what it truly means to coexist as community, society, and humanity.

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    Above image: Rosanna Raymond performing BackHand and Away (2019) amidst Miranda Smitheram's Ko Pikiwhara Te Mauka / And Here I Visit the Bones (2019)

    2019 situated us in a host of collisions between our complex histories, enduring systems and beliefs, greater awareness of our ecological pressures and our future aspirations. People throughout the world and from various walks of life recognized that the solutions to today’s greatest challenges, inevitable tensions and intersections can only be realized by seeking compatibility of aspirations without denying these fundamental cultural and cognitive complexities amongst one another.  Featuring world-class artists, scholars and cultural practitioners – all critically examining the notion of civility – Te Whāinga was a unique opportunity to explore what it truly means to coexist within our communities, societies, and humanity.

    Te Whāinga was produced by the Smithsonian Asian Pacific American Center and Auckland Museum (curated by Dina Jezdic, Kālewa Correa, Lawrence-Minh Bui Davis & Adriel Luis) and took place at Silo 6 and Silo Park, Auckland, Aotearoa New Zealand in October 2019.

    Featuring
    Ahsin Ahsin
    Rodney Bell
    Marc Conaco
    Elliot Collins
    Maria Dumlao
    Dr. Léuli Eshrāghi
    Erin Fae
    Tanu Gago
    Jack Gray
    Rebecca Ann Hobbs
    Hina Kneubuhl
    In*ter*is*land Collective
    Kerry Ann Lee
    Qiane Matata-Sipu
    Carl F.K. Pao
    Rosanna Raymond
    Miranda Smitheram
    Kereama Taepa
    Rosabel Tan
    Tufala Meri (Reina & Molana Sutton)
    Pati Solomona Tyrell

    TEWHAINGA.COM

    Elevator Pitch

    New Orleans

    A multi-sensory musical experience by Christine Sun Kim, New Orleans Airlift, Rick Snow, and Louisiana's Deaf community.

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    Elevator Pitch is an interactive art installation that celebrates New Orleans as a multi-sensory musical experience. Created by New Orleans Airlift, Christine Sun Kim, and Rick Snow, it is the Music Box Village’s latest “musical house” structure, offering visitors a visceral, innovative encounter with sound. Elevator Pitch is inspired by Kim’s childhood memories of crowding elevators with her Deaf friends, and shouting so loudly that they could feel the vibrations of each others’ voices. Meanwhile, elevators are often known to hearing people as sites of “awkward silence,” thus the concept of this installation challenges when and where various people have a voice. Born Deaf herself, Kim approaches Elevator Pitch by investigating how Deaf communities of New Orleans experience a city so deeply defined by music, and by highlighting how Deaf people are vital to this culture of sound. This piece is developed in collaboration with local composer and educator Rick Snow, whose work involves instruments, lighting, media, and sculpture to create immersive experiences; and New Orleans Airlift, the art collective and architectural team behind the Music Box Village. Airlift has stewarded an environment of creative collaboration, with the goal of widening access to sound and music to communities locally, nationally, and globally.



    Photos by Camille Lenain

    Elevator Pitch is presented by the Smithsonian Asian Pacific American Center with generous support from the Smithsonian Year of Music, Smithsonian Women’s Committee, and Shift Design.

    Elevator Pitch features the voices of thirteen members of the Deaf community of Southeast Louisiana
    Fallon Frederick
    Jay Isch
    Natalie Delgado
    Ari Latino
    Kimberly Durette
    Mary Hoang
    David Welch
    Brittany Welch
    Jimmy Gore
    Grace Graugnard
    Walker Estes
    Sarah Tullier
    Tate Tullier

    She Who Dies To Live

    Hawaiʻi, USA, Australia

    A multimedia spoken word experience that reimagines Death as a vital vein of Pasefika experience.

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    What if our health depended upon telling the truth about what is happening to us? This multimedia spoken word experience reimagines Death as a vital vein of Pasefika experience, rather than an end to our island narratives. Featuring an all-female lineup of performers representing Fiji, Samoa, the Marshall Islands and Hawai‘i, She Who Dies to Live represents a convergence of different Pasifika voices, and of various art forms and storytelling methods.

    Jocelyn Kapumealani Ng, Kathy Jetñil-Kijiner & Terisa Siagatonu perform She Who Dies To Live at the Gallery of Modern Art, Brisbane, 2019. / Thumbnail: Jocelyn Kapumealani Ng, photo by Lyz Soto

    She Who Dies To Live features Jocelyn Kapumealani Ng, Kathy Jetñil Kijiner, Terisa Siagatonu, and Jahra "Rager" Wasasala, and portions are directed by Lyz Soto. It is produced by the Smithsonian Asian Pacific American Center. Chapters of the production were presented live in Honolulu, Hawaiʻi as a part of ʻAe Kai: A Culture Lab on Convergence; Salt Lake City, Utah as a part of Pasifika First Fridays; and Brisbane, Australia as a part of the Pacific Arts Association Symposium at the Gallery of Modern Art.

    AFTEREARTH

    Worldwide

    A short film about the human relationships that connect us with the planet.

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    AFTEREARTH is an immersive short film, directed by Jess X. Snow, about how four women from different parts of the world draw their understandings of motherhood through connections with the environment. Featuring a chant by Hinaleimoana Wong-Kalu, a poem by Isabella Borgeson, a song by Kayla Briët, and a heartfelt reflection between Wan Ping Oshiro and her son Kit Yan, AFTEREARTH is ideally experienced as a 3-channel installation.

    AFTEREARTH debuted at the ʻAe Kai Culture Lab and has since been screened at campuses and festivals throughout the United States.

    Director: Jess X. Snow
    Co-Producers: Kit Yan & Adriel Luis
    Production Designer: Peter Pa
    Starring: Hinaleimoana Wong-Kalu, Isabella Borgeson, Kayla Briët, Wan Ping Oshiro & Kit Yan

    AFTEREARTHFILM.COM

    Fashion Forecasts

    New York City

    Illustrator Yumi Sakugawa’s concepts ask, “What does your soul want to wear in the afterlife?”

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    Fashion Forecasts imagines an alternate futuristic reality where everyday fashion is spiritual, intersectional, intergenerational, collaborative, sustainable, and influenced by different Asian and Asian American histories, cultures, and traditions. The exhibition and book features new clothing and accessories that may emerge as identity, technology, and environment evolve. Representing the multiple stages of the fashion process—from design to manufacturing to adornment—she shows that fashion, like identity, can be simultaneously personal and performative, serious and whimsical, instinctive and avant-garde.




    Originally commissioned for the Crosslines Culture Lab in 2016, in September 2018 an expanded version of the book was published and distributed by Retrofit Comics, with a book launch and exhibition at Pearl River Mart in NYC.

    Photos by Hanifa Haris

    ALLLLLL NATURAL

    Baltimore

    An exhibition featuring art about what’s real, what’s fake, and what’s both.

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    Above image: Chiang Tai, Traffic Island Series (2017)

    Well, of course we’re obsessed with authenticity. Why shouldn’t we be? Our news is fake, our food is genetically modified, and we’ve even trained ourselves to stop answering the phone because it’s usually a bot calling. The thin line between reality and fantasy has thickened into a world in purgatory – and it’s here that we encounter the artists featured in ALLLLLL NATURAL. Each of the works in this show uniquely illustrates the tensions between what is and what isn’t. They question if all that emerges from the earth is necessarily real, and if that which is made in our hands and our minds is immediately synthetic. Composed of materials that are organic, manufactured, or of dubious origin, the artists here beckon us to suspend our grip on reality, and recognize that the very core of human nature is our instinct to make believe.

    ALLLLLL NATURAL is on view at School 33 Art Center in Baltimore from October 12 – November 24, 2018.

    Featuring

    Selin Balci

    Maggie Gourlay

    Caroline Hatfield

    Catherine Mapp

    Kaitlin O’Keefe

    Antoinette Suiter

    Chiang Tai

    Uprooted

    Washington, D.C.

    An art exhibition that examines active relationships with home.

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    Above image: Kay Gordon, Cot (2017)

    When someone says “make yourself at home,” what are they really asking of you? Are you supposed to fashion the place in such a way that it feels intimate to you, or are you to adjust your sense of intimacy in the first place? Uprooted is a show that recognizes both as viable pathways to belonging. The works presented here rest in the tension between intimate and alien. The artists express that being at home is an active relationship with place, an ongoing practice in making the foreign familiar, and that being rooted isn’t the same as staying put.

    Uprooted featured work from an open submission that I selected as the exhibition’s juror. It showed at IA&A at Hillyer, and was the first independent exhibition that I curated in Washington, D.C.

    Featuring
    Jenny Balisle
    Mills Brown
    Kay Gordon
    Jessica Frances Grégoire
    Stacy Isenbarger
    Niloufar Kazemzadeh
    Katie Laton
    Ruth Lozner
    Jillian MacMaster
    Mi-Hee Nahm
    Bundith Phunsombatlert
    Judith Pratt
    Ann Stoddard

    ʻAe Kai

    Honolulu

    A Culture Lab on Convergence, and how different ways of life inform our relationships with Earth.

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    Above image: Chad Shomura & Linh Huỳnh, Earthly Correspondences (2017)

    Ae Kai, the shoreline, brings together elements stretching from mountain to ocean and serves as a gathering place for exchange and convergence. Traditionally in Hawai‘i, some of the most important conversations are held at ‘Ae Kai when the sun is up and the waves are out.

    ‘Ae Kai: A Culture Lab on Convergence look place in the former site of Foodland in Ala Moana Center, an 18,000 square foot supermarket situated in the neighborhood between Waikiki and Kaka‘ako, and explored the meeting points of humanity and nature in Hawai‘i, the Pacific Islands and beyond. Following 2016’s transformational Culture Labs–CrossLines in Washington, D.C. and CTRL+ALT in New York City–‘Ae Kai continued the Smithsonian Asian Pacific American Center’s practice of community building through curated artmaking. The biggest Culture Lab to date, ‘Ae Kai features participating artists, scholars and practitioners mostly based or rooted in Hawai‘i, with the majority identifying as Pacific Islanders.

    Photos by Tara Rock.

    Lehua Taitano & Lisa Jarrett, An Aberrational Poetics: Inside Me an Island Shaped Whole

    Charles Jean-Pierre & Keanu Sai, The Commissary / Ua Mau Ke Ea

    Ane Bakutis, Jamie Makasobe & Hina Kneubuhl, Hālanalana

    Adam Labuen, Low Leaf & Alex Abalos, Photosynth

    Maile Andrade, ‘Āina Mea‘ai (Food Land)

    Robin Lasser & Adrienne Pao, Dashboard Hula Girl Dress Tent: In Search of Aunty Keahi

    ‘Ae Kai was produced by the Smithsonian Asian Pacific American Center (curated by Kālewa Correa, Lawrence-Minh Bui Davis & Adriel Luis and took place at the former site of Foodland in Ala Moana, Honolulu, Hawaiʻi in July 2017.

    Featuring
    Maile Andrade
    Rosanna Raymond
    Léuli Māzyār Lunaʻi Eshraghi
    Ricky Tagaban
    Havana Libre
    Craig Santos Perez + Brandy Nālani McDougal
    Lehua Taitano + Lisa Jarrett
    Kayla Briët
    Abigail Kahilikia Romanchak + Charles Cohan
    Sloane Leong
    Monica Jahan Bose in collaboration with Hina Kneubuhl + Sloane Leong
    Adam Labuen + Low Leaf in collaboration with Alex Abalos
    Robin Lasser + Adrienne Pao
    Ane Bakutis, Jamie Makasobe + Hina Kneubuhl
    Nicole Moore
    Chad Shomura + Linh Huỳnh
    Kit Yan, Peter Pa + Jess X Snow
    Angel Chang
    Kayla Briët
    Wooden Wave
    Sid M. Dueñas
    Keanu Sai
    CHELOVE + MasPaz
    Charles Jean-Pierre + Keanu Sai
    Tom Pohaku Stone
    Ian Masterson
    Carl Pao
    Aloha Got Soul
    Wiena Lin
    Shizu Saldamando
    Naoko Wowsugi
    Katelin Lili’inoe Rose Branco
    Jahra ‘Rager’ Wasasala, Jocelyn Kapumealani Ng, Kathy Jetñil-Kijiner + Terisa Siagatonu
    John “Prime” Hina
    Solomon Enos
    Aaron Kawai‘ae‘a
    Calvin Hoe
    Maikai‘i JK Tubbs
    Words Beats & Life

    VISIT SITE

    Hurry Up and Wait

    Philadelphia

    Glimpses into some of the many complex steps between and beyond getting from Point A to B.

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    Above image: Hye Yeon Nam, still from Cheeeeese (2014)

    It takes so much to move a life. To be an immigrant, one endures relocation in many flavors — physical, mental, social. One endures recontextualization. Immigration is a unique kind of teleportation, one which requires you to leave behind certain pieces, to recover or reinvent those pieces upon arrival. Immigration is so much more than an act or a moment. It is an experience shared by many but understood by few. It is a rite of passage, in every sense of those words. During a complex time like now, we are tempted to frame immigration as a simple matter. It isn’t. And the artists in Hurry Up and Wait offer glimpses into some of the many complex steps between and beyond getting from Point A to B. This body of work does not attempt to present immigration in a nutshell, nor does it seek to fan the flames of any heated debates. It is simply a body, and expression of nuances and complexities, as we are.

    Hurry Up and Wait was on view at the Asian Arts Initiative in Philadelphia from September to December 2017.

    Featuring:
    Pritha Bhattacharyya
    Sanjana Bijlani
    Melissa Chen
    Yujane Chen
    Maria Dumlao
    Monica Kane
    Caroline Key
    Ahree Lee
    Hye Yeon Nam
    JJ Lee and Mei Lee Ogden
    Jermaine Ollivierre
    Keven Quach
    Yumi Janairo Roth
    Rea Christina Sampilo
    Catzie Vilayphonh

    Glitch

    Alexandria, VA

    An art show for new ways of looking at media, new ways of looking at ourselves.

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    Above image: Kaylah Waite, Mercedes (2017)

    Ever since the invention of fire, humans have approached technology with intrigue, bewilderment and audacity – sometimes all at the same time. The work submitted for this exhibit presented a treasure trove of ways that artists attempt to tame this flame, and here I learned that technology and media-based art is not merely a genre or medium, but rather a layer of reality that will inevitably become present in all forms of creative expression. While artists demonstrated various levels of expertise in their chosen technologies, I didn’t select pieces based on how impressive the platforms were, or even how masterfully the artists used them. Instead, I chose works that showed the complex (and sometimes messy) relationship between emerging technologies and one of humanity’s oldest inventions, communication. Technology can be an obstacle, a distraction or a placeholder for storytelling, and I chose works that insisted on making their points in spite of these challenges. The works presented here may demonstrate new ways of looking at media, but more importantly, they are new ways of looking at ourselves.

    Glitch featured work from an open submission that I selected as the exhibition’s juror. It showed at Target Gallery in Alexandria, Virginia, from May to July 2017. It was my first independently-curated exhibition.

    Featured artists:
    Jill Burks
    Eric Corriel
    Sasha de Koninck
    Alex Gomez
    Ed Grant
    Maxim Leyzerovich
    Tracy Miller-Robbins
    John Mosher
    Zach Nagle
    Lyric Prince
    Kaylah Waite

    CTRL+ALT

    New York City

    A Culture Lab on the Imagined Future – from inner-self to outer space.

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    Above image: Genevieve Erin O’Brien, More Than Love on the Horizon (2016)

    CTRL+ALT is the result of a bold belief that we claim our destinies. The artists and scholars featured here insist that knowing what the future holds is not a question of speculation, but instead agency. Whether their concepts of the future are based on outer space or inner space, a distant era or the next brief moment, the tellers of these stories commonly claim them as their own. Representing a range of backgrounds and identities, they show that even those who have long been pushed to the margins are the center of someone’s universe. Is the future something that happens to you, or something you actively create? CTRL+ALT is a mere glimpse into a realm of infinite possibilities.

    CTRL+ALT was produced by the Smithsonian Asian Pacific American Center (curated by Kālewa Correa, Lawrence-Minh Bui Davis & Adriel Luis) and took place at the former site of Pearl River Mart in SOHO, New York City in November 2016.

    Photos by Les Talusan and Manny Mones

    Yumi Sakugawa, Intergalactic Interfaith Peace Community Meditation Space Center

    Wiena Lin, Disassembly Line

    No Kings Collective, Things to Come, Again

    Jaret Vadera, The Future is Behind Us

    Charles Jean-Pierre, Black (w)Holes

    Saymoukda Vongsay and Matt Huynh, Kung Fu Zombies vs Shaman Warrior

    Featuring
    Adam Labuen
    adrienne maree brown
    Andrew Rebatta
    Alexandra Chang
    Betsy Huang
    Bryan Thao Worra
    Chad Shomura
    Charles Jean-Pierre
    Chinatown Art Brigade
    Che Jen
    Chris Mah
    Christian A. Mendoza
    Christine Sun Kim
    Daniel del Pielago
    DJ Rekha
    Edgardo Miranda-Rodriguez
    Evan Keeling
    Genevieve Erin O’Brien
    Jaret Vadera
    John “Prime” Hina
    Keanu Sai
    Keith Chow
    Lisa Park
    MariNaomi
    Matt Huynh
    Ming Fay
    Museum of Impact
    Naiʻa Lewis
    Nia Keturah
    No Kings Collective
    Paul D. Miller
    Samson Young
    Saya Woolfalk
    Saymoukda Duangphouxay Vongsay
    Sheldon Scott
    Secret Identities
    Solomon Enos
    Taeyoon Choi
    Thomas Mader
    Wiena Lin
    Yumi Sakugawa

    Photos by Les Talusan

    VISIT SITE

    Buenos Caos

    Buenos Aires

    A pop-up moving image exhibition featuring a global array of artists and curators.

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    CrossLines

    Washington, D.C.

    A Culture Lab on Intersectionality, and the evolving sense of self in America.

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    Above image: Tracy Keza & Studio Revolt, Hijabs and Hoodies (2016)

    CrossLines imagines a new museum for the 21st Century, where contemporary artists and scholars actively explore intersections in today’s web of American identity. These stories reflect our distinct history of migration, wars, civil rights struggles and personal journeys. They layer concepts such as race, religion, gender and sexuality to show the complexity of the American experience today.

    CrossLines was produced by the Smithsonian Asian Pacific American Center (curated by Kālewa Correa, Lawrence-Minh Bui Davis & Adriel Luis) and took place over Memorial Day Weekend 2016, at the Smithsonian Arts & Industries Building – the former site of the U.S. National Museum.

    Photos by Les Talusan

    Monica Ramos, Kama

    CHELOVE & MASPAZ, MOUNTAINS + MONUMENTS

    Desirée Venn Frederic & Tony Walker, white%

    Roger Shimomura, Portraits of Infamy and SUPERWAXX, ! AM AN AMERICAN

    No Kings Collective, Carnival of Life

    Gregg Deal, The Indian Voice Removal Act of 1879-2016

    Anida Yoeu Ali, The Red Chador: Threshold

    Featuring
    Anida Yoeu Ali / Studio Revolt
    Roger Shimomura & SUPERWAXX
    No Kings Collective
    Monica Ramos
    Desirée Venn Frederic w/ Tony Walker
    CHELOVE + MasPaz
    Tracy Keza / Studio Revolt
    Matty Huynh
    also
    Anjal Chande & Nico Slate
    Annu Palakunnathu Matthew
    Antoinette Brock
    Avi Gupta
    Brandon Som
    Chinese American Museum, Los Angeles
    Clement Hanami
    Frank Chi
    Gregg Deal
    Jason Lujan
    Jennifer Cendaña Armas
    Makers Lab w/ Ayes Cold, Kerim the DJ, Asha “BOOMCLAK” Santee, S P A C E Lab & Patience Sings
    Adrianne Russell & Aleia Brown
    National Museum of American
    History & Hirshhorn ArtLab+
    The Nerds of Color
    PJ Gubatina Policarpio & Ida Noelle Calumpang
    The People’s Kitchen Collective w/ Sita Bhaumik, Jocelyn Jackson & Saqib Keval
    Quota with Dawne Langford &
    Alejandro Pintado
    Rano Singh
    Robert Karimi & ThePeoplesCook Project
    Shizu Saldamando
    Sons & Brothers
    Soul & Ink
    Steve Alfaro
    Tarfia Faizullah & Jamaal May
    Vaimoana Niumeitolu
    Kyle Goen
    Louis Cabrera
    Jason Guzman
    Kunal Sharma
    Gabriella Callender
    Lorena Ambrosio
    Mahina Movement
    Wooden Wave
    Yumi Sakugawa
    Zohra Saed & Kai Krienke

    Photos by Les Talusan

    VISIT SITE

    A Day in the Life

    Online

    A photo exhibition based on an open call for snapshots of Asian Pacific America.

    more

    Above photo by astrobuddha

    On May 10, 2014 more than 500 people captured over 2,000 photos and videos throughout the course of a single day. The Smithsonian Asian Pacific American Center issued a call to populate the online world with Asian Pacific American representations of life. Works were submitted from everywhere – throughout the United States and from around the world. This exhibit features a small selection of the work and remains an experiment in envisioning the Asian Pacific American experience as a vast and complex identity, with a history that grows richer and more complicated with each new day.

    A Day in the Life of Asian Pacific America was produced by the Smithsonian Asian Pacific American Center, curated by Eddie Wong and Adriel Luis, and juried by Lawrence-Minh Bui Davis, Masum Momaya, Melissa Bisgani & Amber McClure. It debuted online on July 4, 2014.

    VIEW EXHIBITION

    Art Intersections

    Silver Spring, MD

    Exhibiting themes that bridge the experiences of Asian and Latinx communities in the U.S.

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    Above image: Monica Ramos, Carne (2013)

    Art Intersections opens conversations about the place of art and the visual stories we can tell together. Whether through coalition or conflict, solidarity or strife, our communities are shaped by the ways we interpret and negotiate our histories in intersection with each other. Here, over twenty celebrated artists explore how their identities, issues and interests – while often deeply personal – exist as an intersection of multiple frames of meaning and reference, often serving as provocative calls for social change or recognizing that change has arrived.

    Art Intersections was produced by the Smithsonian Asian Pacific American Center and the Smithsonian Latino Center, and curated by Lawrence-Minh Bui Davis, Eric Nakamura, Shizu Saldamando, and Adriel Luis. It debuted in July 2013 at Veteran’s Plaza in Silver Spring, MD.

    Featuring
    Monica Ramos
    Sadie Barnett
    Pablo Cristi
    Steve Alfaro
    Mia Nakano
    Favianna Rodriguez
    Lola Alcaraz
    Studio Revolt
    Gary Garay
    Fidencio Martinez
    Culture Strike
    Audrey Chan
    Arnoldo Vargas
    Anna Serrano
    Clement Hanami
    Albert Reyes
    Ako Castuera

    VIEW EXHIBITION

    OneBeat

    Worldwide

    A residency and tour featuring master musicians from throughout the world.

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    OneBeat brings musicians from around the world to the U.S. for one month each fall to collaboratively write, produce, and perform original music, and develop strategies for arts-based social engagement. OneBeat begins with an opening residency, when Fellows collaborate to create original material, record new musical ideas, and incubate their projects. OneBeat fellows then go on tour, performing for a wide array of American audiences, collaborating with local musicians, and leading workshops with youth. During the month, each OneBeat musician also sets out their plans for the future, developing projects in their home countries linked to a mutually-reinforcing network of music-driven social enterprises.

    OneBeat is a musical journey like no other. It is a chance for adventurous musicians from an incredible diversity of traditions to seek common ground, create new musical combinations, push the boundaries of music technology, and find ways to involve all members of society in the process of musical creativity. OneBeat endeavors to be the nexus of a new way of thinking about how music can help us collectively build healthy communities, prosperous societies, and a more peaceful world.  An initiative of the U.S. State Department’s Bureau of Educational and Cultural Affairs in collaboration with the groundbreaking New York-based music organization Bang on a Can’s Found Sound Nation, OneBeat employs collaborative original music as a potent new form of cultural diplomacy.

    As a part of OneBeat’s pilot crew in 2012, I curated social media and the Washington, D.C. concert lineups at Busboys & Poets and Atlas Center for the Performing Arts.

    Photos by Hannah Devereux

    VISIT SITE


     

    Creation

    My own artistic practice began with writing poetry, and being rooted in storytelling has taken me to a multitude of creative spaces. I tend to jump around to various mediums because my most rewarding experiences involve learning new things, collaborating with a variety of people, and stretching my imagination.

    Fields of Fungus and Sunflowers

    An art book that asks, “How does something begin to grow after nuclear war?”

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    Recent events have pushed people to see the brink. Sometimes, we see what is beyond that brink which has ranged from glory to devastation. Nuclear threat might be one of the least comprehensible threats on the global stage. What does it mean? What happens? Could it happen? How is it possible? And then what? Do we stop?

    Fields of Fungus and Sunflowers is a book that unfolds by investigating various ways in which world affairs and acts of nature intertwine through a nuclear lens. Featuring an essay and poem by Bombshelltoe’s Lovely Umayam and Adriel Luis, respectively, and edited and printed by artist Tammy Nguyen, the book draws connections between the 2016 Winter Olympics, U.S. diplomacy with North Korea, and lifeforms that thrive by consuming radiation. This publication was the Winter 2017 issue of Martha’s Quarterly published by Passenger Pigeon Press.

    BUY @ PASSENGERPIGEONPRESS.COM

    Customs Declarations

    A suite of remixed found sounds and images collected throughout Asia.

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    Customs Declarations is a collection of songs and visual media created by remixing found sounds and sights I captured during time spent in different parts of Asia. Originally commissioned as a complement to the 2014 performance of Yo-Yo Ma’s Silk Road Ensemble at the John F. Kennedy Center, Customs Declarations is my attempt to actively resist the orientalist aesthetics that typically encompass Western-derived sonic and visual representations of the region, while coming to terms with the awkward and inevitable foreignness I embody and project as an Asian American in Asia. This project  expands with my growing relationship with Asia, and moments captured include my short-lived residence in Beijing, my first curatorial exchange which toured me throughout Japan, my eyewitness account of the Umbrella Revolution in Hong Kong, my first international art fair in Singapore, and my introductions to Vietnam and Cambodia.

    Customs Declaration was commissioned by Washington Performing Arts and the John F. Kennedy Center for the Performing Arts, and debuted as a part of Slick Road, a double-feature with DJ Lightbolt at the Kennedy Center in March 2015. Since then, excerpts have been performed at the University of Maryland, NYU, Atom in Buenos Aires, and Yale University.

    iB4the1

    A neverending musical story about an epic quest for the present moment.

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    iB4the1 is a dream come true. It is as much of an exploration of music and myth as it is a journey of the friendships I share within my band iLL-Literacy. This project was born of our late-2000’s discoveries of funk, surrealism, and open technology.

    iB4the1.1 was released in 2009, and since then the story has unfolded through releases of music, short films, and live performances.

    LISTEN ON SPOTIFY

    Ai Weiwei: The Seed

    A media and performance piece that traces the New York upbringing of an influential artist.

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    Although Ai Weiwei is known as the dissident artist with a journeyed relationship with China, less is spoken of his life as a New Yorker or the city’s role in the shaping of his creativity and activism. In celebration of its epic exhibition, Ai Wewei: According to What? the Brooklyn museum commissioned a collective of five Chinese American artists to retrace his steps. The result was a collage of Ai’s journal entries, photographs, and influences that paints a portrait of a cultural icon at the precipice of changing the face of arts activism.

    Ai Weiwei: The Seed was commissioned and produced by the Brooklyn Museum in July 2014. Kelly Zen-Yie Tsai led the production along with fellow poet Kit Yan, dancer Jessica Chen, musician Jason Kao Hwang, and Adriel Luis as sound artist.

    USBUiLLD

    A psychedelic spoken word performance.

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    Fusing live hip-hop and electronic music with fantastical costumes and brain-melting imagery, USBUiLLD is something like Sesame Street for disenchanted liberal arts students. On its campaign to conjure the spirit of shared musical experience, iLL-Literacy has brought USBUiLLD to the Brooklyn Academy of Fine Arts, SXSW, and universities throughout the United States.

    USBUiLLD was conceived by iLL-Literacy and directed by Kamilah Forbes in 2010.

    Beastreality

    Love is inhuman.

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    BeastReality reaches far into the realms of fantasy to question the truth about modern concepts of love. Merging live music, spoken word poetry, installation art, and film, the piece is a collection of stories that each revolve around the protagonist’s romantic encounters with mythical and science fiction creatures. From mermaids to android robots to demigods, each relationship is explored by juxtaposing our primal need for affection with the sociological guidelines for love.

    Through the use of modern myth, BeastReality touches on the themes of interracial relationships, sexuality, marriage and religion, and human loneliness ­ – ultimately asking the audience to confront if our contemporary expectations of an “ideal partner” are as fictitious and far-fetched as the creatures presented onstage.

    I began working on BeastReality in 2011 as a pet project to teach myself music production and film editing. I debuted excerpts from the production in 2013 at Busboys & Poets and the John F. Kennedy Center’s Millennium Stage in Washington, D.C. as a part of the Asian American Performance Poetry Festival.

    Pretty Buoyant Society

    A soundtrack for your internet wormhole.

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    Pretty Buoyant Society was a musical experiment by Adriel Luis and DJ Phatrick, born out of their 2007 forays into music-making. These tracks represent Phatrick’s first productions, and my first stabs at songwriting and vocal recording. An exercise in not taking ourselves too seriously, PBS is a timestamp for us at the starting line of our lives of musical creation

    How To Make Juice

    My first published collection of poems. This is where it all started.

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    How To Make Juice is a collection of my earliest poems as a budding artist. Like you would expect from a poet coming into adulthood, it captures the curiosity, angst, and assumed knowledgeability of someone who thought he had found his voice, when really he was just beginning the search. This book features some of the poems that I performed regularly, as well as journal entries and experiments with word visualizations.

    This book is out of print but can be downloaded as a PDF below. Enjoy!

    READ THE BOOK

    Slip of the Tongue

    A poetic short film about a young man’s run-in with his own misogyny.

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    Slip of the Tongue (2004) is a short film directed by Karen Lum and produced by the Bay Area Video Coalition and Adobe Youth Voices. The film takes its soundtrack from Adriel Luis’ performance of a poem of the same name at age 19 at the 2003 Bay Area Teen Poetry Championships. Written after his first encounters with feminist theory, the poem is about a fictitious encounter between a young man and a woman who is quick to expose his flirtations as byproducts of historic patriarchy. At age 15, Lum adapted the poem’s lines into a collage of film clips that confronted her own struggles with beauty standards at the time. The result is a piece that was screened at over 75 film festivals, has become a part of ethnic and gender studies curricula worldwide, and garnered acclaim including a Golden Gate Award from the San Francisco International Film Festival, Jury Award from Media That Matters, and a Regional Emmy for Best Youth Segment (Directing).

    Adriel’s post-#MeToo comment: Slip of the Tongue is not only one of my earliest works of art, it’s one of my first experiences with the immortality of online presence. I’m proud of this poem for what it represents in my journey as an artist and a person, and at the same time and glad that over 15 years later, I and the rest of society have evolved to discuss men’s roles in women’s rights with more nuance than the poem. I feel that it’s necessary for me to point this out, because while I spent the first few years after this film’s release cringing over how fast I was slurring my words, more recently I have found myself wishing I was also more polished, politically as well. Every once in awhile this piece will resurface and be debated in popular conversation, and I consider it a blessing and a curse (mostly a blessing) that it continues to be what I’m best known for in some circles.


    Slip of the Tongue by Adriel Luis

    My glares burn through her.
    And I’m sure that such actions aren’t foreign to her
    because the essence of her beauty is, well, the essence of beauty.

    And in the presence of this higher being,
    the weakness of my masculinity kicks in,
    causing me to personify my wannabe big-baller, shot-caller,
    God’s gift to the female species with shiny suit wrapping rapping like,
    “Yo, what’s crackin shorty how you livin’ what’s your sign what’s your size I dig your style, yo.”

    Now, this girl was no fool.
    She gives me a dirty look with the quickness like,
    “Boy, you must be stupid.”
    so I’m looking at myself,
    “Boy, you must be stupid.”
    But looking upon her I am kinda feelin’ her style.

    So I try again.
    But, instead of addressing her properly,
    I blurt out one of my fake-ass playalistic lines like,
    “Gurl, you must be a traffic ticket cuz you got fine written all over you.”
    Now, she’s trying to leave and I’m trying to keep her here.
    So at a final attempt, I utter,
    “Gurl, what is your ethnic makeup?”

    At this point, her glare was scorching through me,
    and somehow she manages to make her brown eyes
    resemble some kinda brown fire or something,
    but there’s no snap or head movement,
    no palm to face, click of tongue, middle finger,
    roll of eyes, twist of lips, or girl power chant.
    She just glares through me with these burning eyes
    and her gaze grabs you by the throat.

    She says, “Ethnic makeup?”
    She says, “First of all, makeup’s just an Anglicized, colonized, commodified utility
    that my sisters have been programmed to consume,
    forcing them to cover up their natural state
    in order to imitate what another sister looks like in her natural state
    because people keep telling her
    that the other sister’s natural state is more beautiful
    than the first sister’s natural state.
    At the same time,
    the other sister isn’t even in her natural state,
    because she’s trying to imitate yet another sister,
    so in actuality, the natural state that the first sister’s trying to imitate
    wasn’t even natural in the first place.”

    Now I’m thinking, “Damn, this girl’s kicking knowledge!”
    But, meanwhile, she keeps spitting on it like,
    “Fine. I’ll tell you bout my ‘ethnic makeup.’
    I wear foundation,
    not that powdery stuff,
    I wear the foundation laid by my indigenous people.
    It’s that foundation that makes it so that past being globalized,
    I can still vocalize with confidence that I know where my roots are.
    I wear this foundation not upon my face, but within my soul,
    and I take this from my ancestors
    because I’ll be damned if I’d ever let an American or European corporation
    tell me what my foundation
    should look like.”

    I wear lipstick,
    for my lips stick to the ears of men,
    so they can experience in surround sound my screams of agony
    with each lash of rulers, measuring tape, and scales,
    as if my waistline and weight are inversely proportional to my value as a human being.
    See my lips, they stick, but not together.
    Rather, they flail open with flames to burn down this culture that once kept them shut.
    Now, I mess with eye shadow,
    but my eyes shadow over this time where you’ve gone at ends to keep me blind.
    But you can’t cover my eyes, look into them.
    My eyes foreshadow change.
    My eyes foreshadow light.
    and I’m not into hair dyeing.
    but I’m here, dying, because this oppression won’t get out of my hair.
    I have these highlights.
    They are highlights of my past atrocities,
    they form this oppression I can’t wash off.
    It tangles around my mind and twists and braids me in layers,
    this oppression manifests,
    it’s stressing me so that even though I don’t color my hair,
    in a couple of years it’ll look like I dyed it gray.
    So what’s my ethnic makeup?
    I don’t have any.
    Because your ethnicity isn’t something you can just make up.
    And as for that shit my sisters paint on their faces, that’s not makeup, it’s make-believe.”

    I can’t seem to look up at her.
    and I’m sure that such actions aren’t foreign to her
    because the expression on her face
    shows that she knows that my mind is in a trance.

    As her footsteps fade, my ego is left in crutches.
    And rejection never sounded so sweet.


     

    Word

    Most of my recent writings, talks, and interviews are about the value of community-centered creative practice.

    Interview: Adriel's Winding Path

    I've had the joy of knowing Russ Finkelstein for over a decade. As a thoughtful social entrepreneur, he has a talent for leading discussions that constantly inspire me to reflect on and reimagine how my work impacts those around me. For his column on The Washington Post, Russ asked me to share how the various creative endeavors I've followed are interconnected.

    📖 READ AT WASHINGTONPOST.COM

    Smithsonian Asian Pacific American History, Art, and Culture in 101 Objects

    I was pleased to contribute to this book, which invites readers to experience both well-known and untold stories through influential, controversial, and meaningful objects in the Smithsonian's collections that relate to Asian Americans and Pacific Islanders.

    📖 LEARN MORE AT SMITHSONIANBOOKS.COM

    Interview: The Truth in this Art

    Hosted by Rob Lee, "The Truth In This Art" is a captivating podcast that delves deep into the vibrant intersections of arts, culture, and community, both in Baltimore and beyond. In this episode, Rob interviews me about how growing up as a poet led me to become a curator.

    🔊 LISTEN ON THETRUTHINTHISART.COM

    Conversation with Shirin Neshat & Saisha Grayson

    During the 2022 Virtual Women's Filmmakers Festival hosted by the Smithsonian American Art Museum, I had the pleasure of joining curator Saisha Grayson in a conversation with artist Shirin Neshat to discuss her film Land of Dreams.

    👁 WATCH ON YOUTUBE: SAAM

    Artists Reflect: Conversation with sāgar kāmath

    sāgar kāmath is an artist whose work addresses the roles that coexistence and multiplicity play in shaping identity. During his 2023 residency for the Smithsonian's National Museum of Asian Art's 100th anniversary, I had the joy of being in conversation with him to discuss his installation, Lifecycle of Myth.

    👁 WATCH ON YOUTUBE: NMAA

    On Being Honest [w/ Beau Sia]

    The poet Beau Sia is a poet who inspired me to become an artist in the first place, and I feel so fortunate to have shared friendship and creative exchange with him for many years. In 2022 Beau invited me to join him in writing poems based on random prompts each day throughout the month of May. One of our poems, "On Being Honest," was published in an issue of The Brooklyn Rail later that year.

    📖 READ THE POEMS ON BROOKLYNRAIL.ORG

    By Nature of Our Togetherness [w/ Kimberly Drew]

    In the midst of the pandemic lockdown and rise in violence against Black and Asian people worldwide, UK collective Asia-Art-Activism invited me to contribute to their special publication, Experiments in Care and Collective Disobedience. I invited writer and curator Kimberly Drew to reflect with me on our friendship, our influences, and what it means to care with integrity.

    📖 READ THE CONVERSATION 📦 ORDER THE PUBLICATION

    Isamu Noguchi

    Noguchi: Resonances

    I enjoyed this writing project with my friends and fellow curators Annie Jael Kwan and Alexandra Chang. In it, we reflect on how life has shifted amidst the pandemic, while meditating on our shared love for the sculptor Isamu Noguchi. Annie's digital residency at the Barbican, Noguchi: Resonances is an ongoing collaborative exploration in response to the exhibition, Noguchi.

    📖 READ AT BARBICAN.ORG.UK

    Memory Transplant

    In Memory Transplant, I was invited by DiverseWorks and Asia Society Texas to form a virtual relationship with Houston amidst the pandemic, through a series of virtual studio visits with artists, video chats with community, and research online. Through this process, he reflects on the obstacles and opportunities of building community in an age of social distance.

    👁 WATCH ON YOUTUBE: ASIA SOCIETY TEXAS

    We Are Resilient: A National Conversation Across Chinatowns

    The W.O.W. Project is one of my favorite Asian American arts organizations, and for their 4 year anniversary I was pleased to host a discussion with Chinatown communities across North America. From New York to Boston to Toronto to San Francisco's Chinatowns — we came together to address urgent concerns in our various communities amidst the urgencies of 2020, coming together for unity, solidarity, and community care.

    👁 WATCH ON YOUTUBE

    Serving Versus Observing Communities as Part of Preservation Practice

    As one of the National Trust for Historic Preservation's "People #SavingPlaces," I write about working and communicating with underrepresented communities as part of preservation practice. In this article, I describe how I approach communities, as an outsider, in ways that promote mutual thriving.

    📖 READ AT SAVINGPLACES.ORG

    The Digital Future of Museums

    In this chapter of The Digital Future of Museums (Routledge, 2020) Curator Sarah Brin and I discuss agency, expertise, play, trust and institutional change – both inside the traditional museum context and beyond.

    📖 READ AN EXCERPT ON GOOGLE BOOKS

    Extract: Locating Indigeneity in Immigrant Experiences

    This article is a reflection of my early experiences in Diné Bikéyah (Navajoland) which shifted how I think about my ancestral lineage of immigration. I consider how contextualizing my Asian American identity in indigeneity has deepened my understanding of who I am on this land.

    📖 READ IN OPEN RIVERS JOURNAL

    Culture Lab Playbook

    The Culture Lab Playbook is the Smithsonian Asian Pacific American Center’s guide to community-centered museums practice, developed in collaboration with Education Specialist Andrea Kim Neighbors and a host of Culture Lab artists. It was released in Spring 2018 and has been used by museums, organizations, and schools throughout the world.

    📖 READ AT SMITHSONIANAPA.ORG

    Digitized Destinies

    In this talk, I describe how museums’ relentless pursuit for larger digital footprints are a continuation of an expansion-driven tradition rooted in Manifest Destiny. Presented in March 2018 at Georgetown University.

    📖 READ ON INSTAGRAM STORIES

    Foreign National

    In this podcast interview, I talk with D.C. power-couple Seda Nak and Erik Bruner-Yang about what it means to experience food, art, and culture from a transnational perspective. I also talk about Culture Labs, and shout out my favorite Asian snacks!

     🔊 Listen on Full Service Radio

    Grounded Pasts + Elevated Futures

    In this talk, I challenge the current popularity of the term futurism by investigating the word’s troubled history, and how communities of color can resist conceptualizing time as a linear concept. Presented as a part of Curating Radical Futures Colloquium in November 2017 at the Tate Modern in London, presented by Outset and Arts Council England.

     🔊 Listen on Soundcloud

    Curating Radical Futures

    In this interview, I speak with London-based curator Annie Jael Kwan about how current conceptualizations of the future are informed by race discourse, gentrification, and activism. Recorded in preparation of my above talk, “Grounded Pasts + Elevated Futures”

     🔊 Listen on Soundcloud

    Culture Lab Manifesto

    The Culture Lab Manifesto is the Smithsonian Asian Pacific American Center’s professed set of guiding principles for community-centered museums practice. It was developed by the Center’s staff after reflecting upon its first two Culture Labs, and made public as a resource for other organizations and institutions who work within communities. The Culture Lab Manifesto was published in the July/August 2017 issue of Poetry and officially debuted at the Smithsonian Asian American Literature Festival.

    📖 READ AT POETRYFOUNDATION.ORG

    Imagine Otherwise: Radical Curation

    In this podcast interview, I am joined by co-curators Kālewa Correa and Lawrence-Minh Bui Davis to talk about the process of developing the Smithsonian Asian Pacific American Center’s community-centered curatorial practice, and our vision for July 2017’s ʻAe Kai: A Culture Lab on Convergence in Honolulu.

     🔊 Listen on Imagine Otherwise

    Dismantling Diversity in Museums

    In this talk, I challenge museums that view diversity as a topic that can be contained in a program or position. I advocate for an approach to diversity that embraces people from vast walks of life coming as their full, complex, and nuanced selves. Presented in March 2017 at the Rockwell Museum in Corning, NY.

     📖 Read & Listen on Medium

    Museopunks: The State of Love and Trust

    In this podcast interview, I speak with Suse Andersen and Jeffrey Inscho about what it means for museums to cultivate trust in communities that have not historically viewed institutions as places made for them.

     🔊 Listen on Soundcloud

    How Museums Can Better Serve Local Arts and DIY Venues

    In this article, I describe the long and complex history between museums and DIY art spaces. Following the 2016 fatal disaster at Oakland’s Ghost Ship, I advocate for museums and institutions to share safety resources and information with DIY communities.

    📖 READ IN SMITHSONIAN MAGAZINE

    Building Communities of Trust

    In this talk, I’m joined by co-curator Kālewa Correa to present the Smithsonian Asian Pacific American Center’s model for Culture Labs for the first time on an international stage. We describe how Culture Labs prioritize cultivating a deep sense of trust among artists, curators, museums, and their greater communities. Presented in February 2017 at MuseumNext at the Australian Centre for the Moving Image in Melbourne.

     👁 Watch & Read at MuseumNext

    Smithsonian Thought Leaders

    I was profiled in the Smithsonian’s 2016 Annual Report, and I took the opportunity to highlight communities that are often underserved by major museums. I describe the intentionality behind curating shows that might seem “rough around the edges” compared to pristine aesthetics common to museums, and why local Washington, D.C. culture deserves a place at the Smithsonian.

    📖 Read in the Smithsonian Annual Report

    The Public Puts Great Trust in Museums, and Now It’s Time Museums Trust the Public

    I wrote this article on the days leading up to CrossLines, the first Smithsonian Culture Lab, as a way to document the community-centered perspectives that went into the project's curatorial approach. I advocate for us to expand our imagination for how museums can steward information exchange and cultural preservation.

    📖 READ IN SMITHSONIAN MAGAZINE

    Likewise

    In this podcast interview, I speak with fellow Bay Area native Matt Pana about how my path as a grassroots artist led to my position as a curator at the Smithsonian.

     🔊 Listen on Stitcher

    A Museum of the Future on the Streets of Hong Kong

    In this written piece, I reflect on my October 2014 trip to Hong Kong to witness the Umbrella Movement. Through photos and prose, I describe how my encounters with the movement’s democratic approaches to art and education have influenced my understanding of what it means to curate in response to geopolitical moments. Originally published in the Fall/Winter issue of the Asian American Literary Review

    📖 Read on Medium

    Redrawing Borders: Building Asia’s Museum Culture in the Digital Age

    In my first published paper as a curator, I share my early research on the colonial history that introduced museums to Asia, and how emerging arts spaces in the region are using technology to carve new and unique methods for sharing art, history, and culture. Originally published and presented in October 2014 at Museums and the Web Asia in Daejeon, South Korea.

    📖 Read on Medium

    Imagineering the HereNow

    My belief in the power of collective imagination was born out of my work with iLL-Literacy. In this talk, I describe why creativity and activism share a vital relationship, and how the history of activism can be traced through a constant flow of new ideas. Presented in November 2010 as a part of iLL-Literacy’s CampusBUiLLD at Ithaca College.

    👁 Watch on Vimeo