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Sunday | Monday | Tuesday | Wednesday | Thursday | Friday | Saturday |
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Leo Wang, Murder At GaleharStudio Art Senior Thesis ExhibitionRuns through Monday, April 8, 2024Fisher Studio Arts BuildingFor more information, call 845-758-6822, or e-mail [email protected]. Technology, Humanity, and the FutureRuns through Tuesday, April 30, 2024Online Event |
Presidential Primary Election Day: Vote Today, 6 am – 9 pmTuesday, April 2, 2024Campus Center, Multipurpose Room |
Planet Positive PostcardsShare Your Thoughts on Climate ActionWednesday, April 3, 2024Campus Center |
Meditation GroupMondays and Thursdays 6–7 pmThursday, April 4, 2024Center for Spiritual Life Buddhist Meditation Room |
Open Studios by First-Year Students in the MA in Human Rights and the ArtsMaterial StorytellingFriday, April 5, 2024Bard Massena Campus, Barrytown |
Repair CafeSaturday, April 6, 2024Red Hook Community Center, 59 Fisk Street |
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Spillover2024 Graduate Student Curated ExhibitionsSunday, April 7, 2024CCS Bard Hessel Museum of Art |
Meditation GroupMondays and Thursdays 6–7 pmMonday, April 8, 2024Center for Spiritual Life Buddhist Meditation Room |
Bard InklingsTuesday, April 9, 2024Albee |
Spillover2024 Graduate Student Curated ExhibitionsWednesday, April 10, 2024CCS Bard Hessel Museum of Art |
Meditation GroupMondays and Thursdays 6–7 pmThursday, April 11, 2024Center for Spiritual Life Buddhist Meditation Room |
Spillover2024 Graduate Student Curated ExhibitionsFriday, April 12, 2024CCS Bard Hessel Museum of Art |
Spillover2024 Graduate Student Curated ExhibitionsSaturday, April 13, 2024CCS Bard Hessel Museum of Art |
Spillover2024 Graduate Student Curated ExhibitionsSunday, April 14, 2024CCS Bard Hessel Museum of Art |
Meditation GroupMondays and Thursdays 6–7 pmMonday, April 15, 2024Center for Spiritual Life Buddhist Meditation Room |
Bard InklingsTuesday, April 16, 2024Albee |
Spillover2024 Graduate Student Curated ExhibitionsWednesday, April 17, 2024CCS Bard Hessel Museum of Art |
Meditation GroupMondays and Thursdays 6–7 pmThursday, April 18, 2024Center for Spiritual Life Buddhist Meditation Room |
Spillover2024 Graduate Student Curated ExhibitionsFriday, April 19, 2024CCS Bard Hessel Museum of Art |
Spillover2024 Graduate Student Curated ExhibitionsSaturday, April 20, 2024CCS Bard Hessel Museum of Art |
Spillover2024 Graduate Student Curated ExhibitionsSunday, April 21, 2024CCS Bard Hessel Museum of Art |
Meditation GroupMondays and Thursdays 6–7 pmMonday, April 22, 2024Center for Spiritual Life Buddhist Meditation Room |
Bard InklingsTuesday, April 23, 2024Albee |
Spillover2024 Graduate Student Curated ExhibitionsWednesday, April 24, 2024CCS Bard Hessel Museum of Art |
Meditation GroupMondays and Thursdays 6–7 pmThursday, April 25, 2024Center for Spiritual Life Buddhist Meditation Room |
Spillover2024 Graduate Student Curated ExhibitionsFriday, April 26, 2024CCS Bard Hessel Museum of Art |
Spillover2024 Graduate Student Curated ExhibitionsSaturday, April 27, 2024CCS Bard Hessel Museum of Art |
Spillover2024 Graduate Student Curated ExhibitionsSunday, April 28, 2024CCS Bard Hessel Museum of Art |
Meditation GroupMondays and Thursdays 6–7 pmMonday, April 29, 2024Center for Spiritual Life Buddhist Meditation Room |
Bard InklingsTuesday, April 30, 2024Albee |
Ongoing Events2> |
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all events are subject to change
Leo Wang, Murder At Galehar
Studio Art Senior Thesis Exhibition
Runs through Monday, April 8, 2024
Fisher Studio Arts BuildingFor more information, call 845-758-6822, or e-mail [email protected].
Technology, Humanity, and the Future
Runs through Tuesday, April 30, 2024
10:10–11:30 am
Online EventOnline lectures from Krista Caballero's OSUN Online Course on "Technology, Humanity, & the Future" are open to the public. This course is offered by the Experimental Humanities Collaborative Network.
All lectures will be held from 10:10–11:30 am New York.
Attendees should RSVP to [email protected] for the Zoom link.
Lectures:
Tuesday, April 2: Panel on Deep Fakes with Joel McKim, Birkbeck, University of London; Josh Glick, Bard College, New York; and Mihaela Mihailova, San Francisco State University
Tuesday, April 9: Artist talk with Aarati Akkapeddi, EHCN
All at 10:10am-11:30am EDT
Tuesday, April 23:
Guest Lecture on Energy Futures with Jennifer Richter from Arizona State University
Tuesday, April 30:
Virtual Performance with Rosalind Murray, a multi-modal artist, curator, educator and advocate.
For more information, call 845-758-6822.
Noon Concert: Conservatory Students Perform Works for Piano, Violin, and French Horn
Program includes Brahms, Ginastera, Strauss, and Dante Yenque
Monday, April 1, 2024
12–1 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.
Lives streamed on the Conservatory YouTube channel.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Working for the Climate: Meet & Greet
Monday, April 1, 2024
5–6 pm
Campus CenterNetwork with Local Climate Warriors as we kick off the Worldwide Climate & Justice Education Week!Sponsored by: Bard Center for Environmental Policy.
For more information, call 845-758-6822, or e-mail [email protected].
Planet Positive Supper: Free!
Monday, April 1, 2024
6–7 pm
Campus CenterHelp us kick off the Climate Justice Education Week with a free supper and community gathering! All are welcome!
For more information, call 845-758-6822, or e-mail [email protected].
Play a Part in Climate Action
Monday, April 1, 2024
6 pm
Join us for an interactive Climate Week Event that asks audience members to reenact transcripts of local government meetings as a way to understand and intervene in structures of power and democracy. Dinner by BardEats, performance by you.Sponsored by: Bard Farm; Bard Graduate Programs; Bard MBA in Sustainability; Bard Office of Sustainability; Center for Civic Engagement; Hannah Arendt Center; Office of Sustainability.For more information, call 845-758-6822, or e-mail [email protected].
Meditation Group
Mondays and Thursdays 6–7 pm
Monday, April 1, 2024
6–7 pm
Center for Spiritual Life Buddhist Meditation RoomMondays Guided Meditation
6-6:15 pm Dharma words
6:15-6:45 Meditation
6:45-7 pm Walking meditation & chanting
Thursdays Silent Meditation
6-7 pm Meditation in stillness
Join at any time and stay for any length of time.
Afterwards community sangha time with refreshments.Sponsored by: Chaplaincy.
For more information, call 845-752-4619, or e-mail [email protected].
CMIA - Pharaoh
Monday, April 1, 2024
7:30–10 pm
Jim Ottaway Jr. Film Center- Pharaoh
(Jerzy Kawalerowicz, 1965, Italy, 175 minutes)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Presidential Primary Election Day: Vote Today, 6 am – 9 pm
Tuesday, April 2, 2024
6 am – 9 pm
Campus Center, Multipurpose RoomBard has a polling place on campus located at the Campus Center in the Multipurpose Room.
You must be enrolled in one of the parties, Democratic or Republican, to vote in this primary. Check your registration status here.
For more information, call 845-758-6822, or e-mail [email protected].
The Bard Nursery School and Children’s Center Art Show
Runs through Sunday, April 14, 2024
10 am – 5 pm
Woods StudioAn art installation of paintings, drawings, sculptures, and 3D art created by our youngest citizens of Bard College from the Bard Children’s Center and the Abigail Lundquist Botstein Nursery School.
For more information, call 845-758-6822.
CMIA - The Master and Margarita (Special Guest Event with Director Michael Lockshin)
Tuesday, April 2, 2024
5:30–9:30 pm
Jim Ottaway Jr. Film Center- The Master and Margarita
(Michael Lockshin, 2024, Russia, 157 minutes)*
Please check https://www.bard.edu/cmia for the full schedule.Sponsored by: Center for Moving Image Arts.
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Studio Art Alumni/ae Panel
Tuesday, April 2, 2024
5:40 pm
Alumni/ae artists Freya Powell ’06, Antonio Scott Nichols ’19, and Scott Vander Veen ’16 return to campus.For more information, call 845-758-6822.
Aster of Ceremonies
A Performance with JJJJJerome Ellis
Tuesday, April 2, 2024
6:30–8 pm
Bitó Conservatory Building, Performance SpaceIn this performance, artist JJJJJerome Ellis presents portions of their latest project Aster of Ceremonies. Using piano, saxophone, electronics, and voice, they’ll perform excerpts from “Benediction,” a devotional song cycle attending to 18th and 19th century Black runaway slaves who stuttered. This lecture-performance is an ongoing attempt to, in the words of critic Hortense Spillers, “hear [slavery’s] stutter more clearly.”
JJJJJerome Ellis (any pronoun) is a disabled animal, artist, and person who stutters. Through music, performance, writing, video, and photography, the artist asks what stuttering can teach us about justice. Born in 1989 to Jamaican and Grenadian immigrants, the artist lives in Norfolk, Virginia, USA with their wife, ecologist-poet Luísa Black Ellis. Ellis has been a lecturer in Sound Design at Yale University. Their debut album, The Clearing (2021), was called “an astonishing, must-listen project” (The Guardian). It was co-produced by NNA Tapes and The Poetry Project, and it was released with an accompanying book published by Wendy’s Subway. The Clearing won the 2022 Anna Rabinowitz Prize.
The artist has received a Fulbright Fellowship (2015), a United States Artists Fellowship (2022), a Foundation for Contemporary Art Grants to Artists Award (2022), a Creative Capital Grant (2022). The artist has received residencies at MacDowell (2019, 2022), Ucross (2021), Lincoln Center Theater (2019), ISSUE Project Room (2021), and La MaMa (2021).
JJJJJerome’s solo and collaborative musical/performance work has been presented by Lincoln Center, The Poetry Project, the Metropolitan Museum of Art, National Sawdust, WNYC, and ISSUE Project Room (New York); Venice Biennale 2023; Haus der Kunst (Munich); Rewire Festival (The Hague); Schauspielhaus Zürich; Chrysler Hall (Norfolk, Virginia); MASS MoCA (North Adams, Massachusetts); Arraymusic (Toronto); and the Center for African American Poetry and Poetics (Pittsburgh, Pennsylvania), among others. The artist’s visual work (video and photography) has been presented by Oklahoma Contemporary (Oklahoma City), Juf (Madrid), Artspace New Haven (New Haven, Connecticut), and Ballroom Marfa (Marfa, Texas). They have received commissions from the Virginia Symphony Orchestra, The Shed, and REDCAT.
Ellis is a signed artist with NNA Tapes and is represented by Michaël Gardiner at Heavy Trip, Pascal Mungioli at Stay Service, and Ben Izzo at A3 Artists Agency. The artist’s work has been covered by the Guardian, This American Life, Pitchfork, Artforum, Black Enso, and Christian Science Monitor.
Read more about JJJJerome's work here. Sponsored by: Center for Ethics and Writing and the Written Arts Program.
For more information, call 845-758-6822, or e-mail [email protected].
Bard Inklings
Tuesday, April 2, 2024
7–8 pm
AlbeeThe Catholic Chaplaincy invites you to experience Bard Inklings: Conversations about God, Friendship, and Meaning each Tuesday, from 7–8 pm in the Chaplaincy Office Albee Basement. For information, please email [email protected]. All are welcome!
For more information, call 845-978-6122, or e-mail [email protected].
Planet Positive Postcards
Share Your Thoughts on Climate Action
Wednesday, April 3, 2024
12–2 pm
Campus CenterJoin us in creating planet positive postcards at the Campus Center to mobilize climate action worldwide. Part of the Worldwide Climate and Justice Education Week.
For more information, call 845-758-6822, or e-mail [email protected].
Climate Night at Kline
Board Games, Poster, and Quilt-Making
Wednesday, April 3, 2024
6–8 pm
Kline CommonsJoin us for a fun night of climate activities: decarbonize NYC in an energy justice board game or make climate quilts and posters. Part of the Worldwide Climate and Justice Education Week. All are welcome!
For more information, call 845-758-6822, or e-mail [email protected].
Meditation Group
Mondays and Thursdays 6–7 pm
Thursday, April 4, 2024
6–7 pm
Center for Spiritual Life Buddhist Meditation RoomMondays Guided Meditation
6-6:15 pm Dharma words
6:15-6:45 Meditation
6:45-7 pm Walking meditation & chanting
Thursdays Silent Meditation
6-7 pm Meditation in stillness
Join at any time and stay for any length of time.
Afterwards community sangha time with refreshments.Sponsored by: Chaplaincy.
For more information, call 845-752-4619, or e-mail [email protected].
Volunteer Trail Work
With Red Hook Trails
Thursday, April 4, 2024
3–5 pm
Red Hook Park WestJoin us at Red Hook Park West to fix up local trails through community action. Part of the Worldwide Climate and Justice Education Week. All are welcome!Sponsored by: Bard Center for Environmental Policy.
For more information, call 845-758-6822, or e-mail [email protected].
Rabbi Spinoza:
Baruch Spinoza as a Jewish Bible Commentator
Professor Yitzhak Melamed, Charlotte Bloomberg Professor of Philosophy, Johns Hopkins University
Thursday, April 4, 2024
5:30 pm
Olin 102This talk traces the influence of Spinoza’s early Rabbinic schooling on his writing from the period after he left the Jewish community. It argues that Spinoza is frequently unaware of the formative role of his early Rabbinic education, and that he commonly reads the Bible through Rabbinic eyes without the least being conscious of this fact. If this argument is cogent, it would seem that much more attention should be paid to Spinoza’s early education.
Sunday, April 7th, 2024 | 4:00 pm
Bard Graduate Center Lecture Hall, 38 West 86 street, New York, NY, 10024
This paper argues that the most significant Jewish contribution to modern Western philosophy - the notion of acosmism, according to which only God truly and fully exists - originated in early Hassidism. I will show that through the mediation of Salomon Maimon (1753-1800) this bold notion was adopted from the school of the Maggid of Mezhrich and introduced into the systems of German Idealism.
Free and open to the public.
Register for event here: https://forms.gle/P2qJ6vkciD74e8du6
For more information, call 845-758-6822, or e-mail [email protected].
The Photography Program Presents: Genesis Báez
Thursday, April 4, 2024
6–7:30 pm
Weis CinemaGenesis Báez is an artist based in Brooklyn, NY. Born in Massachusetts, Báez grew up in both the Northeast US and Puerto Rico. Working primarily with photography, her works emerge from the temporal and fragmented experiences of living between worlds. Báez’s practice reflects on how people relate to place and each other, and where personal and collective histories merge.
Báez has exhibited her work internationally including the Whitney Museum of American Art, Huxley Parlour in London, ARCO Madrid, Yancey Richardson in New York, Ballroom Marfa, the Detroit Institute of Art, amongst others. Recent awards include a 2022 NYFA/NYSCA Fellowship in Photography, the 2022 Capricious Photo Award, and a 2023 Lighthouse Works Fellowship. Her work has recently appeared in publications such as Aperture, the British Journal of Photography, and BOMB Magazine.
Báez’s works are held in the permanent collections of the Whitney Museum of American Art, the Museum of Modern Art, NY, Detroit Institute of Art, and Yale University Art Gallery. She holds an MFA in photography from the Yale School of Art, a BFA with honors from Massachusetts College of Art & Design, and is an alumna of the Skowhegan School of Painting and Sculpture. Báez currently teaches at Williams College.Sponsored by: Photography Program.
For more information, call 845-758-6822.
Open Studios by First-Year Students in the MA in Human Rights and the Arts
Material Storytelling
Friday, April 5, 2024
11 am – 1:30 pm
Bard Massena Campus, BarrytownFirst-year MA students at the Center for Human Rights and the Arts present works in progress developed in their core requirement in artmaking, taught by artist Robin Frohardt, with assistance from artist and CHRA alum Oscar Gardea. These works engage with the expressive potential of everyday objects, transforming found materials such as waste into artworks. Using puppetry, masks, shadows, and cardboard, the students demonstrate how simplicity and precarity in materials can offer powerful tools and forms of storytelling.
Transportation: Parking is available on the Massena campus for the duration of this event. For those without access to a car, the CHRA-Massena Shuttle will offer transportation to Bard students, staff, and faculty between Kline Bus Stop (Southbound) and the Massena Campus Roundabout, departing the Annandale campus at 9:40 am and 10:00 am and departing Massena campus at 1:30 pm and 1:50 pm. Any and all persons riding Bard Shuttles must be a Bard student, faculty, or staff member with a valid and legible Bard ID.Sponsored by: Center for Human Rights and the Arts.
For more information, call 845-758-6822, or e-mail [email protected].
The Author as Stranger: Nietzsche and Camus
Daniel Berthold, Emeritus Professor of Philosophy, Bard College
Friday, April 5, 2024
12 pm
Hegeman 204AI argue that not only do Nietzsche and Camus share a sense of the world as fundamentally “strange,” but that each adopts an authorial position as stranger to the reader as well. The various strategies of concealment, evasion, and silence they employ to assure their authorial strangeness are in the service of what Roland Barthes and Michel Foucault would later call “the death of the author,” the disappearance of the author as authority over his or her own text. I argue further, however, that within this largely shared commitment, Nietzsche and Camus finally have quite different conceptions of the goals of their respective authorships and different manners of pursuing their deaths as authors. These contrasts leave us, finally, with distinct constructions of the author as stranger.
Daniel Berthold is an emeritus professor of philosophy at Bard College, where he taught from 1984–2022. He holds a BA and MA from Johns Hopkins University and a PhD from Yale University. He is the author of Hegel’s Grand Synthesis, Hegel’s Theory of Madness, and The Ethics of Authorship: Communication, Seduction, and Death in Hegel and Kierkegaard, as well as articles and reviews in journals including Clio, Environmental Ethics, History and Theory, History of Philosophy Quarterly, Human Ecology Review, Idealistic Studies, International Journal for Philosophy of Religion, International Philosophical Quarterly, International Studies in Philosophy, Journal of European Studies, Journal of Speculative Philosophy, Ludus Vitalis, Man and World, Nous, Metaphilosophy, Modern Language Notes, Philosophy and Literature, Philosophy, Psychiatry, & Psychology, Religious Studies, Review of Metaphysics, Social Theory and Practice, and Southern Journal of Philosophy. Sponsored by: Philosophy Program.
For more information, call 845-758-6822, or e-mail [email protected].
The Clothesline Project (Shirt Making)
Friday, April 5, 2024
1–3 pm
Campus Center, Red Room 203Bard College is collaborating with Grace Smith House to present the Clothesline Project in honor of Sexual Assault Awareness Month. The Clothesline Project displays handmade shirts bearing witness to interpersonal violence in our community, in honor of survivors and victims. Each shirt is decorated to represent a particular survivor's experience. The exhibition will be in the College Room in Kline on Tuesday, April 9, from 2:30–4:30 pm. Campus Advocate Tam Cacchione and members of BRAVE will be present for the exhibit.
Members of the Bard community will have an opportunity to create a shirt to honor their own experience or an experience of a loved one. Campus Advocate Tam Cacchione will be present for this event.
If you have any questions, please contact [email protected].Sponsored by: Health, Counseling, and Wellness.
For more information, call 845-758-6822, or e-mail [email protected].
Women's Lacrosse vs. RIT (Liberty League)
Friday, April 5, 2024
5–7 pm
Stevenson Athletic Center, Soccer FieldThe Women's Lacrosse team competes in a conference match against RIT. Come out and support Women's Lacrosse!
For more information, call 845-758-7531, e-mail [email protected], or visit https://bardathletics.com/.
Degree Recital: WOVEN DUO Esteban Ganem, percussion, and Viktória Sarkadi, piano
Working for percussion and piano by contemporary composers, including world premieres by Rea Ábel '23 and Esteban Ganem.
Friday, April 5, 2024
8–9:30 pm
Bitó Conservatory Building, Performance SpaceProgram
C (2011) Han Lash (b. 1981)
I Have to Remind Myself (2024). Andrea Ábel (b. 1998) World premiere
Tête-à-Tête (2017) Nina C. Young (b. 1984)
Parallel Lines (1999) Joe Duddell (b. 1972)
[one] (2008) Anna Thorvaldsdottir (b. 1977)
Holding, Flowing (2024) Esteban Ganem
Free and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, or e-mail [email protected].
Repair Cafe
Saturday, April 6, 2024
10 am – 1 pm
Red Hook Community Center, 59 Fisk Street Fix clothes, electronics, sporting goods, etc, at the Red Hook Community Center (59 Fisk Street). Part of the Worldwide Climate and Justice Education Week. All are welcome!
For more information, call 845-758-6822, or e-mail [email protected].
Spillover
2024 Graduate Student Curated Exhibitions
Saturday, April 6, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Piano Master Class: Meng-Chieh Liu and Three Conservatory Pianists
Saturday, April 6, 2024
12:30–2:30 pm
Bitó Conservatory Building, Performance SpaceMr. Liu is on the faculties of the Curtis Institute of Music and the New England Conservatory of Music.
Free and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Returning Home: A Contemporary Native Photography Exhibition
Saturday, April 6, 2024 – Sunday, April 7, 2024
1–5 pm
Montgomery Place EstateRegister for Timed Entry
Returning Home is the first small scale contemporary Native photography exhibition to take place in the Montgomery Place Mansion at Bard College. The exhibition addresses long standing Indigenous child removal policies and practices of Canada and the United States, whose governments strategically implemented the kidnapping of Native children to be sent to Indian boarding schools during the 19th and 20th centuries to sever familial ties and dispossess Indigenous peoples of their land and lifeways. By introducing the history of the United States’ settler colonial past and ongoing present alongside the works of four contemporary Native photographers—Kali Spitzer (Kaska Dena/Jewish), Cara Romero (Chemehuevi), Dana Claxton (Wood Mountain Lakota First Nation), Wendy Red Star (Apsáalooke(Crow))—and poet Bonney Hartley (Stockbridge-Munsee), this exhibition provides narratives of resistance, resilience, dissent, subversion, memorialization, and what Anishinabe writer Gerald Vizenor calls “survivance,” that disrupt historic and contemporary notions that Native peoples are helpless victims who are unfit to raise their own children – often infantilized by a paternalistic US government through colonial welfare practices. This exhibition is an intervention in a house museum whose history is intertwined with the forced removal of the Mohican peoples in early colonial New York.
Returning Home aims to highlight Indigenous representation, narrative, survivance, futurism, and resilience through contemporary Native art. The show will include pieces from the Forge Project's collection, as well as a written commission from Institute of American Indian Arts MFA Candidate Bonney Hartley. An accompanying publication will provide in-depth contextualization of land dispossession in the US, forced removal of Native peoples in New York State, and the impact of Indian boarding schools.
All events require separate registration. Exhibition viewing is not included in event registration.
Exhibition Viewing Hours:
April 6th, 2:00-3:30pm (timed entry every 15 mins - register here)
April 7th, 1:00-5:00pm (timed entry every 15 mins - register here)
April 10-12th, 1:30-4:00pm (timed entry every 15 mins - register here)
Schedule of Events:
April 6th, 1:30pm: Opening Remarks & Activation, poetry reading by Bonney Hartley (reservation required, doors open at 1:00pm)
April 6th, 4:00pm: Cara Romero in conversation with Suzanne Kite - registration required
April 7th, 3:00pm: Dana Claxton Artist Talk, on zoom, seating available at MP visitor's center. Register for the webinar here.
April 10th, 6:30pm: Cara Romero: Following the Light, Preston Cinema, Bard College. A short documentary on the work & practice of Cara Romero. No registration required.
Sponsored by Hudson Valley Greenway and the Mellon Foundation, as a part of Rethinking Place: Bard-on-Mahicantuck.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies; Montgomery Place.
For more information, call 845-758-6822, e-mail [email protected], or visit https://rethinkingplace.bard.edu/returning-home/.
Women's Lacrosse vs. Rochester (Liberty League)
Saturday, April 6, 2024
1–3 pm
Stevenson Athletic Center, Soccer FieldThe Women's Lacrosse team competes in a conference match against Rochester. Come out and support Women's Lacrosse!
For more information, call 845-758-7531, e-mail [email protected], or visit https://bardathletics.com/.
“Once and still upon this land (For Montgomery Place)”: A Poetry Reading with Bonney Hartley
Part of “Returning Home: A Contemporary Native Photography Exhibition”
Saturday, April 6, 2024
1–2 pm
Montgomery Place EstateBonney Hartley is a ’25 MFA-Creative Writing candidate at Institute of American Indian Arts and holds an MSocSci in International Relations from University of Cape Town, South Africa. She is an enrolled member of the Stockbridge-Munsee Community and serves as a Tribal repatriation specialist. She is a founding member of Mohican Writers Circle and has forthcoming work in the Boundless exhibit catalogue (Smith College Mead Museum), The Last Milkweed (Tupelo Press), and North Berkshire Landscapes: A Celebration (Tupelo Press &Williamstown Rural Lands). Bonney lives within Mohican homelands in Williamstown, Massachusetts.
Artist’s Statement:
My piece is offered to foreground and activate Returning Home with an archaeological reflection through layers of home, the land, inhabitation, removal, memory, and continuance.
All events require separate registration. Exhibition viewing is not included in event registration.
Exhibition Viewing Hours:
April 6th & 7th, 1:00-5:00pm (timed entry every 15 minutes - register here)
April 10-12th, 1:30-4:00pm
Schedule of Events:
April 6th, 1:30pm: Opening Remarks & Activation, poetry reading by Bonney Hartley (reservation required, doors open at 1:00pm)
April 6th, 4:00pm: Cara Romero in conversation with Suzanne Kite
April 7th, 3:00pm: Dana Claxton Artist Talk, on zoom, seating available at MP visitor's center. Register for the webinar here.
April 10th, 6:30pm: Cara Romero: Following the Light, Preston Cinema, Bard College. A short documentary on the work & practice of Cara Romero. No registration required.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies; Montgomery Place.
For more information, call 845-758-6822, e-mail [email protected], or visit https://rethinkingplace.bard.edu/returning-home/.
Spillover - 2024 Graduate Exhibitions Opening Reception
Opening Reception, Saturday, April 6, 1–4 pm
Saturday, April 6, 2024
1–4 pm
CCS Bard Hessel Museum of ArtLimited free seating is available on a round-trip chartered bus from New York City for the April 6 opening. Reservations are required and can be made on this by calling 845-758-7598 or emailing [email protected].
For more information, call 845-758-7598, or e-mail [email protected].
In Conversation: Cara Romero & Suzanne Kite
Part of “Returning Home: A Contemporary Native Photography Exhibition”
Saturday, April 6, 2024
4–5:30 pm
Montgomery Place EstateSponsored by Hudson Valley Greenway and the Mellon Foundation, as a part of Rethinking Place: Bard-on-Mahicantuck.
All events require separate registration. Exhibition viewing is not included in event registration.
Exhibition Viewing Hours:
April 6th & 7th, 1:00-5:00pm (timed entry every 15 minutes - register here)
April 10-12th, 1:30-4:00pm
Schedule of Events:
April 6th, 1:30pm: Opening Remarks & Activation, poetry reading by Bonney Hartley (doors open at 1pm - registration required)
April 6th, 4:00pm: Cara Romero in conversation with Suzanne Kite - registration required
April 7th, 3:00pm: Dana Claxton Artist Talk, on zoom, seating available at MP visitor's center. Register for the zoom talk here.
April 10th, 6:30pm: Cara Romero: Following the Light, Preston Cinema, Bard College. A short documentary on the work & practice of Cara Romero. No registration required.
Returning Home is the first small scale contemporary Native photography exhibition to take place in the Montgomery Place Mansion at Bard College. The exhibition addresses long standing Indigenous child removal policies and practices of Canada and the United States, whose governments strategically implemented the kidnapping of Native children to be sent to Indian boarding schools during the 19th and 20th centuries to sever familial ties and dispossess Indigenous peoples of their land and lifeways. By introducing the history of the United States’ settler colonial past and ongoing present alongside the works of four contemporary Native photographers—Kali Spitzer (Kaska Dena/Jewish), Cara Romero (Chemehuevi), Dana Claxton (Wood Mountain Lakota First Nation), Wendy Red Star (Apsáalooke(Crow))—and poet Bonney Hartley (Stockbridge-Munsee), this exhibition provides narratives of resistance, resilience, dissent, subversion, memorialization, and what Anishinabe writer Gerald Vizenor calls “survivance,” that disrupt historic and contemporary notions that Native peoples are helpless victims who are unfit to raise their own children – often infantilized by a paternalistic US government through colonial welfare practices. This exhibition is an intervention in a house museum whose history is intertwined with the forced removal of the Mohican peoples in early colonial New York.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies; Montgomery Place.
For more information, call 860-992-6472, e-mail [email protected], or visit https://rethinkingplace.bard.edu/returning-home/.
Beethoven’s 6th & The Rite of Spring
Saturday, April 6, 2024
7–8 pm
Fisher Center, Sosnoff TheaterLeon Botstein conductor
Musicians from the Bard College Conservatory Orchestra
Egon Wellesz
Vorfrühling (The Dawn of Spring)
Beethoven
Symphony No. 6, Pastoral
Stravinsky
The Rite of Spring
TŌN rings in spring with three very different musical tributes to the vernal equinox.
Egon Wellesz’s 1911 The Dawn of Spring combines the Viennese musical tradition with French expressionism, while Stravinsky’s The Rite of Spring, begun the same year, sent audience members into a riot with what Paris newspapers promised would be “the most astonishing polyrhythm ever to come from the mind of a musician.” Meanwhile, Beethoven’s lush and inviting Pastoral Sixth Symphony truly reflects the composer’s love of nature, showing us what he called “Recollections of Country Life.”
Stravinsky’s work will be performed by TŌN alongside members of the Bard College Conservatory Orchestra.
Sponsored by: The Orchestra Now.For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/beethovens-6th-the-rite-of-spring/.
Spillover
2024 Graduate Student Curated Exhibitions
Sunday, April 7, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Returning Home: A Contemporary Native Photography Exhibition
Saturday, April 6, 2024 – Sunday, April 7, 2024
1–5 pm
Montgomery Place EstateRegister for Timed Entry
Returning Home is the first small scale contemporary Native photography exhibition to take place in the Montgomery Place Mansion at Bard College. The exhibition addresses long standing Indigenous child removal policies and practices of Canada and the United States, whose governments strategically implemented the kidnapping of Native children to be sent to Indian boarding schools during the 19th and 20th centuries to sever familial ties and dispossess Indigenous peoples of their land and lifeways. By introducing the history of the United States’ settler colonial past and ongoing present alongside the works of four contemporary Native photographers—Kali Spitzer (Kaska Dena/Jewish), Cara Romero (Chemehuevi), Dana Claxton (Wood Mountain Lakota First Nation), Wendy Red Star (Apsáalooke(Crow))—and poet Bonney Hartley (Stockbridge-Munsee), this exhibition provides narratives of resistance, resilience, dissent, subversion, memorialization, and what Anishinabe writer Gerald Vizenor calls “survivance,” that disrupt historic and contemporary notions that Native peoples are helpless victims who are unfit to raise their own children – often infantilized by a paternalistic US government through colonial welfare practices. This exhibition is an intervention in a house museum whose history is intertwined with the forced removal of the Mohican peoples in early colonial New York.
Returning Home aims to highlight Indigenous representation, narrative, survivance, futurism, and resilience through contemporary Native art. The show will include pieces from the Forge Project's collection, as well as a written commission from Institute of American Indian Arts MFA Candidate Bonney Hartley. An accompanying publication will provide in-depth contextualization of land dispossession in the US, forced removal of Native peoples in New York State, and the impact of Indian boarding schools.
All events require separate registration. Exhibition viewing is not included in event registration.
Exhibition Viewing Hours:
April 6th, 2:00-3:30pm (timed entry every 15 mins - register here)
April 7th, 1:00-5:00pm (timed entry every 15 mins - register here)
April 10-12th, 1:30-4:00pm (timed entry every 15 mins - register here)
Schedule of Events:
April 6th, 1:30pm: Opening Remarks & Activation, poetry reading by Bonney Hartley (reservation required, doors open at 1:00pm)
April 6th, 4:00pm: Cara Romero in conversation with Suzanne Kite - registration required
April 7th, 3:00pm: Dana Claxton Artist Talk, on zoom, seating available at MP visitor's center. Register for the webinar here.
April 10th, 6:30pm: Cara Romero: Following the Light, Preston Cinema, Bard College. A short documentary on the work & practice of Cara Romero. No registration required.
Sponsored by Hudson Valley Greenway and the Mellon Foundation, as a part of Rethinking Place: Bard-on-Mahicantuck.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies; Montgomery Place.
For more information, call 845-758-6822, e-mail [email protected], or visit https://rethinkingplace.bard.edu/returning-home/.
Christian/Episcopal Service
Sunday, April 7, 2024
10 am – 12 pm
Church of St John the Evangelist,1114 River Road, BarrytownJoin us for services at the Church of St. John the Evangelist (Episcopal) in Barrytown. Rides provided from the Bard Chapel at 9:45 am every Sunday throughout the academic year.
All are welcome!
Christians, non-Christians, spiritual but not religious, agnostics, believers, doubters, seekers, those who have questions about faith and religion, those struggling to understand where God is in our challenging world—anyone wanting to use their faith to change and act in the world!Sponsored by: Chaplaincy.For more information, call 203-858-8800, or e-mail [email protected].
Christian/Roman Catholic Mass
Sunday, April 7, 2024
12–2 pm
Chapel of the Holy InnocentsRoman Catholic Mass at Bard Chapel
Sundays at noon
Mass will be celebrated every Sunday during the academic semesters at noon in the Bard Chapel with prayers for healing.
Confessions will be available before Mass, and following Mass all are invited to Breaking Open the Word (a time to share what we heard God saying to our hearts in scripture).
For info contact: (fr.) Jim+ [email protected]Sponsored by: Chaplaincy.
For more information, call 203-858-8800, or e-mail [email protected].
Beethoven’s 6th & The Rite of Spring
Sunday, April 7, 2024
2–3 pm
Fisher Center, Sosnoff TheaterLeon Botstein conductor
Musicians from the Bard College Conservatory Orchestra
Egon Wellesz
Vorfrühling (The Dawn of Spring)
Beethoven
Symphony No. 6, Pastoral
Stravinsky
The Rite of Spring
TŌN rings in spring with three very different musical tributes to the vernal equinox.
Egon Wellesz’s 1911 The Dawn of Spring combines the Viennese musical tradition with French expressionism, while Stravinsky’s The Rite of Spring, begun the same year, sent audience members into a riot with what Paris newspapers promised would be “the most astonishing polyrhythm ever to come from the mind of a musician.” Meanwhile, Beethoven’s lush and inviting Pastoral Sixth Symphony truly reflects the composer’s love of nature, showing us what he called “Recollections of Country Life.”
Stravinsky’s work will be performed by TŌN alongside members of the Bard College Conservatory Orchestra.
Sponsored by: The Orchestra Now.For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/beethovens-6th-the-rite-of-spring/.
Dana Claxton: Artist Talk with Returning Home
Sunday, April 7, 2024
3 pm
Online EventSponsored by Hudson Valley Greenway and the Mellon Foundation, as a part of Rethinking Place: Bard-on-Mahicantuck.
This event will be via Zoom, with viewing available at the Montgomery Place visitor's center. Register for the Zoom talk here.
All events require separate registration. Exhibition viewing is not included in event registration.
Exhibition Viewing Hours:
April 6 & 7, 1:00-5:00 pm (timed entry every half hour—register here)
April 10–12, 1:30–4:00 pm
Schedule of Events:
April 6, 1:30 pm: Opening Remarks & Activation, poetry reading by Bonney Hartley (doors open at 1pm - registration required)
April 6, 4:00 pm: Cara Romero in conversation with Suzanne Kite - registration required
April 7, 3:00 pm: Dana Claxton Artist Talk, on zoom, seating available at MP visitor's center. Register for the zoom talk here.
April 10th, 6:30pm: Cara Romero: Following the Light, Preston Cinema, Bard College. A short documentary on the work & practice of Cara Romero. No registration required.
Returning Home is the first small scale contemporary Native photography exhibition to take place in the Montgomery Place Mansion at Bard College. The exhibition addresses long standing Indigenous child removal policies and practices of Canada and the United States, whose governments strategically implemented the kidnapping of Native children to be sent to Indian boarding schools during the 19th and 20th centuries to sever familial ties and dispossess Indigenous peoples of their land and lifeways. By introducing the history of the United States’ settler colonial past and ongoing present alongside the works of four contemporary Native photographers—Kali Spitzer (Kaska Dena/Jewish), Cara Romero (Chemehuevi), Dana Claxton (Wood Mountain Lakota First Nation), Wendy Red Star (Apsáalooke(Crow))—and poet Bonney Hartley (Stockbridge-Munsee), this exhibition provides narratives of resistance, resilience, dissent, subversion, memorialization, and what Anishinabe writer Gerald Vizenor calls “survivance,” that disrupt historic and contemporary notions that Native peoples are helpless victims who are unfit to raise their own children – often infantilized by a paternalistic US government through colonial welfare practices. This exhibition is an intervention in a house museum whose history is intertwined with the forced removal of the Mohican peoples in early colonial New York.Sponsored by: American and Indigenous Studies Program.
For more information, call 845-758-6822, e-mail [email protected], or visit https://rethinkingplace.bard.edu/returning-home/.
Acosmism: Hassidism’s Gift to the Jews… and the World
Professor Yitzhak Melamed, Charlotte Bloomberg Professor of Philosophy, Johns Hopkins University
Sunday, April 7, 2024
4 pm
Bard Graduate Center Lecture Hall, NYCYitzhak Y. Melamed is the Charlotte Bloomberg Professor of Philosophy at Johns Hopkins University. He works on Early Modern Philosophy, German Idealism, Medieval Philosophy, and some issues in contemporary metaphysics, and is the author of Spinoza’s Metaphysics: Substance and Thought (Oxford 2013), and Spinoza’s Labyrinths (Oxford, forthcoming). Currently, he is working on the completion of a book on Spinoza and German Idealism, and on an introduction to Spinoza’s philosophy. His research has been featured in BBC (The World Tonight), LeMond, Ha’aretz, Kan Tarbut (Israeli Cultural Radio).
This paper argues that the most significant Jewish contribution to modern Western philosophy - the notion of acosmism, according to which only God truly and fully exists - originated in early Hassidism. I will show that through the mediation of Salomon Maimon (1753-1800) this bold notion was adopted from the school of the Maggid of Mezhrich and introduced into the systems of German Idealism.
The Bard Graduate Center is located at 38 West 86 street, New York, NY, 10024.Sponsored by: Jewish Studies Program, Neusner Memorial Lecture Fund, and Philosophy Program.
For more information, call 845-758-6822, or e-mail [email protected].
Meditation Group
Mondays and Thursdays 6–7 pm
Monday, April 8, 2024
6–7 pm
Center for Spiritual Life Buddhist Meditation RoomMondays Guided Meditation
6-6:15 pm Dharma words
6:15-6:45 Meditation
6:45-7 pm Walking meditation & chanting
Thursdays Silent Meditation
6-7 pm Meditation in stillness
Join at any time and stay for any length of time.
Afterwards community sangha time with refreshments.Sponsored by: Chaplaincy.
For more information, call 845-752-4619, or e-mail [email protected].
IAT Lecture Series: Divisions that Define Us
Bruce Chilton, Bernard Iddings Bell Professor of Philosophy and Religion; Director, Institute of Advanced Theology
Monday, April 8, 2024
12–1:30 pm
Bard HallDuring the past two millennia, systemic ruptures in the understanding of religion and society have shaped the cultural contours of all the lands that once comprised the Roman Empire. These schisms have of course featured in the histories of Christianity, Islam, and Judaism, but they also have exerted a profound influence on the ways that people in the Middle East, North Africa, Europe, and later the Americas conceive of themselves of their relations with one another. Our series will deal in order with: (1) the emergence of Christianity from Judaism and the resulting contention, (2) the breach between the Latin West and the Greek East after the conversion of Constantine, (3) the rise of Islam and response of the Crusades, (4) the Reformation and its consequences, and (5) the opposition between religion and science in the modern period.
This series will be on the following Mondays at noon: April 8 and 22.Sponsored by: The Institute for Advanced Theology.
For more information, call 845-758-7667, or e-mail [email protected].
Buddha's Birthday
Celebration
Monday, April 8, 2024
2–9 pm
Campus CenterEveryone is invited to celebrate Buddha's birthday on Monday, April 8. This holiday is celebrated in many Asian countries to commemorate the birth of Siddhartha Gautama, the historical Buddha.
A baby Buddha will be set up on a table in the Campus Center 2–9 pm. Everybody is welcome to bathe the baby Buddha in order to realize our common Buddha nature. There will also be handwritten compassionate notes for you (created by my studio arts class, The Art of Life).
In honor of Buddha's Birthday, Kline is offering a special dinner for the entire Bard community with various Asian foods including a Korean bimbimbap bar! Thank you Alan Wolfzahn and Jacob Smith from Parkhurst.
And if you feel inclined, during our regular meditation group time 6–7 pm (Center for Spiritual Life, basement of Resnick Village Dorm A) we will have some special activities and celebrations. Come and be happily surprised. :-)
Let's celebrate life together, accentuated by the magic solar eclipse.
For more information, call 845-752-4619, or e-mail [email protected].
CMIA - Color and Camera Movement
Monday, April 8, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- Flowers of Shanghai (Hou Hsiao-hsien, 1998, Taiwan, 117 minutes, 35mm)*
*New 35mm Print - The Wedding
(Andrzej Wajda, 1973, Poland, 106 minutes)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Bard Inklings
Tuesday, April 9, 2024
7–8 pm
AlbeeThe Catholic Chaplaincy invites you to experience Bard Inklings: Conversations about God, Friendship, and Meaning each Tuesday, from 7–8 pm in the Chaplaincy Office Albee Basement. For information, please email [email protected]. All are welcome!
For more information, call 845-978-6122, or e-mail [email protected].
The Clothesline Project Exhibition
Tuesday, April 9, 2024
2:30–4:30 pm
Kline, College RoomBard College is collaborating with Grace Smith House to present the Clothesline Project in honor of Sexual Assault Awareness Month. The Clothesline Project displays handmade shirts bearing witness to interpersonal violence in our community, in honor of survivors and victims. Each shirt is decorated to represent a particular survivor's experience. Campus Advocate Tam Cacchione and members of BRAVE will be present for the exhibit.
Members of the Bard community will have an opportunity to create a shirt to honor their own experience or an experience of a loved one. Those interested in making a shirt can visit the Red Room in the Campus Center on Friday, April 5, from 1:00–3:00 pm. Campus Advocate Tam Cacchione will be present for this event.
If you have any questions, please contact [email protected].Sponsored by: Health, Counseling, and Wellness.
For more information, call 845-758-6822, or e-mail [email protected].
CMIA - The Godfather
Tuesday, April 9, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- The Godfather
(Francis Ford Coppola, 1972, USA, 179 minutes)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Spillover
2024 Graduate Student Curated Exhibitions
Wednesday, April 10, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Visiting Artist: María Verónica San Martín
Wednesday, April 10, 2024 – Friday, April 12, 2024
4/10 Weis Cinema; 4/11 + 4/12 Center for Experimental HumanitiesMaría Verónica San Martín is a Chilean born, New York-based multidisciplinary artist and printmaker. Her work explores the cultural impacts of history, memory, and trauma through archives, artist books, installations, and performances.
Artist Talk as a part of the course “Anthropology of Violence and Suffering”
Wednesday, April 10, 2024
3:30–4:50 pm
Location: Weis Cinema
Moving Memorials
Thursday, April 11, 2024
Pop-up installation — 10:00 am – 3:00 pm
Performance — 12:00 pm
Location: Experimental Humanities (New Annandale House)
Moving Memorials
Friday, April 12, 2024
Pop-up installation — 10:00 am – 12:30 pm
Performance — 12:45 pm
Location: Experimental Humanities (New Annandale House)
Bookmaking Workshop
as a part of the course, “Reading Emily Dickinson”
For more information, call 845-758-7103, e-mail [email protected], or visit https://eh.bard.edu/9653-2/.
Returning Home: A Contemporary Native Photography Exhibition
Wednesday, April 10, 2024 – Friday, April 12, 2024
1:30–4 pm
Montgomery Place EstateRegister for timed entry here: https://www.eventbrite.com/e/865614204387?aff=oddtdtcreator
Returning Home is the first small scale contemporary Native photography exhibition to take place in the Montgomery Place Mansion at Bard College. The exhibition addresses long standing Indigenous child removal policies and practices of Canada and the United States, whose governments strategically implemented the kidnapping of Native children to be sent to Indian boarding schools during the 19th and 20th centuries to sever familial ties and dispossess Indigenous peoples of their land and lifeways. By introducing the history of the United States’ settler colonial past and ongoing present alongside the works of four contemporary Native photographers—Kali Spitzer (Kaska Dena/Jewish), Cara Romero (Chemehuevi), Dana Claxton (Wood Mountain Lakota First Nation), Wendy Red Star (Apsáalooke(Crow))—and poet Bonney Hartley (Stockbridge-Munsee), this exhibition provides narratives of resistance, resilience, dissent, subversion, memorialization, and what Anishinabe writer Gerald Vizenor calls “survivance,” that disrupt historic and contemporary notions that Native peoples are helpless victims who are unfit to raise their own children – often infantilized by a paternalistic US government through colonial welfare practices. This exhibition is an intervention in a house museum whose history is intertwined with the forced removal of the Mohican peoples in early colonial New York.
Returning Home aims to highlight Indigenous representation, narrative, survivance, futurism, and resilience through contemporary Native art. The show will include pieces from the Forge Project's collection, as well as a written commission from Institute of American Indian Arts MFA Candidate Bonney Hartley. An accompanying publication will provide in-depth contextualization of land dispossession in the US, forced removal of Native peoples in New York State, and the impact of Indian boarding schools.
All events require separate registration. Exhibition viewing is not included in event registration.
Exhibition Viewing Hours:
April 6th & 7th, 1:00-5:00pm (timed entry every 15 minutes- register here)
April 10-12th, 1:30-4:00pm
Schedule of Events:
April 6th, 1:30pm: Opening Remarks & Activation, poetry reading by Bonney Hartley (reservation required, doors open at 1:00pm)
April 6th, 4:00pm: Cara Romero in conversation with Suzanne Kite - registration required
April 7th, 3:00pm: Dana Claxton Artist Talk, on zoom, seating available at MP visitor's center. Register for the webinar here.
April 10th, 6:30pm: Cara Romero: Following the Light, Preston Cinema, Bard College. A short documentary on the work & practice of Cara Romero. No registration required.
Sponsored by Hudson Valley Greenway and the Mellon Foundation, as a part of Rethinking Place: Bard-on-Mahicantuck.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies; Montgomery Place.
For more information, call 845-758-6822, e-mail [email protected], or visit https://rethinkingplace.bard.edu/returning-home/.
Family Reception - The Bard Nursery School and Children’s Center Art Show
Wednesday, April 10, 2024
3:30–4:30 pm
Woods StudioA reception for families of the featured artists in the Bard Nursery and Children’s Center Art Show, an art installation of paintings, drawings, sculptures, and 3D art created by our youngest citizens of Bard College from the Bard Children’s Center and the Abigail Lundquist Botstein Nursery School.
For more information, call 845-758-6822.
Women's Lacrosse vs. Vassar (Liberty League)
Wednesday, April 10, 2024
5–7 pm
Stevenson Athletic Center, Soccer FieldThe Women's Lacrosse team competes in a conference match against Vassar. Come out and support Women's Lacrosse!
For more information, call 845-758-7531, e-mail [email protected], or visit https://bardathletics.com/.
Blossoms from Ash
A Documentary on Rohingya Refugees
Wednesday, April 10, 2024
5 pm
Weis CinemaBlossoms from Ash (2020) is a feature documentary coproduced by the United States and Bangladesh, directed by Bangladeshi filmmaker Noman Robin. The film focuses on the plight of the Rohingya refugees, the world's largest refugee group, who have been subjected to ethnic cleansing attempts by the Myanmar government and living in the southeastern part of Bangladesh. Director Noman Robin will participate in a Q&A session following the screening (6:00 pm).
The film's duration is 52 minutes.
Presented by: Aniruddha Mitra, Thomas Keenan, and Fahmidul HaqSponsored by: Global and International Studies Program; Human Rights Program.
For more information, call 845-758-6822, or e-mail [email protected].
The Diaries of Franz Kafka
Ross Benjamin, translator
Discussant: Jana Schmidt
Wednesday, April 10, 2024
5:30–7 pm
Olin Humanities, Room 102An essential new translation of the author’s complete, uncensored diaries—a revelation of the idiosyncrasies and rough edges of one of the twentieth century’s most influential writers.
"This new and scrupulously faithful translation of the Diaries brings us...the true inner life of the twentieth century’s most complex and enigmatic literary prophet." —Cynthia Ozick, author of Antiquities
Dating from 1909 to 1923, the handwritten diaries contain various kinds of writing: accounts of daily events, reflections, observations, literary sketches, drafts of letters, accounts of dreams, as well as finished stories. This volume makes available for the first time in English a comprehensive reconstruction of the diary entries and provides substantial new content, including details, names, literary works, and passages of a sexual nature that were omitted from previous publications. By faithfully reproducing the diaries’ distinctive—and often surprisingly unpolished—writing in Kafka’s notebooks, translator Ross Benjamin brings to light not only the author’s use of the diaries for literary experimentation and private self-expression, but also their value as a work of art in themselves.
Ross Benjamin’s translations include Friedrich Hölderlin’s Hyperion, Joseph Roth’s Job, and Daniel Kehlmann’s You Should Have Left and Tyll. He was awarded the 2010 Helen and Kurt Wolff Translator’s Prize for his rendering of Michael Maar’s Speak, Nabokov, and he received a Guggenheim fellowship for his work on Franz Kafka’s diaries.
Jana Schmidt is an assistant professor of German Studies at Bard College. She writes about German and American, transatlantic and exilic literatures.Sponsored by: Bard Translation and Translatability Initiative; German Studies Program.
For more information, call 845-758-6822, or e-mail [email protected].
Pysanka Workshop with Sofika Zielyk
Wednesday, April 10, 2024
6:30–8:30 pm
Fisher Studio Arts, Room 140Created using the batik wax-resistance technique, the Ukrainian Easter egg or pysanka (from the word “писати” or “to write”) was believed to possess enormous power. For the ancients, holding a pysanka in one’s hand was a way of harnessing the power of the sun. The whole egg represented the rebirth of nature, while the yolk alone was the symbol of the all-powerful Sun god. Pysanky were revered as talismans; they protected the family against evil, disease, and fire. People believed that through patterns on the eggshell they could send messages of tributes and entreaties to the pagan gods.
This workshop will teach participants about this ancient folk art and expose them to modern-day practices that experiment with tradition. Participants will have the opportunity to make their own pysanka using the simple materials of a chicken egg, beeswax, dyes, and a candle.
Sofika Zielyk is a native New Yorker, ethnographer, and internationally renowned practitioner of Ukrainian pysankarstvo, or the art of writing Ukrainian Easter eggs.
There are limited spots for this workshop. Please contact Maria Sonevytsky or Lisa Sanditz to be added to the waitlist.Sponsored by: Studio Arts Program and the Ukrainian Solidarity Club.
For more information, call 845-758-6822, or e-mail [email protected].
Cara Romero: Following the Light
A screening as a part of Returning Home: A Contemporary Native Photography Exhibition
Wednesday, April 10, 2024
6:30 pm
PrestonCara Romero: Following the Light is a 27min documentary on the work of contemporary fine art photographer Cara Romero.
An enrolled citizen of the Chemehuevi Indian Tribe, Romero was raised between contrasting settings: the rural Chemehuevi reservation in Mojave Desert, CA and the urban sprawl of Houston, TX. Romero’s identity informs her photography, a blend of fine art and editorial photography, shaped by years of study and a visceral approach to representing Indigenous and non-Indigenous cultural memory, collective history, and lived experiences from a Native American female perspective.
Following the Light explores Cara's development as a photographer, delves into the Chemehuevi and California Indigenous history that informs her work, includes behind-the-scenes footage of Cara's shoots, and features interviews with leading Indigenous artists: Cara herself, husband and famed Pueblo potter Diego Romero, collaborator and place-based artist Leah Mata Fragua (Northern Chumash), and more.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies.
For more information, call 845-758-6822, e-mail [email protected], or visit https://rethinkingplace.bard.edu/returning-home/.
Repeating, Remembering, Working Through Images
Wednesday, April 10, 2024
7–9 pm
Bard College Berlin Lecture Hall (Platanenstr. 98A, 13156)The BCB chapter of the Experimental Humanities Collaborative Network together with BCB courses 'Game changers in 20th and 21st century Art,' 'Introduction to Critical and Cultural Theory,' and 'The Art of Making Videos' has the pleasure to invite you to a film screening and artist talk with Berlin-based filmmaker Maya Schweizer.
Maya Schweizer's cinematic works revolve around questions of history, identity, and memory. Urban spaces as interfaces of individual and collective modes of action are often the starting point of her observation. In her perception of these places and spaces, she uncovers social realities, inscribed narratives, and overlapping histories.
Maya will show three of her short films: A Tall Tale (16'30''), Voices and Shells (18'20''), and L’étoile de mer (The Starfish) (11'). The screening will be accompanied by a Q&A with the artist moderated by BCB faculty Clio Nicastro, Dorothea von Hantelmann, and Janina Schabig.
All participants are warmly invited to a reception with wine and snacks following the event.
For more information, call 845-758-6822, or e-mail [email protected].
Bard GPS April Informational Webinar
The Bard GPS team uses “Join and receive a $65 application fee waiver!”
Wednesday, April 10, 2024
7–8 pm
Online Event<<< RSVP HERE:https://gpsresources.bard.edu/online-info-session-april-10-2024 >>>
The Bard Graduate Programs in Sustainability holds online informational sessions for prospective students to learn more about graduate school options in our MBA in Sustainability and Center for Environmental Policy programs including the MS in Environmental Policy, MS in Climate Science and Policy and the MEd in Environmental Education.
Join us on Wednesday, April 10th 2024 at 7:00pm ET to learn about our programs directly from Director Eban Goodstein and the admissions team. There will be a time for questions at the end of the session.
WHAT WE COVER:
- Overview of graduate program offerings
- Alumni success and career outcomes
- Admissions information
- Financial aid and scholarships
- Prerequisite course information
- Tips for a standout application
MBA in Sustainability
MEd in Environmental Education
MS in Climate Science and Policy
MS in Environmental Policy
Dual degree options include:
MS/JID with Pace Law School
MS/MAT with Bard's Master of Arts in Teaching
MEd/MAT with Bard's Master of Arts in Teaching
MS/MBA with Bard's MBA in Sustainability
A $65 application fee waiver is available to those who participate in the webinar. Email the Bard GPS admissions team at [email protected] for additional information
<<< RSVP HERE: https://gpsresources.bard.edu/online-info-session-april-10-2024 >>>Sponsored by: Bard Center for Environmental Policy; Bard MBA in Sustainability.
For more information, call 845-663-4197, e-mail [email protected], or visit https://gpsresources.bard.edu/online-info-session-april-10-2024.
CMIA - The Cinema of Poetry
Wednesday, April 10, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- Sandra
(Luchino Visconti, 1965, Italy, 105 minutes) - Red Desert
(Michelangelo Antonioni, 1964, Italy, 122 minutes, 35mm)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Meditation Group
Mondays and Thursdays 6–7 pm
Thursday, April 11, 2024
6–7 pm
Center for Spiritual Life Buddhist Meditation RoomMondays Guided Meditation
6-6:15 pm Dharma words
6:15-6:45 Meditation
6:45-7 pm Walking meditation & chanting
Thursdays Silent Meditation
6-7 pm Meditation in stillness
Join at any time and stay for any length of time.
Afterwards community sangha time with refreshments.Sponsored by: Chaplaincy.
For more information, call 845-752-4619, or e-mail [email protected].
Spillover
2024 Graduate Student Curated Exhibitions
Thursday, April 11, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Visiting Artist: María Verónica San Martín
Wednesday, April 10, 2024 – Friday, April 12, 2024
4/10 Weis Cinema; 4/11 + 4/12 Center for Experimental HumanitiesMaría Verónica San Martín is a Chilean born, New York-based multidisciplinary artist and printmaker. Her work explores the cultural impacts of history, memory, and trauma through archives, artist books, installations, and performances.
Artist Talk as a part of the course “Anthropology of Violence and Suffering”
Wednesday, April 10, 2024
3:30–4:50 pm
Location: Weis Cinema
Moving Memorials
Thursday, April 11, 2024
Pop-up installation — 10:00 am – 3:00 pm
Performance — 12:00 pm
Location: Experimental Humanities (New Annandale House)
Moving Memorials
Friday, April 12, 2024
Pop-up installation — 10:00 am – 12:30 pm
Performance — 12:45 pm
Location: Experimental Humanities (New Annandale House)
Bookmaking Workshop
as a part of the course, “Reading Emily Dickinson”
For more information, call 845-758-7103, e-mail [email protected], or visit https://eh.bard.edu/9653-2/.
Returning Home: A Contemporary Native Photography Exhibition
Wednesday, April 10, 2024 – Friday, April 12, 2024
1:30–4 pm
Montgomery Place EstateRegister for timed entry here: https://www.eventbrite.com/e/865614204387?aff=oddtdtcreator
Returning Home is the first small scale contemporary Native photography exhibition to take place in the Montgomery Place Mansion at Bard College. The exhibition addresses long standing Indigenous child removal policies and practices of Canada and the United States, whose governments strategically implemented the kidnapping of Native children to be sent to Indian boarding schools during the 19th and 20th centuries to sever familial ties and dispossess Indigenous peoples of their land and lifeways. By introducing the history of the United States’ settler colonial past and ongoing present alongside the works of four contemporary Native photographers—Kali Spitzer (Kaska Dena/Jewish), Cara Romero (Chemehuevi), Dana Claxton (Wood Mountain Lakota First Nation), Wendy Red Star (Apsáalooke(Crow))—and poet Bonney Hartley (Stockbridge-Munsee), this exhibition provides narratives of resistance, resilience, dissent, subversion, memorialization, and what Anishinabe writer Gerald Vizenor calls “survivance,” that disrupt historic and contemporary notions that Native peoples are helpless victims who are unfit to raise their own children – often infantilized by a paternalistic US government through colonial welfare practices. This exhibition is an intervention in a house museum whose history is intertwined with the forced removal of the Mohican peoples in early colonial New York.
Returning Home aims to highlight Indigenous representation, narrative, survivance, futurism, and resilience through contemporary Native art. The show will include pieces from the Forge Project's collection, as well as a written commission from Institute of American Indian Arts MFA Candidate Bonney Hartley. An accompanying publication will provide in-depth contextualization of land dispossession in the US, forced removal of Native peoples in New York State, and the impact of Indian boarding schools.
All events require separate registration. Exhibition viewing is not included in event registration.
Exhibition Viewing Hours:
April 6th & 7th, 1:00-5:00pm (timed entry every 15 minutes- register here)
April 10-12th, 1:30-4:00pm
Schedule of Events:
April 6th, 1:30pm: Opening Remarks & Activation, poetry reading by Bonney Hartley (reservation required, doors open at 1:00pm)
April 6th, 4:00pm: Cara Romero in conversation with Suzanne Kite - registration required
April 7th, 3:00pm: Dana Claxton Artist Talk, on zoom, seating available at MP visitor's center. Register for the webinar here.
April 10th, 6:30pm: Cara Romero: Following the Light, Preston Cinema, Bard College. A short documentary on the work & practice of Cara Romero. No registration required.
Sponsored by Hudson Valley Greenway and the Mellon Foundation, as a part of Rethinking Place: Bard-on-Mahicantuck.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies; Montgomery Place.
For more information, call 845-758-6822, e-mail [email protected], or visit https://rethinkingplace.bard.edu/returning-home/.
Workshop with Guest Composers Raven Chacon, Marshall Trammell, and John Dieterich
Thursday, April 11, 2024
12:30–1:30 pm
BitoPlease join American and Indigenous Studies and the Center for Indigenous Studies for a workshop with our guest composers and performers Raven Chacon, Marshall Trammell, and John Dieterich. Their group, White People Killed Them, is one of several imaginings of new designations, calamities, and celebrations. We encourage surprise inventions and innovations towards erecting, maintaining, and defending democratic spaces (beyond the limits of the band stand) in your community with other frontline warriors.
White People Killed Them will perform on Friday, April 12, at 7 pm in CCS Classroom 102.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies.
For more information, call 845-758-6822.
Unnoticed and as Beautiful: The Native American Figure in Toni Morrison’s Literature
Part of the Rethinking Place: Bard-on-Mahicantuck Annual Toni Morrison Lecture Series
Thursday, April 11, 2024
3 pm
Scholars have been concerned either to criticize or to praise Morrison’s sparing inclusion of Native Americans in her novels. Are they beneath her notice? Or have they gone unnoticed by us? Following Morrison’s own methods in arguing that the “real or fabricated” “Africanist presence” in white American literature is crucial to writers’ “sense of Americanness,” we might pursue how the “Native American presence” works in her literature not only in historical and political terms, but also in aesthetic and cultural terms. This talk considers how, across her oeuvre and career, the Native American figure—meaning literary character; racial type; literary trope; and silhouette or profile—shapes her ‘sense of blackness.’Sponsored by: American and Indigenous Studies Program.For more information, call 845-758-6822, or e-mail [email protected].
Namwali Serpell: “Unnoticed and as Beautiful: The Native American Figure in Toni Morrison’s Literature”
Rethinking Place Morrison Lecture 2024
Thursday, April 11, 2024
3 pm
Olin AuditoriumScholars have been concerned either to criticize or to praise Morrison’s sparing inclusion of Native Americans in her novels. Are they beneath her notice? Or have they gone unnoticed by us? Following Morrison’s own methods in arguing that the “real or fabricated” “Africanist presence” in white American literature is crucial to writers’ “sense of Americanness,” we might pursue how the “Native American presence” works in her literature not only in historical and political terms, but also in aesthetic and cultural terms. This talk considers how, across her oeuvre and career, the Native American figure—meaning literary character; racial type; literary trope; and silhouette or profile—shapes her “sense of blackness.”
A reception catered by Samosa Shack Kingston to follow talk beginning at 4:30pm.
This event is the 2024 lecture of the Rethinking Place: Bard-on-Mahicantuck Toni Morrison lecture series.Sponsored by: Center for Indigenous Studies.
For more information, call 845-758-6822, or visit https://rethinkingplace.bard.edu/namwali-serpell/.
Cured: A Film by Bennett Singer and Patrick Sammon
“Doctors called them sick. The remedy was rebellion.”
Thursday, April 11, 2024
6–7:30 pm
Campus Center, Weis CinemaFor more information, call 845-758-6822, or e-mail [email protected].
Spillover
2024 Graduate Student Curated Exhibitions
Friday, April 12, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Visiting Artist: María Verónica San Martín
Wednesday, April 10, 2024 – Friday, April 12, 2024
4/10 Weis Cinema; 4/11 + 4/12 Center for Experimental HumanitiesMaría Verónica San Martín is a Chilean born, New York-based multidisciplinary artist and printmaker. Her work explores the cultural impacts of history, memory, and trauma through archives, artist books, installations, and performances.
Artist Talk as a part of the course “Anthropology of Violence and Suffering”
Wednesday, April 10, 2024
3:30–4:50 pm
Location: Weis Cinema
Moving Memorials
Thursday, April 11, 2024
Pop-up installation — 10:00 am – 3:00 pm
Performance — 12:00 pm
Location: Experimental Humanities (New Annandale House)
Moving Memorials
Friday, April 12, 2024
Pop-up installation — 10:00 am – 12:30 pm
Performance — 12:45 pm
Location: Experimental Humanities (New Annandale House)
Bookmaking Workshop
as a part of the course, “Reading Emily Dickinson”
For more information, call 845-758-7103, e-mail [email protected], or visit https://eh.bard.edu/9653-2/.
Returning Home: A Contemporary Native Photography Exhibition
Wednesday, April 10, 2024 – Friday, April 12, 2024
1:30–4 pm
Montgomery Place EstateRegister for timed entry here: https://www.eventbrite.com/e/865614204387?aff=oddtdtcreator
Returning Home is the first small scale contemporary Native photography exhibition to take place in the Montgomery Place Mansion at Bard College. The exhibition addresses long standing Indigenous child removal policies and practices of Canada and the United States, whose governments strategically implemented the kidnapping of Native children to be sent to Indian boarding schools during the 19th and 20th centuries to sever familial ties and dispossess Indigenous peoples of their land and lifeways. By introducing the history of the United States’ settler colonial past and ongoing present alongside the works of four contemporary Native photographers—Kali Spitzer (Kaska Dena/Jewish), Cara Romero (Chemehuevi), Dana Claxton (Wood Mountain Lakota First Nation), Wendy Red Star (Apsáalooke(Crow))—and poet Bonney Hartley (Stockbridge-Munsee), this exhibition provides narratives of resistance, resilience, dissent, subversion, memorialization, and what Anishinabe writer Gerald Vizenor calls “survivance,” that disrupt historic and contemporary notions that Native peoples are helpless victims who are unfit to raise their own children – often infantilized by a paternalistic US government through colonial welfare practices. This exhibition is an intervention in a house museum whose history is intertwined with the forced removal of the Mohican peoples in early colonial New York.
Returning Home aims to highlight Indigenous representation, narrative, survivance, futurism, and resilience through contemporary Native art. The show will include pieces from the Forge Project's collection, as well as a written commission from Institute of American Indian Arts MFA Candidate Bonney Hartley. An accompanying publication will provide in-depth contextualization of land dispossession in the US, forced removal of Native peoples in New York State, and the impact of Indian boarding schools.
All events require separate registration. Exhibition viewing is not included in event registration.
Exhibition Viewing Hours:
April 6th & 7th, 1:00-5:00pm (timed entry every 15 minutes- register here)
April 10-12th, 1:30-4:00pm
Schedule of Events:
April 6th, 1:30pm: Opening Remarks & Activation, poetry reading by Bonney Hartley (reservation required, doors open at 1:00pm)
April 6th, 4:00pm: Cara Romero in conversation with Suzanne Kite - registration required
April 7th, 3:00pm: Dana Claxton Artist Talk, on zoom, seating available at MP visitor's center. Register for the webinar here.
April 10th, 6:30pm: Cara Romero: Following the Light, Preston Cinema, Bard College. A short documentary on the work & practice of Cara Romero. No registration required.
Sponsored by Hudson Valley Greenway and the Mellon Foundation, as a part of Rethinking Place: Bard-on-Mahicantuck.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies; Montgomery Place.
For more information, call 845-758-6822, e-mail [email protected], or visit https://rethinkingplace.bard.edu/returning-home/.
Urinetown
Book and Lyrics by Greg Kotis
Music and Lyrics by Mark Hollmann
Directed by Liz Peterson
Music Direction by David Sytkowski
Friday, April 12, 2024 – Sunday, April 14, 2024
Fisher Center, LUMA TheaterSet in a Gotham-like city in the not-so-distant future, Urinetown is a scathing satire with a tragic love story at its heart. In it, we see how a community is torn apart by an oppressive for-profit system, how figures of liberation rise up, and the impossible choices they are left with. Featuring music inspired by so many other musicals, this is a show that both celebrates and satirizes the tradition of musical theater.
April 12 at 7:30 pm, April 13 at 2:00 pm AND 7:30 pm, April 14 at 4:00 pm
Fisher Center, LUMA Theater
https://fishercenter.bard.edu/events/urinetown/Sponsored by: Music Program.
For more information, call 845-758-6822, or e-mail [email protected].
The Force of Breath
Workshop in Somatic Movement and Resilience
Friday, April 12, 2024
4:30–6:30 pm
Thorne Studio, Fisher CenterKatja Kolcio, PhD Somatics and Registered Somatic Movement Educator (RSME), is an associate professor at Wesleyan University. Working in the US and Ukraine, Kolcio works with body-based somatic practices for stabilizing psycho-social wellness and resilience during conflict and social upheaval. Kolcio’s current research, Vitality Project Donbas, a collaboration with Ukrainian NGO Development Foundation/Community Self-Help, draws on the expertise of Ukrainian activists, volunteers, members of the armed forces, and veterans to develop and assess the impact of somatic methods for generating resilience and agency during conflict. The program has been integrated into the Ukrainian National Guard training and published in The Force of Breath, Somatic Methods for Psychosocial Resilience by Volyn National University (2022, Rivne, Ukraine).
This workshop is open to all (no previous experience required; dress comfortably). We will remove our shoes.Sponsored by: Dance Program; Human Rights Project.
For more information, call 845-758-6822, or e-mail [email protected].
White People Killed Them
An electronic music performance
Friday, April 12, 2024
7 pm
CCS Classroom 102White People Killed Them is one of several imaginings of new designations, calamities, and celebrations by group members recorded in 2019 when we all happened to be in New Mexico. We encourage surprise inventions and innovations towards erecting, maintaining, and the defending of democratic spaces (beyond the limits of the band stand) in your community with other front line warriors. The name of the band is a group of words commonly paraphrased on many monuments across the United States.
CCS Classroom 102, April 12th, 7:00pm. Doors open at 6:30.
Limited entry is available on a first-come first-served basis, please arrive early.Sponsored by: American and Indigenous Studies Program; Center for Indigenous Studies.
For more information, call 845-758-6822, or e-mail [email protected].
Urinetown
Friday, April 12, 2024
7:30–8:30 pm
Fisher Center, LUMA TheaterSet in a Gotham-like city in the not-so-distant future, Urinetown is a scathing satire with a tragic love story at its heart. In it, we see how a community is torn apart by an oppressive for-profit system, how figures of liberation rise up, and the impossible choices they are left with. Featuring music inspired by so many other musicals, this is a show that both celebrates and satirizes the tradition of musical theater.
For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/urinetown/.
Spillover
2024 Graduate Student Curated Exhibitions
Saturday, April 13, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Urinetown
Book and Lyrics by Greg Kotis
Music and Lyrics by Mark Hollmann
Directed by Liz Peterson
Music Direction by David Sytkowski
Friday, April 12, 2024 – Sunday, April 14, 2024
Fisher Center, LUMA TheaterSet in a Gotham-like city in the not-so-distant future, Urinetown is a scathing satire with a tragic love story at its heart. In it, we see how a community is torn apart by an oppressive for-profit system, how figures of liberation rise up, and the impossible choices they are left with. Featuring music inspired by so many other musicals, this is a show that both celebrates and satirizes the tradition of musical theater.
April 12 at 7:30 pm, April 13 at 2:00 pm AND 7:30 pm, April 14 at 4:00 pm
Fisher Center, LUMA Theater
https://fishercenter.bard.edu/events/urinetown/Sponsored by: Music Program.
For more information, call 845-758-6822, or e-mail [email protected].
Women's Lacrosse vs. William Smith (Liberty League)
Saturday, April 13, 2024
1–3 pm
Stevenson Athletic Center, Soccer FieldThe Women's Lacrosse team competes in a conference match against William Smith. Come out and support Women's Lacrosse!
For more information, call 845-758-7531, e-mail [email protected], or visit https://bardathletics.com/.
Urinetown
Saturday, April 13, 2024
2–3 pm
Fisher Center, LUMA TheaterSet in a Gotham-like city in the not-so-distant future, Urinetown is a scathing satire with a tragic love story at its heart. In it, we see how a community is torn apart by an oppressive for-profit system, how figures of liberation rise up, and the impossible choices they are left with. Featuring music inspired by so many other musicals, this is a show that both celebrates and satirizes the tradition of musical theater.
For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/urinetown/.
Da Capo Chamber Players: New Works by Student Composers
featuring Curtis Macomber, violin; Marianne Gythfeldt, clarinet; Chris Gross, cello:
Chris Oldfather, piano with Catherine Boyack, flute, and Sky Metting, viola
Saturday, April 13, 2024
5–7 pm
Bitó Conservatory Building, Performance SpaceNEW WORKS BY STUDENT COMPOSERS:
Emily Ta
Elena Hause
Faisal Jones
Pamela Zhang
Lili Namazi
Manar Hashmi
Niall Ransford
Patrick Toohey
Artemy Muhkin
Santiago Mieres
Free and open to the public.Sponsored by: Bard College Conservatory of Music; Music Program.
For more information, call 845-758-6822, or e-mail [email protected].
Urinetown
Saturday, April 13, 2024
7:30–8:30 pm
Fisher Center, LUMA TheaterSet in a Gotham-like city in the not-so-distant future, Urinetown is a scathing satire with a tragic love story at its heart. In it, we see how a community is torn apart by an oppressive for-profit system, how figures of liberation rise up, and the impossible choices they are left with. Featuring music inspired by so many other musicals, this is a show that both celebrates and satirizes the tradition of musical theater.
For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/urinetown/.
Spillover
2024 Graduate Student Curated Exhibitions
Sunday, April 14, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Christian/Episcopal Service
Sunday, April 14, 2024
10 am – 12 pm
Church of St John the Evangelist,1114 River Road, BarrytownJoin us for services at the Church of St. John the Evangelist (Episcopal) in Barrytown. Rides provided from the Bard Chapel at 9:45 am every Sunday throughout the academic year.
All are welcome!
Christians, non-Christians, spiritual but not religious, agnostics, believers, doubters, seekers, those who have questions about faith and religion, those struggling to understand where God is in our challenging world—anyone wanting to use their faith to change and act in the world!Sponsored by: Chaplaincy.For more information, call 203-858-8800, or e-mail [email protected].
Christian/Roman Catholic Mass
Sunday, April 14, 2024
12–2 pm
Chapel of the Holy InnocentsRoman Catholic Mass at Bard Chapel
Sundays at noon
Mass will be celebrated every Sunday during the academic semesters at noon in the Bard Chapel with prayers for healing.
Confessions will be available before Mass, and following Mass all are invited to Breaking Open the Word (a time to share what we heard God saying to our hearts in scripture).
For info contact: (fr.) Jim+ [email protected]Sponsored by: Chaplaincy.
For more information, call 203-858-8800, or e-mail [email protected].
Urinetown
Book and Lyrics by Greg Kotis
Music and Lyrics by Mark Hollmann
Directed by Liz Peterson
Music Direction by David Sytkowski
Friday, April 12, 2024 – Sunday, April 14, 2024
Fisher Center, LUMA TheaterSet in a Gotham-like city in the not-so-distant future, Urinetown is a scathing satire with a tragic love story at its heart. In it, we see how a community is torn apart by an oppressive for-profit system, how figures of liberation rise up, and the impossible choices they are left with. Featuring music inspired by so many other musicals, this is a show that both celebrates and satirizes the tradition of musical theater.
April 12 at 7:30 pm, April 13 at 2:00 pm AND 7:30 pm, April 14 at 4:00 pm
Fisher Center, LUMA Theater
https://fishercenter.bard.edu/events/urinetown/Sponsored by: Music Program.
For more information, call 845-758-6822, or e-mail [email protected].
Chinese Music Conference and Yaji (Elegant Gathering)
Presented by the US-China Music Institute, the Master of Arts in Chinese Music and Culture Program, and the Asian Studies Program at Bard College
Sunday, April 14, 2024
10:30 am – 4 pm
Bard HallThe US-China Music Institute’s annual scholarly conference will be a day-long exploration of music and the creative arts, in collaboration with the Asian Studies program. Free and open to the public. Registration kindly requested. Refreshments will be served.
REGISTER HERE
CONFERENCE SCHEDULE
SESSION 1
10:30 am – 12:00 pm
GRADUATE FORUM – Thesis Exhibitions from the First Graduating Class of the MA in Chinese Music and Culture
Beitong Liu
Wenrui Shi
Lu Xi
Bryan (Zhe) Wang
LUNCH BREAK
Noon – 1:00 pm
Light buffet lunch. (Free)
SESSION 2
1:00–2:00 pm
SCHOLARS FORUM
Xia Jing, guzheng scholar and musician
Introducing a System of Teaching Chinese Music in the West
Yazhi Guo, Chinese winds virtuoso and inventor
Instrument Invention Demonstration: Guzheng and Hulusi
OPEN DISCUSSION
2:00–2:30 pm
Chinese tea and snacks will be served.
SESSION III
2:30–4:00 pm
YAJI (ELEGANT GATHERING)
Classical Chinese Poetry, Calligraphy, and Music
Sponsored by: Asian Studies Program; Bard College Conservatory of Music.
For more information, call 845-758-7026, e-mail [email protected], or visit https://www.barduschinamusic.org/events/yaji-2024.
Capoeira Angola with Professor Tagan
Sunday, April 14, 2024
12–3 pm
Campus Center, Multipurpose Room"Capoeira Angola is an Afro-Brazilian martial art and dance with a liberatory purpose and strong musical tradition at its core. In this introductory class to Capoeira Angola, we will go over the fundamentals of movement and music that define the art form. Alongside physical training, we will sing songs and play the musical instruments of Capoeira. In addition to being a dance and martial art, Capoeira Angola is also, and maybe most importantly, a ‘game.’ Come ready to play, in loose-fitting clothes that you feel comfortable moving in, and ready to enjoy yourself."
Taganyahu Swaby is a professor of Capoeira Angola and an eastern medicine practitioner. Tagan has practiced the art form for more than two decades. Originally from Jamaica, Tagan first began training Capoeira Angola in Bahia, Brazil, in 2000. He has trained extensively with masters including Mestre João Grande. Mestre Boca Do Rio, and Mestre Alberto “Chorão” Nunes. He received the title of professor from his master, Mestre Chorão, in 2018. Tagan founded the group Acupe Do Brooklyn (formerly Angoleiros Do Brooklyn) in 2010 and has created, directed, and participated in presentations for Brooklyn Museum, Bam Dance Africa, Odunde Festival in Philadelphia, and the Brooklyn African Street Festival. Originally trained as a visual artist, Tagan also explores and celebrates Capoeira Angola in his award-winning Portuguese-Language films Se Safando and Flavio, and Through Printmaking.Sponsored by: Dance Program.
For more information, call 845-758-7970, e-mail [email protected], or visit https://dance.bard.edu.
Urinetown
Sunday, April 14, 2024
4–5 pm
Fisher Center, LUMA TheaterSet in a Gotham-like city in the not-so-distant future, Urinetown is a scathing satire with a tragic love story at its heart. In it, we see how a community is torn apart by an oppressive for-profit system, how figures of liberation rise up, and the impossible choices they are left with. Featuring music inspired by so many other musicals, this is a show that both celebrates and satirizes the tradition of musical theater.
For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/urinetown/.
Degree Recital: Yixin Wang, guzheng, with Nomin Samdan, piano
Sunday, April 14, 2024
7–8:30 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Meditation Group
Mondays and Thursdays 6–7 pm
Monday, April 15, 2024
6–7 pm
Center for Spiritual Life Buddhist Meditation RoomMondays Guided Meditation
6-6:15 pm Dharma words
6:15-6:45 Meditation
6:45-7 pm Walking meditation & chanting
Thursdays Silent Meditation
6-7 pm Meditation in stillness
Join at any time and stay for any length of time.
Afterwards community sangha time with refreshments.Sponsored by: Chaplaincy.
For more information, call 845-752-4619, or e-mail [email protected].
Noon Concert: Conservatory Graduate Students Perform Short Works by Oliveira, Shostakovich, Stravinsky, Thomas, and More for Violin, Clarinet, Piano, Vibraphone, Guzheng, and Voice.
With a special US-China Music Institute guest musician, Jing Xia, performing two contemporary works for guzheng.
Monday, April 15, 2024
12–1 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.
Live-streamed on the Conservatory YouTube channel-- https://www.youtube.com/watch?v=CzwwbWfeRIYSponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
How the World Has Changed Since We Founded Smolny
Monday, April 15, 2024
5:30–7 pm
Hybrid (Zoom and K24 SR11)This is a hybrid lecture by Nikolay Koposov open to the public. Register to watch via Zoom here. The in-person location is K24 seminar room 11 (Kuckhoffstraße 24, 13156 Berlin).
Smolny College of Liberal Arts and Sciences, a joint venture between Bard College (New York) and Saint Petersburg State University, was founded in 1998. It developed from the faculty seminar “Critique of Social Sciences,” which started its work a year earlier. The goal of the seminar was to explore the role of social sciences as the basis of the then-dominant democratic ideology. Liberal education looked at that time as a critical aspect of Russia’s (and, more broadly, Eastern Europe’s) transition to democracy and as a possible solution to the problems created by the social sciences’ increasing specialization and their declining ideological effectiveness in the changing world.
Since then, Russia has become a dictatorship and has declared war on democracy domestically and internationally. Smolny has survived primarily as several projects in exile. The development of liberal education in some other East European countries (most notably, Hungary) has also been obstructed by the rise of right-wing populism and the emergence of neo-authoritarian regimes. However, the road to unfreedom has been largely paved by the internal evolution of democratic ideology, social sciences, and liberal education. The paper will discuss this evolution using the example of historiography, which, in recent decades, has become increasingly dependent on memory and identity politics promoted by both anti-globalist ethno-populist groups on the right and the anti-discrimination minority movements on the left.
Nikolay Koposov is a Distinguished Professor of the Practice at the School of History and Sociology and the School of Literature, Media, and Communication at Georgia Institute of Technology (Atlanta, USA). Previously, he worked at Johns Hopkins University, Emory University, Helsinki University, and École des hautes études en sciences sociales. In 1998-2009, he was Founding Dean of Smolny College of Liberal Arts and Sciences, a joint venture of Saint-Petersburg State University and Bard College (New York). His academic interests include modern European intellectual history, post-Soviet Russia, historiography, historical memory, and comparative politics of the past. He has authored six books, including Memory Laws, Memory Wars: The Politics of the Past in Europe and Russia (Cambridge University Press, 2018), and De l’imagination historique (Éditions de l’ÉHÉSS, 2009). He has also edited several collective volumes and translations.
For more information, call 845-758-6822, or e-mail [email protected].
CMIA - Chiaroscuro
Monday, April 15, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- Bird
(Clint Eastwood, 1988, USA, 155 minutes, 35mm)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Bard Inklings
Tuesday, April 16, 2024
7–8 pm
AlbeeThe Catholic Chaplaincy invites you to experience Bard Inklings: Conversations about God, Friendship, and Meaning each Tuesday, from 7–8 pm in the Chaplaincy Office Albee Basement. For information, please email [email protected]. All are welcome!
For more information, call 845-978-6122, or e-mail [email protected].
Myth and Fairy Tale in the Modern Novel
A Talk with Carol Goodman
Tuesday, April 16, 2024
5–6:30 pm
Olin Humanities, Room 202Culturally and often personally, fairy tales, folklore, and myth are the humanity’s earliest narratives. Fiction writers have drawn from this source throughout the history of literature—both to get inspired themselves and to inspire others. Carol Goodman will discuss the influence that fairy tales, folklore and myth have had on her writing, from the traditional stories encountered in childhood to the myth-inflected novels, including Charlotte Bronte’s Jane Eyre.
Carol Goodman is the author of 25 novels, including The Seduction of Water, which won the 2003 Hammett Prize, The Widow’s House, which won the 2018 Mary Higgins Clark Award, and The Night Visitors, which won the 2020 Mary Higgins Clark Award. Her latest novel is The Bones of the Story. She teaches writing and literature at SUNY New Paltz and lives in the Hudson Valley. Sponsored by: Center for Ethics and Writing and Written Arts Program.
For more information, call 845-758-6822, or e-mail [email protected].
Speaker Series: Jarrett Earnest
Tuesday, April 16, 2024
5–7 pm
CCS Bard, Classroom 102Jarrett Earnest is the author of What it Means to Write About Art: Interviews with Art Critics (David Zwirner Books, 2018) and Valid Until Sunset (MATTE Editions, 2023). Earnest also curated the exhibitions Closer as Love: Polaroids 1993-2007: Breyer P-Orridge at Nina Johnson, Miami (2019), The Young and Evil (2019) and Ray Johnson: WHAT A DUMP (2021) at David Zwirner, New York. With Lisa Yuskavage he cocurated Jesse Murry: Rising (2021–2023), and alongside Jack Shear and Arlene Shechet, he cocurated Ways of Seeing: Three Takes of the Jack Shear Drawing Collection at the Drawing Center, New York (2022). Earnest’s writing has appeared in books and catalogs around the world and regularly in the New York Review of Books.
CCS Bard Speaker Series
Each semester CCS Bard hosts a program of lectures by leading artists, curators, art historians, and critics, situating the school and museum’s concerns within the larger context of contemporary art production and discourse. Speakers are selected primarily by second-year graduate students and also by faculty and staff. All lectures are free and open, and are documented through audio recordings that reside in the CCS Bard Library & Archives and online here.
For more information, call 845-758-7598, or e-mail [email protected].
CMIA - The Godfather, Part II
Tuesday, April 16, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- The Godfather, Part II
(Francis Ford Coppola, 1974, USA, 200 minutes, 35mm)*
*Restored print
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Spillover
2024 Graduate Student Curated Exhibitions
Wednesday, April 17, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
The Politics and Policing of Memory in Germany
Emily Dische-Becker '04
Wednesday, April 17, 2024
10 am
ZOOMThe Network Collaborative course on "Freedom of Expression" is making available to the public a series of online lectures. On April 17, Emily Dische-Becker, writer, organizer and curator living in Berlin will discuss "On Conflation and Comparison: The politics and policing of memory in Germany."
Dische-Becker, a Bard alum, is the Germany director of Diaspora Alliance, as well as a researcher for Forensis/Forensic Architecture, and is on the steering committee of the Jerusalem Declaration on Antisemitism. From 2005 to 2013, Emily lived in Beirut where she worked as a journalist and researcher. The lecture will be followed by a Q&A session.
Viewers can address questions to Emily Dische-Becker in advance by sending an email to Pinar Kemerli at [email protected], indicating "Lecture with Emily Dische-Becker" as the email subject.
Direct link to join here: https://osun-eu.zoom.us/j/99032179594?pwd=N1g3OXAyWW9NZDg5QURLRWl6d21SZz09Sponsored by: OSUN.
For more information, call 845-758-6822, or e-mail [email protected].
Cocktails and Conversation with President Botstein, Los Angeles
Wednesday, April 17, 2024
6–8 pm
Fernberger Gallery Emma Fernberger ’11, Adam Ferruci ’20, the Office of Alumni/ae Affairs, and the Bard in LA Affinity Group invite you to Cocktails & Conversation.
Wednesday, April 17
6:00–8:00 pm
Fernberger Gallery
747 N Western Ave
Los Angeles, CA 90029Sponsored by: Office of Alumni/ae Affairs; Office of Development and Alumni/ae Affairs.
For more information, call 845-758-6822, or visit https://bardian.bard.edu/register/?id=87a8c92a-d46b-4d47-994b-da2d24e82857.
CMIA - Ludwig
Wednesday, April 17, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- Ludwig
(Luchino Visconti, 1974, Italy/Germany, 238 minutes)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Music Alive! Dynamic Women, with composers Sarah Hennies, Missy Mazzoli, Jessie Montgomery, Erica Lindsay, Angelica Sanchez, and Joan Tower
Curated by Joan Tower.
Wednesday, April 17, 2024
7:30–9 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard College Conservatory of Music; Music Program.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Meditation Group
Mondays and Thursdays 6–7 pm
Thursday, April 18, 2024
6–7 pm
Center for Spiritual Life Buddhist Meditation RoomMondays Guided Meditation
6-6:15 pm Dharma words
6:15-6:45 Meditation
6:45-7 pm Walking meditation & chanting
Thursdays Silent Meditation
6-7 pm Meditation in stillness
Join at any time and stay for any length of time.
Afterwards community sangha time with refreshments.Sponsored by: Chaplaincy.
For more information, call 845-752-4619, or e-mail [email protected].
Spillover
2024 Graduate Student Curated Exhibitions
Thursday, April 18, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
The Enduring Influence of the Blues
The Power of a Feeling: Black Music, Literature, and the Creation of an Aesthetic.
Thursday, April 18, 2024
1:30–2:50 pm
Bitó Conservatory Building, Performance Space• A performance by Marcus Roberts (piano) with Marty Jaffe (bass), Dave Potter (drums), Boyce Griffith (alto and tenor saxophones, clarinet).
• A class by Professors Donna Ford Grover and Marcus Roberts
Sponsored by: Bard College Conservatory of Music; Music Program.
For more information, call 845-758-6822, or e-mail [email protected].
What is Yiddish?
In Fall 2024, we will introduce a language class in Yiddish! But what is Yiddish?
Thursday, April 18, 2024
2–3 pm
Campus Center, Weis CinemaYiddish has no clear boundaries of either space or time. Some speak of the beginning of Yiddish at the end of the 19th Century, with the novels of Mendele Mokher Sforim. Some go back a further century to the stories of Rabbi Nakhman of Braslev. And some go back to the 13th and 15th centuries. Some people say that it’s a dead language, and some people would be quite upset by such an assertion. Some contradictory images of Yiddish are that it is the language of poor ignorant people, but that Yiddish has reached impressive cultural feats in literature and criticism, poetry, the theater, and even in the cinema. Some people think that Yiddish is a sad language, and others think that it is actually funny.
Insight to Yiddish language, history, and culture (and the forthcoming Yiddish courses in 2024–25) will be provided in an information session on Thursday, April 18, at 2 pm, in Weis Cinema.Sponsored by: Division of Languages and Literature; Jewish Studies Program.
For more information, call 352-222-1349, or e-mail [email protected].
Once Were Maoists: Third World Currents in Fourth World Anti-Colonialism in Canada, 1967-1982
With Dr. Glen Coulthard (Yellowknives Dene), author of Red Skin, White Masks
Thursday, April 18, 2024
5:30 pm
Reem-Kayden Center Laszlo Z. Bito '60 AuditoriumThis presentation will provide a history of Red Power radicalization and Indigenous-Marxist cross-fertilization. It examines the political work undertaken by a dedicated cadre of Native activists and organizations in Canada between 1967 and 1982. It argues that their political organizing and theory-building borrowed substantively and productively from a Third World-adapted Marxism—with certain Maoist concepts being particularly important—which provided an appealing international language of political contestation that they not only inherited but sought to radically transform through a critical engagement with their own cultural traditions and land-based struggles. Not unlike many radicalized communities of color during this period, these organizers molded and adapted the insights they gleaned from Third World Marxism abroad into their own critiques of racial capitalism, patriarchy, and internal colonialism at home.Sponsored by: American and Indigenous Studies Program.
For more information, call 845-758-6822.
A Reading with Aaliyah Bilal
Thursday, April 18, 2024
6 pm
Bard HallOn Thursday, April 18, at 6 pm in Bard Hall, Aaliyah Bilal will read from her work. She will be introduced by Rachel Ephraim, Bard Early College Hudson Valley faculty member. The reading will be followed by a discussion moderated by her editor Yahdon Israel, senior editor at Simon & Schuster.
Aaliyah Bilal was born and raised in Prince George’s County, Maryland. She has degrees from Oberlin College and the University of London School of Oriental and African Studies. She’s published stories and essays with the Michigan Quarterly Review and The Rumpus. Temple Folk is her first short story collection.
Yahdon Israel is a Senior editor at Simon Schuster and founder of Literaryswag, a cultural movement that intersects literature and fashion to make books accessible. He has written for The New Inquiry, LitHub, Poets and Writers, Vanity Fair, and The Atlantic. He teaches Creative Writing at the MFA Program at City College. Read more about Yahdon's work here.
More about Temple Folk
Finalist for the 2023 National Book Award for Fiction
“Temple Folk is more than a special literary accomplishment, it is a gift of glorious songs. The people in the nation of Islam have not appeared very often in literature. Now, Aaliyah Bilal arrives with a splendid and grand collection of 10 stories that, with sensitivity and insight and skill, give us a world of people, our loved ones, and neighbors, who decided that life might be better in the nation. We have long needed these stories, these songs, and this gift should be praised from as many rooftops as possible.” —Edward P. Jones, Pulitzer Prize-winning author of The Known World
“With her landmark debut, Temple Folk, Aaliyah Bilal shines a light on a Black American community that, for all its influence, hasn’t been given its due in fiction—the Nation of Islam. The deftness of her storytelling allows total access to characters struggling to practice faith as a means of survival. This is a truly masterful work, full of compassion, humor, nuance, and great insight.” –Emily Raboteau, Author of Searching for Zion
Read more about Aaliyah's work here. Sponsored by: Center for Ethics and Writing, Written Arts Program, and Bard Early College Hudson Valley.
For more information, call 845-758-6822, or e-mail [email protected].
Spillover
2024 Graduate Student Curated Exhibitions
Friday, April 19, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Social Philosophy Workshop: Explanation, Imagination, Transformation
Friday, April 19, 2024
10 am – 5 pm
Finberg House libraryThe 2024 Social Philosophy Workshop brings together early career scholars from across the humanities and social sciences who examine contemporary social and political issues. Papers are pre-read, with workshop time devoted to commentators introducing and responding to each paper, followed by general discussion.
Registration is required in order to receive the pre-read papers.
The address for Finberg House is 51 Whalesback Road, Red Hook, New York 12571.
Generous support for this workshop has been provided by the Philosophy, Politics, and Interdisciplinary Study of Religions programs at Bard; Bard's Office of the Dean of the College; the Hannah Arendt Center at Bard; and the American Philosophical Association.Sponsored by: Philosophy Program.
For more information, call 845-758-6822, or e-mail [email protected].
Piano Trio Recital: Ya-Yin Yu, violin, Sarah Martin, cello, Shao-Chu Pan, piano
Friday, April 19, 2024
1:30–2:30 pm
Bitó Conservatory Building, Performance SpacePiano Trio No. 3 in F Minor, Op. 65 (1883) Antonín Dvořák (1841-1904)
and
Piano Trio in F-sharp Minor (1952) Arno Babajanian (1921-1983)
Free and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, or visit https://bard.edu/conservatory.
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Friday, April 19, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
Chamber Music Marathon, Day One: Student Chamber Groups Perform
Friday, April 19, 2024
5–9:30 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public. Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, or e-mail [email protected].
Cocktails and Conversation with President Botstein, San Francisco
Friday, April 19, 2024
7–9 pm
Friday, April 197:00–9:00 pm
The Vita Brevis Club
470 Stevenson Street (entrance)
San Francisco, CA 94103
This event is cohosted by Christophe Chung ’06, Meghan Cochran ’93, Scot Moore ’14 MM ’18, Reina Murooka ’15, and the Office of Alumni/ae Affairs.
For more information, call 845-758-6822, or visit https://bardian.bard.edu/register/?id=c8cc8c9a-03fe-4d9a-bd45-41e1ef2640ae.
Bard Baroque Ensemble, Bard Chamber Singers, and Graduate Vocal Arts Program Present Vivaldi & Bach
Friday, April 19, 2024
7:30 pm
Olin HallAntonio Vivaldi – Concerto in G minor “per l’Orchestra di Dresda,” RV 577
J. S. Bach – Brandenburg Concert No. 4, BWV 1049
J. S. Bach – Sinfonia in F, BWV 1046a
J. S. Bach – Hunting Cantata, BWV 208: Was mir behagt, ist nur die muntre Jagd
Renée Anne Louprette, director
Christopher Nelson & Joas Erasmus, violins
David Keringer & Kelsey Burnham, recorders
David Zoschnick & Shawn Hutchison, oboes
Adelaide Braunhill & HanYi Huang, bassoons
Jaclyn Hopping & Megan Maloney, sopranos
Sam Warshauer, tenor
Joey Breslau, baritone
Tyler Duncan, guest reader
Free and Open to the PublicSponsored by: Bard College Conservatory of Music; Bard Conservatory Graduate Vocal Arts Program; Music Program.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Spillover
2024 Graduate Student Curated Exhibitions
Saturday, April 20, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Social Philosophy Workshop: Explanation, Imagination, Transformation
Saturday, April 20, 2024
10 am – 5 pm
Finberg House libraryThe 2024 Social Philosophy Workshop brings together early career scholars from across the humanities and social sciences who examine contemporary social and political issues. Papers are pre-read, with workshop time devoted to commentators introducing and responding to each paper, followed by general discussion.
Registration is required in order to receive the pre-read papers.
The address for Finberg House is 51 Whalesback Road, Red Hook, New York 12571.
Generous support for this workshop has been provided by the Philosophy, Politics, and Interdisciplinary Study of Religions programs at Bard; Bard's Office of the Dean of the College; the Hannah Arendt Center at Bard; and the American Philosophical Association.Sponsored by: Philosophy Program.
For more information, call 845-758-6822, or e-mail [email protected].
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Saturday, April 20, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
Admitted Students Day
Saturday, April 20, 2024
10 am – 4 pm
This event is for admitted students only. Congratulations on your admission!
We're delighted to invite you to get to know Bard College Berlin on Admitted Students Day. Join us for a day on our campus where you can meet fellow admitted students, attend a seminar with our professors, meet our staff, and hear from our current students about life as a Bard Berliner.
Register now through your applicant portal to decide which seminar you'll attend and begin planning your trip to Berlin!
For more information, call 845-758-6822, e-mail [email protected], or visit https://sites.google.com/berlin.bard.edu/2024admittedstudentsday/home.
Chamber Music Marathon, Day Two: Student and Faculty Chamber Groups Perform Throughout the Afternoon
Saturday, April 20, 2024
12–4 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, or e-mail [email protected].
Spillover
2024 Graduate Student Curated Exhibitions
Sunday, April 21, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Christian/Episcopal Service
Sunday, April 21, 2024
10 am – 12 pm
Church of St John the Evangelist,1114 River Road, BarrytownJoin us for services at the Church of St. John the Evangelist (Episcopal) in Barrytown. Rides provided from the Bard Chapel at 9:45 am every Sunday throughout the academic year.
All are welcome!
Christians, non-Christians, spiritual but not religious, agnostics, believers, doubters, seekers, those who have questions about faith and religion, those struggling to understand where God is in our challenging world—anyone wanting to use their faith to change and act in the world!Sponsored by: Chaplaincy.For more information, call 203-858-8800, or e-mail [email protected].
Christian/Roman Catholic Mass
Sunday, April 21, 2024
12–2 pm
Chapel of the Holy InnocentsRoman Catholic Mass at Bard Chapel
Sundays at noon
Mass will be celebrated every Sunday during the academic semesters at noon in the Bard Chapel with prayers for healing.
Confessions will be available before Mass, and following Mass all are invited to Breaking Open the Word (a time to share what we heard God saying to our hearts in scripture).
For info contact: (fr.) Jim+ [email protected]Sponsored by: Chaplaincy.
For more information, call 203-858-8800, or e-mail [email protected].
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Sunday, April 21, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
Thesis Performance: Human Rights and the Arts
Sunday, April 21, 2024
10 am – 7 pm
Bard’s New Massena CampusThesis performance for students graduating in Human Rights and Arts.Sponsored by: Student Activities.
For more information, call 845-366-0761, or e-mail [email protected].
Degree Recital: Elizabeth Liotta, double bass, with violin, piano and seven double-bassists
Works by Koussevitsky, Bottesini, Tabakov, and Roche.
Sunday, April 21, 2024
1–2:30 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, or e-mail [email protected].
Entr’acte: Intergenerational Romanticism
A Graduate Conducting Degree Recital with the Orchestra Now
Sunday, April 21, 2024
2–3 pm
Fisher Center, Sosnoff TheaterThe Degree Recital is the culminating project of the Graduate Conducting Program. Given during the second year of study, students have the opportunity to conduct the repertoire of their choice in this concert.
Joined by members of the Bard Conservatory Orchestra and Vocal Arts Program, the current graduating class of the Graduate Conducting Program leads The Orchestra Now in a culminating degree recital.
German Romanticism makes up the extent of the program, including Felix Mendelssohn’s concert overture Calm Sea and Prosperous Voyage, Johannes Brahms’s Second Symphony, and two highlights from Richard Strauss’s Der Rosenkavalier. Two American interludes are also featured in the program—John Adams’s Chairman Dances and Caroline Shaw’s Entr’acte.
Sponsored by: Bard Conservatory Graduate Conducting Program.
For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/intergenerational-romanticism/.
Trans Swim
Sunday, April 21, 2024
4–6 pm
Stevenson Athletic Center, PoolThe Stevenson Athletics Center Pool is reserved exclusively for trans, nonbinary, and gender nonconforming people to use for two hours. No reservation is required. If desired, there is a gender neutral changing room and shower on the ground floor of the gym.
For more information, call 845-758-6822, or e-mail [email protected].
Advanced Performance Studies Collaborative Piano Recital: Shao-Chu Pan, piano, with Nathan Francisco, cello
Works by Francis Poulenc and César Franck
Sunday, April 21, 2024
5–6 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Neilson Chen & Friends Chamber Music Series: Two Sides of Opera
Nine Bard Conservatory Students and Alumni/ae Present Works by Beethoven, Bernstein, Bizet, Borne, Giacoma, Loveglio, and Verdi
Sunday, April 21, 2024
7–9 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.
Note: This program will also be presented on Saturday, April 20, at Beattie-Powers Place in Catskill, New York, at 5 pm.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Meditation Group
Mondays and Thursdays 6–7 pm
Monday, April 22, 2024
6–7 pm
Center for Spiritual Life Buddhist Meditation RoomMondays Guided Meditation
6-6:15 pm Dharma words
6:15-6:45 Meditation
6:45-7 pm Walking meditation & chanting
Thursdays Silent Meditation
6-7 pm Meditation in stillness
Join at any time and stay for any length of time.
Afterwards community sangha time with refreshments.Sponsored by: Chaplaincy.
For more information, call 845-752-4619, or e-mail [email protected].
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Monday, April 22, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
CANCELED: A Reading by Elizabeth Hand
The acclaimed, genre-spanning writer reads from her work.
Monday, April 22, 2024
Campus Center, Weis CinemaEVENT CANCELED
Novelist and short story writer Elizabeth Hand will read from new work at Bard College on Monday, April 22 at 4:00 pm in Weis Cinema, located in the Bertelsmann Campus Center. Hand is the author of over 20 genre-spanning, award-winning novels and collections of short fiction. Her most recent novel, A Haunting on the Hill, is an homage to Shirley Jackson’s classic The Haunting of Hill House and was commissioned by Jackson’s family. The reading, which is being presented as part of Bradford Morrow’s course on innovative contemporary fiction, is free and open to the public.
A longtime critic and reviewer, Hand’s writing has also appeared in the Washington Post, the New York Times, Boston Review, Salon, the Los Angeles Times, and the Magazine of Fantasy and Science Fiction, among other outlets. Her noir novels featuring post-punk photographer and provocateur Cass Neary have been translated into myriad languages and are being developed for a TV series. Hand has been an instructor at writing workshops across the US and abroad, including Oxford and Pakistan, and is on the faculty at the Stonecoast MFA Program in Creative Writing. She divides her time between the Maine coast and North London, and is at work on Unspeakable Things, which is loosely inspired by Daphne Du Maurier’s Rebecca.
Praise for Elizabeth Hand
“Hand has a gift for the sensuous, evocative detail, and her descriptions are often simultaneously seductive and spooky.” —The New Yorker
“A Haunting on the Hill is a love letter to Hill House and a very impressive tribute to Shirley Jackson. It is also a tremendous addition to Hand’s already outstanding, multi-genre oeuvre.” —Gabino Iglesias, NPR
“Only the brilliant Elizabeth Hand could so expertly honor Jackson’s rage, wit, and vision with a 21st century twist. The old place is as creepy, disorienting, and menacing as ever.” —Paul Tremblay
“To describe Elizabeth Hand as a mystery writer is to not have read another Elizabeth Hand book. Over decades, she has proved that she’s eclectic, genre-bending, and comfortable in fantasy and mystery, crime, myth, magic—and more.” —The Washington Post
For more information, call 845-758-6822.
Exploring Indigenous Arts: April 22–26
Monday, April 22, 2024 – Friday, April 26, 2024
10 am – 7 pm
Montgomery Place EstateJoin us at Bard College Montgomery Place Campus for unique opportunities to explore regional and indigenous identity through history, art, education, agriculture, foodways, and placemaking as part of the 2024 Being Human Festival sponsored by the National Humanities Center.
Monday, April 22 | 4:00 pm
Introduction to Nahuatl
with Luis Chavez
Learn basic Nahuatl, a Mexican Indigenous language through the traditional Mexican game of loteria, a game of bingo using Nahuatl words with images.
Wednesday, April 24 | 6:00 pm
Indigenous Cooking
with Lucille Grignon & BardEats
Learn to make Honey Cedar Blueberry Tea
Thursday, April 25 | 10:30 am
Reading from The Beadworkers and Other Works
with Dr. Beth Piatote
Friday, April 26 | 2:00–4:00 pm
Indigo Dye Workshop
with the Bard Dye Club
Join us for a Indigo Dip Dye Workshop and take home your creation.Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail [email protected].
IAT Lecture Series: Divisions that Define Us
Bruce Chilton, Bernard Iddings Bell Professor of Philosophy and Religion; Director, Institute of Advanced Theology
Monday, April 22, 2024
12–1:30 pm
Bard HallDuring the past two millennia, systemic ruptures in the understanding of religion and society have shaped the cultural contours of all the lands that once comprised the Roman Empire. These schisms have of course featured in the histories of Christianity, Islam, and Judaism, but they also have exerted a profound influence on the ways that people in the Middle East, North Africa, Europe, and later the Americas conceive of themselves of their relations with one another. Our series will deal in order with: (1) the emergence of Christianity from Judaism and the resulting contention, (2) the breach between the Latin West and the Greek East after the conversion of Constantine, (3) the rise of Islam and the proclamation of the Crusades, (4) the Reformation and its consequences, and (5) the opposition between religion and science in the modern period.
This is the final lecture in the series.Sponsored by: The Institute for Advanced Theology.
For more information, call 845-758-7667, or e-mail [email protected].
Exploring Indigenous Arts: Introductory Nahuatl Workshop with Luis Chavez
Monday, April 22, 2024
4 pm
Montgomery Place EstateLearn the basics of Nahuatl (Mexican Indigenous language) through the traditional Mexican game of loteria, a game of bingo using Nahuatl words with images.
Luis Chavez is a current postdoctoral fellow at Bard College, whose research and teaching interests include ethnic studies, music and sound studies, border studies, Chicanx studies, Native American and Indigenous studies, gender and sexuality, and performance studies. He comes to Bard from California State University School of Music, where he taught courses in music history and literature, world music, and Latin American music. He has also served as lecturer in the Department of American Indian Studies, College of Ethnic Studies, at San Francisco State University.
Join us at Bard College Montgomery Place Campus for unique opportunities to explore regional and indigenous identity through history, art, education, agriculture, foodways, and placemaking as part of the 2024 Being Human Festival sponsored by the National Humanities Center.Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail [email protected].
CMIA - Color and Time
Monday, April 22, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- The Yards
(James Gray, 2000, USA, 115 minutes, 35mm) - Stalker
(Andrei Tarkovsky, 1979, USSR, 163 minutes, 35mm)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
The Picnic: A Dream of Freedom and the Collapse of the Iron Curtain
Lecture by Matthew Longo
Monday, April 22, 2024
7–9:30 pm
P98a Lecture Hall (Platanenstraße 98a, 13156 Berlin)In August 1989, a group of Hungarian activists organized a picnic on the border of Hungary and Austria. But this was not an ordinary picnic—it was located on the dangerous militarized frontier known as the Iron Curtain. Tacit permission from the highest state authorities could be revoked at any moment. On wisps of rumor, thousands of East German “vacationers” packed Hungarian campgrounds, awaiting an opportunity, fearing prison, surveilled by lurking Stasi agents. The Pan-European Picnic set the stage for the greatest border breach in Cold War history: hundreds crossed from the Communist East to the longed-for freedom of the West.
Drawing on dozens of original interviews—including Hungarian activists and border guards, East German refugees, Stasi secret police, and the last Communist prime minister of Hungary—Matthew Longo tells a gripping and revelatory tale of the unraveling of the Iron Curtain and the birth of a new world order. Just a few months after the Picnic, the Berlin Wall fell, and the freedom for which the activists and refugees had abandoned their homes, risked imprisonment, sacrificed jobs, family, and friends, was suddenly available to everyone. But were they really free? And why, three decades since the Iron Curtain was torn down, have so many sought once again to build walls?
Register for the event through this Google Form.
Matthew Longo is Assistant Professor of Political Science at Leiden University. He is the author of two books: The Picnic: A Dream of Freedom and the Collapse of the Iron Curtain (W. W. Norton, 2023) and The Politics of Borders: Sovereignty, Security, and the Citizen After 9/11 (Cambridge University Press, 2018).Sponsored by: Bard College Berlin.
For more information, call 845-758-6822, or e-mail [email protected].
Bard Inklings
Tuesday, April 23, 2024
7–8 pm
AlbeeThe Catholic Chaplaincy invites you to experience Bard Inklings: Conversations about God, Friendship, and Meaning each Tuesday, from 7–8 pm in the Chaplaincy Office Albee Basement. For information, please email [email protected]. All are welcome!
For more information, call 845-978-6122, or e-mail [email protected].
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Tuesday, April 23, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
Exploring Indigenous Arts: April 22–26
Monday, April 22, 2024 – Friday, April 26, 2024
10 am – 7 pm
Montgomery Place EstateJoin us at Bard College Montgomery Place Campus for unique opportunities to explore regional and indigenous identity through history, art, education, agriculture, foodways, and placemaking as part of the 2024 Being Human Festival sponsored by the National Humanities Center.
Monday, April 22 | 4:00 pm
Introduction to Nahuatl
with Luis Chavez
Learn basic Nahuatl, a Mexican Indigenous language through the traditional Mexican game of loteria, a game of bingo using Nahuatl words with images.
Wednesday, April 24 | 6:00 pm
Indigenous Cooking
with Lucille Grignon & BardEats
Learn to make Honey Cedar Blueberry Tea
Thursday, April 25 | 10:30 am
Reading from The Beadworkers and Other Works
with Dr. Beth Piatote
Friday, April 26 | 2:00–4:00 pm
Indigo Dye Workshop
with the Bard Dye Club
Join us for a Indigo Dip Dye Workshop and take home your creation.Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail [email protected].
Speaker Series: Lowery Stokes Sims
Tuesday, April 23, 2024
5–7 pm
CCS Bard, Classroom 102Chains, Sweet Gum Pods, and a Flag: the Metaphorical Power of Singular Objects
As historian and material culture specialist Richard Grassby has noted: “Culture is…evinced in distinct forms generated by human responses to opportunities in specific historical contexts.” We therefore can “use artifacts…to reconstruct the patterns of meanings, values and norms shared by members of society.” This lecture will examine the recent deployment of single objects as carriers of meaning and commentary on American culture and historical trajectories. We live in an era where the representational character of public monuments and installations can be mired in controversy, and evoke various receptions by multiple publics. On the other hand, the metaphorical potency of seemingly ordinary objects—chains, sweet gum pods and flags—has been effectively parsed by artists: notably Charles Gaines, Oletha DeVane and Sonya Clark. They have succeeded in engaging the viewing public in some of the most compelling discourses around the destiny of African Americans in this country.
For more information, call 845-758-7598, or e-mail [email protected].
Creative Component Exhibition: Spring 2024
Tuesday, April 23, 2024
5–9:30 pm
BCB Factory (Eichenstrasse 43, 13156 Berlin)We cordially invite you to the public exhibition of art works from this year’s graduating cohort.
The exhibition shows the outcomes of a two semester long creative research that students conducted as part of their senior thesis projects; it includes painting, film, theater and performance art, installation, video art, and creative writing.
Please join us and celebrate this special occasion!
Works by Fiona French, Gracie Kuppenbender, Hang Nguyen, Jiayao Gao, Kaitlyn Woodburn, Katie Lyle, Lena Brun, Selo Uğuzeş, Wanda Alvesová, Yensen LeBeau and Zoé Whiteman.
The exhibition opens at 5pm. Participatory performance by Wanda Alvesová at 6:30pm. Film screening by Yensen LeBeau at 8:00pm.
For more information, call 845-758-6822, or e-mail [email protected].
BCB English Hour
Tuesday, April 23, 2024
6–8 pm
Bard College Berlin and Amtshaus BuchholzThe English Hour is a weekly meeting space for people from our campus neighborhood to improve their English skills through conversation, build new connections, and bridge gaps between different cultures.
English Hour - Tutoring for High School Students: Wednesdays, 18:00-19:00
Location: K30 Lounge (Kuckhoffstr. 30, 13156 Berlin)
Free volunteer-run English tutoring on BCB campus for local high school students on a weekly basis. Register via [email protected].
English Hour - Conversation Round: Wednesdays, 19:00-20:00
Location: P24 Conference Room (Platanenstr. 24, 13156 Berlin)
Open to all who want to practice English through conversation. Register via [email protected].
BCB English Hour @ Amtshaus Buchholz: Tuesdays, 19:00-20:00
Location: NBZ Amtshaus Buchholz (Rosenthaler Weg 32, 13127 Berlin)
Die English Hour wird im Nachbarschaftszentrum Amtshaus Buchholz von internationalen Studentinnen und Studenten des Bard College Berlin angeboten, die zum Teil selbst nur wenig Deutsch sprechen und sich über den Sprachaustausch freuen. Das Angebot ist offen für alle, die Lust haben, ein bisschen auf Englisch ins Gespräch zu kommen und dazuzulernen.
Anmeldung unter: [email protected] oder 030 - 4758 472. Teilnahmegebühr: 1€.
For more information, call 845-758-6822, or e-mail [email protected].
Open Classroom: Dystopian Fiction
Tuesday, April 23, 2024
7–8:30 pm
P24 Conference Room (Platanenstr. 24, 13156 Berlin)Open Classroom is a student-led initiative held on Tuesdays that allows neighbors to experience university-level courses taught at BCB. The initiative seeks to foster a dialogue between students and the broader Pankow community. This semester, students will share their knowledge from the course Dystopian Fiction, an undergraduate-level course taught at Bard College Berlin.
Dystopian fiction often involves bleak, post-apocalyptic futures scarred by environmental disaster, societal collapse, totalitarian control or technological subjugation. But, more than simply presenting depressing images, dystopian fiction also offers fruitful ground for questioning today’s world and re-envisioning a more just society. Through a mix of novels, films and short stories, we’ll grapple with climate change, artificial intelligence, authoritarianism and migration and explore questions of freedom, belonging, care and how to find hope in the face of overwhelming crisis. A central focus of the course will be investigating what role fiction can play in helping us imagine and shape the future.
Register via [email protected].
For more information, call 845-758-6822, or e-mail [email protected].
CMIA - Animation
Tuesday, April 23, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- Fantasmagorie (Émile Cohl, 1908, France, 1 minute)
- The Cameraman’s Revenge (Wladyslaw Starewicz, 1912, Russia, 13 minutes)
- Skeleton Dance (Walt Disney, 1928, USA, 5 minutes)
- Carmen (Lotte Reiniger, 1933, Germany, 9 minutes)
- Circles (Oskar Fischinger, 1933, Germany, 3 minutes)
- Rainbow Dance (Len Lye, 1936, UK, 4 minutes)
- Tale of Tales (Yuri Norshtein, 1979, USSR, 26 minutes)
- My Neighbor Totoro (Hayao Miyazaki, 1989, Japan, 91 minutes)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Spillover
2024 Graduate Student Curated Exhibitions
Wednesday, April 24, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Wednesday, April 24, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
Exploring Indigenous Arts: April 22–26
Monday, April 22, 2024 – Friday, April 26, 2024
10 am – 7 pm
Montgomery Place EstateJoin us at Bard College Montgomery Place Campus for unique opportunities to explore regional and indigenous identity through history, art, education, agriculture, foodways, and placemaking as part of the 2024 Being Human Festival sponsored by the National Humanities Center.
Monday, April 22 | 4:00 pm
Introduction to Nahuatl
with Luis Chavez
Learn basic Nahuatl, a Mexican Indigenous language through the traditional Mexican game of loteria, a game of bingo using Nahuatl words with images.
Wednesday, April 24 | 6:00 pm
Indigenous Cooking
with Lucille Grignon & BardEats
Learn to make Honey Cedar Blueberry Tea
Thursday, April 25 | 10:30 am
Reading from The Beadworkers and Other Works
with Dr. Beth Piatote
Friday, April 26 | 2:00–4:00 pm
Indigo Dye Workshop
with the Bard Dye Club
Join us for a Indigo Dip Dye Workshop and take home your creation.Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail [email protected].
BardMaker Art + Craft Fair
Wednesday, April 24, 2024
3–6 pm
Campus Center, Multipurpose RoomJoin us for the spring BardMaker Art + Craft Fair featuring artists and makers within the Bard community. Shop for unique handmade items and support campus makers.
For more information, call 845-758-6822.
Exploring Indigenous Arts: Indigenous Cooking Workshop and Conversation with Lucille Grignon
Wednesday, April 24, 2024
6 pm
Montgomery Place EstateLucille Grignon is a homesteader at Ancient Roots Homestead, which is located on the Stockbridge-Munsee Reservation. She has transitioned from teaching in a modern colonial classroom into working as an educator of Ancient Indigenous skills, ideas, and traditions guided by the ways of her ancestors.
Join us at Bard College Montgomery Place Campus for unique opportunities to explore regional and indigenous identity through history, art, education, agriculture, foodways, and placemaking as part of the 2024 Being Human Festival sponsored by the National Humanties Center.Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail [email protected].
CMIA - Visconti and the Fin-de-siècle
Wednesday, April 24, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- Death in Venice
(Luchino Visconti, 1971, Italy, 117 minutes) - The Innocent
(Luchino Visconti, 1976, Italy, 112 minutes)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Building a Career in Sustainability: Advice from Land Trust Experts
Engage with land trust experts for advice and tips on launching your high impact career in the field.
Wednesday, April 24, 2024
7–8:30 pm
Online EventRSVP Here
About The Event:
Bard’s Graduate Programs in Sustainability are pleased to host a webinar series providing aspiring change-makers access to sustainability experts to gain tips on launching their own careers in sustainability.
Land Trust panel:
- Cory Tiger (moderator) - Conservation Easement and GIS Manager at Hudson Highlands Land Trust
- Shaniqua Bowden - Director of Cultural Engagement and Sustainable Living at Kingston Land Trust
- Tagwongo Obomsawin - Clean Energy Partnership Program Manager at the Maine Governor's Energy Office; and Treasurer of the Bomazeen Land Trust
- Terence Duvall - Director of Land Protection & Stewardship at the Columbia Land Conservancy
Land trusts are nonprofit organizations that own and manage land—many of which are on the frontlines of fighting real estate developments that would have negative environmental or social impacts. Leaders of land trusts are a crucial part of working towards climate change mitigation and adaptation. Join this conversation to hear from land trust experts who have been at the forefront of protecting ecologically and socially significant land to learn how they launched and grew their career, what tips they have for high impact careers in the industry, and what they look for in their new hires. Attendees will have the opportunity to ask questions of panelists.Sponsored by: Bard Center for Environmental Policy; Bard MBA in Sustainability.
For more information, call 845-663-4197, e-mail [email protected], or visit https://https://www.eventbrite.com/e/building-a-career-in-sustainability-advice-from-land-trust-experts-tickets-87062425.
Meditation Group
Mondays and Thursdays 6–7 pm
Thursday, April 25, 2024
6–7 pm
Center for Spiritual Life Buddhist Meditation RoomMondays Guided Meditation
6-6:15 pm Dharma words
6:15-6:45 Meditation
6:45-7 pm Walking meditation & chanting
Thursdays Silent Meditation
6-7 pm Meditation in stillness
Join at any time and stay for any length of time.
Afterwards community sangha time with refreshments.Sponsored by: Chaplaincy.
For more information, call 845-752-4619, or e-mail [email protected].
Spillover
2024 Graduate Student Curated Exhibitions
Thursday, April 25, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Thursday, April 25, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
Exploring Indigenous Arts: April 22–26
Monday, April 22, 2024 – Friday, April 26, 2024
10 am – 7 pm
Montgomery Place EstateJoin us at Bard College Montgomery Place Campus for unique opportunities to explore regional and indigenous identity through history, art, education, agriculture, foodways, and placemaking as part of the 2024 Being Human Festival sponsored by the National Humanities Center.
Monday, April 22 | 4:00 pm
Introduction to Nahuatl
with Luis Chavez
Learn basic Nahuatl, a Mexican Indigenous language through the traditional Mexican game of loteria, a game of bingo using Nahuatl words with images.
Wednesday, April 24 | 6:00 pm
Indigenous Cooking
with Lucille Grignon & BardEats
Learn to make Honey Cedar Blueberry Tea
Thursday, April 25 | 10:30 am
Reading from The Beadworkers and Other Works
with Dr. Beth Piatote
Friday, April 26 | 2:00–4:00 pm
Indigo Dye Workshop
with the Bard Dye Club
Join us for a Indigo Dip Dye Workshop and take home your creation.Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail [email protected].
Antíkoni: A Symposium
The Inaugural Symposium of the Center for Indigenous Studies
Thursday, April 25, 2024 – Friday, April 26, 2024
The Bard College Center for Indigenous Studies will host its inaugural symposium on Thursday, April 25, and Friday, April 26, at Bard College in Annandale-on-Hudson, New York. The symposium includes workshops, lectures, and discussions centered around Dr. Beth Piatote’s (Nez Perce enrolled Colville Confederated Tribes) brilliant play Antíkoni, an adaptation of Sophocles’ Antigone. Piatote will give her public keynote address “Antíkoni and the Question of Adaptation” on Thursday, April 25, 2:00–3:30 pm ET in Weis Cinema, located in the Bertelsmann Campus Center at Bard College. A closing public lecture “Between the Heart and Horizon Line: Culturally Responsive Care in Collection Management” will be delivered by Yale University’s Dr. Royce K. Young Wolf (Hiraacá, Nu’eta, and Sosore, ancestral Apsáalooke and Nʉmʉnʉʉ) on Friday, April 26, 4:30–5:30 pm ET in the Bito ’60 Auditorium, located in the Reem-Kayden Center, Room 103, at Bard College. All talks are open to the public and do not require registration.Sponsored by: Center for Indigenous Studies.For more information, call 845-758-6822, or e-mail [email protected].
Exploring Indigenous Arts: Reading From The Beadworkers with Dr. Beth Piatote
Thursday, April 25, 2024
10:30 am
Montgomery Place EstateDr. Beth Piatote (Nez Perce enrolled Colville) is associate professor of English and comparative literature and director of the Arts Research Center at the University of California Berkeley.
Join us at Bard College Montgomery Place Campus for unique opportunities to explore regional and indigenous identity through history, art, education, agriculture, foodways, and placemaking as part of the 2024 Being Human Festival sponsored by the National Humanities Center.Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail [email protected].
Antíkoni and the Question of Adaptation
By Beth Piatote (Nez Perce, Colville Confederated Tribes) as a part of “Antíkoni: A Symposium.”
Thursday, April 25, 2024
2–3:30 pm
Weis CinemaThe timeless and profound themes expressed in Antigone, the great tragedy by Sophocles, has made it one of the most adapted plays in theater, speaking to political and ethical problems around the world. In my talk, I will describe my own engagement with the play in my revision, Antikoni, which centers a Nez Perce-Cayuse family debating the fate of ancestral remains, family loyalty, and what it means to live between spiritual law and the law of the State. I will explore the ways in which the play is an adaptation, but is also about adaptation--about Native people struggling to adapt and find a way through systems that are hostile to them, and the price that is paid along the way.Sponsored by: Center for Indigenous Studies.
For more information, call 845-758-6822, or e-mail [email protected].
Antíkoni: A Staged Reading
Read by Kahelelani Mahone and Ciko Sidzumo
Thursday, April 25, 2024
4:30–5:30 pm
Blithewood ManorScenes from Antíkoni
Performed by Kahelelani Mahone and Ciko Sidzumo
Contextualization by Beth Piatote, Julie Burelle, and Laurie Arnold
Codirected by Jack Ferver, assistant professor of theater and performance, and Brandi Norton, curator of public programs at Bard Center for Indigenous StudiesSponsored by: Center for Indigenous Studies.
For more information, call 845-758-6822, or e-mail [email protected].
A Reading with Terrance Hayes
Thursday, April 25, 2024
6 pm
Reem-Kayden Center Laszlo Z. Bito '60 AuditoriumOn Thursday, April 25 at 6 pm in the László Z. Bitó ’60 Auditorium, Reem-Kayden Center (RKC), Terrance Hayes will read from his work. He will be introduced by Erica Kaufman, Bard Writer in Residence and Director of the Institute for Writing and Thinking. The reading will be followed by a discussion moderated by Dawn Lundy Martin, Distinguished Writer in Residence at Bard College.
Terrance Hayes is the author of seven poetry collections: So to Speak; American Sonnets for My Past And Future Assassin, a finalist for the National Book Award, National Book Critics Circle Award, and TS Eliot Prize; How to Be Drawn; Lighthead, winner of the 2010 National Book Award for poetry; Muscular Music, recipient of the Kate Tufts Discovery Award; Hip Logic, winner of the 2001 National Poetry Series; and Wind in a Box. His prose collection, To Float In The Space Between: Drawings and Essays in Conversation with Etheridge Knight, was a finalist for the National Book Critics Circle Award and winner of the Pegasus Award for Poetry Criticism. Hayes has received fellowships from the MacArthur Foundation, Guggenheim Foundation, and Whiting Foundation, and is a professor of English at New York University.Sponsored by: Center for Ethics and Writing and the Written Arts Program.
For more information, call 845-758-6822, or e-mail [email protected].
Possession, Belongings, and Inheritance: Stockbridge-Munsee Community’s Approach to NAGPRA
By Bonney Hartley (Stockbridge-Munsee Mohican), Tribal Repatriation specialist for the Stockbridge-Munsee Mohican Nation.
Thursday, April 25, 2024
6–7 pm
Blithewood ManorIt is invaluable to Tribal citizens to welcome home lost or looted family heirlooms as part of collective cultural heritage. Bonney Hartley, repatriation representative for Stockbridge-Munsee Community, will share insights from the community’s repatriation efforts in the region and highlight ways that the Tribal Historic Preservation Program has approached matters of possession and belonging in claiming items under the Native American Graves Protection and Repatriation Act (NAGPRA). The presentation will also offer recent insights and opportunities in light of the new NAGPRA regulations that took effect in January.Sponsored by: Center for Indigenous Studies.
For more information, call 845-758-6822, or e-mail [email protected].
Real Talk: Syrian and Ukrainian Views on Fighting Russian Crimes from Germany
Thursday, April 25, 2024
7–9 pm
Ulme35 (Ulmenallee 35, 14050 Berlin)Fighting Russian crimes and propaganda in Germany: What can Ukrainian and Syrian diasporas learn from each other?
This event is a panel talk between journalist Kristin Helberg, BCB alum Ameenah Sawwan, and Mariia Borysenko (NGO “Vitsche”); moderated by BCB student Yelizaveta Mamon. It will take place at Ulme35 (Ulmenallee 35, 14050 Berlin) in Westend.
The talk will focus on the parallels in Russia's warfare and propaganda in Syria and Ukraine, and what the civil societies of both diasporas can learn from each other. Civil society in diaspora has been organizing itself, documenting the crimes, and countering the propaganda. There are lessons to learn how to organize and create publicity, and what campaign strategies are helpful to denounce these crimes and achieve their criminal prosecution, in front of international courts as well as national courts on the grounds of the principle of universal jurisdiction.. In the past decade, both of the diasporas have become powerful engines for political and social justice, organizing themselves to document Russian crimes, undermine disinformation, and amplify their voices in the German informational landscape. In this Real Talk we will discuss Ukrainian and Syrian diaspora experiences, case studies and effective campaign strategies to denounce these crimes, raise public awareness and achieve their criminal prosecution.
No registration necessary.Sponsored by: Ulme35.
For more information, call 845-758-6822, or e-mail [email protected].
The Lives of Others: Political Economies of Security and the Gifts of Empire
Thursday, April 25, 2024
7–9:30 pm
Lecture HallIt has become commonplace to observe that we live in dark times. With the proliferation of irredentist wars, ethno-nationist patterns of organizing violence, and the revenant racial logics by which risk and protection are distributed, it seems we are living through a kind of Gramscian interregnum, redolent of the “morbid symptoms” of his time. But when did this crisis really begin? Like with all caesuras, the focus on the spectacular symptoms occludes the continuities by which historical techniques of governance are adapted to new conditions of social domination. Rather than understanding our historical moment as the breakdown of prevailing orders, and hence a return to violence, this talk will propose that what marks our time is an experimentation with the organization and localization of violence in the everyday.
Thinking with Sudan and Gaza as two places where the moral and ontological status extraordinary violence remains hotly debated, this talk proposes a larger set of questions about what it means that over the last decades, we have seen what Manuel Schwab calls the “enclosure of the everyday” by various globally distributed economies, from humanitarian assistance, which will be my main topic, to communications platforms, remittance networks, and payment spaces. As civil infrastructures that sustain pedestrian practices, these have not traditionally been seen as the focal point for understanding how violence is organized. Nevertheless, the talk will propose that the “enclosure of the everyday,” which entails significant and intimate-yet-speechless entanglement with the lives of others, constitutes a central driver of the “new new wars,” even as they descend into extraordinary depths of annihilating force. With an eye towards debates unfolding in Germany today, it will be shown that public memory must also be seen as one of these infrastructures.
Please register for the lecture through this Google form.
Manuel Schwab is a writer and professor of Anthropology at the American University in Cairo. Working at the nexus between Economic and Political Anthropology, his work is concerned with valorization and securitization and their relation to humanitarian practice and the logics of military force. Drawing from seemingly unrelated social fields like public memory, practices of care, and accusations of supernatural force, he is interested in how these come to shape temporal and ethical imaginaries. He has worked in Sudan, South Sudan, Syria, Germany, and the US. In addition to his work on value in the Sudanese context, he is in the early stages of a new research undertaking on the relationship between extractive economies and the new politics of “post-humanitarian” crisis management. Manuel’s work has been supported by the Wenner-Gren Foundation, The Ford Foundation, and the Mellon Foundation, among others. In addition to his academic research, Manuel is finishing a Manuscript of speculative fiction in with an artist from Guinea, where he works at the nexus between experimental ethnography and fiction proper. The work began when he was a Fellow at the Akademie Schloss Solitude 2019-2020.
For more information, call 845-758-6822, or e-mail [email protected].
Faculty Dance Concert
Thursday, April 25, 2024
7:30–8:30 pm
Fisher Center, LUMA TheaterA dynamic evening of choreography by the distinguished faculty of the Bard College Dance Program, performed by faculty, students in the program, and guests.
Sponsored by: Dance Program.For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/facdance-24/.
Spillover
2024 Graduate Student Curated Exhibitions
Friday, April 26, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Friday, April 26, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
Exploring Indigenous Arts: April 22–26
Monday, April 22, 2024 – Friday, April 26, 2024
10 am – 7 pm
Montgomery Place EstateJoin us at Bard College Montgomery Place Campus for unique opportunities to explore regional and indigenous identity through history, art, education, agriculture, foodways, and placemaking as part of the 2024 Being Human Festival sponsored by the National Humanities Center.
Monday, April 22 | 4:00 pm
Introduction to Nahuatl
with Luis Chavez
Learn basic Nahuatl, a Mexican Indigenous language through the traditional Mexican game of loteria, a game of bingo using Nahuatl words with images.
Wednesday, April 24 | 6:00 pm
Indigenous Cooking
with Lucille Grignon & BardEats
Learn to make Honey Cedar Blueberry Tea
Thursday, April 25 | 10:30 am
Reading from The Beadworkers and Other Works
with Dr. Beth Piatote
Friday, April 26 | 2:00–4:00 pm
Indigo Dye Workshop
with the Bard Dye Club
Join us for a Indigo Dip Dye Workshop and take home your creation.Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail [email protected].
Antíkoni: A Symposium
The Inaugural Symposium of the Center for Indigenous Studies
Thursday, April 25, 2024 – Friday, April 26, 2024
The Bard College Center for Indigenous Studies will host its inaugural symposium on Thursday, April 25, and Friday, April 26, at Bard College in Annandale-on-Hudson, New York. The symposium includes workshops, lectures, and discussions centered around Dr. Beth Piatote’s (Nez Perce enrolled Colville Confederated Tribes) brilliant play Antíkoni, an adaptation of Sophocles’ Antigone. Piatote will give her public keynote address “Antíkoni and the Question of Adaptation” on Thursday, April 25, 2:00–3:30 pm ET in Weis Cinema, located in the Bertelsmann Campus Center at Bard College. A closing public lecture “Between the Heart and Horizon Line: Culturally Responsive Care in Collection Management” will be delivered by Yale University’s Dr. Royce K. Young Wolf (Hiraacá, Nu’eta, and Sosore, ancestral Apsáalooke and Nʉmʉnʉʉ) on Friday, April 26, 4:30–5:30 pm ET in the Bito ’60 Auditorium, located in the Reem-Kayden Center, Room 103, at Bard College. All talks are open to the public and do not require registration.Sponsored by: Center for Indigenous Studies.For more information, call 845-758-6822, or e-mail [email protected].
Reframing the Migrant Crisis: Law, Labor, and the State of Asylum in Uncertain Times
Friday, April 26, 2024
10 am – 7 pm
Campus Center, Weis CinemaWith the recent upsurge in migration at the southern border, the United States may be witnessing the most significant challenge to migrant rights, including the right to asylum, and to the protection of workers in decades. The goal of this conference is to make space for a sober assessment of our present moment by shedding light on the acute and systemic challenges to our current immigration system, their relevant economic dimensions, and by highlighting the role of organizations working to protect the rights of all immigrants in these challenging times.
PROGRAM
10–11 am Coffee, sign-in, and tour of student research projects (Bertelsmann Campus Center lobby)
11:00 am – 12:30 pm Panel 1: How communities respond to the needs of newly arrived migrants
Laura Garcia, New York Immigration Coalition - Strengthening immigrant rights in the Hudson Valley
Valerie Carlisle, Grannies Respond/Reunite Migrant Families - Volunteer response and mobilization
Karin Anderson Ponzer, Legal Director, Neighbors Link - Community law practice on legal services for newly arrived migrants
An estimated 180,000 migrants have arrived in NYC and across the state since the spring of 2022, and state and local governments, community organizations, and volunteer groups have mobilized to meet their immediate needs. The panelists will reflect on the direct-response work they are engaged in, how they understand community needs to be evolving, how they navigate (mis)information flows and common frustrations, and talk about their strategies for marshaling community resources to help sustain their work amidst a public climate where immigration has become a flashpoint of political debate.
1:30–3:30 pm Panel 2: Are we in an asylum crisis?
Alex Aleinikoff, Dean and University Professor, New School for Social Research, former Deputy High Commissioner, UNHCR
Shannon Lederer, Director of Immigration Policy, AFL-CIO
Lenni Benson, Distinguished Chair in Immigration and Human Rights Law, New York Law School; Founder, Safe Passage Project
The upsurge at the border has focused attention on asylum, the right to remain for those who have a well-founded fear of persecution. With fewer alternatives available, asylum has become an option of first resort for legal advocates and migrants seeking protection and the opportunity to work after fleeing their countries. The number of applicants in the system has grown exponentially over the past decade and the processing times of nearly five years are increasingly theoretical. No one disputes that asylum is ill-suited to addressing the vast and diverse flow of immigrants arriving at a time of massive labor demand. There are increasing fears—or hopes, depending on the political position—that the current situation will spell the end of asylum as we know it. The participants in this panel have decades of experience in immigration law and policy, and they will explore the place of asylum in understanding and addressing the current situation as well as what has been overlooked or obscured by that focus.
4:00 pm: Screening of Borderland | The Line Within (109 mins.)
Followed by a panel discussion featuring filmmakers Pamela Yates, Paco de Onis, activist Kaxh Mura’l, and Joe Nevins, Dept. of Geography, Vassar College.
Borderland | The Line Within exposes the profitable business of immigration and its human cost while weaving together the stories of immigrant heroines and heroes resisting and showing a way forward.
All events are free and open to the public. Please RSVP here.
This program is supported by the Consortium on Forced Migration, Displacement, and Education
About the Consortium on Forced Migration, Displacement, and Education: In early 2016, Vassar, Bard, Bennington, and Sarah Lawrence colleges founded the Consortium on Forced Migration, Displacement, and Education to explore what role institutions such as ours could play in addressing this development. Since then, the New School has joined our Consortium and we have partnered with the Council for European Studies. We are grateful to the Andrew W. Mellon Foundation for their generous support of our goals.Sponsored by: Human Rights Program; Human Rights Project.
For more information, call 845-758-7127, or e-mail [email protected].
Degree Recital: Wenrui Shi, guqin, with Danni Chen, guqin, and Neilson Chen, piano
Friday, April 26, 2024
1–2:30 pm
Bitó Conservatory Building, Performance SpaceWenrui Shi CMC ’24 is one of the first graduate degree candidates in the Master of Arts in Chinese Music and Culture program at the Bard College Conservatory of Music.
Free and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Venki Ramakrishnan
To give a talk on his new book - "Why We Die"
This book looks at cutting-edge efforts to extend lifespans and the ethical costs of those attempts.
This book looks at cutting-edge efforts to extend lifespans and the ethical costs of those attempts.
Friday, April 26, 2024
1–3 pm
Olin Humanities Auditoriummortality, but for most of our existence there was
nothing we could do about it. The last few
decades have seen dramatic advances in our
understanding of aging and death. Along with
our understanding there is a desire to attack
some of the causes of aging to improve health in
old age. And some would also want to postpone
aging and death, perhaps indefinitely. In this talk,
Nobel Laureate Venki Ramakrishnan will describe
on potential social and ethical implications of this
work.
All are welcome to attend this prestigious event which will be followed by a closing reception. No registration is required.
- Oblong book sales will be available during this event -
Sponsored by: Dean of the College.
For more information, call 845-758-7439, or e-mail [email protected].
Exploring Indigenous Arts: Indigo Dip Dye Workshop
Friday, April 26, 2024
2–4 pm
Montgomery Place EstateJoin us for a community Indigo Dip Dye workshop using locally sourced natural dye materials. Attendees will dye materials that they can take home while gaining a deeper understanding of these Indigenous historical practices and uses of the dyed goods.
Join us at Bard College Montgomery Place Campus for unique opportunities to explore regional and indigenous identity through history, art, education, agriculture, foodways, and placemaking as part of the 2024 Being Human Festival sponsored by the National Humanities Center.Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail [email protected].
Between the Heart and Horizon Line: Culturally Responsive Care in Collection Management
Dr. Royce K. Young Wolf (Hiraacá, Nu’eta, and Sosore, ancestral Apsáalooke and Nʉmʉnʉʉ), Inaugural Assistant Curator of Native American Art, Yale University Art Gallery, and Collection Manager of the Native North American and Indigenous Collection, Yale Peabody Museum
Friday, April 26, 2024
4:30–5:30 pm
Bito ’60 Auditorium, Reem-Kayden Center 103Dr. Royce K. Young Wolf is a Hiraacá (Hidatsa), Nu’eta (Mandan), and Sosore (Eastern Shoshone) mother, language and culture activist, curator, artist, and writer. She is a member of the Ih-dhi-shu-gah (Wide Ridge) Clan and is a child of the Ah-puh-gah-whi-gah (Low Cap) Clan, with close relations to her Apsáalooke (Crow) families. Her cultures, languages, and education in the arts, collection management, and language revitalization are integral to her journey beyond the impacts of being a fourth-generation Indian boarding school survivor. At the University of Oklahoma, she received her MA in Native American Studies focused on the Shoshonean Language Reunions and the cultural survivance of her Newe, Numu, and Nʉmʉnʉʉ (Comanche) relations. Her PhD in Sociocultural and Linguistic Anthropology focused on the impacts of colonization on intergenerational knowledge transmission, and cultural and language vitality. She continues to expand upon this research and connections made through her dissertation titled, Pursuing an Understanding of Relationship Making within Language Revitalization: Conversations with Indigenous Language Activists.
Dr. Young Wolf is a recipient of the Cobell Scholarship, the Plains Anthropological Society Native American Student Research Award, the University of Oklahoma Social Sciences Graduate Student Research Award, and is a member of the United Nations Global Indigenous Languages Caucus. She is a founding member alongside her elders who created the MHA Nation Language Department and the MHA Interpretive Center. In 2021, Dr. Young Wolf was selected to be the Andrew W. Mellon Postdoctoral fellow in Native American Art and Curation and a Presidential Visiting fellow at Yale University. She is currently the inaugural Native North American Collection Manager and Assistant Curator of Native American Arts, a duel appointment at the Yale University Art Gallery and Yale Peabody Museum. Dr. Young Wolf continues to prioritize Indigenous language and culture revitalization throughout her curatorial and collection management work which centers on culturally responsive care, decolonization, rematriation, survivance, and relationship (re)making.Sponsored by: Center for Indigenous Studies.
For more information, call 845-758-6822, or e-mail [email protected].
Degree Recital: Zeke Morgan, composer, presents a new opera, "Requiem"
Friday, April 26, 2024
5–6:30 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, or e-mail [email protected].
CMIA - The Tree of Wooden Clogs
Friday, April 26, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- The Tree of Wooden Clogs
(Ermanno Olmi, 1978, 179 minutes, Blu-ray)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
TMI Project Performance at Bard
TMI Project helps craft and amplify true stories that set us free.
Friday, April 26, 2024
7 pm
Olin Hall Wellness is delighted to announce that TMI Project is back at Bard for the Spring semester thanks to a generous grant from the James Kirk Bernard Foundation.
Please feel free to read this article about the project from the James Kirk Bernard Foundation and you can also view the inspiring performances from 2022 here.
For more information, call 845-758-6822.
Faculty Dance Concert
Friday, April 26, 2024
7:30–8:30 pm
Fisher Center, LUMA TheaterA dynamic evening of choreography by the distinguished faculty of the Bard College Dance Program, performed by faculty, students in the program, and guests.
Sponsored by: Dance Program.For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/facdance-24/.
Degree Recital: "Road to Freedom" with Bryan Zhe Wang, guqin
With Lung Chan, zhongruan; Hiu-Man Chan, guanzi; Njya Lubang, double bass; and Neilson Chen, piano
Friday, April 26, 2024
8–9 pm
Bitó Conservatory Building, Performance SpaceFeaturing recent compositions by the Bard Conservatory's US-China Music Institute faculty member Xinyan Li and Beijing Central Conservatory of Music faculty member Fuhong Shi.
Free and open to the public.
Livestream at:
https://www.youtube.com/watch?v=j2HOKkWShDQSponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Spillover
2024 Graduate Student Curated Exhibitions
Saturday, April 27, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Saturday, April 27, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
Degree Recital: Christopher Nelson, violin
Saturday, April 27, 2024
1–2:30 pm
Bitó Conservatory Building, Performance SpaceRaised in Southern California, Christopher Nelson is a violinist who has performed music ranging from Monteverdi to Kurtág. He has participated in music festivals including the Aspen Music Festival, National Repertory Orchestra, Round Top Festival Institute, Taconic Chamber Intensive, and Madeline Island Chamber Music. Influential teachers include William Fitzpatrick, Moni Simeonov, Daniel Phillips, Paul Kantor, and Gail Mellert. Christopher is currently a student of Carmit Zori in the Graduate Instrumental Arts Program at Bard College (MM ‘24).
Free and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, or e-mail [email protected].
Faculty Dance Concert
Saturday, April 27, 2024
2–3 pm
Fisher Center, LUMA TheaterA dynamic evening of choreography by the distinguished faculty of the Bard College Dance Program, performed by faculty, students in the program, and guests.
Sponsored by: Dance Program.For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/facdance-24/.
Degree Recital: Emily Finke, soprano, and Viktoria Sarkadi, piano
Saturday, April 27, 2024
5–6:30 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard Conservatory Graduate Vocal Arts Program.
For more information, call 845-758-6822, or e-mail [email protected].
Faculty Dance Concert
Saturday, April 27, 2024
7:30–8:30 pm
Fisher Center, LUMA TheaterA dynamic evening of choreography by the distinguished faculty of the Bard College Dance Program, performed by faculty, students in the program, and guests.
Sponsored by: Dance Program.For more information, call 845-758-7900, e-mail [email protected], or visit https://fishercenter.bard.edu/events/facdance-24/.
Degree Recital: Michał Cieślik, oboe
Saturday, April 27, 2024
8–9:30 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, or e-mail [email protected].
Spillover
2024 Graduate Student Curated Exhibitions
Sunday, April 28, 2024
11 am – 5 pm
CCS Bard Hessel Museum of ArtSpillover is a collection of eleven curatorial projects that, together, create a sequence of distinct but converging artistic encounters. Rather than coalescing around a common theme, our projects connect through their leaking points: our shared commitment to experimental art forms, ephemeral materials, and affective atmospheres.
A spillover is an overflow, an indication of excess, something that spreads, often uncontrollably. Although these exhibitions emerge from disparate research interests and perspectives, they build upon a series of collective debates and conversations. As such, they cannot help but bleed outward, carrying with them the ideas that have acted upon us over the past two years.
For more information, call 845-758-7598, or e-mail [email protected].
Christian/Episcopal Service
Sunday, April 28, 2024
10 am – 12 pm
Church of St John the Evangelist,1114 River Road, BarrytownJoin us for services at the Church of St. John the Evangelist (Episcopal) in Barrytown. Rides provided from the Bard Chapel at 9:45 am every Sunday throughout the academic year.
All are welcome!
Christians, non-Christians, spiritual but not religious, agnostics, believers, doubters, seekers, those who have questions about faith and religion, those struggling to understand where God is in our challenging world—anyone wanting to use their faith to change and act in the world!Sponsored by: Chaplaincy.For more information, call 203-858-8800, or e-mail [email protected].
Christian/Roman Catholic Mass
Sunday, April 28, 2024
12–2 pm
Chapel of the Holy InnocentsRoman Catholic Mass at Bard Chapel
Sundays at noon
Mass will be celebrated every Sunday during the academic semesters at noon in the Bard Chapel with prayers for healing.
Confessions will be available before Mass, and following Mass all are invited to Breaking Open the Word (a time to share what we heard God saying to our hearts in scripture).
For info contact: (fr.) Jim+ [email protected]Sponsored by: Chaplaincy.
For more information, call 203-858-8800, or e-mail [email protected].
Material as Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024
Sunday, April 28, 2024
3–7 pm
Bard Massena Campus, BarrytownThe MA Program at the Center for Human Rights & the Arts is pleased to announce Material as Witness, the thesis exhibition of the MA in Human Rights & the Arts, Class of 2024.
Material as Witness is taking place April 19–28 at Massena Campus, with one installation performance at Blithewood Lawn. The exhibition features installations, live performances, and written works by the graduating cohort. The artistic, academic, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.
Accessing Massena Campus
Massena Campus is located at 30 Seminary Dr, Barrytown, NY 12507, and has available parking. In addition, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm, 4 pm, 5 pm, and 6 pm (with the last return from Massena at 7:15 pm).
Installations & Reading Room Schedule
Massena Campus & Blithewood Lawn, Bard College, April 19–28, 3:00–7:00 pm
Performance Schedule
Friday April 19, Saturday April 20, Saturday April 27, and Sunday April 28.
The Sanguinary Cradle: Cutha
By Ciko Sidzumo
5–7 pm (durational, no need for reservations.)
The Narratives of the Moths
By Laila Sharif
3–7 pm (durational, no need for reservations.)
Where Do We Meet the Sun?
By Raneem Ayyad
3:45 pm, 5:00 pm, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun
Who Needs AI, We Need Potatoes
By Aya Rebai
3:30 pm, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes
ვითომ-ვითომ [Vitom-Vitom]
By Luka Gotsiridze
6 pm (35 minutes) Booking: bit.ly/vitom-vitom
Shroud[ed]: MH17
By Nestor Rotsen
Saturday 27 only, 8:30 pm, (35 minutes, no need for reservations.)
Thesis Project Abstracts
Camera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)
Mayss Al Alami
Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.
Designed by Our Hands
Anas Al-Khatib
Designed by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem, Palestine. Through tracing the spatial transformations of four generations of toilets, the booklet documents the histories of construction practices, tools, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees.
The “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan
Guzal Alimova
This written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire, it addresses the question of agency, marginal resistance, exploitation of body and mind, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.
Where Do We Meet the Sun?
Raneem Ayyad
Where Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation, gender discrimination, and illness enforced by the neoliberal mass-produced housing.
ვითომ-ვითომ [Vitom-Vitom]
Luka Gotsiridze
ვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table, disrupted by imaginative childhood play. Through paper-cut characters, food, and polyphonic singing, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.
In Search of Adonis_XXX
Immanuel J.
In Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment.
No One Has Stayed and No One Has Left
K.
This multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg, Russia, and Tbilisi, Georgia. Through engaging with text, images, and film, the audience is invited to reflect on the dialectical relationship between mobility and immobility, voice and silence, complicity and dissent in the context of war, imperialism, and state violence.
Cultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan
Mariia Pankova
This written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions, visual culture, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity.
Who Needs AI, We Need Potatoes
Aya Rebai
Who Needs AI, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.
Behind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine
Jina Rishmawi
This written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine.
The Narratives of the Moths
Laila Sharif
The Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.
The Sanguinary Cradle: Cutha
Ciko Sidzumo
The Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work, vocal dexterity, Trauma Release Exercise, and undulation. Beyond the performance, the installation space is open to the public as a space for reflection, grounding, and introspective movement.
Shroud[ed]: MH17
Nestor Rotsen
Shroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia, the work unfolds into an investigative installation, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires, the profound impact of the loss of 298 victims from 10 different countries, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.
For more info, please visit: https://chra.bard.edu/event/material-as-witness/Sponsored by: Center for Human Rights and the Arts.
For more information, call 518-495-9694, or e-mail [email protected].
Degree Recital: Natalia Dziubelski, french horn
Sunday, April 28, 2024
1–2:30 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, or e-mail [email protected].
Bard Community Arts Collective Presents
Hudson Valley Youth Jazz Orchestra
Sunday, April 28, 2024
4–5 pm
Olin HallDirector Dan Shaut with Roland Vazquez Band
Featuring Tristen Napoli (tpt), Nathan Childers (sax), Jessica Jones (sax), Dan Shaut (sax), Elliott Steele (pno), Nick Edwards (bss), Pito Castillo (cga), and Roland Vazquez (dms).
Celebrate Jazz Appreciation Month! Special Thanks to Local A.F.M. 238-291, La Voz, Radio Kingston, and Bridge Arts & Education for their generous support.Sponsored by: Music Program.
For more information, call 845-758-6822, or e-mail [email protected].
Degree Recital: Sarah Nalty, soprano, and Gabriele Zemaityte, piano
Sunday, April 28, 2024
5–6:30 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard Conservatory Graduate Vocal Arts Program.
For more information, call 845-758-6822, or e-mail [email protected].
Degree Recital: "Mondsternlieder" with Abbegael Greene, soprano, and Nomin Samdan, piano
Sunday, April 28, 2024
8–9:30 pm
Bitó Conservatory Building, Performance SpaceFree and open to the public.Sponsored by: Bard Conservatory Graduate Vocal Arts Program.
For more information, call 845-758-6822, or e-mail [email protected].
Meditation Group
Mondays and Thursdays 6–7 pm
Monday, April 29, 2024
6–7 pm
Center for Spiritual Life Buddhist Meditation RoomMondays Guided Meditation
6-6:15 pm Dharma words
6:15-6:45 Meditation
6:45-7 pm Walking meditation & chanting
Thursdays Silent Meditation
6-7 pm Meditation in stillness
Join at any time and stay for any length of time.
Afterwards community sangha time with refreshments.Sponsored by: Chaplaincy.
For more information, call 845-752-4619, or e-mail [email protected].
Advising Days
Monday, April 29, 2024 – Tuesday, April 30, 2024
Bard College CampusNo classes are held on advising daysSponsored by: Registrar's Office.
For more information, call 845-758-6822.
Noon Concert: Conservatory Students Perform Short Works for Cello, Piano, Violin, Voice, and Horn
Monday, April 29, 2024
12–1 pm
Bitó Conservatory Building, Performance SpaceStudents perform selections from a wide range of solo and chamber works.
Free and open to the public.
Livestreaming on the Conservatory YouTube channel.Sponsored by: Bard College Conservatory of Music.
For more information, call 845-758-6822, e-mail [email protected], or visit https://bard.edu/conservatory.
Watching Russia From Afar: Adapting to an Age of War, Repression, and Emigration
Monday, April 29, 2024
7–9 pm
W15 Cafe at Bard College Berlin (Waldstraße 15, 13156 Berlin)This event at Bard College Berlin will bring together prominent journalists, sociologists, and academics who have spent their careers tracking developments in Russian politics and society. Russia's invasion of Ukraine, and the many convulsions that have resulted, have made this work exceedingly difficult, if not impossible. Conducting interviews or field research is extraordinarily fraught. But monitoring events and developments from abroad contains no less difficulties. Led in discussion by BCB's writer-in-residence, expert panelists will discuss the adjustments in their work and share their adaptations and methodologies. What is difficult to understand without being on the ground? But at the same time, what is impossible to measure from inside Russia? What should we admit we don't and can't know? The evening promises an open, enlightening, and educational conversation for all those interested in following and making sense of events in Russia and their relevance for Western societies.
Register here.
Valerie Hopkins is an international correspondent for The New York Times, covering the war in Ukraine, as well as Russia and the countries of the former Soviet Union. She covered the Balkans and eastern Europe for a decade, most recently for the Financial Times, before moving to Moscow to join The New York Times. She is a 2022 recipient of Newswomen’s Club of New York’s Marie Colvin Award for Foreign Correspondence and the Fellowships at Auschwitz for the Study of Professional Ethics (FASPE) Distinguished Fellow Award.
Svetlana Erpyleva is a researcher with the Public Sociology Laboratory and a post-doctoral researcher at the Research Centre for East European Studies, University of Bremen. Her articles have been published in American Journal of Cultural Sociology, Childhood, Current Sociology, Journal of Youth Studies, Sociological Forums, and a number of Russian and international academic journals and media. Currently, she coordinates a large-scale research project on how Russians perceive the war in Ukraine.
Joshua Yaffa is a contributing writer for The New Yorker. He is also the author of "Between Two Fires: Truth, Ambition, and Compromise in Putin's Russia," which won the Orwell Prize in 2021. He has also written for Foreign Affairs, The New York Times, National Geographic, and other publications. He is currently the inaugural writer-in-residence at Bard College Berlin and was previously a fellow at The American Academy in Berlin.
For more information, call 845-758-6822, or e-mail [email protected].
CMIA - Digital Color
Monday, April 29, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- In Praise of Love
(Jean-Luc Godard, 2001, France/Switzerland, 96 minutes, 35mm) - Dancer in the Dark
(Lars von Trier, 2000, Denmark, 140 minutes, 35mm)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Bard Inklings
Tuesday, April 30, 2024
7–8 pm
AlbeeThe Catholic Chaplaincy invites you to experience Bard Inklings: Conversations about God, Friendship, and Meaning each Tuesday, from 7–8 pm in the Chaplaincy Office Albee Basement. For information, please email [email protected]. All are welcome!
For more information, call 845-978-6122, or e-mail [email protected].
Advising Days
Monday, April 29, 2024 – Tuesday, April 30, 2024
Bard College CampusNo classes are held on advising daysSponsored by: Registrar's Office.
For more information, call 845-758-6822.
CMIA - The Mirror
Tuesday, April 30, 2024
7–11:30 pm
Jim Ottaway Jr. Film Center- The Mirror
(Andrei Tarkovsky, 1975, USSR, 106 minutes, 35mm)
For more information, call 845-758-6822, e-mail [email protected], or visit https://www.bard.edu/cmia.
Bard GPS: Virtual Open House
Bard Graduate Programs in Sustainability holds virtual open houses for prospective students to connect with faculty and alumni.
Tuesday, April 30, 2024
7 pm
*DATE UPDATE: We've pushed the Virtual Open House from Wednesday, April 17, to Tuesday, April 30 - We hope you can join us!RSVP Here
Bard Graduate Programs in Sustainability holds virtual open houses for prospective students to learn more about graduate school options in our MBA in Sustainability and Center for Environmental Policy programs.
During these open houses, prospective students have the opportunity to meet with alumni and faculty from their program of interest. It's the perfect way to connect with the Bard GPS community, and get any questions answered about the student experience directly from those who know it best - the faculty and alumni of the programs.
WHAT WE COVER:
- Overview of graduate program offerings
- Student experience
- Alumni career outcomes
- General admissions and financial aid information
For more information, call 845-663-4197, e-mail [email protected], or visit https://connect.bard.edu/register/GPSOpenHouse_April17.