{"id":1665,"date":"2022-05-21T10:56:55","date_gmt":"2022-05-21T08:56:55","guid":{"rendered":"https:\/\/sisume.com\/?post_type=portfolio&p=1665"},"modified":"2024-12-06T10:00:05","modified_gmt":"2024-12-06T09:00:05","slug":"breaking-water","status":"publish","type":"portfolio","link":"https:\/\/sisume.com\/index.php\/portfolio\/breaking-water\/","title":{"rendered":"Breaking Water"},"content":{"rendered":"
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Breaking Water<\/i><\/span><\/span><\/h3>\n\t\t\t<\/div>\n\n\t[vc_column_text]\n
Artists
\nMartha Atienza
\nMarcos \u00c1vila Forero
\nCecilia Bengolea
\nAndrea Carlson
\nCarolina Caycedo
\nJes Fan
\nCleo Fariselli
\nSaodat Ismailova
\nJaana Laakkonen
\nCalista Lyon & Carmen Winant
\nPaul Maheke
\nJos\u00e8fa Ntjam
\nClaudia Pe\u00f1a Salinas
\nVian Sora
\nNomeda & Gediminas Urbonas<\/span><\/strong><\/h5>\n

 <\/p>\n[\/vc_column_text][vc_column_text]\n

Co-curated with <\/span>Amara Antilla<\/span><\/span><\/span><\/h5>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ el_class=”text-center” offset=”vc_hidden-sm vc_hidden-xs”]\t
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Breaking Water<\/i><\/span><\/span><\/h3>\n\t\t\t<\/div>\n\n\t[vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text]\n
Artists
\nMartha Atienza
\nMarcos \u00c1vila Forero
\nCecilia Bengolea
\nAndrea Carlson
\nCarolina Caycedo
\nJes Fan
\nCleo Fariselli
\nSaodat Ismailova
\n<\/span><\/strong><\/h5>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

\nJaana Laakkonen
\nCalista Lyon & Carmen Winant
\nPaul Maheke
\nJos\u00e8fa Ntjam
\nClaudia Pe\u00f1a Salinas
\nVian Sora
\nNomeda & Gediminas Urbonas
\n<\/span><\/strong><\/h5>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n
Co-curated with <\/span>Amara Antilla<\/span><\/span><\/span><\/h5>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604935713927{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md” css=”.vc_custom_1733475350768{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column_text]\n
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\u201cwater never really \u2018breaks\u2019 but rather shifts form, moving in and out of bodies, [and] acts as both a signal and an agent of embodied change.\u201d
\n<\/span><\/p>\n

\u2013 Carmen Winant<\/span><\/p>\n<\/blockquote>\n[\/vc_column_text]\t

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\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]Breaking Water <\/span><\/i>features work by seventeen artists in painting, sculpture, installation, and video that consider various approaches to the subjects of water, ecology, and feminism. Departing from the material properties of water as an adaptable and porous liquid that connects our bodies to the environments that sustain us, the exhibition explores wetness as a framework from which to consider our relationship to nature, other organisms, and society at large. These leaky interdependencies demonstrate humanity\u2019s entanglements with other forms of life, where water\u2014and its various formats\u2014 blood, semen, amniotic liquid, urine\u2014act as \u201cconduit[s] and mode[s] of connection\u201d. By attending to the watery origins of all creation and the water that flows through us, it becomes possible to de-center largely capitalistic, colonialist, anthropomorphic perspectives.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”80px”][vc_column_text]\n
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\u201cwater never really \u2018breaks\u2019 but rather shifts form, moving in and out of bodies, [and] acts as both a signal and an agent of embodied change.\u201d
\n<\/span><\/p>\n

\u2013 Carmen Winant<\/span><\/p>\n<\/blockquote>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”]\t

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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1671548516131{padding-top: 15vh !important;padding-bottom: 10vh !important;}”][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]Breaking Water <\/span><\/i>features work by seventeen artists in painting, sculpture, installation, and video that consider various approaches to the subjects of water, ecology, and feminism. Departing from the material properties of water as an adaptable and porous liquid that connects our bodies to the environments that sustain us, the exhibition explores wetness as a framework from which to consider our relationship to nature, other organisms, and society at large. These leaky interdependencies demonstrate humanity\u2019s entanglements with other forms of life, where water\u2014and its various formats\u2014 blood, semen, amniotic liquid, urine\u2014act as \u201cconduit[s] and mode[s] of connection\u201d. By attending to the watery origins of all creation and the water that flows through us, it becomes possible to de-center largely capitalistic, colonialist, anthropomorphic perspectives.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row el_class=”align-center” css=”.vc_custom_1671632426763{padding-top: 0vh !important;}”][vc_column css=”.vc_custom_1733475376174{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-lg vc_hidden-md”]\t
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\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]From looking at water as a primal source of life to citing mythology, animism, and indigenous knowledge, or speculating on new horizons, Andrea Carlson, Carolina Caycedo, Claudia Pe\u00f1a Salinas, Paul Maheke, Jos\u00e8fa Ntjam and Vian Sora are attentive to the ways in which water is both a site of mourning and renewal. Their work embodies efforts to reclaim water\u2019s rights and instate a more equitable and sustainable future. Recognizing the urgency of protecting the world\u2019s most precious resource and the necessary balance and vitality of aquatic ecosystems, Martha Atienza,\u00a0 Marcos \u00c1vila Forero, Saodat Ismailova and Nomeda and Gediminas Urbonas explore the ethics of water. Others, such as Cecilia Bengolea, Jes Fan, Cleo Fariselli and Jaana Laakkonen focus on water as an interface fostering interconnectedness between species, structures, and systems. Its fluidity and agility creates room for original imaginaries that de-center the human perspective and focus on coexistence and collectivity.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”align-center”][vc_column width=”1\/2″ css=”.vc_custom_1733475384717{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-sm vc_hidden-xs”]\t
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\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”120px”][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1733475391176{padding-right: 10% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”]\t
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\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”120px”][vc_column_text]From looking at water as a primal source of life to citing mythology, animism, and indigenous knowledge, or speculating on new horizons, Andrea Carlson, Carolina Caycedo, Claudia Pe\u00f1a Salinas, Paul Maheke, Jos\u00e8fa Ntjam and Vian Sora are attentive to the ways in which water is both a site of mourning and renewal. Their work embodies efforts to reclaim water\u2019s rights and instate a more equitable and sustainable future. Recognizing the urgency of protecting the world\u2019s most precious resource and the necessary balance and vitality of aquatic ecosystems, Martha Atienza,\u00a0 Marcos \u00c1vila Forero, Saodat Ismailova and Nomeda and Gediminas Urbonas explore the ethics of water. Others, such as Cecilia Bengolea, Jes Fan, Cleo Fariselli and Jaana Laakkonen focus on water as an interface fostering interconnectedness between species, structures, and systems. Its fluidity and agility creates room for original imaginaries that de-center the human perspective and focus on coexistence and collectivity.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”align-center” css=”.vc_custom_1671632453441{padding-top: 4vh !important;}”][vc_column css=”.vc_custom_1733475397368{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

Artists\u2019 Interviews<\/span><\/h3>\n[\/vc_column_text][vc_empty_space][vc_column_text]\n

Carmen Calista <\/strong>– Breaking Water<\/em><\/h4>\n\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Carmen_Calista_BreakingWater.mp3<\/a><\/audio>\n[\/vc_column_text][vc_empty_space][vc_column_text]\n

Carolina <\/strong>– Water portraits<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Carolina_WaterPortraits.mp3<\/a><\/audio>\n[\/vc_column_text][vc_empty_space][vc_column_text]\n

Claudia <\/strong>– Work<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Claudia_Work.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671613117476{padding-top: 4vh !important;padding-bottom: 4vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n

Artists\u2019 Interviews<\/span><\/h3>\n[\/vc_column_text][vc_empty_space][vc_row_inner][vc_column_inner width=”1\/3″][vc_column_text]\n

Carmen Calista <\/strong>– Breaking Water<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Carmen_Calista_BreakingWater.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text]\n

Carolina <\/strong>– Water portraits<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Carolina_WaterPortraits.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text]\n

Claudia <\/strong>– Work<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Claudia_Work.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row el_class=”align-center”][vc_column css=”.vc_custom_1733475410546{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]Continuously moved by currents, water can also be seen as an agent of change and transformation capable of eliciting alternative forms of action and knowledge production. The title, <\/span>Breaking Water<\/span><\/i>, is borrowed from a newly commissioned video installation by Calista Lyon and Carmen Winant, which mobilizes water as a catalyst for thinking about societal paradigm shifts. Juxtaposing images of \u201cwater breaking\u201d in the context of both childbirth and river restoration projects, the installation features dramatic footage of explosions and gushing water in the immediate aftermath of initiatives to liberate waterways. This imagery is punctuated by kitsch, sometimes humorous portrayals of the moment in labor when the amniotic sac ruptures. Ultimately, this exhibition is a meditation on the resilience of water, and how we can learn from that capacity to be moved and to move.<\/span>[\/vc_column_text][vc_empty_space height=”20px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”align-center” css=”.vc_custom_1671613337597{padding-top: 8vh !important;}”][vc_column width=”1\/2″ css=”.vc_custom_1733475422526{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”80px”][vc_column_text]Continuously moved by currents, water can also be seen as an agent of change and transformation capable of eliciting alternative forms of action and knowledge production. The title, <\/span>Breaking Water<\/span><\/i>, is borrowed from a newly commissioned video installation by Calista Lyon and Carmen Winant, which mobilizes water as a catalyst for thinking about societal paradigm shifts. Juxtaposing images of \u201cwater breaking\u201d in the context of both childbirth and river restoration projects, the installation features dramatic footage of explosions and gushing water in the immediate aftermath of initiatives to liberate waterways. This imagery is punctuated by kitsch, sometimes humorous portrayals of the moment in labor when the amniotic sac ruptures. Ultimately, this exhibition is a meditation on the resilience of water, and how we can learn from that capacity to be moved and to move.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1733475427600{padding-right: 10% !important;}” offset=”vc_hidden-sm vc_hidden-xs”]\t
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\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”80px”][\/vc_column][\/vc_row][vc_row el_class=”align-center”][vc_column css=”.vc_custom_1733475433054{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

Artwork Excerpt<\/span><\/h3>\n[\/vc_column_text][vc_video link=”https:\/\/vimeo.com\/420834160″][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1604937069907{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n

Artwork Excerpt<\/span><\/h3>\n[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/6″][\/vc_column_inner][vc_column_inner width=”2\/3″][vc_video link=”https:\/\/vimeo.com\/420834160″][\/vc_column_inner][vc_column_inner width=”1\/6″][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row el_class=”align-center”][vc_column css=”.vc_custom_1733475444757{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]The exhibition was accompanied by a parallel film screening program in the CAC\u2019s Black Box. It expanded on the exhibition\u2019s themes of liquidity and interconnectedness. By engaging water as an adaptable agent, the selected films consider how water\u2019s fluid nature can be activated as a means of protest, resistance, and transformation. Many of the films, like Khvay Samnang\u2019s <\/span>Popil <\/span><\/i>(2018) and Claudia Pe\u00f1a Salinas\u2019 <\/span>Metzilocan <\/span><\/i>(2019), incorporate ancestral mythologies and ritualistic practices as a postcolonial tactic. Thus, they pay tribute to sources of knowledge that exist outside of Western modernity and its imperialistic intentions. Others, such as Allora & Calzadilla\u2019s <\/span>A Man Screaming Is Not a Dancing Bear<\/span><\/i> (2008), represent water\u2019s dynamic, immersive, and potentially destructive power, which is capable of transforming a landscape and its inhabitants. <\/span>[\/vc_column_text][vc_empty_space height=”20px”]\t
\n\t\t\t\n\t\t\t
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\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]Addressing the age of the Anthropocene, in which human activity has irreversibly affected the <\/span>climate, several of the films also examine the eco-ethics of water in pursuit of environmental <\/span>justice. Indigenous communities have been disproportionately displaced by these ecological <\/span>changes, illustrating how the present climate crisis is tied to violent histories of settler colonialism\u2014the forced migration and genocide of Indigenous peoples. By reflecting on issues of ecological crises and the preciousness of water, several of the films within this series, including Carolina Caycedo\u2019s <\/span>A Gente Rio (The People River) <\/span><\/i>(2016) and Marianne Fahmy\u2019s<\/span> what things may come<\/span><\/i> (2019), imagine alternative solutions for an equitable and sustainable future. The exhibition\u2019s screening program engages feminist theories, interspecies relationships, and Indigenous histories to consider water as a source of life that is perpetually adapting to its environment, forming boundless liquid connections.<\/span>[\/vc_column_text][vc_empty_space height=”20px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1671616351684{padding-top: 4vh !important;padding-bottom: 4vh !important;}”][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”160px”][vc_row_inner][vc_column_inner][vc_column_text]The exhibition was accompanied by a parallel film screening program in the CAC\u2019s Black Box. It expanded on the exhibition\u2019s themes of liquidity and interconnectedness. By engaging water as an adaptable agent, the selected films consider how water\u2019s fluid nature can be activated as a means of protest, resistance, and transformation. Many of the films, like Khvay Samnang\u2019s <\/span>Popil <\/span><\/i>(2018) and Claudia Pe\u00f1a Salinas\u2019 <\/span>Metzilocan <\/span><\/i>(2019), incorporate ancestral mythologies and ritualistic practices as a postcolonial tactic. Thus, they pay tribute to sources of knowledge that exist outside of Western modernity and its imperialistic intentions. Others, such as Allora & Calzadilla\u2019s <\/span>A Man Screaming Is Not a Dancing Bear<\/span><\/i> (2008), represent water\u2019s dynamic, immersive, and potentially destructive power, which is capable of transforming a landscape and its inhabitants. <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”80px”]\t
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\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”80px”]\t
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\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”60px”][vc_row_inner][vc_column_inner][vc_column_text]Addressing the age of the Anthropocene, in which human activity has irreversibly affected the <\/span>climate, several of the films also examine the eco-ethics of water in pursuit of environmental <\/span>justice. Indigenous communities have been disproportionately displaced by these ecological <\/span>changes, illustrating how the present climate crisis is tied to violent histories of settler colonialism\u2014the forced migration and genocide of Indigenous peoples. By reflecting on issues of ecological crises and the preciousness of water, several of the films within this series, including Carolina Caycedo\u2019s <\/span>A Gente Rio (The People River) <\/span><\/i>(2016) and Marianne Fahmy\u2019s<\/span> what things may come<\/span><\/i> (2019), imagine alternative solutions for an equitable and sustainable future. The exhibition\u2019s screening program engages feminist theories, interspecies relationships, and Indigenous histories to consider water as a source of life that is perpetually adapting to its environment, forming boundless liquid connections.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row el_class=”align-center”][vc_column css=”.vc_custom_1733475463264{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

Artists\u2019 Interviews<\/span><\/h3>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]\n

Cleo <\/strong>– Fluidity<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Cleo_fluidity.mp3<\/a><\/audio>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]\n

Jaana <\/strong>– Not solving<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Jaana_NotSolving.mp3<\/a><\/audio>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]\n

Jaana <\/strong>– Representation<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Jaana_Representation.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671549572334{padding-top: 10vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n

Artists\u2019 Interviews<\/span><\/h3>\n[\/vc_column_text][vc_empty_space][vc_row_inner][vc_column_inner width=”1\/3″][vc_column_text]\n

Cleo <\/strong>– Fluidity<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Cleo_fluidity.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text]\n

Jaana <\/strong>– Not solving<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Jaana_NotSolving.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text]\n

Jaana <\/strong>– Representation<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Jaana_Representation.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row el_class=”align-center”][vc_column css=”.vc_custom_1733475476778{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

Installation Videos<\/span><\/h3>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]\n
\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Breaking-Water-timelapse.mp4<\/a><\/video><\/div>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]\n
https:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/LYON-20220503.mp4<\/a><\/video><\/div>\n[\/vc_column_text][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671618578244{padding-top: 10vh !important;padding-bottom: 14vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n

Installation Videos<\/span><\/h3>\n[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text]\n
https:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Breaking-Water-timelapse.mp4<\/a><\/video><\/div>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n
https:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/LYON-20220503.mp4<\/a><\/video><\/div>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row thb_full_width=”true” thb_row_padding=”true” thb_column_padding=”true”][vc_column offset=”vc_hidden-sm vc_hidden-xs”]\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\t<\/div>\n\t[vc_row_inner][vc_column_inner][vc_column_text]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671618243460{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md” css=”.vc_custom_1733475498860{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column_text]\n

Detailed Screening Program<\/span><\/h3>\n

May
\n<\/strong>Claudia Pe\u00f1a Salinas, <\/span>Metzilocan <\/span><\/i>(2019)
\n<\/span>Shirley Bruno, <\/span>Tezen <\/span><\/i>(2016)
\n<\/span>Claudia Pe\u00f1a Salinas, <\/span>Tlachacan <\/span><\/i>(2017)
\n<\/span>Tash Naveau, <\/span>Menaptwi (Smoked)<\/span><\/i> (2018)<\/span><\/p>\n

June
\n<\/strong>Arjuna Neuman and Denise Ferreira da Silva, <\/span>4 Waters \u2014 Deep Implicancy<\/span><\/i> (2018)
\n<\/span>Carolina Caycedo, <\/span>A Gente Rio (The People River) <\/span><\/i>(2016)
\n<\/span>Tabita Rezaire, <\/span>Deep Down Tidal <\/span><\/i>(2017)<\/span><\/p>\n

July
\n<\/strong>Marianne Fahmy, <\/span>what things may come<\/span><\/i> (2019)
\n<\/span>Elsa Br\u00e8s, <\/span>Sweat <\/span><\/i>(2020)
\n<\/span>Jennifer Allora and Guillermo Calzadilla, <\/span>A Man Screaming Is Not a Dancing Bear<\/span><\/i> (2008)
\n<\/span>Khvay Samnang, <\/span>Popil <\/span><\/i>(2018)<\/span><\/p>\n

August
\n<\/strong>Sky Hopinka, <\/span>ma\u026cni \u2014 towards the ocean, towards the shore <\/span><\/i>(2020)<\/span>[\/vc_column_text][vc_empty_space height=”20px”]\t

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\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671617442797{padding-top: 6vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_row_inner][vc_column_inner width=”1\/2″]\t
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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

Detailed Screening Program<\/span><\/h3>\n

May
\n<\/strong>Claudia Pe\u00f1a Salinas, <\/span>Metzilocan <\/span><\/i>(2019)
\n<\/span>Shirley Bruno, <\/span>Tezen <\/span><\/i>(2016)
\n<\/span>Claudia Pe\u00f1a Salinas, <\/span>Tlachacan <\/span><\/i>(2017)
\n<\/span>Tash Naveau, <\/span>Menaptwi (Smoked)<\/span><\/i> (2018)<\/span><\/p>\n

June
\n<\/strong>Arjuna Neuman and Denise Ferreira da Silva, <\/span>4 Waters \u2014 Deep Implicancy<\/span><\/i> (2018)
\n<\/span>Carolina Caycedo, <\/span>A Gente Rio (The People River) <\/span><\/i>(2016)
\n<\/span>Tabita Rezaire, <\/span>Deep Down Tidal <\/span><\/i>(2017)<\/span><\/p>\n

July
\n<\/strong>Marianne Fahmy, <\/span>what things may come<\/span><\/i> (2019)
\n<\/span>Elsa Br\u00e8s, <\/span>Sweat <\/span><\/i>(2020)
\n<\/span>Jennifer Allora and Guillermo Calzadilla, <\/span>A Man Screaming Is Not a Dancing Bear<\/span><\/i> (2008)
\n<\/span>Khvay Samnang, <\/span>Popil <\/span><\/i>(2018)<\/span><\/p>\n

August
\n<\/strong>Sky Hopinka, <\/span>ma\u026cni \u2014 towards the ocean, towards the shore <\/span><\/i>(2020)<\/span>[\/vc_column_text][vc_empty_space height=”40px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671618243460{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md” css=”.vc_custom_1733475516491{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column_text]\n

Artists\u2019 Interviews<\/span><\/h3>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]\n

Paul <\/strong>– Water emotion<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Paul_WaterEmotion.mp3<\/a><\/audio>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]\n

Saodat <\/strong>– Breaking water<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Saodat_BreakingWater.mp3<\/a><\/audio>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]\n

Vian <\/strong>– Dichotomy<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Vian_Dichotomy.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671549572334{padding-top: 10vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n

Artists\u2019 Interviews<\/span><\/h3>\n[\/vc_column_text][vc_empty_space][vc_row_inner][vc_column_inner width=”1\/3″][vc_column_text]\n

Paul <\/strong>– Water emotion<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Paul_WaterEmotion.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text]\n

Saodat <\/strong>– Breaking water<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Saodat_BreakingWater.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text]\n

Vian <\/strong>– Dichotomy<\/em><\/h4>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2022\/12\/Vian_Dichotomy.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671618243460{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md” css=”.vc_custom_1733475535376{padding-right: 5% !important;padding-left: 5% !important;}”]\t
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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”20px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”20px”]\t
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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]Breaking Water <\/span><\/i>concluded with a publication opened by an introductory essay by Amara Antilla and Clelia Coussonnet, and a glossary written in collaboration with the Singapore Art Museum, including terms such as aquapelagic, leaky bodies, hydrofeminism, wet ontologies, liquid interfaces, underwater communication, and more. It also features essays on each artist by contributors Amara Antilla, Diana B. Campbell, Clelia Coussonnet, Chandra Frank, Stefanie Hessler, Stephanie Kang and Roxane T. Ornelas.\u00a0<\/span>[\/vc_column_text]\t\n\t\tDOWNLOAD THE PUBLICATION<\/span>\n\t\t\t\t<\/a>\n\n\t[\/vc_column][\/vc_row][vc_row el_class=”align-center” css=”.vc_custom_1633508852198{padding-top: 10vh !important;}”][vc_column width=”1\/2″ css=”.vc_custom_1733475543018{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”]\t
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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”80px”]\t
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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”40px”][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1733475548332{padding-right: 10% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”80px”]\t
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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”120px”][vc_row_inner][vc_column_inner][vc_column_text]Breaking Water <\/span><\/i>concluded with a publication opened by an introductory essay by Amara Antilla and Clelia Coussonnet, and a glossary written in collaboration with the Singapore Art Museum, including terms such as aquapelagic, leaky bodies, hydrofeminism, wet ontologies, liquid interfaces, underwater communication, and more. It also features essays on each artist by contributors Amara Antilla, Diana B. Campbell, Clelia Coussonnet, Chandra Frank, Stefanie Hessler, Stephanie Kang and Roxane T. Ornelas.\u00a0<\/span>[\/vc_column_text]\t\n\t\tDOWNLOAD THE PUBLICATION<\/span>\n\t\t\t\t<\/a>\n\n\t[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671618243460{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md” css=”.vc_custom_1733475554785{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column_text]\n

Artworks Excerpts<\/span><\/h3>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_video link=”https:\/\/vimeo.com\/386628114″][vc_empty_space height=”20px”][vc_video link=”https:\/\/vimeo.com\/169063216″][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671549572334{padding-top: 10vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n

Artworks Excerpts<\/span><\/h3>\n[\/vc_column_text][vc_empty_space][vc_row_inner][vc_column_inner width=”1\/2″][vc_video link=”https:\/\/vimeo.com\/386628114″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_video link=”https:\/\/vimeo.com\/169063216″][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column offset=”vc_hidden-lg vc_hidden-md” css=”.vc_custom_1733475570724{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column_text]\n

Cincinnati Contemporary Arts Center, USA<\/strong><\/h3>\n

May 6 – August 14, 2022<\/span>[\/vc_column_text]\t\n\t\tTO THE VENUE'S WEBSITE<\/span>\n\t\t\t\t<\/a>\n\n\t[vc_empty_space height=”20px”]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]Breaking Water<\/span><\/i> received special sponsorship by the Andy Warhol Foundation for the Visual Arts, the FACE Foundation, the Finnish Cultural Foundation, Frame Contemporary Art Finland, the National Endowment for the Arts and Sue Friedlander.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1671617478388{padding-top: 6vh !important;}”][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”]\t
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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text css=”.vc_custom_1671721094462{padding-top: 10px !important;}”]\n
\u00a9Wes Batoclette<\/h6>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_row_inner][vc_column_inner][vc_column_text]\n

Cincinnati Contemporary Arts Center, USA<\/strong><\/h3>\n

May 6 – August 14, 2022<\/span>[\/vc_column_text]\t\n\t\tTO THE VENUE'S WEBSITE<\/span>\n\t\t\t\t<\/a>\n\n\t[vc_empty_space height=”50px”][vc_column_text]Breaking Water<\/span><\/i> received special sponsorship by the Andy Warhol Foundation for the Visual Arts, the FACE Foundation, the Finnish Cultural Foundation, Frame Contemporary Art Finland, the National Endowment for the Arts and Sue Friedlander.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1671632547403{padding-bottom: 2vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

Related projects \u2014<\/span> Waters
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La Rose de J\u00e9richo \u2013 Aur\u00e9lia Zahedi<\/h6>\n\t\t\t\t\t\t