Home City park City Life Org – 2022 High Line Channels Video Program Announcement

City Life Org – 2022 High Line Channels Video Program Announcement


Cannupa Hanska Luger, We Live – Future Ancestral Technologies Entry Log, 2019. Courtesy of the artist.

Featuring art by Kevin Jerome Everson, Ilana Harris-Babou, Jasmina Cibic, Cheng Ran, and more

Evenings on the High Line at 14th Street

High Line Art announces the 2022 season of exhibitions for High Line Channels – an ongoing series of video projections in the semi-enclosed High Line Passageway at 14th Street. High Line Channels is the only video program in a New York City park available 365 days a year and features emerging and established artists from around the world. Rotating every two months, this year’s program includes solo presentations by Kevin Jerome Everson, Ilana Harris-Babou, Jasmina Cibic and Cheng Ran, as well as a thematic group exhibition, Spiritual Technology.

The films and videos presented by these artists explore a wide range of themes: birds and our relationship to wild nature with Kevin Jerome Everson; self-improvement and the culture of well-being with Ilana Harris-Babou; how governments assert their power and values ​​through architecture with Jasmina Cibic; the poetics of daily life in China with Cheng Ran in the American premiere, and the relationship between techno utopias and psychic connections to the earth in Spiritual Technology. In addition to these five shows, a sixth program, High Line Originals’ next commissioned film, will be announced in the coming months. High Line Channels is curated by Melanie Kress, High Line Art Associate Curator.

Kevin Jerome Everson
state bird
From January 6 to March 16, 2022

Kevin Jerome Everson (born 1965 in Mansfield, Ohio) is a Charlottesville, Virginia-based artist and professor of art at the University of Virginia. Everson, whose practice encompasses printmaking, photography, sculpture, and film, makes works that reflect gestures or tasks caused by certain conditions in the lives of working-class African Americans and other people from African ancestry. Everson’s sculptures are often casts of everyday objects made in factories in his Ohio hometown.

For the High Line, Everson presents four films: Brown Thrasher (2020), Mockingbird, (2020), Cardinal (2019); and The Foothills of the Allegheny Plateau (2019). The films begin with a pair of binoculars made in the Mansfield Ohio Westinghouse factory during World War II (where the artist was briefly employed) which Everson cast in bronze and rubber, rendering them useless. Everson set the films in Georgia, Mississippi, and Ohio (the first three films are named after the state birds of those locations), inviting family members to “search” for birds with the props. Everson limits these films to the extreme foreground, depriving viewers of any clarity as to the exact location of filming.

Displayed on the High Line from winter to early spring, the exhibit brings brightness to winter days in the park and ushers us into the season when the birds begin to sing again in New York and the park anime.

Ilana Harris Babou
help yourself
From March 17 to May 11, 2022

Ilana Harris-Babou (born 1991 in Brooklyn, New York) is an artist who lives and works in Brooklyn. Harris-Babou is known for her videos that parody reality TV tropes such as cooking and DIY shows, and feature her and her mother, Sheila Harris. Through her videos and sculptures, she focuses on “self-improvement” and how aspirations for health and well-being become moral decisions in contemporary culture. Particularly in Harris-Babou’s more recent work, she shifts her frame to ask how inequality in the United States is framed as a failure of personal decision-making and commitments to well-being.

For the High Line, Harris-Babou shares four films: In Cooking with the Erotic (2016), the artist and her mother use real food, art supplies and building materials to provide tutorials on absurd concoctions . Finishing a Raw Basement (2017) is filled with buzzwords like “modern”, “transitional” and “classic” alongside Harris’ calls for reparations. In Fine Lines (2020), Harris performs her beauty routine tutorial for a meeting with a real estate developer who is trying to buy her house in Brooklyn. For Leaf of Life (2021), Harris-Babou interviewed her sister about her experience working as a wry medical professional, as well as diet and wellness practices following the health guru, herbalist and popular healer, Dr. Sebi.

Jasmina Cibic
Halls of power
From July 7 to September 14, 2022

Jasmina Cibic (b. 1979, Slovenia) works in film, sculpture, performance and installation to explore “soft power” and the ways in which governments use state-sanctioned culture – dance, music , painting and architecture – to communicate certain principles and aspirations. She begins her projects in the archives, researching moments in history through what she calls “historical readymades”: speeches, minutes of government meetings, architectural plans, or even dances or songs that reflect the government values. His works often focus on how modernist architecture was used to establish various state identities, especially during times of ideological and political crises.

On the High Line, Cibic shares three films. In The Pavilion (2015), five dancers assemble an architectural model that merges two buildings created to house patriarchal longing: the pavilion of the Kingdom of Yugoslavia built for the 1929 Barcelona EXPO and the unrealized house of iconic performer Josephine Baker designed by Austrian architect Adolf Loos. Nada: Act II (2017) recreates famous Hungarian composer Béla Bartók’s 1924 pantomime ballet The Miraculous Mandarin, selected by Yugoslavia to represent its new political and aesthetic direction at the 1958 Brussels EXPO. State of Illusion (2018 ) posits the vanishing act of a nation-state – the former socialist Yugoslavia – as a magician’s illusion.

Taking place on the High Line, a remnant of an infrastructure that has become a civic monument to be reused industrially, this exhibition invites us to reflect on how the buildings and structures that surround us reflect the values ​​of those who build them.

Cheng Ran
Chung Kuo (Ck2k2x)
From September 15 to November 9, 2022

Cheng Ran (b. 1981, Inner Mongolia, China) lives and works in Hangzhou, China. He is best known for his poetic films and videos that depict specific places and the experience of living there. Cheng staged some of his early video works in his apartment, on the streets of Amsterdam, while driving through Iceland, telling big truths through the mundane poetry of everyday life. His works have since expanded into multi-channel immersive installations and epic films that contrast with historical sagas and rapid modernization.

For the High Line, Cheng presents the American premiere of his feature film Chung Kuo (Ck2k2k) (2017-2022). The film revisits the controversial documentary portrait of the famous Italian filmmaker Michaelangelo Antonioni, Chung Kuno—Cina (1972). Anotioni filmed the work at the invitation of the Chinese government, but focused on those believed to have been on the sidelines of his official tour. The final film sparked outrage from Chinese cultural critics and the general public for its failure to paint an accurate portrait of the country.

Cheng’s film offers a new portrait of contemporary China, opening with the question “Is this another dream? The film includes 100 short, documentary-style videos, each ranging from a few seconds to almost an hour. Set among skyscrapers, farmland, and wilderness, some of the clips are staged while others are candid. With this work, the artist records the present and imagines the future ghosts of modernization.

Spirit Technology
November 10, 2022–January 4, 2023

Spiritual Technology features three artists who explore how the relationship between spirituality and technology evolves over time, including the connections between science, myths, belief systems, and our connection to the planet. Science fiction offers a mirror to our future potentials and our present. The works in this exhibition unravel the tensions between techno-utopian promises and intuitive connections to the biological world.

Canupa Hanska Luger‘s (born 1979, Standing Rock Reservation, North Dakota) We Live Future Ancestral Technologies Entry Log (2019) is an Indigenous sci-fi film in which two characters perform earthly rituals, wearing insignia that cut the senses . The film depicts a mass exodus from the land by those who destroyed much of it and those who stayed to fix it. Ursule Mayer‘s (born 1970, Ried im Innkreis, Austria) Atom Spirit (2016) is also set in the near future, one of increasing biomedical innovation. Made with individuals from Trinidad and Tobago’s LGBT community, the work follows a group of evolutionary geneticists creating a cryogenic arc of DNA from all life forms on the islands. In Suzanne Treister‘s (b. 1958, London, England) HFT The Gardener (2015), Hillel Fisher Traumberg is a stock trader who experiences hallucinogenic states while observing high-frequency trading chart patterns. Extensive research into psychoactive drugs turns Traumberg into an outsider shamanic techno artist, linking psychoactive plant names to Financial Times Global 500 companies in a search for the true nature of consciousness.

Founded in 2009, High Line Art commissions and produces a wide range of artwork, including site-specific commissions, exhibitions, performances, video programs and a series of billboard interventions. . Led by Cecilia Alemani, Director and Chief Curator of Donald R. Mullen, Jr. of High Line Art, and presented by High Line, the arts program invites artists to think about creative ways to engage with architecture, unique history and design. of the park and to foster a productive dialogue with the surrounding neighborhood and urban landscape.

For more information on High Line Art, please visit thehighline.org/art.

The High Line is both a non-profit organization and a public park located on the West Side of Manhattan. Through our work with communities on and off the High Line, we are dedicated to reinventing public spaces to create connected and healthy neighborhoods and cities.

Built on an elevated historic rail line, the High Line was always meant to be more than a park. You can stroll the gardens, view artwork, catch a performance, enjoy food and drink, or connect with friends and neighbors, all while enjoying a unique perspective of New York City.

Nearly 100% of our annual budget comes from donations. The High Line is owned by the City of New York and we operate under a license agreement with NYC Parks.

Main support for High Line Art comes from Amanda and Don Mullen. Major support for High Line Art is provided by Shelley Fox Aarons and Philip E. Aarons, the Brown Foundation, Inc. of Houston, and the Charina Endowment Fund. High Line Art is supported, in part, by public funds from the New York State Council for the Arts with support from Governor Kathy Hochul and the New York State Legislature, and the Department of Cultural Affairs of New York City in partnership with the New York City Council.


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