Open on Wednesday, Thursday, Saturday and Sunday
from 1–5 pm plus appointments. Discover a transformative experience at the final exhibition of 2023 Shared Dialogue, Shared Space collaboration between Korea Art Forum (KAF) and Immigrant Social Services (ISS). See event page for full calendar of events.
Tue. Feb. 13 – 6 PM Midtown South Community Coalition: Health Before Profits Location: The People’s Forum, 320 W 37th St, New York, NY 10018 Accessibility protocols: Masks available
Richard Shpuntoff will introduce his 2016 documentary prior to the screening at Queensborough Performing Arts Center (QPAC).
Tue. Feb. 20 – 6 PM Midtown South Community Coalition: Rent is Too Damned High Location: The People’s Forum 320 W 37th St, New York, NY 10018
Four FREE Live Professional Performances of a Radio Play version of Julio Ain’t Goin’ Down Like That by C. Julian Jiménez: It is the morning after the brutal murder of Julio Rivera, a gay Puerto Rican man in Jackson Heights, Queens. The murder became the first gay hate crime tried in New York State during the 1990s. In ‘Julio Ain’t Goin’ Down Like That,’ the community reacts and is taken on a journey of self-discovery by a fabulously unapologetic queen personifying the beauty and brutality of Jackson Heights.
EMAP member NeMe is happy to invite you to an open webinar on media (arts) and politics. The webinar will consist of talks by SPCUNY co-director Gregory Sholette, Rachel O’Dwyer, and !Mediengruppe Bitnik, and will span subjects that will discuss the relation of art and whistleblowing, the social obligation of the artists now, the blockchain based so called opportunities for artists, and how artistic practice can expand from the digital into the physical space.
Led by Chloë Bass, Associate Professor at Queens College CUNY and co-director of Social Practice CUNY, alongside special guest Aaron Landsman, a distinguished performance-maker, writer, and educator, Wrong Criticism Magazine presents an opportunity to engage in productive mistakes. Delve into the realm of conceptual humor turned reality during a series of conversational evenings revisiting forms of faulty critical thinking, now more pertinent in 2024 than ever before.
Over the past decade, at least a thousand people (among them philosophers, office workers, professional dancers, scientists, students, and artists) have participated in Parliament sessions from Athens to NYC. For all its potency, Parliament resists any attempt to describe what it is. It resists authorship too. Choreographer and artist Michael Kliën prefers to say he discovered it, or wished for it, from within “a felt urgency that things are just not sustainable." The Martin E. Segal Center is proud to present the third New York iteration of Parliament in cooperation with Social Practice CUNY. RSVP required.
Choreographer and artist Michael Kliën will speak about Parliament and his practice of social choreography that he has developed at the Laboratory for Social Choreography at Duke University. He will be joined by SPCUNY Faculty Fellow Emily Raboteau and Cory Tamler, author of A Permanent Parliament: Notes on Social Choreography (2022). Co-presented with the Martin E. Segal Theatre Center. Open to the public, no RSVP required.
In a time when students and museum professionals are questioning the structures and even the founding principles of older museums and cultural institutions, this program looks at the more recent creation of the American LGBTQ+ Museum in New York City. Featuring Ben Garcia, the Museum’s Executive Director and Suhaly Bautista-Carolina, Director of Public Programs & Partnership.
Book launch for SPCUNY Faculty Fellow Emily Raboteau's highly-anticipated collection of essays, LESSONS FOR SURVIVAL: Mothering Against "the Apocalypse" at the Center for Fiction.
This presentation analyzes the socially transformative potential of artistic practice to confront dictatorial and neoauthoritarianism in historical and contemporary times. By engaging with a variety of interconnected case studies in Southern Europe, the Americas, and Africa, the aim is to challenge the centrality of Western-based genealogies within the histories of political and socially engaged art.
