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DTSTART;TZID=America/New_York:20251214T190000
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SUMMARY:CRS Presents Crossing Boundaries 25: When the Ancestors Speak by Jen Shyu\, Sumi Tonooka\, and Val Jeanty
DESCRIPTION:CRS (Center for Remembering & Sharing) presents Crossing Boundaries 25: When the Ancestors Speak on Sunday\, December 14\, 2025\, at 7 pm at Greenwich House Music Hall. Curated by Jen Shyu\, this work by Jen Shyu (vocals\, Taiwanese moon lute\, Japanese biwa\, Korean gayageum)\, Sumi Tonooka (piano)\, and Val Jeanty (SoundChemist) explores the theme of immigration\, growing out of their own rich multi-ethnic family and musical histories\, from Africa\, Japan\, Timor\, Taiwan\, Haiti\, and beyond. This concert mixes music with movement and text\, further developing material which was first introduced during Jen Shyu’s 2023 residency at The Stone and expanded upon that fall in Crossing Boundaries 20. (Trio photo by Mariana Meraz) \nTICKET LINK:\nhttps://www.eventbrite.com/e/when-the-ancestors-speak-by-jen-shyu-sumi-tonooka-and-val-jeanty-tickets-1860031316739\n \nVENUE LOCATION:\nGreenwich House Music School\n46 Barrow Street\nNew York\, NY 10014 \nDIRECTIONS:\nGreenwich House Music School is located in the West Village just west of Seventh Avenue. The Music Hall is located on the second floor\, and there is no elevator or wheelchair access. \nNEAREST SUBWAY STATIONS:  \nThe nearest MTA station is the 1/9 station at Christopher Street – Sheridan Square. \nABOUT CROSSING BOUNDARIES CONCERT SERIES \nCROSSING BOUNDARIES is a concert series devoted to dissolving boundaries between performers and audiences\, the traditional and contemporary\, classical and experimental\, and the culturally specific and the global. Series curators are empowered to create unique performance events in collaboration with musical\, visual\, and/or movement artists of their choosing. The series was conceived in 2018 by the Korean traditional wind player and composer gamin\, who has continued to help curate the series each year. https://crsny.org/crossing-boundaries-concert-series/ \nCrossing Boundaries is made possible in part with funds from Creative Engagement\, a regrant program administered by the Lower Manhattan Cultural Council (LMCC) and supported by the New York City Department of Cultural Affairs (DCLA) in partnership with the City Council and the New York State Council on the Arts with the support of the office of the Governor and the New York State Legislature. LMCC empowers artists by providing them with networks\, resources\, and support to create vibrant\, sustainable communities in Manhattan and beyond. \nABOUT THE ARTISTS \nJen Shyu photo by Daniel Reichert \nRome Prize\, Guggenheim\, and USA Fellow\, Doris Duke Artist\, multilingual multidisciplinary artist Jen Shyu was born in Peoria\, Illinois to Taiwanese and East Timorese immigrants. She has produced eight albums and a single available on her record label Autumn Geese Records. She’s performed at Carnegie Hall\, Lincoln Center\, Metropolitan Museum of Art\, National Theater of Korea\, Rubin Museum\, was named Downbeat’s 2017 Rising Star Female Vocalist\, and is a Fulbright scholar speaking 10 languages. She’s worked with such musical innovators as Sumi Tonooka\, Terri Lyne Carrington\, Nicole Mitchell\, Val Jeanty\, Ikue Mori\, Zeena Parkins\, Linda May Han Oh\, Kris Davis\, Wadada Leo Smith\, Mark Dresser\, Francis Wong\, Jon Jang\, Vijay Iyer\, Kenny Barron\, Reggie Workman\, Bill Frisell\, and Immanuel Wilkins. Her “Song of Silver Geese” was among The New York Times’ “Best Albums of 2017.” Her third solo production and album “Zero Grasses: Ritual for the Losses” (commissioned by John Zorn) has received wide critical acclaim\, with “When I Have Power” NPR’s “Best Songs of 2021.” She is a Paul Simon Music Fellows Guest Artist\, a Steinway Artist and co-founder with Sara Serpa of M³ (Mutual Mentorship for Musicians). @jenshyu\, https://www.jenshyu.com \nSumi Tonooka photo by Karen Sterling \n2023 Pew Fellowship Awardee Sumi Tonooka has been called a “fierce\, fascinating composer pianist” Jazz Times “provocative and compelling” New York Times. With 15 recordings to her name and a vast catalogue of compositions and award winning works in genres symphonic\, chamber\, dance and film\, she continues to be a creative force. Recently\, Tonooka was a winning finalist for the Emerging Black Composers Project to compose her fourth symphony\, Only The Midnight Sky and Silent Stars premiered by the San Francisco Conservatory in February 2023. She is also a 2021 recipient of the Doris Duke\, Creative Inflections Grant\, with vocalist/composer Jen Shyu\, for In The Green Room\, inspired by the stories of Asian and African American women in Jazz. She was awarded the Chamber Music America New Jazz Works grant in 2019\, premiering later this year for her trio plus Alchemy Sound Project\, a composers collective that she started in 2015. @sumitonooka\, http://sumitonooka.com \n  \nVAL Jeanty photo by Richard Louissaint \nVal Jeanty is a Grammy-winning Afro-Electronica composer\, turntablist\, and SoundChemist whose work bridges ancestral Haitian Vodou traditions with experimental electronic soundscapes. A professor at Berklee College of Music\, Jeanty has performed at the Whitney Museum\, the Museum of Modern Art in New York City\, and internationally at the Venice Biennale in Italy and Haus der Kulturen der Welt in Berlin. A recipient of the 2024 United States Artists Fellowship\, the 2019 NYSCA/Roulette Residency\, and the 2022 NYC/CBA Toulmin Fellowship\, Jeanty continues to expand the frontiers of sonic expression while honoring her Haitian heritage. @valjeanty\, https://val-inc.bandcamp.com/ \n\n\n\n\n  \n  \n  \nABOUT THE PRESENTER \nCRS (CENTER FOR REMEMBERING & SHARING) is a Manhattan- and Tokyo-based arts and spiritual center founded in 2004 by Yasuko Kasaki and Christopher Pelham. Rooted in the non-dualistic teachings of A Course in Miracles (ACIM)\, CRS offers spiritual counseling\, healing\, and mind-training courses to practitioners around the world. The Center uses the arts as a vehicle for achieving awakening\, unity\, and peace. By producing exhibitions\, performances\, and an online arts magazine (onlylove.ART)\, and providing support for individual artists and partner organizations like Mutual Mentorship for Musicians (M³) and Kotohogi\, CRS empowers a diverse\, international community of artists to experiment\, collaborate\, and share their visions. https://crsny.org
URL:https://crsny.org/event/crs-presents-crossing-boundaries-25-when-the-ancestors-speak-by-jen-shyu-sumi-tonooka-and-val-jeanty/
LOCATION:Greenwich House Music Hall\, 46 Barrow Street\, New York\, 10014
CATEGORIES:Concert,Crossing Boundaries,CRS Presents
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=DESCRIPTION:CRS (Center for Remembering & Sharing) presents Crossing Boundaries 25: When the Ancestors Speak on Sunday December 14 2025 at 7 pm at Greenwich House Music Hall. Curated by Jen Shyu this work by Jen Shyu (vocals Taiwanese moon lute Japanese biwa Korean gayageum) Sumi Tonooka (piano) and Val Jeanty (SoundChemist) explores the theme of immigration growing out of their own rich multi-ethnic family and musical histories from Africa Japan Timor Taiwan Haiti and beyond. This concert mixes music with movement and text further developing material which was first introduced during Jen Shyu’s 2023 residency at The Stone and expanded upon that fall in Crossing Boundaries 20. (Trio photo by Mariana Meraz) \nTICKET LINK:\nhttps://www.eventbrite.com/e/when-the-ancestors-speak-by-jen-shyu-sumi-tonooka-and-val-jeanty-tickets-1860031316739\n \nVENUE \nGreenwich House Music School\n46 Barrow Street\nNew York NY 10014 \nDIRECTIONS:\nGreenwich House Music School is located in the West Village just west of Seventh Avenue. The Music Hall is located on the second floor and there is no elevator or wheelchair access. \nNEAREST SUBWAY STATIONS:  \nThe nearest MTA station is the 1/9 station at Christopher Street – Sheridan Square. \nABOUT CROSSING BOUNDARIES CONCERT SERIES \nCROSSING BOUNDARIES is a concert series devoted to dissolving boundaries between performers and audiences the traditional and contemporary classical and experimental and the culturally specific and the global. Series curators are empowered to create unique performance events in collaboration with musical visual and/or movement artists of their choosing. The series was conceived in 2018 by the Korean traditional wind player and composer gamin who has continued to help curate the series each year. https://crsny.org/crossing-boundaries-concert-series/ \nCrossing Boundaries is made possible in part with funds from Creative Engagement a regrant program administered by the Lower Manhattan Cultural Council (LMCC) and supported by the New York City Department of Cultural Affairs (DCLA) in partnership with the City Council and the New York State Council on the Arts with the support of the office of the Governor and the New York State Legislature. LMCC empowers artists by providing them with networks resources and support to create vibrant sustainable communities in Manhattan and beyond. \nABOUT THE ARTISTS \nJen Shyu photo by Daniel Reichert \nRome Prize Guggenheim and USA Fellow Doris Duke Artist multilingual multidisciplinary artist Jen Shyu was born in Peoria Illinois to Taiwanese and East Timorese immigrants. She has produced eight albums and a single available on her record label Autumn Geese Records. She’s performed at Carnegie Hall Lincoln Center Metropolitan Museum of Art National Theater of Korea Rubin Museum was named Downbeat’s 2017 Rising Star Female Vocalist and is a Fulbright scholar speaking 10 languages. She’s worked with such musical innovators as Sumi Tonooka Terri Lyne Carrington Nicole Mitchell Val Jeanty Ikue Mori Zeena Parkins Linda May Han Oh Kris Davis Wadada Leo Smith Mark Dresser Francis Wong Jon Jang Vijay Iyer Kenny Barron Reggie Workman Bill Frisell and Immanuel Wilkins. Her “Song of Silver Geese” was among The New York Times’ “Best Albums of 2017.” Her third solo production and album “Zero Grasses: Ritual for the Losses” (commissioned by John Zorn) has received wide critical acclaim with “When I Have Power” NPR’s “Best Songs of 2021.” She is a Paul Simon Music Fellows Guest Artist a Steinway Artist and co-founder with Sara Serpa of M³ (Mutual Mentorship for Musicians). @jenshyu https://www.jenshyu.com \nSumi Tonooka photo by Karen Sterling \n2023 Pew Fellowship Awardee Sumi Tonooka has been called a “fierce fascinating composer pianist” Jazz Times “provocative and compelling” New York Times. With 15 recordings to her name and a vast catalogue of compositions and award winning works in genres symphonic chamber dance and film she continues to be a creative force. Recently Tonooka was a winning finalist for the Emerging Black Composers Project to compose her fourth symphony Only The Midnight Sky and Silent Stars premiered by the San Francisco Conservatory in February 2023. She is also a 2021 recipient of the Doris Duke Creative Inflections Grant with vocalist/composer Jen Shyu for In The Green Room inspired by the stories of Asian and African American women in Jazz. She was awarded the Chamber Music America New Jazz Works grant in 2019 premiering later this year for her trio plus Alchemy Sound Project a composers collective that she started in 2015. @sumitonooka http://sumitonooka.com \n  \nVAL Jeanty photo by Richard Louissaint \nVal Jeanty is a Grammy-winning Afro-Electronica composer turntablist and SoundChemist whose work bridges ancestral Haitian Vodou traditions with experimental electronic soundscapes. A professor at Berklee College of Music Jeanty has performed at the Whitney Museum the Museum of Modern Art in New York City and internationally at the Venice Biennale in Italy and Haus der Kulturen der Welt in Berlin. A recipient of the 2024 United States Artists Fellowship the 2019 NYSCA/Roulette Residency and the 2022 NYC/CBA Toulmin Fellowship Jeanty continues to expand the frontiers of sonic expression while honoring her Haitian heritage. @valjeanty https://val-inc.bandcamp.com/ \n\n\n\n\n  \n  \n  \nABOUT THE PRESENTER \nCRS (CENTER FOR REMEMBERING & SHARING) is a Manhattan- and Tokyo-based arts and spiritual center founded in 2004 by Yasuko Kasaki and Christopher Pelham. Rooted in the non-dualistic teachings of A Course in Miracles (ACIM) CRS offers spiritual counseling healing and mind-training courses to practitioners around the world. The Center uses the arts as a vehicle for achieving awakening unity and peace. By producing exhibitions performances and an online arts magazine (onlylove.ART) and providing support for individual artists and partner organizations like Mutual Mentorship for Musicians (M³) and Kotohogi CRS empowers a diverse international community of artists to experiment collaborate and share their visions. https://crsny.org;X-APPLE-RADIUS=500;X-TITLE=46 Barrow Street:geo:-74.004512,40.7321499
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251215T183000
DTEND;TZID=America/New_York:20251215T190000
DTSTAMP:20260403T192843
CREATED:20251207T184702Z
LAST-MODIFIED:20260111T221842Z
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SUMMARY:Guided Meditation with Yasuko Kasaki in English (on Zoom)
DESCRIPTION:from 6:30 – 7 pm\nFollowed by ACIM Class from 7 – 8 pm (same Zoom link) \nZoom Meeting Link:\nhttps://us02web.zoom.us/j/81541160040 \nCall-in info:\nMeeting ID: 815 4116 0040\nOne tap mobile: 1-929-436-2866 \nSuggested class donation $20 via PayPal to https://www.paypal.me/crsny\n(no one turned away due to lack of funds) \nPlease join me in the sharing of miracles. Here\, your mind can come to rest and you can remember true peace. No experience with meditation is required\, and everyone is welcome. I ask only that you make it your intention to sit still\, quiet in body and mind\, and to listen to\, receive\, and follow my instruction to the best of your ability. You will learn to meditate as you practice. \nEach week I will share with you a different inspirational message from Holy Spirit. This may take the form of creative visualization exercises\, or instruction about the nature and purpose of meditation\, or about our true nature and relationship to ourselves\, to one another\, and to the world. In a sense\, this is both a meditation practice and a meditation class. At the end of the meditation you will have a chance to respond briefly if you like. \nSome students have been practicing regularly for a number of years. Others drop in and out as they have time or need. Some come to learn and grow\, others more so simply to calm down\, to take time out from the frenetic pace of their busy lives. If you are new and feeling uncertain or shaky\, do not hesitate to introduce yourself to some of the other students\, to ask questions before or after. Try to observe and emulate the stillness and concentration of others around you whom you sense are most grounded. Soon\, you\, in turn\, may provide inspiration and guidance for others. \nWhile the principles are based on A Course in Miracles (ACIM)\, it does not matter if you are unfamiliar with ACIM or are not prepared to study it outside of this meditation. You can still take from this practice some very practical\, effective lessons\, tools\, and experiences that can enable you to lead a more peaceful\, purposeful\, fulfilling and loving life. \nABOUT YASUKO KASAKI \nYasuko Kasaki is an internationally beloved spiritual writer\, counselor\, healer\, lecturer and translator from Tokyo. She is widely recognized as the person most responsible for the spread of A Course in Miraclesthroughout Japan. In 2004 she founded CRS (Center for Remembering & Sharing)\, the first and only spiritual center devoted to the teaching and practice of A Course in Miracles in New York City. She has taught and worked with thousands of people from around the world to help resolve their mental and physical issues and witness miracles. She presents at the CMC’s annual ACIM Conferences in the U.S.\, and several times a year she gives large seminars throughout Japan. She has also been presented internationally at ACIM conferences and workshops in the U.K.\, Spain\, Germany\, and Israel. \nYasuko is the author of The Scales Fell from My Eyes: An Illustrated Course in Miracles and 17 books in Japanese about the Course\, as well as numerous novels\, short stories\, essays and collections of photographs. Her translations of the ACIM Workbook and of books by Course teachers Jon Mundy\, Gabrielle Bernstein and David Hoffmeister have also been published in Japan. Yasuko’s spiritual writing and lectures are celebrated for their clearly stated explanations of complex concepts illustrated by captivating personal stories of struggle and triumph\, drawn from her long career as a writer\, motorcyclist\, and spiritual counselor. Meditation and communication with Holy Spirit form the foundation of her practice.
URL:https://crsny.org/event/guided-meditation-with-yasuko-kasaki-in-english-on-zoom-7/2025-12-15/
LOCATION:Zoom
CATEGORIES:ACIM-Related Event
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ORGANIZER;CN="CRS (Center for Remembering & Sharing)":MAILTO:info@crsny.org
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DTSTART;TZID=America/New_York:20251231T183000
DTEND;TZID=America/New_York:20251231T190000
DTSTAMP:20260403T192843
CREATED:20251211T200902Z
LAST-MODIFIED:20251211T204033Z
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SUMMARY:New Year’s Eve Guided Meditation with Yasuko Kasaki (in person and online)
DESCRIPTION:Please join us on Dec 31 at 6:30 pm for our annual year-end\, in-person guided meditation with CRS Founder Yasuko Kasaki at CRS. \nYou can also attend online via Zoom at:\nhttps://us02web.zoom.us/j/89313347701 \nLet’s join our minds in stillness to remember who we are and prepare to begin the new year with a clear mind and renewed intention to see and share only love. \nWhat would love have me do?\nWhere would love have me go?\nWhat would love have me say\, and to whom?  \nLocation:\n41 E 11th St\, 11th FL\njust east of University PL above Ootoya \nSpace is limited\, so advanced registration is required. Please RSVP by email to etsuko@crsny.org. \n 
URL:https://crsny.org/event/251231/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:ACIM-Related Event
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260113T190000
DTEND;TZID=America/New_York:20260113T200000
DTSTAMP:20260403T192843
CREATED:20251229T195541Z
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SUMMARY:A Course in Miracles Class with Yasuko Kasaki (on Zoom)
DESCRIPTION:from 7 – 8 pm\nPreceded by Guided Meditation from 6:30 – 7 pm (same Zoom link) \nTogether\, let’s come to rest and remember true peace. Each class usually contains some lecture on concepts from A Course in Miracles\, some discussion and Q&A\, and a meditation\, creative visualization and/or spiritual reading practice in order to experience mind change. \nOur primary goal in these classes is for each student to learn to listen to the guidance of Holy Spirit and live his/her life with certainty and peace. Slowly\, you will re-train your eyes to see the world around you without judgment. You will learn to communicate with your holy spirit. Students of all experience levels and backgrounds are welcome! \nZoom Meeting Link:\nhttps://us02web.zoom.us/j/81541160040 \nCall-in info:\nMeeting ID: 815 4116 0040\nOne tap mobile: 1-929-436-2866 \nSuggested donation $20 via PayPal to https://www.paypal.me/crsny\n(no one turned away due to lack of funds) \nYou can find the text of A Course in Miracles (ACIM) online here (http://en.wikisource.org/wiki/A_Course_in_Miracles)\, among other places. \nYasuko Kasaki is an internationally beloved spiritual writer\, counselor\, healer\, lecturer and translator from Tokyo. She is widely recognized as the person most responsible for the spread of A Course in Miraclesthroughout Japan. In 2004 she founded CRS (Center for Remembering & Sharing)\, the first and only spiritual center devoted to the teaching and practice of A Course in Miracles in New York City. She has taught and worked with thousands of people from around the world to help resolve their mental and physical issues and witness miracles. She presents at the CMC’s annual ACIM Conferences in the U.S.\, and several times a year she gives large seminars throughout Japan. She has also been presented internationally at ACIM conferences and workshops in the U.K.\, Spain\, Germany\, and Israel. \nYasuko is the author of The Scales Fell from My Eyes: An Illustrated Course in Miracles and 17 books in Japanese about the Course\, as well as numerous novels\, short stories\, essays and collections of photographs. Her translations of the ACIM Workbook and of books by Course teachers Jon Mundy\, Gabrielle Bernstein and David Hoffmeister have also been published in Japan. Yasuko’s spiritual writing and lectures are celebrated for their clearly stated explanations of complex concepts illustrated by captivating personal stories of struggle and triumph\, drawn from her long career as a writer\, motorcyclist\, and spiritual counselor. Meditation and communication with Holy Spirit form the foundation of her practice. \nYou can listen to a sampling of Yasuko’s recent guided meditations here:\nhttp://crsny.podbean.com
URL:https://crsny.org/event/a-course-in-miracles-class-with-yasuko-kasaki-on-zoom-8/2026-01-13/
LOCATION:Zoom
CATEGORIES:ACIM-Related Event
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DTSTART;TZID=America/New_York:20260218T050000
DTEND;TZID=America/New_York:20260218T110000
DTSTAMP:20260403T192843
CREATED:20260129T213622Z
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SUMMARY:Turning Your Story Into Movement: An Autobiographical Workshop with Megumi Eda
DESCRIPTION:This is the second edition of Turning Your Story Into Movement. Following the successful workshop in September\, I’m happy to open this next chapter and continue developing this space together. \nOf course\, first-timers are very welcome\, and those who participated last time will likely want to revise it\, so you can go deeper into what you did last time\, or take a new approach and go on a journey to create a treasure that is unique to you! \nIn this workshop titled “Turning Your Story Into Movement: An Autobiographical Workshop”\, each participant will use their own story to create a piece.  \nYou don’t need to be a dancer to join — though dancers are of course are welcome! This workshop is for anyone who wants to reflect on their life\, face their own story\, or expand their creative approach to performance. \nMy latest autobiographical solo piece\, Fish áɪ lens (2025) at Dock 11\, Berlin—created in collaboration with choreographer Shintaro Oue—is a multidisciplinary performance filled with humor\, heart\, and a touch of whimsy. It explores memory\, migration\, womanhood\, motherhood\, and the layered experience of being a body in motion across borders. \nThe process—intensely creative\, vulnerable\, and healing—is still fresh in my body.This workshop grows directly out of that journey and my many years of experience as a dancer.​ \nAfter more than 30 years on stages around the world\, this is the kind of work I care most about now: raw\, honest\, playful\, and intimate. \nI hope you’ll join me. — Megumi Eda \n\nFor artists\, movers\, and anyone interested in exploring autobiography through the body.No dance experience necessary. \nFeb 18–20\, 2026  | EDEN Studio 190\, Berlin11:00–17:00 (includes lunch break) \nPresentation: Feb 20 at 18:00 \nSliding scale: €160–240 (recommended €200)Info & Registration: megumiedart@gmail.com \n\n\nWhat participants said about the first workshop: \n“You have a calming\, but at the same time pushing energy\, funny\, serious\, and very clear. You took time for everyone\, and it felt like you were researching together with us.” — Clara  \n“I have participated in many workshops across the city\, but this was the first time one truly resonated with me so deeply.” — Kaimé \n“People from very different backgrounds — even non-dancers — could all take part without feeling lost or bored.That balance is rare and beautiful.” — Giorgia \nMore info:\nhttps://www.megumieda.com/copy-of-workshop-info
URL:https://crsny.org/event/turning-your-story-into-movement-an-autobiographical-workshop-with-megumi-eda/2026-02-18/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
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DTSTART;TZID=America/New_York:20260228T200000
DTEND;TZID=America/New_York:20260228T213000
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UID:43104-1772308800-1772314200@crsny.org
SUMMARY:Fertile Land\, Fertile Body by Jen Shyu
DESCRIPTION:CRS invites you to a work-in-progress showing of an excerpt of Jen Shyu’s latest work\, Fertile Land\, Fertile Body\, a multilingual ritual opera comprising ancient and original music\, dance\, and projection\, explores the loss of mother\, loss of motherhood\, and genocide’s effects on climate change and fertility while sharing stories of struggle and hope from women grappling with infertility. The work will be performed by vocalist/multi-instrumentalist/dancer Shyu\, plus vocalist-instrumentalists who double as choir\, and will use sound and choreographed movements to express how overcoming barrenness in both land and bodies is intertwined. \nThe performance will take place at Open Arts Studio in D.U.M.B.O. on February 28\, 2026 at 8pm\, and is part of a new performance series at Open Arts Studio curated by Soomi Kim. \nJen Shyu (voice\, gayageum\, Taiwanese moon lute\, piano\, movement)\nLayale Chaker (violin\, voice\, movement)\nAlexandria DeWalt (flute\, voice\, movement)\nMelanie Dyer (viola\, voice\, movement)\nElizabeth Kate (cello\, voice\, movement)\n Lesley Mok (drums\, voice\, movement) \nTICKETS:\nhttps://events.ticketleap.com/events/open-arts-studio-inc/live-music-jen-shyu \nLOCATION:\nOpen Arts Studio\n68 Jay Street\, Studio 605A\, 6th floor\nBrooklyn\, NY 11201 \nThe development of Fertile Land\, Fertile Body has been made possible\, in part\, by funds provided by CRS (Center for Remembering & Sharing) crsny.org; Shifting Foundation; and American Academy in Rome. \nABOUT JEN SHYU\nRome Prize\, Guggenheim\, and USA Fellow\, Doris Duke Artist\, multilingual multidisciplinary artist Jen Shyu was born in Peoria\, Illinois to Taiwanese and East Timorese immigrants. She has produced eight albums and a single available on her record label Autumn Geese Records. She’s performed at Carnegie Hall\, Lincoln Center\, Metropolitan Museum of Art\, National Theater of Korea\, Rubin Museum\, was named Downbeat’s 2017 Rising Star Female Vocalist\, and is a Fulbright scholar speaking 10 languages. She’s worked with such musical innovators as Sumi Tonooka\, Terri Lyne Carrington\, Nicole Mitchell\, Val Jeanty\, Ikue Mori\, Zeena Parkins\, Linda May Han Oh\, Kris Davis\, Wadada Leo Smith\, Mark Dresser\, Francis Wong\, Jon Jang\, Vijay Iyer\, Kenny Barron\, Reggie Workman\, Bill Frisell\, and Immanuel Wilkins. Her “Song of Silver Geese” was among The New York Times’ “Best Albums of 2017.” Her third solo production and album “Zero Grasses: Ritual for the Losses” (commissioned by John Zorn) has received wide critical acclaim\, with “When I Have Power” NPR’s “Best Songs of 2021.” She is a Paul Simon Music Fellows Guest Artist\, a Steinway Artist and co-founder with Sara Serpa of M³ (Mutual Mentorship for Musicians). @jenshyu\, https://www.jenshyu.com
URL:https://crsny.org/event/260228/
LOCATION:Open Arts Studio\, 68 Jay Street\, Studio 605A\, 6th floor\, Brooklyn\, 11201\, United States
CATEGORIES:Concert
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=DESCRIPTION:CRS invites you to a work-in-progress showing of an excerpt of Jen Shyu’s latest work Fertile Land Fertile Body a multilingual ritual opera comprising ancient and original music dance and projection explores the loss of mother loss of motherhood and genocide’s effects on climate change and fertility while sharing stories of struggle and hope from women grappling with infertility. The work will be performed by vocalist/multi-instrumentalist/dancer Shyu plus vocalist-instrumentalists who double as choir and will use sound and choreographed movements to express how overcoming barrenness in both land and bodies is intertwined. \nThe performance will take place at Open Arts Studio in D.U.M.B.O. on February 28 2026 at 8pm and is part of a new performance series at Open Arts Studio curated by Soomi Kim. \nJen Shyu (voice gayageum Taiwanese moon lute piano movement)\nLayale Chaker (violin voice movement)\nAlexandria DeWalt (flute voice movement)\nMelanie Dyer (viola voice movement)\nElizabeth Kate (cello voice movement)\n Lesley Mok (drums voice movement) \nTICKETS:\nhttps://events.ticketleap.com/events/open-arts-studio-inc/live-music-jen-shyu \n\nOpen Arts Studio\n68 Jay Street Studio 605A 6th floor\nBrooklyn NY 11201 \nThe development of Fertile Land Fertile Body has been made possible in part by funds provided by CRS (Center for Remembering & Sharing) crsny.org; Shifting Foundation; and American Academy in Rome. \nABOUT JEN SHYU\nRome Prize Guggenheim and USA Fellow Doris Duke Artist multilingual multidisciplinary artist Jen Shyu was born in Peoria Illinois to Taiwanese and East Timorese immigrants. She has produced eight albums and a single available on her record label Autumn Geese Records. She’s performed at Carnegie Hall Lincoln Center Metropolitan Museum of Art National Theater of Korea Rubin Museum was named Downbeat’s 2017 Rising Star Female Vocalist and is a Fulbright scholar speaking 10 languages. She’s worked with such musical innovators as Sumi Tonooka Terri Lyne Carrington Nicole Mitchell Val Jeanty Ikue Mori Zeena Parkins Linda May Han Oh Kris Davis Wadada Leo Smith Mark Dresser Francis Wong Jon Jang Vijay Iyer Kenny Barron Reggie Workman Bill Frisell and Immanuel Wilkins. Her “Song of Silver Geese” was among The New York Times’ “Best Albums of 2017.” Her third solo production and album “Zero Grasses: Ritual for the Losses” (commissioned by John Zorn) has received wide critical acclaim with “When I Have Power” NPR’s “Best Songs of 2021.” She is a Paul Simon Music Fellows Guest Artist a Steinway Artist and co-founder with Sara Serpa of M³ (Mutual Mentorship for Musicians). @jenshyu https://www.jenshyu.com;X-APPLE-RADIUS=500;X-TITLE=68 Jay Street\, Studio 605A\, 6th floor:geo:-73.9868665,40.7027557
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DTSTART;TZID=America/New_York:20260315T143000
DTEND;TZID=America/New_York:20260315T160000
DTSTAMP:20260403T192843
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LAST-MODIFIED:20260224T233229Z
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SUMMARY:In-Person Guided Meditation & Spiritual Healing Clinic
DESCRIPTION:We are happy to invite you back to CRS in person for an afternoon of meditation\, healing\, and spiritual community! Let’s witness the light in one another and share stillness and peace of mind. We’ll begin with a short talk and guided meditation by Yasuko and then share our one-on-one spiritual healing with you. After we can enjoy some social time together. \nSuggested Donation $20 cash. No one will be turned away due to lack of funds.\nRSVP REQUIRED to etsuko@crsny.org (Space is limited!)\nPlease arrive 5–10 minutes early as late comers may have trouble entering the building. \nBring any issue you are facing right now — physically\, emotionally\, mentally\, and/or spiritually. With eyes closed (you will be seated and a healer will stand nearby; no touching is involved)\, a CRS healer\, trained in A Course in Miracles and spiritual reading/healing\, will observe you with her inner sight\, free of any judgments\, a perfect shining spirit. Together\, we will ask the Holy Spirit (or Inner Guide if you prefer) to bring us directly to whatever seed thought is causing your current issues and ask for guidance about how your spirit really wants to make use of your present situation for its growth and sharing of love. After about 10 minutes of meditation\, we will share the inspirational guidance that we receive. \nWe share healing quietly and provide you with an opportunity to come to rest\, reflect\, and remember who you truly are\, in a supportive\, non-judgmental\, meditative environment. We’d like to offer you an opportunity to experience stillness of mind and peace so that you can return to harmony with your true nature and purpose. Then you will find that rather than needing “solutions” to “problems” you will realize that you have no problems except those that you project.
URL:https://crsny.org/event/260315/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:ACIM-Related Event
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DTSTART;TZID=America/New_York:20260320T203000
DTEND;TZID=America/New_York:20260320T213000
DTSTAMP:20260403T192843
CREATED:20260303T233008Z
LAST-MODIFIED:20260303T234004Z
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SUMMARY:Dreamborne Theater Presents angels\, a World Premiere
DESCRIPTION:CRS (Center for Remembering & Sharing) is delighted to support the world premiere of angels\, written by Tara P. Nyingjè and directed by Yannis Ning. In seven loops\, the play presents alternate versions of a scene featuring a woman walking into a bar\, thinking out loud\, and interacting with the house musician to explore themes of repetition\, silence\, identity\, erasure\, and the hunger to be seen — fully\, plurally\, truthfully. Two casts will alternate\, each with a separate rehearsal and development process\, to create alternate versions. Presented by Dreamborne Theater\, the production will run from March 20 – 22\, 2026\, as part of ATELIER @ THEATERLAB. \n\n\nCAST A: Tara P. Nyingjè (寜婕) and Michael Sarian\nCAST B: Hana Vo & Alan Lecheng Chao (晁乐成) \n\n\n\n\nDATES:\nFriday\, March 20th @ 8:30pm  – CAST A\nSaturday\, March 21st @ 3:30pm  – CAST B\nSaturday\, March 21st @ 8:30pm – CAST A\nSunday\, March 22 @ 3:30pm – CAST B\nApproximate run-time: 60 mins (no intermission). Performed in English.\n \nLOCATION:\nTheaterLab NYC\n357 W 36th St\, 3rd floor\, New York\, NY 10018 \nGET TICKETS!\n\n\nDreamborne Theater is a New York-based nonprofit performance collective committed to developing and presenting cross-cultural performing arts rooted in dreams\, myth\, and memory. Through ritualistic and fantastical works\, they investigate the evolving nature of identity\, language\, and culture — embracing the fragmented self as a space of transformation\, rebirth\, and fairytale. Alongside their artistic productions\, they offer educational programs that empower individuals to engage with myth and ritual as creative tools for self-discovery and collective storytelling. @dreamborne_theater \nTara P. Nyingjè 寜婕 (Playwright\, Performer) is an actor and theatre-maker based in New York City. She is the co-founder of SpArkling Theatre Studio (IG: @sparkling_ny)\, Stage Director of AAAAH!Culture (IG: @aaaah.culture)\, and Managing Director of Dreamborne Theater (IG: @dreamborne_theater). She is a graduate of New York University’s Tisch School of the Arts\, having majored in Drama with a focus on Experimental Theatre and Screen Acting. Her practice is rooted in physical and devised theatre\, guided by a deep reverence for the body as a vessel of memory and transformation. Working at the intersection of movement and cross-cultural dialogue\, her work blends forms\, languages\, and ritual. Her recent stage credits include Birds in the Meadow (American Theater of Actors)\, New Year’s Eve Dinner (Gene Frankel Theater)\, and Love Survives in 2095? (Secret Theatre). As a playwright and director\, Tara has developed works including Trapped in the Flash and Bond\, both staged at off-off-Broadway venues in New York City. Her most recent original work\, QINGBAI: INNOCENCE\, completed a three-city tour along the U.S. East Coast. Know more about her work at taranyingje.com and know more about her life on Instagram at taranje_ \nYannis Ning (Director) is a theatre director\, playwright\, and actor based in New York City. Their work centers on devised and movement-driven performance\, with an emphasis on transnational storytelling\, embodied dramaturgy\, and intimate audience relationships. Yannis serves as Artistic Director of Dreamborne Theater\, where they build rehearsal processes that are trauma-informed and consent-based: prioritizing clear boundaries\, actionable choices\, and performer agency while developing precise physical scores and dramaturgical structures. They are currently completing an M.A. in Educational Theatre and English Education (Grades 7–12) at NYU Steinhardt\, following a B.F.A. in Theatre Education from Emerson College\, and bring an academic foundation in psychology to their approach to character\, behavior\, and relational dynamics onstage. Recent directing and writing includes Nine Shadows in Bloom\, an original work that uses physical theatre and tableau to examine identity\, displacement\, and power. Yannis’s directing practice foregrounds structural clarity\, rules of seeing\, staying\, and exchange\, and the bodily consequences that emerge when those rules are enforced or broken.@nyeong_yannis \n\n\n\n\n\nHana Vo (Performer) is an actor\, writer and director from Vietnam. Starting as a playwright at high school\, Hana followed their calling and dived deeper into the storytelling arts with multiple short films made in both their home country\, and in Canada—where they studied at Toronto Film School. Currently training in Acting for the stage with NYU Tisch and Atlantic Theater Company\, they are set on expanding their artistic and creative limits\, experimenting and playing with the conventions of theater. Currently\, Hana is starring in NYU Shakespeare in the Square’s production of Julius Caesar and Bridge Playfest’s A Race Against Time. They are also assistant directing Instant Noodle at Playwright Horizon Theater School. Follow their recent and upcoming projects on Instagram @hana_inagallery. \n\n\n\n\n\n\n\n\n\n\nTrumpeter and composer Michael Sarian (Sound Keeper)\, praised for his “endlessly renewable strain of lyric improvisation regardless of context or material” (Downbeat Magazine)\, was born in Toronto and raised in Buenos Aires. Based in New York since 2012\, he has performed at iconic venues and festivals\, including the Montreux Jazz Festival\, the Kennedy Center\, Yankee Stadium\, The O2 Arena\, and the Blue Note Jazz Club.\nSarian’s work spans jazz\, contemporary\, and electronic avant-garde music. He has toured with artists ranging from the Jonas Brothers to Bette Smith and The NYChillharmonic\, in addition to leading his own projects. As a bandleader\, he has released more than half a dozen albums and has appeared on numerous recordings as a collaborator and sideman. His artistic pursuits have led to residencies and fellowships at the Virginia Center for the Creative Arts (2026)\, Millay Arts (2025)\, Art Omi (2024)\, and Culture Lab LIC (2022). In 2026\, he continues his creative work as a National Arts Club Fellow.\nLearn more at michaelsarian.com and follow @michaelsarian on Instagram. \n\n\n\n\n\n\n\n\n\n\nAlan Lecheng Chao 晁乐成  (Sound Keeper) is a music producer\, multi-instrumentalist\, and audio engineer. Working under the title Sovietaxi and as part of the duo 羽片 Slice Feathers\, his speciality is working with singer-songwriters to express their emotions. His solo projects are more emphasized on electronic ambient music that reflects tranquility and emotional tensions in East Asian culture.
URL:https://crsny.org/event/dreamborne-theater-presents-angels-a-world-premiere/2026-03-20/
LOCATION:TheaterLab NYC\, 357 W 36th St\, 3rd floor\, New York\, NY\, 10018\, United States
CATEGORIES:Sponsored by CRS
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=DESCRIPTION:CRS (Center for Remembering & Sharing) is delighted to support the world premiere of angels written by Tara P. Nyingjè and directed by Yannis Ning. In seven loops the play presents alternate versions of a scene featuring a woman walking into a bar thinking out loud and interacting with the house musician to explore themes of repetition silence identity erasure and the hunger to be seen — fully plurally truthfully. Two casts will alternate each with a separate rehearsal and development process to create alternate versions. Presented by Dreamborne Theater the production will run from March 20 – 22 2026 as part of ATELIER @ THEATERLAB. \n\n\nCAST A: Tara P. Nyingjè (寜婕) and Michael Sarian\nCAST B: Hana Vo & Alan Lecheng Chao (晁乐成) \n\n\n\n\nDATES:\nFriday March 20th @ 8:30pm  – CAST A\nSaturday March 21st @ 3:30pm  – CAST B\nSaturday March 21st @ 8:30pm – CAST A\nSunday March 22 @ 3:30pm – CAST B\nApproximate run-time: 60 mins (no intermission). Performed in English.\n \n\nTheaterLab NYC\n357 W 36th St 3rd floor New York NY 10018 \nGET TICKETS!\n\n\nDreamborne Theater is a New York-based nonprofit performance collective committed to developing and presenting cross-cultural performing arts rooted in dreams myth and memory. Through ritualistic and fantastical works they investigate the evolving nature of identity language and culture — embracing the fragmented self as a space of transformation rebirth and fairytale. Alongside their artistic productions they offer educational programs that empower individuals to engage with myth and ritual as creative tools for self-discovery and collective storytelling. @dreamborne_theater \nTara P. Nyingjè 寜婕 (Playwright Performer) is an actor and theatre-maker based in New York City. She is the co-founder of SpArkling Theatre Studio (IG: @sparkling_ny) Stage Director of AAAAH!Culture (IG: @aaaah.culture) and Managing Director of Dreamborne Theater (IG: @dreamborne_theater). She is a graduate of New York University’s Tisch School of the Arts having majored in Drama with a focus on Experimental Theatre and Screen Acting. Her practice is rooted in physical and devised theatre guided by a deep reverence for the body as a vessel of memory and transformation. Working at the intersection of movement and cross-cultural dialogue her work blends forms languages and ritual. Her recent stage credits include Birds in the Meadow (American Theater of Actors) New Year’s Eve Dinner (Gene Frankel Theater) and Love Survives in 2095? (Secret Theatre). As a playwright and director Tara has developed works including Trapped in the Flash and Bond both staged at off-off-Broadway venues in New York City. Her most recent original work QINGBAI: INNOCENCE completed a three-city tour along the U.S. East Coast. Know more about her work at taranyingje.com and know more about her life on Instagram at taranje_ \nYannis Ning (Director) is a theatre director playwright and actor based in New York City. Their work centers on devised and movement-driven performance with an emphasis on transnational storytelling embodied dramaturgy and intimate audience relationships. Yannis serves as Artistic Director of Dreamborne Theater where they build rehearsal processes that are trauma-informed and consent-based: prioritizing clear boundaries actionable choices and performer agency while developing precise physical scores and dramaturgical structures. They are currently completing an M.A. in Educational Theatre and English Education (Grades 7–12) at NYU Steinhardt following a B.F.A. in Theatre Education from Emerson College and bring an academic foundation in psychology to their approach to character behavior and relational dynamics onstage. Recent directing and writing includes Nine Shadows in Bloom an original work that uses physical theatre and tableau to examine identity displacement and power. Yannis’s directing practice foregrounds structural clarity rules of seeing staying and exchange and the bodily consequences that emerge when those rules are enforced or broken.@nyeong_yannis \n\n\n\n\n\nHana Vo (Performer) is an actor writer and director from Vietnam. Starting as a playwright at high school Hana followed their calling and dived deeper into the storytelling arts with multiple short films made in both their home country and in Canada—where they studied at Toronto Film School. Currently training in Acting for the stage with NYU Tisch and Atlantic Theater Company they are set on expanding their artistic and creative limits experimenting and playing with the conventions of theater. Currently Hana is starring in NYU Shakespeare in the Square’s production of Julius Caesar and Bridge Playfest’s A Race Against Time. They are also assistant directing Instant Noodle at Playwright Horizon Theater School. Follow their recent and upcoming projects on Instagram @hana_inagallery. \n\n\n\n\n\n\n\n\n\n\nTrumpeter and composer Michael Sarian (Sound Keeper) praised for his “endlessly renewable strain of lyric improvisation regardless of context or material” (Downbeat Magazine) was born in Toronto and raised in Buenos Aires. Based in New York since 2012 he has performed at iconic venues and festivals including the Montreux Jazz Festival the Kennedy Center Yankee Stadium The O2 Arena and the Blue Note Jazz Club.\nSarian’s work spans jazz contemporary and electronic avant-garde music. He has toured with artists ranging from the Jonas Brothers to Bette Smith and The NYChillharmonic in addition to leading his own projects. As a bandleader he has released more than half a dozen albums and has appeared on numerous recordings as a collaborator and sideman. His artistic pursuits have led to residencies and fellowships at the Virginia Center for the Creative Arts (2026) Millay Arts (2025) Art Omi (2024) and Culture Lab LIC (2022). In 2026 he continues his creative work as a National Arts Club Fellow.\nLearn more at michaelsarian.com and follow @michaelsarian on Instagram. \n\n\n\n\n\n\n\n\n\n\nAlan Lecheng Chao 晁乐成  (Sound Keeper) is a music producer multi-instrumentalist and audio engineer. Working under the title Sovietaxi and as part of the duo 羽片 Slice Feathers his speciality is working with singer-songwriters to express their emotions. His solo projects are more emphasized on electronic ambient music that reflects tranquility and emotional tensions in East Asian culture.;X-APPLE-RADIUS=500;X-TITLE=357 W 36th St\, 3rd floor:geo:-73.9946137,40.7545052
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260413T230000
DTEND;TZID=America/New_York:20260510T060000
DTSTAMP:20260403T192843
CREATED:20251229T193005Z
LAST-MODIFIED:20260403T123151Z
UID:42952-1776121200-1778392800@crsny.org
SUMMARY:LIFE IS ART IS MOTHERHOOD IS ART — KYOTO
DESCRIPTION:Life Is Art Is Motherhood Is Art features photographs by five artists who are mothers: Daniela Kostova (Bulgaria)\, Aline Müller (Brazil)\, Katie Heller Saltoun (USA)\, Satomi Shirai 白井里実 (Japan)\, and Zoe Marieh Urness (Alaskan Tlingit and Cherokee). Across diverse geographies and experiences\, their works explore motherhood as a potent generative force connecting family life to culture\, environment\, memory\, and collective responsibility.  \nThe exhibition\, a version of which debuted at Tenri Cultural Center of New York in July 2025\, will be on view at Gallery Maronie in Kyoto\, Japan\, as a featured exhibition of Kyotographie KG+ from April 14 to May 10\, 2026\, before moving to Le Déco Gallery in Tokyo from May 19 to May 24\, 2026. Opening hours at Gallery Maronie are Tu – Sa from 12 – 7 pm and Su 12 – 6 pm. \nA closing reception and talk with some of the participating artists will be held on May 10 from 3 – 5 pm in the 4th FL gallery of Gallerie Maronie. \n日本語でのお知らせをお読みください。 \n“KG＋” is a public art festival founded in 2013 with the aim of discovering and supporting upcoming photographers and curators. In cooperation with “KYOTOGRAPHIE Kyoto International Photography Festival\,” KG+ gives upcoming photographers and curators participating in KG＋ opportunities to talk and collaborate with world-renowned curators and gallerists from Japan and around the world. \nX @kgplus_kyotoInstagram @kgplusFacebook @KGplusevent \n			\n			\n				\n				\n				\n				\n			\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Exhibition Preview\n			\n			\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Pregnancy © by Satomi Shirai \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Scrap Opera 3 © by Daniela Kostova \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Mariana (Yakama Nation) © by Zoe Urness \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Untitled © by Aline Müller \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Cramped © by Katie Heller Saltoun \n			\n			\n				\n				\n				\n				\n			\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				In dialogue with Kyotographie 2026’s theme\, EDGE\, the exhibition approaches motherhood as a lived threshold: a condition situated between self and other\, private and public\, care and survival\, inheritance and change. The works center care as both subject and methodology. Like photography — poised between documentation and interpretation — motherhood demands attention\, responsiveness to change\, and openness to uncertainty. These qualities shape how the artists frame images\, work with time\, and attend to what is fragile\, unfinished\, or overlooked. Domestic interiors\, caregiving\, Indigenous communities\, bodies in transformation\, and rituals become sites of critical knowledge\, where social systems\, ecological precarity\, and cultural memory are engaged with urgency. \nSeveral works extend practices of nurturing beyond the family unit. Zoe Urness honors Indigenous traditions\, documenting Native American life\, cultural continuity\, and resistance\, showing care — for land\, community\, and history — as inseparable from justice. Daniela Kostova stages family life amid decay\, disaster\, and improvisation\, using domestic roles as rehearsals for survival within unstable ecological and social systems. \nOther photographs explore the edges of identity\, home\, and becoming. Satomi Shirai works between cultures and generations\, examining home as an intangible\, shifting space where identity remains unresolved. Katie Heller Saltoun inhabits the domestic interior as a charged threshold between confinement and creation\, honoring the labor\, repetition\, and emotional charge of everyday care through raw\, layered processes. Aline Müller mines the liminal space of motherhood as a state of transformation — psychic\, bodily\, and ancestral — embracing fragmentation\, tenderness\, and the unresolved “in-between.” \nLife Is Art Is Motherhood Is Art proposes motherhood as a creative frontier — where art\, ethics\, and responsibility intersect. At this edge\, attentiveness and interdependence emerge not as obstacles to creativity but as vital tools for imagining new ways of living\, creating\, and coexisting in an uncertain world. \n			\n			\n				\n				\n				\n				\n			\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Address\nGallery Maronie中京区河原町通四条上る塩屋町332Kyoto City\, Kyoto 604-8027Japan + Google MapPhone 075-221-0117 \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Open Hours\nMonday: ClosedTuesday – Saturday: 12 – 7 pmSunday: 12 – 6 pm \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Follow\n			\n				\n				\n				\n				\n				FollowFollow\n			\n				\n				\n				\n				\n				\n			\n			\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Artist Profiles\n			\n				\n				\n				\n				\n				ABOUT DANIELA KOSTOVA \nDaniela Kostova is an interdisciplinary artist whose work spans photography\, installation\, video\, and performance. She explores themes of geography\, cultural identity\, and the complexities of translation and communication across borders. Her projects have been exhibited internationally at institutions including the Queens Museum of Art\, Kunsthalle Wien\, Centre d’Art Contemporain (Geneva)\, and Kunsthalle Fridericianum (Kassel)\, among others. In 2019\, she created one of Europe’s largest public art installations\, Future Dreaming\, covering Vienna’s Ringturm building. \nKostova has received numerous awards and fellowships\, including the Unlimited Award for Contemporary Bulgarian Art and residencies at A.I.R. Gallery (NYC)\, ZK/U Berlin\, and ArtsLink at the Cleveland Institute of Art. She has also contributed as a curator\, notably leading the BioArt Initiative at RPI\, where she taught digital imaging. Her work has been featured in major publications such as The New York Times\, Brooklyn Rail\, and Art in America. Now based in New York City\, she has served as Director of Curatorial Projects at Radiator Gallery\, Artist Mentor at NYFA’s Immigrant Artist Program and Board Member of CEC Artslink. \nhttp://danielakostova.com \nDANIELA KOSTOVA ARTIST STATEMENT \nMy practice often begins within my immediate environment\, using my family as both collaborators and protagonists to explore broader social\, political\, and ecological conditions. \nIn Scrap Opera (2011)\, a series of photographs staged in a ruined Victorian mansion\, domestic life becomes an operatic performance set against decay. A pregnant woman with horns\, a masked man in a stained robe\, and a table laid with chicken bones evoke a pagan\, pre-apocalyptic atmosphere. The work blends fantasy and necessity\, asking whether these figures are freely inhabiting an alternative way of life or merely surviving within the remnants of another. Pregnancy here marks both creation and exposure\, positioning the family unit as a fragile yet defiant structure within a collapsing environment. \nThis focus on care and role-making continues in New Role Models (2015)\, a photograph featuring my daughter and her babysitter\, Rain Dove. Moving between the domestic sphere and the glamorous world of fashion\, the androgynous caregiver embodies a fluid negotiation of gender\, labor\, and visibility. The work examines childcare as a socially coded space and frames role-shifting as a strategy for navigating normative systems\, with parenthood becoming a lens through which social tolerance\, economic survival\, and identity performance are reconsidered.In Stuck (2017)\, my daughter reappears\, this time enclosed within a cage atop an inflatable mattress – a reference drawn from online images documenting natural disasters in the United States. These images of improvised escape vehicles\, loaded with children\, pets\, and household objects\, collapse the distinction between leisure and survival. Sourcing the materials from my own home\, I translate distant catastrophe into an intimate scenario. The work reflects on climate precocity and the unsettling realization that domestic safety can abruptly transform into confinement\, turning play into a condition of emergency. \nTogether\, these works trace a trajectory in which family life becomes a site for rehearsing survival\, care\, and adaptation – revealing how personal roles are entangled with larger systems of collapse\, resilience\, and change. \nABOUT ALINE MÜLLER \nPhotographer Aline Müller\, born in the Brazilian Amazon and now working between Rio and New York\, brings an elemental understanding of nature’s power to her intimate portraits of women. In her series curated for Life is Art Motherhood is Art\, she captures mothers at different stages of their journey through evocative\, almost surreal photographs that reveal the mystical within the everyday of motherhood. \nMüller’s mothers emerge water-soaked from rivers\, beaches\, and showers with goddess-like splendor. They inhabit moments of joyous presence captured in delicate close-ups that refuse to hide or pose\, but rather document dreamlike moments of maternal reality. With her generous and almost metaphysical gaze\, Aline has the uncanny ability to depict what photography often editorializes out of women’s lives: fluids\, curves\, small gestures\, and all that seems small and menial in life\, yet speaks volumes to the internal world of women. \nhttp://alinemuller.com \nALINE MÜLLER ARTIST STATEMENT \nIn Circle\, Aline Müller composes a non-linear narrative of motherhood\, using photography as a space for emotional\, symbolic\, and somatic inquiry. The circle present in the physical arrangement of the works and in the metaphors that run through them is not just a shape\, but a way of thinking — a cycle of birth and disappearance\, inheritance and rupture\, love and disorientation. \nHer images reject sentimental or glorified representations of maternity. Instead\, they open space for what is raw\, fragmented\, and complex. Mirrors\, bodies\, water\, shadows — elements that repeat and echo throughout the series — speak of reflection\, but also of the difficulty of self-recognition in the wake of becoming a mother. The transformation is not only physical; it is psychic\, ancestral\, and at times\, destabilizing. \nSome of the photographs are intimate and tactile — close enough to feel skin\, milk\, or breath. Others are more distant\, invoking a kind of absence: the mother as a trace\, a silhouette\, a blurred presence. Through these gestures\, Müller touches on a deep tension\, the near-invisibility of the mother as subject in her own story. \nMade over time\, between personal commissions and private moments\, these images emerge from cycles of anxiety\, reinvention\, and deep emotional exposure. Müller doesn’t seek resolution; she invites us into the in-between. Her visual language\, elliptical and tender\, mirrors the state of living between worlds: between who we were and whom we become\, between what we inherit and what we choose to break. \nCircle is not a document. It is a gesture — one of return\, of witnessing\, of drawing a line around the ineffable\, and holding it with care. \nABOUT KATIE HELLER SALTOUN \nKatie Heller Saltoun is a visual artist based in DUMBO\, Brooklyn\, New York. Her work primarily utilizes oil paint\, ink\, photographic collages\, and woodcut printing to explore the multifaceted experiences of motherhood and caregiving. Saltoun captures the humor\, frustration\, monotony\, and profound love inherent in caregiving\, drawing inspiration from her own life and the diverse narratives of mothers and caretakers she encounters. Her compositions often depict dynamic scenes of energy and chaos\, as well as repetitive imagery such as refrigerator shelves\, spice racks\, and rows of snacks\, reflecting the repetitive yet vital tasks of domestic life. \nSaltoun holds a BFA from the University of Michigan\, an MA from Columbia University\, and an MFA from Pratt Institute. Her recent exhibition\, “Bifocal: Motherhood and Creativity\,” was held at the Elza Kayal Gallery in Tribeca\, New York. This multidisciplinary show explored the intricate interplay between creativity and motherhood\, highlighting the often-overlooked experiences of artists who navigate both roles. Additionally\, her work was featured in The American Scholar magazine in an article titled “Tenderness and Grit.” \nSaltoun continues to create and exhibit work that resonates with audiences\, offering a profound and authentic portrayal of the complexities inherent in caregiving and domestic life. \nhttp://katiehellersaltoun.com \nKATIE HELLER SALTOUN ARTIST STATEMENT \nMy work explores the daily rituals\, chaos\, humor\, repetition\, and frustrations that come with being a mother inside the home. As a mother\, I am constantly flooded with a tidal wave of emotion: frustration\, anger\, exhaustion\, empathy\, and deep love. The domestic space\, for me\, is a site of both confinement and creativity. It’s where the demands of caregiving collide with moments of deep reflection\, observation\, and making. Within this space\, I find a strange intimacy and tension that fuels my work. By exploring the familiar\, I aim to honor the labor embedded in daily domestic life. I draw inspiration from other artist-mothers who courageously share their personal narratives\, stories that validate and strengthen all who perform this often invisible labor. In my practice\, I work with a range of materials\, including photographic collages\, ink\, printmaking\, and oil paint. I often tear and staple large sheets of paper to the wall\, embracing a raw physicality in my process. The range of media allows me to control the intensity through layers of color\, texture\, wash\, and line\, channeling the weight and frenetic energy of caregiving. My hope is that viewers recognize fragments of their own domestic experience within these altered scenes and connect through the shared nuances of daily life. \nABOUT SATOMI SHIRAI \nSatomi Shirai playfully explores themes of cultural identity\, feminism\, motherhood\, and the evolving meaning of home\, both in the context of migration and as a universal psycho-spiritual experience. Her photographs\, often set in domestic spaces\, reveal the quiet tensions between order and chaos\, belonging and estrangement\, the visible and the unseen. Shirai’s work has been exhibited widely\, including at the Tokyo Metropolitan Museum of Photography\, the National Portrait Gallery in London\, and the Smithsonian National Portrait Gallery in Washington\, D.C. Her photographs are held in the collections of the Tokyo Metropolitan Museum of Photography and the Kiyosato Museum of Photographic Arts (K’MoPA). \nAfter earning a Full-Time Certificate from the International Center of Photography in 2007 and an MFA from Hunter College (CUNY) in 2010\, Shirai lived and worked in New York City for over a decade. In 2015\, she returned to Japan to raise her daughter and now lives and works in Tokyo and Chiba Prefecture. Though she has exhibited less frequently since her return\, she continues to create new work\, often in collaboration with her daughter. \nhttp://satomishirai.com \nSATOMI SHIRAI ARTIST STATEMENT \nI make photographs that explore themes of cultural identity\, feminism\, physical expression in everyday life\, and the special connection between mother and child. Since becoming a mother\, I’ve focused more on documenting lives in their natural surroundings—drawing inspiration from the intense energy of my child’s small\, growing body\, the beauty of her spontaneous movements\, and the surprising and often funny ways she engages with the world. \n“Walls with windows and doors form the house\,but the empty space within it is the essence of the house.”—Lao Tzu\, from “The Uses of Not” from Tao Te Ching \nMy work also reflects on what constitutes “home” — first as an immigrant in New York\, and now\, for the past decade\, back in Japan. The tension between tangibility and intangibility continues to shape this inquiry: how do we define or recognize home? \nIn this exhibition\, I am mixing elaborately staged earlier works from when I was pregnant and new to motherhood with more recent photos created in collaboration with my daughter. Images of the miniature dream houses my mother made\, and my daughter often played with\, are projected onto my daughter and onto the actual interior of our home. In the shifting environments and connections to the world\, she appears in a state of yet-to-be-formed identity. \nThrough the process of making these works\, I try to capture our evolving relationship and her evolving relationship to her home and the world. Rather than trying to convey fixed feelings or messages\, I try to express the shifting\, complicated\, sometimes conflicting nature of intimacy\, identity\, and belonging\, leaving the works open to multiple interpretations. \nABOUT ZOE MARIEH URNESS \nZoe Urness is a Tlingit photographer raised in the Pacific Northwest. She earned a Bachelor of Arts in Commercial Photography from the Brooks Institute of Photography in 2008. Urness lives and works between Santa Fe\, New Mexico\, and the Seattle area in Washington State. \nUrness’s practice engages Indigenous representation\, contemporary Native identity\, and documentary storytelling. Early bodies of work confronted the legacy of Edward Curtis through staged\, sepia-toned compositions that merge historical references with present-day Native sitters. In 2015\, Urness documented the Standing Rock resistance on the Standing Rock Reservation in South Dakota\, producing a significant body of documentary work from the movement. \nHer photograph No Spiritual Surrender was nominated for a Pulitzer Prize in Feature Photography by World Literature Today and featured on the cover of its May 2017 issue. Urness is also the recipient of the 2022 Sony Alpha Female+ Grant in support of her project Indigenous Motherhood. \nUrness’s work has been exhibited nationally and internationally\, including at the Zimmerli Art Museum (2025)\, the Minneapolis Institute of Art (2019)\, the Autry Museum of the American West (2017–2018)\, and the Booth Western Art Museum (solo exhibition). Her work will be exhibited in the United Kingdom\, Paris\, and Tokyo in 2026. \nhttps://zoeurnessphoto.com \nZOE MARIEH URNESS ARTIST STATEMENT \nMy art is a way for people to view modern Indigenous people photographed in traditional clothing and on land that is special to them. This imagery honors the past and shows how we are still here\, living by traditions and values passed down from one generation to the next. Without honoring our traditional way of life and practices\, we would not be here in this modern world. Art can serve as a platform to elevate Indigenous voices and perspectives\, promote understanding\, and celebrate Indigenous ways of life\, both traditionally and contemporarily. It can also serve as a tool for cultural revitalization and preservation\, highlighting the beauty and richness of Indigenous cultures and traditions. \nThis project has significant meaning to me because I am a mother. I gave birth to a baby girl\, and the transformation I have experienced has been both physical and spiritual. This metamorphosis has spawned the inspiration for this photography project. The honor I have now for being female is felt deep in my soul and within my whole existence. I anticipate these images to be cinematic and to have a deep connection to Mother Earth\, represented through varied landscapes. \nI typically receive the ideas for my work through a series of vivid visions that come to me\, sometimes through dreams\, other times through sacred landscapes speaking to me. Once I recognize the vision\, it’s as if all the pieces appear synchronistically\, adding to the original vision\, making it complete. As I evolve as an artist\, I feel as if my entire body of work is braided together as one story being told through my lens. \nStorytelling has been the way Native American cultures have been preserved for thousands of years\, and they are used to teach and pass down values\, history\, and beliefs. Traditional storytelling has been shared through the spoken word\, dance\, song\, and other art forms such as carvings\, weaving\, silversmithing\, and drawings such as form line. I choose to use my camera as a tool to link the past and present through visual stories. As I was growing up\, I learned the stories of my ancestors through my Tlingit elders\, and through learning traditional clan songs and dance. Today\, as a professional photographer and as an Indigenous woman and mother\, I believe I have a unique perspective that has been formed by who I am and where I come from.
URL:https://crsny.org/event/life-is-art-is-motherhood-is-art-kyoto/
LOCATION:Gallery Maronie\, 中京区河原町通四条上る塩屋町332\, Kyoto City\, Kyoto\, 604-8027\, Japan
CATEGORIES:CRS Presents,Exhibition
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DTSTART;TZID=America/New_York:20260510T020000
DTEND;TZID=America/New_York:20260510T040000
DTSTAMP:20260403T192843
CREATED:20260129T210748Z
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SUMMARY:Life Is Art Is Motherhood Is Art Kyoto Closing Reception & Artist Talk
DESCRIPTION:Please join us for a closing reception and conversation with several of the Life Is Art Is Motherhood Is Art exhibition’s artists from 3 – 5 pm on May 10\, 2026\, at Gallery Maronie’s 4th-floor gallery. Light refreshments will be served\, and the talk will be held from 3:30 – 4:30 pm. \nExhibition artists Daniela Kostova and Satomi Shirai and curator Christopher Pelham will discuss the exhibition’s core themes with moderator Sae Shimai-Cardonnel\, director of MOMENT Contemporary Art Center and former co-director of KG+. Reframing “motherhood” as a lived threshold—emerging between the private and the public\, child-rearing and self-care\, the body and the environment—the conversation will consider how parenting can be understood as a creative path. Through their respective practices\, the speakers will discuss how child-rearing connects to ecology\, current social realities\, and the collective consciousness of their local contexts; what kinds of responsibility can be assumed as mothers; and how the intimacies of family life are intertwined with the wider world. The talk will be conducted in English with consecutive interpretation into Japanese by Miho Tsujii. \nYou can learn more about the exhibition itself here. \nAbout Moderator Sae Shimai-Cardonnel カルドネル 島井 佐枝 \nBorn in Osaka\, Japan\, in 1970\, Sae Shimai-Cardonnel is an art producer engaged in the fields of education\, international culture\, and the arts. \nShe graduated from the Department of Fine Arts (Japanese Painting major)\, Faculty of Education at Kyoto University of Education. After beginning her career as an art teacher and Nihonga (Japanese-style painting) artist\, she expanded into diverse roles\, including film directing\, international school management\, cultural event production\, and work with contemporary art galleries and official French cultural institutions. \nIn 2018\, she founded MUZ ART PRODUCE\, through which she develops and manages a wide range of cultural and artistic projects. \nFrom 2008 to 2023\, she served as a board member of Lycée Français International de Kyoto\, contributing to the management of the international school. \nShe has been deeply involved in Kyoto’s international art scene\, serving as a founding executive committee member of KYOTOGRAPHIE International Photography Festival since 2012\, and as co-director of KG+ until 2020. From 2019 to 2025\, she produced Nuit Blanche Kyoto\, a major contemporary art event. \nSince 2020\, she has launched and directed independent projects including ARTAOTA\, FOTOZOFIO\, and Red Line. In addition\, she has co-produced numerous cultural initiatives such as the Kyoto Writers Residency and the Japan-France theater project MIMOZA WAYS\, as well as commissioned cultural programs for local governments. \nIn 2024\, she was appointed as a commissioned researcher in the Regional and Cultural Affairs Division of the Mori Memorial Foundation for Manufacturing Technology. In 2025\, in collaboration with the same foundation\, she established MOMENT Contemporary Art Center\, where she serves as Director. \nFrom April 2026\, she will serve as a Visiting Professor at the Center for Cultural and Arts Research\, Teikyo Junior College.
URL:https://crsny.org/event/260510/
LOCATION:Gallery Maronie\, 中京区河原町通四条上る塩屋町332\, Kyoto City\, Kyoto\, 604-8027\, Japan
CATEGORIES:CRS Presents,Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260518T220000
DTEND;TZID=America/New_York:20260525T060000
DTSTAMP:20260403T192843
CREATED:20260318T210640Z
LAST-MODIFIED:20260403T122856Z
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SUMMARY:LIFE IS ART IS MOTHERHOOD IS ART — TOKYO
DESCRIPTION:Life Is Art Is Motherhood Is Art features photographs by five artists who are mothers: Daniela Kostova (Bulgaria)\, Aline Müller (Brazil)\, Katie Heller Saltoun (USA)\, Satomi Shirai 白井里実 (Japan)\, and Zoe Marieh Urness (Alaskan Tlingit and Cherokee). Across diverse geographies and experiences\, their works explore motherhood as a potent generative force connecting family life to culture\, environment\, memory\, and collective responsibility.  \nThe exhibition\, a version of which debuted at Tenri Cultural Center of New York in July 2025\, will be on view at Le Déco Gallery 3rd FL in Tokyo from May 19 to May 24\, 2026. Opening hours at Le Deco Gallery are Tu – Sa from 11 am – 7 pm and Su 11 am – 5 pm. \nPrior to this\, the exhibition will be on view at Gallery Maronie in Kyoto\, Japan\, as a PICK UP exhibition of Kyotographie KG+ from April 14 to May 10\, 2026. 日本語でのお知らせをお読みください. \n  \n			\n			\n				\n				\n				\n				\n			\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Exhibition Preview\n			\n			\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Pregnancy © by Satomi Shirai \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Scrap Opera 3 © by Daniela Kostova \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Mariana (Yakama Nation) © by Zoe Urness \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Untitled © by Aline Müller \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				Cramped © by Katie Heller Saltoun \n			\n			\n				\n				\n				\n				\n			\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				In dialogue with Kyotographie 2026’s theme\, EDGE\, the exhibition approaches motherhood as a lived threshold: a condition situated between self and other\, private and public\, care and survival\, inheritance and change. The works center care as both subject and methodology. Like photography — poised between documentation and interpretation — motherhood demands attention\, responsiveness to change\, and openness to uncertainty. These qualities shape how the artists frame images\, work with time\, and attend to what is fragile\, unfinished\, or overlooked. Domestic interiors\, caregiving\, Indigenous communities\, bodies in transformation\, and rituals become sites of critical knowledge\, where social systems\, ecological precarity\, and cultural memory are engaged with urgency. \nSeveral works extend practices of nurturing beyond the family unit. Zoe Urness honors Indigenous traditions\, documenting Native American life\, cultural continuity\, and resistance\, showing care — for land\, community\, and history — as inseparable from justice. Daniela Kostova stages family life amid decay\, disaster\, and improvisation\, using domestic roles as rehearsals for survival within unstable ecological and social systems. \nOther photographs explore the edges of identity\, home\, and becoming. Satomi Shirai works between cultures and generations\, examining home as an intangible\, shifting space where identity remains unresolved. Katie Heller Saltoun inhabits the domestic interior as a charged threshold between confinement and creation\, honoring the labor\, repetition\, and emotional charge of everyday care through raw\, layered processes. Aline Müller mines the liminal space of motherhood as a state of transformation — psychic\, bodily\, and ancestral — embracing fragmentation\, tenderness\, and the unresolved “in-between.” \nLife Is Art Is Motherhood Is Art proposes motherhood as a creative frontier — where art\, ethics\, and responsibility intersect. At this edge\, attentiveness and interdependence emerge not as obstacles to creativity but as vital tools for imagining new ways of living\, creating\, and coexisting in an uncertain world. \n			\n			\n				\n				\n				\n				\n			\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Address\nGALLERY LE DÉCO 3rd FL gallery3 Chome-16-3Shibuya\, Tokyo 150-0002Japan + Google MapTEL: 03‐5485‐5188E-Mail: ledeco@ledeco.name \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Open Hours\nMonday: ClosedTuesday – Saturday: 11 am – 7 pmSunday: 11 am – 5 pm \n			\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Follow\n			\n				\n				\n				\n				\n				FollowFollow\n			\n				\n				\n				\n				\n				\n			\n			\n				\n				\n				\n				\n			\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				\n				Artist Profiles\n			\n				\n				\n				\n				\n				ABOUT DANIELA KOSTOVA \nDaniela Kostova is an interdisciplinary artist whose work spans photography\, installation\, video\, and performance. She explores themes of geography\, cultural identity\, and the complexities of translation and communication across borders. Her projects have been exhibited internationally at institutions including the Queens Museum of Art\, Kunsthalle Wien\, Centre d’Art Contemporain (Geneva)\, and Kunsthalle Fridericianum (Kassel)\, among others. In 2019\, she created one of Europe’s largest public art installations\, Future Dreaming\, covering Vienna’s Ringturm building. \nKostova has received numerous awards and fellowships\, including the Unlimited Award for Contemporary Bulgarian Art and residencies at A.I.R. Gallery (NYC)\, ZK/U Berlin\, and ArtsLink at the Cleveland Institute of Art. She has also contributed as a curator\, notably leading the BioArt Initiative at RPI\, where she taught digital imaging. Her work has been featured in major publications such as The New York Times\, Brooklyn Rail\, and Art in America. Now based in New York City\, she has served as Director of Curatorial Projects at Radiator Gallery\, Artist Mentor at NYFA’s Immigrant Artist Program and Board Member of CEC Artslink. \nhttp://danielakostova.com \nDANIELA KOSTOVA ARTIST STATEMENT \nMy practice often begins within my immediate environment\, using my family as both collaborators and protagonists to explore broader social\, political\, and ecological conditions. \nIn Scrap Opera (2011)\, a series of photographs staged in a ruined Victorian mansion\, domestic life becomes an operatic performance set against decay. A pregnant woman with horns\, a masked man in a stained robe\, and a table laid with chicken bones evoke a pagan\, pre-apocalyptic atmosphere. The work blends fantasy and necessity\, asking whether these figures are freely inhabiting an alternative way of life or merely surviving within the remnants of another. Pregnancy here marks both creation and exposure\, positioning the family unit as a fragile yet defiant structure within a collapsing environment. \nThis focus on care and role-making continues in New Role Models (2015)\, a photograph featuring my daughter and her babysitter\, Rain Dove. Moving between the domestic sphere and the glamorous world of fashion\, the androgynous caregiver embodies a fluid negotiation of gender\, labor\, and visibility. The work examines childcare as a socially coded space and frames role-shifting as a strategy for navigating normative systems\, with parenthood becoming a lens through which social tolerance\, economic survival\, and identity performance are reconsidered.In Stuck (2017)\, my daughter reappears\, this time enclosed within a cage atop an inflatable mattress – a reference drawn from online images documenting natural disasters in the United States. These images of improvised escape vehicles\, loaded with children\, pets\, and household objects\, collapse the distinction between leisure and survival. Sourcing the materials from my own home\, I translate distant catastrophe into an intimate scenario. The work reflects on climate precocity and the unsettling realization that domestic safety can abruptly transform into confinement\, turning play into a condition of emergency. \nTogether\, these works trace a trajectory in which family life becomes a site for rehearsing survival\, care\, and adaptation – revealing how personal roles are entangled with larger systems of collapse\, resilience\, and change. \nABOUT ALINE MÜLLER \nPhotographer Aline Müller\, born in the Brazilian Amazon and now working between Rio and New York\, brings an elemental understanding of nature’s power to her intimate portraits of women. In her series curated for Life is Art Motherhood is Art\, she captures mothers at different stages of their journey through evocative\, almost surreal photographs that reveal the mystical within the everyday of motherhood. \nMüller’s mothers emerge water-soaked from rivers\, beaches\, and showers with goddess-like splendor. They inhabit moments of joyous presence captured in delicate close-ups that refuse to hide or pose\, but rather document dreamlike moments of maternal reality. With her generous and almost metaphysical gaze\, Aline has the uncanny ability to depict what photography often editorializes out of women’s lives: fluids\, curves\, small gestures\, and all that seems small and menial in life\, yet speaks volumes to the internal world of women. \nhttp://alinemuller.com \nALINE MÜLLER ARTIST STATEMENT \nIn Circle\, Aline Müller composes a non-linear narrative of motherhood\, using photography as a space for emotional\, symbolic\, and somatic inquiry. The circle present in the physical arrangement of the works and in the metaphors that run through them is not just a shape\, but a way of thinking — a cycle of birth and disappearance\, inheritance and rupture\, love and disorientation. \nHer images reject sentimental or glorified representations of maternity. Instead\, they open space for what is raw\, fragmented\, and complex. Mirrors\, bodies\, water\, shadows — elements that repeat and echo throughout the series — speak of reflection\, but also of the difficulty of self-recognition in the wake of becoming a mother. The transformation is not only physical; it is psychic\, ancestral\, and at times\, destabilizing. \nSome of the photographs are intimate and tactile — close enough to feel skin\, milk\, or breath. Others are more distant\, invoking a kind of absence: the mother as a trace\, a silhouette\, a blurred presence. Through these gestures\, Müller touches on a deep tension\, the near-invisibility of the mother as subject in her own story. \nMade over time\, between personal commissions and private moments\, these images emerge from cycles of anxiety\, reinvention\, and deep emotional exposure. Müller doesn’t seek resolution; she invites us into the in-between. Her visual language\, elliptical and tender\, mirrors the state of living between worlds: between who we were and whom we become\, between what we inherit and what we choose to break. \nCircle is not a document. It is a gesture — one of return\, of witnessing\, of drawing a line around the ineffable\, and holding it with care. \nABOUT KATIE HELLER SALTOUN \nKatie Heller Saltoun is a visual artist based in DUMBO\, Brooklyn\, New York. Her work primarily utilizes oil paint\, ink\, photographic collages\, and woodcut printing to explore the multifaceted experiences of motherhood and caregiving. Saltoun captures the humor\, frustration\, monotony\, and profound love inherent in caregiving\, drawing inspiration from her own life and the diverse narratives of mothers and caretakers she encounters. Her compositions often depict dynamic scenes of energy and chaos\, as well as repetitive imagery such as refrigerator shelves\, spice racks\, and rows of snacks\, reflecting the repetitive yet vital tasks of domestic life. \nSaltoun holds a BFA from the University of Michigan\, an MA from Columbia University\, and an MFA from Pratt Institute. Her recent exhibition\, “Bifocal: Motherhood and Creativity\,” was held at the Elza Kayal Gallery in Tribeca\, New York. This multidisciplinary show explored the intricate interplay between creativity and motherhood\, highlighting the often-overlooked experiences of artists who navigate both roles. Additionally\, her work was featured in The American Scholar magazine in an article titled “Tenderness and Grit.” \nSaltoun continues to create and exhibit work that resonates with audiences\, offering a profound and authentic portrayal of the complexities inherent in caregiving and domestic life. \nhttp://katiehellersaltoun.com \nKATIE HELLER SALTOUN ARTIST STATEMENT \nMy work explores the daily rituals\, chaos\, humor\, repetition\, and frustrations that come with being a mother inside the home. As a mother\, I am constantly flooded with a tidal wave of emotion: frustration\, anger\, exhaustion\, empathy\, and deep love. The domestic space\, for me\, is a site of both confinement and creativity. It’s where the demands of caregiving collide with moments of deep reflection\, observation\, and making. Within this space\, I find a strange intimacy and tension that fuels my work. By exploring the familiar\, I aim to honor the labor embedded in daily domestic life. I draw inspiration from other artist-mothers who courageously share their personal narratives\, stories that validate and strengthen all who perform this often invisible labor. In my practice\, I work with a range of materials\, including photographic collages\, ink\, printmaking\, and oil paint. I often tear and staple large sheets of paper to the wall\, embracing a raw physicality in my process. The range of media allows me to control the intensity through layers of color\, texture\, wash\, and line\, channeling the weight and frenetic energy of caregiving. My hope is that viewers recognize fragments of their own domestic experience within these altered scenes and connect through the shared nuances of daily life. \nABOUT SATOMI SHIRAI \nSatomi Shirai playfully explores themes of cultural identity\, feminism\, motherhood\, and the evolving meaning of home\, both in the context of migration and as a universal psycho-spiritual experience. Her photographs\, often set in domestic spaces\, reveal the quiet tensions between order and chaos\, belonging and estrangement\, the visible and the unseen. Shirai’s work has been exhibited widely\, including at the Tokyo Metropolitan Museum of Photography\, the National Portrait Gallery in London\, and the Smithsonian National Portrait Gallery in Washington\, D.C. Her photographs are held in the collections of the Tokyo Metropolitan Museum of Photography and the Kiyosato Museum of Photographic Arts (K’MoPA). \nAfter earning a Full-Time Certificate from the International Center of Photography in 2007 and an MFA from Hunter College (CUNY) in 2010\, Shirai lived and worked in New York City for over a decade. In 2015\, she returned to Japan to raise her daughter and now lives and works in Tokyo and Chiba Prefecture. Though she has exhibited less frequently since her return\, she continues to create new work\, often in collaboration with her daughter. \nhttp://satomishirai.com \nSATOMI SHIRAI ARTIST STATEMENT \nI make photographs that explore themes of cultural identity\, feminism\, physical expression in everyday life\, and the special connection between mother and child. Since becoming a mother\, I’ve focused more on documenting lives in their natural surroundings—drawing inspiration from the intense energy of my child’s small\, growing body\, the beauty of her spontaneous movements\, and the surprising and often funny ways she engages with the world. \n“Walls with windows and doors form the house\,but the empty space within it is the essence of the house.”—Lao Tzu\, from “The Uses of Not” from Tao Te Ching \nMy work also reflects on what constitutes “home” — first as an immigrant in New York\, and now\, for the past decade\, back in Japan. The tension between tangibility and intangibility continues to shape this inquiry: how do we define or recognize home? \nIn this exhibition\, I am mixing elaborately staged earlier works from when I was pregnant and new to motherhood with more recent photos created in collaboration with my daughter. Images of the miniature dream houses my mother made\, and my daughter often played with\, are projected onto my daughter and onto the actual interior of our home. In the shifting environments and connections to the world\, she appears in a state of yet-to-be-formed identity. \nThrough the process of making these works\, I try to capture our evolving relationship and her evolving relationship to her home and the world. Rather than trying to convey fixed feelings or messages\, I try to express the shifting\, complicated\, sometimes conflicting nature of intimacy\, identity\, and belonging\, leaving the works open to multiple interpretations. \nABOUT ZOE MARIEH URNESS \nZoe Urness is a Tlingit photographer raised in the Pacific Northwest. She earned a Bachelor of Arts in Commercial Photography from the Brooks Institute of Photography in 2008. Urness lives and works between Santa Fe\, New Mexico\, and the Seattle area in Washington State. \nUrness’s practice engages Indigenous representation\, contemporary Native identity\, and documentary storytelling. Early bodies of work confronted the legacy of Edward Curtis through staged\, sepia-toned compositions that merge historical references with present-day Native sitters. In 2015\, Urness documented the Standing Rock resistance on the Standing Rock Reservation in South Dakota\, producing a significant body of documentary work from the movement. \nHer photograph No Spiritual Surrender was nominated for a Pulitzer Prize in Feature Photography by World Literature Today and featured on the cover of its May 2017 issue. Urness is also the recipient of the 2022 Sony Alpha Female+ Grant in support of her project Indigenous Motherhood. \nUrness’s work has been exhibited nationally and internationally\, including at the Zimmerli Art Museum (2025)\, the Minneapolis Institute of Art (2019)\, the Autry Museum of the American West (2017–2018)\, and the Booth Western Art Museum (solo exhibition). Her work will be exhibited in the United Kingdom\, Paris\, and Tokyo in 2026. \nhttps://zoeurnessphoto.com \nZOE MARIEH URNESS ARTIST STATEMENT \nMy art is a way for people to view modern Indigenous people photographed in traditional clothing and on land that is special to them. This imagery honors the past and shows how we are still here\, living by traditions and values passed down from one generation to the next. Without honoring our traditional way of life and practices\, we would not be here in this modern world. Art can serve as a platform to elevate Indigenous voices and perspectives\, promote understanding\, and celebrate Indigenous ways of life\, both traditionally and contemporarily. It can also serve as a tool for cultural revitalization and preservation\, highlighting the beauty and richness of Indigenous cultures and traditions. \nThis project has significant meaning to me because I am a mother. I gave birth to a baby girl\, and the transformation I have experienced has been both physical and spiritual. This metamorphosis has spawned the inspiration for this photography project. The honor I have now for being female is felt deep in my soul and within my whole existence. I anticipate these images to be cinematic and to have a deep connection to Mother Earth\, represented through varied landscapes. \nI typically receive the ideas for my work through a series of vivid visions that come to me\, sometimes through dreams\, other times through sacred landscapes speaking to me. Once I recognize the vision\, it’s as if all the pieces appear synchronistically\, adding to the original vision\, making it complete. As I evolve as an artist\, I feel as if my entire body of work is braided together as one story being told through my lens. \nStorytelling has been the way Native American cultures have been preserved for thousands of years\, and they are used to teach and pass down values\, history\, and beliefs. Traditional storytelling has been shared through the spoken word\, dance\, song\, and other art forms such as carvings\, weaving\, silversmithing\, and drawings such as form line. I choose to use my camera as a tool to link the past and present through visual stories. As I was growing up\, I learned the stories of my ancestors through my Tlingit elders\, and through learning traditional clan songs and dance. Today\, as a professional photographer and as an Indigenous woman and mother\, I believe I have a unique perspective that has been formed by who I am and where I come from.
URL:https://crsny.org/event/life-is-art-is-motherhood-is-art-tokyo/2026-05-19/
LOCATION:Le Deco Gallery\, 〒150-0002 Takakuwa Building\, Shibuya\, Shibuya-ku\, Tokyo\, 〒150-0002\, Japan
CATEGORIES:CRS Presents,Exhibition
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