Iyo Y's Norman E. Alexander Center yeHupenyu hwechiJudha inodada kuburitsa iyo Isu Tiri: Maitiro Ekufamba Kuratidzwa, kuratidza maartist emunharaunda anomiririra kukosha kwakasiyana kwevanhu mwedzi wega wega.
Ndicho chinangwa chedu, pakati peCOVID-19 chokwadi, kusimudzira maartist emunharaunda uye kupa iyo Northern Manhattan nharaunda kuwana kune art. Nepo kazhinji isu tichida kuti iyi art iratidzwe pamadziro eY, nezvipimo zvazvino zvine chekuita neCOVID, chinangwa chedu kuunza maartist edu emunharaunda kumigwagwa yenharaunda yedu.
Kubvumbi: uye Mutungamiriri Arikusimuka weNew York Arts
Still Image from Workshop performance of Site: Yizkor Sichow, Poland
Still Image from the Video Installation Site: CHIVABVU, Incubated by LABA: A Laboratory for Jewish Culture, the Millay Colony and the MacDowell Colony
By Maya Ciarrocchi
mayaciarrocchi.com | instagram.com/mayaciarrocchi
Maya Ciarrocchi is a New York-based interdisciplinary artist working across media in drawing, printmaking, performance, video, installation, and social practice. Her work has been exhibited nationally and internationally, and she has received residencies and fellowships from the Bronx Museum of the Arts (AIM), LABA: a Laboratory for Jewish Culture, Lower Manhattan Cultural Council (Swing Space), MacDowell, Millay Colony, New York Artists Equity, UCross, and Wave Hill (Winter Workspace). She received a Foundation for Contemporary Arts Emergency Grant, a Film/Video Grant from The Jerome Foundation, and funding from The Puffin Foundation. In addition to her studio practice, Ciarrocchi has created award winning projection design for dance and theater including the TONY award winning Broadway musicalThe Band’s Visit. Ciarrocchi is the recipient of a 2021 grant from the Trust for Mutual Understanding and a Bronx Council on the Arts 2020 BRIO Award winner.
Curator’s Note By Gal Cohen
CHIVABVU | CHIVABVU
CHIVABVU. CHIVABVU, CHIVABVU, CHIVABVU, CHIVABVU, CHIVABVU. CHIVABVU: CHIVABVU: CHIVABVU, CHIVABVU. CHIVABVU, kune mavakirwo ezvivakwa zvakaputswa, kune mavakirwo ezvivakwa zvakaputswa, kune mavakirwo ezvivakwa zvakaputswa. kune mavakirwo ezvivakwa zvakaputswa, kune mavakirwo ezvivakwa zvakaputswa, kune mavakirwo ezvivakwa zvakaputswa, kune mavakirwo ezvivakwa zvakaputswa.
uye Mutungamiriri Arikusimuka weNew York Arts
uye Mutungamiriri Arikusimuka weNew York Arts, Norman E. Alexander Center yeMajuda Hupenyu Director
Renee Descartes famously opined, I think, therefore I am. Without taking too many liberties, we might reconstruct this statement to I remember, therefore I am, for who are we if not individuals built by our experiences. Indeed memory is so prized that we often utilize a multiplicity of tools to help us remember that which we deem important. These tools range from family stories passed down from generation to generation to the appointments booked on a google calendar to a social media reminder of a friend’s birthday. Memory is important and we regularly hold ourselves accountable towards remembering our past and the future events to which we’ve made obligations. Memory can be multi-sensory. The taste of a food, notes of music, and whiffs of scent can transport us to a distant past that suddenly becomes very alive in the moment.
Yet memory can also be false as well. How accurately is the past remembered? Whose truth is represented in this memory? Might there be other truths that distort or even change the event once remembered with such clarity. Such thinking opens up the possibility that the reality of the past might not be so rigid. We craft memories about what is important. Perhaps these memories speak more towards the person we aspire to become more so than the our recollected experiences.
