TRADES A.i.R. an Artist in Residence program on O‘ahu

forever ♾ 2021

Aloha TRADES ‘Ohana,

Greetings from a changed and changing world. As we begin to emerge from the pandemic’s shadow and navigate a way forward, we wanted to share with you some of what has occupied us in the interim. As an initiative dedicated to fostering connections between artists and audiences, and between the local and the global—we conscientiously paused our usual practice of inviting artists to Hawai‘i and integrating them with our local communities. Like all of you, we turned inward, tending our home fires and taking care of our own—reinforcing our local partnerships; supporting those close at hand; and gradually reintegrating programming at first virtually, and then, when permissible, in person. We proceed onward with cautious optimism, adapting to our new shared reality, and looking forward to when we might fully return to form. As always, we are grateful for your interest, encouragement, and support.

Phillip Zach with Clare Apana on Maui, paying respect to iwi kūpuna burial site at Maui Lani Parkways development.

Phillip Zach was with us in January and February of 2020, seeking the histories hidden in the circulation of materials. For Phillip, that meant connecting with willing teachers, and being an attentive and open listener. Zach spent time on Maui with Uncle Walter, Clare Apana, and Paul Hanada; activists dedicated to the environmental and cultural preservation of the inland sand dunes—site of the historical Battle of Kakanilua (Battle of the Feather Capes) and of contemporary industrial sand mining that desecrates native Hawaiian burials. Phillip learned more about iwi na kūpuna (bones of the ancestors) from cultural practitioner Kumu Hinaleimoana Wong-Kalu, then chair of the O‘ahu Island Burial Council; and also spent time with Kupa‘a Hee of the Hawai‘i Snail Extinction Prevention Program, hearing about their efforts to protect native endangered snails from eradication. Phillip’s interviews and research are thoughtfully observed and framed in his newly completed film Hunger for Sand.

Phillip Zach filming with Clare Apana and Uncle Walter at Keopuolani Sand Dunes on Maui.

Along with our friends at Pu‘uhonua Society and Tropic Editions, we ensured that Aupuni Space continued to serve artists and audiences of Hawai‘i throughout the pandemic. Mounting shows; hosting and streaming talks and screenings; and allowing exhibition viewing by appointment and in keeping with covid regulations. We acknowledge and celebrate this perseverance.

Drew Kahuʻāina Broderick, Jackson Polys, Zack Khalil, Suzanna Kite and Adam Khalil
Drew Kahuʻāina Broderick, Jackson Polys, Zack Khalil, Suzanna Kite and Adam Khalil

In collaboration with Koa Gallery at Kapiolani Community College; with the cooperation of the Honolulu Museum of Art, Arts and Letters Nu‘uanu, and Aupuni Space; and the generous support of Laila Twigg-Smith Art Fund—TRADES co-hosted core contributors Jackson Polys (Tlingit), Adam Khalil (Ojibway), and Zack Khalil (Ojibway) of the New Red Order (NRO) in February and March of 2021. NRO is a “public secret society” employing self-described “informants” to subversively yet earnestly interrogate desires—individual and collective—for indigeneity. NRO’s project while in Hawai‘i—Out of Step, In Place—explored the similarities / dissimilarities, connections and disconnections between different indigenous practices and concerns in the arts around appropriation and collaboration. NRO temporarily repositioned their Alaska Native and American Indian perspectives into constellation with a Native Hawaiian context, to discern how place-based indigenous systems of knowledge might coexist and communicate with one another. NRO’s residency included studio visits with artists, collection research at the Bishop Museum, and a window installation at the Koa Gallery. NRO presented three public evenings of film programming with panel conversations moderated by Drew Kahu‘āina Broderick (curator, Koa Gallery) and Taylour Chang (curator, Honolulu Museum of Art) that were also available by streaming.

New Red Order installation over the windows of the temporarily closed Koa Gallery.

TRADES, along with the University of Hawai‘i, now welcomes the return of Kanaka Maoli artist Tiare Ribeaux with collaborator Jody Stillwater for November 2021. In February of this year, Tiare and Jody (Lenape Creative Group) curated an in-person/online screening of short films organized around the theme of “Mythic Temporalities” with a discussion moderated by Marika Emi (co-director, Aupuni Space). They now return as part of a multi-year film and multimedia project Manawa Iki, Manawa Mau Loa (A Moment, An Eternity) focused on healing from intergenerational trauma by reengaging with Kanaka Maoli understandings of (a)temporality and cosmology. In this phase of the project, Kō Kākou Manawa (Our Time), Tiare and fellow Kanaka artist Nanea Lum invite fellow artists to participate in a series of workshops to co-vision multimedia projects that utilize and uplift Hawaiian heritage, narratives, and culture.

These workshops provide a practical response to recent calls for the University of Hawai‘i to decolonize the curriculum and faculty of the Department of Art. Former and current students organized to publish a broadsheet (see decolonizeuh.art) revivifying 25 year old calls to indigenize the curriculum. While institutional change may be slow and incremental, Nanea and Tiare will create literal and metaphorical space, occupying the department with collaborative Kanaka envisioned art-making. Doing so, within the physical structure of the art building and with the support of the department, demonstrates positive steps towards this reclamation. Kō Kākou Manawa (Our Time) is supported by TRADES A.i.R., the Citizen Diplomacy Action Fund, GRICC Contemporary Gallery, and the UH Mānoa Department of Art and Art History.

“Pele and Plastiglomerate” by Tiare Ribeaux, installed at Mission Houses Museum for CONTACT: Acts of Faith.

Finally we congratulate our former TRADES A.i.R.s on their recent accomplishments: Michael Wang for his inclusion in the 2021 Shanghai Biennale; Eve Fowler for her 2021 Guggenheim Fellowship; Sung Hwan Kim for his 2021 Guggenheim Fellowship; and Sung Hwan Kim (with collaborator David Michael DiGregorio) for the MoMA premiere of their Hawai‘i-made film Hair is a piece of head in conjunction with their exhibition Temper Clay.

From left: Sonny Ganaden, Sung-Hwan Kim, Phillip Zach, Aaron Wong, Marika Emi, Malia Gonzalez, Donnie Cervantes, Juvana Soliven and David Michael DiGregorio. January 2020 at K-VIBE in Kalihi.

As always TRADES A.i.R. relies on your generosity to sustain our efforts. Contributions in any amount are greatly appreciated. Mahalo for your continued support.

We wish to gratefully acknowledge the support of the Atherton Family Foundation, The Cooke Foundation as well as the following:

Charlton Kupaʻa Hee
Maika Pollack
Jaimey Hamilton Faris
Puʻuhonua Society
Clare Apana
Uncle Walter
Paul Hanada
Esteban Arboleda
David Haskell
Solomon Enos
Nanea Lum
Reise Kochi
Joanne Lee

Hinaleimoana Wong-Kalu
Glenn & Susan Shea
The Laila Twigg-Smith Art Fund
Tantalus Botanicals
Drew Kahuʻāina Broderick
Koa Gallery
Kapiʻolani Community College
Howard & Jana Wolff
Short Attention Span University
Marika Emi
Tropic Editions
Josh Tengan
Barbara Pope

Aloha 2020

Aloha Makahiki Hou 2020, new year, new decade. Here’s the new news from Trades A.i.R.

First things first:

Please join us in welcoming artist Phillip Zach to Oʻahu. He arrived on January 19th and will remain with us for 5 weeks. Driven by ongoing research, Phillip’s work draws upon sub-sensory and repressed aspects of materials and history. His sources range from cultural markers such as Hollywood films or archeological artifacts; to interviews he conducts; as well as physical objects such as pigments; or actual places. In exploring frictions between evolving material realities and mental spaces, his work challenges assumptions about lived human experience.

Phillip Zach, Zero-G, 2019. 2-Channel video installation: HD Video projection; HD Video monitor; emergency blankets.

During his time in Hawaiʻi, Phillip seeks to trace human and non-human stories that evolve around the circulation of materials. By following particular objects: varying perspectives on globalization; growth and belonging; conflicts about ground and territory; greed and inhabitation; evolving and disappearing emerge and come into focus.

Phillip Zach, Folds, 2019. Acrylic glass, printed images, acrylic paint, oil paint, cotton thread, dust, tape.

In Mid-February, Phillip will install a version of his piece, Double Mouthed (2019), a multi-channel HD video and sound installation from the 16th Istanbul Biennial- at Aupuni Space in Kakaʻako. We’ll gather to discuss things he’s discovered in his time here and how his experience will impact future works.

Phillip Zach Seeing Red II (hugger), 2018. Saffron flower, syrian rue, annatto seeds, acacia confusa root bark powder (DMT), venetian red, vermillion, mummy brown, cochineal, powdered red beets, hemoglobin, shilajit, live strawberry, urethane.

This coming Thursday, we are proud to present a screening with current (and extended) Artist in Residence, Sung Hwan Kim and his collaborative partner David Michael DiGregorio. Please join us to view his 2012 piece, Temper Clay followed by a conversation with the artists; Thursday January 30th from 10:30 – 11:45 a.m. in ART 101 at UH Mānoa. Many thanks to Jaimey Hamilton Faris and UH Mānoa Art and Art History for partnering on this event.

Sung Hwan and David arrived in Honolulu last September 2019, with plans for an extended residency to develop a project for a future biennial. After spending 2 months living with TRADES they found their own place in town. Over this time they have developed prolonged interactions with various communities including studying ʻŌlelo Hawai’i with Kīpuka at Nā Mea Hawai‘i, hula with Halau o kahiwahiwa, and ʻukulele with the Daughters of Hawai‘i at Queen Emma Summer Palace. They have become integrated members of our arts communities and plan to remain on O‘ahu until at least June 2020. We look forward to providing further points of access to our communities as their project takes shape.

Earlier in Summer, we were grateful to partner with Tropic Editions to bring artist Catalina Africa Espinosa to O‘ahu from Baler, Philippines. Catalina is an artist featured in Tropic Issue 2–Tropic Zine is a forum for critical engagement with contemporary culture that pursues connections between Hawaiʻi and the tropics worldwide. Issue 2 seeks to decolonize, deconstruct, and reimagine the Filipinx diaspora by posing a series of questions about what it means to identify as, and to be, a contemporary citizen in an age of movement and dispersion.

While in residence—Catalina’s first visit to the Hawaiian Islands—she focused on connecting with local Filipino culture centered in Kalihi. Several points of contact were made with Kokua Kalihi Valley’s KVIBE program; along with a visit to Hoʻulu ʻĀina and participation in their annual Ahupuaʻa Kalihi bicycle ride. In addition, she co-taught a children’s workshop at Art Explorium. She was exceptionally interested in interacting and collaborating with local artists and made new works that were included in an exhibition at Aupuni Space highlighting the contributors to Tropic Issue 2. The exhibition continued to evolve and grow throughout the run of the show and was activated with multiple performances, meals, and gatherings.

Detail of Tropic 2 installation at Aupuni Space.

Finally in May 2019, TRADES collaborated with Analog Sunshine Recorders and FLUX to adapt our temporary Nuʻuanu Street storefront into a working black and white dark room. Providing support and access to space, the collective was able to inhabit, develop and print their photographs that culminated in a group exhibition.

We wanted to take a minute to thank you for all of your support and contributions of time, effort, goodwill, and tax-deductible donations.

We are looking forward to an exciting year of programming that will bring at least 5 artists to Hawaiʻi in 2020. To keep our programs possible, we are counting on the sustained support of donors like you.
In 2019 we:

  • Brought 8 artists to Hawai‘i (+ a group of college students)
  • Hosted public community events including— screenings, exhibitions, performances, publication launches, and artist talks.
  • Expanded to include international artists visting from the Philippines, Brazil, and Korea.
  • Partnered and collaborated with other local and international organizations such as Tropic Editions, Puʻuhonua Society, Koa Gallery, Honolulu Biennial Foundation, Harvard University, Kokua Kalihi Valley, and Art Explorium.
  • Continued our outreach and engagement with Hawaiʻi’s students from k-university.
  • Operated -in partnership with Puʻuhonua Society, Aupuni Space- a contemporary art gallery specializing in community based projects and exhibitions that feature Native Hawaiian and Hawaiʻi based contemporary artists. Over the past year Aupuni hosted 14 exhibitions and saw 71 artists exhibit their work.
  • Enjoyed ongoing relationships with past A.i.R., witnessed how their visits continue to impact our community as well as their own practices and welcomed several of them back to Oʻahu.

What we’ve achieved is a direct result of your support and we are relying on your continued generosity to flourish in 2020!

We wish to gratefully acknowledge the support of the Atherton Family Foundation, The Cooke Foundation, The University of Hawai‘i at Mānoa Department of Art and Art History, as well as the following:

Jaimey Hamilton Faris
Maile Meyer
Puʻuhonua Society
Daughters of Hawai‘i Queen Emma Summer Palace
Esteban Arboleda
David Haskell
Harvard University
Malia Gonzalez

Drew Broderick
Koa Gallery
Auliʻi Mitchell
Sonny Ganaden
Kalihi Valley Instructional Bicycle Exchange
Marika Emi
Tropic Editions
Nella Media Group


TRADES 8 – Catalina Espinosa



Spring 2019 FYI

Aloha from TRADES A.i.R! Weʻve got a lot of news so let’s get started in present day O‘ahu: 

Brazilian filmmaker Filipe Zapelini is currently in residence with TRADES working on a film about local record label Aloha Got Soul. This residency arose from our ongoing collaboration with local artists Roger and Leimomi Bong (aka Aloha Got Soul and/or Central Pacific Time.) A documentary project begun spontaneously in December 2016 by 3 filmmakers from Brazil (Pedro Ramos, Pedru Carvalho, and New York-based Zapelini), the film explores their interest in the genres Aloha Got Soul highlights—70’s and 80’s Hawai‘i-made funk and soul.  

Roger proposed bringing Filipe Zapelini back to Hawai‘i as a TRADES resident to complete filming—adding missing narratives and rounding out the story. A labor of love between all participants, thus far the project had progressed without outside support or funding. We felt this was an ideal opportunity to support our local community by furthering the production through Filipe’s residency. In Roger’s words, the documentary “will make the world aware of the diversity of music made and still being made in Hawai‘i, and in ways that can’t be expressed … in words. A lot of the story is going to revolve around the musicians, their experiences, and ultimately, their life’s purpose. It talks about life, spirit, aloha, and it talks about the music, too.” (Halekulani Living, Vol. 9-1)

Please join us Friday April 26th at 6 p.m. when we’ll gather at Aupuni Space to talk story with founder Roger Bong, filmmaker Filipe Zapelini, local music writer John Berger, and musician/producer Kit Ebersbach; enjoy live music by featured artists and check out an updated trailer.

Next we’re headed back to November 2018, when we spent an amazing month with Lena Daly. Lena’s work focuses on the limits of human perception, at what lies just beyond our hearing and vision. On O‘ahu, she investigated marine fluorescence: capturing hydrophonic recordings by day and taking ultraviolet reef dives by night. She met with scientists at UH Mānoa and the Hawaiʻi Institute of Marine Biology to learn about visual system evolution, bioluminescence, and coral fluorescence. A highlight was creating images of live coral with the use of a confocal microscope, observing the tissues fluoresce under UV lasers.

Lena engaged deeply with our local communities—with two visits to work with middle school students at SEEQS (School for Examining Essential Questions of Sustainability); conducting studio visits with a handful of local artists; and recording a radio program with Central Pacific Time. Lena intersected with our arts community at events at HoMa, HiSAM, Honolulu Biennial Foundation, Honolulu Printmakers, the Merwin Conservancy, and HIFF.

Her visit culminated with an installation at Aupuni Space—with UV reactive sculptures and two-channel video, including confocal footage of coral and hydrophone audio from the reef. Professor Megan Porter, UH biology; and Mindy Mizobe, confocal microscopy specialist; joined Lena for a conversation connecting art and science, and hypothesizing the origins and uses of various species’ visual perception and communication.

Completing our Fall 2018 double bill, Derek G. Larson joined us in December from Savannah, Georgia. Larson shared and expanded upon his animated series Très Mall—which follows Jon, an artist who inherits a strip mall, and his friends, engaged in dialogue with writers on “topics in philosophy, activism and the environment.” Très Mall contrasts the mundanity of its setting and the “misplaced ambitions” of its protagonist with philosophic nuance and academic expertise.

Derek’s Honolulu residency included a screening of Très Mall, interviews with local thinkers and activists, a public animation workshop with Art Explorium, and of course a visit to Ala Moana Center.

We welcomed our inaugural A.i.R. Amy Yao back to O‘ahu, along with future A.i.R. Ei Arakawa, for a holiday reception celebrating their participation in the Honolulu Biennial 2019. Both artists chose to show their work beyond the confines of a traditional exhibition hall:

Amy Yao’s “Nuanced Outsider” and “The Impossibility of Being Outside” continue her investigation of materials and language linked to the waste-landscape of modernity and xenophobic representations of the natural world. Situated in Foster Botanical Garden and considering its context of botanical research and preservation, Yao’s assemblage combines teddy bears made from micro algae; with a dirt pile; and fireweed, a common invasive species. Their planned and unplanned integration into the local ecosystem will proceed over the course of the biennial.

Installed in commercial businesses in Honolulu’s Chinatown, Ei Arakawa’s three site-specific LED works question the the global proliferation of contemporary art biennials, triennials, and festivals in the twenty-first century. What does it mean for artists to make works for places and contexts that are utterly foreign to them? Arakawa’s poetic works, presented on hand constructed LED screens, appropriate the curatorial concepts unique to three global biennials and challenge the “ritual” of biennial culture today.

2019 also marks the first year that TRADES participated in the Hawai‘i Scholastic Art Awards, by presenting 7 students with “Emerging Artist Award” scholarships. Marley Samio (pictured), a senior at Kamehameha School,  also received a gold key for her painting “Tahitian Invasion”. Mahalo to the generosity of the private donor who provided the scholarships for Hawaiʻi’s next generation of artists!


Finally(!), Ei Arakawa returned in early April, along with a group of his own students from Harvard University, for a mini-residency. Over 5 rigorous days, the group of young artists visited all of the Honolulu Biennial sites; had formal conversations with Native Hawaiian cultural practitioners including Kumu Hina and ʻīmaikalani Kalāhele; and initiated a performative collaboration with fellow students of UH Mānoa Art Professor Peter Chamberlain. Titled “WINDOW BOUNCE”; the students acted as performers, spontaneous collaborators, and audience for each other in an hour-long procession throughout Chinatown; followed by a discussion and self-critique of their experience. TRADES is especially grateful to Harvard University, University of Hawai‘i at Mānoa, Honolulu Biennial Foundation, John Esguerra/Single Double, Ei Arakawa and a generous patron of contemporary art; all of whom made this residency possible.

We wish to gratefully acknowledge the support of the Atherton Family Foundation, The Cooke Foundation, The University of Hawai‘i at Mānoa Department of Art and Art History, as well as the following:

Andrea Charuk and Blake Miller
SEEQS
Megan Porter
Mindy Mizobe
Geir Johnsen
Mark Heckman
Mark Hixon
Kirsten Carlson
Hawaii Institute of Marine Biology
Lei and Roger Bong
Honolulu Biennial Foundation
Harvard University

Helen Turner
Chaminade University
Michelle Broder Van Dyke
Chris Ritson
Tantalus Botanicals
Morning Glass Coffee
UHM Department of Biology
Jacinto Astiazaran
Royce Hui
Central Pacific Time
John Esguerra
Single Double



TRADES 5 – LENA DALY




Lena Daly with Dr. Megan Porter of UH Biology and Mindy Mizobe of HIMB Soest
Photo credit: Kirsten Carlson

In the TRADES… EVE FOWLER

Aloha from TRADES A.i.R. We are excited to share with you highlights from Michael Wang’s extremely productive February visit and to introduce our upcoming artist Eve Fowler.

While in residence with TRADES, Michael continued his “Extinct in the Wild” project; traveling between O‘ahu, Kaua‘i, and Hawai‘i Island to research several species of plants, tree snails, and the ‘Alalā (Hawaiian Crow). Local experts—at the O‘ahu Army Natural Resources Program; Hawaiian Rare Plant Program at Lyon Arboretum; Hui Kū Maoli Ola; Hawai‘i Snail Extinction Prevention Program; and Keahou Bird Center—generously welcomed Michael and shared their work with him.

Michael spent days up mauka learning about native forests from botanical experts and cultural practitioners; and counting endangered tree snails in “snail jail” exclosures. And he shared his findings with keiki to kupuna. Michael planted an Alula (Brighamia insignis) specimen with Kipapa Elementary 3rd graders who will continue to care for it. He visited middle-schoolers at SEEQS (School for Examining Essential Questions of Sustainability) twice—first learning about their on-campus stream conservation efforts and then teaching them about his project. At UH Mānoa, he shared his systems-based approach to art-making with undergraduate and graduate art students. Michael’s residency culminated with a public panel at fishcake, where he discussed his Hawai‘i findings and the connections between environmental and cultural stewardship with Dr. Helen Turner of Chaminade University; and Dr. Sam ‘Ohu Gon of The Nature Conservancy.

We look forward to having Michael back in Hawai‘i to continue his research as we explore exhibition opportunities for “Extinct in the Wild.”

from “IT IS SO, IT IS SO”, Houston, TX, 2014; LAND Manifest Destiny Billboard Project

NOW, Looking forward! Eve Fowler will be joining us on April 14th. Having exhibited widely in the U.S. throughout her career, Fowler’s work is included in the collections of The Los Angeles County Museum of Art; The Hammer Museum, Los Angeles; The Museum of Modern Art, New York; The Museum of Modern Art, San Fransisco; and The Smithsonian Institute, Washington, D.C.

In her own words: “My creative practice hinges on a form of collaboration that has bearing witness at its core. This is manifested through my decades of photographic practice, and through my ongoing work with fellow artists, filmmakers, writers and curators under the rubric of Artist Curated Projects. It is evident in my sustained engagement with the creative work of Gertrude Stein; and it is the motivation behind my archival investigations that bring historically marginalized forms of practice into contemporary conversation.”

Since 2010, Fowler’s work has centered on excerpting, interacting, and re-presenting the poetry of Stein in arresting visual forms. Originally conceived as posters printed by historic Colby Poster Printing Company and affixed to telephone poles amongst other similar signage and blending into the L.A. visual vernacular, Fowler has since realized the work as freeway billboards, bus shelter advertisements, paintings, neon signs, collage, and sculpture; giving the Stein texts further breadth and dimension. Writer Litia Perta comments: “across a distance of nearly a century, Fowler’s work literally commingles with Stein’s: gets close to it, pulls strands out, knits phrases back in, asks us to be near it, to think toward it.”

On O‘ahu, Eve will conduct studio visits with local emerging and established artists of exceptional talent for inclusion in an “Artist Curated Projects” exhibition here. She will spend time working in the studio, preparing works for upcoming exhibitions. We are organizing a public screening of her 16mm film “with it which it as it if it is to be”, as well as a Gertrude Stein focused event with creative writing and poetry professor Dr. Susan Schultz. Eve will also speak to Art and Art History students with Jaimey Hamilton Faris at UH Mānoa. TRADES is also working on a Public Art component of Eve Fowler’s work here in Hawai‘i.

We hope many of you will take the opportunity to interact with Eve while she’s in residence at TRADES, stay tuned for further details.

“with it which it as it if it is to be”, 2016, 16mm film with sound. Installed at Participant, New York City

What we do is only possible because of your generosity. Your contribution will have a direct and lasting impact on on our programs as well as on local artists and art enthusiasts in Hawai‘i. A sponsored project of Fractured Atlas, donations to TRADES A.i.R. are tax deductible to the extent permitted by law.

Make a donation to TRADES

TRADES wishes to gratefully acknowledge the support of the Atherton Family Foundation, University of Hawai‘i at Mānoa Department of Art and Art History, as well as our base of private donors and supporters.


TRADES 2 – MICHAEL WANG

Site visits with Dan Adamski of the O‘ahu Army Natural Resource Program

Speaking to Andrea Charuk’s students at SEEQS about “Extinct in the Wild”

Sam ‘Ohu Gon telling of the native Hawaiian plant species on Hawai‘i Loa Ridge.

Touring Hui Kū Maoli Ola native plant nursery with founder Rick Barboza

Wahiawa snail exclosure cared for by the Hawai‘i Snail Extinction Prevention Program. Picture: Michael Wang

Pūpū kanioe (Achatinella lila), a snail species endemic to Hawai‘i, seen in the field and in the lab. Picture: Michael Wang

3rd grade students at Kipapa Elementary in Mililani getting ready to add Alula (Brighamia insignis) to their native plant garden

Kids preparing the soil with crushed coral and black cinder and building a mound for proper drainage / Michael putting finishing touches on the Alula plant donated by Hui Kū Maoli Ola

Alula (Brighamia insignis) specimen grown from tissue culture / Michael with Nellie Sugii of the Hawaiian Rare Plant Program at Lyon Arboretum

Public conversation at fishcake with Dr. Sam ‘Ohu Gon and Dr. Helen Turner

with Kupa‘a Hee and Dave Sischo of the Snail Extinction Prevention Program / with panelists Dr. Sam ‘Ohu Gon of the Nature Conservancy and Dr. Helen Turner of Chaminade University

Become a TRADES ally in 2017

Happy Holidays from TRADES A.i.R. As the year comes to a close, we are reflecting on our exciting visit with Amy Yao. She was an exceptional inaugural artist and a wonderful ambassador for TRADES. During her residency, Amy gave a lecture at the University of Hawai‘i at Mānoa; visited with several classes; and worked alongside students in the ceramics studio. She toured exhibitions and galleries around Honolulu; made studio visits with a host of undergraduate and graduate students, and local working artists; and participated in a public dialogue with local arts organizer and curator Yoko Ott at fishcake in Kaka‘ako. Amy helped us maximize opportunities for community interaction and was extremely generous with her time, expertise, and goodwill.

We look forward to building on that momentum with our second artist Michael Wang early next year. Michael is the recipient of the Fondazione Prada and Qatar Museums Authority Curate Award (2014) and the Joan Mitchell Foundation Painters and Sculptors Grant (2017). In Hawai‘i, he will continue his “Extinct in the Wild” project which has been shown at the Fondazione Prada in Milan, and at the XX Bienal de Arquitectura y Urbanismo in Valparaíso Chile.

An interview with Michael Wang at the Fondazione Prada about “Extinct in the Wild”

Adopting the scientific designation “Extinct in the Wild,” Wang’s work focuses on flora and fauna species that are no longer found in nature but that persist through human intervention and care. These species represent a “kind of passage from nature into culture,” and with Wang’s intervention a further transition into the realm of fine art. Michael hopes to document the last location where these species were observed in the wild as well as their preservation in captivity or cultivation.

We anticipate that Michael’s visit will foster conversations between local artists, scientists, conservationists and cultural practitioners; to expand our outreach to the neighbor islands; and provide a natural opportunity to further conservation education and environmental stewardship at the K-12 level.

What we do is only possible because of your generosity. Your contribution will have a direct and lasting impact on Michael’s planned research while in residence as well as on local artists and art enthusiasts in Hawai‘i. A sponsored project of Fractured Atlas, donations to TRADES A.i.R. are tax deductible to the extent permitted by law. We are developing some exciting projects early next year that will establish levels of giving to support TRADES, and all contributions received in 2017 will be credited towards these new incentives. Please forward this email to fellow artists and supporters who should be aware of TRADES!

Private contributions of ANY amount are vital to continuing our program.

TRADES wishes to gratefully acknowledge the support of the Atherton Family Foundation, University of Hawai‘i at Mānoa Department of Art and Art History, as well as our growing base of private donors.


TRADES 1 – AMY YAO

Halloween public lecture at UH Mānoa

Site visit to Kainoa Gruspe’s exhibition, “Maybe Later”

work by Amy Yao made while in residence.

Studio visit with Rebecca Goldschmidt, UH Mānoa

Gaye Chan’s Professional Practices class at UH Mānoa / Grandmas Summit in Waikiki

Ceramics at UH Mānoa / Visit to Tommy Hite’s concurrent exhibitions in Chinatown

Visit with Juvana Soliven’s Small Sculptures Class at UH Mānoa

Studio visit with Hadley Nunes


In conversation with Yoko Ott at fishcake