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

Summer Sessions 🔗 2023

Aloha kākou to all our TRADES ʻohana and enthusiasts. We’re currently enjoying a prolonged spring here on Oʻahu with a slight chill in the air some nights. Our January was spent working alongside Léuli Eshrāghi and collaborators out of Aupuni Space, doing our part to help produce their multi-faceted afiafi project. Much of Léuli’s time was dedicated to assembling and connecting with a hui of like-minded collaborators, developing ideas in community, and finally capturing the whole thing on video. Filmed in collaboration with kekahi wahi, featuring adorning lei by Reise Kochi, and a multigenerational cast of local performers; we are thankful to all for their integral support of the project. A warm mahalo piha to the Potter ʻohana and the Morehart ʻohana for welcoming us and providing such spectacular filming locations.


3 views of a collaborative crew working alongside Léuli Eshrāghi and kekahi wahi on afiafi production; Pu’u ‘Õhia and Ka’alawai, Kona, O‘ahu

Léuli’s residency began with an open conversation with community at Aupuni Space, led by Drew Kahuʻāina Broderick. We are deeply grateful to Kaili Chun and Waileia Roster, representatives of the Laila Twigg-Smith Art Fund, for their attendance and participation in the evening and most of all for their generous support of afiafi. A further mahalo for their support of Koa Gallery’s residency for Bhenji Ra, Amrita Hepi, and Jahra Wasalasala Rager. The double bill was conceived to explore and reinforce similar themes—and the back-to-back visits amplified impacts for all visiting artists and local participants. Mahalo to Juvana Soliven, for welcoming Léuli to her Art History class at Chaminade University, where a presentation on an alternative Pacific-Oceanic framing of Art History prompted a lively discussion between the students, Léuli and Juvana.



On January 31st, to close the residency, Léuli shared Aupuni Space with fellow artists and afiafi collaborators Kalikopuanehoaokalani Aiu and Hercules Goss-Kuehn. Léuli presented a new version of the performance installation, tangata a nuʻu poʻo tangata a fanguʻu (2022)—literally ʻpeople of the villages or people of bottled oil’ in Sāmoan—a contemporary faʻamalama (offering to ancestors, spirits and guardian spirits). Subsequently, Kaliko and Herc presented Light Inside Your Body Warms Mine, a series of two solos and a duo contact improvisation—the movement, choreography, and improvisational scores of which illuminated the diaspora of transqueer islanders returning to sites of home.

Excerpts of afiafi premiered at MoMAʻs Doc Fortnight in New York, as part of i nā kiʻi ma mua, nā kiʻi ma hope—A Screening Program from Hawai‘i curated by kekahi wahi. Afiafi is currently presented in its full installation form in The National 4: Australian Art Now at Museum of Contemporary Art Sydney from March 30 – July 9, 2023; and opens next month a Interfacial Intimacies at Plimsoll Gallery, University of Tasmania in Hobart from June 8 – August 5, 2023. We very much look forward to welcoming Léuli back to these shores, to share afiafi with our Hawai‘i community later this year!

afiafi, 2023 installed at Museum of Contemporary Art Sydney
photo credit: Anna Kucera

Join us in the present, Hawai‘i nei—as we ramp up our programming this year, thanks in large part to the generosity of the Ruth Foundation For the Arts. We’re extremely excited to host back-to-back residencies this summer. First, welcome Claudia Kogachi, a painter and fibers artist currently based in Tāmaki Makaurau, Auckland Aotearoa. Kogachi has matrilineal roots in Hawai‘i—her family emigrated from Japan and Okinawa four generations ago and her Obaachan (grandmother) resides in Wahiawa. Claudia studied alongside many of our Aupuni Space contemporaries while at UH Mānoa for one year as an exchange student, and counts that time as hugely important to her practice. She eagerly returns to reconnect with the group of artists she came up with and to encounter fresh faces.


Claudia working in studio. Photo credit: Rob Tennent
THE FAST AND THE FURIOUS, 2022, acrylic on canvas
Obaachan and Jiichan Babysitting, 2022 acrylic on canvas

Speaking to Claudia’s 2020 installation, Obaachan During the Lockdown at Te Tuhi, Tāmaki Makauarau Auckland, curator Abby Cunnane writes, “This work registers a relationship between social exchange, attentiveness, and physical labour. While both Kogachi and her obaachan are frequently preoccupied with practical tasks, in these rugs such work could be read as a form of familial contact, a way of staying in touch across distance. Each of the panels represents an activity that takes up a significant amount of the time they spend together. As an artist, Kogachi shares her obaachan’s hand-making skills, attention to detail, and the capacity to concentrate for long periods of time. Though they make very different things, there is a connection in the repetitive gestures, and in the basic understanding that through making, you build and sustain relationships.”

Obaachan during the lockdown, Wahiawā, Hawaiʻi, 2020 (installation view)
tufted rugs, commissioned by Te Tuhi, Tāmaki Makaurau Auckland
photo by Sam Hartnett

Recently featured at Aotearoa Art Fair, she presented a group of woven pieces alongside paintings with carved and polished walnut frames, handmade by her partner. Claudia showed two of her earlier “rug” last year in a group exhibition at Aupuni Space curated by Cody Anderson. Over the next six weeks, while strengthening connections to our local artists’ community and meeting with freshly graduated BFAs at UH Mānoa, she’ll focus in studio on a group of paintings returning to themes relating to her family’s local history in Hawai‘i that we’ll proudly present at Aupuni Space on June 30, 2023. Mahalo to UH Mānoa Art and Art History for the studio space and opportunity for outreach.

Sweet Sweet Fantasy Baby, 2023, installation for Aotearoa Art Fair with Jhana Millers Gallery
photo by Cheska Brown

Hoʻomaikaʻi piha to our alum, collaborator, and ally Tiare Ribeaux for earning her Masters of Fine Arts at U.C.Berkeley this month!. All the while completing two TRADES residencies, two film projects, multiple festival appearances, and still showing up strong for community in the meantime. Big congrats to you sister!

As always we are incredibly gratified by your interest and support—you sustain our efforts. We are especially appreciative of the transformative generosity of the Laila Twigg-Smith Art Fund and the Ruth Foundation For the Arts—Mahalo, mahalo, mahalo.

With your support, since Fall 2017, TRADES has hosted 19 Artists from USA, Sāmoa, the Philippines, Korea, Germany and Brazil: connecting them with 36 community partners via student engagements, research opportunities, site visits, screenings, lectures and exhibitions. What we do is possible thanks to your generosity and your trust.


We wish to gratefully acknowledge the generous support of the Ruth Foundation for the Arts, the Laila Twigg-Smith Art Fund, and UH Mānoa Department of Art and History as well as the following:

Susan and Glenn Shea
kekahi wahi
Dane Brookes
Drew Kahuʻāina Broderick
Sancia Shiba Miala Nash
Maile Meyer
Puʻuhonua Society
Reise Kochi
Lise Michelle
Kalikopuanoheaokalani Aiu
Hercules Goss-Kuehn
Mele Hamasaki
Debra Drexler
Lynne Mayekawa
Juvana Soliven

Ryan and Jody Peterson
Jaimey Hamilton Faris
Laura Wexler
Catherine Payne
Cynthia Cervantes
Angeli (Anjie) Aquino
Amber Strong Makaiau
Madi
Nanea Lum
Josh Tengan
Marika Emi
Daniel Croix
Vincent Bercasio
A.L. Steiner
Cody Anderson

TRADES A.i.R. artists together with artists of Hawaiʻi Nei at MoMA

Aloha kākou–

Just dropping a line to highlight the inclusion of several TRADES A.i.R. alums together with artists of Hawai‘i Nei in a screening program curated by kekahi wahi, which will premiere at Doc Fortnight, MoMA’s Festival of International Nonfiction Film and Media. Details below! Join us in congratulating kekahi wahi, and all the artists whose compelling time-based works will show as part of the program. Aupuni Space will be hosting a local in-person screening of the programs in the near future.

Dan Taulapapa McMullin, 100 Tikis, 2016, video still. Courtesy of the artist

i nā kiʻi ma mua, nā kiʻi ma hope
p3: arrivals and p4: lipo

premiering at MoMA Doc Fortnight 2023
ahead of Aupuni Space screenings

February 26, 2023 at 11am HST

kekahi wahi, a grassroots film initiative from Hawaiʻi instigated by filmmaker Sancia Miala Shiba Nash and artist Drew K. Broderick in 2020, presents two programs, titled p3: arrivals and p4: lipo, from their open-ended screening series i nā ki‘i ma mua, nā ki‘i ma hope, featuring moving-image works from Oceania and Asia Pacific. Much like a lei or garland, this guest-curated double bill strings together works by an intergenerational group of artists and filmmakers who offer glimpses into ongoing archipelagic realities. Collaborators include Nā Maka o ka ʻĀina (Joan Lander and Puhipau), Haʻaheo Auwae-Dekker, Sean Connelly, Léuli Eshrāghi, KEANAHALA, Tiare Ribeaux, Dan Taulapapa McMullin, e-nico, Jakob Soto, Noah Keone Viernes, kekahi wahi, Christopher Makoto Yogi, Vincent Bercasio with Madelyn Biven and Bradley Capello.

In acknowledgement of the ways in which filmmakers and artists are guided simultaneously by their pasts and futures, the title of the series expands on the oft-quoted ʻōlelo no‘eau (Hawaiian proverb) “I ka wā ma mua, ka wā ma hope.” Commenting succinctly on this saying, Native Hawaiian educator and community leader Lilikalā Kameʻeleihiwa writes in Native Land and Foreign Desires: Pehea Lā E Pono Ai? (1992), “The Hawaiian stands firmly in the present, with [their] back to the future, and [their] eyes fixed upon the past, seeking historical answers for present-day dilemmas.” Shifting the focus from ka wā (epoch, era, time, space) to nā ki‘i (images, likenesses, idols, petroglyphs) encourages unexpected connections across media formats, practices, movements, and generations. A conversation between participating filmmakers in attendance will follow each program.

Online viewing of the February 26 program requires a MoMA membership, Aupuni Space will present local in-person screenings of p3: arrivals and p4: lipo in the near future, stay tuned.

Tiare Ribeaux, Pōʻele Wai, 2022, video still. Courtesy of the artist


We wish to gratefully acknowledge the support of the Ruth Foundation for the Arts, and the Laila Twigg-Smith Art Fund as well as the following:

Maika Pollack
Jaimey Hamilton Faris
Esteban Arboleda
David Haskell
The Potter ʻOhana
Sancia Miala Shiba Nash
Josh Tengan
Lisa and Manuel Morehart
Joanne Lee
Elise VonDohlen
Sean Connelly

Ryan and Jody Peterson
Susan and Glenn Shea
Maile Meyer
Puʻuhonua Society
Kalikopuanoheaokalani Aiu
Emma Broderick
Reise Kochi
Lise Michelle
Waikapu
Drew Kahuʻāina Broderick
Koa Gallery

Together ♾ 2023

Aloha TRADES ‘Ohana–

We wish you the warmth of the season and a bright New Year! 2022 continued to be a time of introspection and transition for us, as we focused on sustaining our local communities via Aupuni Space and preparing to re-welcome continental and international artists in residence for the coming year. We are now eager to reemerge in earnest—reconnecting local artists and audiences through our global outreach and introducing off-shore artists to Hawai‘i once again.

We are so happy to update you on what has transpired in the interim; and look forward to your support and engagement with our next A.i.R.s.

Lise Michelle, Kalikopuanoheaokalani Aiu, and Nanea Lum in ULU KUPU. photo credit: Jason Chu

We last left off with Kanaka Maoli artist Tiare Ribeaux. In concert with the UH Admiral Residency in Contemporary Pacific Art, TRADES first welcomed them in November of 2021. GRICC Contemporary (UH Mānoa) partnered to host a series of workshops—Kō Kākou Manawa— facilitated by Tiare and Kanaka artist Nanea Lum to co-vision multimedia projects to uplift Hawaiian culture and narratives. Tiare returned for February and March of this year to complete a new video work, and to curate and install a multi-site exhibition, ULU KUPU; featuring works made with, and by, workshop participants. Funded in part by the Citizen Diplomacy Action Fund—U.S. Department of State, Ulu Kupu spanned Aupuni Space and Hawaii State Art Museum POD and emphasized the sacredness of Wai (water). For “Ola i ka wai”—water is life. These themes were further explored and developed by Tiare as a 2022 Native Labs Fellow at Sundance Institute. To finish off an incredibly productive 2022, Ribeaux’s new short –Pō’ele Wai —premiered at the Hawai‘i International Film Festival in November.


While we are giving lei— we’d like to congratulate several of our former A.i.R.s on their exceptional achievements. First, Sung Hwan Kim (with musical collaborator David Michael DiGregorio) for his Hawai‘i-made film Hair is a piece of head which has been shown—in various installation formats alongside his drawings and sculptures—at the 13th Gwangju Biennale; Busan Biennale 2022; and Hawai‘i Triennial 2022. Mahalo to Sung Hwan and David for inviting several of our Hawai‘i cohort to Seoul to attend Sung Hwan’s Barakat Contemporary exhibition Night Crazing and David’s concert Read Aloud Lyrics, as well as the opening of the Busan Biennale. We are delighted that David and Sung Hwan are now both New York and Honolulu based artists.



A special mahalo to curator Binna Choi for her consummate hospitality on our side trip to Shinan Islands in the South Jeolla Province of Korea. (Pictured are artist and curator Drew Kahuʻāina Broderick, artist Juvana Soliven, Trades co-founder Donnie Cervantes, and curator Binna Choi on Purple Island.)

Eve Fowler A Universal Shudder, 2022, installation view

Congratulations to Eve Fowler for literally becoming part of the Los Angeles landscape: with work featured on West Hollywood’s 67 ft tall Sunset Spectacular digital billboard— part of ONE Archives’ yearlong public art presentation showcasing queer artists. And at LAX’s Terminal 2, where Eve’s A Universal Shudder consists of four site-specific murals—with texts, excerpted from Gertrude Stein, that invite speculative interpretation.

Michael Wang Lake Tai, 2022 installation view; Prada Rong Zhai

Finally to Michael Wang for his installation Lake Tai at Prada Rong Zhai, a 1918 historic residence in Shanghai. Lake Tai is another example of Michael’s sensitivity and his ability to encapsulate historical and environmental narratives in evocative succinct forms—which in this case include traditional scholar’s stones reconceived in material sequestering toxic algae.

A lei of our own—we are thrilled to share that we are one of the inaugural recipients of the Ruth Foundation for the Arts Core Grant. In its short 6 month tenure, Ruth Arts has magnanimously awarded over 140 nonprofit arts and cultural organizations nationwide $11.75 million in grants. We are honored to be amongst such distinguished company, and especially gratified that the opportunity arose from an artists’ nomination process. We congratulate our friends and collaborators at Pu‘uhonua Society on their own Core Grant.

We are likewise pleased to announce the generous support of the Laila Twigg-Smith Art Fund. The Laila grant will go directly towards the visit of our next A.i.R. Léuli Eshrāgi, whom we are hosting in January and May of 2023 in conjunction with Aupuni Space.

In addition to these philanthropic stalwarts, we are equally grateful to our coterie of dedicated donors and supporters who offer their time, interest, and financial resources in aid of our cause. Mahalo. Mahalo. Mahalo.

Léuli Eshrāghi, AOAULI, 2020 (detail)

Onwards. Thanks to Laila, here’s Léuli. Léuli Eshrāgi (Sāmoan / Persian / Cantonese) works across visual arts, curatorial practice and university research to center Indigenous kin constellations, sensual and spoken languages, and ceremonial practices.

In Hawaiʻi, Eshrāghi will collaborate with Kānaka ‘Õiwi and Hawai‘i-based poets and artists to conceive their performance, moving image, writing and installation project afiafi. Meaning day, afternoon and fire in Sāmoan, afiafi affirms and situates non-colonial temporality where sensuality, pleasure, sexuality, joy, and spirituality are deeply embraced. Building from research of European colonialist collections of barkcloth obtained from the Sāmoan archipelago in the 1700-1900s, and photographic archives of Indigenous ancestors; afiafi addresses intersecting crises affecting Indigenous, non-binary and queer bodies inhabiting the rising Great Ocean.

We look forward to watching afiafi take shape; and invite you to join us in observing or participating in the process.

Léuli Eshrāghi, AOAULI, 2020 (detail)

With your support, since Fall 2017, TRADES has hosted 18 Artists from USA, the Philippines, Korea, Germany and Brazil: connecting them with 36 community partners via student engagements, research opportunities, site visits, screenings, lectures and exhibitions. What we do is possible thanks to your generosity and your trust.


We wish to gratefully acknowledge the support of the Ruth Foundation for the Arts, and the Laila Twigg-Smith Art Fund as well as the following:

Maika Pollack
Jaimey Hamilton Faris
Esteban Arboleda
David Haskell
Solomon Enos
Nanea Lum
Josh Tengan
Lynette Cervantes
Joanne Lee
Elise VonDohlen
Sean Connelly

Ryan and Jody Peterson
Susan and Glenn Shea
Maile Meyer
Puʻuhonua Society
Kalikopuanoheaokalani Aiu
Jason Chu
Reise Kochi
Lise Michelle
Waikapu
Drew Kahuʻāina Broderick
Koa Gallery

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

The Fall Report

We’re finally back with great news after an extremely productive (busy!) late Summer into early Fall. Our summer was spent tagging along with with Asha Schechter as he conducted his observational research into cultural confluences on Oʻahu; we look forward to sharing a trailer of Asha’s film with you soon! We’re excited to announce our direct involvement with Tropic Editions, a brand-new nonprofit publishing imprint that produces artist books and related publications imbued with a sense of place. 

A ton of our creative energy has gone into programing and growing Aupuni Space, an art gallery that supports community based projects and exhibitions that feature Native Hawaiian and Hawaiʻi based contemporary artists. Aupuni Space is an initiative of Puʻuhonua Society and we at Trades are grateful to participate in providing space for local talent to exhibit work and receive praise and feedback from their peers. As well, Aupuni Space is a platform for Trades visiting artists to present their works and ideas and a place to interact with our local communities.

We’re also proud to note our further collaboration with Puʻuhonua Society and the Mayorʻs Office of Culture and the Arts on our grant proposal to Bloomberg Philanthropies. The City of Honolulu is currently a finalist amongst a group of 14 U.S. cities to be awarded up to 1 million dollars in the Bloomberg Public Art Challenge. Up to 3 cities will be announced as grant recipients sometime in the month of November; we are anxiously awaiting excellent news!


And to the present.. Los Angeles artist Lena Daly has arrived on O‘ahu to inaugurate our second year (!) of programming for a month-long dive into our island’s coral reef systems, visually as well as aurally, and to explore how they relate to her fine art practice which utilizes UV-reactive pigments, and hypersonic sound systems that make ultra-sonic sound audible. By collaborating with, and learning from local experts to investigate coral’s natural fluorescence and the bioluminescence of a reef’s inhabitants, Lenaʻs practice will benefit from an enriched understanding of naturally occurring phenomena and first hand scientific experience.  

Lena will present some of her work and report on her research on Saturday, November 17th at Aupuni Space. She will also be interacting with middle school students from the School for Examining Essential Questions on Sustainability (SEEQS) sharing her examinations and explorations at the intersection of art and science. 


“The atmosphere is aqueous and nocturnal, punctuated by cobalt and jellyfish blues, battery-acid greens, highlighter yellows, and neon-coral pinks. Charged up like batteries, Daly’s sculptures and projections suggest ineffable phenomena at the far reaches of human perception, but now, post national debacle, they also read as emergency night- lights and beacons—positing a model of how bodies might generate, radiate, and emit light from within an environment of extreme darkness” -Sarah Lehrer-Graiwer  “Critic’s Pick: Lena Daly” Artforum, December 5, 2016

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.

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, our growing base of supporters as well as the following:

Yoko Ott and Scott Lawrimore
Mark Hixon
Andrea Charuk and Blake Miller
SEEQS
Manulani Meyer
J. Kukui Mauna Kea-Forth
Maʻo Organic Farms
Heather Shimizu
Maile Meyer
Puʻuhonua Society
Helen Turner
Chaminade University
Michelle Broder Van Dyke
Chris Ritson
Tantalus Botanicals
Morning Glass Coffee
Paiko Hawaiʻi

It is with profound sadness that we have bid farewell to our dear ally Yoko Ott. Yoko was our most trusted mentor, collaborator, and supporter of TRADES. We are devastated by her passing. She is survived by her partner Scott Lawrimore, and mother Yoshi. They will be in our care. Our thoughts are with Yale Union, and Yoko’s communities in Portland and Seattle.



TRADES 4 – ASHA SCHECHTER












In the TRADES… Asha Schechter

Aloha Summer from TRADES A.i.R. Congratulations to TRADES alums Michael Wang for his inclusion in Manifesta 12 in Palermo, Sicily; and Eve Fowler for her first solo survey at Dundee Contemporary Arts in Scotland, as well her solo exhibition at Nino Mier Gallery in Los Angeles. Check them out if you can. We are also so proud to announce that TRADES has received a generous grant from the Cooke Foundation; we are extremely grateful for their support of our project.

Eve Fowler’s Spring visit with TRADES centered around interactions with fine art students at UH Mānoa, where she kept a studio and conducted visits. Public facing community events included a screening of her recent film, and an artist’s lecture surveying her practice. Along with the student visits, Eve met with several working artists and organized a group show at Aupuni Space in Kakaʻako, as an offsite exhibition of her Los Angeles gallery Artist Curated Projects. “Raw Material” included works by six emerging and established artists across mediums, provided them widespread exposure, and led to Made in Hawai‘i artworks finding homes in relevant collections locally and abroad.


We are excited to welcome Los Angeles based artist Asha Schechter to TRADES this Summer, from July 18 – August 7. Asha plans to research and produce a short film while in residence on Oʻahu. “Asha Schechter’s artistic practice is set within the context of a networked, commodity-centric culture—where a wholesale movement away from privileging the ‘source’ or ‘original’ is coded into every creative photographic gesture.” (aperture.org)

Asha has exhibited at Gavin Browns Enterprise, M+B, LA>< Gallery, and Albert Baronian Gallery in Brussels, among others. Schechter currently teaches History of Photography at the Art Center College of Design and Fine Art at Otis College of Art and Design. In addition to his art practice, Asha established The Vanity in 2011, a small gallery carved out of a closet in his Los Angeles apartment. In 2013, The Vanity moved to an space in 356 Mission Road as The Vanity East where it remained until itʻs closure last month. He is also a part of the collective space Potts, in Alhambra, CA.


In his own words: “In previous works I have shot what are essentially experimental documentaries to look at different kinds of production, branding and labor. I am interested with these works in understanding how through different languages (both visual and spoken) producers try to communicate not only the thing they are making, but a politic or worldview attached to that. Subjects of these videos have included Baristas, Bakeries, Architecture and Artists. My interest in coming to Hawaii would be to look into how these kinds of things exist there, with the specific context and circumstances of that place. My interest is not to tell the subjects things about themselves, or to implicitly critique, but to see how through observation and juxtaposition we can start to consider how our current moment looks and feels and to understand how different entities participate in an economy that is largely concerned with images.”


Please join us at Aupuni Space on Thursday, July 19 at 7 p.m. to welcome Asha to O‘ahu and learn about his plans for his time in residence.

Asha will present a screening of works from a range of artists that echo ideas of labor, production and aesthetics he will be working with during his residency. An open conversation will follow the screening.

An Interview with Asha Schechter by the Kadist Foundation

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, The Cooke Foundation, University of Hawai‘i at Mānoa Department of Art and Art History, as well as our base of private donors and supporters.


TRADES 3 – EVE FOWLER

Public screening of Eveʻs 16mm film “with it which it as it if it is to be”





Studio visits with “Raw Material” artists

Hiking over Hanauma Bay

Site visit to Juvana Solivenʻs exhibition

Sean Connelly, Rebecca Maria Goldschmidt, Calvin Shimada, Miki Shimiokawa, Aaron Wong, Donnie Cervantes and Eve Fowler.

Installing “Raw Material” at Aupuni Space

Biki in Waikiki

Nabanglo a lamisaan / Aromatic table at the opening of Raw Material

“Raw Material” artists Nikau Hindin & Rebecca Maria Goldschmidt / Sukang Ilokos tasting/sensing at Nabanglo a lamisaan / Aromatic table by Rebecca Maria Goldschmidt


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

Michael Wang is coming to O‘ahu for February 2018


TRADES is pleased to announce that Michael Wang will be our 2nd Artist in Residence on O‘ahu in February 2018.

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.

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.  In Hawai‘i, he is particularly interested in learning more about the ʻAlalā (Corvus hawaiiensis) on Hawai‘i island; the Ālula (Brighamia insignis) on Kaua‘i; Mt. Kaʻala Cyanea (Cyanea superba) and Sharktail Cyanea (Cyanea pinnatifida) on O‘ahu; and the Kokiʻo (Kokia cookei) on Molokaʻi.

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 at the K-12 level.

www.michaelwang.info

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