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Listen to the newest single from New York native XHOSA. Both performed and produced by the underground pop experimentalist, “Honey on a Dark Day” is a smooth and sultry slow jam that shows off the artist’s acuity as a songwriter. “I took your word, I took it all in / My only armor in a fight I couldn’t win,” she croons, her warm moody vocals spelling out a tale of wistful yearning sweetened by the track’s soothing steady beat and glittering astral melodies.

Photography by Lula Hyers
“Honey on a Dark Day” produced by XHOSA
Co-production, additional vocals, and mixing by @5thplanet

Precession of the Simulacra by Sara Hornbacher

Precession of the Simulacra (1988-1992) by Sara Hornbacher. Photo by Walter Wlodarczyk.

Anti Bodies took place at MoMA PS1 on January 28, the first edition in 2018 of the museum’s VW Sunday Sessions series. Organized with Topical Cream, the program brought together performances, installations, video projections, and readings with recurring themes of self-preservation, soft labor, surveillance anxieties, community care-taking, virtual surrogacy, and emotional narrativity. Participating artists comprised Analisa Teachworth with Jonas Wendelin, Deli Girls, Julia Scher, Maya Martinez with Jasmine Cindy, Michelle Young Lee, Natasha Stagg, Redeem Pettaway, Rindon Johnson, Sara Hornbacher, Sarah Zapata, Sophia Le Fraga with Jameson Fitzpatrick, and Zsela.


Sarah Zapata reading foot erotica in a textile installation of her own design. Photo by Walter Wlodarczyk.

Sarah Zapata

Projections of feet by Sarah Zapata. The artist’s foot-themed writing is available on cassette. Photo by Walter Wlodarczyk.


Live reading of a play by Maya Martinez performed with and costumes by Jasmine Cindy. Photo by Walter Wlodarczyk.


Jasmine Cindy in a lamb costume of her own design. Photo by Walter Wlodarczyk.


Sophia Le Fraga’s TH3 B4LD 50PR4N0; or, English Made Easy performed with Jameson Fitzpatrick. Photo by Walter Wlodarczyk.


Natasha Stagg reading “Am Consulting” forthcoming in Intersubjectivity Vol 2 (Sternberg Press). Photo by Walter Wlodarczyk.

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“The Care Room” is performance by Michelle Young Lee highlighting the nature of unpaid feminized labor. Images courtesy of the artist.


We Have a Void by Rindon Johnson. Image courtesy MoMA PS1. Photo by Derek Schultz.


OVA, Analisa Teachworth in collaboration with Jonas Wendelin

OVA by Analisa Teachworth and Jonas Wendelin performed with Cara Diaz Certosimo and Kellian Delice. Images courtesy the artist and Walter Wlodarcyk.


Jacksonville-based Redeem Pettaway introducing Transatlantic Adam: “Black existence is restraint.” Photo by Walter Wlodarczyk.


From Transatlantic Adam: “dial 1 for emoticon/dial 2 to release/dial 3 for eye secretion/cautious carry.” Image courtesy MoMA PS1. Photo by Derek Schultz.


Julia Scher’s Consent Clinic interrogates surveillance, control, and architectures of permission. Photo by Walter Wlodarczyk.


Scher: “These images of the body, taken and absorbed, we’re so used to it, but what do we consent?” Photo by Walter Wlodarczyk.


Danny Orlowski of Deli Girls, whose music summons ambient societal violence to exorcise it. Photo by Walter Wlodarczyk.


Tommi Kelly of Deli Girls playing the band’s jagged synths and blown-out drum machines. Photo by Walter Wlodarczyk.


Soul singer Zsela, accompanied by Carr Chadwick and wearing a couture bra by Candice Williams. Photo by Walter Wlodarczyk.


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 “In an art world that all too often overlooks the contributions of women and gender-nonconforming individuals, Topical Cream elevates their voices”—Rachel Hahn for Vogue Magazine


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The Vogue profile offers a thorough overview of our mission, acknowledging our online journal; public programming efforts at MoMA PS1, Artists Space, and the Swiss Institute; fundraising auction in collaboration with Artsy; and line of artist-designed sports bras. The photos accompanying the piece are from Life Support, the closing party marking the end of our inaugural fundraising auction in 2017, hosted by comedian Amy Zimmer and featuring a set from DJ Dese Escobar and a live saxophone performance by PAUL.


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Photography by Lyndsy Welgos
Featuring (in order of appearance): Lyndsy Welgos, Whitney Mallett, Amy Zimmer, Dese Escobar, and PAUL (Angelina Dreem).

Anti Bodies is an afternoon of performance, readings and installations organized with Topical Cream, a platform for female-identifying and gender non-conforming persons working at the intersection of contemporary art and technology. Focusing on artists whose practices explore methods of self-preservation, the featured work demonstrates how gestures of resistance can be choreographed through performance and communal action.

Analisa Teachworth and Jonas Wendelin “Dependency Demographics,” 2017, photo courtesy of the artist.

The program, part of VW Sunday Sessions, includes a performance by Analisa Teachworth; video screenings presented by Jacksonville-based artist Redeem Pettaway; an exploration of surveillance, control, and seduction by Julia Scher; and live concerts from Zsela and Deli Girls. The program is complemented by additional programming presented throughout the museum, including an ongoing performance by Michelle Young Lee examining the labor of care, a video installation by Sara Hornbacher, and a recital situated within an environment created by Sarah Zapata with poetry and readings from Zapata, Maya Martinez, Rin Johnson, Sophia Le Fraga, and Natasha Stagg.

Anti Bodies
Sunday, January 28, 2 to 6pm
22-25 Jackson Avenue
Long Island City, NY 11101
contact for guestlist.

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Please join Topical Cream Thursday, October 19th for the closing event for our inaugural auction.
Topical Cream is a platform for women, femmes, and gender-nonconforming individuals in contemporary art. Since 2013, the New York-based not-for-profit has supported a community of artists, writers, designers, and technologists through digital publishing and public programming initiatives. With an advertising-free model, fundraisers like this one are vital to the digital platform’s continued growth.

Life Support Party
Thursday, October 19
China Chalet
47 Broadway, New York, NY 10006
Supporter Tickets $15
Tickets will be available at the door.
VIP Entry with gift bag, drink $50

Friday, August 25 is the culminating event of the Montez at Mathew 2017 Summer Program titled “The Only Thing That’s New is Us.” Following the exhibition, all work will be translated into an artist book to be released in 2018 in conjunction with next year’s summer program. Whitney Claflin will be presenting new sections of her infamous game Impulse. Montez is the London-based publisher of SALT among other books and magazines. For a full list of participants click here.



“The Only Thing That’s New is Us”
Whitney Claflin for Montez at Matthew
August 25 7-9pm
Matthew Gallery
47 Canal Street
New York, New York 10002


Next Tuesday, August 15th, filmmaker Erin Grant will present scenes from her short film The Heart Must Become a Burial Ground. The film is an experimental narrative about the (im)possibility of self-help. It focuses on Echo, a celebrity country-pop singer-songwriter and recent divorcée. Taking the form of an exclusive TV interview, Echo discusses her latest album and comes clean about the highly publicized breakup. During the interview, she experiences a series of hallucinatory dream sequences that explore her emotional reckoning, fetishization of nature, and the psychological function / failure of faith.
Excerpts from the film will be screened, followed by performances by: MHYSA, Lily Saint James, Nar, and Nehemiah. Artist Alicia Novella Vasquez will be creating a unique installation for the event.

“The Heart Must Become a Burial Ground”
Screening Party
Secret Project Robot
1186 Broadway
Brooklyn, NY 11221
Tuesday, August 15, 2017
8pm doors

© Leandro Justen

Anna Holmes and Eileen Myles at Lower East Side Girls Club.

Thursday June 14, Creative Time and the New York Public Library brought together poet and writer Eileen Myles, writer and founder Anna Holmes, and artist and musician JD Samson for an evening themed around the idea of constructing a 21st-century feminism.

© Leandro Justen

JD Samson center, in a shirt made of rocks.

Following a conversation between Myles and Holmes that spanned the commodification of identity, literal boys clubs, and menopause, Samson performed with January Hunt and Laura Dune as well as members of the Lower Eastside Girls Club and Xhoir.

© Leandro Justen

January Hunt plays a synthesizer.

Here are some excerpts from Myles and Holmes’s dialogue:

EM: Is keeping a diary feminist? Growing up, part of what you were grappling with was not being silent. As a young female, I was constantly being invited to be silent.

AH: None of my peers would identify as “feminist.” This was ’92 or ’93. It was made toxic. Now there’s women with the T-shirts and it’s a whole marketing thing.

EM: It starts to be your career. You are always being reminded that you are female. You are always being asked to weigh in about being female. It constantly displaces you from the narrative you are trying to make.

AH: It’s the same for writers for color. I wanted to start a digital property that would only be populated by writers of color but they wouldn’t write about race at all.

© Leandro Justen

The audience at the second event in the In Situ series, a collaboration between Creative Time and the New York Public Library. Images courtsey of Leandro Justen.

EM: When I’m alone, am I a feminist? When I’m alone, am I a female?

AH: What did you want to be when you grew up?

EM: An astronaut. What about you?

AH: A dancer. I was very extroverted as a child but then at about 10 or 11, something happened that I think happens to a lot of people. I fell into myself.

EM: You are going through this transition and it’s unmarked, undiscussed, unritualized. You are being told to hide, just like menopause. My mid-40s started to get weird and operatic. I was so productive, I must have written three books. I was nuts. It’s psychedelic. A lot of women I knew started drinking and drugging again. Five women I knew killed themselves that decade.

AH: [on the political moment] Right now, norms are being broken, lines are being crossed, but there’s not an outcry. It’s not a lack of interest. It’s a feeling of impotence.


“This past March, Reena Spauling presented Marie Karlberg’s “1 Hour of Limited Movement” at Market Art Fair in Stockholm, Sweden. For this performance, Karlberg stands isolated in a perspex box. The artist is clad in a black turtleneck and tights (a proper mix of casual dress and performance wear) and irreverently blows smoke toward an audience of art professionals as disembodied voices read texts over a loud speaker. Critiquing power structures within the art market, the texts (from unnamed gallerists) invite the artist to participate in various upcoming exhibitions but, always with budgetary or some other restriction. In several of the emails, gallerists remind the artist “what an opportunity” they are offering, even though there is no budget left to cover basic costs. Karlberg, states “I use performance to critic expectations of young artists’ marketability and the careers that consolidate out of that, in a personal way.”


Marie Karlberg, “1 Hour of Limited Movement,” 2017, perspex, cigarette, champagne and glasses, eye shadow, body of the artist.




Susan Cianciolo will be leading a fanzine workshop at the Swiss Insitute this Tuesday. Workshop participants will be educated about Cianciolo’s self-published books and zines, not to mention create zines themselves using materials provided by S.I.

Susan Cianciolo is a fashion designer, installation artist, and filmmaker. During the last twenty years, the scope of her work has included fashion, art, craft, and performance. Her RUN collections produced from 1995 to 2001 were commercially successful and critically acclaimed. Cianciolo’s works are featured in museums and galleries across the world. Most recently she has exhibited with Yale Union, Bridget Donahue, and MoMA PS1.

Fanzine Workshop with Susan Cianciolo
Tuesday, August 23rd
Swiss Institute
102 Franklin Street
New York, New York 10013

RSVP with subject line “Susan Cianciolo Fanzine Workshop” to