The February School: DREAMTEAM


Join us for Part 1 of an Artist Panel Series <**DREAMTEAM**> organized by Laura Genes (ACT ’18):

The February School

5-6PM – Tuesday, February 27, 2018

Wiesner Gallery
Straton Student Center, 2nd floor
MIT Building W20
84 Massachusetts Avenue
Cambridge, MA 02139

CULTIVATE  with Abraham Adams and Pedro Cardoso Zylbersztajn

Abraham will discuss the trajectory of his practice in the realms of fine art and publishing as well as introduce Time Farm, a gallery based  in MIT room N50-009 (a space generously loaned by the MIT Press Bookstore) and 23 Decatur Street. Pedro (ACT ’18) will present a few ideas related to his research and interests in language,reading, publishing and the spaces in between these terms. Following presentations Laura will moderate a discussion about the designation and destination of artworks. There will be time for Q+A. Open to the public. 

Abraham Adams is an artist and writer based in New England. Formerly an editor of Ugly Duckling Presse and associate editor of Zone Books, he now directs Time Farm, a gallery based at MIT and elsewhere in Cambridge, MA. His work has been exhibited and performed at Galerie Barbara Weiss in Berlin, Apt. 302 in Marseille, the Poetry Project and Artists Space in New York, and elsewhere. His shorter writing has appeared with Artforum, Harper’s, and Triple Canopy, and his books include Before (Inpatient Press, 2016; expanded ed. forthcoming in 2018 with an introduction by Lucy Ives), Nothing in MoMA (Punctum Books, forth. 2018 with an intro. by David Joselit), and Intersubjectivity (ed., Sternberg Press, 2016).

Pedro Zylbersztajn is currently a graduate student at the MIT Program in Art, Culture and Technology. He has been an active participant of the art publishing scene in Rio de Janeiro and São Paulo since 2014, has participated in a number of group shows in Brazil and in the US, and held his first solo exhibition at casamata gallery, Rio de Janeiro, in 2016. His practice resides in the crossing space between different (intra)actions, such as reading, drawing, writing, editing, sounding and programming, and his work is particularly inclined to discuss language, rhetoric, translation, and the social-artistic-semantic implications of technology. Most recently he has been thinking about the lives of codes and of everydayness as a permanent construction site in which words are bricks and syntax is mortar.

Contact with any questions.