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Work Samples

Paradise Now

A gaming event at the University of Maryland Stamp Gallery.

Contributors Panel

The contributors panel at our two-day conference that took place during Open Space's annual Publications and Multiples Fair at the Baltimore Design School.

An Inaugural Set of Library Sections

The Press Press library is a project that invites a changing line up of individuals and group to curate and rearrange book sections into thematic compilations. Represented here, is the inaugural set of library sections curated by individuals and groups that have been a part of Press Press in some way in the past.

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About Kimi

Baltimore City

Kimi Hanauer is an Israeli Baltimore based artist. She is the founding editor of Press Press. 

Paradise Now @ University of Maryland Stamp Gallery

As an Israeli immigrant to the United States, my practice is heavily informed by my experiences navigating the system of violence inherent in the state I was raised in; a system that works to physically, psychologically and culturally divide and dehumanize people from one another by manipulating lived and cultural traumas. I do my best to activate artistic collaborative practice that is non-hierarchical, personally meaningful, open, critical and specifically reflexive to its context. The collaborative relationships and creative platforms I foster are a form of positive resistance to the oppressive structures that undergird our world, attempting to divide us from one another. I work to find and creatively cultivate moments of humanity within the otherwise inhumane systems and spaces that we occupy on the daily through the collaborative production of publications, critical discourse, living archives, happenings and other ethereal forms of social and participatory sculpture.

Paradise Now is a game of unequal circumstances and varying objectives that invites unlocked players to alter and redefine the game’s Score by participating in various rounds of the game. The Score is a series of directive actions that happen over each 60 minute round of the game. Unlocked players may alter the Score by navigating the space with their bodily movements, altering the various gaming mechanism at play, and by adding directive phrases to its structure. Although many players may be active in the game simultaneously, every player may choose to fill the role of player 1 or player 2 and respond accordingly to their set of directive actions in the Score throughout each round played. Each round of the game played throughout its occupation of Stamp Gallery in September & October of 2016 will be documented, archived and analyzed by our team, who will compose an accumulative Score.

Press Press

Press Press, an interdisciplinary publishing initiative I have been collaboratively organizing since 2014, is a project that uses publications (defined as any action which creates or gathers a public) to deconstruct hierarchical structures, foster collaborative relationships, and give form to artistic experiences that would otherwise be inaccessible. Composed of a group of collaborators who flow in an out of the work depending on the current project at hand, Press Press is based in the blob; a pragmatic methodology which guides ethical collaborative practice while deconstructing hierarchical structures and situates itself as a living social sculpture. Through Press Press, I have been able to cultivate a range of projects that give public form to artistic experiences, create unity amongst diverse collaborators, and affect meaningful social change for individuals and groups involved in the project. This project has been in residence with the Baltimore City Community College Refugee Youth Project since 2014, where our team hosts second language English writing + hang sessions with a group of young artist-writers. Our group is composed of only immigrants and refugees from the non-western world, operates through consensus
processes, and does not promote assimilation into American-English speaking and cultural standards. We do our best to work with our youth to center their opinions by publishing and distributing their work, creating public platforms in which they are centered, and forging relationships between youth and working artists.

Recently, Press Press moved into a storefront space in the Bromo Arts & Entertainment District in Downtown Baltimore. Although we formally opened the space in January of 2017, we will continually be in the process of building and evolving the project with those who join in. The main focus of this space builds on my curatorial practice of inviting specific individuals and groups to work collaboratively on publications and public projects. Unlike the typical white-cube gallery space, choosing to use the form of a collecting library and publishing space is a way of embracing, rather than rejecting or disguising, the context of our work. The Press Press storefront functions as a living and breathing, reflexive artwork that will not only exist within the space itself, but within all of the individuals and groups who take part in the process of building and evolving the work. We are currently in the process of thinking through sustainable models of operation which do not rely on individual contributions of capital, rather on bartering or exchange models.

  • Work Space

    Our public studio that's located in a storefront in Seton Hill.
  • Storefront Space

    One of our walls at our storefront space which functions as a public library, publishing studio and gathering space.
  • An Inaugural Set of Library Sections

    The Press Press library is a project that invites a changing line up of individuals and group to curate and rearrange book sections into thematic compilations. Represented here, is the inaugural set of library sections curated by individuals and groups that have been a part of Press Press in some way in the past.
  • Library Detail

    A shot from the library while in the process of accumulation.
  • If I Ruled The World Conference

    A shot from one of the conversations during Press Press's If I ruled The World conference in 2016 at the Publications & Multiples Fair which took place at the Baltimore Design School.
  • Megaphone!

    Megaphone! is a collaboration by artist Marcus Civin and Press Press produced in June of 2016. This publication was released as part of Shape Shifters: Performative Constructions by Renee Rendine, Marcus Civin, Bobby English Jr. Curated by Melissa Web at School 33 in Baltimore, Maryland.
  • If I Ruled The World - Besan Khamis and Rahul Shinde

    Snapshot of If I Ruled The World publication.
  • The Making Of: Publics + Liberation

    The Making Of: Publics + Liberation is the first publication produced at our new storefront space. On an evening in December, a group of us gathered together to talk about what it means to make a public, considering our immediate context of Baltimore City, post the Trump election, and throughout the various histories we each brought to the room. This discussion surveys our various attempts and approaches to carving out intentional public spaces that work against and in spite of oppressive structures.

If I Ruled The World 2016

If I Ruled The World, presented by Press Press, is a publication that takes inspiration from the Nas classic, "If I Ruled The World" (It Was Written, 1996), in order to facilitate artistic collaborations and conversations between a range of Baltimore-based creatives and activists. In their responses, contributors present their most positive visions of the world, and by doing so are able to thoughtfully analyze and investigate the nuances within the struggle for equity in our city and the active role of artists within the pursuit for social change.

I facilitated and directed this project in collaboration with the project participants for the year-long production process. The entire digital publication can be viewed here.

  • If I Ruled The World 2016

    If I Ruled The World, presented by Press Press with support from BmoreArt, is a publication that takes inspiration from the Nas classic, "If I Ruled The World" (It Was Written, 1996), in order to facilitate artistic collaborations and conversations between a range of Baltimore-based creatives and activists. In their responses, contributors present their most positive visions of the world, and by doing so are able to thoughtfully analyze and investigate the nuances within the struggle for equity in our city and the active role of artists within the pursuit for social change.
  • Contributors Panel

    The contributors panel at our two-day conference that took place during Open Space's annual Publications and Multiples Fair at the Baltimore Design School.
  • Humans Rights Manifesto Declaration

    One highlight from this yearlong piece, was a reading of a new Human Rights Declaration created by our high school aged Burmese participants, created in reaction to Myanmar’s recent historic shift into a democratic nation.
  • You Come From The Stars

    Image from the first chapter, You Come From The Stars Black People, featuring the awesome Khadija Nia Adell and Jared Brown.
  • Get Your Life! Chapter

    An image of the Get Your Life! chapter of the printed publication.
  • You Come From The Stars

    One of the collaborative moments of this project was when we worked to team up Gaia with Jared Brown to produce this piece, which later became the cover of the publication, and share Jared's insight publicly on a wall in Baltimore.
  • Human Rights Brainstorm

    The brainstorm that took place before creating our Human Rights Declaration with youth at the Baltimore City Community College Refugee Youth Project.
  • Digital Publication

    I teamed up with Rahul Shinde, one of the contributors to the project, to design the digital publication (ifiruledtheworld.info). Here is a snapshot from the Human Rights Manifesto students created in response to Myanmar's shift into a democratic entity.

Refugee Youth Project Residency

I've been an artist in residence with the Catonsville site of the Baltimore City Community College Refugee Youth Project since 2014. As an artist in residence, I facilitate weekly writing and publishing workshops with a group of high-school Burmese refugee writers and created an entirely second-language English speaking space occupied by immigrants and refugees from the non-western world. Together, we formed the publishing entity that became Press Press, and used our time to publish a series of newspapers, and facilitated a month-long takeover of Current Space Gallery, where we created the city-wide 100% YES Manifesto.

  • Min Min Announcing the 100% YES Manifesto

    At the opening night of 100% YES, Min Min announces the original set of ideals agreed upon through a consensus process by our group at Refugee Youth Project.
  • Reading at If I Ruled The World Conference

    Lun reading poetry at the If I Ruled The World conference.
  • Two Poems By Anonymous

    Two poems by a collaborating student writer who wishes to remain nameless exhibited.
  • 100% YES

    The crew at the opening of 100% YES at Current Space Gallery. During the month of February 2015, Press Press, in partnership with RYP student-collaborators, took residence at Current Space to open up the Press Press work space. There, visiting artists and groups produced the 100% YES Manifesto while the gallery space exhibited the poetry, photography and publications of the BCCC Refugee Youth Project students. Here, our team stands in front of the original set of articles of their 100% YES Manifesto.
  • 100% YES Manifesto Posters

    The original set of 100% YES Manifesto posters agreed upon through consensus processes by our group of collaborators at Refugee Youth Project which spawned the larger project, collecting 100% YES's from the public to create an expansive set of ideals.
  • Humans Rights Manifesto Declaration

    One highlight from this yearlong piece, was a reading of a new Human Rights Declaration created by our high school aged Burmese participants, created in reaction to Myanmar’s recent historic shift into a democratic nation.
  • The Chilly Smart Model

    A newsprint publication of writing and photography by student writers. Read the full publication here: issuu.com/press-press-publishing

Penthouse Gallery Presents Lian Tsai

"For recently graduated international art students, the OPT (Optional Practical Training) visa presents a challenging way to remain in the United States. The visa offers a year renewal for maintaining a job in the field that you studied, but fails to acknowledge that, in the case of studio (or post-studio) artists, relevant paying positions very well might not exist. The rare administrative position becomes the expectation; actually maintaining one’s practice becomes a naïve dream.

lian tsai, a Taiwanese national living in the U.S. since 2008, found obtaining even one of these administrative positions next to impossible after graduating from the Maryland Institute College of Art in May 2015. In September, Tsai moved into the collectively run, live/work project space penthouse gallery without plans for how to handle her quickly approaching October 1st deadline.

After a series of conversations between Tsai and kimi hanauer(a member of the Penthouse collective), the two settled on a curatorial project that would have Penthouse Gallery hire Tsai as its new Gallery Manager. Hanauer wrote a letter of hire for Tsai’s visa agent and the two quickly received notice that Tsai’s visa had been extended by one full year. As part of the contract the two wrote in this project, one of Tsai’s initial responsibilities was to organize Penthouse’s October opening. “Penthouse Gallery Presents: Lian Tsai,” documented the visa process, celebrated Tsai’s newly acquired OPT visa, and recorded the occasion of her continued residency in the United States through a durational performance performed by Tsai." - Colin Alexander for Post Office Arts Journal

Read the full conversation between Kimi + Lian here.

  • Penthouse Gallery Presents Lian Tsai

    When entering the event you receive a cupcake and bubble-making ingredients and are greeted by the wonderful Marcelline Mandeng.
  • Lian Shakes Hands With Ian

    Lian's hands are hooked up with pumps that slowly inflate her planet (the garment she is dressed in) when she shakes hands with guests. Pictured here is Lian and Ian greeting one another.
  • Lian and Planet

    Lian programmed her microphone to interpret what she said into tones that sound like bubbles. As she moved through the space, she spoke about her experience of migration and whispered sweet nothings into guests ears. In conjunction with her speaking, Chris reacted to the bubble sounds with improvised piano playing.
  • Lian Draws With Chris

    The event starts with an organizing of thoughts and drawings. In the back is Chris, who reacts to Lian's bubble sounds with improvised piano playing.
  • Lian's Time Sheet

    Pictured here is one of Lian's official time sheets, a requirement of the visa.
  • Email Exchange

    An email exchange between Lian and her visa representative showing the process of obtaining the visa and proof of hire at Penthouse.

Press Press Headquarters Spring 2015

My reaction as a graduating student from the Maryland Institute College of Art during the Baltimore Uprising. Below is an excerpt from the catalogue's introduction:

"Dear Reader,

The following is a collection of documents gathered over the period of two weeks leading up to MICA’s annual school-wide commencement show.

Every year, approximately two weeks before the commencement show opens to the public, huge piles of detached walls start showing up all over campus. These are the walls MICA uses to transform our metal shops, our classrooms, our studios and wood shops into traditional exhibition spaces. When audiences flood the show, the white walls attempt to lead them to disregard what actually goes on here, the daily work, discussion and upkeep of these classroom and work spaces. I am not convinced, however, that they actually succeed at hiding the reality of these spaces. As students, we know these spaces intimately, we know how they are used on the daily, we know their sounds and their smells. I suppose there are just some things that are beyond MICA’s control and much beyond MICA’s attempts at hiding. This theme of attempting disguise, is one that I have witnessed or clashed with on a few occasions over my past four years at MICA, specifically regarding MICA’s relationship with and navigation of its context: Baltimore City.

Powerful institutions, such as major news outlets or universities, too often reject the possibility that most, if not all facets of our world, ultimately stem from a contradiction of varying truths. These are the institutions that publish the catalogues, that write the histories and that exhibit the findings. In order to claim their knowledge and stability, these institutions must hide their own uncertainties and find a way of maintaining their conditional inability to control the variables which make up our world. The commencement show and its walls is just one example of MICA’s presentation of its institutional unity and stability, a disguise in itself, which inherently must disregard the paradoxes and unethical relations that define MICA, its students, faculty and staff and our relationship to the context we are based in.

An acknowledgement of the past two weeks in Baltimore, and the few documents collected here which represent them, could not nearly approach the long history of systemic violence that structures this city. A violence that subsequently defines MICA’s existence and is defined and structured by MICA’s existence (whether MICA visibly acknowledges this or not). Visibility is exactly the point here. I could not possibly capture all of the facts, all of the documents, all of the efforts and beautiful moments of the past two weeks, not to mention the past 200 years. This is not an attempt at formulating some sort of concrete conclusion or resolution. It is an attempt at surfacing one of the most important facets of any work or entity: its context. A context which MICA often works to disguise, or exist despite of. And so, I feel it is necessary that this year’s commencement catalogue be about a visibility which rejects the disguise and embraces the uncertainty and paradoxical relationships that make up this place. As such, this is not a fixed catalogue. What you hold in your hands is just a portion of a growing archive that awaits your contribution. We invite you to visit our temporary headquarters, located in Mount Royal Station Studios, to add your thoughts.

xo
Press Press"

  • Archive Overview

    In our offsite headquarters, I created a living timeline and archive where information was collected and condensed. This space was also used as a gathering and work space. This timeline was collaboratively created and then condensed into a catalogue that was spread out throughout MICA's 2015 commencement show and acted as a commencement catalogue.
  • Archive Detail

    Visitors could research and add to the archive.
  • Fake Commencement Catalogue

    The catalogue was produced as a xerox packet and scattered throughout MICA.

Welcome To The Floating World

An event co-scored by Kimi Hanauer & Sydney Spann at the Penthouse Gallery. In collaboration with Michael Stephens, Nikki Lee, Lian Tsai and Max Anderson. Photos by Shannon Patrick.

Alloverstreet

Alloverstreet is a monthly night of simultaneous art openings and events spanning the many diverse art spaces on East Oliver Street and surrounding area of Baltimore’s Station North Arts & Entertainment District. Winner of City Paper’s Best Art Walk That Doesn’t Suck in 2014, Alloverstreet hosts hundreds of visitors for free performances and exhibitions on the first Friday of every month, from 5:00 - 10:00PM. Alloverstreet evolved organically out of Process Collective’s on-going practice in late 2013 and was born out of an intention to create more accessible and inclusive artistic happenings at artist-run venues at the Copycat Building. Directed by Kimi Hanauer and Lee Heinemann for its first two years, Alloverstreet is now supported by Station North Arts & Entertainment, Inc.

Check out the on-going archive here.
Alloverstreet’s structure is based on two significant values:

  1. Alloverstreet is democratically curated. Any art space, collective or individual who wishes to be involved is welcome.
  2. Alloverstreet is collectively run. Participating spaces collectively control the development of the project.

This rhizomatic structure, in which no one entity may entirely control the direction of the project, has developed through years of dialogical-democratic engagement between consistent participators and continues through monthly project meetings. As part of these project meetings, where participating spaces discuss the project and its development, SNAE, inc. also hosts professional development workshops with visiting artists and professionals that are based on participators needs and desires. Alloverstreet attempts to unite different audiences and works to broaden the scope and reach of independently run art spaces. Learn more about Alloverstreet’s methodology here.

  • People 4 People

    In July 2016, Alloverstreet teamed up with Earthseed and Greenmount West to produce People 4 People, a block party on the 400 block of East Oliver Street that included openings and events at surrounding art spaces.
  • Fire Angelou Artist Talk

    For the 2015-2016 year, Alloverstreet started with monthly artist talks that featured a different participating gallery and an artist of their choosing. Here, Fire Angelou recites poetry to an audience at Area 405.
  • Six @ Six @ Alloverstreet

    Alloverstreet kicked off with Miguel Mendias' Six @ Six, a performance-based project at the Motel Six on North Avenue.

Connect with Kimi

website:

Kimi 's Curated Collection

This artist has not yet created a curated collection.