Block title

Work Samples

Paradise Now

A gaming event at the University of Maryland Stamp Gallery.


About Kimi

Baltimore City

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

Press Press

Press Press (est. 2014) is an interdisciplinary publishing initiative based in a storefront studio & library in Downtown Baltimore. Press Press’s publishing practice is organized around two key goals; to shift and complicate the aesthetic and understanding of difference, primarily focusing on immigration and race in the United States; and to build meaningful networks of relationships through publishing practices centered on self-representation and gathering. Press Press’s work pushes for a culture that values the lives, minds, and voices of identities of difference, while building a supportive community that enables us to always thrive.


In 2014, Kimi Hanauer started a residency with Refugee Youth Project by holding creative writing workshops with a group of teens in Catonsville, Maryland. When starting to publish collaborative works, the group realized they needed to give the initiative a name, and so Press Press was born. Since then, we have broadened our activities beyond the after-school program. However, the after-school workshops have continued to be a large thread of our practice as we carry the principles the program was initiated within throughout all of our work: embracing collaboration, self-representation, and difference.


With a focus on immigrant and refugee experiences, Press Press's practice fosters a collaborative network of relationships and surfaces the narratives of Baltimore-based communities. Through an understanding of publishing as the act of gathering a public, Press Press’s streams of work include hosting after-school publishing workshops for refugee teens in an immigrant and refugee only space, public educational and cultural programming, an open-access publishing shop that’s based on an exchange economy, and the on-going production of print and digital publications.

The Library

The Press Press library is a collection of resources and publications that were recommended and thematically organized by more than 35 individuals, collectives, and organizations throughout 2016-2017, who each selected a range of resources they deemed most essential their own livelihoods. While the collection was heavily created through a local contingency, it also works in conversation with a national network of artist-organized initiatives. The Library presents a syllabus of texts relevant to artist organizing, independent publishing, social justice, racial equity, and feminism, which influence currently active artists and organizers, both nationally and locally to Baltimore, and informs Press Press’s on-going programs. Located in Press Press’s storefront, the library was created as a way of collectively molding the culture of the space, holding Press Press’s work accountable to it’s context, and building on our approach to public making as the facilitation of a set of relationships.

Afterschool Program

Through a partnership with Refugee Youth Project since 2014, Press Press hosts publishing workshops with teen refugees in an immigrant and refugee only space. In our program, individual dialects, accents, and expanded modes of communication are embraced, as students are not pressured to assimilate into American cultural and linguistic norms. Our program was created for and by second-language speakers and is based on an understanding of language as a vessel that shapes our own identities and the ways in which we navigate the world around us. As second language speakers, we understand our use of the English language as both a personal and political act.

Exchange Economy

With Press Press’s Exchange Economy (EE), anyone can learn how to self-publishing their work in our studio, in exchange for any contribution to the broader project. Through the use of time-banking, EE cultivates new programs, resources, workshops, and relationships in our storefront space, while building a community of new and experienced independent publishers. Participants only pay for the use of materials at cost and can choose to participate in one-on-one learning with a member of our team during our weekly open hours.


We publish a range of print and digital publications on an on-going basis that give form to our programmatic and ethereal practice. Our collaborative process often takes upwards of a year to complete one publication and emphasizes social gathering as a primary mode of the work. Our publications vary widely in form, although we are keen to manifestos, conversations, specific artist projects, and gatherings.

All Allegiance

All Allegiance, an exhibition at Front/Space (Kansas City, MO) investigating the legal definition and laws surrounding American citizenship and their relationship to non-western immigration throughout history. Presenting a combination of personal, poetic, and researched accounts of this process, I attempt to understand her own lived experience of assimilation.

My method calls for an examination of the overlapping histories, systems, and landscapes that have produced today’s United States and it's current material conditions. A series of flags and and poetic reflections set alongside rigid legal and historic documents, call into question the image and ideology the United States has preached outwards regarding immigration and the realities of its inner workings. In considering the space between reductionist categories of Citizen and Alien, All Allegiance seeks to expand the notion of what it means to be an American.

In addition to the exhibition, I hosted the workshop, "Re-imagining (Denationalized) Citizenship" that explored three cases from the 1920’s where non-western immigrants sought after their rights to citizenship by asserting their white status. Through a close look at these accounts, accompanying texts, and law reforms, we considered the historic function of American citizenship to include and exclude, and it’s relationship to the construction of whiteness. Following a discussion, we collaboratively imagined what we want citizenship to look like by creating a new naturalization agreement.

In the United States Vs. Cartozian suit of 1925, Cartozian, an Armenian immigrant, argued for his status as a ‘free white’ with the hopes of attaining his American citizenship. At the time, the privilege of citizenship was only given to ‘free whites;’ however, the definition of ‘white’ was yet to be explicitly determined by law. Through this case and others, where non-western immigrants sought citizenship and attempted to argue away their differences using specific linguistic tactics in court (asserting their ‘white’ status), ‘whiteness’ was developed and refined as a distinct legal construct. For Cartozian, using the tactic of finding a common enemy, in this case Turkey, with the American white population, asserting his people’s history of assimilation and amalgamation with other ‘free whites,’ among other tactics, allowed him the status of whiteness, and also set the grounds for today’s invisible middle eastern identity: a population that is legally considered white, yet socially considered Other.

Sanctuary-Building & -Keeping Manifesto

Who is considered to be an ‘immigrant’ in the United States today? How do we, as immigrants, manage to thrive as individuals and sustain our communities? How do our experiences as ‘foreign’ citizens vary and overlap? How can a nuanced understanding of immigrant identities and experiences inform our understanding of and contribute to the dismantling of white supremacy?

Sentiments is a compilation of the sensitivities, hacks, gestures, and actions that we, as immigrants, have used to bring our lives into being. It serves as a tool kit for sanctuary-building and -keeping, self-determination, and resistance, that takes the form of a series of ongoing conversations, gatherings, and collaborations throughout 2017-2018, that will culminate in a publication and exhibition in Summer 2018 taking place in Baltimore, Maryland. Sentiments is a project produced in three interrelated parts; part one surfaces the narratives of immigrants through a series of personal interviews; part two documents a series of mother-daughter and familial collaborations or conversations; and part three features a collectively-built manifesto for sanctuary-building & -keeping. With an emphasis on femme immigrant identities, Sentiments features individuals and families in Baltimore and beyond, and aims to build empathetic space around difference by addressing the intersections of various immigrant experiences and embracing our power through collective and collaborative work.

A Manifesto For Sanctuary-Keeping & -Building

This manifesto emerges at a time where the ongoing targeting of immigrant communities and the violation of human rights continues: the recent ending of the Deferred Action for Childhood Arrivals (DACA), the refugee crisis across the globe, mass deportations, and the unfortunately all-too-familiar misconduct of institutional bodies. Within this context, sanctuary has a multiplicity of meanings. For undocumented immigrants, it might mean a sanctuary city like Baltimore, where authorities do not report on the legal status of its residents; or the simple right of not being forcefully removed from home. For refugee families, who undergo years of applications, travel, and more, it might mean finally arriving at place where physical safety is seemingly more possible than before. And for many others, it might mean having the possibility of living in a place where fear of alienation, physical harm, or otherwise, is not a daily risk because of one’s cultural or religious practices; and instead, individuals’ and communities’ practices are seen as rich and admirable contributions to society. Through an interrogation of the notion of sanctuary,this manifesto collects and affirms the expertise of various immigrant experiences in building, maintaining, imagining, fighting for, and demanding sanctuary, thus defining what it can be.

*Images by Yunique Palmer Saafir

Paradise Now @ University of Maryland Stamp Gallery

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.

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.

  • 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.
  • 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.
  • 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.
  • 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.
  • Human Rights Manifesto

    A new human rights declaration created in collaboration with young artists and writers at the Baltimore City Community College Refugee Youth Project.
  • If I Ruled The World (Publication)

    Image from Jared Brown + Khadija Nia Adell's chapter, "You Come From The Stars Black People" in the printed publication.
  • If I Ruled The World (Publication)

    Get Your Life! Productions' chapter of the If I Ruled The World printed publication.

Refugee Youth Project Workshops

Through a partnership with Refugee Youth Project since 2014, Press Press hosts publishing workshops with teen refugees in an immigrant and refugee only space. In our program, individual dialects, accents, and expanded modes of communication are embraced, as students are not pressured to assimilate into American cultural and linguistic norms. Our program was created for and by second-language speakers and is based on an understanding of language as a vessel that shapes our own identities and the ways in which we navigate the world around us. As second language speakers, we understand our use of the English language as both a personal and political act.

  • 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.
  • The Chilly Smart Model

    A newsprint publication exploring migration created by young writers and artists at the Baltimore City Community College Refugee Youth Project.

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.

Baltimore Uprsing Archive 2015

The following is a collection of documents gathered over the period of two weeks leading up to MICA’s 2015 annual school-wide commencement show which emerged during the time of the Baltimore Uprising.

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.

This project emerged out of the need to acknowledge the context MICA's Commencement Exhibition existed in. The few documents collected in this space, which represent the two weeks surrounding Commencement, 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 those two weeks, not to mention the past hundreds of years. This was not an attempt at formulating some sort of concrete conclusion or resolution. It was 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. I felt it necessary that 2015's commencement catalogue be about a visibility which rejects the disguise and embraces the uncertainty and paradoxical relationships that make up this place.

In the headquarters, visitors were invited to participate in the making of the catalogue, by adding information to the archive which got bound into the publication.

  • 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 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


Kimi 's Curated Collection

This artist has not yet created a curated collection.