On Sunday November 22nd at 4:00 PM, Monsieur Zohore   was joined by 12 of the leading artists in Baltimore to present   his new performance MZ.18 (Endowment for the Future; Last   Supper for Baltimore). The BMA has been wrapped in   scandal lately surrounding the deaccession of three works in   their collection— including Andy Warhol’s Last Supper. MZ.18   used the language of the painting to explore how institutional   equity impacts the artistic community.  

The Last Supper, 1986 by Andy Warhol. The   museum is planning to auction off the 25-and-a  half-foot-long version of Leonardo da Vinci’s Last   Supper through a private sale by Sotheby’s. BMA   leadership claims the deaccessioning is intended   to help the museum achieve equity, both in its   collection and in its staff. Funds from the sales   would be distributed among several initiatives,   including ones meant to diversify the museum’s   holdings with works by women and artists of color   known as the Endowment for the Future. The   hastiness of the sale in relation to the gravitas has   led many members of the Baltimore community to   suspect foul play. 

In this work, eleven performers accompny the artist in recreating the pose in the painting as  Monsieur Zohore cover the cohort in yellow paint while Mozart’s Lacrimoa scores our action. The goal of this performance is to use the painting language of pouring that finds its roots in shame, comedy, protest, and graffiti with the austere language of genesis and memento mori on display in this seminal work. Over the duration of the piece, the performers will pose as well as offer wine and information about the scandal to any passersby curious enough to come to inquire. 
The bacchanalian nature of this work found its roots in the   comedies of Yves Kline, General Idea, the teachings of   Mr.Warhol, and the history of the BMA through Tom   Marioni’s 2006 presentation of The Act of Drinking Beer with   Friends is the Highest Form of Art.  
The overall mission of Zohore's practice is creating social art   as a sculptural action. This work, like many of my Monsieur   Zohore’s institutional humiliations, posits the sincerity of the   institution’s actions against reality. As a “diverse” member of   the Baltimore community, Zohore felt that it was his duty to   examine and critique the institutional actions supposedly   being done in his name.  
Zohore is a firm believer in art’s ability to change the world.   MZ.18 strives to facilitate a space for critique and   conversation on the monumental changes coming to the   World's museums.  

MZ.14 (Celestial Bodies) is a memorial project where Monsieur Zohore purchase stars in the name of a person of color who has lost their life to racial and/or sexual violence. The funds for this series, which begins with Freddie Gray, are raised through public donations, institutional grants, and the sale of an open edition brass telescope. The stars are purchased retroactively on the date that the subject passed away, and are selected to be most visible in that area so that the members of that community may look to the sky and metaphorically see their loved one as a celestial being. The stars themselves will be documented through a certificate acquired from the star naming company and are framed by a POC framer located in the DMV area. In an effort to ensure complete transparency, each star will be donated in the name of the deceased’s family to a local institution that is devoted to the preservation of POC life and culture. Violence against POC goes as far back as the inception of the history of this nation, and Monsieur Zohore intend to honor these victims’  lives until we run out of stars in the sky.