Born in Flames

Bronx Museum
1040 Grand Concourse
Free Admission, Timed tickets required
Bronx
Concourse
Apr 28th 2021 — Sep 12th 2021

Find out more | Reserve tickets

“If I could show you my veins,” asks one of Chitra Ganesh’s characters, both female and feline,  in the comic-book-like Will there ever (2021), “would you tell me stories about the continents they led into (centuries ago—?).” Indeed, in Firelei Báez’s Untitled (New Chart of the Windward Passages) (2020), a woman with swirling blue and indigo skin kneels atop a map of Haiti, her long outstretched leg cutting a new line across the veins of the map, as if raising new topographies from her mottled skin. In this group show of fourteen contemporary non-binary and femme-identified artists, the first in a series of programs to celebrate the Bronx Museum’s fifty-year commitment to social justice, femininity is the lifeblood of the past, the land, and above all, the future.

“We can be anything we want to be,” insists one of the protagonists in Salacia (2019), a short film by the artist Tourmaline, which reimagines the intersecting lives of the inhabitants of Seneca Village, a free Black community razed to construct Central Park. Fittingly for an exhibition which centers artists seeking to redraw borders and imagine new sightlines, the lines of the exhibition themselves are skewed, leading a visitor between angled plinths, through recursive walkways, and to artworks which deal with space in unusual ways. See, for instance, María Berrío’s large-scale tableau, which inverts the typical orientation of bronze sculpture by placing its central figure on the floor, nearly sunken into its base, or Clarissa Tossin’s When the River Meets the Sea (2020), which considers the ways multinational corporations and colonialism have reshaped natural features such as the Amazon River through a twenty-foot weaving which hangs from the ceiling and cuts diagonally across the gallery floor. In Shoshanna Weinberger’s site-specific installation Traversing the Invisible Lines (2021), mirrored cutouts of many-limbed, high-heeled women scramble not only the black and white grid they stand upon, but also Báez’s grid-based works behind them, as well as Caitlin Cherry’s already swirling and psychedelic Her Widescreen Tetra (2021) beside them—not so much traversing unseen lines but obliterating them entirely. —Lisa Yin Zhang

Firelei Báes) Untitled (New Chart of the Windward Passages), 2020. Oil and acrylic on archival printed canvas, 66 x 86.25 inches. Collection of Miyoung Lee and Neil Simpkins.

  • Through
    Jun 6th

    A traveling exhibition of 69 oil paintings, watercolors and works on paper aims to chart Milton Avery’s trajectory and contextualize his work for a new generation.

  • Through
    May 29th

    Inspired by fractals, Renee Cox’s deity-like collages of Black figures constitute an Afrofuturist creation myth.

  • Through
    Jun 6th

    An economical survey of Jonas Mekas, “The Camera Was Always Running” serves as a touching introduction to the Lithuanian filmmaker and champion of avant-garde cinema.

  • Through
    May 28th

    The work in Valentina Vaccarella’s “Bless this Life” rests on a simple irony: monogrammed, embroidered French bridal linens pulled taut across stretcher bars and besmirched by rough images of modern madams.

  • Through
    Jun 6th

    Daniel Lie’s “Unnamed Entities” at the New Museum challenges the antiseptic aim of curation and conservation by imagining a different kind of organic art that needs to be nurtured rather than preserved.

  • Ongoing

    Dia’s recent acquisition of works by Charles Gaines forms the basis of this survey, which includes the artist’s first forays into mathematics-based grid drawings and other early experiments in medium and form.

  • Ongoing

    Day’s End, an elegiac memorial to and stubborn ghost of eras bygone, will also serve as silent witness to the inevitable changes to come.

  • Through
    Jan 2nd 2023

    The sonic encounters provoked by Camille Norment’s elaborate acoustic artworks serve as agents for social consciousness.

  • Through
    May 28th

    The words masterful and mastery assert themselves the instant one encounters the works in “My Body,” both for Nancy Grossman’s command of a wide range of skills and her active state of dominance, identity and selfhood.