14:00 EDT: The doors will open and Zoom begins with an Open Meet Up Time* in IRL and URL

On Zoom, there will be a shifting cycle of online hosts including:

JOHANNA HEDVA, NEVE MAZIQUE BIANCO, AMBER HAWK SWANSON, AKEMI NISHIDA, RISA PULEO, TARANEH FAZELI

*These are scheduled breaks, but breaks are also in between events and unscheduled self-determined,  breaks are welcome at all times; there are Quiet, Low Stim, and Chat rooms available both on site, inside PSNY, and on Zoom in Breakout rooms.

If you are in the UK the time for this event is 19:00-20:30 GMT +1.

About the Online Hosts

Taraneh Fazeli is a chronically ill Iranian-American curator living between Waawiiyaatanong/Detroit and Lenapehoking/New York. Her current approach to curating is rooted at the intersection of the disability, diasporic, queer, and creative communities that she calls home. Before becoming an independent curator, she worked at Artforum, e-flux, Triple Canopy, and The New Museum.
The peripatetic exhibition and community program series she curated “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” (2016-20) addressed the politics and practices of disability, race, accessibility, healing, and care. She is working on a homonymous field guide for co-creating accessible worlds through art, culture, and organizing with contributions by many of the participants of I wanna be with you everywhere. These friendships have been life-giving. The book will broadly share an array of resources from these relations that address the overlapping issues that occur when ableist modern-colonial institutions attempt to include disabled, racialized, and/or Indigenous bodyminds without fundamentally addressing their existing structures, while also exploring practices already in use that create accessible worlds without focusing on institutions.

Taraneh also makes delicious Kuku-sabzi, gives epic studio visits, has Virgo organizing skills, takes most of her Zooms from bed while sick or on very long walks when not, and has a mean right hook when needed.

As a performance artist, Amber Hawk Swanson has explored care, animacy, and desire in the context of queerness and disability. Her complementary scholarly interests focus on investigations of enabling objects and actions; technologized, roboticized, and transpeciated bodies and selves; animacy and animal intimacy; and worldmaking in the online forums and livestream channels that have served as the primary platforms for her work. Hawk Swanson’s practice has embodied these concerns through a material and conceptual engagement with captive marine mammals, silicone Dolls, and networks of care among the community of silicone Doll-loving men known as iDollators. Recently, she has explored sites of belonging and protection that simultaneously function as spaces of violent exclusion, and, along with her collaborators, Synthetiks advocate Davecat and his robotocized silicone spouse Sidore, how sexual racism functions in the Doll community. Hawk Swanson has exhibited nationally and internationally for the span of her nineteen-year career. Scholarly writing on her work, including Amber Jamilla Musser’s chapter on her collaboration with artist Xandra Ibarra in Sensual Excess: Queer Femininity and Brown Jouissance and Jillian Hernandez’s discussion of Hawk Swanson’s early Doll work in “Meditations on the Multiple” can be found here.

Johanna Hedva (they/them) is a Korean American writer, artist, and musician, who was raised in Los Angeles by a family of witches, and now lives in LA and Berlin. Hedva is the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, and Institute of Cultural Inquiry; The Institute of Contemporary Arts in London; Performance Space New York; Gyeongnam Art Museum in South Korea; the LA Architecture and Design Museum; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, and Rewire Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Mousse, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages.

NEVE (they/(s)he) is a multigender, multiracial, multiply Disabled, multidimensional, multidisciplinary terpsichorean artist of the stage, street, field, stream, and screen. They are a mixed Sudanese Nubian who grew up in Lenni Lenape country and is now living in Duwamish and Coast Salish lands and traveling wherever they have access and an invitation. (S)He is a 2020 Pina Bausch Fellow, a 2022 Arc Artist Fellow, and a 2022 Disability Futures Fellow! NEVE loves life, the delights and pains of embodiment and love, the sparkle-ache and promise of growth, the higher power inside all of us, the earth’s lullabies and war cries, drinking color, and kissing/thinking/dreaming/learning/winning with their local and international queer family (especially their cat child Caravaggio). NEVE believes in God(exxes), Collective Access and Liberation, Transformative Justice, Land Back, Right of Return, Reparations, Anarchism (in relationships and governance), the Loch Ness Monster, the Multiverse, the concept that all living beings are people, and You. They are currently a contributing writer for the South Seattle Emerald and collaborate with their confidante in arms, fellow Seattle multidisciplinary artist Saira Barbaric as themselves, and as Mouthwater. Visit them online at nevebebad.com, and on IG at @nevethoh, @mouthwaterdance, and @nevedeguelderrose. This will be their second appearance at I wanna be with you everywhere and she couldn’t be more thrilled.

Akemi Nishida uses research, education, and activism to investigate how ableism and sanism are exercised in relation to other forms of social injustices. She also uses such methods to contribute to disability justice activism. She is the author of Just Care: Messy Entanglements of Disability, Dependency, and Desire (Temple University Press, 2022) in which she examines public healthcare programs as well as grassroots interdependent care collectives and bed-space activism. She teaches at University of Illinois Chicago, while also engages in disability justice locally and nationally.

Risa Puleo is an independent curator and one of a team of curators organizing the 2023 Counterpublics Triennial in St. Louis. Her exhibition Walls Turned Sideways: Artists Confront the American Justice System was curated for The Contemporary Arts Museum in Houston in 2018 and traveled to Tufts University Art Gallery in 2020. Monarchs: Brown and Native Artists in the Path of the Butterfly was curated for Bemis Center for Contemporary Art during her year as curator-in-residence, and traveled to the Museum of Contemporary Art North Miami, Blue Star Art Space, and Southwest School of Art in San Antonio, The Nerman Art Museum in Overland Park, Kansas. Other exhibitions have been hosted by ArtPace, San Antonio, the Leslie Lohman Museum in New York City, Franklin Street Works in Stamford, CT, Charlotte Street Foundation in Kansas City, and more. Puleo has Master’s degrees from the Center for Curatorial Studies at Bard College and Hunter College and is a doctoral candidate in Northwestern University’s art history program. She has written for Art in America, Art Papers, Art 21, Asia Art Pacific, Hyperallergic.com, Modern Painters, and other art publications.