Twilight Tour With Live Accordion Performance by Jonathan Kipp

Date: April 20, 2023 (Thursday) 6:30 PM-8:30 PM

Come and experience the changes twilight brings to the amber walls of David Ireland’s house as you enjoy a performance by accomplished accordionist, musician, and accordion repairman Jonathan Kipp. The evening is part of Ann Hamilton’s project, Process + Place: here • there • then • now, currently on view at two sites: Headlands Center for the Arts and 500 Capp Street. Prior to Ireland’s purchase of 500 Capp Street, the House was the home and repair shop of Paul Greub, a Swiss accordion maker. In her project, Hamilton conjures the early history of 500 Capp Street and connects Ireland’s spaces across time and distance as the day fades to twilight. The evening event is a rare opportunity to experience the convergence of Hamilton’s research and Kipp’s response to it in a live performance.

More information on Ann Hamilton’s project, Process + Place: here • there • then • now can be found here.

About Jonathan Kipp:

Jonathan Kipp is a percussionist, accordionist, teacher, and accordion repairman based in San Francisco. He plays a wide variety of styles, from classical to folk, acoustic to electronic, jazz to pop to avant garde. These days you can find him accompanying the Turkish bands Nakarat and Metanastys.

Giving Tuesday

Donate Here!

Our staff of artists contributes to your experiences at 500 Capp Street every time they come to work. On this Giving Tuesday, we are turning to our community for your support.

2022 was a year of growth and development for 500 Capp Street and all working here. We welcomed over 2,200 visitors through free and low-cost admission to our artist-driven exhibitions, programs, and educational workshops, hosted our first-ever Benefit Auction Party, and continued work on dynamic and diversified programming, and growing accessibility to the archive and collection.

Hear from our staff of artists on what inspires them and why their work at 500 Capp Street matters. Join us in building support for 2023 by donating!

My experience at 500 Capp Street has been a beautiful introduction to the art world. It’s my first job relating to galleries or working with artists in any way, so it’s enlightening in that way

– Audrey Herrera, Intern

One of the biggest things I have learned is that it requires a supportive community to make the impossible possible, and that every spoke is vital to make the wheel turn. As an artist, I have shifted my approach to materials and have loosened my grip and have become more playful and experimental within the space of my studio. – Justin Nagle, Archive and Facilities Coordinator

It starts from visual stimulation and the house itself as an inspiration for my works as well as the acoustic of the house as a sound artist. Aside from visual aspects of the house its educational endeavor of the staff and their openness to share the process of the curating, installing, and research has been a tool to expand my vision about art. – Ava Koohbor, Operations Coordinator

It’s free! and open to conversation. At any moment you’ll see established artists coming in through its doors for tea. I think it’s great the org can invite so many people from different walks of life and you can sit there and talk about the exhibition, the house or what the Mission was like 20 years ago.

– Victor Saucedo, Artist Guide

500 Capp Street is different from other organizations in its spirit of collaboration and care for the artists and staff. David Ireland’s legacy and his care for the arts community are palpable inside the house and in the people who keep it alive and that is reflected and honored in the way 500 Capp Street is run.

– Rebecca Kaufman, Artist Guide

One thing about the exhibitions at 500 Capp Street is I constantly feel they challenge me as an artist. They go beyond responses to a social movement, a piece of history, or a transient sensory stimulation but often challenge how I think about art, human society, and all kinds of man-made structures on a deeper level and original approach.

– Kacy Jung, Artist Guide (Photo by Ebti)

Ann Hamilton at 500 Capp Street

Ann Hamilton

Process + Place: here • there • then • now

February 11 – April 29, 2023

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On the occasion of Headlands Center for the Arts’ 40th anniversary in 2022, Headlands joins 500 Capp Street for a project created by Ann Hamilton sited in both locations that highlights the deep connection between the two spaces and their shared stories of material and discovery.

At Headlands, artists David Ireland, Mark Thompson, and a team of collaborators transformed and opened the cluster of former military buildings to artists in 1986, creating an architectural condition that amplified and extended the vocabularies Ireland developed in his ongoing living project on Capp Street. Within this framework, Hamilton responded to these conditions in her 1989-1991 renovation of Headlands’ Mess Hall, transforming the space into a comfortable and inviting gathering place where meals are shared, collaborations are inspired, and creative revelations arise. Also in 1989, Hamilton was in residence at Capp Street Project with an installation entitled Privations and Excesses.

Now, Hamilton returns to both sites for here • there • then • now, reaching across time and place to form an engagement, reflection, and response. During a research residency at 500 Capp Street in November 2022, Hamilton selected objects from Ireland’s practice, exploring the typology of their forms and materiality, and scanned each to create luminous images that will be on display along with a newspaper print that will be available as a free, take home memento.

Further connecting the domestic scale of 500 Capp Street with the institutional scale of Headlands’ studio buildings, Hamilton is developing a sculptural audio element that will call across the distance to connect the near at hand with the far away—a pulse, connection, collaboration reaching across time, then and now.

Sponsors: Process + Place: Ann Hamilton, here • there • then • now at 500 Capp Street is generously sponsored by Fraenkel Gallery, Evans Hankey, and Kathy Klausner & Benedict Strebel as KEYHOLDER sponsors, Sarah Wendell Sherrill & Stephen Sherrill as LIGHTKEEPER sponsors, Casey & Tania Koon, and Jennifer Wechsler as GROUNDBREAKER sponsors.

Process + Place : Ann Hamilton, here • there • then • now, will have satellite installation at the Headlands Center for the Arts on view from February 12 to March 19, 2023, at Building 944, 944 Simmonds Road, Sausalito, CA 94965.

More information on Headlands Center for the Arts Anniversary, Process + Place: Headlands at 40 here.

About Ann Hamilton

Ann Hamilton is a visual artist internationally acclaimed for her large-scale multimedia installations, public projects, and performance collaborations. Her site-responsive process works with common materials to invoke particular places, collective voices, and communities of labor. Noted for a dense accumulation of materials, her ephemeral environments create immersive experiences that poetically respond to the architectural presence and social history of their sites. Whether inhabiting a building four stories high or confined to the surface of a thimble, the genesis of Hamilton’s art extends outwards from the primary projections of the hand and mouth. Her attention to the uttering of a sound or the shaping of a word with the hand places language and text at the tactile and metaphoric center of her installations. To enter their liminality is to be drawn equally into the sensory and linguistic capacities of comprehension that construct our faculties of memory, reason and imagination.

In a time when successive generations of technology amplify human presence at distances far greater than the reach of the hand, what becomes the place and form of making at the scale and pace of the individual body? How does making participate in the recuperation and recognition of embodied knowledge? What are the places and forms for live, tactile, visceral, face-to-face experiences in a media saturated world? These concerns have animated the site responsive installations that have formed the bulk of Hamilton’s practice over the last 20 years. But where the relations of cloth, sound, touch, motion and human gesture once gave way to dense materiality, Hamilton’s work now focuses on the less material acts of reading, speaking and listening. The influence of collaborative processes in ever more complex architectures has shifted her forms of making, wherein the movement of the viewer in time and in space now becomes a central figure of the work.

Process + Place: Ann Hamilton, here • there • then • now at 500 Capp Street is generously sponsored by Fraenkel Gallery, Evans Hankey, and Kathy Klausner & Benedict Strebel as KEYHOLDER sponsors, Sarah Wendell Sherrill & Stephen Sherrill as LIGHTKEEPER sponsors, Casey & Tania Koon, and Jennifer Wechsler as GROUNDBREAKER sponsors.

A Remarkable Year

Dear Artists and Supporters,

2022 has been an impressive year for 500 Capp Street.

Throughout this year of growth in programming and community-building, 500 Capp Street prioritized remaining free of charge. In this season of giving, we hope you will consider contributing to 500 Capp Street to ensure free admission with artist-guided tours for 2023 and beyond.

In 2022 500 Capp Street welcomed over 2,200 visitors to our artist-driven exhibitions, including The Way Things Also Are by Libby Black, A Tree is A Tree by Michael Zheng, and As Above So Below by Sherwin Rio. We created our first juried residency call-out focused on performing arts, awarded to Megan Lowe and Johnny Huy Nguyen, resulting in HOME(in)STEAD, an awe-inspiring thirteen-run sold-out performance. Programs included Domestic Affairs: Protocols for Living Together, organized by architects Neeraj Bhatia and Antje Steinmuller, Shifting Possessions with artist and academic Việt Lê, and a week-long educational workshop in partnership with Mission Art Center.

We succeeded with our first-ever Benefit Auction Party honoring Mildred Howard when you, our community, came together to show your support and help fundraise for the organization. We also formed an archive team focused on preserving and curating Bay Area conceptual art. And all of this would not have happened without your support.

In 2023 we look forward to presenting the work of SECA awardee Marcel Pardo Ariza, thanks to a prestigious grant from the Kenneth Rainin Foundation. And we could not be more thrilled to start the year with a project with Ann Hamilton in partnership with Headlands Center for the Arts, helping to celebrate their 40th anniversary, amongst other exciting artist-driven exhibitions and programs to come.

As you may know, the heart of 500 Capp Street relies on the unique experience brought to you through intimate tours with an artist guide. Oftentimes, these guides are active students–– emerging or mid-career artists too. They are employed at 500 Capp Street to support the core of what they do; to live, thrive, and further engage with the artistic community as active artists. With in-depth knowledge of 500 Capp Street’s collection, archives, and exhibitions presented, these talented artists provide unique access to the house every time you visit.

To quote artist and Board Chair David Wilson, “I see 500 Capp Street as a gift. We are all gifted a place of the richest inspiration to visit again and again.”

500 Capp Street needs your help to raise $60,000 by the year-end. In this season of giving, can you make a generous donation and ensure 500 Capp Street remains free of charge with artist-guided tours for 2023 and beyond? You can donate online here or mail a check payable to 500 Capp Street for $5,000, $1,000, $500, $250, $100, $50, or any other denomination.

No amount is too large or small for you to make an impact. Contribute to 500 Capp Street–– a portal to what’s possible and imaginable and ensure free admission for 2023 and beyond.

We look forward to your continued support.

Sincerely,

Lian Ladia
Curator, Exhibitions & Programs
500 Capp Street

Cait Molloy
Director
500 Capp Street

Donate Online Here

Shifting Possessions Salon Series #1 with Việt Lê featuring curator-scholar Patrick Flores

On Camp, Agit Prop and Imelda Marcos

Monday, October 31, 2022, 4:00-5:30pm. Doors open at 3:30pm

Online (zoom link): Register here

SOLD OUT On-site (limited seating, RSVP required, email lian@500cappstreet.org)

On All Hallow’s Eve (Oct 31) and on the cusp of Dia de los Muertos, Day of the Dead, please join us for a Zoom presentation, conversation and post-talk celebration/ costume party at The David Ireland House Dining Room with curator-scholar Patrick Flores (University of the Philippines), in dialog with artist-academic Việt Lê (California College of the Arts; ‘22 Stanford CCSRE Mellon Arts Fellow). As an opening case study, Flores will present on an exhibition he curated, Objects of Study (2022) –a critical reconsideration of Imelda Marcos’ art collections at the Vargas Museum (University of the Philippines Diliman). Of this artistic trove, Flores writes, “Inscribed in looking at and seeing through and around the images are the history of their shifting possessions and the political, ethical, and moral trouble they pose.”

Flores puts this Vargas Museum show in relation to the late artist David Medalla’s 1969 protest at the opening night of the Cultural Center of the Philippines (CCP), a huge complex initiated by the Marcos regime, with a banner which read “Down with Mystification.” These moments may link us to the notion of object or property, mediated by camp and agit prop.

Conjuring the Mission, Manila, and the Davids (David Medella and David Ireland) as nodal points, we will reflect on space, place and displacement, ownership, and (queer) strategies. As we continue to shift notions of possession, in its various valances–as objects, as subjects, as well as territories and hauntologies– we trouble past and future archives.

Shifting Posessions is a Salon Series in The Dining Room with artist and academic Việt Lê having dialogs and programming on queer(y)ing object collections, remediation strategies, geopolitical connections, historical trauma and healing.

Patrick Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003. Flores is also Artistic Director of Singapore Biennale 2019, Curator of the Vargas Museum in Manila, and Adjunct Curator at the National Art Gallery, Singapore. He was one of the curators of Under Construction: New Dimensions in Asian Art (2000), the Gwangju Biennale (Position Papers) in 2008, and was the curator of the Philippine Pavilion at the Venice Biennale in 2015. Flores was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004.

Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010); a member of the Advisory Board of the exhibition The Global Contemporary: Art Worlds After 1989 (2011), organized by the Center for Art and Media in Karlsruhe; and a member of the Guggenheim Museum’s Asian Art Council (2011). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). On behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines, Flores organized the conference “Histories of Art History in Southeast Asia” in Manila.

Việt Lê is an academic, artist, writer, and curator whose work centers on spiritualities, trauma, representation, and sexualities with a focus on Southeast Asia and its diasporas. Dr. Lê, Associate professor at California College of the Arts, is the author of Return Engagements: Contemporary Art’s Traumas of Modernity and History in Sài Gòn and Phnom Penh (Duke University Press, 2021). The art book White Gaze is a collaboration with Latipa (Sming Sming Books, 2019) is in the collections of the Guggenheim, Victoria and Albert Museum, SF MOMA, among others.

A 2022 Stanford Center for Comparative Race and Ethnicity (CCSRE) Mellon Arts Fellow, Lê has presented his work at The Banff Centre, Bangkok Art & Cultural Center, Shanghai Biennale, Rio Gay Film Festival, the Smithsonian, among other venues. Lê curated Charlie Don’t Surf! (Centre A, Vancouver, BC, 2005); and co-curated humor us (Los Angeles Municipal Art Gallery, CA, 2008), transPOP: Korea Việt Nam Remix (with Yong Soon Min: ARKO, Seoul; Galerie Quynh, Sài Gòn; UC Irvine Gallery; YBCA, San Francisco, 2008-09) and the 2012 Kuandu Biennale (Taipei) and the 2022 Viet Film Fest, “the world’s largest Vietnamese international film festival,” with a special screening and Q&A with Trinh T. Minh-ha. Lê is a board member of the Queer Cultural Center and Art Matters. vietle.net

Sherwin Rio: As Above So Below

Sherwin Rio

As Above So Below

December 3, 2022 – April 29, 2023

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Sherwin Rio is an interdisciplinary artist working in San Francisco who makes site-specific and research-based work in sculpture, installation, video, performance, and audio. For his exhibition at 500 Capp Street, Rio is inspired by Ireland’s affinity for enclosure, particularly his deep interest in the House’s basement, a space Ireland called “The Grotto” where he sourced dirt for his work and spent many hours in solitude.

Framed by Ireland’s dual relationship to architecture above and below, Rio is creating works that provide alternative, inverse ways of experiencing a house—indebted to the past, the unseen, and the underground.

In one work, Rio opens up the floorboards to reveal a hidden stairwell and extends it, with copper pipes. Rio also finds inspiration in Ireland’s basement, in the network of pipes and electrical conduit, and merges this with an artwork that Ireland made by recording the sound of the pipes and walls. Rio’s sculptural sound installation transmits and amplifies vibrational sound within the House– “I see these items–webs of ABS, PVC, unistrut, wood, soil and conduit–as the veins that bring lifeblood to the house, preserving its ability to function–a need that preceded Ireland and continues into the future,” writes Rio.

Rio also creates an installation changing the objects and airing out the Dining Room—filled with problematic objects, photographs, and animal trophies from safari travels—Rio clears the Dining Room and opens all the drawers, clearing and re-circulating air as a gestural symbol. Rio writes, “The work is a critical look at the commodification of nature and culture, dominance and violence as leisure, and a business that profited from and upheld ideas born of settler-colonialism, manifest destiny, and global capitalism.”

Additional installation works will be presented throughout the House as well. Rio will live at 500 Capp Street for 10 days in order to develop work for the exhibition.

(Photo by Henrik Kam, 2023)

Sherwin Rio is an interdisciplinary artist who makes visual metaphors addressing colonization, historical public amnesia, and intergenerational storytelling through a Filipinx-American lens. He has exhibited and performed as a solo and collaborative artist throughout the US in venues such as: de Young Museum, Asian Art Museum, Carnegie Museum of Art, Carlsbad Museum of Art, San Jose State University, Portland State University, Dominican University, University of Northern Colorado, Massachusetts College of Liberal Arts, Human Resources, and Torpedo Factory. Awards include a 2019 Graduate Fellowship at Headlands Center for the Arts, the 2019 International Sculpture Center’s Outstanding Student Achievement in Contemporary Sculpture Award, the 2018 Ella King Torrey Award for Innovation & Excellence in the Arts, and the 2017 Jack K. and Gertrude Murphy Fellowship Award.

As Above So Below by Sherwin Rio is generously sponsored by Mary Valledor and the Carlos Villa Estate, Dudley and Michael Del Balso, with additional support by Colin Fernandes and in kind contribution by Matt Katsaros and John Yoyogi Fortes.