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DTSTART;VALUE=DATE:20260204
DTEND;VALUE=DATE:20260914
DTSTAMP:20260818T235641Z
CREATED:20260818T235641Z
LAST-MODIFIED:20260818T235641Z
UID:10003126-1770163200-1789343999@potluckasianamerica.org
SUMMARY:Noguchi’s New York
DESCRIPTION:In 1922\, Isamu Noguchi first moved to New York—a city that would remain his on-again\, off-again home for the remainder of his life. Though he was an avid traveler who built meaningful connections and temporary homes around the world\, Noguchi always returned to New York. It was here that he created some of his most iconic artworks and imagined countless others. \nThis exhibition examines Noguchi’s deep and dynamic relationship with New York City\, exploring how its material\, cultural\, social\, and political landscape indelibly transformed his artwork and thinking\, and how he in turn transformed the city. It also highlights Noguchi’s unflagging attempts to give back by sculpting communal spaces for exploration and play—efforts often thwarted\, most notably by the influential NYC Parks Commissioner Robert Moses. \nNoguchi’s New York encompasses more than 50 works\, including sculptures\, project models\, photographs\, and archival materials. The exhibition also brings to life Noguchi’s visions for unrealized playgrounds and playground equipment through a series of hand-painted animated films by Jack Cunningham and Nicolas Ménard of Eastend Western. \nOrganized on the 40th anniversary of The Isamu Noguchi Foundation and Garden Museum\, this exhibition celebrates the Museum itself as one of Noguchi’s most profound gifts to this city he called home. \nPhoto credit: Isamu Noguchi\, 1980
URL:https://potluckasianamerica.org/event/noguchis-new-york/
LOCATION:Noguchi Museum\, Noguchi Museum\, 9-01 33rd Rd\, Astoria\, NY 11106\, USA\, Astoria\, NY\, 11106\, United States
CATEGORIES:Art,Art Exhibit,Photography
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Noguchi-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260319
DTEND;VALUE=DATE:20270128
DTSTAMP:20260818T200949Z
CREATED:20260818T200949Z
LAST-MODIFIED:20260818T200949Z
UID:10003106-1773878400-1801094399@potluckasianamerica.org
SUMMARY:Buddha and Shiva\, Lotus and Dragon
DESCRIPTION:In celebration of Asia Society’s seventieth anniversary\, Asia Society Museum presents Buddha and Shiva\, Lotus and Dragon: Celebrating 70 Years of Asia Society and the Rockefeller Legacy. \nDisplaying seventy of the finest examples of Asian art in the United States drawn from Asia Society’s permanent collection\, the exhibition showcases the extraordinary range of bronzes\, ceramics\, and metalwork thoughtfully assembled between the 1950s and the 1970s by John D. Rockefeller 3rd (1906-1978) and his wife Blanchette Hooker Rockefeller (1909-1992). John D. Rockefeller 3rd founded Asia Society in 1956 with the mission to promote greater knowledge of Asia in the United States; the bequest of the collection to Asia Society in 1979 underscores the Rockefellers’ conviction that an aesthetic encounter with great works of art promotes deep cross-cultural understanding. \nWith highlights including spectacular Buddhist and Hindu sculptures\, and rare Chinese\, Korean\, and Japanese ceramics\, Buddha and Shiva\, Lotus and Dragon celebrates historic achievements in Asian art spanning more than two millennia. The exhibition foregrounds the transformative power of faith and the catalyzing potential of international trade in the creation of great works of art across Asia. \nBuddha and Shiva\, Lotus and Dragon presents a special opportunity for museum visitors to experience the unparalleled quality of the Mr. and Mrs. John D. Rockefeller Thrid Collection at its home at Asia Society Museum in New York City.
URL:https://potluckasianamerica.org/event/buddha-and-shiva-lotus-and-dragon/
LOCATION:Asia Society\, 725 Park Avenue\, New York\, NY\, 10021
CATEGORIES:Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Buddha.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260328
DTEND;VALUE=DATE:20261027
DTSTAMP:20260327T140040Z
CREATED:20260327T140040Z
LAST-MODIFIED:20260327T140040Z
UID:10002456-1774656000-1793059199@potluckasianamerica.org
SUMMARY:Japan Fes NYC 2026:  Japanese Food Festival
DESCRIPTION:JAPAN Fes\, one of the city’s most beloved street food events\, is returning to celebrate a major milestone: its 10th anniversary in New York City\, bringing dozens of Japanese food vendors to the streets for a full day of snacking\, sipping and exploring.  Each event typically runs from 10 am to 6 pm and pops up in neighborhoods across Manhattan\, Brooklyn and Queens. \nHere are the 2026 JAPAN Fes dates in NYC: \nMarch 28 in the East Village\nMarch 29 in Midtown West \nApril 4 in the Village\nApril 5 on the Upper West Side\nApril 11 in the East Village\nApril 12 in the East Village\nApril 18 in Morningside Heights\nApril 19 in Chelsea\nApril 25 in Chelsea\nApril 26 in Astoria\nMay\nMay 2 on the Upper East Side\nMay 3 on the Upper West Side\nMay 9 in Chelsea\nMay 24 in the Village\nMay 30 on the Upper East Side\nMay 31 in the East Village\nJune\nJune 6 in the East Village\nJune 7 on the Upper West Side\nJune 14 in the East Village\nJune 21 in Brooklyn\nJune 27 in Times Square\nJune 28 in Astoria\nJuly\nJuly 11 in Chelsea\nJuly 19 in Times Square\nAugust\nAugust 2 on the Upper West Side\nSeptember\nSeptember 12 in Chelsea\nSeptember 13 in Chelsea\nSeptember 19 on the Upper East Side\nSeptember 26 in Morningside Heights\nSeptember 27 on the Upper East Side\nOctober\nOctober 3 in the East Village\nOctober 10 in Astoria\nOctober 24 in the East Village\nOctober 25 on the Upper West Side
URL:https://potluckasianamerica.org/event/japan-fes-nyc-2026-japanese-food-festival/
LOCATION:Multiple NYC locations
CATEGORIES:Food,In Person
ATTACH;FMTTYPE=image/webp:https://potluckasianamerica.org/wp-content/uploads/2026/03/jf.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260403
DTEND;VALUE=DATE:20270104
DTSTAMP:20260818T202009Z
CREATED:20260818T202009Z
LAST-MODIFIED:20260818T202009Z
UID:10003107-1775174400-1799020799@potluckasianamerica.org
SUMMARY:Shu Lea Cheang\, LOVER LOVE
DESCRIPTION:LOVER LOVE\, a new commission for the Leslie-Lohman Museum of Art by Shu Lea Cheang\, begins with a portal. A window is flung open and the gray wall of an apartment block dissolves into a turbulent\, overcast sky\, against which a smoky being is enveloped by a six-winged seraphim—an angel of the highest order. \nThis opening transition is both a gesture to Cheang’s longtime collaborator\, musician Aérea Negrot (1980–2023)\, who died by suicide\, and a marker of an entry into a hybrid space of documentation and imagination. For this film\, presented as a four-channel installation\, Cheang worked with eight intergenerational performers in Tucson\, Arizona\, all of whom contributed their own experiences\, narratives\, and dreams of and for trans and gender nonconforming life in today’s United States. \nThis collaboratively scripted film moves between physical and virtual space: between performances in a motel room\, a junkyard\, and city streets amid surrounding nature\, we can see desert plants blooming anthropomorphic appendages and souls escaping inhuman oppression to take transhuman flight. \nThe gallery’s four screens\, themselves portals to the film’s world\, can be shifted by viewers into and out of the path of each projector. Each movement triggers a segment of Negrot’s 2011 track “It’s Lover\, Love”—a dreamy\, minimalist meditation on the lingering traces of broken promises and vanished love. These aural and physical shifts create new compositions\, morphing the installation into an active landscape in which to navigate agency\, survival\, and intimacy in a time of escalating political precarity.
URL:https://potluckasianamerica.org/event/shu-lea-cheang-lover-love/
LOCATION:The Leslie-Lohman Museum of Art\, 26 Wooster Street\, New York\, NY\, 10013\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Shua-Lea.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260502
DTEND;VALUE=DATE:20261217
DTSTAMP:20260818T202523Z
CREATED:20260818T202523Z
LAST-MODIFIED:20260818T202523Z
UID:10003108-1777680000-1797465599@potluckasianamerica.org
SUMMARY:Bangladesh Not "Bhaangadesh"
DESCRIPTION:This exhibition explores how Bangladeshis in Bangladesh and beyond took actions during the 2024 mass uprisings against the quota system in place\, since 1972\, immediately after the birth of the country in 1971. Featuring articles such as printed international artworks by Bangladeshi artists\, handcrafted tools\, and relevant media\, the exhibition serves as a homage to learn\, reflect\, discuss\, and heal. \nBangladesh\, Not “Bhaangadesh” seeks to raise social (in)justice awareness through showcasing Bangladeshi artistic expression\, and persistent crimes against humanity from the summer of 2024–of government-implemented curfews\, with “shoot-on-sight” commands\, country-wide internet revoked\, houses raids\, innocent lives taken\, and unnecessary arrests made\, etc. After decades of corruption and nepotism\, Bangladeshi students stood up against the unjust quota system of prioritizing government positions rather than basing hiring on skill\, talent\, and merit–for descendants of ancestors prominent in the Bangladesh Liberation War of 1971.
URL:https://potluckasianamerica.org/event/bangladesh-not-bhaangadesh/
LOCATION:King Manor Museum\, 150-03 Jamaica Ave\, Jamaica\, NY\, 11432\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Bhaangadesh_Flyer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260514
DTEND;VALUE=DATE:20260914
DTSTAMP:20260522T200133Z
CREATED:20260522T200133Z
LAST-MODIFIED:20260522T200133Z
UID:10002669-1778716800-1789343999@potluckasianamerica.org
SUMMARY:Exhibition: Ed Young’s Bright Worlds
DESCRIPTION:For over 60 years\, Ed Young (1931–2023) invigorated the world of children’s books through intimate storytelling\, inventive artistry\, and potent emotionality. This first U.S. retrospective features original artwork from 15 of his most significant projects—focusing on works drawn from his personal story and Chinese folktales—alongside a selection of his sketchbooks\, family photos\, and personal effects. \nYoung achieved distinction as a beloved storyteller and illustrator who challenged younger audiences with pictorial and moral complexity. He was a towering figure in children’s literature\, reaching wide audiences while earning the field’s top honors. His retelling of the Chinese “Little Red Riding Hood\,” Lon Po Po\, introduced generations of children to Chinese folklore and won the Caldecott Medal; he also received two Caldecott Honors for earlier works. Across his career\, he garnered numerous accolades\, including multiple selections for The New York Times’ “10 Best Illustrated Children’s Books” list. \nThe exhibition traces Young’s family life in Shanghai\, where he was the fourth youngest of five children. As a teenager\, he and his brother were sent to live in Hong Kong to flee the civil war in China. He immigrated to America for college\, eventually earning an art degree from the ArtCenter School in Los Angeles\, and then moved to New York. “I set out with $20 borrowed money in my pocket to bet my life in New York City\,” he wrote. After being laid off from an advertising studio\, he submitted sketches to children’s book publisher Ursula Nordstrom\, who hired him to illustrate The Mean Mouse and Other Mean Stories (1962)\, launching a career that would span over 100 books. \nHis most memorable projects were deeply personal. Ed Young’s Bright Worlds guides viewers through key moments of his life and oeuvre with original artwork from The House Baba Built (2011)\, about his childhood in Japan-occupied Shanghai; Voices of the Heart (1997)\, exploring Chinese culture through the relationship between writing\, image and his lifelong tai chi practice; My Mei Mei (2006)\, on adopting his daughters; and Bright World (2024)\, a book published posthumously in China\, meditating on the cyclical nature of life. \n“So many of us grew up on Ed Young’s art and storytelling\,” said Herb Tam\, MOCA’s Chief Curator. “This exhibition will reveal what went into crafting masterworks of the children’s book form. Visitors will be enchanted by his fluent handling of media—from pastel and cut paper to pen\, ink\, and collage—and inspired by his story as a resourceful immigrant striving to make his mark in a creative field.” \n“As a father of three\, I’ve seen firsthand how children’s books shape the way we see the world\,” said Michael Lee\, MOCA’s President. “The imagery and storytelling stay with us—they become part of our family conversations\, our imaginations\, and even the way we share stories later in life. It’s a special honor to explore the life and mind of Ed Young\, whose work has inspired generations. Through this exhibition\, we not only celebrate his extraordinary achievements but also revisit how deeply his art was shaped by his journey as a Chinese American—reflecting his early life in China and the graceful balance he found as a lifelong practitioner of tai chi.” \nEd Young’s Bright Worlds is part of MOCA’s Luminaries for America250\, a yearlong celebration of Chinese American historymakers at the Semiquincentennial. For more about the Luminaries project\, visit https://www.mocanyc.org/2026/01/02/moca-luminaries-for-america250/ \nPhoto of Ed Young by Sean Kernan
URL:https://potluckasianamerica.org/event/exhibition-ed-youngs-bright-worlds/
LOCATION:Museum of Chinese in America\, 215 Centre Street\, New York\, NY\, 10013
CATEGORIES:Art,Book,Grades K–5
ATTACH;FMTTYPE=image/png:https://potluckasianamerica.org/wp-content/uploads/2026/05/Screenshot-2026-05-22-at-3.54.46-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260606
DTEND;VALUE=DATE:20260928
DTSTAMP:20260605T193304Z
CREATED:20260526T224054Z
LAST-MODIFIED:20260605T193304Z
UID:10002676-1780704000-1790553599@potluckasianamerica.org
SUMMARY:Art Exhibit: Shared Lines: Asian American Stories on Route 66
DESCRIPTION:Route 66 might be the U.S.’s most famous highway. Traversing the country from Santa Monica\, CA to Chicago\, IL\, it’s been immortalized in songs\, books\, and movies. But along that iconic highway are stories that are far lesser known. \nWith a grant from the National Trust for Historic Preservation\, illustrator Sammy Yuen set out on a roadtrip to capture those stories. This exhibition — coinciding with Route 66’s 100th anniversary this fall — brings some of them to life. \nLike the stone guardian lions that appeared out of nowhere in Amboy\, CA\, a former ghost town purchased by Japanese American restaurateur and preservationist\, Albert Okura. The water towers in Kingman\, AZ that once supported operations of the railroad built by Chinese laborers. The Chinese American Museum of Chicago\, housed in an erstwhile tofu factory donated by Chinese immigrant and grocery magnate Raymond Lee. \n“This whole journey started with my first exhibition at Pearl River Mart\,” says Sammy. “Showing my new exhibition there brings it back\, full circle. I also like the idea of exploring Asian American communities outside of New York City’s Chinatowns. Beyond Manhattan and Flushing. Sometimes it’s just a strip mall or restaurants spread out in an area. But the stories of the people are often the same.” \nJoin us for the opening reception on June 6. Attendance is free but registration is appreciated. \n\nOn view June 6 through Sept. 27 in the Pearl River Mart gallery at 452 Broadway\nFree and open to the public every day from 11 AM to 7 PM\nLearn more in our interview with Sammy\n\nSpecial thanks to the National Trust for Historic Preservation\, who provided curation for this exhibition. \nThis exhibition is dedicated to Sammy’s father\, Sammy Yuen\, Sr. (1935 to 2026)\, for his unwavering support of the people he loved. \nAbout the Artist\nSammy Yuen is an artist\, illustrator\, designer\, writer\, and martial arts instructor. He is the recipient of multiple grants\, including awards from the Lower Manhattan Cultural Council\, the National Trust for Historic Preservation\, and the Asian American Arts Alliance. His work has been exhibited at Pearl River Mart\, the Chinese American Museum of Chicago\, and Google Arts & Culture. He is currently developing a multi-generational picture book inspired by his family’s martial arts legacy. \nWith over 20 years of experience in the publishing industry\, he has created book covers — including more than 35 New York Times bestsellers — as well as marketing and advertising materials\, animated videos\, and social media assets. Across all of his work\, his goal is to tell stories that engage audiences and spark conversation.
URL:https://potluckasianamerica.org/event/shared-lines-asian-american-stories-on-route-66/
LOCATION:Pearl River Mart Gallery – Soho\, 452 Broadway\, New York\, NY\, 10013\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/05/13_Route_66_Map_1_1024x1024-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260826
DTEND;VALUE=DATE:20261019
DTSTAMP:20260911T220931Z
CREATED:20260911T220931Z
LAST-MODIFIED:20260911T220931Z
UID:10003347-1787702400-1792367999@potluckasianamerica.org
SUMMARY:Christine Sun Kim: Moon Mind
DESCRIPTION:Gallery Hyundai is pleased to present Moon Mind\, a solo exhibition by Christine Sun Kim (b. 1980)\, on view from August 26 through October 18. Marking Kim’s first gallery exhibition in Korea and her first solo presentation with Gallery Hyundai\, the exhibition will debut the artist’s shaped canvas paintings for the first time. Kim has long transformed personal experience into new forms of language rather than direct representation\, exploring the social structures of sound and language through her practice. In Moon Mind\, Kim looks into her mind\, memory\, family\, relationships with those around her\, and her roots\, presenting forty shaped canvas paintings and drawings in a rhythmic visual arrangement. \nChristine Sun Kim’s practice studies how sound operates within society\, addressing questions of sound\, language\, power\, access\, and social relations through a distinctive visual language. Working across drawing\, performance\, video\, installation\, large-scale murals\, and public projects\, Kim brings together American Sign Language (ASL)\, musical notation\, written language\, infographics\, and humor as central elements of her work. Grounded in Deaf culture and her own experience\, Kim examines the rules of communication assumed by a society organized around spoken language. Her work asks who gets to speak\, who controls meaning\, and which languages gain recognition in public space. \nMoon Mind extends this line of inquiry while shifting Kim’s focus from social structures toward her own interior world. While her earlier works often foregrounded a critical engagement with the norms of a hearing-centric society and the histories of the Deaf community\, the works in this exhibition treat the mind as a spatial form\, giving it shape\, weight\, and a sense of proximity. Kim explores shifting emotions and memories through her relationships with herself\, her family\, her children\, friends\, and those around her. Through the experiences of becoming a mother\, building a family\, and seeing her language and work reach wider audiences\, Kim begins to treat the form of the mind in a more playful and experimental way. Her focus\, once directed toward social structures and the power relations embedded in language\, deepens in this exhibition toward the personal mind\, family\, intimate relationships\, and layers of time and memory\, opening a new direction in her practice. \nThe shaped canvas paintings presented for the first time in this exhibition take the form of diptychs composed of an upper and a lower canvas. Continuing her recent Mind series\, Kim develops this new body of canvas works by exploring the possibility of translating the mind into spatial and sculptural form. Depending on shifting emotional states\, one’s mind may feel closer to or farther from another mind\, a memory of the past\, or an object such as the moon. Attentive to this fluid state of mind\, Kim positions the mind and the object it encounters across the upper and lower canvases\, using the distance between them to suggest shifting psychological proximity. The distance between the upper and lower canvases can change\, suggesting the mind’s constantly shifting state. \nThe work Moon Mind\, from which the exhibition takes its title\, carries multiple layers of meaning that emerged as Kim reflected deeply on her inner world and roots. In ASL\, the signs for “mind” and “moon” both involve a tap on the temple\, creating a connection between the two words. The moon also appears in expressions that refer to time and the past\, such as “once in a blue moon” and “many moons ago.” At the same time\, Kim’s daughter is named Dal\, which means “moon” in Korean. For Kim\, the moon connects the mind\, family\, time\, language\, and her roots as a Korean American artist. It is also a recurring symbol found across expressions\, myths\, and stories in many languages. In this way\, Moon Mind embraces a body of work that begins with the artist’s inner world and expands toward family\, memory\, cultural roots\, and relationships with other minds. \nThe surface of the paintings also plays an important role in the exhibition. Just as charcoal leaves natural smudges and stains in Kim’s works on paper\, the canvas works create another kind of trace. Kim builds up deep blues and greens through swirling brushwork\, creating surfaces so dark they appear almost black\, yet layered with depth. Unlike earlier works that often conveyed meaning clearly through text and symbols\, the works in this exhibition allow color\, brushwork\, and the material qualities of paint to operate as a new visual language\, revealing Kim’s inner world and sensibility. This shift and expansion also carries into the drawings made with acrylic paint. During her 2025 residency at the American Academy in Rome\, Kim began experimenting with acrylic on paper\, exploring the movement of the brush\, the density of paint\, and the ways it spreads and layers on the surface. In this acrylic series\, words such as “Mind\,” “Land\,” “Mass\,” “Tap\,” “Touch\,” and “Still” come together with arched lines\, moving the work in a more abstract direction. Rather than guiding viewers toward one definitive interpretation\, the works invite them to trace how the mind lands\, touches memory\, lingers in repetition\, and gradually fades. \nThe exhibition also includes works that borrow musical dynamics\, used to indicate volume in music\, to visualize states of mind and the movement of time. Kim uses “p\,” for “piano\,” meaning to play softly\, and “f\,” for “forte\,” meaning to play loudly\, as signs for mapping states of mind and temporal direction. Here\, p also refers to the past\, connecting to roots\, family\, and home. As the number of ps increases\, so does the weight of the past and the depth of time. By contrast\, f refers to the future\, connecting to energy\, activity\, speed\, the unknown\, and anxiety. The arched lines in the works evoke both the mind and land\, while also suggesting the passage of time\, in which a state continues and returns. Kim approaches the mind as a three-dimensional space and psychological terrain\, using the arch to show how the sensations of the past\, family\, home\, and homeland take root and accumulate within it. The softness or steepness of each arch reveals the rhythm and intensity of a mind moving through time\, suggesting a motion that recedes and returns. \nIn Moon Mind\, Christine Sun Kim brings together shaped canvases and drawings\, musical dynamics and written language\, and arched lines to present the mind not as a fixed state\, but as a space in continual motion through time\, relationships\, and memory. Across the exhibition\, the mind encounters the moon\, land\, the past\, family\, and other minds\, creating different senses of distance\, speed\, and intensity. As viewers move through the exhibition\, these elements form a visual rhythm of distance\, return\, and transformation\, allowing viewers to sense how the mind’s relationships to others\, to memory\, and to itself continue to shift.
URL:https://potluckasianamerica.org/event/christine-sun-kim-moon-mind/
LOCATION:Gallery Hyundai New York Project Space\, 529 W 20th St\, Room 6E\, New York\, NY\, 10011\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Christine-Kim-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260826
DTEND;VALUE=DATE:20261019
DTSTAMP:20260911T221336Z
CREATED:20260911T221336Z
LAST-MODIFIED:20260911T221336Z
UID:10003348-1787702400-1792367999@potluckasianamerica.org
SUMMARY:Kim Bohie - TOWARDS: There Was Light
DESCRIPTION:“That a still surface can hold yesterday\, today\, tomorrow at once; that here\, there\, and elsewhere can meet in the same moment; that different times and spaces can unfold together on a single\, fixed plane—it still fills me with wonder.” —Kim Bohie\, July 2026 \nGallery Hyundai is pleased to present TOWARDS: There Was Light\, a solo exhibition by Kim Bohie (b. 1952)\, on view from August 26 through October 18. This exhibition marks Kim’s first solo exhibition in Korea since the Days at the Jeju Museum of Contemporary Art in 2022. It also brings her back to Gallery Hyundai for her presentation with the gallery in thirty-eight years\, following The Third Kim Bohie Solo Exhibition in 1988. TOWARDS: There Was Light surveys more than four decades of Kim’s sustained engagement with nature\, focusing on her exploration of light in painting. Featuring approximately thirty works\, the exhibition presents new paintings from the Towards series that depict the garden and sea of Jeju\, flowers\, fruits\, and her dog Leo\, and other landscapes intimately connected to the artist’s daily life alongside the monumental The Days (2022)\, recently shown in the Unlimited sector of Art Basel in Basel earlier this year. \nRather than simply perpetuating the traditions of Korean painting or adopting Western conventions\, Kim has developed a distinctive pictorial language that brings the materials and formal sensibilities of East Asian painting into dialogue with the chromatic fields and expanded scale of modern and contemporary painting. Working on canvas and hanji\, she repeatedly applies mixtures of traditional mineral pigments\, water\, and glue\, allowing color to slowly permeate and accumulate in translucent layers that create a depth particular to her work. Her figurative compositions bring together different experiences of time: the prolonged observation of nature\, the time in which a landscape settles into memory as an inner image\, and its eventual reconstruction. What matters in Kim’s work\, therefore\, is not simply what she depicts\, but how the time and sensations accumulated through looking and remembering re-emerge as landscape. Nature experienced at different moments and in different places converges on a single plane\, where past and present\, near and far\, observed landscape and inner image coexist within the same pictorial space. \nWithin this process\, light serves as both a sensory measure through which Kim perceives nature and a medium through which she registers its ceaseless passage and change. Shifting with the hours of the day and the seasons\, light renders the same garden or sea anew each time\, altering its colors\, contours\, and atmosphere. Kim has long attended to these subtle transformations\, holding them in memory before reconstituting them through her own perception and imagination on the painted surface. Her engagement with light predates her recent paintings of Jeju. As early as the 1970s\, she depicted dawn filtering through a forest and light shimmering across the surface of a river. Across the decades\, her subjects have encompassed deep greens under intense sunlight\, the sea and its horizon\, the waxing and waning moon\, and plants transformed by the seasons—nature continually remade by changing conditions of light. \nThe exhibition title TOWARDS: There Was Light alludes to the moment of creation when light first emerges from darkness and the world begins to take form. It resonates with Kim’s lifelong gratitude and reverence for nature\, while extending beyond spiritual symbolism to describe a fundamental condition of her painting: light enables her to perceive change and time in the natural world and to translate those perceptions into pictorial form. Just as light allows the colors and forms of the world to become visible\, Kim’s paintings begin with sustained attention to nature as it changes from one moment to the next. Her gaze carries within it different seasons and times\, places once encountered\, and innumerable living beings and fleeting moments\, accumulated as layers of memory and sensation. In this sense\, “There Was Light” refers not only to the light by which the world becomes visible\, but also metaphorically to that which summons the artist’s lived and remembered experience into the present tense of painting\, drawing disparate times and spaces into a single pictorial landscape. \nThe title also draws on Towards\, one of Kim’s principal bodies of work. Rather than implying arrival at a fixed destination\, “Towards” describes a way of looking that continually reaches beyond what is immediately present. Life on Jeju has drawn this attention ever closer to the world of her everyday surroundings. Palm trees\, flowers\, fruit\, and seeds from the garden she tends; the sea and horizon she encounters daily; and Leo\, the dog who remained by her side for many years\, have all entered her paintings. A gaze directed toward a single leaf or seed expands to encompass a tree and then the entire garden before opening outward toward the sea and beyond the horizon. Through this movement from part to whole\, from near to far\, minute forms of life and expansive landscapes emerge not as separate subjects but as different dimensions of a shared world. Just as Kim’s gaze moves from seed to garden\, garden to sea\, and from the smallest life before her toward what lies beyond the horizon\, her painting never settles into a single\, definitive landscape\, but continually looks beyond it. \nThe exhibition unfolds across three floors\, following these shifts in vision and transformations of light. On the first floor\, new paintings from the Towards series depict the flowers and plants of Kim’s garden\, her dog Leo\, the sea\, and the setting sun\, tracing a movement from the intimate world of the artist’s immediate surroundings toward more distant vistas. From the vivid colors of plants illuminated by sunlight to skies and seas suffused with the hues of dusk\, familiar places are continually transformed by changing light. On the second floor\, both the distance of Kim’s gaze and the scale of her painting expand. Open views of the sea extending beyond the horizon appear alongside close-up images of palm fronds and fruit\, as well as the monumental The Days (2022)\, first presented at the Jeju Museum of Contemporary Art in 2022 and shown again in the Unlimited sector of Art Basel in Basel earlier this year. The exhibition continues in the basement\, where the vivid chromatic register of daylight gives way to nature transformed by moonlight and the darkness before dawn. The palette contracts into black\, white\, and deep blue\, while mountains\, forests\, and waterways emerge through restrained contours and planes. Moving through the three floors\, viewers encounter the same world appearing and reappearing in different guises\, continually altered by light and time. \nTOWARDS: There Was Light moves beyond the familiar characterization of Kim Bohie as a painter of Jeju landscapes\, recognizing her as a significant figure who has expanded the formal legacy of Korean painting into a distinctly contemporary pictorial language and forged a singular trajectory within modern and contemporary Korean art. Shaped through prolonged observation\, memory\, and repetition\, nature in Kim’s paintings is not a fixed view but a living world that assumes a different appearance with every shift of light and time. Following the artist’s sustained attention to these transformations\, the exhibition reveals how a single\, still plane can hold different times and spaces\, memories and sensations at once. Here\, painting becomes a place from which to look again at the world we think we know and to turn our gaze beyond the visible\, toward worlds not yet seen.
URL:https://potluckasianamerica.org/event/kim-bohie-towards-there-was-light/
LOCATION:Gallery Hyundai New York Project Space\, 529 W 20th St\, Room 6E\, New York\, NY\, 10011\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Kim-Bohie-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260904
DTEND;VALUE=DATE:20260919
DTSTAMP:20260902T215023Z
CREATED:20260902T214935Z
LAST-MODIFIED:20260902T215023Z
UID:10003296-1788480000-1789775999@potluckasianamerica.org
SUMMARY:Temporary Storage
DESCRIPTION:ETA Gallery is pleased to present “Temporary Storage”\, a duo exhibition featuring new works by Mi Chen and Yan Wang. Working through ceramic and language\, both artists create objects that demand to be seen before they are read\, deliberately keeping meaning in suspension. Where Wang stores memory and the absent body\, Chen stores language itself—holding and slowing text before it settles into sense. Together\, they arrive at a shared refusal to resolve\, approaching the concept from distinct directions. \nMi Chen’s practice centers on typography and the structural systems that carry it. In her new works\, punctuation loosens from language to become shape\, rhythm\, furniture\, or a wall to look at rather than through. By intentionally slowing the eye\, Chen keeps text half-visible\, allowing form to precede meaning. Working iteratively across two- and three-dimensional surfaces\, she creates conditions where familiar patterns shift\, break\, or loop—a sustained process of locating herself in relation to what she makes. \nYan Wang addresses what the body leaves behind. In the exhibition space\, porcelain pillows rest in a dim circle accompanied by a low-humming recording\, framing history not as surviving names\, but as the bodies that dreamed and vanished. Across ink\, paper\, and clay\, Wang’s objects carry the thickness of time\, the debris of a hometown\, and the ghost of a head on a pillow. She works toward release rather than a definitive statement\, offering an invitation to dream together rather than inherit a singular narrative. \n“Temporary Storage” highlights what an object can sustain without resolving: forms that simultaneously hold presence and loss\, store what cannot be surrendered\, and remain open as long as they are observed. \nOpening Reception September 4\, 2026 6–8 PM
URL:https://potluckasianamerica.org/event/temporary-storage/
LOCATION:Chinese American Arts Council / Gallery 456\, 456 Broadway\, 3rd Floor\, New York\, NY\, 10013\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/temporary_storage_poster_1-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260906
DTEND;VALUE=DATE:20260928
DTSTAMP:20260903T032659Z
CREATED:20260903T032329Z
LAST-MODIFIED:20260903T032659Z
UID:10003307-1788652800-1790553599@potluckasianamerica.org
SUMMARY:Khudi Food Pop-Ups
DESCRIPTION:Khudi and Kaafi by Chaiguys host weekly Sunday pop-ups every Sunday in September on Ludlow Street\, featuring freshly baked Pakistani-inspired cookies and savory scrolls with new flavors dropping each week. \nDates: 9/6\, 9/13\, 9/20\, 9/27\nTime: 1:00 to 4:00 PM every Sunday
URL:https://potluckasianamerica.org/event/khudi-food-pop-ups/
LOCATION:Kaafi by Chaiguys\, 109 Ludlow St.\, New York\, NY\, 10002\, United States
CATEGORIES:Food
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Khudi-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260907
DTEND;VALUE=DATE:20260914
DTSTAMP:20260904T063729Z
CREATED:20260825T220702Z
LAST-MODIFIED:20260904T063729Z
UID:10003222-1788739200-1789343999@potluckasianamerica.org
SUMMARY:Asian Pear Picking at Lee Orchard Garden
DESCRIPTION:Due to a late spring freeze\, our orchard has significantly limited amounts of our Asian pears across all varieties. We anticipate a very short season. As a result\, we highly recommend that you purchase your picking tickets in advance or pre-order boxed fruit at your earliest convenience. \nAsian pear varieties available: \n\nHosui\, 20th Century\, Hybrid (Described as Apple Pear/Hosui mix) – from September 3\nApple Pear – from September 10\n\n \nOrganic Chestnuts\, Organic Fresh Dates\, and Organic Pawpaws will be available starting mid-September. If you are interested\, please fill out the contact box here with your interest and preferred contact method. We will be collecting names and contacting in order of submission once the produce is ready. Please note availability is not guaranteed. \nPre-Order Reservation Fee: $5.00 per pre-order pick-up reservation. The pre-order reservation fee will be credited toward your purchase. Please respect your pick up date. Sorry\, no refunds for no-shows. \nStarting Thursday\, September 3:\nThursday – Sunday: 9:00 am to 5:00 pm\nMonday – Wednesday: Closed
URL:https://potluckasianamerica.org/event/asian-pear-picking-at-lee-orchard-garden/
LOCATION:Lee Orchard Garden\, 12 Nostrand Road\, Cranbury\, NJ\, 08512\, United States
CATEGORIES:Food,Small Business
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/lee-orchard-garden-canopy-3-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260908
DTEND;VALUE=DATE:20260916
DTSTAMP:20260901T012101Z
CREATED:20260831T173745Z
LAST-MODIFIED:20260901T012101Z
UID:10003262-1788825600-1789516799@potluckasianamerica.org
SUMMARY:FREE Online Korean Class
DESCRIPTION:Ready to level up your Korean? Learn Korean. FREE & ONLINE! \nJoin KCCNY x King Sejong Institute Center USA for a 10-week Korean language program this fall. \n📚 Korean 1A & 1B | Beginner Levels\n📆 September 29–December 3\, 2026\n🕖 7–9 PM ET | Tuesdays\, Wednesdays\, or Thursdays | Meets once a week \n📅 APPLICATIONS OPEN\nSeptember 8 at 1 PM ET \n📩 SELECTION RESULTS\nSeptember 16 \n✅ WHO CAN APPLY?\n• 18+ and living in the U.S.\n• Complete the official King Sejong Institute Korean Level Test and submit your result and upload your result to the application form. \n⚠️ Space is limited! Applications are reviewed in the order received and may close early once enough applications have been received.
URL:https://potluckasianamerica.org/event/26540/
LOCATION:Korean Cultural Center New York\, 122 East 32nd Street\, New York\, NY\, 10016\, United States
CATEGORIES:Education,Language
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Korean-Class-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260909
DTEND;VALUE=DATE:20260917
DTSTAMP:20260820T153540Z
CREATED:20260818T214237Z
LAST-MODIFIED:20260820T153540Z
UID:10003121-1788912000-1789603199@potluckasianamerica.org
SUMMARY:Christine Choy Retrospective
DESCRIPTION:Third World Newsreel (TWN) presents a major fall retrospective honoring Christine Choy\, co-founder of Third World Newsreel and an iconic figure in Asian American documentary. For over five decades\, Choy trained her camera on the people the official record overlooked: Chinatown’s garment workers and tenants\, incarcerated women\, Southeast Asian refugees\, families separated between North and South Korea\, and communities across the Mississippi Delta. The retrospective brings nine of her works (including newly preserved films) to the big screen\, continuing TWN’s “Preservation as Resistance” campaign which began with A Litany for Survival: The Life and Work of Audre Lorde that kicked off the year. The campaign demonstrates the importance of archival preservation during a time of systematic erasure. \nScreenings began in July\, via MoMA’s “Immigrant Nation” series\, and a tribute at the Asian American International Film Festival\, presented by Asian CineVision at the Asia Society on August 2. The retrospective runs September 9-13 at Anthology Film Archives and September 13-16 at DCTV’s Firehouse Cinema\, with additional venues to be announced as the program builds toward international distribution. \nSince Choy’s death in December 2025\, PBS’s POV has called her “a fearless storyteller and pioneering voice in Asian American cinema\,” and NYU Tisch Dean Rubén Polendo remembered her as “a triumphant force in documentary filmmaking.” JT Takagi\, Choy’s longtime collaborator and Executive Director of Third World Newsreel (TWN)\, said: “Christine helped build Third World Newsreel into a home for the stories the mainstream wouldn’t touch. Her work helped form our Asian American and American film history\, and her films have urgent things to say amid today’s anti-immigrant sentiment. Bringing them back to the screen is how we sustain her legacy of honest\, impactful storytelling about the communities the record overlooked.” In addition to her work at TWN\, Choy also co-founded Asian CineVision in 1975\, taught at NYU’s Tisch School of the Arts\, earned an Academy Award nomination for Who Killed Vincent Chin?\, a Peabody Award\, and was inducted into the Library of Congress National Film Registry. The nine films in the retrospective span nearly two decades of Choy’s filmmaking\, they include: \nTeach Our Children (1972): A landmark of movement cinema\, Choy’s first film\, co-directed with Susan Robeson\, documents the 1971 Attica prison uprising from the point of view of the incarcerated rebels. Preserved thanks to the efforts of UC Berkeley Art Museum and Pacific Film Archive\, MIAP alumna Pamela Jean Smith and Cinemalab. \nFrom Spikes to Spindles (1976): An early chronicle of New York Chinatown’s history and burgeoning activism. The film interweaves the history of Chinese immigration and racial oppression with the community’s efforts to organize. Preserved by BB Optics\, Inc with support from the National Film Preservation Foundation (NFPF). \nInside Women Inside (1978): Through firsthand accounts from incarcerated women in New York and North Carolina\, the film offers an early and unflinching look inside U.S. women’s prisons. Preserved with support from NYWIFT Women’s Film Preservation Fund. \nTo Love\, Honor & Obey (1980): The film examines domestic violence across class and ethnic lines through the voices of survivors and the counselors who work with them. \nBittersweet Survival (1982): Co-directed with JT Takagi\, the film portrays Southeast Asian refugee resettlement in the aftermath of the Vietnam War. \nFei Tien: Goddess in Flight (1983): Adapted from Genny Lim’s play\, this fiction short traces an intergenerational friendship in New York Chinatown. \nMississippi Triangle (1984): Preserved in 2025\, the film portrays Black\, Chinese\, and white life in the Mississippi Delta through footage shot by three separate crews\, each representing the specific POV of the three respective communities portrayed. Preserved by BB Optics\, Inc. with the support of the National Film Preservation Foundation (NFPF) and the New York Women in Film & Television’s Women’s Film Preservation Fund (WFPF). \nNamibia: Independence Now! (1985): Co-directed with Pearl Bowser\, the film documents Namibia’s anti-apartheid liberation struggle from exile. \nHomes Apart: Korea (1991): Made with JT Takagi\, the first U.S. project permitted to film in both North and South Korea\, it focuses on the 10 million family members separated by the DMZ. As tensions rise now in Asia\, the human cost of the still unresolved Korean War resonates. \nThe communities struggling for justice in Choy’s films\, from immigrants and refugees to incarcerated people\, offer crucial perspectives on historical movements whose struggles persist today. Themes of jingoism and exclusion remain woefully apt amidst elevated levels of anti-Asian hate crimes and intense militarized immigration policy. \nFor TWN\, preservation extends past the archive: the preserved films get projected now\, and audiences and partners carry them forward into classrooms and future bookings. Keeping Choy’s work in circulation continues the conversations her films began. \nThe Christine Choy Retrospective will launch with two newly preserved films\, “From Spikes to Spindles\,” preserved by BB Optics\, Inc. with support from the National Film Preservation Foundation (NFPF) and the New York Women in Film & Television’s Women’s Film Preservation Fund (WFPF) and “Mississippi Triangle\,” preserved by BB Optics\, Inc with support from NFPF. Third World Newsreel’s archiving and preservation projects receive partial support from the New York State Council on the Arts’ Small Capital Improvement Grant for Arts and Culture. Lunette is co-presenting this retrospective with Third World Newsreel.
URL:https://potluckasianamerica.org/event/christine-choy-retrospective/
LOCATION:Multiple venues
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Christine-Choy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260909T190000
DTEND;TZID=America/New_York:20261110T220000
DTSTAMP:20260514T131339Z
CREATED:20260514T131339Z
LAST-MODIFIED:20260514T131339Z
UID:10002641-1788980400-1794348000@potluckasianamerica.org
SUMMARY:Ma-Yi Theatre Free FALL Playwriting Workshop with Lisa Sanaye Dring
DESCRIPTION:Ma-Yi Theatre Free FALL Playwriting Workshop with Lisa Sanaye Dring\n\n\nDue to the overwhelming response to our summer Free Playwriting Workshop\, Ma-Yi Theater Company is thrilled to announce two additional FREE playwriting workshops in Fall 2026\, taught by award-winning playwright Lisa Sanaye Dring\, author of SUMO and HAPPY FALL. \nCreated for Filipino American and AANHPI aspiring writers\, these workshops are open to writers who are ready to begin\, grow\, experiment\, or finally say: Yes. I’m writing the play. \nBoth classes are completely FREE and will offer participants a supportive\, rigorous\, and energizing space to explore the fundamentals of playwriting\, including character\, dialogue\, action\, structure\, theme\, and theatrical style. Through writing prompts\, discussion\, readings\, and feedback\, participants will generate new pages and develop their voices in community with fellow writers. \nThe first six sessions will meet online\, making the workshop accessible for working adults and busy schedules. The workshop will then culminate in an in-person showcase presentation\, where participants’ work will be brought to life by professional actors and directors. \nThis is more than a class. It is a chance to write\, dream\, build\, revise\, and hear your words leap off the page. \nFree. Online. Fun. Limited slots available. Register early. \nMondays 7pm-10pm – September 21 – November 9 \nor \nTuesdays 7pm-10pm – September 22 – November 10 \nFor more information: info@ma-yitheatre.org \nSpace is limited— signing up does not guarantee entry into class.
URL:https://potluckasianamerica.org/event/ma-yi-theatre-free-fall-playwriting-workshop-with-lisa-sanaye-dring/
LOCATION:Virtual
CATEGORIES:Hybrid,In Person,Theater,Virtual,Writing
ATTACH;FMTTYPE=image/png:https://potluckasianamerica.org/wp-content/uploads/2026/05/unnamed-2026-05-14T085820.676.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261025
DTSTAMP:20260911T215654Z
CREATED:20260911T215539Z
LAST-MODIFIED:20260911T215654Z
UID:10003345-1788998400-1792886399@potluckasianamerica.org
SUMMARY:Maia Ruth Lee: Double Vision
DESCRIPTION:Tina Kim Gallery is pleased to present Double Vision\, Maia Ruth Lee’s second solo exhibition with the gallery. \nInterrogating migration as simultaneous perception\, Lee conditions identity within multiple histories\, temporalities\, and systems of knowledge. Lee’s exhibition takes its title from Homi K. Bhabha’s The Location of Culture. The migrant’s double vision simultaneously inhabits both the place left behind and the place occupied as the condition for a complete understanding of the migrant’s life. Double vision becomes both a metaphor and a new way of working memory as material. Across both gallery spaces\, Lee’s work expands and contracts image and sculpture\, memory and record. Forms stack\, unfold\, mirror\, and reassemble\, building identity as a continuous accumulation\, complicating the narrative of migration as one fixed point of origin. \nAnchoring the exhibition is a series of new paintings from Lee’s Bondage Baggage methodology. The suitcase is a generative metaphor where luggage becomes more than functional objects of transport. They are vessels where memory\, absence\, expectation\, and aspiration collide. \nLee’s double vision manifests as a physical experience\, with every form existing alongside another version of itself. New sculptures with latex layers preserve the form and surface imprint of the bound bundle after its contents are released. Video stills of the artist’s family are sewn onto the expandable 이민가방’s colossal luggage form. A newly commissioned video installation draws from Lee’s family archive\, incorporating home footage recorded by her parents in Nepal and Korea. \nDeeply rooted in the distinct architectural and visual language of New York City\, Lee revisits her steel glyphs from 2019–salvaged architectural fragments from the city. The assemblages occupy the space between word and sculpture\, an open-ended code that remains vaguely familiar\, yet stubbornly illegible. \nDouble Vision proposes history as a layered\, omnidirectional\, and omnitemporal experience even as it remains tethered to earthly forms. Mirrors\, suitcases\, sculptures\, textiles\, salvaged objects\, and paintings are sites of doubled perception. Memory folds into itself\, and the boundaries between past and present remain deliberately unresolved. Lee’s practice comprises an ever-expanding archive in a constant state of assembly\, stacking\, transporting\, translating\, and seeing. \nAbout the artist \nMaia Ruth Lee (b. 1983\, Busan; lives and works in San Francisco) has held solo exhibitions at Primary Nottingham (UK)\, Institute of Fine Arts\, New York University (NY)\, The Museum of Contemporary Art Denver (CO)\, François Ghebaly Gallery (LA)\, and Mai 36 Galerie (CH). Lee has participated in numerous group exhibitions at institutions including Santa Barbara Museum of Art and Aspen Art Museum\, as well as the Sky High Farm Biennial 2025 (NY); Prospect 6.\, New Orleans; and the 2019 Whitney Biennial. Lee received a BFA from Hongik University and attended the Emily Carr Institute of Art and Design in Vancouver\, Canada\, and is currently enrolled in a Masters in Migration Studies program at the University of San Francisco. Lee was the recipient of the Gold Art Prize in 2021 and the Rema Hort Mann grant in 2017. Her work is held in the permanent collections at the Whitney Museum of American Art\, Philadelphia Museum of Art\, and Syracuse University Art Museum.
URL:https://potluckasianamerica.org/event/maia-ruth-lee-double-vision/
LOCATION:Tina Kim Gallery\, 525 W 21st St.\, New York\, NY\, 10011\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Maia-Ruth-Lee-2-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261129
DTSTAMP:20260911T220300Z
CREATED:20260911T220300Z
LAST-MODIFIED:20260911T220300Z
UID:10003346-1788998400-1795910399@potluckasianamerica.org
SUMMARY:John Pai - Meditation: Myth and Memory
DESCRIPTION:Gallery Hyundai is pleased to present “Meditation: Myth and Memory”\, an exhibition of Korean American sculptor John Pai\, a major force in the Korean American diaspora of the last half-century. The opening reception takes place on Thursday September 10\, 6-8pm at Gallery Hyundai New York Project Space. \nThis exhibition seeks to provide a space for meditation where myth and memory\, as in Pai’s world\, could be considered as companions—at times synchronous\, and at times on their own path\, but never stagnant. Centering around his two major series Heaven and Earth (2024) and Entropy’s Sirens (1997) trio\, it marks the first occasion the trio is presented as a group including two previously unseen pieces\, also accompanied by a selection of sculptures and drawings. \nNotably in the Heaven and Earth series\, a single point becomes a line\, then a form\, and appears to trail off to gesture to the space around it\, going past the artist’s agency and into another realm. This work manifests Pai’s guiding ethos\, where the artist’s mind (and the memories and ideas contained within the artist) inform his beginning but the work ultimately develops in conversation with the material and work’s own response. This conversational and improvisational method demonstrates Pai’s understanding that memories are not stable but shift with the everchanging present\, sometimes appearing closer to myth rather than reality. Completed when Pai was eighty-seven years old\, this grouping of sculptures reveal an artist in his maturity who still remains playful and deeply curious. \nPai is gaining heightened recognition for his indisputable contributions to sculpting with steel as well as his groundbreaking pedagogical methods since becoming the youngest appointed professor at Pratt Institute in 1965\, eventually becoming the director of fine art\, then chairman of the sculpture department\, a post he remained in for thirty-seven years. Referred to as “drawing in space\,” his signature use of numerous thin\, short steel rods with a hand-held welding tool reflected Pai’s active engagements with burgeoning movements in postwar New York such as the American Bauhaus and Neo-Avant-Garde. Pai’s sculptures are born out of a dynamic field of inquiry\, unbridled by discipline\, such as topology\, physics\, phenomenology\, and musical processes of improvisation. Following his major retrospective exhibition held in April 2024 at the Korean Cultural Center in New York called John Pai: Eternal Moment and his solo exhibition Shared Destinies at Gallery Hyundai in Seoul later that year\, this presentation is an opportunity for closer examination of Pai’s guiding ethos; a process of intimate surrender\, both with materials\, as well as his relationship to the world.
URL:https://potluckasianamerica.org/event/john-pai-meditation-myth-and-memory/
LOCATION:Gallery Hyundai New York Project Space\, 529 W 20th St\, Room 6E\, New York\, NY\, 10011\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/John-Pai-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20270104
DTSTAMP:20260818T214831Z
CREATED:20260818T214831Z
LAST-MODIFIED:20260818T214831Z
UID:10003122-1788998400-1799020799@potluckasianamerica.org
SUMMARY:Celebrating Sixty Years of China Institute Gallery: 1966-2026
DESCRIPTION:Founded in 1966\, the China Institute Gallery has presented the history of Chinese art from antiquity to the present through superb and thought-provoking exhibitions. The masterworks featured in Celebrating Sixty Years of China Institute Gallery: 1966-2026 exemplify what has made the Institute’s exhibitions groundbreaking. From presentations of exquisite jades and bronze vessels\, to the symbolism of old trees\, to Chinese ceramics\, calligraphy\, and architecture—China Institute’s displays have consistently illuminated pathways to a deeper understanding of the culture of China.
URL:https://potluckasianamerica.org/event/celebrating-sixty-years-of-china-institute-gallery-1966-2026/
LOCATION:China Institute Gallery\, 100 Washington Street\, New York\, NY\, 10006\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/China-Institute.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260911
DTEND;VALUE=DATE:20260914
DTSTAMP:20260903T005028Z
CREATED:20260831T175548Z
LAST-MODIFIED:20260903T005028Z
UID:10003263-1789084800-1789343999@potluckasianamerica.org
SUMMARY:Who Killed Vincent Chin?
DESCRIPTION:Join us for a screening of “Who Killed Vincent Chin?” by Christine Choy & Renée Tajima as a part of The Christine Choy Retrospective\, with a special introduction by Shannon Lee of Asian American Arts Alliance (A4). \n“On a hot summer night in Detroit\, Ronald Ebens\, an autoworker\, killed a young Chinese-American engineer with a baseball bat. Although he confessed\, he never spent a day in jail. This gripping Academy Award-nominated film relentlessly probes the implications of the murder in the streets of Detroit\, for the families of those involved\, and for the American justice system. Not so much a documentary murder investigation as a meticulously constructed meditation on the race relations\, economic forces\, and failings of the American legal system that comprised the backdrop for the murder of a Chinese-American automotive engineer in Detroit in 1982\, WHO KILLED VINCENT CHIN? remains a stirring\, absorbing elegy for justice unserved. Drawing from interviews with Chin’s family and friends and Chin’s killer\, automotive assembly-line worker Ron Ebens\, along with a wealth of archival footage\, WHO KILLED VINCENT CHIN? paints a complex and tragically relevant portrait of an America roiled by socioeconomic unease\, the crisis of the automotive industry\, and the prevalence of xenophobia.” –NEW YORK FILM FESTIVAL \nWhen: Friday\, September 11 at 6:45 PM (with introduction by Sharon Lee\, Editor at Asian American Arts Alliance) and Sunday\, September 13 at 8:30 PM\nWhere: Anthology Film Archives\, New York \nRestored by the Academy Film Archive and The Film Foundation\, in association with the Museum of Chinese in America. Restoration funding provided by the Hobson/Lucas Family Foundation\, with additional support provided by Todd Phillips.
URL:https://potluckasianamerica.org/event/who-killed-vincent-chin/
LOCATION:Anthology Film Archives\, 32 Second Avenue\, New York\, NY\, 10003\, United States
CATEGORIES:Activism,Film
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Vincent-Chin-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260911
DTEND;VALUE=DATE:20260918
DTSTAMP:20260818T232749Z
CREATED:20260818T231907Z
LAST-MODIFIED:20260818T232749Z
UID:10003123-1789084800-1789689599@potluckasianamerica.org
SUMMARY:Masaki Kobayashi’s KWAIDAN
DESCRIPTION:Japan\, 1964\nDirected by Masaki Kobayashi\nBased on a collection of folktales by Lafcadio Hearn\nStarring Tatsuya Nakadai\, Rentarô Mikuni\, Michiyo Aratama\, Misako Watanabe\nApprox. 183 min. \nRentarô Mikuni finds a skeleton at the feast when he adds a second wife; woodcutter Tatsuya Nakadai meets a strange woman in the snow; a blind biwa player gives a command performance for a spirit; an apparition appears in a cup of tea: four ghost stories by expat Lafcadio Hearn (1850-1904). Kobayashi’s first color film\, with an eerie score.
URL:https://potluckasianamerica.org/event/masaki-kobayashis-kwaidan/
LOCATION:Film Forum\, 209 W. Houston St.\, New York\, NY\, 10014\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/KWAIDAN_slideshow_2026-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260911
DTEND;VALUE=DATE:20261122
DTSTAMP:20260902T215808Z
CREATED:20260902T215710Z
LAST-MODIFIED:20260902T215808Z
UID:10003297-1789084800-1795305599@potluckasianamerica.org
SUMMARY:Theresa Hak Kyung Cha: Multiple Offerings
DESCRIPTION:Artists Space presents “Multiple Offerings”\, the first retrospective in twenty-five years dedicated to the groundbreaking work of the artist Theresa Hak Kyung Cha. She produced an expansive range of works comprising performances for film and video\, installation\, photography\, artist’s books (including her genre-defying book Dictée from 1982)\, and works on paper\, which will fill Artists Space’s entire first floor. In her lifetime\, Cha contributed to experimental art scenes in New York City\, San Francisco\, Paris\, and beyond. Her work has had a quietly profound influence on subsequent generations of artists. \nAfter emigrating from South Korea to the United States\, Cha enrolled at UC Berkeley in 1969\, where she studied art practice\, comparative literature\, and film. Keenly attuned to the active role that audiences play in the creation of meaning\, she prioritized nonlinear narratives to allow for more open-ended forms of interpretation—what she termed a method of “Multiple Telling with Multiple Offering.” This retrospective adopts her framework to allow for a range of entry points into the work\, guiding visitors through the themes—memory\, displacement\, and the mutability of language\, among others—that recur in Cha’s oeuvre. \nCha moved to New York City in 1980\, where she supported herself with several jobs while pursuing her artistic career. She worked as an administrative assistant in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art\, taught video art at Elizabeth Seton College in Yonkers\, and served as an editor at Tanam Press\, a publishing imprint dedicated to artists’ books that was founded by her friend and collaborator Reese Williams. \nOn November 5\, 1982\, Cha’s short but prolific career came to an end when she was murdered just weeks before her planned exhibition at Artists Space. At the time of her death\, Cha was producing a new photographic series inspired by her time working at the Met. Multiple Offerings presents that unfinished series of black-and-white prints alongside nearly one hundred artworks and archival materials from across her career\, highlighting the inventive\, playful\, and meditative methods of Cha’s practice.
URL:https://potluckasianamerica.org/event/theresa-hak-kyung-cha-multiple-offerings/
LOCATION:Artists Space\, 11 Cortlandt Alley\, New York\, NY\, 10013\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Theresa-Cha-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260912
DTEND;VALUE=DATE:20260914
DTSTAMP:20260825T224842Z
CREATED:20260825T224810Z
LAST-MODIFIED:20260825T224842Z
UID:10003225-1789171200-1789343999@potluckasianamerica.org
SUMMARY:Smorgasburg Presents Japan Meets Brooklyn: Matsuri
DESCRIPTION:🇯🇵 JAPAN MEETS BROOKLYN: MATSURI IS BACK! 🎌 \nTwo days\, two locations for a full weekend celebrating Japanese food\, art\, and culture at Smorgasburg. 🍜🍵✨ \nLocations:\nSeptember 12 – Williamsburg\nSeptember 13 – Prospect Park \nTaste your way through guest vendors + special menus from:\n🐙 @dokodemonyc – Japanese soul food + takoyaki\n🍵 @tokuyamatcha – Matcha specials + omusubi\n🍣 @momoyasoho – Crispy rice\n🍜 @kuuramen – Ramen + kakuni\n🍣 @sushibybou_ – Chef-crafted sushi\n🍧 @tonchinus – Kakigori\, Japanese shaved ice \nAnd there’s more to experience between bites:\n🎨 Portraits by @hiroshimasud\n🪀 Kendama workshop by @Japanklyn\n🍡 Free wagashi + workshops by @pekos_chokotto_wagashi\n🖌️ Live painting by @59moy\n✍️ Calligraphy art by @seicho.shodo in Williamsburg\n🖋️ Calligraphy workshop + pop-up by @taisan.nyc in Prospect Park \nTheres even more food vendors\, activities + surprises still to come!! 👀
URL:https://potluckasianamerica.org/event/smorgasburg-presents-japan-meets-brooklyn-matsuri/
LOCATION:Multiple NYC locations
CATEGORIES:Festival,Food
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/SMORGASBURG-JAPAN-COPY.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260912T070000
DTEND;TZID=America/New_York:20260912T123000
DTSTAMP:20260728T201850Z
CREATED:20260728T201850Z
LAST-MODIFIED:20260728T201850Z
UID:10002952-1789196400-1789216200@potluckasianamerica.org
SUMMARY:SACSS 5K Run/Walk
DESCRIPTION:Join the South Asian Council for Social Services (SACSS) for a fun and inspiring 5K Run/Walk on Saturday\, September 12\, at Kissena Park in Queens! \nPlease fill out the registration form above to be approved for the event – additional information is also available at the link. \nREGISTRATION IS NOT CONFIRMED UNLESS YOU FILL OUT THE FORM LINKED ABOVE. Thank you and looking forward to meeting you all! \nRunner Ticket: If you’d like to participate in the 5K Run/Walk\, please purchase a Runner ticket. Your registration includes a race bib\, event T-shirt\, wristband\, and food. \nSpectator Ticket: If you’d like to cheer on participants and enjoy the event without taking part in the 5K\, please purchase a Spectator ticket. Spectator tickets are available with or without food. \nThe South Asian Council for Social Services (SACSS) is a social service organization in NYC providing services and advocacy to more than 1 million underserved individuals annually\, with a focus on the South Asian community. SACSS’ core programs include a food pantry\, health care navigation services\, workforce development\, senior support\, English language-learning classes\, and more. More information about SACSS can be found at the attached link above.
URL:https://potluckasianamerica.org/event/sacss-5k-run-walk/
LOCATION:NY
CATEGORIES:Running
ATTACH;FMTTYPE=image/png:https://potluckasianamerica.org/wp-content/uploads/2026/07/Screenshot-2026-07-28-at-4.15.55-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260912T110000
DTEND;TZID=America/New_York:20260912T180000
DTSTAMP:20260819T150316Z
CREATED:20260819T150210Z
LAST-MODIFIED:20260819T150316Z
UID:10003135-1789210800-1789236000@potluckasianamerica.org
SUMMARY:NY Indonesian & Vietnamese Food Bazaar
DESCRIPTION:*Come & join our Indoor Indonesian Food Bazaar*\n📅 *Saturday\, September 12\, 2026*\n📍 *8407 Broadway\, Elmhurst\, NY 11373*\n⏰ *12PM – 6PM* | FREE ENTRY \n*Bringing the _vibe_ of Indonesia through culinary* ✨\nRendang\, soto\, nasi uduk\, martabak\, es cendol — all your favorites under one roof. \nRain or shine\, we’re serving comfort\, community\, and nostalgia.
URL:https://potluckasianamerica.org/event/ny-indonesian-vietnames-food-bazaar/
LOCATION:NY
CATEGORIES:Food
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Viet-Food-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260912T120000
DTEND;TZID=America/New_York:20260912T190000
DTSTAMP:20260912T024651Z
CREATED:20260710T203616Z
LAST-MODIFIED:20260912T024651Z
UID:10002834-1789214400-1789239600@potluckasianamerica.org
SUMMARY:Harajuku Market NYC
DESCRIPTION:A 1-day alternative j-fashion market event in NYC! \n\n\n\n\nCome join us for a day of celebrating Japanese alternative fashion and the communities who wear it! Featuring artists\, creators\, designers\, and attendees who love Lolita fashion\, Decora\, Jirai\, Gyaru\, and more. We want you to walk away with more J-fashion loving friends and maybe a new coordinate or two. \nWe encourage masking while indoors. \nThis event is free to the public but we ask you to RSVP to help us keep a count of attendees.
URL:https://potluckasianamerica.org/event/harajuku-market-nyc/
LOCATION:Japan Village\, 934 3rd Avenue\, Brooklyn\, NY\, 11232\, United States
CATEGORIES:Fashion,Market
ATTACH;FMTTYPE=image/png:https://potluckasianamerica.org/wp-content/uploads/2026/07/Harajuku-Market-NYC.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260912T130000
DTEND;TZID=America/New_York:20260912T160000
DTSTAMP:20260902T181558Z
CREATED:20260811T011413Z
LAST-MODIFIED:20260902T181558Z
UID:10003067-1789218000-1789228800@potluckasianamerica.org
SUMMARY:2026 Tết Trung Thu – Mid-Autumn Festival
DESCRIPTION:Welcome all and mời tất cả to our Tết Trung Thu and Mid-Autumn Moon festival! \nWe will have fun games and activities along with food for everyone to enjoy! Bring parents\, kids\, friends\, and loved ones to celebrate one of our major Vietnamese holidays! We aim to celebrate and share Vietnamese culture to bring our communities together. \nJoin the Vietnam Heritage Center for a special event honoring the cherished family values and reunion spirit of the Mid-Autumn Festival. \nEvent Highlights: \n\nTraditional Vietnamese Food\nPlays\, Songs\, and Other Live Performances\nChildren’s Paper Lantern-Making Contest\nGames and Activities for Children\nMoon Cake-Making Classes for All Guests to Participate; Registration Is on a First-Come First-Served Basis\nFeaturing Select Food\, Drink\, and Craft Vendors\n\nEvent Details:\n🗓️ Date:\nSaturday\, September 12 \n⏰ Time:\n1:00 – 4:00 PM \n📍 Location:\nBrooklyn Botanic Ballroom\n555 Sterling Place\nBrooklyn\, NY 11238 \nTickets: \n🔸 Adults: $22\n🔸 Students*: $17\n🔸 Children (age 3-13): $11\n🔸 Children (age 2 and under): FREE🔸 Family Pass**: $50 \n*Student identification must be presented for admission. \n**Family pass includes 2 adults and 2 children (3-13 years old) at a discounted price. Worth up to $66. \nAll tickets include a meal and beverage.  \nPlease Note: Tickets will only be available on a pre-sold basis via our website. There will be no tickets sold at the door. Secure your spot early to ensure you don’t miss this delightful celebration!
URL:https://potluckasianamerica.org/event/2026-tet-trung-thu-mid-autumn-festival/
LOCATION:NY
CATEGORIES:Festival,Food,Games
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Vietnamese-Mid-Autumn-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260912T130000
DTEND;TZID=America/New_York:20260912T180000
DTSTAMP:20260831T173141Z
CREATED:20260831T173050Z
LAST-MODIFIED:20260831T173141Z
UID:10003261-1789218000-1789236000@potluckasianamerica.org
SUMMARY:All Bengali Pop Up
DESCRIPTION:RBMC is extremely honored to present our all Bengali all star vendors for our first ever pop up. \nWith Bengali snacks\, desserts\, drinks\, clothing Henna\, jewelry\, and prints all done by Bengali artists. \nAnd a suprise fusion Bengali Onigiri with our good friends from @myrtlewombat and @stovetopsaj \nSaturday September 12th\, 1-6PM. \n(581 Myrtle Ave\, Brooklyn\, NY 11205) \nMenu: \n@stovetopsaj \nOnigiri stuffed with Jhura Mangsho\, a Bangladeshi-style beef infused with citrusy lime leaf and cooked down till tender with crispy bits. \n@padmapastry.co \nBhappa pittha cookie; brown butter cookie base with a gur & coconut filling topped with maldon salt. \nJhola gur & ginger cookies; jhola gur sourced straight from Bangladesh with fresh ginger and warm spices to create a deshi molasses & ginger cookie \nAmmur brownies; the brownies that started my mother’s business in Dhaka. \nA limited edition Xiān Nǎi Máshǔ cookies (black sesame mochi center with on deshi ghee cookie base); an ode to Bangladesh X @myrtlewombat \nBrownie Ice cream Sandwiches with vanilla ice cream & Nolen Gur caramel Swirl will also be available for creation! \n@kneadforspice \nLychee-Ginger Fizz \nGuava & chili salt Margarita Spritz \nDhoodh Cha \nFuchka shots \n@khon_studios writers workshop: \nPresenting the “Getting started with what you got”\nA beginner filmmaking class where we will go over production solutions for new and curious film makers \n@bhuibhu – prints\, stickers\, and clay accessories featuring Bengali foods and spices \n@itiseyeris – handworked Bangladeshi fusion jewelry\, accessories\, and more. \n@chobiakabychaity – henna artist and amazing graphic designer who did our poster \n@royalbengalmotorclub every single clothing piece we’ve ever made available for purchase.
URL:https://potluckasianamerica.org/event/all-bengali-pop-up/
LOCATION:Myrtle Wombat\, 581 Myrtle Avenue\, Brooklyn\, NY\, 11205\, United States
CATEGORIES:Market
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Bengali-Pop-Up-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260912T140000
DTEND;TZID=America/New_York:20260912T160000
DTSTAMP:20260912T024745Z
CREATED:20260824T051637Z
LAST-MODIFIED:20260912T024745Z
UID:10003208-1789221600-1789228800@potluckasianamerica.org
SUMMARY:MOCACREATE: Hopping into the School Year with Teaching Artist Yu Rong
DESCRIPTION:Let’s hop into a great year of learning together. Today’s topic? The Rabbit on the Moon! Chinese legend says that there’s a Jade Rabbit living on the moon. Learn how the rabbit got to the moon\, and what it’s doing there\, by reading the legend here! Then join us on September 12th to make fun Jade Rabbit-themed headbands. Thinking about adding a real rabbit to your family? Our foster friends at Bunnies and Beyond will be joining us to share all about adopting a rabbit\, rabbit care\, and more! \nAbout Bunnies and Beyond\nBunnies and Beyond is an adoption and educational non-profit organization dedicated to the rescue\, proper care\, and ultimately\, the adoption of rabbits and guinea pigs commonly kept as pets. In addition to finding homes and medical care for animals that have been abandoned or surrendered\, Bunnies and Beyond also provides services in helping to bond rabbits with a partner rabbit\, for those looking to get a friend for their bun! Learn more and get involved at Bunnies and Beyond. \nPaint\, build\, craft\, and collage with us! Inspired by the museum’s exhibitions and local artists\, MOCACREATE explores different themes every month. MOCACREATE workshops are designed with families in mind\, but all are welcome! \nFree with admission! RSVP appreciated. MOCA Members should enter their promo code to access complimentary tickets. NYC residents can purchase pay-what-you wish tickets online or with our Visitor Services team.
URL:https://potluckasianamerica.org/event/mocacreate-hopping-into-the-school-year-with-teaching-artist-yu-rong/
LOCATION:Museum of Chinese in America (MOCA)\, 215 Centre Street\, New York\, NY\, 10013\, United States
CATEGORIES:Art,Workshop,Youth
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Bunnys-Beyond-Hopcopy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260912T150000
DTEND;TZID=America/New_York:20260912T153000
DTSTAMP:20260820T144000Z
CREATED:20260820T143805Z
LAST-MODIFIED:20260820T144000Z
UID:10003158-1789225200-1789227000@potluckasianamerica.org
SUMMARY:SUZIK (Queens)
DESCRIPTION:South Korean company Force defies gravity in this street circus performance and NYC premiere. \n\nSuzik—the Korean word for verticality—is a Chinese pole performance that reimagines the vertical as a space of connection\, trust\, and collective movement. Three performers navigate the precarious heights of the pole\, entering a world where balance depends on the presence\, strength\, and care of others. \nAgainst the force of gravity\, Suzik explores a different way of moving upward: not through individual ascent\, but through shared momentum. The performers reach\, support\, and respond to one another\, transforming moments of risk into acts of trust and possibility. \nSuzik extends its exploration of connection beyond the pole itself\, transforming each public setting into a place of encounter and shared experience. As the performers reshape the vertical structure of the pole into a site of relationship and reciprocity\, the work invites audiences to imagine new ways of moving through the world together. \nABOUT THE FESTIVAL \nCitizen Arts International transforms New York City’s public spaces into vibrant stages for free international performance\, participatory art\, and cultural exchange. Bringing art into everyday life across the boroughs\, the festival fosters civic engagement and strengthens social connection. \nThe Citizen Arts International Festival is produced in partnership with Citizen Arts and Education and the Ukrainian Museum\, in affiliation with Social Practice CUNY\, with special thanks to the PhD Theatre + Performance Program at the CUNY Graduate Center. \nwww.citizenartsinternational.org \n@citizenartsinternational
URL:https://potluckasianamerica.org/event/suzik-queens/
LOCATION:Culture Lab LIC\, 5-25 46th Avenue\, Queens\, NY\, 11101\, United States
CATEGORIES:Performance
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/a9d9d7d6110ef8271f0da8c0ea8d87af.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260912T150000
DTEND;TZID=America/New_York:20260912T170000
DTSTAMP:20260809T203419Z
CREATED:20260809T203419Z
LAST-MODIFIED:20260809T203419Z
UID:10003044-1789225200-1789232400@potluckasianamerica.org
SUMMARY:Reverberations: Theresa Hak Kyung Cha
DESCRIPTION:Join us for an evening with artists Jesse Chun\, Na Mira\, Cici Wu\, and curator Victoria Sung. \nAAAinA is thrilled to present an evening of presentations and conversation with artists Jesse Chun\, Na Mira\, Cici Wu\, and curator Victoria Sung. This event is shared alongside the exhibition Theresa Hak Kyung Cha: Multiple Offerings\, which will open at Artists Space in New York City on September 11th. \nThis program highlights the contemporary interventions and commissions shared by the featured artists in the original presentation of the exhibition at the Berkeley Art Museum and Pacific Film Archive (BAMPFA). Artists will share reflections on their participation and their individual practices before joining a conversation moderated by Sung. \nMultiple Offerings is organized by the Berkeley Art Museum and Pacific Film Archive (BAMPFA) and curated by Victoria Sung\, Phyllis C. Wattis Senior Curator\, with Tausif Noor\, Curatorial Associate. The presentation at Artists Space is organized by Danielle A. Jackson with Nusheen Ghaemi. For more information on the exhibition please visit this link. \nBios: \n\n\n\nJesse Chun’s moving images\, concrete poems\, scores\, and activations intimately unravel the dominant compositions of language and legibility — invoking alternate semiotics and cosmologies of meaning\, time\, and infinitude. Chun’s first solo survey exhibition 시\, language for new moons was presented by the Seoul Museum of Art for the 12th Seoul Mediacity Biennale. Chun’s work has been presented internationally at the Institute of Contemporary Art\, Los Angeles; Art Sonje Center\, Seoul; Thaddaeus Ropac\, Seoul; SculptureCenter\, New York; the Drawing Center\, New York\, Berkeley Art Museum and Pacific Film Archives\, Berkeley (US); Museum of Contemporary Art Toronto (Canada); Whitechapel Gallery\, London (UK)\, among others. Chun was awarded the Joan Mitchell Foundation Painters & Sculptors Grant (US\, 2020)\, and was an artist in residence at the National Museum of Modern and Contemporary Art (MMCA) Korea (2024-25). Chun is represented by Commonwealth and Council\, Los Angeles. \nNa Mira works at the edges of perception. Recent and forthcoming projects have been presented at Museum of Modern Art\, New York; Institute of Contemporary Art\, Los Angeles; Berkeley Art Museum and Pacific Film Archive; Museum of Contemporary Art\, Chicago; Museum of Contemporary Art\, Tucson\, Midway Contemporary Art\, Minneapolis; Art Sonje Center\, Seoul; and Kunsthalle Zurich; as well as the Made in LA Biennial\, SITE Santa Fe International Biennial\, Gwangju Biennale\, Venice Biennale\, Whitney Biennial\, and Performa Biennial. An Assistant Professor of Art at the University of California\, Irvine\, Wendy’s Subway published the first collection of Mira’s writing\, The Book of Na\, in 2022. \nCici Wu is a New York based artist who was born in Beijing and grew up in Hong Kong. Reducing filmmaking to its most humble and elemental components\, she creates drawings\, objects\, videos\, and installations which extend the imaginative and structural premises of cinematic language across a wide range of media. She has exhibited at major art events 36th Biennial de São Paulo (2025)\, Asian Art Biennale\, Taiwan (2024)\, and the 11th Seoul Mediacity Biennale\, South Korea (2021). Her work has been the subject of solo exhibitions at 47 Canal\, New York (2026\, 2021\, 2018); the Rockbund Art Museum\, Shanghai (2025)\, Scheusal\, Berlin (2024)\, Empty Gallery\, Hong Kong (2023\, 2019)\, Hordaland Kunstsenter\, Norway (2023); and has participated in group exhibitions at MoMA PS1 (2026)\, Berkeley Art Museum and Pacific Film Archive (2026)\, Palais de Tokyo\, Paris (2025)\, National Taiwan Museum of Fine Arts (2024)\, the Drawing Center\, New York (2023\, 2020)\, CAPC Musée d’art Contemporain de Bordeaux (2022)\, Para Site\, Hong Kong (2020\, 2018)\, among others. She has organized exhibitions and screenings at 99 Canal\, New York (2025)\, Giorno Poetry Systems\, New York (2024)\, M+\, Hong Kong (2023)\, among others. She will have her third solo exhibition on view at 47 Canal\, New York from September to November. \nVictoria Sung is the Phyllis C. Wattis Senior Curator at the Berkeley Art Museum and Pacific Film Archive (BAMPFA)\, where she oversees the museum’s long-standing MATRIX series of contemporary art and works with artists to create exhibitions\, publications\, and public programs. Recent projects include solo shows with Amol K Patil\, Lee ShinJa\, Sin Wai Kin\, Duane Linklater\, Kenneth Tam\, and Yee I-Lann. From 2015 to 2023\, Sung was a curator at the Walker Art Center\, Minneapolis\, where she organized survey exhibitions on Pacita Abad\, Siah Armajani\, and Theaster Gates\, among others. Theresa Hak Kyung Cha: Multiple Offerings\, the first retrospective on the artist in 25 years\, debuted at BAMPFA in January 2026 and opens at Artists Space in the fall. \nLight refreshments will be provided. \nImage credit: Installation view\, Theresa Hak Kyung Cha: Multiple Offerings\, January 24–April 19\, 2026\, at the Berkeley Art Museum and Pacific Film Archive (BAMPFA)\, Berkeley\, CA. Photo: Chris Grunder.
URL:https://potluckasianamerica.org/event/reverberations-theresa-hak-kyung-cha/
LOCATION:Asia Art Archive in America\, 23 Cranberry Street\, Ground Floor\, Brooklyn\, NY\, 11201\, United States
CATEGORIES:Art,Art Exhibit,Discussion
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Hak-Kyung-Cha.jpeg
END:VEVENT
END:VCALENDAR