Juf

Works Abundancies III brought together the artwork Untitled (Palmetto) by Ching Ho Cheng and the voices of writers and poets Wayne Koestenbaum, “CJ” (Craig Jun Li), Nora Treatbaby and Ramona Ngin. Exploring what Cheng described as “something of the miraculous” found within ordinary subject matter, the readings considered the relation between the prosaic and sacredness, as well as the ways in which quietude, perceptual shifts and vague memories help us shape unconventional narratives of lives. Thanks to all the readers, Sybao Cheng-Wilson (Cheng’s sister and director of Ching Ho Cheng’s estate) @chinghochengart and BANK/MABSOCIETY @bankmabsociety especially Michelle and Matthieu. Photographic documentation by Chase Barnes @wherewhen

“Untitled (Palmetto)” by Ching Ho Cheng, 1982. Works Abundancies III at @99canal.nyc Cheng was born in Havana in 1946 and became a key figure in New York’s downtown art scene in the 1970s and 80s. He lived at the Chelsea Hotel from 1976 until his death in 1989 from AIDS related complications. His apartment held a small garden with palmettos, described by her sister Sybao Cheng-Wilson as beautiful and meditative. We imagine it as a space for sustained attention (only with this kind of attention can one start to see the details in Cheng’s gouache: the pin, the cracks…). We imagine this apartment as a space for prolonged readings too (Cheng was an avid reader and very connected to many poets). And a place where the aesthetic is enmeshed with its surroundings and not separated from it. Thanks to Sybao Cheng-Wilson (Cheng’s sister and director of Ching Ho Cheng’s estate) @chinghochengart and BANK/MABSOCIETY @bankmabsociety especially Michelle and Matthieu Photography by Chase Barnes @wherewhen

"Works Abundancies III" Wednesday February 18 at 7:00PM (doors open at 6:30) @99canal.nyc Artwork: Ching Ho Cheng Readings: Wayne Koestenbaum @wayne.koestenbaum Patricia Spears Jones @patspearsjones Nora Treatbaby @noratreatbaby “CJ” Craig Jun Li @helmet_lung and Ramona Ngin @pangea.girl Address: 99 Canal St, floor 6, 1002 NY Free event, admission will be granted on a first-come, first served basis. There will be drinks too! Thanks to @bankmabsociety —————— 99 canal is located at 99 Canal street, floor 6, in Chinatown; between Forsyth St and Eldridge St. The closest trains are B/D (Grand St) and East Broadway (F); the closest wheelchair accessible stop is the 6 (Canal). The space, 6 floor, is wheelchair accessible via elevator. Service animals are welcome. —————— Con una obra de Ching Ho Cheng y lecturas de Wayne Koestenbaum @wayne.koestenbaum Patricia Spears Jones @patspearsjones Nora Treatbaby @noratreatbaby “CJ” Craig Jun Li @helmet_lung y Ramona Ngin @pangea.girl Dirección: 99 Canal St, 6ª planta, Nueva York, NY 10002 Evento gratuito. La entrada se concederá por orden de llegada (hasta completar aforo). ¡Habrá bebidas! ———— 99 Canal se encuentra en el número 99 de Canal Street, planta 6, en Chinatown, entre Forsyth Street y Eldridge Street. Las líneas de metro más cercanas son B/D (Grand Street) y East Broadway (F); la parada más cercana accesible para sillas de ruedas es la 6 (Canal). El espacio, en la planta 6, es accesible para sillas de ruedas a través del ascensor. El baño no tiene barra para agarrarse. Gracias a @bankmabsociety

📍 On Thursday, February 5 at 7pm, join us at @cara_the_org to celebrate the publication of 45–120, a bilingual poetry anthology (English and Spanish) edited by Juf (@juf.project ) and published by Caniche Editorial (@canicheeditorial ). The questions of space that the anthology brings to the fore are emphasized and amplified on this occasion through an introduction by Juf co-directors Bea Ortega Botas @pompousbob and Leto Ybarra @letoybarra etoybarra readings by Kyle Dacuyan @kyle_decoy and Elijah Jackson @elijah.jackson__ ; and a performance by Geo Wyex (@muck_stud ), 𝘕𝘰𝘣𝘰𝘥𝘺 𝘞𝘢𝘥𝘦 𝘕𝘦𝘷𝘦𝘳 𝘛𝘰𝘰 𝘔𝘶𝘤𝘩 𝘈𝘨𝘢𝘪𝘯. 𝘕𝘰𝘣𝘰𝘥𝘺 𝘞𝘢𝘥𝘦 𝘕𝘦𝘷𝘦𝘳 𝘛𝘰𝘰 𝘔𝘶𝘤𝘩 𝘈𝘨𝘢𝘪𝘯 by Geo Wyex @muck_stud will explore different aspects of improvisation and magic as a professor from the fictional Muck Studies Department reaches into the bottoms of shallow, murky waters so that a certain squelch of history and meaning can emerge through disappearances of objects and redirections in space. Artist and writer Park McArthur has provided a takeaway artwork for the event. This event is part of that that, an amazing program curated by Emmy Catedral @pers_lab preceding the exhibition of the Martinican poet and philosopher Édouard Glissant’s (1928–2011) personal art collection, and which shapes the poetic force that animates Glissant’s chapter “That That” in his book Poetics of Relation. Photo: Nobody Wade Never Too Much @joanlosangeles , Los Angeles Performance documentation October 2024

EXHIBITION OPENING: The Clock Wife October 25, 5–8PM MARJA BLOEM with SETH SIEGELAUB SUE CRAMER and EMMA NIXON with JOHN NIXON JUF (BEA ORTEGA BOTAS and LETO YBARRA) with FRAN HERNDON and friends VANITA and JOHANNA MONK Exhibition design by MAUD VERVENNE Guest Writer: DODIE BELLAMY Accumulating over three months, ‘The Clock Wife’ is an exhibition that focuses on artist estate management by presenting four estates through the eyes of the women overseeing them: Marja Bloem presenting her partner Seth Siegelaub; Sue Cramer and Emma Nixon presenting husband and father John Nixon; Johanna Monk presenting her beloved Vanita Monk; and Juf (Bea Ortega Botas and Leto Ybarra) presenting their peer Fran Herndon. At the core of the exhibition is the conflation of administrative and emotional labour inherent to this line of work. Yet an exhibition built around an acknowledgement of the invisibility of certain forms of labour—and an attempt to centre them in turn—has a paradox at heart: how do you make visible that which is not seen? While still acknowledging the artists around whom each of the estates revolve, ‘The Clock Wife’ spotlights the work of the executors themselves. In order to do so, each executor has been asked to state a current need of the estate, one that, if filled, would better equip her to do the work at hand. In turn, the exhibition budget, as well as aspects of the broader institutional budget that pertain to some of the needs—such as the advertising budget, the public program budget and the ‘office costs’ budget—have been redistributed towards tending to them. Beyond art historical legacies and histories of gendered labour more broadly speaking, in the marginal spaces of the emotionally administrative—the scribbled inscriptions housed in archival systems so personally felt that they refuse objective organisation—there is a lot to be learned from and to acknowledge in the commitment of estate managers. This exhibition is an attempt to begin that process. 📷: Fran Herndon, ‘File Rats’, 1961; Marja Bloem and Seth Siegelaub in 1997; Emma’s pram surrounded by ‘E’ paintings by John Nixon, 1996; Johanna Monk with the Vanita Monk Orchestra, 2024.

shimmerburn open till August 2 DM for visits / DM para visitas Images 1—5: Brittany Adeline King @_brittanyadeline works with collage, using it to dress her silhouettes. The artist customizes each, handsewing the figures and garments with clippings taken from JET editorials from the 80s to early 2000s, a magazine that is part of King’s personal archive dating back to adolescence. Images 5—8 :Jo-ey Tang’s @thenotarypublic “Charles-François Dupuis as Aimable Vainqueur”, “SEC-20” and “SEC-25” consist of two works from a larger series of photograms, prints made by placing objects on photographic paper and exposing them to light. In the darkroom, Tang works with the unused guitar strings of his deceased father, and manipulates and modulates the amount of light passing through and wrapping around the hovered strings, which he had previously made into a sculptural work. These works give form to loss, not only of personal grief, but loss understood as having to let go of assumptions that have been revoked by becoming aware of other possibilities in which the material, the temporal, and the conceptual can be reorganized. The evolving series title expands and contracts through time, drawing from details of exhibition sites, knowledge systems and artforms, and personal notes, as a parallel ongoing poetic form of the unfolding of the series’ constituent parts. Image 8: In her ongoing series “Under What Conditions?”, artist Sofia Sinibaldi @sofiasinibaldi creates color photographs using a portable flatbed scanner to record three-dimensional objects. The resulting images are shaped not only by the movement of her hand but also by the physical point of contact between the device and the object, which determines the varying intensities of capture—accumulating and dispersing information. More than images, the two works resemble object frottages: they are shown to us as if floating, as if the skeleton of things had been removed to turn them into pure surface. This exhibition is a collaboration between Juf and @digestivo.in Photographic documentation by @acayetano_

Yesterday was very special. Thanks to everyone who came to the opening of “shimmerburn”, curated by @letoybarra at @digestivo.in , thanks to all the artists, and, as always, to S*an D. Henry-Smith, for their performance. This was the best welcome back night in Madrid. DM for visits until August 2, 2025 Ayer fue una noche muy especial. Gracias a todes les que vinisteis a la inauguración de “shimmerburn” en digestivo, a todes les artistas y, como siempre, a S*an D. Henry-Smith por su performance. Esto si que es una feliz vuelta a Madrid. DM para visitas hasta el 2 de agosto, 2025

felices de anunciar: shimmerburn acompáñanos el sábado 12 de Julio, de 19.30 a 22h opening + performance de S*an D. Henry-Smith. con trabajos de Brittany Adeline King (@_brittanyadeline ), Jo-ey Tang (@thenotarypublic ), Rafael Moreno (@nosenorita ), S*an D. Henry Smith, Sofia Sinibaldi (@sofiasinibaldi ), y Yun Ping Li (@yun.ping.li ). comisariada por Leto Ybarra (@letoybarra ). dirección: Calle de la Duquesa de Parcent 56, bloque 82, 28047 Madrid (Asador Panadería Andrés) esta exposición es una colaboración entre digestivo, una iniciativa colaborativa centrada en la correspondencia entre prácticas, y el proyecto de comisariado e investigación de arte y poesía Juf. “shimmerburn” subraya la tendencia de la fotografía a captar todo tipo de pequeños detalles, la tensión entre lo concreto y la imposibilidad de fijarlo por completo, así como los componentes incontrolables que impregnan los procesos de codificación, captura y documentación característicos de este medio. shimmerburn se podrá visitar bajo cita previa hasta el 2 de Agosto! con el apoyo de @creacioninjuve _______________________________ thrilled to announce: shimmerburn please join us saturday the 12th of July from 19.30 till 22h. show opening + performance de S*an D. Henry-Smith. with works by Brittany Adeline King, Jo-ey Tang, Rafael Moreno, S*an D. Henry Smith, Sofia Sinibaldi y Yun Ping Li. curated by Leto Ybarra. address: Calle de la Duquesa de Parcent 56, bloque 82, 28047 Madrid (Asador Panadería Andrés) this exhibition is a collaboration between digestivo, a collaborative initiative focused on correspondence between practices, and Juf, an art and poetry curatorial and research project. “shimmerburn” emphasizes photography’s tendency to capture all kinds of small details, the tension between the specific and the impossibility of fully fixing it, and the uncontrollable components that infuse the processes of coding, capture, and documentation characteristic of this medium. shimmerburn will be on view and open by appointment until August 2nd ! with the kind support from @creacioninjuve

Works Abundancies II at @99canal.nyc Documentation of one of Papo Colo’s @papo.colo lost sculptures from the series “Artifacts for Keeping Secrets” (1977), in which a knife crushes and hides a poem in a piggy bank, signaling the relationship between language, violence and support. These artworks were originally shown at Galería Mec-Mec in Barcelona a few years before Colo founded, with his late partner Jeanette Ingberman, the influential alternative art space Exit Gallery in New York. Artist Devin N. Morris @devinnmorris presented two toy boxes which seem to protect —minutiae or something precious— by building an excessive armor. Morris’s artistic process considers the statement “use what you have to make what you need” and in these pieces the artist utilizes wood stains, acrylic paint, wood veneer collage and the remains of homes; cabinets, moldings and dresser drawers. These boxes are vessels of carefully honed space and reflect Morris’ sustained engagement with changing environments where kinship, social interrogation and found architectures and objects are explored. _Works Abundancies is a series of events that consider abundance – and the margins in which to find it–, poetry and works of art in temporary set-ups. This second iteration reflects on how shielding can generate specific contexts and develop unnoticed, secretive and excessive ways of expressing and circulating information._ Photographs by @canigetawhitney Thanks to the Special Collections and Archives from New York University and to @calderon_intl

Char Jeré @jeredotcom presented two new sound sculptures in Works Abundancies II at @99canal.nyc Elements that allude to hostility and armor are present alongside others that serve as refuge, amplification, and enchantment. In one of the pieces, the pendulum movement follows the voice of Alice Coltrane, which mantrically occupies the space and draws attention and listening. _Works Abundancies is a series of events that consider abundance – and the margins in which to find it–, poetry and works of art in temporary set-ups. This second iteration reflects on how shielding can generate specific contexts and develop unnoticed, secretive and excessive ways of expressing and circulating information._ Photographs by @canigetawhitney

— Documentation of “Works Abundancies II” bringing together readings by @unit01barbie @add_value_add_time @zoelhopkins @scryptkeeper and artworks by @jeredotcom @devinnmorris and @papo.colo for a an evening at @99canal.nyc This new iteration explored how armoring can generate specific contexts and develop unnoticed, secretive and excessive ways of expressing and circulating information; complicating how we understand interiority, expectation or desire in the social field. —————- Esta nueva edicion explora cómo el blindaje puede generar contextos específicos y desarrollar formas inadvertidas, secretas y excesivas de expresar y difundir información, lo que complica nuestra comprensión de la interioridad, las expectativas o los deseos en el ámbito social. Thank you all for coming! @canigetawhitney

Works Abundancies II Wednesday July 2 at 7:30 pm (doors open at 7:00) @99canal.nyc With readings and artworks by @unit01barbie @scryptkeeper @add_value_add_time @zoelhopkins @devinnmorris @jeredotcom @papo.colo Address: 99 Canal St, floor 6, 1002 NY “Works Abundancies II” brings together poets, writers and artworks for a brief duration. This new iteration explores how armoring can generate specific contexts and develop unnoticed, secretive and excessive ways of expressing and circulating information; complicating how we understand interiority, expectation or desire in the social field. Free event, admission will be granted on a first-come, first served basis. There will be drinks too! —————— 99 canal is located at 99 Canal street, floor 6, in Chinatown; between Forsyth St and Eldridge St. The closest trains are B/D (Grand St) and East Broadway (F); the closest wheelchair accessible stop is the 6 (Canal). The space, 6 floor, is wheelchair accesible via elevator. Service animals are welcome. —————— «Works Abundancies II» reúne a poetas y obras de arte durante un breve periodo de tiempo. Esta edición explora cómo el blindaje puede generar contextos específicos y desarrollar formas inadvertidas, secretas y excesivas de expresar y difundir información, lo que complica nuestra comprensión de la interioridad, las expectativas o los deseos en el ámbito social. Con Kay Gabriel, Sahar Khraibani, Samiya Bashir, Zoë Hopkins, Papo Colo, Char Jeré y Devin N. Morris ———— 99 Canal se encuentra en el número 99 de Canal Street, planta 6, en Chinatown, entre Forsyth Street y Eldridge Street. Las líneas de metro más cercanas son B/D (Grand Street) y East Broadway (F); la parada más cercana accesible para sillas de ruedas es la 6 (Canal). El espacio, en la planta 6, es accesible para sillas de ruedas a través del ascensor. El baño no tiene barra para agarrarse.