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ʻAe Kai: A Culture Lab on Convergence

Smithsonian Asian Pacific American Program
A weekend-long creative experience featuring 50+ artists, scholars and cultural practitioners from Hawaiʻi, the Pacific Islands and beyond 🏄🏾 Details: The Smithsonian Asian Pacific American Center is pleased to present ʻAe Kai: A Culture Lab on Convergence on July 7-9, 2017 in Honolulu, Hawaiʻi. ʻAe Kai will take place in the former site of Foodland in Ala Moana Center, an 18,000 sq ft supermarket situated in the neighborhood between Waikiki and Kaka‘ako, and will explore the meeting points of humanity and nature in Hawaiʻi, the Pacific Islands and beyond. Following 2016’s transformational culture labs – CrossLines in Washington, D.C. and CTRL+ALT in New York City – ‘Ae Kai will continue SmithsonianAPA's practice of community building through curated artmaking. The biggest Culture Lab to date, most of ‘Ae Kai’s participants are based or rooted in Hawaiʻi, with the majority of artists identifying as Pacific Islanders. FEATURING: AARON KAWAI’AE’A w/ TAVANA Acrylic works with traditional & modern themes ABIGAIL KAHILIKIA ROMANCHAK w/ CHARLES COHAN Traditional printmaking with a contemporary vision ADAM LABUEN w/ ALEX ABALOS Work that blends science and fantastical portraiture ADRIENNE KEAHI PAO Photography exploring fantasy & identity ALOHA GOT SOUL Excavating rare & forgotten Hawaiian music ANGEL CHANG Fashion inspired by rural Chinese handweaving BRANDY NĀLANI MCDOUGALL Tracing indigeneity & colonialism through bilingual poetry CALVIN HOE Mahi ʻAi Kalo (taro farmer) & artisan CARL FRANKLIN KA’AILĀ’AU PAO Multidisciplinary art exploring kaona and wā CHAD SHOMURA w/ LINH HUỲNH Experiments in stranger intimacy CHARLES PHILIPPE JEAN-PIERRE Paintings & illustrations that contrast perception & reality CHELOVE DC-based street art investigating indigeneity today CRAIG SANTOS PEREZ Poetic bridges from Guam to Hawaiʻi to California DR. KEANU SAI Complicating the Hawaiian kingdom's historical narrative HAVANA LIBRE Uncovering Cuba's hidden surf culture JAHRA ‘RAGER’ WASASALA Movement & poetry rooted in New Zealand & Fiji JESS X. SNOW, KIT YAN & PETER PA Queer Asian American storytelling through visual poetry JOCELYN KAPUMEALANI NG Special effects & poetry with a fascination with the dark JOHN “PRIME” HINA Hawaiian storytelling through street art KATELIN LILI’INOE BRANCO Illustrations inspired by animal/human/environmental interactions KATHY JETÑIL-KIJINER Poetry & performance exploring life in the Marshall Islands KAYLA BRIËT Film & music based on Native American traditions & futures KEALOPIKO Contemporary fashion rooted in traditional Hawaiian practices LEHUA M. TAITANO Art & poetry exploring queer Chamoru identity LÉULI LUNAʻI ESHRĀGHI Multi-practice art centered on indigeneity & queer futures LISA JARRETT Comparing Self & Other as an American Black woman LOW LEAF Bridging Los Angeles & the Philippines through DIY music MAIKA’I TUBBS Sculptures from found materials to explore consumption & ecology MAILE ANDRADE Multimedia exploring Native Hawaiian creative expression MASPAZ The power of typography & color through graffiti MAZI MUTAFA Hip hop as a tool for transformative learning MONICA JAHAN BOSE Collaborative fabric & printmaking to explore gender & climate change NAOKO WOWSUGI Reciprocal exchange between art & the world NICOLE A. MOORE The intersection of African American history & Hawaiʻi PŌHAKU STONE Revitalizing ancient surf & he'e hōlua (Hawaiian sledding) RICKY TAGABAN Material culture to explore traditional & contemporary Native Alaskan life ROSANNA RAYMOND Multi-disciplinary art focused on contemporary Pacific Island culture SHIZU SALDAMANDO Portraits about social constructs of identity & subcultures SID M. DUENAS Multi-platform art that challenges the effectiveness of language SLOANE LEONG Sci-fi & futurism from an Asian Latina Polynesian cartoonist SOLOMON ENOS Illustration/sculpture/painting depicting Hawaiian fantasy TERISA SIAGATONU Queer Samoan poetry & healing arts THE SURF PROFESSOR Crafting the Papa Heʻe Nalu (traditional native Hawaiian surfboard) WIENA LIN Sensory experiences about material culture & tech waste WOODEN WAVE Murals & illustrations that merge fantasy & sustainability


Freer Gallery of Art and Arthur M. Sackler Gallery

Ōson gafu

Freer Gallery of Art and Arthur M. Sackler Gallery

Ōkyo gafu

Freer Gallery of Art and Arthur M. Sackler Gallery

Ōchi nikki shū

Freer Gallery of Art and Arthur M. Sackler Gallery

Übersee, Traunstein, Bavaria

Cooper Hewitt, Smithsonian Design Museum
Two trees in foreground, framing the composition. Water in middle ground, with silhouetted buildings visible on the distant shore.

Ötzi the Iceman's Last Meal Included Goat Bacon

Smithsonian Magazine

Since his 5,300-year old mummified body was discovered in the Ötztal Alps between Italy and Austria in 1991, Ötzi the Iceman has been studied in incredible detail by researchers. Not only have they found that the ancient European was between 40 and 50 when he died, they discovered that he was murdered. Just in the last year, researchers have revealed what the ice man wore, what his voice may have sounded like and that he had calcification in his arteries. A look at his stomach contents in 2011 showed that the ice man’s last meal consisted of cooked grain and meat from an ibex, a type of wild goat.

Now researchers say that further testing shows that it wasn’t just goat meat—Ötzi’s last meal included goat bacon. The Local reports that Albert Zink, a mummy specialist from the European Academy of Bolzano analyzed the goat meat found in Ötzi’s stomach. Looking at the nanostructure of the proteins, he was able to determine that the meat had never been cooked. Instead, it was dry-cured, making it into a product similar to prosciutto.

Zink points out that Ötzi was not carrying a bow and arrow with him while traveling in the mountains, meaning it was unlikely he was hunting fresh meat. Raw meat would probably spoil. So it makes sense that the ice man traveled with cured meat. “It seems probable that his last meal was very fatty, dried meat—perhaps a type of Stone Age Speck or bacon,” Zink tells The Local.

But that’s not the only secret Zink has pulled out of Ötzi’s tummy. In a study that appeared in Science earlier this month, Zink and his team also found the oldest known Helicobacter pylori bacterium in the ice man, the pathogen that has been linked to the development of ulcers and gastric cancer. According to Laura Geggel at LiveScience, the researchers took 12 biopsy samples of Ötzi's stomach and intestines, then separated out the various strains of H. pylori found in his food, the soil he was exposed to and the bacteria that infected the ice man himself. They isolated the pathogen, finding that Ötzi had a particularly virulent strain of the bacteria, and that the ice man likely had a reaction to the bug, as do one in 10 people. That meant he may have suffered from ulcers or stomach problems as a result.

The H. pylori also helps researchers track migration of people into and out of Europe. The fact that Ötzi had a strain that Europeans share with Asian populations and not the North African strain most people have today, reports The Local, means the populations probably had not mixed yet significantly. “We can say now that the waves of migration that brought these African Helicobacter pylori into Europe had not occurred, or at least not occurred in earnest, by the time the iceman was around … 5,300 years ago,” Yoshan Moodley, a professor in the Department of Zoology at the University of Venda in South Africa and co-author of the study says.

Whatever the condition of his stomach, Otzi likely didn’t have a chance to feel indigestion after snacking on the dried ibex. “The iceman felt secure and had a rest with a large meal,” Zink tells Andy Coughlan at New Scientist. “At a maximum of 30 to 60 minutes later—because otherwise his stomach would have emptied—he was shot from behind with an arrow.”

And while Ötzi might have been fond of charcuterie, researchers found that he didn’t order the cheese plate—The Local reports the analysis also showed that he did not have any dairy products in his stomach at the time of his death.


Smithsonian American Art Museum


Smithsonian American Art Museum

Écharpe A

Cooper Hewitt, Smithsonian Design Museum

“Weaving Is My Language�

Cooper-Hewitt, National Design Museum
Author: Maleyne Syracuse September is New York Textile Month! In celebration, members of the Textile Society of America will author Object of the Day for the month. A non-profit professional organization of scholars, educators, and artists in the field of textiles, TSA provides an international forum for the exchange and dissemination of information about textiles...

“Tin Pan Dragon� at Renwick

Smithsonian Insider

Duane Flatmo discusses his work Tin Pan Dragon, a 23-foot animated sculpture built of steel tubing and recycled aluminum, in the exhibition “No Spectators: The […]

The post “Tin Pan Dragon” at Renwick appeared first on Smithsonian Insider.

“Off the Beaten Track�: A road trip through the Archives of American Art

Smithsonian Insider

The first mental image of Jackson Pollock is often of a balding middle-aged artist, back bent with cigarette dangling while flinging chaotic swirls of paint […]

The post “Off the Beaten Track”: A road trip through the Archives of American Art appeared first on Smithsonian Insider.

“Inventing Utamaro� unveils dark truth behind Edo artist’s work

Smithsonian Insider

“Inventing Utamaro: A Japanese Masterpiece Rediscovered,” open recently at the Smithsonian’s Arthur M. Sackler Gallery, is a challenging exhibition, says Julian Raby, The Dame Jillian […]

The post “Inventing Utamaro” unveils dark truth behind Edo artist’s work appeared first on Smithsonian Insider.

À La Mode

Smithsonian American Art Museum
The now-defunct conceptual art group Asco coined the phrase “No Movie” to refer to their fabricated film stills of nonexistent films. One such production, À la Mode, features a glamorous Patssi Valdez sandwiched between two men (Gronk and Harry Gamboa) as if to suggest a love-triangle movie plot. Asco circulated this image to news outlets where it was published as evidence of a real film. Asco’s media interventions, which placed Chicanos in control of their own public images, reveal the hunger for a broader range of Latino representations.

Our America: The Latino Presence in American Art, 2013

½c Washington Bicentennial artist's preliminary sketch

National Postal Museum
Essays and Proofs from the W. Curtis Livingston collection

¡Yo soy de Cuba la Voz, Guantanamera!

National Portrait Gallery
Born Havana, Cuba

Celia Cruz’s dynamic performances, rich voice, and flamboyant attire brought her to the stage of Havana’s famed Tropicana nightclub in the 1950s. Shortly after Fidel Castro seized power of Cuba in 1959, Cruz left the island for a one-year contract in Mexico, never to return. She defected in 1961. Eventually, Cruz settled in New York City, where her music was initially considered old-fashioned. By the 1970s, however, when the new genre of salsa saturated the airwaves and filled the nightclubs, she had become its reina (queen). Her songs, while speaking to pan-Latino audiences, also became a direct connection to Cuba for the thousands of exiles living in the United States and elsewhere in the world. As artist Alexis Rodríguez-Duarte has noted, Cruz “brought [people] home again.” For this portrait session held in Miami, she sang acapella in a traditional guarachera dress while placed against a backdrop that evokes 1950s Havana.

Nacida en La Habana, Cuba

Las dinámicas presentaciones de Celia Cruz, su voz resonante y su llamativo vestuario la propulsaron al escenario del famoso club Tropicana de La Habana en los años cincuenta. Poco después de que Fidel Castro subiera al poder en Cuba en 1959, Cruz abandonó la isla para presentarse en México con contrato de un año, y nunca regresó. En 1961 pidió asilo político. Cruz terminó por radicarse en Nueva York, donde al principio su música se consideró anticuada. No obstante, para los años setenta, cuando el nuevo género de la salsa saturó los programas radiales y clubes nocturnos, Cruz se convirtió en su reina. A la vez que hablaban a un público panamericano, sus canciones ofrecían una conexión directa con la patria a los miles de exiliados cubanos que vivían en Estados Unidos y otros países. Como señala el artista Alexis Rodríguez-Duarte, Cruz “nos trajo de vuelta a casa”. Cuando posó para este retrato en Miami, Cruz cantó a capela vestida de guarachera, con un fondo tropical que evoca La Habana de los años cincuenta.


Smithsonian American Art Museum


Smithsonian American Art Museum

¡Gracias Don Américo!

National Portrait Gallery

“Orale ese Vato”

National Museum of American History
As this paño humorously titled Orale ese vato (Spanish for roughly, right on, man) shows, one characteristic of Chicano art is that it avidly consumes and reconfigures both American and Mexican pop culture with its own slang, looks, and attitude. A paño is a hand-drawn handkerchief traditionally designed by Chicano prisoners. Like a letter that retells memories of both good and bad times, paños are often mailed as gifts to friends and loved ones. Valued as a vibrant popular art that overlaps with muralism, tattoo design, graffiti, and auto airbrushing, paños and their makers are receiving increased exposure for their visual storytelling abilities. An illustrator and a muralist known for depicting Chicano themes, Walter Baca (1947-1993) designed this paño in New Mexico in 1992.
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