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Center for Human Rights & the Arts

@chrabard

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CHRA at Bard College researches and supports art and activist practices globally.

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A exposição “Reparto” segue em cartaz na Casa Comadre até 28 de novembro, com visitação de quarta a sexta, das 14h às 18h, ou com hora marcada.

Não perca!

Com curadoria de Gabriela Davies e Maíra Marques e produção de Marcella Klimuk, a exposição reflete sobre as escolhas relacionadas à gestação e as muitas formas de cuidado.

A mostra coletiva reúne um conjunto expressivo de artistas de diferentes países e gerações, combinando trajetórias consagradas e nomes que vêm ganhando destaque na cena contemporânea, como Tracey Emin, Mona Hatoum, Lidia Lisboa, Adriana Varejão e Maria Magdalena Campos-Pons.

Casa Comadre: R. Maria Eugênia, 177 - Humaitá, Rio de Janeiro - RJ

“Eu não serei o ovo que você quebra” faz parte de Evidence, um festival internacional do Fisher Center LAB, em associação com o Center for Human Rights and the Arts at Bard, realizado no Brasil pela TAP — Temporary Art Platform (www.togetherwetap.art), sob a direção artística de Amanda Abi Khalil, em parceria com a Comadre (www.comadre.art).

@lidia_lisboa @adrianavarejao @holasoydarksmiranda @ledebe @madzerokai @jarbaslopesjr @mariaantoniaestudio @casarina @mo_ventura @maria_magdalena_campos_pons @mona_hatoum @traceyeminstudio @tamarettun @studiohadjithomasjoreige @t.desana @marilanda.lima by @chrabard

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18 days ago

Congratulations to our CHRA graduate Ime Soul (‘24) who has been named one of four 2026–27 New York Live Arts’ Fresh Tracks Artists. A season-long residency for early career movement-based artists, the Residency & Performance program supports artists to create new work while providing overall professional development.

Ime Soul is a live arts practitioner working on ephemeral installations, moving images, and performance. Ime Soul presents biomythological work exploring Blackness, abjection, sexuality, and the constraints of language as articulation. Their performances misuse formal qualities of Black church.

Often a combination of extended duration and high intensity, Ime Soul uses fatigue as a vehicle to open up a sensorial and reflective space. Like church, witness and participation makes their work complete. Ime Soul received an BA in Fine Art and American and Indigenous studies at Bard College (2022), as well as an MA from the Center for Human Rights and the Arts (2024). Their work has been shown across New York State at spaces ranging from fine art institutions to public interruptions– Performance Space NY, Gallery 495 (’26), CultureHub (‘26), Intercomm (‘24, ‘25) to name a few.

More on Ime Soul’s work and news from CHRA on: CHRA.bard.edu/news by @chrabard

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25 days ago

CHRA graduate Raneem Ayyad (‘24) is showing her "Where Do We Meet the Sun?" as part of the Uneven Geographies exhibition at Shiva Gallery at City University of New York (CUNY). Ayyad first developed the installation and live performance as the artistic component of their hybrid thesis project for the MA Program in Human Rights & and the Arts.

"Where Do We Meet the Sun?" is an interactive live performance and installation that invites the audience to a staged visit to an apartment in Al-Zarqa, Jordan. Through the everyday lives of three women and a collection of ethnographic materials, the piece explores natural light as a medium of regulation, gender discrimination, and illness enforced by architecture and urban planning.

Show & Exhibition Details
Uneven Geographies
September 3 through October 31
Monday–Friday, 10am–5pm, or by appointment
Shiva Gallery
John Jay College of Criminal Justice
524 W 59th St, New York, NY

Opening Reception
Thursday, September 3, 6pm–8pm
Special performance of Where Do We Meet the Sun? at 7 pm

Artists Talk with Raneem Ayyad & Francisco Benitez
“Situated Methods, Reimagining Fieldwork”
Tuesday, September 15, 6:30pm
Moderated by Angeles Donoso Macaya
CUNY Graduate Center, Kelly Skylight Room (9100) taken in John Jay College of Criminal Justice by @chrabard

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a month ago

Who decides how we give birth?

In Brazil, where caesarean sections account for around 52% of all births, we listen to women, nurses and midwives reflecting on intervention, choice, obstetric violence, and the medical systems that shape the experience of birth.

Through their stories, birth emerges as a question of autonomy: who is trusted to know the body, who is allowed to make decisions about it, and what happens when intervention becomes the norm?

As we approach our upcoming festival on motherhood, i won’t be an egg which you crack: on birth, the body, and the evidence it carries, we share this film as an invitation to think about where motherhood begins, and about the structures that are already present at the moment of birth.

Video footage commissioned by @soulsofmama Videography by @botkay

—

From September 1 to 26, Rio de Janeiro hosts the Brazilian edition of Evidence, the international festival of art and human rights.

Inspired by the four stages of active labor, the program unfolds in four breaths across the month, bringing together art, body, birth, care, and evidence.

All activities are free. Mark your calendar!

“I won’t be an egg which you crack” as part of Evidence an international festival by Fisher Center LAB (@fishercenterbard), in association with the Center for Human Rights (@chrabard) and the Arts at Bard, carried out in Brazil by TAP - Temporary Art Platform (www.togetherwetap.art) under the artistic direction of Amanda Abi Khalil (@amanda_abi_khalil) in partnership with Comadre (www.comadre.art).

#Motherhood #Birth #ObstetricViolence #Evidence #ContemporaryArt #TAP #EuNãoSereiOOvoQueVocêQuebra

Portuguese translation in comments. taken in Rio De Janeiro, Brazil by @chrabard

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a month ago

Fresh off the press! “The People Shall Govern”, the fourth volume of Talks on Human Rights and the Arts, is now available to order through our website with international shipping. Edited by Tania El Khoury, the collection brings together artists, activists, and scholars from around the world to explore Land Back struggles, settler colonialism and property law; art, illness, and healing; Third World solidarity networks; anti-statist movements and experiments in ungovernability; and collective artistic responses to the planetary catastrophes wrought by capitalism.

Chapters include:

Health and Border Politics by Guadalupe Maravilla

How to Commit Crimes Against Reality by New Red Order

Sex, Cancer, and Other Things My Mother Wishes / Never Had by Brian Lobel

Hader Halal (With Regard to Presence):
Towards Building the Palestinian Library in Lotus: Afro-Asian Writings by Fehras Publishing

Shopping Centers at the End of the World by Robin Frohardt

Becoming Ungovernable by Molemo Moiloa

The Racial Politics of Preemptive Violence by Brenna Bhandar

Read or buy a copy from the link in the bio taken in Bard College by @chrabard

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2 months ago

✨ CHRA graduate Sarah al-Yahya (’25) recently contributed a chapter to the edited volume Fragments of Tactical Media. ✨ Published by the Institute of Network Cultures, Amsterdam University of Applied Sciences (HvA), the book explores strategies, tools, and reflections on activist media-making after the open internet, on how to intervene politically within surveilled, platform-controlled spaces.

Al-Yahya’s chapter, titled “Witnessing Gaza on TikTok Live,” explores the use of TikTok LIVE by Palestinians living in the Gaza Strip and surviving the Israeli genocide. It argues that the “low-viewed, ephemeral streams are not just documentary records or urgent pleas, but tactical interventions.” Both the argument and research draw from her CHRA MA thesis project, titled “Livestreamed Genocide: TikTok LIVE in Gaza.” Hybrid in format, al-Yahya’s thesis took the form of both an interactive, web-based installation and a research article. It examined “the uneasy rise of TikTok’s algorithmically-driven platform as a space where social media visibility and atrocity merge, clash, and are reshaped by the logic of public engagement.” by @chrabard

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4 months ago

✨ CHRA graduate Elie Arden (’25) will begin a PhD program in Fall 2026 in the Department of English at King’s College London (KCL). ✨

She was also awarded a Doctoral Landscape Award (DLA) from the United Kingdom’s Arts and Humanities Research Council (AHRC). Two DLA scholarships were awarded to the highest-scoring applicants across the arts and humanities at KCL. The award includes three-and-a-half years of full funding to cover her cost of attendance, plus additional AHRC support for travel and research.

Arden’s PhD research will build on her CHRA MA thesis, which was titled "Conducting Empire: ‘Free’ Trade and the Transatlantic Cable Network" and took the form of a lecture performance. She will take copper as a focal point from which to examine the cultural, political, and labor dynamics of global telecommunications networks, from the rapid infrastructural expansion led by British imperial companies in the mid-19th century to contemporary fiber optics. Because KCL encourages interdisciplinary and creative approaches, Arden plans to use this opportunity to further develop her artistic and curatorial practice as part of the project.

Arden’s pursuit of a PhD represents one of several post-CHRA trajectories of students in our MA Program. To read about some of the other CHRA alumni who went onto PhD after their time at CHRA. To read more about their doctoral pursuits, visit CHRA's News page at https://chra.bard.edu/news/#. by @chrabard

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4 months ago

Congratulations to our Class of 2026 MA in Human Rights & the Arts. 🎉👏🏽

Join us in wishing Lubnah Ansari, Mona Benyamin, Mahmoud El Safadi, Tara Rodríguez Besosa, João F. Rufatto Ferreira, Omayma Sbeih, and Nádia Yracema the best of luck in their future endeavors in art and research. 💫 🎓 by @chrabard

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4 months ago

CHRA's Visiting Faculty and artist-in-residence, Argyro Nicolaou, has received a Cyprus Cinema Office Development and Production Grant in support of her first feature film. The grant, of €425,000 or roughly $500,000, was bestowed by the Cyprus Cinema Advisory Committee, which provides national funding for film development and production through Cyprus’s Deputy Ministry of Culture. The funding is awarded to projects that focus on the cultural reality or history of Cyprus, with a substantial portion of the filming taking place in the country.

Nicolaou’s project, Excavators, is a mystery drama that tackles themes of intergenerational memory and family relationships in a society scarred by war. The film follows its main protagonist, Klió, as she sets out to dig up the truth about her grandmother’s disappearance during the Turkish invasion of Cyprus in 1974.

Nicolaou is a Cypriot filmmaker and scholar based in Brooklyn, NY. Her work deals with the representation of history, displacement, and intergenerational memory in post-conflict, postcolonial societies. Nicolaou has taught film and literature courses at Bard, Columbia, and Princeton, and is a member of the European Film Academy, the International Documentary Association, and the Directors Guild of Cyprus. Nicolaou has been in residence at Bard during the 2025–26 academic year, co-teaching the thesis seminar sequence in the MA Program in Human Rights and the Arts. Nicolaou was previously a resident fellow at CHRA in 2023–2024, developing several research projects. by @chrabard

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4 months ago

✨ CHRA Alumni Spotlight: Independent Media and LGBTQIA+ Rights in Russia ✨

CHRA graduate Anastasia Dzutstsati (’24) recently showcased their work at the PEN World Voices Festival, where their first short play, The People, received a staged reading. The play will be published in fall 2026 as part of PEN’s Dreaming Out Loud anthology. They developed the play with the support of a PEN America Dreaming Out Loud Playwriting Fellowship.

In January 2026, Dzutstsati delivered a guest lecture for undergraduate students at Cooper Union, focusing on the histories of homophobia and authoritarianism in Russia. In March, they delivered a lecture at Stony Brook University on how queer life in the Caucasus survives within layered regimes of imperial, national, and familial control. They also presented research from their paper “‘Gay Propaganda’: Language, Anti-Gender Politics, and Reporting Queer Life” at the Feminism Against Fascism symposium, held at The New School in April 2026.

To read more about their work, visit chra.bard.edu/news by @chrabard

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4 months ago

CHRA graduate Isabella Indolfi (‘23) has just co-founded MESH_Arts, a cultural hub in Brooklyn, New York “where art meets research, technology, and since. Through peer-led public programming, including exhibitions, talks, and workshops, MESH_arts aims to foster inquisitive practices and expand critical conversations on the role of art, and the impacts of technology on society and environment, while reimagining possible futures.

The inaugural exhibition of MESH_arts, Soft Screens, will run May 21 – June 21, 2026. It is co-curated by Isabella Indolfi and Paige King.

Soft Screens is a group exhibition about the interfaces of our hypermediated reality. Featuring artists Nouf Aljowaysir, Anna Frants, Alexandra Lerman, and Mari Nagem, Soft Screens explores the ways digital media subliminally shape our attention, habits, and agency. Bringing together practices that reflect on emergent technologies without strictly relying on them, Soft Screens traces the outline of our entanglement with ever-evolving digital systems and social structures.

Soft Screens
May 21 – June 21, 2026
Fridays–Saturdays, 1-6pm, & by appointment
Email Contact: info@meshartcenter.net

Opening Reception
Thursday May 21, 6–9pm
RSVP: https://luma.com/9ypqv3vx

MESH_Center for Art, Research, Technology, & Science
Address: The Old American Can Factory, 232 Third Street, #C302, Brooklyn NY 11215
@mesh_art_center taken in The Old American Can Factory by @chrabard

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5 months ago

Please join tomorrow Wednesday, May 6, 6pm for the last screening of Mona Benyamin’s film Unravel, as part of OTHERWISE, the MA Class of 2026 Thesis Exhibition.

The work will screened at Preston Theater, Annandale Campus.

See you tomorrow! by @chrabard

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5 months ago