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kabircarter

@kabircarter

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Artist and educator; Harvestworks 2026 AIR awardee and 2026 NYSCA/NYFA Artist Fellow

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I've been selected to be a 2026 NYSCA/NYFA Artist Fellow in Digital/Electronic Arts. As someone who approaches the meeting of art and technology with ambivalence and curiosity, I appreciate the support provided by this award. @NYSCArts @nyfacurrent #nyscanyfafellows by @kabircarter

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3 months ago

“What the beyond of teaching is really about is not finishing oneself, not passing, not completing; it’s about allowing subjectivity to be unlawfully overcome by others, a radical passion and passivity such that one becomes unfit for subjection, because one does not possess the kind of agency that can hold the regulatory forces of subjecthood, and one cannot initiate the auto-interpellative torque that biopower subjection requires and rewards.” Stefano Harney and Fred Moten, The Undercommons: Fugitive Planning & Black Study by @kabircarter

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3 months ago

Harvestworks is excited to announce the 2026 Artist-in-Residence (AIR), Technology Immersion Program (TIP), and Special Project Awards recipients. These artists have been commissioned to develop innovative projects in the Harvestworks TEAM (Technology, Engineering, Art, and Music) Lab.

The 2026 Artist-in-Residence (AIR) awardees are Victoria Shen, Justin Allen, SHAWNÉ MICHAELAIN HOLLOWAY, Kabir Carter, and Nat Decker. The Special Project Award recipients are Ka Baird and Maya Man. The 2026 Technology Immersion Program (TIP) recipient is Eden Girma.

Top row, left to right: Victoria Shen @evicshen , Kabir Carter @kabircarter , Nat Decker @nat_decker__ . Middle row, left to right: Eden Girma @adenniye , Justin Allen. Bottom row, left to right: Ka Baird @sapropelicpycnic , Maya Man @mayaontheinternet , SHAWNÉ MICHAELAIN HOLLOWAY @cleogirl2525 . taken in Harvestworks by @kabircarter

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8 months ago

Thank you Ajani, Chris, Corey, and Giles for your support of my performance at Human Resources. Images: @reallynathan taken in Human Resources by @kabircarter

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3 years ago

Kabir Carter
Human Resources
410 Cottage Home Street
Thursday, December 14
Doors at 8pm
Performance at 9pm
Free (pay what you want)
Proceeds go to Venice Family Clinic

Kabir Carter will explore the spatial acoustics and resonant behavior of a circuit that flows between a loudspeaker, an audio mixer, a microphone, a folding chair, and his body. Carter is a research-based artist who uses sound, light, image, architecture, dance, popular and experimental music, and histories of infrastructures to make work through writing, performance, installations, and related discursive projects and initiatives. taken in Human Resources by @kabircarter

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3 years ago

Apply to Bard MFA Music/Sound! Until January 10, 2024, Bard MFA is accepting applications for its intensive summer session focused program. Spanning three eight week on campus sessions and two independent work periods, the program brings together students and faculty in six disciplines through a wide range of activities: meetings, critiques, seminars, and more. Join us! Details: https://www.bard.edu/mfa/applying/ by @kabircarter

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3 years ago

Thank you EHF Venezia for providing a residency experience worth remembering for its stability, simplicity, and autonomy. Grazie La Serenissima per avermi abbracciato. by @kabircarter

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4 years ago

How does one mourn and remember the estranged? This week, with the passing of my Great Aunt Jean Tillotson (née Sturgeon) in her 105th year, I find myself ruminating over this question.

I am looking at a family photograph taken in the early 20th century that includes my maternal grandfather and his sister—my great aunt. As the youngest members of their family, they represent the third generation of Anglo settlers to live and work on farms, homesteads, and in early urban and rural infrastructures throughout California. I represent the fifth generation, and unlike my grandfather and great aunt, I am at once the same and diffferent; that is, I am both shaped by their innermost experiences and possibly represent the object of their generation's deepest ambivalences. Were I to have begun my life a few years earlier, my existence might have led to more explicit, outward, active forms of family violence. Instead, hesitation, doubt, denial, and dismissal were bound with filial affection, endearment, and love.

I can only recall meeting my great aunt a few times: for my maternal grandmother forbade all of us to interact with her—even her husband, my great aunt's sibling. All social exchanges with my great aunt had to be conducted in secret because of strange, protracted grievances. While I never quite understood how this came to be (and likely never will), I now understand how some grievances and passions can appear, grow, crest, fall, crash, and recede. They are manifestations of something akin to subtler, difficult to measure energies. They can move between bodies, places, and timespans, through contact and conflict. And when one cannot speak the name of the other, what does this truly mean? What is gained, or lost through this attempt at unseating or dislodging that only seems to allow the despised and the feared to burrow deeper within? What can become of this experience other than a body filled with uncontainable, bad feelings? by @kabircarter

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5 years ago

Courtesy of Fondation Chantal Akerman

A magnificent visual poet left us, the experimental American filmmaker and visual artist Robert Fenz.

Terribly saddened by the passing of Robert Fenz. A committed filmmaker & artist whose voice will be missed. Inspired by greats Roy DeCarava, Chantal Akerman, Peter Hutton & Johan van der Keuken, Fenz was singularly talented.

Robert Fenz (1969-2020)
It breaks our heart to learn that American filmmaker and visual artist Robert Fenz has passed away at the age of 51. We will fondly remember him as a generous and warm hearted person and filmmaker, whose visual poetry continues to touch and inspire spectators worldwide. Rest in Peace, dear Robert.

Robert Fenz was also a great cinematographer and producer for other artists. He worked as co-cinematographer on Peggy Ahwesh’s film Nocturn in 1997. In 2001 he worked as co-cinematographer, coproducer and as first assistant director on Chantal Akerman’s documentary De l’autre côté, shot on the USA-Mexican border. In 2002, he was the cinematographer for her installation for Documenta 11, in 2006, he was again Chantal Akerman’s cinematographer for Là-bas, shot in Israel. His own short film Crossing (2006) is a loving experimental answer to Chantal Akerman’s documentary. by @kabircarter

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6 years ago

As some of you might know, filmmaker and Bard College alumnus Robert Fenz unexpectedly passed away over the weekend. He was 51.

Robert studied as an undergraduate at Bard in the nineteen-nineties. He worked with Peggy Ahwesh, Peter Hutton, and Wadada Leo Smith. His collaborations with Smith continued well beyond their shared time at Bard, and they remained creatively engaged until the end of Robert's life.

Over a quarter century, while rarely straying outside the material constraints of motion picture film emulsion, Robert made a body of work that celebrated portraiture, cityscapes and landscapes, the Global South, and the versatile operability of the Bolex camera (and its more elaborate counterparts). He strove to use the camera as an instrument for showcasing personal, latent observation and instant composition.

Robert possessed a Romantic sensibility. He somehow fused his mother’s professional expertise in interdependent care, and his father’s expansive overlapping interests in history and travel photography to amass a vast amount of footage. Shepherded through the hands and eyes of select film lab technicians (who became invaluable friends), much of this material found its way into cinematheques, museums, and more. Above all, Robert was deeply preoccupied with rhythm, movement, air, and light.

As a graduate student at CalArts, Robert was introduced to Chantal Akerman, who he assisted on several endeavors. Beginning with a sprawling telematic project for Documenta 11, Robert and Chantal developed a complex, fruitful collaborative relationship. I believe that Robert's heart never fully mended in the wake of her passing. I know that he continued to carry her memory with him throughout his work and travels.

Robert introduced me to Bard College. I introduced him to experimentality in the arts. We undertook many foolish, ill conceived adventures together. I will miss him terribly, as I believe some of you will, too. He is survived by his wife Virginia and her three children; his siblings Erik, Ingrid, John, and Heidi; his nieces and nephews; and his mother Karin. by @kabircarter

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6 years ago

Many thanks to Caroline Dionne, Rit Premnath, Brian Kase, Sylvan Simon, Joe, and Harry for their support of yesterday’s performance. A poster publication with texts and related information is available online; link in bio. If you would like a physical copy of it, please contact me. taken in Tishman Auditorium, Alvin Johnson/J.M. Kaplan Hall by @kabircarter

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7 years ago

Playing The Auditorium
October 2, 2019, 5:00 PM to 6:15 PM
The Auditorium (Alvin Johnson/J.M. Kaplan Hall)
The New School, 66 West 12th Street, New York

Register Here: https://sched.co/TsD1 taken in Tishman Auditorium, Alvin Johnson/J.M. Kaplan Hall by @kabircarter

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7 years ago