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Every Ocean Hughes (born 1977), formerly known as Emily Roysdon,[1] is a New York and Stockholm based artist and writer, currently a Professor of Art at Konstfack in Stockholm, Sweden. Hughes is a multimedia interdisciplinary artist, using performance, photography, print making, text, video, curating and collaboration as media for artistic expression.[2]

Education

Hughes was an undergraduate at Hampshire College, from which they graduated in 1999. In 2002, they completed the Independent Study Program at the Whitney Museum of American Art. Hughes received an MFA in Interdisciplinary Studio from the University of California, Los Angeles in 2006.

LTTR

In 2002 Hughes helped co-found the feminist genderqueer artist collective and annual literary journal Lesbians To The Rescue (LTTR), which remained an active part of the queer art theory community until 2008, along with Ginger Brooks Takahashi and K8 Hardy.[3] LTTR was dedicated to "highlighting the work of radical communities whose goals are sustainable change, queer pleasure, and critical feminist productivity." Although the group is no longer active, LTTR has an archive of their journals, events, and work on their website. The website holds information on the group's history and how to access remaining printed versions of their work. LTTR notes on their website: "In late 2007, all five issues of the journal were out of print, and we decided to build a web archive to keep the radical content of LTTR available. We also strive to make the journal accessible in feminist archives and public collections."[4]

Ecstatic resistance

Hughes developed the concept "ecstatic resistance"[5] in 2009 to talk about the impossible and imaginary in politics. In their essay on the topic, Hughes says, "Ecstatic Resistance is a project, practice, partial philosophy and set of strategies. It develops the positionality of the impossible alongside a call to re-articulate the imaginary. Ecstatic Resistance is about the limits of representation and legibility — the limits of the intelligible, and strategies that undermine hegemonic oppositions. It wants to talk about pleasure in the domain of resistance — sexualizing modern structures in order to centralize instability and plasticity in life, living, and the self. It is about waiting, and the temporality of change. Ecstatic Resistance wants to think about all that is unthinkable and unspeakable in the Eurocentric, phallocentric world order."[6] In addition to her essay being published in Grand Arts and Toronto's C Magazine, the project also was inclusive of a "practice, partial philosophy, set of strategies, and group exhibition(s)" that were all organized and curated by Hughes.

The two simultaneous sister shows were exhibited at Grand Arts (Nov. 13 - Jan. 16, 2010) and X Initiative in NYC (Nov. 21 - Feb. 6, 2010) and incorporated the art and performance of Yael Bartana, Sharon Hayes, Matthew Lutz-Kinoy, My Barbarian, Jeanine Oleson, Ulrike Ottinger, Adrian Piper, Dean Spade and Craig Willse, A.L. Steiner, Rosa Barba, Juan Davila, Xylor Jane, My Barbarian in collaboration with Liudni Slibinai, Ulrike Muller, A.L. Steiner, Joyce Wieland, Leah Gilliam, Julianna Snapper, PIG/ Politically Involved Girls (Wu Ingrid Tsang, Zackary Drucker, and Mariana Marroquin), and Ian White.[7] The New York Times' Roberta Smith wrote that "Ms. Roysdon's title connotes a spirit of Zen activism, with absurdity substituting for ideology, but with politics still in the picture."[8]

One of Hughes's works that explores the concept of Ecstatic Resistance is their performance piece I am Helicopter, Camera, Queen (2012), which showed at the Tate Modern in London, but is fully archived and available on YouTube. Hughes describes here intent of the piece in an Art Monthly article: "to celebrate queer bodies and it is outside the room, but inside the gallery, that this finally becomes successful as, inside the room, the constraints of movement could not break the mirror eye of the camera, but the form of the birth chain, caressed by the lashes of the dildoic camera, dismantles this to create a dynamic postural gesture that proposes a different relational space, a queer space in which resistance becomes presence rather than antagonism."[9]

Other collaborations

Hughes's many other collaborations include costume design for choreographers Levi Gonzalez, Vanessa Anspaugh and Faye Driscoll, as well as lyric writing for The Knife, and JD Samson & MEN.

Recent work

Hughes's recent solo projects include One Big Bag (2021), Help the Dead (2019), scenic, say (Kunsthalle Lissabon, Lisbon, 2017), Comedy of Margin Theatre (Secession, Vienna, 2015), and Uncounted (2014-17).[10]

In 2021, Hughes wrote, directed, and produced the installation and film piece One Big Bag. This piece focuses on the concept of end-of-life care and death, with Lindsey Rico performing the role of a "millennial death doula" who guides the audience "through the largely uncharted waters of corpse care - practical political, and spiritual." This piece was commissioned by the Institute of Contemporary Art, Los Angeles and Studio Voltaire in London. It was filmed at The Kitchen in New York, New York. [11]

Help The Dead (2019) is a 60-minute live performance piece centering around "self-determination, accountability, and the fantasy of continuity". This piece, similar to One Big Bag, explores death doulas and the care of dead bodies. Help The Dead was performed by Colin Self and Geo Wyeth at multiple locations in both the US and Europe.[12]

Hughes works with prints and sculpture in scenic, say (2017) and Comedy of Margin Theatre (2015). scenic, say includes silver gelatin photograms, screen prints, offset prints, and collage that alters the scale and sizes of the images. Hughes once again explores themes of loss and death, focusing on the "senses of loss in a relationship" versus "the aliveness of time"[13] Comedy of Margin Theatre (2015) was Hughes's first solo exhibition. It includes laser jet prints, handmade clocks, and writing that is divided into 23 sections, with Hughes's essay "Uncounted" as its centerpiece.[14]

Art showings and festivals

Hughes's work has been featured in solo exhibitions at Kunsthalle Lissabon, Lisbon (2017), Secession, Vienna (2015), Participant Inc., New York (2015), and the Berkeley Art Museum (2010).

Their work has also been featured in the 11th Gwangju Biennale, South Korea (2016), the Biennale of Sydney (2014), the Whitney Biennial, New York (2010), and Manifesta 8, Murcia, Spain (2010), as well as in group exhibits at Museu Serralves, Porto, Portugal (2017), Kunst-Werke Institute for Contemporary Art, Berlin (2016), the Museum of Modern Art, New York (2014), Moderna Museet, Malmö, Sweden (2014), Institute of Contemporary Art, Boston (2011), and the Museo Nacional Centro de Arte Reina Sofía, Madrid (2010).[15]

Hughes had their first major solo art show in the Nordic countries in March of 2022, titled Alive Time. They exhibited past performance pieces, most notably A Gay Bar Called Everywhere (With Costumes and No Practice) (2011/2022) and Help The Dead (2019/2022).[16]

Hughes next show, Alive Side, is slated to open at the Whitney Museum of American Art in January 2023 through April 2023. The Whitney describes Hughes's focus in this exhibit as a "series of works are connected by the artist’s interest in transitions, thresholds, kinship, legacy, and queer life."[17]

Grants and awards

Hughes completed the Whitney Museum Independent Study Program in 2001 and an Interdisciplinary MFA at UCLA in 2006. They have received grants and residencies from the Rema Hort Mann Foundation (2010), Franklin Furnace (2009), Wexner Center for the Arts (2009), Art Matters (2008), the International Artists Studio Program in Sweden (IASPIS, 2008), and the Hammer Museum (2018-2019). In 2012 Hughes was a finalist for the Future Generation Art Prize.

Hughes was a Mary I Bunting Fellow at the Radcliffe Institute for Advanced Study from 2019 - 2020.[18]\

Hughes is the Sachs Visiting Professor at the University of Pennsylvania for the 2022-2023 academic year.[19]

Works in permanent collections

Further reading

References

  1. ^ "Every Ocean Hughes". Retrieved 25 September 2019.
  2. ^ "Ten Minute Talk". Retrieved 1 February 2014.
  3. ^ "LTTR". Retrieved 1 February 2014.
  4. ^ "The Journal | LTTR". www.lttr.org. Retrieved 2022-12-18.
  5. ^ "Ecstatic Resistance" (PDF). Retrieved 16 December 2020.{{cite web}}: CS1 maint: url-status (link)
  6. ^ "Ecstatic Resistance". Retrieved 15 December 2020.{{cite web}}: CS1 maint: url-status (link)
  7. ^ "Ecstatic Resistance". Retrieved 15 December 2020.{{cite web}}: CS1 maint: url-status (link)
  8. ^ "Art In Review". Retrieved 1 February 2014.
  9. ^ Roysdon, Emily (2015-09-01). "Uncounted". Stedelijk Studies Journal. 1. doi:10.54533/stedstud.vol003.art02. ISSN 2405-7177.
  10. ^ "Every Ocean Hughes". everyoceanhughes.com. Retrieved 2020-12-15.
  11. ^ "Every Ocean Hughes". everyoceanhughes.com. Retrieved 2022-12-18.
  12. ^ Presse, K. W. (2019-07-15). "Pause: Every Ocean Hughes". KW Institute for Contemporary Art. Retrieved 2022-12-18.
  13. ^ "Every Ocean Hughes". everyoceanhughes.com. Retrieved 2022-12-18.
  14. ^ "Every Ocean Hughes". everyoceanhughes.com. Retrieved 2022-12-18.
  15. ^ "Every Ocean Hughes | Hammer Museum". hammer.ucla.edu. Retrieved 2020-12-15.
  16. ^ Backström, Valerie Kyeyune (2022-03-31). "GAY In All Caps". Kunstkritikk. Retrieved 2022-12-19.
  17. ^ "Every Ocean Hughes: Alive Side". whitney.org. Retrieved 2022-12-19.
  18. ^ "Every Ocean Hughes". Radcliffe Institute for Advanced Study at Harvard University. 2019-02-26. Retrieved 2020-12-17.
  19. ^ "Every Ocean Hughes". everyoceanhughes.com. Retrieved 2022-12-19.



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