Danielle Freakley

Danielle Freakley is an Australian born artist based in Perth/Melbourne. She’s half Seychelles Islander blooded and has drops of other blood curdling. She works in Performance, Sculpture, Interactive Installation, Drawing, Reasonably Shit Dancing, Sound and Text.

In 2016, she has become a first selection finalist for the Arsenale of Venice – Arte Laguna Prize, she will exhibit at the Liverpool Biennial, perform and teach in the Seychelles, have residency at the Flux Factory New York. Her performances change daily social communication and relationships, exposing historical and lurking private projections and subtexts. This usually happens in collaboration with audiences who accidentally perform with her. She became a human art gallery for a couple of years. She spoke in referenced quotation for a few years in her daily public life.

She has exhibited throughout Australia and internationally in other various Biennials, Triennials, National Galleries, State Galleries, Contemporary Art Spaces, Kitchen Floors, Snake Temples, Ski Slopes, Aquariums, Theme Parks, Bins, Beaches, Train Station Toilets and Graves.


Column Shifting: Cultural Equity & Organizational Sustainability Fellowship

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April & May 2017

The success of non-commercial art spaces in New York City is tied to their ability to negotiate with the market, both to maintain a physical presence and to sustain long-term programming. There is an inherent tension between operating a non-commercial space and surviving in one of the most competitive real estate markets in the country. This tension amplifies in neighborhoods that are experiencing gentrification, where more and more resources have to be used for operating costs.

As organizations raise money to survive, they may deviate from their missions, lose their connections to place, compromise on programming, overwork and underpay employees, and even become complicit in the market processes that can ultimately result in their displacement.

To succeed, spaces need access to wealth or the expert knowledge and social networks to effectively fundraise. Spaces organized by and for historically marginalized groups in the city tend to have the most difficulty maintaining operations for the long term.

To gain a better understanding of the relationship between financial stability and cultural equity in non-commercial art spaces, Flux Factory’s Cultural Equity & Organizational Sustainability Fellow, Oksana Mironova, will conduct a series of in-depth interviews with artists and activists, as well as staff and volunteers at art spaces and supporting organizations. In April and May 2017, she will organize a series of events at Flux Factory focused on financial stability and cultural equity.


Jamaica_Is_170325-31Art & Community Development Discussion

Wednesday May 10th, 7pm-9pm
Flux Factory Gallery

RSVP on Facebook

Art programming and community development can have a symbiotic or an adversarial relationship. On one hand, art spaces, from non-commercial community spaces to for-profit galleries, can be used by real estate interests to package neighborhoods and hasten gentrification. On the other hand, art and culture often plays a role in helping communities self-identify, develop identities, and as an organizing tool against displacement. In this panel we will explore the messy relationship between community development, art, and gentrification, as well as the line between the artist and community member in New York City. Further, we will brainstorm about potential ways to use art and culture programming and spaces to mitigate displacement.


Mei Lum, 5th generation owner-in-training of her family’s porcelain shop, Wing on Wo & Co (W.O.W) and founder and director of W.O.W’s community initiative, The W.O.W Project. Inspired by her family’s pivotal moment in deciding whether or not to fold their 92-year-old porcelain ware small business, Mei founded The W.O.W Project to engage community members in conversation and innovative idea generation about the future of their neighborhood.

Rosemary Reyes worked in global development at The Juilliard School spearheading international programs in Mexico City and Northern China. She was also Managing Editor for a small contemporary visual art publication in New Orleans called Pelican Bomb. Reyes freelances as a writer and communications consultant, and is currently working with the Greater Jamaica Development Corporation and the Department of Cultural Affairs on the Building Community Capacity Initiative in Southeast Queens.
Patrick Dougher joined Groundswell’s team as Program Director in 2011 and is responsible for managing all program operations and logistics. Born and raised in Brooklyn, Dougher is an artist, musician, and educator with over 15 years experience in working for community-based arts and social justice organizations.

Catherine Green, Founder/Executive Director ARTs East New York

Photo of Greater Jamaica Development Corporation and the Department of Cultural Affairs’ Visioning Summit. Photo credit to Amina Hassen.

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Thursday May 25, 7pm-9pm
Flux Factory Gallery

Please RSVP on Facebook


Brooklyn native Taja Cheek is a cultural worker and multi-instrumentalist who has worked closely with artists to realize projects at institutions including Creative Time, the High Line, MoMA PS1, and Weeksville Heritage Center. She co-operates a rehearsal space and venue in her home.

Noé Gaytán is an artist, educator, and activist based in Brooklyn, NY. He is a member of Michelada Think Tank, a collective that brings facilitates discourse and builds community around issues facing artists of color. Recent projects include residencies at Sand Diego Art Institute and Los Angeles Contemporary Exhibitions. He is also the Gallery/Studio Program Coordinator at the Brooklyn Museum.

Ali Rosa-Salas is a Nuyorican curator from Brooklyn who aligns her practice with dance, performance, and visual art. She is one half of MAMI, a curatorial initiative started in 2016 with Dyani Douze. They’ve partner with womxn of color and collectives to organize community gatherings that center our survival (@mami_dna).

Risa Shoup is the Executive Director of Spaceworks, a nonprofit that develops space for all New Yorkers to gather and engage in their chosen cultural practices. Previously, they were the Executive Director of FABnyc, an arts services organization based on the Lower East Side of Manhattan and the producer of the podcast, artwork, hosted by Risa. Additionally, they are also a proud member of Naturally Occurring Cultural Districts – New York, and with NOCD-NY, they are a consultant on CreateNYC, NYC’s first-ever cultural plan.

Antonio Serna is an artist working in New York with both a collective and studio based practice. He is currently working on Documents of Resistance: Artists of Color Protest (1960-2016). Additionally he is a member of artists of color bloc an cultural worker advocate group focusing on artists of color, and Arts & Labor’s Alternative Economies Working Group.

The life and death of non-commercial art and culture organizations in New York City today is tied very closely to their ability to negotiate with the market, both to maintain a physical presence and to sustain long-term programming. The spaces that ultimately succeed tend to be those that have access to wealth or the expert knowledge and social networks necessary to effectively fundraise. This reinforces existing hierarchies by limiting the ability of marginalized groups to define what New York City’s culture will look like.

During this panel, we will explore ways in which non-commercial art and culture organizations can promote equity both through their programming and through their organizational structure and fundraising, while surviving in a world of decreasing resources and in NYC.

This panel is organized by Flux Factory Column Shifting Fellow and Community Organizer-in-Residence Oksana Mironova



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Sanctuaries: 3 Mental Wellness Workshops for Queer and Trans* People of Color

Sanctuaries offers place for healing and mental wellness for Queer and Trans* people of color through three workshops: Herbs, Aromatherapy and Boudoir. These workshops seek to harness the power of herbs, scents, and the bedroom to find way to care for oneself through the storms that may cross one’s life path. It seeks to transform spaces of art into places where people feel enriched, soothed and heard.

Workshops are led by Joshua Moton. Please e-mail questions to joshuaemoton@gmail.com.


Date: Tuesday, April 11
Time: 7 – 9 pm
Location: Silent Barn, 603 Bushwick Ave, Brooklyn, NY 11206

You are invited to a discussion surrounding the uses of herbs to sail through life’s troubled waters. We will present a cleansing ritual, prepare various herbal blends for sampling, enter into a discussion surrounding safe spaces and sustaining life, and discuss natural wellness resources. Please bring your own herbs, herb books, or anything you think would be valuable to share.

Space is limited, and there is a $15 dollar suggested donation (none turned away for lack of funds).

***Register here***



Date: Tuesday, May 9th
Time: 7 – 9 pm
Location: Flux Factory

Scent opens one into a radically different space. I use scent to create a feeling of sanctuary in personal space, to cleanse, to relax, to feel more whole.  I will offer a guided meditations based in the sensory experience of smell and introduce the healing properties of various essential oils; blending; base scents, mid-notes, and top-notes.  Music will be integrated into this workshop in order to bridge the gap between scent and sound in healing practice. Donation-based tarot readings will also be offered.

***Register here***




Date: Saturday, May 27th
Time: 7 – 9 pm
Location: Flux Factory

Beauty, personal space, sex.  Learn to take raw ingredients like shea butter, mango butter, olive oil, and essential oils, and give cosmetics companies a run for their money.  There will be the opportunity for facial steams, making natural exfoliants, and moisturizers.  We will launch into a discussion of beauty, interior design, and sexual health.  We will close with a guided meditation.  Feel free to bring an object that reminds you of how beautiful you are.

Registration coming soon






Herbs: A Workshop for Queer and Trans* People of Color is part of “Column Shifting”, a research and public programming initiative at Flux Factory that will provide funded housing for 2 selected participants exploring the relationship between financial stability and cultural equity in small art spaces in NYC.





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OPEN CALL : Column Shifting – Stability and Cultural Equity Residency


Column Shifting is a research and public programming initiative at Flux Factory that will provide funded housing for 2 selected participants exploring the relationship between financial stability and cultural equity in small art spaces in NYC.

Grassroots non-commercial art spaces like Flux Factory strive to play a key role in creating opportunity for all types of artistic experimentation regardless of race, socioeconomic status, or gender identity. At the same time, these small venues often struggle to survive both financially and legally. A disproportionate amount of administrative time can be spent on keeping the organization afloat, rather than fulfilling their mission statement and artistic practices. The demographics of which spaces survive and which spaces don’t closely fall along class and race lines.

We’re looking for research-based cultural producers, activists, journalists, social justice organizers, academics, etc. to continue ongoing work or propose a new project that works with the relationship between financial sustainability and cultural equity in small art spaces.

The project provides funded housing for 2 selected participants for 2-3 months in March to June 2017, and supports a variety of public programming from late 2016 to mid 2017.

Submission deadline: Thursday November 10th, 2016, 11:59 pm

Notification of acceptance: December 1st

Residency #1: March 1st – June 1st, 2017 (3 months)

Residency #2: April 1st – June 1st, 2017 (2 months)

** While rent will be fully-funded, recipients will be responsible for paying utility & food costs, estimated at $150/month.


We are defining cultural researchers very broadly and includes academic researchers, journalists, artists, activists, and filmmakers, etc.

While we are open to a wide range of proposals and are excited to expand the field, what we’re particularly looking for from applicants is 1) a clear history of working with these themes 2) a proposal for a project or research agenda 3) a proposal for public programming.

Submission Guidelines

Please email submissions in pdf format to columnshifting@fluxfactory.org and include the following:

  • Bio or artist statement
  • CV
  • Description of proposed research
  • Proposal of possible public presentation of your work (e.g. exhibition, workshops, discussions, presentations, performances, or actions)
  • Specify whether you are applying for 2 or 3 months
  • Work samples: up to 10 examples of past projects or research
  • List of submitted work samples, including brief descriptions of the work

*note: if applying as a group you may upload multiple bio’s and cv’s as a single PDF

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Amela Parcic

Amela Parcic is an interdisciplinary artist who uses video installations, paintings,collages, and photography to explore memory and the sense of dislocation that urbanization has on individuals.

Having lived in many different places throughout her life, she is interested in creating a space where the imaginary and the observed world meet; a dialogue between imagined and experienced places. Her work oscillates between the autobiographical, dream-like and mystical, investigating history, language, the urban environment and the net of interactions within.

Her work also examines multiple realities and how memory creates an overlapping of different experiences and ultimately an ever-present feeling of being “in-between” places.

Born in Serbia and raised in Germany, Amela completed her BFA in Painting at Pratt Institute in New York City. In 2010, she was awarded a Fulbright grant for a project in Croatia. Currently she is a participant of NYFA’s Immigrant Artist Mentorship Program.

She has exhibited solo shows in Croatia and collaborative projects in the Netherlands, Croatia, Czech Republic, and the United States.



Yi Zhou

Born and raised in Beijing, Yi Zhou is an artist and independent designer. She received her MA in Industrial Design at Central Saint Martins College of Art and Design and moved back to her hometown. Her work has covered a broad range including art, design and fashion. Most of Yi’s projects are drawn from daily life, focusing primarily on the interrelation between human relations and behavior. She takes inspiration from social issues through observation and categorization, transferring those insights and analysis into playful artistic manifestations.

She has major project named BodyMemory. As a design practitioner her award winning product ‘Chinese Hutong Architecture Erasers’ has been produced by Kikkerland Design Inc. and distributed through North America and Europe.

yi zhou

Jung In Jung

Jung In Jung is an audiovisual artist who has been collaborating with contemporary dancers, and considers how to present audiovisual composition with interactivity and physical movement. Her installations, dance collaborations and commissioned works have been shown at various places in the UK and other countries, including Edinburgh Fringe Festival, NEoN Digital Arts Festival, Lincoln Centre for the Performing Arts, Istanbul Design Biennale, xCoAx, ISEA, MIVSC São Carlos Videodance Festival, and Bilbao La Escucha Errante Festival. Jung In is from Busan in South Korea and currently based in Manchester in the UK to pursue her PhD in Music Technology at University of Huddersfield.



Niki Passath

In his artistic creations, Niki Passath searches for answers to the mystery of life, people, their emotions, social behavior, their behavior compared to machines and to the surrounding nature.

On this adventurous journey in search for knowledge he incorporates different disciplines, from robotics to artificial intelligence, from physics to the life sciences. He has traveled to Sweden, Norway, Finland and Australia in search of different answers, which he assembles into kinetic objects, photographs and other artistic configurations. He is always searching for new challenges in form and content.

At the University of Applied Arts in Vienna he teaches “Interface Design,” “Architecture of Light,” and “Public Space and Media.”  He collaborates in a multitude of scientific research projects, including the bio-art club “Pavilion 35.”