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SUMMARY:Dark Matters Symposium
DESCRIPTION:“I plot dark sousveillance as an imaginative place from which to mobilize a critique of racializing surveillance\, a critique that takes form in antisurveillance\, countersurveillance\, and other freedom practices.”  \n\n\n\n– Simone Brown\, Dark Matters: On the Surveillance of Blackness  \n\n\n\nFlux Factory is pleased to present the Dark Matters Symposium at Flux IV\, featuring the work of Sherese Francis and Tom Tsai. Francis and Tsai were selected from a pool of over 50 applicants responding to the themes of surveillance\, anti-surveillance\, countersurveillance\, and the lived or inherited experience of “being watched.” Francis’s Oracle of Opacity (A Kwantum Performance) is a ritual sonic poetry performance and experimental reading inspired by Edouard Glissant’s concept of opacity (Poetics of Relation) and Octavia Butler’s practice of primitive hypertext. Tsai’s contemporary dance work\, A Fantasy of Having Home\, informed by hip hop battle sensibilities\, was created a decade ago to honor Taiwanese resilience in the face of unceasing threats of war. To meet the moment in 2026\, Tsai revives this performance and reframes it around Taiwan’s martial law period\, a time of political persecution enforced through extrajudicial arrests and killings\, secret police surveillance\, and imprisonment. \n\n\n\nIn Dark Matters: On the Surveillance of Blackness\, Simone Browne locates the conditions of blackness as a key site through which surveillance is practiced\, narrated\, and resisted. She shows how contemporary surveillance technologies and practices are informed by the long history of racial formation and by the methods of policing black life under slavery\, such as branding\, runaway slave notices\, and lantern laws. Placing surveillance studies into conversation with the archive of transatlantic slavery and its afterlife\, Browne draws from black feminist theory\, sociology\, and cultural studies to analyze texts as diverse as the methods of surveilling blackness she discusses. \n\n\n\nSymposium Program6:30 PM: Doors open – light refreshments served7:00 PM: Sherese Francis performs7:30 PM: Tom Tsai performs8:00 PM: 10-minute break8:10 PM: Talkback with artists\, moderated by Kamari Carter (Artist/Organizer) and Kennedy Hollins Jones (Curator/Writer)8:45 PM: Audience Q&A9:00 PM: End of event  \n\n\n\nAbout the ArtistsSherese Francis (she/they) describes themselves as an AlKyMist of the I-Magination\, finding expression through poetry\, interdisciplinary arts (collage\, book and paper arts\, sound and performance art)\, workshop facilitation\, editing\, and literary curation. Her(e) work takes inspiration from her(e) Afro-Caribbean heritage (Barbados and Dominica)\, and studies in Afrofuturism and Black Speculative Arts\, mythology and etymology. Sherese has published in a variety of publications\, including Obsidian\, Furious Flower and Women’s Studies Quarterly\, has published four chapbooks\, and edited a poetry anthology/guided journal\, Baby Suggs and a Purple Butterfly. Besides publications\, Sherese has had her(e) work featured in various exhibitions and showcases\, including from NY Live Arts\, York College Arts Gallery\, Jamaica Center for Arts & Learning\, Flux Factory\, Mercy Gallery\, LMCC Gallery on Governors Island and Ely Center for Contemporary Art. \n\n\n\nTom Tsai’s dance work spans stage\, filmmaking\, education\, and activism\, rooted in his Hip Hop\, contemporary dance\, and Taiwanese identities. Tom has performed his contemporary and B-boy solo works throughout the USA\, and internationally in London\, Mexico\, the Netherlands\, Portugal\, Sweden\, and Singapore. He has received support from the City of Pasadena Arts & Culture Commission\, Foundation for Contemporary Arts Emergency Grant\, Ghost Light Residency\, and Dance Resource Center’s Homegrown Residency @ The Music Center. He is a 2-time winner at REVERBDance Festival (NYC)\, and a 2023 California Arts Council Individual Artist Fellow. Tom has been adjunct dance faculty at Pomona College\, Cal State Long Beach\, Cal State Fullerton\, Chapman University\, and NYU Tisch School of the Arts. \n\n\n\nAbout the OrganizersKamari Carter is a New York-based artist working primarily with sound\, video\, installation\, and performance. His practice circumvents materiality and familiarity through a variety of recording and amplification techniques to investigate notions such as space\, systems of identity\, oppression\, control\, and surveillance. Driven by the probative nature of perception\, Carter’s work seeks to expand narrative structures through sonic stillness and found objects. His work has been exhibited at Museum of Modern Art (MoMA)\, New York; Perez Art Museum Miami\, Miami\, FL; Rhode Island School of Design (RISD) Museum\, Providence\, RI; Mana Contemporary\, Jersey City\, NJ; Flux Factory\, Long Island City\, NY; Wave Hill\, New York; Fridman Gallery\, New York; and Automata Arts\, Los Angeles\, among others\, and has been featured in publications including Artnet\, Flash Art\, Hyperallergic\, and Whitewall\, among others. Carter holds a BFA from California Institute of the Arts (CalArts) and an MFA from Columbia University. Kamari Carter is represented by Microscope Gallery in New York City. \n\n\n\nKennedy Hollins Jones is a curator\, researcher\, and writer based in Brooklyn\, NY\, whose practice is rooted in the Black radical tradition\, performance studies\, and literary theory.  Their work is drawn to explorations of the asymptotic\, or that which exceeds or meets infrastructural\, hegemonic\, and ‘normative’ limits\, and the elegiac\, or that which defiantly attempts to decry and bear witness in and to sites of ending. Kennedy is the curatorial assistant at the Institute for Contemporary Art at Virginia Commonwealth University and a member of the Archive Ensemble\, a group of arts workers\, scholars\, and cultural practitioners dedicated to fostering physical\, epistemological\, and political forms of gathering rooted in subaltern and errant modes of being. As the Whitney Independent Study Program Helena Rubinstein Curatorial Fellow\, they served as one of the curators for the 2025 capstone exhibition\, a grammar of attention.  Kennedy was also one of the co-curators of Archive’s presentation for the 2024 Dakar Biennale\, a flood is a remembering. They received their master’s in Public Humanities from Brown University and have supported the research\, curation\, and production of exhibitions and programs at SAVVY Contemporary\, NMAAHC at the Smithsonian\, Brown Arts Institute\, the Miami MoCAAD\, and MoMA.  \n\n\n\nClara Wiest is a Swiss multidisciplinary artist based in New York\, working across fabric\, sound\, installation\, and performance. Her practice includes stage direction\, movement direction\, and intimacy coordination. Her last solo exhibition explored heartbreak\, grief\, and care\, inviting participants to contribute their own creations and become co-authors of the evolving installation. Wiest’s work is rooted in a curiosity about the body\, spirit\, and the emotional dynamics within interpersonal relationships. Clara’s work has been shown at MASSMocA\, Edinburgh Fringe Festival\, The Brick Theater\, Denver Fringe\, BRIC Arts Media\, MITU580\, The Bushwick Starr\, IATI Theater. \n\n\n\nDark Matters Symposium is presented as part Kamari Carter’s 2026 NYSCA Fellowship.
URL:https://www.fluxfactory.org/event/dark-matters-symposium/
LOCATION:Flux IV\, 56-21 2nd St\, Long Island City
CATEGORIES:Flux IV,Homepage Events
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