HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THREE PHASE 3607 ATWOOD RD. STONE RIDGE, NY email: threephasecenter@gmail.com www.threephasecenter.com Located in Stone Ridge, NY Three Phase is a place to formulate, find, construct, propose and articulate with information derived from process-based art actions, object construction, performance, experimentation and outcomes. Three Phase is dedicated to supporting and reframing the utility of art practices that aim to sort and solve problems of language and perception by offering an array of workshops, services, studio & lab time as well as space for performance art, movement and sound exploration. Three Phase Center is a Woman-led organization - conceived, owned & operated by Nina Isabelle.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Aaron Pierce February 2017 A: I am a graduate from Utah Valley University and I am writing a dissertation for the university's biannual Art History Symposium. The topic of discussion this year is Maximalism. I am particularly focusing on performance art as the contemporary medium that is reinventing museum spaces and engaging audiences by stimulating the senses more through music, dance, film, and painting combined. That is where your exhibit Animal Maximalism came to my attention. I am completely intrigued and enthralled by your performance art pieces and projects you have created. For this paper, I would love to have your view on performance art and Maximalism. I am interested in hearing some of your methods about performance art and Maximalism. It is rare in art history to be able to have contact with the artist, hence my excitement. If you do not mind sharing your opinion, I would like to know how you feel performance art engages audiences and pushes them to connect on a higher level to art? Also, why are we seeing a shift towards more performance art pieces in museums and galleries? I feel that audiences want to have a full sensory experience. How does Maximalist performance art achieve this better than other medium of art? N: I practice a process of allowance where I let myself do what I want. This approach results in maximum data and action. By letting myself engage with an array of modalities I can generate multiple outcomes and possibilities. Because I'm not limited to any single mode of involvement, I'm free to use painting, performance, photography, or video or a mixture of modalities as I find necessary depending on my agenda and instinct. This suits my athletic, resourceful, and determined nature. I approach performance art in the same way I would approach any other art modality- by paying close attention to gut instincts and psychic impressions in a process designed to override cerebral programming. The aim is always to align action with intention, and make note of the findings and outcome along the way. Performance art is a good choice when the concept I'm grappling with calls for a human body, action, or a narrative to actuate the outcome, especially literal concepts like worshiping the golden calf or using blood to cleanse things. My body can become a tool, a stand-in, or effigy of or for the viewer, creating a point of commonality to facilitate access. Aligning action with intention is also a way to re-frame ritual and an attempt to validate the effectiveness of approaches historically relegated to realms of religious structures and beliefs. I was recently invited to teach an art theory class for kids at The Hudson Valley Sudbury School. Through our discussions it emerged that the students felt most drawn to art practices and outcomes that suited the nature, mentality, and necessity of the individual artist. For instance they could relate to how Chuck Close became successful at painting faces as a result of his lifelong struggle with a facial recognition disorder. In reflecting on my personal method it occurs to me that my mode of operation is dictated by my nature, I didn't choose to function within the Maximalism approach and philosophy, it's just that the philosophy happens to align with my nature. I'm a serial over-doer of all things who relishes the opportunity to push things too far. My work is reactionary because I'm a reactionary person. For instance the first time I encountered minimalism I was ready to explode in a thousand directions. And, as an art student I couldn't help but challenge typical art professor's slogans such as "You have to know when to stop." Of course I could recognized the academically dictated stopping point but I would never in a million years stop there. I've always felt that learning how to challenge, push, or destroy something is a valid study when handled respectfully and with intention. Performance art is an another mode of operating for artists to use in order to find or generate new information, to experiment with creating new experiences, or to try to express something they otherwise couldn't. It can engage the viewer in an intimate way offering the potential to build powerful experiences as it facilitates a space that can involve and include the viewer in a novel physical or psychic way. It's possible that since performance art inhabits walking space where gallery-goers would otherwise be moving about, a psychic connection is created by sharing the same space. As viewers, we know less about what it would be like to hang motionless on a wall. Performance art offers a platform for artists to practice aligning action with intention, a way to possibly re-frame ritual and to build experimental new models for of control or power to replace outmoded religious structures and beliefs. But also, It's possible the performance art trend might be a way for artists to backhandedly confront consumerism and elitism simultaneously, or at least to create the illusion of doing so. Commercial galleries and academic environments can be market driven or exclusive, but performance art has the ability to dissolve those traditional notions and to expand viewership by engaging broader mentalities in a way that would be difficult for strictly visual work focused on heady concepts or dollar amounts. And since we live in a culture of visual bombardment, where viewer's digitally conditioned eyes and minds are increasingly savvy, and in conjunction with consumer programming, we need something that can function both inside of and outside of commercial gallery and academic paradigms. There is a literal dissolution of boundaries. Since performance art is impervious to ownership and commodification, it pushes against market-driven capitalist structures and challenges a system where finances determine success. Issues of marketability, ownership, or commodity all come into play because its difficult to financially capitalize off of performance art. So, maybe it's like most trends- timely and culturally necessity. I developed the Animal Maximalism exhibition concept as a way to bombard the human sensory input manifold with the intention of revealing cloaked information. I use the word "Animal" as an homage to instinct. For me academia operated through reversal, fueling my defiance more than refining me the way school is supposed to, so part of my mission has always been to build legitimate framework for us animals, one that is less cage-like, and Maximalism is a good framework for that agenda. I try to work within and build upon systems that already exist that might reflect and support my authentic nature, and to allow my work to reflect and be a response to the full spectrum of my body's biologic manifestation of its own history within its cultural environment. Maximalism feels like science-fiction, in that it offers the potential for system building where the inward personal landscape can travel all the way outward through the giant jumbled experience of collective household, community, country, and planetary psychic connections. Maybe performance offers an easier access point to the viewer in that we can all relate to each other as humans who are human shaped and have human form. We all share common ways of moving our human forms through space. It's possible that performance could function to create a portal, like a way out or a way in.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Nina Isabelle Opening at HiLo CATSKILL, NY MAY 2017 Nina Isabelle, with her signature gusto, will be presenting an evening of intrigue, education, and hullabaloo. Arm wrestling, The Overconfident Autodidact (performed by Erik Hokanson,) a tea party performance by Valerie Sharp, a public interview with the questioner another performance artist (Matthew Gioia,) and two documentary screenings- The Eucharist Machine and Time Travel Research Documentary.. Nina Isabelle's installation will be at HiLo from now until June 5. It can be viewed M-F 7am-2pm and Sat & Sun 9am - 4pm until May 3rd after which time the hours will be M-Tu 7-2, W-Th 7 -4, Fri 7am-12am, Sat 7-12am, Sun 9am - 10pm

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CLICK HERE TO SUBSCRIBE TO NINA A. ISABELLE'S QUARTERLY EMAIL TO CONTACT NINA A. ISABELLE USE THE MESSAGE FORM BELOW: Email sent to Nina A. Isabelle Send

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FEMINIST ART GROUP (F.A.G.) doing JUST SITUATIONS June 23, 2017 Grace Exhibition Space Brooklyn, NY "Just Situations is a hybrid conference, festival, and “political science fair,” hosting artists and active citizens who are working in performative ways, moving beyond the trending commercialization of art “about” politics, into non-representational and non-reproductive modes of performance which directly construct, speculate, design. position, and posit “just” forms of political, social, and personal human being and becoming." "States of unknowing, collectivity transcending and social becoming are workshopped and parsed, particulated and presented." JUST SITUATIONS is a project of the Brooklyn International Performance Art Foundation (BIPAF). BIPAF is an ongoing (since 2013), communal, and demi-anonymous/open-source platform for performance of socially-constructive institutional critique. https://justsituations.wordpress.com/ IMG_E6818 Thea Little, IV Castellanos Elizabeth Lamb Quinn Dukes Elizabeth Lamb Elizabeth Lamb Elizabeth Lamb Elizabeth Lamb Elizabeth Lamb, IV Castellanos 1/1

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PAINTINGS 2016 20-2016 22x30, oil paint on paper 19-2016 22x30, oil paint on paper 18-2016 22x30, oil paint on paper 17-2016 22x30, oil paint on paper 16-2016 22x30, oil paint on paper 15-2016 22x30, oil paint on paper 14-2016 22x30, oil paint on paper 13-2016 22x30, oil paint on paper 12-2016 22x30, oil paint on paper 11-2016 22x30, oil paint on paper 10-2016 22x30, oil paint on paper 9-2016 22x30, oil paint on paper 8-2016 22x30, oil paint on paper 7-2016 22x30, oil paint on paper 6-2016 22x30, oil paint on paper 5-2016 22x30, oil paint on paper 4-2016 22x30, oil paint on paper 3-2016 22x30, oil paint on paper 2-2016 22x30, oil paint on paper 1-2016 22x30, oil paint on paper 1/1

Inspired by Dion Fortune's Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930, I carved a 15' wooden stake from a white pine tree removed from my property and designed a welded steel foundation to support and direct its potential in a specific way. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PSYCHIC SELF DEFENSE GIANT WOODEN STAKE FOR DESTROYING PSYCHIC VAMPIRES Inspired by Dion Fortune's Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930, I carved an 11' wooden stake from a white pine tree removed from my property and designed a welded steel foundation to support and direct its potential in a specific way. There was a nearly dead forty-five foot tall white pine tree on my property that I needed to remove because it was next to a home with a newborn. I was overwhelmed by its potential for destruction as well as the terror at having to take responsibility. I feared it might smash a building or kill someone but I felt frozen to take action. Normally, I figure out a way to do things myself, but in this case I knew I had no ability to take down such a tree and I was having trouble finding a tree service who was able to schedule the job during the pandemic. I was also paralyzed by the thought of the expense. I wanted to run away, but knew I had to transform my fear and helplessness. I had the idea to approach the problem as an art project as a way to reconnect with my boldness and to remember the feeling of embodying initiative. Once I realized that I could apply methods from my art practice to this life circumstance, art became my teacher, and I began to hear the tree speaking to me saying "Look at me, I'm a giant wooden stake and I want to help you!" At the same time, I was rereading Dion Fortune's book Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930 where she discusses the literal manifestation of vampiric energies and vampires themselves as people, circumstances, experiences, and entities that deplete us for their own gain. I had read the book as a young person and was now surprised to realize how her description of this system had maintained its relevance and how it paralleled the language of healthy boundaries as discussed in contemporary psychology. Vampiric energies accumulate through life experiences and interactions with other people and entities who intentionally or not connect their psyche to us. Unhealthy past relationships, traumas, and global events like the pandemic have the potential to develop longterm harmful effects on our beings and we need to develop tools to combat this dynamic. Thinking and working this way is one way art processes can help us. I designed, built, and activated the tree into a large healing tool sculpture that can neutralize the effects of psychic vampirism and other unhealthy energetic connections that impact our wellbeing. To start, I stripped the bark off of an eleven-foot length of the white pine and my son helped me with his chainsaw to carve one end into a sharp point. The base is a prism made of two welded steel equilateral triangle structures that elevate and position the point of the sculpture directly at heart level maximizing its power to blast away the psychic and etheric connections one inadvertently accumulates throughout life. The sculpture is a giant cleansing machine. It targets etheric and energetic fields and tethers that become attached to ones outer bodies over time. It's meant to cleanse the outer bodies by obliterating unhealthy energies and connections, prohibit vampiric energies from sinking their fangs into the many dimensions of our psychic, physical, mental and emotional spheres, and to destroy the parasitic relationship dynamic vampires establish and maintain with our physical host bodies against our will and awareness. The sculpture is interactive. People were invited to stand in front of it, connect with its design, and have their own healing experience. MAY 1 - 29, 2021 ART/LIFE INSTITUTE 185 ABEEL ST. KINGSTON, NY OPENING MAY 1st 6:PM - 9:PM MID-MONTH RECEPTION - MAY 15th 6:PM - 9:PM CLOSING EVENT MAY 29th - 6:PM - 6:PM

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SALIENT MEMORY MANIPULATING PENDANT LAMP FEBRUARY 2017 Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization."

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. Nina Isabelle HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Addition Equals Subtraction, 43.50 x 62.25, house paint and flashe on canvas, 2017 Nina A Isabelle performing in Temporary Ungovernable Zone for Anarko Art Lab at Ft. Tilden, NYC. Photo by Jaime Rosenfeld FUTURE: -THE CORVETTE PERFORMANCE MACHINE , OFF SIGHT + SOUND , Eastern Bloc , Montreal, Quebec, March 20-21, 2025. -Weirdos in the Woods - an upstate art adventure by The Tavern , Three Phase Center , and Rosekill Performance Art Farm . August 29 - September 1, 2025 PAST: -UFO Conjuring for Transit of Venus at Kiddie Pool Art, December 6, 2024, Albany, NY -Dialogues for the Ear & Eye: Anton Yakovlev, Nina Isabelle, Marianne Osiel, 9W Diner, Saugerties, NY, November 12, 2024 -Linda Montano, Nina Isabelle, Brian McCorkle, O+Art festival, Keegan Ales, Kingston, NY, October 13, 2024 -The Scholar with Structure Affliction, Hampshire College, Amherst, MA, October 7, 2024 -Noisy Exercise Video Performance, Rosekill Performance Art Farm, Rosendale, NY, May 24, 2024 -Seeding Care with Kathie Halfin, Hanae Utamura, and Georgia Lale, Artport, Kingston, NY, May 19, 2024 -RPI Graduate Exhibit, Create Communities Studio, Troy, NY April 28, 2024 -Postenkill Gorgeous with Lisa Schonberg, Oakwood Community Center, Troy, NY, Jan 15, 2024 - 5 Objects, Percussion & Piano for Lisa Schonberg's Old Growth Playback at The Sanctuary for Independent Media in Troy, NY on December 16th, 2023 at 7:PM - Electronic Arts PhD Open Studios, Rensselaer Polytechnic Institute, Troy, NY - Chicken Performance with Linda Montano, Paul McMahon & Brian McCorkle at Lamb Center, Saugerties, NY - Art = Healing - group exhibit by Linda Montano at Emerge Gallery, Saugerties, NY - b priori, Rensselaer Polytechnic Institute EArts PhD Graduate Exhibit at Collarworks , Troy, NY - SOLVERMATH! Initial phase opens virtually February 24, 2023, CLICK HERE > > > SOLVERMATH! - West Hall Open Studios, Rensselaer Polytechnic Institute, Troy, NY, December 2022 - Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 - Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 -Nina Isabelle - Artist, Thinker, Observer , Theresa Widman's Podcast #183 - The Black Meta Interviews Nina Isabelle for Radio Kingston, by Beetle & Freedom Walker, May 2021 -PSYCHIC SELF-DEFENSE Sculpture, Installation, & Demonstration at Art/Life Kingston, May 1st - 29th, 2021 -Imagined Performances read by IV Castellanos at Para\\el Performance Space, Brooklyn, NY, February 12, 2021 -Kerry Santullo interviews Nina Isabelle for NYC Children's Museum of Art "Meet The Makers ," October 21, 2020 -Spheres of Perception & Value, Virtual Presentation, Hynes Institute for Entrepreneurship & Innovation at Iona College, September 21, 2020 -Video Manifestation System User Interface Lecture and Presentation, Grace Exhibition Space, NYC, May 1, 2020 -Superfund Revisioning Project Lecture, Grace Exhibition Space, NYC. May 15, 2020 -EQUINOX, An Emergency of Joy, March 19, 2020 -The Ear, Brooklyn, NY, August 23, 2019 -Remarkable New Locations- Nye Ffarrabas & Nina Isabelle, CX Silver Gallery, Brattleboro, VT, May 18th - June 15th, 2019 -PARALLEL-104 Meserole Street, Brooklyn NY, Saturday, March 23rd,2019-7:PM -documentation discussion panel with LiVEART.US featuring Emergency INDEX at Queens Museum , February 17, 2019 2:00-5:00 -Empathy Blinders by David Ian Bellows/Griess with Nina Isabelle & Elizabeth Lamb, Brooklyn Arts Media , December 4-18, 2018 -As Far As The Hart Can See / In Honor of, The Elizabeth Foundation for the Arts , NYC, October 20th, 2018 -actLife, Linda Mary Montano, Nye Ffarrabas, Cai Xi, Nina Isabelle, Jennifer Zackin, Lee Xi & Sharon Myers, CX Silver Gallery, Brattleboro, VT, August 24 -Healing + Arts / Radical Domesticity, Movement Metaphors Workshop, Kingston, NY, August 24, 2018 -NO NUDES NO SUNSETS , August 11 - September 22, 2018, Green County Council on the Arts , Catskill, NY -Whistle Portraits, Linda Montano & Nina Isabelle, Secret City Art Revival, Woodstock, NY, July 28 - DRAMATIC OBJECT MAKING / EMPATHY BLINDERS with Elizabeth Lamb & David Ian Bellows Griess, THREE PHASE , Sept.1, 2018, Stone Ridge, NY -WE CAN'T TELL WHAT WE'RE DOING, HiLo , July 20, 2018 - August 26, 2018, Catskill, NY -Whistle Portraits, Linda Mary Montano, Nina Isabelle & Jennifer Zackin, HiLo, Catskill, NY June 10, 2018 -ANIMALIA, Anarchist Art Festival, Judson Memorial Church, NYC, June 8 2018 -GUTTER HANGER w/ Lorene Bouboushian & Friends, THREE PHASE , 1:PM-DARK, May 27, 2018, Stone Ridge, NY -EMBODYING THE OUTER BODIES: a demonstration of low-level energetic vacuum form technologies 7:PM, May 24, 2018, PPL , Brooklyn, NY -Citizen Participation: Diagrams & Directives, Feminist Art Group, www.bulletspace.org , May 6, 2018, NYC -Hymn Warp Transducer at Paul McMahon' s Bedstock Exhibit, 9 Herkimer Place, Brooklyn, NY, April 15, 2018 -New Genres at Living Arts in Tulsa,OK , March 2-3, 2018 -MUSCULAR BONDING at M.A.R.S.H. (Materializing and Activating Radical Social Habitus)- Feb 15 - March 5, St. Louis, MO -The Video Manifestation System released by Human Trash Dump - February 26, 2018 -PIANO PORTRAITS By Linda Mary Montano with Nina Isabelle, & Jennifer Zackin at HiLo , Catskill, NY, Feb. 11, 2018 -BEAST CONJURING by Nina Isabelle, The Mothership , Woodstock, NY, Jan16-21, 2018 http://paulmcmahon.tv/mothership -MKUVM, Human Trash Dump, November 27, 2017 https://archive.org/details/htdc002 -The Bedroom, 4th Iteration by The Women Artist Team, Holland Tunnel Gallery , Brooklyn, NY , October 20- November 12 -Patricia Field's International Art / Fashion Show, Joe's Garage, October 6, 2017, Catskill, NY www.greenearts.org -CENTENNIAL:SHE, Greene County Council on the Arts, October 7 - November 11, 2017 -The Shirt Factory Centennial Celebration- Performance / Open Studio , Kingston, NY, September 16, 2017 -F.A.G. Slumber Party, Nina's House & Yard Studio, Hurley, NY September 4-6, 2017 -We Are The Secret Garden: An Evening of Performance, Kingston, NY September 26, 2017 -The Bedroom , The Women Artist Team at NA Gallery, Chungcheongnam-do, South Korea, July 23- Aug. 7, 2017 -Just Situations, Grace Exhibition Space, Brooklyn, NY, July 23, 2017 https://justsituations.wordpress.com -Temporary Ungovernable Zone , Anarcho Art Lab / ARTINYC, Ft. Tilden, NY July 8, 2017 -Experimental Archery Workshop , Rosekill Performance Art Farm, Rosendale, NY, June 10, 2017 http://www.rosekill.com - Mothering, Rosekill Performance Art Farm, Rosendale, NY, June 3, 2017 http://www.rosekill.com/ - N Y C Anarchist Performance Art Festival #11, The Judson Memorial Church , NYC, May 12, 2017 -The Fabric Of Women's Space-Time, The Lace Mill Gallery, Kingsotn, NY, May 13, 2017 -UNITY, The Lace Mill Gallery, Kingston, N, May 6-13, 2017 -The Unstitute's Projection Room,Catalunya, Spain, August 2017, http://www.theunstitute.org/Projection.Room.html - STAGES, Performance by Clara Diamond with Valerie Sharp & Nina Isabelle, GREENKILL , APRIL 15, 2017 -P R O P E R T Y , R O M A N S U S A N / RPWRHS, CHICACO, IL, APRIL 1-30, 2017, www.romansusan.org -Bangkok Underground Film Festival , Bridge Art Space, Bangkok, Thailand, March 4-12, 2017 -SHORTCUT TO HELL, January 22, 2017, Otion Front Studio, Brooklyn, NY www.otionfront.com -HiLo Art, April 2017, Catskill, NY https://www.hilocatskill.com -EotW (Embarrassed Of The Whole) February 4, 2017, Panoply Lab, Brooklyn, NY http://www.panoplylab.org -Mock The Chasm, November 12, 2016, Art/Life Institute Kingston, NY http://www.artlifekingston.com/ -JOB /// IV Soldier's Feminist Art Group at Panoply Performance Lab, Brooklyn, NY -San Diego Art Institute - The Dead Are Not Quiet, San Diego, CA October 1-31 -Animal Maximalism, Green Kill, Kingston, NY, October 1-15 www.greenkill.org -POLITRICKS: Theories & Other Conspiracies, October 14, Ellipsis Art, Philadelphia, PA -Artist and Location, September 23-October 9, Czong Institute For Contemporary Art, Gimpo Korea, www.cicamuseum.com -Jurnquist Coloring Book Show, September 24, Studio Fidlär, Alexanderplatz, Berlin

The Video Manifestation System offers a way to build and shape reality by guiding users through a process designed to align intention with action resulting in a five minute video including individualy prescribed viewing directives. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE VIDEO MANIFESTATION SYSTEM USER ARCHIVE Download Video Manifestation System from HUMAN TRASH DUMP here: https://archive.org/details/htdc005 ALICE TEEPLE December 9, 2019 Manifesting Ethical And Sustainable Paths Best Suited To Artists' True Calling ALICE TEEPLE December 8, 2019 Video Manifestation System to Manifest A Balance of the Divine Masculine and Feminine ALICE TEEPLE January 4, 2018 Video Manifestation System to Manifest Excellent Career Opportunities NINA ISABELLE November 18, 2017 Video Manifestation System Video to Manifest a Video Manifestation System

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SEEMRIPPER A conceptual video-performance demonstrating artist as self replicator The Elizabeth Foundation As Far As The Heart Can See Curated by Nicolás Dumit Estévez October 2018 Seemripper was produced using The Self-Limiting Conceptual Video Production Process; a system that interlaces action, duration, direction, speed, sound, color, sequence, subject and object to form a linear audio and visual arrangement. The Self-Limiting Conceptual Video Production Process was designed as a system to sidestep consciousness in order to access lateral dimensions of awareness and is a continuation of The Video Manifestation System released by Human Trash Dump in January 2018. The video-performance frames the artist as a self replicator caught in a recursive loop of infinite destruction and renewal generated by the physical and quantum relationships between fire, water, air, metal and earth. This project was initiated by Linda Mary Montano as part of 'In Honor Of,' a performance series Curated by Nicolás Dumit Estévez Raful with curatorial fellow JP - Anne Giera at The Elizabeth Foundation in New York City on October 20, 2018. Performers were nominated by artists featured in 'As Far As The Heart Can See' (Nao Bustamante, Billy X. Curmano, Irina Danilova & Project 59, Beatrice Glow, Ivan Monforte, Linda Mary Montano, Praxis (Delia & Brainard Carey), Beth Stephens & Annie Sprinkle, and Martha Wilson & Franklin Furnace Archive) and include former mentees, current students, assistants and younger artists whose work they admire: Elena Bajo Bajo, Sindy Butz, Larissa Gilbert, Nina Isabelle and Xinan (Helen) Ran.

Iqtest Melissa Lockwood and Nina A. Isabelle build the world's largest cotton double-pocketed patchwork dresses out of fabric castoffs in four hours flat. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT DRESS IQ TEST MELISSA LOCKWOOD & NINA ISABELLE The Giant Dress is the world's largest handmade all-cotton patchwork double-pocketed sleeveless up-cycled floral summer dress constructed in under four hours flat. KINGSTON, NY / MAY 2017 IQ Test Melissa Lockwood Firing tiny ceramic vessels in a fire at Rosekill with The Giant Dress. The Giant Dress The Giant Dress hanging on The South Barn at Rosekill Performance Art Farm in Rosendale, NY The Giant Dress Sewing The Giant Dress at The Shirt Factory Studio in Kingston, NY The Giant Dress Nina Isabelle with The Giant Dress at The Shirt Factory Studio in Kingston, NY

The Eucharist Machine stores edible digital data in the DNA of the body of Christ. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE EUCHARIST MACHINE BANGKOK UNDERGROUND FILM FESTIVAL BANGKOK, THAILAND / MARCH , 2017 English with Thai subtitles Thai with English subtitles Inspired by Chris Lehmann’s book The Money Cult: Capitalism, Christianity, and the Unmaking of The American Dream, The Eucharist Machine addresses language, perception, and belief. In The Eucharist Machine, information is skewed by a presentation of jumbled non-linear facts and fiction, science, pseudoscience, and science fiction. Inaccurate grammar and linguistics push the concept even further by incorporating the cockamayme Thai / English subtitles and voice-overs produced by Google Translate and Apple’s Text To Speech system preference in a process that reverse-legitimizes the information. The Eucharist Machine is what happens when the under informed articulate with high-tech features. Information lost in translation becomes a sort of up-cycled spirituality; a futuristic projection of possible renewal of the crumbling dialogue between spirituality, commodity, and financial value. The Eucharist Machine takes a serious, culturally backwards, multigenerational look at what it means to be sanctified. เครื่องศีลมหาสนิทเป็นหนังสั้นที่เขียนกำกับและแก้ไขโดยศิลปินนานาชาติ Nina อิสซาเบล แรงบันดาลใจจากหนังสือของคริสมาห์ของเงินลัทธิ: ทุนนิยมคริสต์และ Unmaking ของความฝันอเมริกันภาษาอยู่เครื่องศีลมหาสนิทการรับรู้และความเชื่อ ในศีลมหาสนิทเครื่องข้อมูลจะถูกบิดเบือนโดยการนำเสนอข้อเท็จจริงที่คลั่งไคล้ที่ไม่ใช่เชิงเส้นและนิยายวิทยาศาสตร์ pseudoscience และนิยายวิทยาศาสตร์ ไวยากรณ์ไม่ถูกต้องและภาษาศาสตร์ผลักดันแนวคิดให้ดียิ่งขึ้นโดยผสมผสาน cockamayme คำบรรยายภาษาไทย / ภาษาอังกฤษและเสียงพากย์ผลิตโดย Google Translate และข้อความของ Apple เพื่อการตั้งค่าระบบเสียงพูดในกระบวนการที่ย้อนกลับ legitimizes ข้อมูล เครื่องศีลมหาสนิทเป็นสิ่งที่เกิดขึ้นเมื่ออยู่ภายใต้แจ้งปล้องที่มีคุณสมบัติที่มีเทคโนโลยีสูง ข้อมูล Lost in Translation กลายเป็นจัดเรียงของขึ้นกรณืจิตวิญญาณ; การฉายอนาคตของการต่ออายุเป็นไปได้ของการเจรจาบี้ระหว่างจิตวิญญาณสินค้าโภคภัณฑ์และความคุ้มค่าทางการเงิน ศีลมหาสนิทเครื่องยิงร้ายแรงวัฒนธรรมย้อนหลังดูหลายรุ่นว่ามันหมายถึงความบริสุทธิ์

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... YARD WORK (YARD STUDIO) HURLEY, NY / MAY 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CERTAIN SOLUTIONS FOR DISSOLVING PROBLEMS CZONG INSTITUTE FOR CONTEMPORARY ART GIMPO, KOREA / AUGUST , 2016 Certain Solutions For Dissolving Problems August 21, 2016 8:39 Certain Solutions For Dissolving Problems compiles digital imagery, audio, photography, and writing from The Superfund Re-Visioning Project into a video that addresses the failure of language and processes used to confront social and political issues such as environmental contamination. Using subtle neurolinguistic programming tactics combined with inaudible frequencies this video implants the idea of psychic reprogramming as a possible solution to artistic process displacement and underutilized artistic visions within the financial and political structures intended to remediate environmental contamination. In September 2016 Certain Solutions for Dissolving Problems was exhibited in an exhibition called Artist and Location at The Czong Institute For Contemporary Art in Gimpo, Korea.

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... HYPERACTIVE INSTALLATION JUNE 4 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FEEDING THE ENTITY MARCH 2015 Clara Diamond & Nina Isabelle Feeding The Entity explores the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE HYMN WARP TRANSDUCER The Hymn Warp Transducer was performed as part of Paul McMahon's Woodstock Invitational for The Bedstock / 👁❤️🦄 Exhibition. 9 Herkimer Place in Brooklyn, NY APRIL 15, 2018 Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / Documentation: Amelia Iaia. Using mouths, machines and tools to convert internal physical sound qualities into noisy output and a visual heap, Appalachian Abacus Haste melds converted hymns with Ever Peacock’s spooky loop-slide guitar sounds and Simon Ampel's rhythms while Nina Isabelle frames the operation in a warped slipshod suffocation structure. Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer, Nina Isabelle Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer, Nina Isabelle Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer, Nina Isabelle Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Show More

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WEST HALL OPEN STUDIO RENSSELAER POLYTECHNIC INSTITUTE TROY, NY DECEMBER 11, 2022

Things can be objects or subjects. While objects are tangible things abstracted from the particularness of subjects, subjects are the intangible concepts or notions we extract from objects. How do we process the intangible sense data we extract from encountering objects made of particles in the phys HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TEN THOUSAND OBJECTIVES I was interested in trying to figure out how the body knows what it knows — specifically, the somatic experience of tangible material, the cognitive experience of intangible concepts, and the interplay between these four variables. I was also interested in how repetition seems to create the potential to sidestep consciousness, and I wanted to experiment with that notion to see if I could access different modes of perception or ways of knowing by engaging in a repetitive action for an extended length of time. In setting up the framework for this performance, I mapped out and identified all the parameters that I was able to. I decided on the timeframe and squared off the surface area of my work space. This gave me a way to control the tangible aspects of the performance. By laying out this semi-structured plan, I hoped to create a situation where intangibles and surprises could occur. Starting in the middle of an eighteen foot square of floor space, I set out to make one thousand pinch pots within a span of four hours. I imagined the pots would fill the entire work space and somehow be equally distributed. I counted the pots as I went along and kept track of them in ten groups of ten — something I realized was necessary as I went along and realized would be the only way for me to know when I was done. I was surprised to find that, at the end of the four hours, and down to within a few minutes, I had made the exact amount I set out to make. While I was working, the span of four hours seemed to shrink down to about the feeling of twenty minutes. These are the types of perceptive phenomena I’m interested in working with and demonstrating. How did these things happen so exactly with such little planning? How and why does time seem to stretch or contract depending on levels of engagement, intention, and focus? Things can be objects or subjects. While objects are tangible things abstracted from the particularness of subjects, subjects are the intangible concepts or notions we extract from objects. How do we process the intangible sense data we extract from encountering objects made of particles in the physical dimension and what do we call this process? What are the internal mechanisms we use to govern how we locate and position our physical selves in relation to objects in space? For this project, I constructed and deconstructed a batch of 10,000 intangible and tangible subjects and objects as a way to set both their physical and nonmaterial aspects free. Through forming a set of 1,000 physical objects made of clay with my hands, the conceptual intangibleness of their essence was simultaneously set free and bound as it transformed into material form. Conversely, intangible concepts were released from physicality through the gestural motions accompanied by the transmutation of 9,000 subjects into nonmaterial objects. Equinox: EMERGENCY OF JOY - 10,000 THINGS SET FREE Seventy one artists from around the world work together remotely and simultaneously over the spring Equinox. Organized by Chelsea Burton, Rae Diamond, Erik Ehn, Brenda Hutchinson, Suki O’Kane, “Ten thousand is rooted in the Buddhist concept of the ten thousand dharmas – an image for all observable reality." MARCH 19, 2020 11:49 PM EST - MARCH 20, 2020 1:49 AM EST (Equinox at 11:49 PM EST)

FAKE PHOTO DOCUMENTATION OF NON-PERFORMANCE BASED PERFORMANCE All information including location, artist, photographer, subject, process, object, HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CAVE GIRL FAKE PHOTO DOCUMENTATION OF PROFESSIONAL NON-PERFORMANCE BASED PERFORMANCE All information including location, artist, photographer, subject, process, object, intention, dimensions, medium, duration, software, hardware, is unimportant and disallowed. JULY 9, 2017 Documentation #1 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #2 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #3 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #4 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #5 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #6 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #7 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #8 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #9 Location, artist, photographer, title subject, and intention are undisclosed and unimportant.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CYBORGS & GENDER August 25, 2017 A male and female robot bicker about a human woman who is climbing dangerously high up into a tree in the dark while her daughter waits below in a wolf costume. What might happen when human actions align with AI intention? The soundtrack was produced using Apple's text-to-speech system. Photo by Ming Liu

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BEAST CONJURING at Paul McMahon's MOTHERSHIP Woodstock, NY January 16-21, 2018 On January 21, 2018 performers at Paul McMahon's Mothership in Woodstock, NY work to conjure the sea beast from the book of Revelation. Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Miles Pflanz at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Linda Mary Montano The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership7509 The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia NAI_7452 Nina Isabelle, Ever Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Beast Conjuring KILL Paper Collage 22x30 (rubberized paint, gouache, ash, enamel, watercolor) By Nina Isabelle The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle, Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene Bouboushian at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene & Nina at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Brian McCorkle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle and Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Bouboushian, Isabelle, Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The "Beast Conjuring" performance intended to conjure and kill the sea beast from the book of Revelation. A group of artists and performers were invited to simultaneously interweave their own processes and intentions as a way to generate energies that might be focused toward the common goal of beast conjuring. Together the group worked to build and maximizing the physical, sensory, and psychic spaces that bind the internal and external dimensions of awareness through performative modes of sound making, movement, object construction, and ceremonial-like gestures in a process that became an inquiry into how a metaphoric conjure-and-kill scenario might translate or become useful in a literal dimension where such things are less possible-seeming. "Beast Conjuring" was performed within an installation including ten hand-fabricated crowns, ten cedar root horns dug from local woods, hand painted imagery of the seven-headed ten-horned beast, a suspended hand-sewn white linen angel, a reconstructed domestic scene from the home of an ex-evangelical and a giant edible Whore of Babylon cake as bait. Lorene Bouboushian read personal text and improvised sound and movement, Linda Mary Montano performed a holy water blessing as Chicken Linda, Brian McCorkle produced sound using a Saxophone and his specially designed Beast Box, (a noise machine built with raspberry-pi based software that cast neural nets for soul retrieval,) Jennifer Zackin engaged in a task-based performance to weave a beast trapping vortex, Ever Peacock and I performed an acoustic rendition of Larry Norman's *You've been Left Behind* thirteen consecutive times all awash in Miles Pflanz's video remake of the 2014 American Christian apocalyptic thriller film *Left Behind* (based on the bestselling novels by Tim Lahaye and Jerry B. Jenkins) that reframes durational performance art as post-apocalyptic living. It's difficult to gauge the effectiveness of a performance conglomerate like "Beast Conjuring" due to its potential to be made to mean multiple things by participants and observers and the ripples of their combined experiences and energies. At the same time, the ability of a situation to evade meaning is exciting. No literal beast popped out of the floor, no politicians were struck dead and there weren't any recognizable or even loosely associated repercussive events of cosmic significance but the usefulness and appeal of such a process seems to unfurl over time in a circular and translucent way that generates unanswerable questions and hints at the possibilities and potential of less realistic thinking and doing.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ARTIST & LOCATION CZONG INSTITUTE FOR CONTEMPORARY ART GIMPO, KOREA October 2016 CICA MUSEUM

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CITIZEN PARTICIPATION: DIAGRAMS & DIRECTIVES FEMINIST ART GROUP (IV Castellanos, Amanda Hunt, Nina Isabelle & Thea Little) ABC No Rio in Exile at Bullet Space 292 E. 3rd St. NYC May 6, 2018 Organized by Esther Neff & Steven Englander Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Thea Little Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Thea Little Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Nina Isabelle Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Amanda Hunt Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / IV Castellanos Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff