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Announcing Our Winter/Spring 2022 Season

By The Kitchen

Dec 1, 2021

Announcing The Kitchen's Winter/Spring 2022 Season

Sadie Barnette: The New Eagle Creek Saloon , January 18–March 6
madison moore: Nightlife-in-Residence , January 18–March 6
In Support, featuring work by Fia Backström, Francisca Benítez, Papo Colo, and Clynton Lowry, through March 12 
stefa marin alarcon: Born With An Extra Rib: The Film, March 17
E. Jane: Where there’s love overflowing , April 1–May 14
Winter/Spring Video Viewing Rooms on The Kitchen OnScreen, featuring work by Abbey Williams and more

The Kitchen today announces its Winter/Spring 2022 season, initiating new collaborations and activating the boundless potential of The Kitchen’s spaces in advance of its building’s upcoming renovation beginning Spring, 2022. Works this season, the organization’s first programmed under the leadership of newly appointed Executive Director and Chief Curator Legacy Russell, expand uses and definitions of space to build bridges between history and futurity, as The Kitchen shapeshifts to hold new visions of cultural and social refuge and celebration. Here, distinctions—between arts institution and nightclub; archival exhibition and performance—are chiseled away as artists vividly reexamine cultural legacies along a timeline pointing infinitely forward.

The Kitchen Executive Director and Chief Curator Legacy Russell says, “As we reflect on The Kitchen’s 50th anniversary and embrace this moment of transformation for the institution, this season holds a special significance as the final season of The Kitchen’s program to be held inside of our 19th Street building as it currently stands. These artists have been brought together because they embody the ways in which the future of experimentalism can be expanded, redefined, refracted while continuing to honor and pay homage to the expansive histories and creative communities that have delivered us to this moment.”

From January 18–March 6, in collaboration with The Studio Museum in Harlem, Sadie Barnette will reimagine the New Eagle Creek Saloon, the first Black-owned gay bar in San Francisco, within The Kitchen’s building. Established by the artist’s father Rodney Barnette, founder of the Compton, CA chapter of the Black Panther Party, the bar (operated by Barnette between 1990–1993) offered a safe space for the multiracial queer community who were marginalized in other social spaces throughout the city.

The artist’s first East Coast institutional presentation of The New Eagle Creek Saloon will come into lyrical and urgent intersection with madison moore, cultural critic, DJ, Assistant Professor in the Department of Gender, Sexuality and Women’s Studies at Virginia Commonwealth University, and author of author of Fabulous: The Rise of the Beautiful Eccentric (Yale University Press, 2018) who, over the course of Barnette's exhibition, will be in-residence with The Kitchen. Guided by moore, for the first time in The Kitchen’s history, the institution will launch a nightlife and club culture residency, thinking deeply about the ways in which queer space has been impacted by city change and gentrification through and beyond New York City’s Chelsea neighborhood. During the run of the exhibition, Barnette's installation will be activated by sound and DJ sets, performances, and talks.

A participating artist in the 2020 The Kitchen L.A.B. (which invites artists, authors, and curators to unpack ambiguous vocabularies in contemporary art by responding to them both in conversation and artworks), and a performer in 2019’s ASSEMBLY co-organized by Kevin Beasley, E. Jane will return to The Kitchen, April 1–May 14, 2022, to have their first-ever solo exhibition in the space. E. Jane incorporates digital images, video, text, performance, sculpture, installation, and sound design in their work, exploring the life of the Black diva and of Black women in popular culture. Where there’s love overflowing , their Spring, 2022 exhibition of digital and gouache wall drawings and video installation surrounding a central stage—and culminating in a performance by MHYSA, Jane’s performance alter ego— continues this line of inquiry across the life of the "Home," the ballad originally sung by Stephanie Mills’s Dorothy character at the close of The Wiz on Broadway.

stefa marin alarcon’s Born With An Extra Rib: The Film , created in a residency in May 2021 in The Kitchen’s former satellite space Queenslab, will premiere March 17. A transdisciplinary experimental opera in which the cast, creative team, and audience are invited to engage in an emergent process of collective liberation, the evening will feature a performance from STEFA* and their band and elements from the rituals used in the making of the film.

The season’s first months—through March 12—feature the continuation of the exhibition In Support , examining how support operates as an offering, practice, and position within and beyond institutional contexts, and featuring new commissions by Fia Backström, Francisca Benítez, Papo Colo, and Clynton Lowry

Online on The Kitchen OnScreen, the ongoing Video Viewing Room series continues in January with a spotlight on two of Abbey Williams' works—examining the historical archive as a conflicted site of erasure and protective enclosure.

In another unprecedented partnership for the organization, The Kitchen will team up with BOMB Magazine for an Instagram Live series, Across the Table , bringing together four pairs of artists with distinct ways of making and thinking, from both organizations’ histories. They will share common ground through 30-minute conversations via Instagram Live. Additional details about this partnership will be made public in the coming weeks.

Event specific details will be made public over the coming weeks. For updates and information directly to your inbox, sign up for The Kitchen's newsletter. For information on our current COVID-19 safety guidelines, click here.

We look forward to welcoming you to The Kitchen in 2022!

Image credit and description: Sadie Barnette's The New Eagle Creek Saloon (detail), Photo by Robert Divers Herrick, courtesy The Lab, 2019. A black and white photograph of two men is under the glittery pink plexi-glass. In the picture, one man looks at the camera with his arm around another man's shoulder.

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