Alternate Title Artist Residencies

Production Language English

Country of Origin United States

Description Jonathan González, from Queens, New York, is an artist working at the intersections of performance, text, sculpture, and other time-based media. González’s work speculates on the political utility of the “stage” as a method to interface with publics upon systems of liveness, objects, and economies of data that construct the built environment.

Their works include Not Total (homeschool PDX, Yale Union x Paragon Arts Gallery, 2019), Working on Water in collaboration with Mario Gooden (Columbia School of Architecture, 2019), h/S: Jonathan González (Ciccio Gallery, 2019), Maroonage: Elaborations on the Stage and Staying Alive (Contact Quarterly), Lucifer Landing I & II (MoMA PS1 x Abrons Arts Center, 2019), Collaborative Curiosity (Contemporaryand), and their upcoming publication, Liar Liar (53rd Press). Their curations include Sunday Service @ Knockdown Center and Movement Research Fall Festival: invisible material. Previously an LMCC Workspace Resident (2018-19), NARS Foundation AIR (2018), Jerome Foundation Fellow (2019), Mertz Gilmore Grantee (2018), Art Matters Fellow (2019), Shandaken Project/Governors Island AIR (2019-20), and Bessie-nominee for Outstanding Production (ZERO, Danspace Project, 2018) and Breakout Choreographer (2019).

González collaborates with designer Rudy Gerson, a race traitor, a second generation white-assimilated Jewish-Cuban, a third-generation American settler in a diaspora, a queer abolitionist artist, and an educator based in occupied Lenape and Canarsie territory (Brooklyn). Rudy creates time-based media through sculpture, performance, and theatrical design with attention to interactive media and immersive installation. The technical methods may animate the abstract hydraulics of systems of oppression while amplifying an affection of liberation. They are unwavering in their commitment to intersectional solidarity of economies, aesthetics, and care and are weary of the non-performance of this very declaration. The work can be situated across the categories of relational art, institutional vandalism, queer use, and de-patriation/reparations.

Identifier 2021s.AR.00007