Vickie Aravindhan (Los Angeles, CA) | November 2021

The third and final iteration of the Yali mask series is situated in the attic. This Yali is the softest in build and material, and was made is response to Justin Rabidu's, Air Mail and his legacy as an artist and citizen of the world. His contribution to Elsewhere exists here in the attic where it is arguably the quietest, most contemplative site of the museum. Here, the Yali will serve as a guardian to Justin's memory as well as all future peoples who reside in the attic and after as they return/journey on.

Jordan Wason (Brooklyn, NYC) | October 2021

Installation of musical chairs, fabric, rocking horses, exercise bike, lamps, magazines, speakers, organ, piezo pickups, CRT T.V., laser etched signage; Happening series; Video ad series; Digital music recordings

The Waiting Room - 15ft x 12ft installation The Waiting Room Auditions - 9 video ad series, approx. 11min total runtime Musical Chairs - 6.5in x 4.5in laser engraved wood panel Rocking Horse - 6.7 x 4.5 laser engraved wood panel Mirror 1 (Musical Chairs) - _ x _ laser engraved mirror Mirror 2 (Rocking Horse) - _ x _ laser engraved mirror Mirror 3 (Cowboy Kid Chair) - _ x _ laser engraved mirror Mirror 4 (Twin Chairs) - _ x _ laser engraved mirror

Seeing that there was a Bureau of Illumination at Elsewhere, Jordan decided that there must also be a waiting room, as there is always waiting involved in any bureaucratic process. In a waiting room there is typically music, seating, and frustration. In this waiting room there are un-upholstered musical chairs, rolls of fabric, and instruments. The room and the objects themselves are put into a state of waiting for completion. Visitors are provided with the materials to work and create while waiting, in a process that both alleviates their frustration and saves the bureau a lot of money. Throughout the process Jordan wrote typewritten letters to the Bureau next door, which record the evolution of the room and its excavation-

Jasmine Best (Greensboro, NC) | October 2021

Curation Doll draws power to protect so that we do not have to be strong. The doll figure has skin made of images of flowers arranged from Elsewhere’s own fabric collection. The era of these fabrics informs the aesthetic and associations of the florals. The actual flowers collected from the collection drape the doll and, it’s resting chair, and the frames on the wall creating a protective covering. The artist’s own family would make fabric dolls and place them on chairs both as showcases of skills previously only appreciated in a domestic context but what felt to be as protectors of a domestic space. The Doll figure sits relaxed and reserved in front of an abstracted family photo wall. Pulling more power from the idea of personal black curation in reference to an essay by Bell Hooks about how home photo walls were some of the only places Black people were able to control their own image in a gallery like space.