Vickie Aravindhan (Los Angeles, CA) | November 2021

This second iteration of a Yali (Hindu temple dragon) lives here as a guardian of future passages in response to Edison Peñafiel's piece, Ni Aqui, Ni Alla (neither here nor there) in this room, protecting the subjects' backs in the projection who are on a perpetual journey. As someone who is in the process of immigrating to United States as well as being a granddaughter to 4 immigrant peoples from South India and South China to Singapore, she found many of the themes she continues to explore, intersecting with Peñafiel's investigations on diaspora, forgotten histories and of subjugated knowledge as a result of colonialism. The Yali is also a commonly found cultural symbol/object often stolen or removed as artifacts and placed in a museological context with very little information on their origin stories. In this case, the Yali serves as a steward and guardian in Elsewhere's living body.

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.

Vickie Aravindhan (Los Angeles, CA) | November 2021

This series of rattles are inspired by Yaksha/Yakshi (nature spirits of fertility and the earth) fertility rattles. Vickie's idea was to incorporate a sense of play, and community engagement by creating a series of rattles with patterns embossed using pieces of Elsewhere's bountiful toy collection. Guests were encouraged to find each rattles' corresponding toy using it as inspiration to glaze as they wished, leaving their marks and contributions to the series forever. Future guests/artists/peoples are encouraged to use these as "creativity" rattles when one feels inspiration is dry.

We are launching an outdoor vending space in front of the museum twice per month that will feature up to 8 BIPOC LGBTQIA2S+ vendors. We want to support local vendors as an economic justice effort, leveraging our space, networks, and connections to build with vendors and bring support for their work.

William Plummer (Kansas City, MO) | Exchange (Kansas City) | August 2021Tapping into the unseen historical and spectral forces at Elsewhere, this altered cabinet functions as a permeable screen by drawing attention to effects of light and air within the Ghost Room. Through this atmospheric exchange, the sculpture commands a theatrical presence while drawing attention to its contents; stockings, beads, and pearls that drift and sway without the help of a body. "Perennial Channels" acknowledges the items we own that are meant to feel special or inspire wonder. From playful accessories to glass marbles, these things point at a commonality--the ways objects can undeniably reveal and reflect something about the people that have interacted with them.

Craig Deppen Auge (Kansas City, MO) | Exchange (Kansas City) | August 2021

Inspired by a single blue, shear stocking found on the first night in the museum, this work is an exploration of color, texture and transparency, while playfully referencing the “spirit energy” experienced by many. This installation of collection knee-highs directly responds to the Ghost Room, and various supernatural references through the museum, including a large spirit board in the stairwell. The legs appear to be dancing up and down the wall, having perhaps been summoned to life through the some accidental conjuring during the act of art-making. This is not a frightening invocation, but is rather vivacious and light-hearted. We are witnessing a spirit party, or more likely, the manifestation of the energy Elsewhere’s previous inhabitants through the years. This work also highlights the fashion of a particular era, and generally honors the variety of collection garments found in the Transformatorium.

Craig Deppen Auge (Kansas City, MO) | Exchange (Kansas City) | August 2021

This series of 20 sculptures and interventions incorporating textile scraps, collage, metal grid form, and other various collection materials can be viewed as For the most part, the artist has committed to using scraps and parts “as found” with no additional manipulation, just a focus on composition, constructed intuitively. This series of works is the most closely connected to the artist’s current body of work outside of the museum. Within this setting, these are abstract poems honoring all who have drifted, and will drift, through Elsewhere; from previous residents all the way back to the boarding house days. In that broader sense, these may speak to our independent, yet collective, journey through this life, on this planet, and the “getting lost” elsewhere along the way. Other questions emerge, as the artist continues to think about the grid as the symbol of existing social structures, or more broadly, and the fabric as ourselves and how we navigate these systems. Then we can ask: are we dancing with the grid or fighting the grid? Are we caught in the grid or escaping the grid? The placement of these pieces and proximity to each other also begins to suggest they carry individual personalities, and are themselves transient beings, resting mostly in the Alone Zone and drifting down the hallway.

Craig Deppen Auge (Kansas City, MO) | Exchange (Kansas City) | August 2021

This series of 24 individual “sign posts” and/ or “flags” placed in the garden and spread throughout the museum explores the concept of way-finding and personal journey. Linked conceptually to one of the the artist’s other projects, Drifters, these embody the themes of the sojourner, “finding yourself,” or unexpectedly finding yourself “elsewhere.” These clusters of lean, wordless directional or distance markers are similar, but abstracted versions, to those you might find on an old, wooded footpath. The difference being that there is no explicit direction, only a formal, coded visual language speaking of what is on the path ahead, or what lies behind. These works were constructed intuitively and urgently, using only collection scraps and hardware, giving them a folksy, southern yard-art quality. The artist is interested in the concept of the nexus, and Elsewhere certainly acts as a nexus for community and creativity. But it remains open to interpretation, and its direction is ever-changing. This project suggests all of that; a sculptural play on the puzzling, multi-vocal outlooks found at Elsewhere, perhaps pointing to a multitude of other "elsewheres."