Left to right: Felix Quintana (photo by Rafael Cardenas), Gelare Khoshgozaran (photo by Jimena Sarno), Heehyun Choi 최희현 (photo by Jeonju International Film Festival), Kimi Hanauer (photo by Sai Tripathi), Leslie Foster, McKayla Chandler (photo by NOS.), Odeya Nini, Queer Spa Network, Raymundo Reynoso (photo by Christina Villalobos), Texas Isaiah.
LACE is thrilled to announce the selected artists receiving the Lightning Fund Artist Grant! We are grateful to have received over 250 applications from artists in LA County. This year, 10 Los Angeles-based artists will be awarded a $6,000 grant for the creation and completion of a project.
This year’s Lightning Fund panelists were Ashley DeHoyos, Sandra de la Loza, and Nora Khan. The panelists were deeply impressed with the creativity and ambition of the submitted proposals. “It was a true pleasure to take in the inspiring visions and works that are unfolding amidst our robust and multidimensional arts community,” de la Loza said. Artists were selected based on their artistic merit, the potential of their project’s impact on the local community, and the capacity of their project to be achieved within the next year.
The Lightning Fund is made possible with the support from the Andy Warhol Foundation for the Visual Arts as part of the Regional Regranting Network. The Lightning Fund will accept applications again next fall. Please subscribe to our mailing list and Instagram for updates.
2023 LIGHTNING FUND RECIPIENTS
Inspired after her mother’s braid book, Chandler’s project MOBETTA is a photography series that will culminate into a two part book that honors the cultural significance of braiding and counters erasure of Black histories and expression. Through photographing intricate braiding styles, while also emphasizing the importance of archiving and documenting in real-time, MOBETTA will create an essential artifact that will live and grow beyond its book embodiment, articulating the salience of the Black community.
Heehyun Choi 최희현
Through a multi-channel video project, In Plato’s Cave is an experimental documentary that will reexamine and reinterpret photographs of Korean women from the 1950s and 60s taken by American soldiers who were then stationed in South Korea. In collaboration with the Korean Image Archive, the videos will investigate the female representation and perspectives towards Asian women entangled with the political and military relationship between South Korea and the United States, as most of these photographs were kept by the descendants of American soldiers and later sold at auctions or antique shops in the United States.
Nyxontology is a project that is part of my continued interest in formulating rival geographies, spaces in which the non-linear logics of Black, queer thought slip sideways into alternate topographies challenging Eurocentric and colonial geographies of confinement. The body of work will consist of an installation intended to resemble a grotto that contains a series of short stop-motion video loops portraying speculative religious icons. It combines video, tintype photography, novel object-making techniques, and installation in order to explore and expand queer, Black imaginaries through the use of dream logic.
The Center for Liberatory Practice & Poetry is a nomadic and virtually-based education center that gathers a community of learners around ways of being, sensing, and making that enact liberation in everyday life. In Spring 2023, the Center will launch an access-centered digital resource library of shared learnings, rituals, pedagogies, and dreams for autonomous and liberated worlds. For its inaugural collection, the platform will invite organizers, artists, writers, and members of the public to share intimate, familial, and communal practices of mourning honoring our worlds and selves in transition.
Flowers At Your Feet is an ongoing project comprised of photographs and altars that present a space for mourning, celebration, prayer, and recollection in different cities across the US; the work asserts imagination within the confinements of gender and expands on the connectivity between transmasculinity and Black feminist practices. In 2024, Texas Isaiah will focus on completing their Los Angeles chapter of the project, inviting LA-based transmasculine people to participate in a portrait sitting, video documentation, and conversation about their experience and perceptions on gender and masculinity.
To Be the Author of One’s Own Travels is a recent chapter in Khoshgozaran’s continued experimentation with film, to address exile and displacement; the project has three components and multi-language interpretations that come together as an installation and expanded cinema. Guided by a series of dream sequences from her own journal, and ongoing conversation with collaborators and interlocutors who live as refugees in different parts of the world, To Be the Author of One’s Own Travels uses props, images and masks to create the dissonant effects of exile on memory and everyday life.
I See You is a project that began in 2021, where Nini realizes intimate performances with people in front of their homes. Over the course of the year, Nini will travel to various communities across Los Angeles to meet with elderly folks for vocal performances as an offering of deep healing and connection.
Queer Spa Network
Community Care in Times of Drought will provide a temporary site to unpack our complicated relationship to water in a time of drought, while conjuring a healing relationship to water in a way that foregrounds collectivity. Inspired by ancestral practices with water and green spaces, the Queer Spa Network will create a multisensory spa experience and events series as a means to build a community network engaging in practices of care.
Love is the given of the place is a new body of work that foregrounds Black, brown, and Indigenous neighborhoods through a series of site-specific banner installations around Los Angeles.
Means of Production is an ongoing series of works inspired by the posters and signs that cover the city announcing concerts, causes, celebrations, and community events. The works are intended for distribution throughout the city—displayed on public surfaces such as utility poles, fences, and board-ups—in dialogue with existing signage, graphics, and imagery.
Panelists for 2023 Presentation Submissions
Ashley DeHoyos, Curator, organizes a full range of visual, performing, and public arts programming at DiverseWorks. Her focus is on intersectional artists and speculative futures as they relate to history and the environment. Recent projects include; Overlapping Territories, Virginia Grise: Rasgos Asiaticos, online projects Visionary Futures, Sarah Dittrich: The Tender Interval, the performance Jefferson Pinder: Fire & Movement; the 2019 Bayou City Be All LGBTQ+ performance festival; and group exhibition Collective Presence. DeHoyos also manages the Diverse Discourse Lecture & Studio Visit Series and The Idea Fund, a regranting program funded by the Warhol Foundation. She received a BFA from Sam Houston State University (2013) and MFA in Curatorial Practice from Maryland Institute College of Art (2016).
Sandra de la Loza
Sandra de la Loza (b. 1968, Tovangaar/Los Angeles) is a second generation Angeleno whose roots reside in historic Los Angeles working-class barrios. De la Loza conducts deep research into the stories of this land and its people through walks, visits to archives, oral histories and participation in local community struggles. Through immersive installations, video, photography, and public artworks, her work investigates the under layers of our present environmental and social landscapes as a means to decolonize, heal from historic and systemic violence and create circles that enable liberated social relationships to happen. De la Loza is an Assistant Professor in Chican/x Studies at Cal State Northridge. From 2019-2022, she served as a Creative Strategist with the LA County Department of Parks and Recreation through the Creative Strategist-Artist in Residence Program led by the Los Angeles County Department of Arts and Culture. Current exhibitions include: Undoing Time: Histories of Art and Incarceration at the Berkeley Art Museum.
Nora N. Khan
Nora N. Khan is a curator, editor, and writer of criticism on digital visual culture, the politics of software, and philosophy of emerging technology. She is the Executive Director of Project X for Art and Criticism, publishing X-TRA Contemporary Art Journal in Los Angeles. She is also the next Curator for the next Biennale de L’Image en Mouvement in 2023, with Andrea Bellini, hosted by Centre d’Art Contemporain Genève. In 2020, she curated Manual Override at The Shed, featuring Sondra Perry, Morehshin Allahyari, Lynn Hershman Leeson, Simon Fujiwara, and Martine Syms.
Khan’s short books are Seeing, Naming, Knowing (Brooklyn Rail) on the logic of machine vision, and Fear Indexing the X-Files (Primary Information), co-written with Steven Warwick. Forthcoming are No Context: AI Art, Machine Learning, and the Stakes for Art Criticism (Lund Humphries), The Artificial and the Real (Art Metropole), and a hybrid memoir about criticism from Strange Attractor Press. She frequently publishes in publications like Artforum and Art in America, and has written commissioned essays for major exhibitions at Serpentine Galleries, Chisenhale Gallery, and the Venice Biennale. Her practice extends to a wide span of artistic collaborations, producing scripts, librettos, films, and a tiny house (in A Wild-Ass Beyond: Apocalypse RN, with Sondra Perry, American Artist, and Caitlin Cherry at Performance Space, New York).
Her writing has been honored by a Critical Writing Grant given through the Visual Arts Foundation and the Crossed Purposes Foundation and a Thoma Foundation Arts Writing Award in Digital Art, and supported by residencies at La Becque and Eyebeam. She has served as editor of Topical Cream, HOLO, and was a longtime editor at Rhizome. From 2018-2021, she was a professor at Rhode Island School of Design, in Digital + Media, teaching artists’ writing, technological criticism, and critical theory and artistic research. She studied literature and fiction writing at Harvard and the Iowa Writers’ Workshop.
The Lightning Fund is administered with lead support from the Andy Warhol Foundation for the Visual Arts as part of the Regional Regranting Network.
ABOUT THE WARHOL REGIONAL REGRANTING PROGRAM
The Regional Regranting Program was established in 2007 to recognize and support the movement of independently organized, public-facing, artist-centered activity that animates local and regional art scenes but that lies beyond the reach of traditional funding sources. The program is administered by non-profit visual art centers across the United States that work in partnership with the Foundation to fund artists’ experimental projects and collaborative undertakings.
The 32 regranting programs provide grants of up to $10,000 for the creation and presentation of new work. Programs are developed and facilitated by organizations in Alabama, Albuquerque, Atlanta, Baltimore, Boston, Chicago, Cleveland, Denver, Detroit, Houston, Indianapolis, Kansas City, Los Angeles, Miami, Milwaukee, Minneapolis, Knoxville, New Orleans, Newark, Oklahoma, Omaha, Philadelphia, Phoenix & Tucson (AZ), Portland (OR), Portland (ME), Providence, Raleigh & Greensboro (NC), Saint Louis, San Francisco, San Juan, PR, Seattle, and Washington D.C.