A multidisciplinary performance combining dance, architecture, and video projection to explore what the notion of “tunneling” means. Tunneling is about subversive transformation/transgression or directed and confined movement, a concept that can produce extensively complex and diverse critical and theoretical material for presentation.

Melting is the feeling when individuals lose their individuality to create a new identity. As a cross cultural artist, melting is what Vaidehi feels her art is, still melting to become something new.

A fantasy fungal landscape created in collaboration with the Carnegie Mellon Textiles Lab that engages with knitting fabrication technology to explore themes of ecofeminism, romance, and the tension between domestic spaces and forces of nature.

A multi-day, multi-venue festival and symposium celebrating, exploring, and questioning the traditions of modernist and experimental concert music by Ithacans past and present.

Nether Ithaca seeks to highlight water pollution in Ithaca through an installation of consisting gouache paintings and video projection.

A setting of the fourth book of Vergil’s Aeneid in the original Latin, Queen of Carthage narrates the life story of Queen Dido following the arrival of the Trojans to her city in Northern Africa.

To celebrate the bicentennial of Clara Schumann (neé Wieck)’s birth, the conference Performing Clara Schumann: Keyboard Legacies and Feminine Identities in the Long Romantic Tradition presents a myriad of interpretive frameworks for understanding the historical, cultural, and technological milieu surrounding the virtuosa’s life and work.

Fifty years later in two concerts at Cornell, the great anatine ensemble returns to the analog to perform Borden’s minimalist masterpiece, the Continuing Story of Counterpoint, on the original synthesizers.

Aboriginal Australian artist Jonathan Jones shares his insights into socially engaged art as a means of inspiring greater appreciation of Indigenous history and cultures, remembrance of forgotten histories, and stewardship of the environment.

This exhibition highlights the beauty and the tragedy of feathers in fashion to tell the story of birds and their influence on clothing across the globe.

Cornell Contemporary Chamber Players collaborate with NYC’s Unheard-of//Ensemble to present an evening of performances which investigates the influences of time and place on the current graduate student composers within Cornell’s distinguished composition department, as well as alumnus composers of the past.

Brazilian artist Eder Muniz speaks about his work transforming the streetscapes of Salvador, Brazil through the magic of his art. He also discusses the two-story mural he created on the Nevin Welcome Center at the Cornell Botanic Gardens.

The modern classification of textiles into what is called “decorative arts” is often derivative of its artistic worth in the societies it originates from. Textiles can vary vastly in their use, such as being used to tell a family’s ancestral narrative, fairy tales, or be acts of repetitive devotion to the divine.

Over a career spanning four decades, Tong has received critical acclaim for her large-scale, unrestrained cursive script, and her works have appeared in more than 60 exhibitions worldwide. She received a degree in fine arts from National Taiwan Normal University before pursuing further visual art study in the United States.

Choreographed by Giannuzzi in Ithaca with her friend Dorian Chavez in Brussels during quarantine in spring 2020, with music by Heather Fae Calla (“Soft Squadron”). The works provide commentary on the current political and social climates, as well as reflecting the specificity of teaching and studying dance online.

The exhibition explores the space of contact between film and bioengineering, presenting an assemblage of found footage, interviews, and educational 3D animations. Titled Rough Cut(s), the video essay invites us to rethink the cut as a conceptual and aesthetic category that articulates comparative logic and enables powerful yet uncanny similitudes. (Exhibition debuted February 2023 due to COVID.)

They Cannot Represent Themselves; They Must be Represented introduces various sized obelisks as sculptures that reveal the geographical and historical events and comparisons, pairing it with the continuous, homogenized image of “American identity” and the physical objects associated with them. (Exhibition debuted in September 2021 due to COVID.)

An exhibition reimagining the tone and affect in children’s content.

Uncle Boy’s Landscaping is the collaborative practice of Hyo-Jung Song + Curtis Ho. The duo is concerned with the wide-ranging implications of landscap(e/ing) as colonial, masculine, and imbricated with systems of power. Their research-guided practice typically takes form as large-scale ephemeral installations incorporating video, sculpture, and writing and publishing, inviting collaboration and social participation.

This show challenges viewers to adapt to a new way of interpreting identity and culture; allowing each viewer’s experience to be highly personal and introspective.

The installation is a visual reimagining of the poem Yakamoz, here presented in its original Turkish and its Greek translation.

McGowan teaches a seminar that highlights the shadow puppet objects at the museum. The course is in conjunction with a visit and residency of Gusti Sudarta, a well-known Balinese puppeteer (dalang), and Darsono Hadirahardjo, a Javanese musician and dalang. The class introduces students to wayang stories and characters, looking into the roles, significance, and transmission of the shadow performances in Southeast Asia, particularly in Java and Bali.

Klenengan offer musicians opportunities to practice and learn, and very frequently bring together musicians of varying experience and ability. For this event, members of the Cornell Gamelan Ensemble follow the lead of some of the foremost players of this music in the United States, including four Javanese masters. (Event postponed until March 2023 due to COVID.)