Art View – Interview Vol.2

Aneta Glinkowska, Co-founder, New York Art Beat

Aneta Glinkowska started NY Art Beat , a popular New York art guide, with her business partner and husband, Kosuke Fujitaka in 2008. We invited Aneta to our office and asked about N Y Art Beat, New York art scene and herself.


Aneta Glinkowska at ISE Cultural Foundation NY Office

I’ve always been more intrigued by people who don’t wear suits to work.

- Could you talk about yourself first? You are originally from Poland. When did you come to NYC?

I came to NYC in 1996 to go to college. I wasn’t sure if I want to live in New York but I had an opportunity to do it and gave it a try.

In college a lot of my life revolved around photography and film, as I took many photography and film classes and really enjoyed them while I was preparing to go to med school.

At that time I met some people who also enjoyed seeing art and introduced me to Chelsea galleries. And so I started going to art shows and opening receptions in Chelsea. It was the late 90’s, the time that Chelsea had started not so long before, but wasn’t a big art scene yet or a destination for tourists, the High Line park.  The industrial buildings looked a lot more raw than today and the high-rises did not exist.

I grew up in a non-artist family in a small town and had no interest in art while growing up, but I like interesting characters I found around me. I’ve always been more intrigued by people who don’t wear suits to work.

That was way before Tokyo Art Beat and NY Art Beat. Because of Tokyo Art Beat, I started going to galleries and museums even more and have been ever since trying to learn how to look and talk about art.

- When did you go to Tokyo and what was your impression of Tokyo?

I met Kosuke, my partner at NY Art Beat and actually now my husband when he was briefly going to college here in NY. I went to Tokyo with him for the first time in 2000. That was a few years before Tokyo Art Beat was launched. I’ve gone back to Tokyo every year or more since.

At that time Tokyo was totally different from New York or European cities I have been to.  Needless to say, it was a different culture, different way of living and different type of architecture, but I don’t remember a terrible culture shock. I enjoyed observing and I still do that.  I’m able to communicate for survival but not too much for socializing, so I do a lot of looking.

On my first visit to Japan I didn’t visit any art galleries in Tokyo, if I remember well. But then on consecutive visits, I started going to art galleries and museums.  Kosuke got involved with the art scene in Tokyo by taking art history classes and thought that meeting artists and eventually people who ran galleries.

Whenever I’d spend more time in Tokyo, I tried to see the culture as much as possible. Art is something one can see without knowing the local language.

One particular thing I remember is the neighborhood called Roppongi of pre-Roppongi Hills skyscraper that brings people for work and art there now. It was very different from now, all old buildings, fewer people, but the same highway cutting through.

- Could you talk about Tokyo Art Beat and how you started writing for Tokyo Art Beat?

Tokyo Art Beat (TAB) was started by Kosuke Fujitaka and two Frenchmen, Paul Baron and Olivier Thereaux. Those two “gaijin” wanted to have access to English language information about art and design in Tokyo which was hard to come by. Since  Olivier is a programmer and Paul designer, they decided to make a website to serve them. Someone introduced to them Kosuke, who thought that this kind of website could be useful in Japanese too.  So, together they decided that the website is going to be bilingual.

When they were starting TAB, I was still in a school. I was studying cinema obviously writing for my classes. So, I tried to write my idea about art as well.  Whenever in Tokyo on vacations, I’d see exhibitions and write a little for the TAB blog. One point I stayed in Tokyo for something like 3 – 6 months. I went to the TAB office. I was studying cinema, I was interested in shooting video. So, I did video interviews. I also wrote some art related stories for Japan Times. Being a foreigner in Japan, you can do this kind of thing. You easily get connected to other foreigners and you write. I’m sure that happens in other places too.

I was coming back and forth in Tokyo. I had a place to stay and had an office to go to.

So, that’s how it started.


Wanting to live in New York and having little competition in the art listings we settled here and started NYAB.

- When did you start NY Art Beat (NYAB) and how did you start it?

Kosuke and I started NY Art Beat website only at the time in 2008.

Kosuke was always interested in New York and had lived here and felt at home. He was interested in the big art scene here. Tokyo has never been a big art scene and there is seems like everyone knows each other with much fewer contemporary galleries than NYC. There are 300 galleries just Chelsea and well more in the rest of the city.  We list over 1000 art venues on NYAB while Tokyo has less than half with a lot fewer contemporary galleries and nothing as big as Gagosian, Pace and other big galleries.

Wanting to live in New York and having little competition in the art listings we settled here and started NYAB.

- NYAB has so much information about art events in the city. How do you gather listing information?

Generally, a good press release has all the information we need; a description of the event, when it starts, when it ends and the time of opening reception time.  We also need an image.  We also list what kind of media are in the show: painting, sculpture or photography and so on for our users to be able to search based on it.

By now we have a lot of galleries sending us press releases. So, we don’t have to worry about how to get the information.

Sometimes we have to do research about the galleries that don’t send us information.  And, we try to cover everything that’s happening in New York City art, as long as we have access to the information.

- Since 2008 have you made any big change or development in NYAB?

In 2010 after the iPhone came out, people started making applications for mobile phones. We didn’t have a plan to make an application, but a developer we liked offered services and we were for it.  By now have a small team of programmers and designers for TAB and NYAB and Kansai Art Beat in Tokyo.

With the NYAB app you can click “Nearby” or “Opening Receptions” and you know where to go right at the moment around you.  A lot of our users might not even know NYArtBeat is a website!

So, that’s the biggest development, but we did a major update of Art Beat look twice just to keep the look fresh.

- What is your role in NYAB?

I do almost everything for NY Art Beat. Our team is very small. So basically right now it’s just me and another person who helps me to update events.

Kosuke works for another company daytime, but helps me with business such as our banner ads. Right now he doesn’t have time for much more than and seeing art on weekends.

Also, I sometimes work with contributors to our blog called NYABlog.

And the best part is being able to go to press events representing NYAB seeing museum and gallery exhibitions sometimes before they open to the public.

- Do you write about art now?

I haven’t been writing all that much in New York. There are many committed writers who just write and I don’t see how I can add my two cents at the moment with very little spare time.

- Any difference between art writing in New York and Tokyo?

I can’t really talk about Japanese media, how they cover art. But I think there isn’t much. BT (Bijutsu Techo) is all I know.  No Japanese newspaper writes seriously about art as far as I know.

In New York we have NY Times to start with; we have great writers at the New Yorker, Village Voice. Each newspaper has an art writer or more to  just cover art. On top of that we have many serious bloggers as at Hyperallergic, Art F City. Together with the Observer’s Gallerist  they covering art really well.

I’m pretty sure similar things are happening in Tokyo as well. But I think not as much as here in NY.

- You know both Tokyo and New York. Could you talk about each art scene?

First of all, New York is one of the biggest visual art scenes in the world. There are many different types/size galleries here, big, blue chip galleries such as Gagosian, Gladstone and Hauser & Wirth and so on in Chelsea.  Smaller galleries exist in Chelsea too, but many are moving to Lower East Side or rather to Chinatown. Something is also starting in Harlem. There are artist run galleries in Bushwick. But Bushwick is a hip neighborhood to live so rents are too high for new galleries to move in, unless you’re an outpost for a big Chelsea gallery.  And even that is nor really happening after Luhring Augustine opened few years ago.

In the last few decades there have been art scenes like East Village, SOHO which grew up and moved to Chelsea. Now Lower East Side and Chinatown is the biggest thing outside of Chelsea. Williamsburg used to be the central gallery area in Brooklyn when we started NYAB. But the art scene has moved from Williamsburg to Bushwick, we even had to rename the area.  Pierogi gallery the first on the scene in Williamsburg is moving to the Lower East Side, March 2016. And there is also the Upper East Side with many polished art galleries.

In Tokyo we have lots of venues in Tokyo Art Beat, but these are smaller venues; a lot of cafes, small spaces that have shows sometimes and some galleries. But maybe the number is less than a half of what is happening here in New York. And also art venues in Tokyo are not concentrated in one place. So, two galleries are in one building and one is in another building. You visit three galleries and then you have to take a train for a half hour to go to another set of galleries if you want to spend a day to look at art.

But here in New York staying in one neighborhood and there is often more to see than one can do in one day.


We are not artists, but we do the dirty labor around it, we report about art, we list art.

- Can you talk about your favorite art venues?

There are some venues, which used to be interesting and then they got transformed.

I always like to mention Sculpture Center for some reasons. It’s in Long Island City and it’s in an old building. The building was renovated but still has its old charm; for example, they have a basement and if you go down to there, it smells and looks like a damp, old basement, which it is. They always show interesting exhibitions. It’s basically a small museum.

I like Hauser & Wirth on 18th Street too. They have Upper East side location, which is a standard gallery. But the18th Street venue is really big, which used to be a club with a roller skating rink. They preserve some element of what it used to be. It is basically a huge open space and sometimes it gets divided into smaller spaces to make different types of exhibition. But it looks best as the whole space for huge installations. Another interesting thing about this space is that they have a bar called Bar Roth where you can come in and get an espresso for free any time they are open. That was a project by Dieter Roth and Björn Roth. He left it there and said, “Please run it for me. Serve espresso for anyone who wants it.” That’s a kind of permanent exhibition. Of course at the opening reception they serve wine. But on regular days you can come in the gallery, sit down at the bar and ask for the espresso. That’s interesting. That’s the old way of serving the community.

Speaking of serving the community, Pace Gallery, which is a well established gallery still serves really nice wine. They pretty much never run out and use wine glasses! Feels good to stop by. Other big galleries have stopped doing it, some because their openings are too big other just not wanting to bother. Chaim & Read gallery is good too, but with much less pomp, uses plastic.

There are many other great spaces. A little out of the way, Metropolitan Museum has another space called Cloisters for art and music. It’s a nice day trip and you can take public transportation to get there. It’s a beautiful walk from the subway station with the Hudson River below.

- You call yourself “Art Worker” on NYABlog. What is “Art Worker”? And what is your goal?

Hyperallegic’s Hrag once called himself an “art worker” and I thought it was a great socialist description.  We are not artists, but we do the dirty labor around it, we report about art, we list art.

I personally always hope to do some more creative stuff, especially with moving image about art and culture in general. But, I also want to continue running and improving the listings in New York, as long as galleries are opening and move around the city. Ideally NYAB should feature a lot more writing about art in this city, but as long as we deliver what we created the website and app for, the art listings, we’re doing our job. Our users want NYAB app to be filled with events at all times. Running NYAB website and app with reliable information is our priority. If we can do more, we will.

Interviewed by: Mayumi Sarai (ISE Cultural Foundation NY)

Studio Visit NYC: Jenny Chen & Masaaki Noda

jenny-1   noda-1

ISE Cultural Foundation NY is pleased to present an exciting new program, “Studio Visit NYC”. In this program a small group of people visit artists’ studios in NYC and look at their work closely and hear about the process and concept of creation from artists directly in their working environment. You don’t have to be an artist or curator to join the visit. Anyone who is interested in art is welcome to participate in this program.

Our first visit will be the studios of Jenny Chen and Masaaki Noda in SOHO, Manhattan. This is going to be a rare opportunity to visit these established artists’ studios in SOHO and talk to them directly in person.

Photos: Left: Jenny Chen, Untitled  Right: Masaaki Noda, “The Spirit of Hermes” in Marathon Stadium, Greece

*This event is finished.

Date: Tuesday, April 5th, 2016, 1:00 pm *This program will be approximately 3 hours.

Place: SOHO, New York  *All participants meet in SOHO. We will contact each participant where to meet in SOHO in advance.

Capacity: 10 people

Fee: Free

How to participate: Send email to by March 18th. When participants reach the capacity, registration will be finished. Participants have reached the capacity. Thank you. Please write the followings on your email: *Required

- would like to participate in the Studio Visit NYC April 5 *

-Your name *

-Phone # and Email address *

-Occupation (**Optional   Example: Student, Artist)

Jenny Chen:

Lives and works in New York. Chen graduated from National Chengchi University in Taipei and then received MFA from Pratt Institute in NYC in 1990. She has been showing her work internationally in US, Asia as well as in Europe. Her work is public collections of Taipei Fine Arts Museum, Taiwan, Pratt Institute, New York, Shanghai Art Museum, China among others. Her recent solo exhibitions include “Sequence of Living Color” Kalo Gallery, Taipei, 2014, “Without End” ISE Cultural Foundation Gallery, New York, 2012, “Time-Flow- Works by Jenny Chen” Kuandu Museum of Fine Arts, Taipei, 2010.

Masaaki Noda:

Originally from Hiroshima, lives and works in New York. After graduating from Osaka University of Art, Osaka, in1977 moved to New York City and learned at the Art Students League of New York. Noda has had solo exhibitions in US, Asia and Europe. Addition to his long career as a painter and print-maker, recently Noda has been creating large scale, Stainless Steel Sculptures in Greece, Japan and China. His commissioned work includes; “The Spirit of Hermes”, Marathon Stadium, Marathon Municipality, Greece,  ”Gale Flash Back”, Hiroshima City Museum of Contemporary Art, Hiroshima and “Lafcadio Hearn-Odyssey of an Open Mind”,  Lafcadio Hearn Historical Center, Lefkas, Greece among others.

Art View – Interview

Lovina Purple, Curator


Lovina Purple at her exhibition “BEIGE!”

Lovina Purple is an independent curator, who won the Program for Emerging Curator of ISE NY and had an exhibition called “ Right amount of Wrong” featuring 10 female artists at the end of 2014 season in the ISE gallery.  Now Purple is showing another exhibition “BEIGE!” at HEREart in SOHO. We visited her show on one March afternoon and asked her several questions about this exhibition and beyond. After you enter the venue, Jacobus Capone’s 3 monitor video piece, which is ambiguously beautiful engages you and invites you to go downstairs. The relatively small basement gallery space was transformed into the world of “BEIGE!”. Our conversation started with Michael Kukla’s work.


Michael Kukla’s work (detail)

This is all made out of masking tape. It’s really fun to watch people to discover that as they get close to it and realize what it’s made out of. The work has grown. He originally showed much smaller version of it and he kept adding onto it. I’d first seen his work in at DM Contemporary in Chelsea, quite a few years ago. After I had seen his work, I made a kind of mental note that one day in the future I would like to work with him. I originally had wanted different pieces, similar to that which I’d seen which were more sculptural pieces that were carved out of stone and wood and had different feel to them than this. When I sent him the idea of the show, he said, “I’m working on a new project. Would you be open to looking at it?” And after seeing the initial images, I responded, “That would fit perfect. Let’s just do it!” It’s kind of collaboration way of working.  I had to put the trust on him while he was making a new piece. But I’m really glad that he did it. It looks really good.

Many of the artists in this show make much larger work. But this particular venue can’t handle very large work. Most of Aaron Haba’s work is usually much larger. But he was making a couple of new wall pieces. This is one of them. And it is a brand new piece, hasn’t shown in anywhere else before.


Aaron Haba’s work (detail)

“Beige” is the color that people have created such a negative image around.

What is the concept of this exhibition “BEIGE!” ?

The idea of “BEIGE” came out of my experience of working in the interior design. I had worked in the interior design industry for a while and “Beige” was always a kind of anti-color, a color that is looked down on, the lowest in the totem pole. You just didn’t use “beige”. Nobody wanted to see it or even hear the word “beige.” It was thought of as boring or dull. “Beige” is the color that people have created such a negative image around, but the artists here are using this color and making beautiful, interesting pieces.

The color holds the works together and brings other things into the forefront like texture and meaning. I didn’t want all of works to be in one tone. So there are really very light to dark versions of “Beige” in the show.

To me it’s really funny that the photo of the dress that was black and blue came out during the show (and took over the Internet.)  This photo that someone took of a dress became a national debate on whether or not it was black & blue, or gold & white, it depended on how people saw it. Half of the population saw as black & blue, and the half of the population thought the dress was white & gold. It was such an interesting thing to come out right as we were hanging the show.

People really do see color differently and think a color is different according to what it’s next to. So in this show, one person calls this “Beige” and another person says, “No, this is Khaki.” Someone else might say, “It’s Cream.” Or another says it’s, “Tan”. I like the idea of playing with what people’s descriptions are.

Did the idea of “BEIGE!” come first or was there any specific artist on your mind and you wanted to curate around that person’s work?

Sometimes I see the artist’s work I really want to work with and then the idea for the exhibition would be created around that person’s work. But this show it happened from seeing a lot of works and noticing a pattern. A lot of artists I was looking at, at least a part of their work fell into this color pallet. It helped me to develop the idea. So it is kind of both being inspired by one particular artist and my noticing familiarities between a lot of artists works.

Ultimately I personally like the shows that you might not expect to see this work next to that because they are quite different. One is very tedious drawing and the other is more structured three-dimensional piece. But tiny details, similar shapes and forms bring them together. I like these small things to flow in every show. They are able to communicate one to another, detail to detail. It’s an ultimate compliment if someone comes in and enjoys everything in the show. That’s always a goal.



Works by Stephanie Beck (top, detail) and Mikhail Gubin (bottom)

Why wait for someone else to do it. I can do it.

How did you start curating exhibitions? What motivated you to do so?

I started curating in 2011. It was the first bigger show I got to curate. It really started from a frustration of going around and not seeing the type of shows that I wanted to see. Knowing of all these really great artists, I thought their works need to be out there. So I thought, why wait for someone else to do it when I can do it myself.  That’s really how it all started. I wanted to create the type of shows I enjoy and share this experience with others.

Whenever I curate a show, I’m attempting to put together a message or point of view that connects the work in a unique way. I want to make shows that really honor craft, skill and aesthetic. In the contemporary art world in general conceptual based work tends to be more emphasized; which is good, that work should have a place to be seen and shown, but other types of work needs to be shown as well.

I’ve been really lucky that lots of my ideas have gotten a chance to exhibit. I continue to enjoy the process and keep submitting more ideas. There are always 5-6 ideas flowing in back of my head for the next opportunity.

Could you talk about your background and the relation between curating and your background?

I studied art and I worked in the interior design. But when I saw you might ask the question of background, I began thinking about the job I did during my collage years for 4-5 years in California. Even though it may sound pretty ridiculous, I have a background in taking people on adventure trips like backpacking and rafting and that sort of thing. On the surface, it seems completely different. But sometimes this experience seems very similar to curating. If you are an organizer of adventure, your job is to create an experience for everyone to have that should be memorable. And because they probably have already enjoyed going outdoors and doing some similar activities, you must make this experience exceptional.

I take this mind set as my goal as a curator too. I want artists to feel good about what they are in and I want viewers to come in and feel good about it too. It needs to be memorable and I want them to have an exceptional experience. So while curating seems very different, actually it’s very similar, at least in terms of the organization that you have to do, so ironically the adventure guide job really informed me for doing this (curating).

How do you find the artists?

It’s a combination of lots of things. I actually do really enjoy the online registries for multiple reasons. I feel there are often artists who don’t have representation yet. Maybe they’ve only done a couple of shows and their resume is not very big. It’s a great way to find those artists. But there are some cons. Once people have registered, some people don’t update their information for years. So, you have to pay attention, but I really think it’s a good way to find somebody new, somebody younger and it’s a way to find somebody who is not exhibiting in your city. There are quite a few online registries in NY but I’m always looking for new listings and registries in other areas too.

Sometimes you have to do deeper research; going to the artist’s websites, scheduling studio visits or going to their shows if they have one coming up.

I also actively go to shows and art fairs. It’s another way to introduce me something new.

But quite often, open studios is my favorite for discovering new artists.

Old fashioned being introduced by somebody to someone else’s work is always helpful too. Sometimes an Artist introduces me to someone who shares the studio with them or they are their roommates or whatever it is, that personal recommendation is always welcomed and sometimes that helps to open your eyes to new things. For example, I met Babs Reingold at your space. I really loved her work during that show. I felt like, I needed to have her in this show. She was easy to curate into it because almost all of her work is in this color range and she has such a large quantity of really quality work.


Works by Abby Goldstein (left) and Babs Reingold (right)

The idea is to support the artists and still make a great exhibition.

How do you approach artists?

If it is for something I will submit, I would usually say something like, “I’m an emerging curator and I have this idea that I would love to include your work as a part of my submission. These are the works I’m potentially interested in. These are the range of dates it could be. It could be up to 2 years from now. If you are open to this.” I just start dialogue. Sometimes maybe the piece is sold or maybe it’s already committed to another gallery. So, I always have a backup plan, like a plan B, plan C or plan D. Backup plans are always a good idea because life happens. That happened in this show as well.

I had this artist that I really wanted to work with. She sold the pieces, which was fantastic for her, but as she is a ceramic artist, she couldn’t just make a new work that quickly. It was going to just take too long to make a new piece for the show. So, I had to cut her out of this time, but it doesn’t mean that I’m not going to work with her in the future. It just happens. You have to be ready for it.

What is the biggest challenge as an independent curator?

If you don’t work for particular venue, the biggest challenge would be asking artists to commit something that is not guaranteed. So, I understand some artist can’t commit on something that doesn’t have securely booked dates. That’s fine. I’m pretty open to adjusting as needed.

In this show one artist I originally wanted to do an installation, but she didn’t have the time to be here, which I understand as well. I’m open to work with people and find a solution that works for everyone. Or in one instance, a piece broke that I’d had planned for the show. But life happens. So, the idea is to support the artists and still make a great exhibition.


Lovina Purple with Michael Kukla’s work

The more difficult artists help to teach me how to be a better curator.

Is it difficult for a curator to find opportunities?

I’m finding more and more. Similar to artists, you have to find your opportunities and make them, approaching places where you want to work. You have to kind of make your own way.

As an emerging curator, I really do appreciate those opportunities because if you don’t have a big resume, some people immediately say, “No, you are not experienced enough.” So, it helps to get that ball rolling.

Every time I have a show, I seem to have 10 people telling me, “Oh, you should go to this place” which makes me feel really great. They encourage me to keep going and I take that as a good sign.


Most of my shows have been in not-for profit venues, so my budgets are quite small. I try to always give somewhat of a stipend to the artists to cover travel cost at the least. That’s important to me, because so many venues ask artists to go out of pocket to show.

If I had a big budget, then I could potentially look beyond local. That would be exciting because it opens up the opportunity to do much more. I enjoy bringing something new to the audience. For example, if I had the budget, I could have an artist from the middle of country come to NYC and give them that experience. I would love to do that.

Difficult Artist?

I’ve been pretty lucky with people I’ve worked with in the past. They have been very flexible in working with me.

There are always people who have different type of questions. I had an artist in the past that I was trying to help transport the work from NY to NJ for a particular show. She had a great question that I hadn’t thought about. Her question was about insurance, if the work was covered by the gallery while in transit which was a great question. As I didn’t work for the gallery, policy questions I don’t always have the immediate answer to, but it’s my job to find out. She really did ask me a lot of questions, but they were all good questions. It educated me as well. So, it’s not a problem if sometimes artists are higher maintenance than others. It’s all a learning process for myself. I appreciate that. It makes me better if the artists ask more questions. The more difficult artists help to teach me how to be a better curator. So, it’s all about that balance. You don’t learn as much if there is no struggle.

You have curated lots of female artists. Any reason?

Yes, I have curated lots of female artists. It’s not actually what I initiatory go out for.

This show in particular that wasn’t really a part of my curatorial agenda. I was just looking at the work to see if it fits the theme and if it goes well with other work I am finding for the show. In that process, there happens to be 3 men in this show out of 10 artists’ total.

But I do seem to favor art by women in general. I think that’s OK because I think women are generally underrepresented and I’m happy to be providing an opportunity for them. Creating this opportunity for people who are underrepresented is a part of my wanting to be a curator anyway. In an art world that’s still very unbalanced in its male and female artists’ representation, if I can help balance the scale a bit, why not?


Lovina Purple at her exhibition “BEIGE!”

I like to balance heavier topics with lighter topics and show different types of artists together.

Are there any shows that you want to curate in the future?

I don’t have one officially booked right now. There are quite a few proposals I have out there that I am waiting to hear back on.

I have one that is a much more political based idea, probably inspired by the election coming next year. It’s a little bit on the darker side. I really want to do a show about the gun culture in the US. It’s a topic that is really talked a lot about immediately after tragic things happen and then it just goes away. Artists can have really interesting things to say about that. I have already found a few artists that I would love to work with on that project.

I also have a project that I really hope to get accepted. I’m really excited about the artists. That’s more about the type of materials they are using. It’s really about the balance of masculine and feminine.

I like to balance heavier topics with lighter topics and show different types of artists together.

That’s what’s on the horizon.

What is your goal as a curator?

That’s a good question.

I really enjoyed seeing the Spring Break Art Show. That’s really curatorial driven. I would love to be involved with that in the future.

I would also love to do a much larger scaled show: maybe multiple venues or traveling shows. So, those are kind of goals.

But in terms of being hired by any particular place, it depends. I like having freedom of being an independent curator, but if it were the right venue and allowed me to have creative freedom in the shows, I would be definitely open to that.


The installation view of “Right Amount of Wrong” curated by Lovina Purple at ISE NY Gallery in 2014

Interviewed by: Mayumi Sarai (ISE Cultural Foundation NY)