The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.
Critics’ PicksCritics’ Picks
La Onda 2026 Lineup: J Balvin, Christian Nodal, Maná, Ivan Cornejo, More in Napa
Lovers Lane Unites San Francisco’s Mission District with Art and Cultura
SOMArts to Gather SF Arts Community During ‘State of Emergency’
‘The Cherry Orchard’ Is a Captivating Portrait of Family Delusion
At BAMPFA, Theresa Hak Kyung Cha’s Eloquent Art Lives On
Learn the True History of SantaCon in an SF IndieFest Documentary
Time Traveling Through Cece Carpio’s New Exhibition at SOMArts
Not That Into Football? Try These Super Bowl Alt-Events
Colombian Farce ‘A Poet’ Is a Brilliant Critique of Hypocritical Creatives
‘Arco’ Is a Dystopian Tale Imbued With a Surprising Amount of Optimism
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. [aside postid='arts_13986534']\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\n\u003cp>https://youtu.be/B4uF9pfu_UM?si=IHhzPPZOvNoRvxAs\u003c/p>\n\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\n\u003cp>https://youtu.be/1vqzFdoo-Tk?si=yWl9ZxkdlSLLdzI9\u003c/p>\n\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/B4uF9pfu_UM'\n title='//www.youtube.com/embed/B4uF9pfu_UM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1vqzFdoo-Tk'\n title='//www.youtube.com/embed/1vqzFdoo-Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In recent months, \u003ca href=\"https://www.kqed.org/arts/tag/somarts\">SOMArts\u003c/a> Executive Director Maria Jenson has routinely found herself huddled in small groups, debriefing on street corners.\u003c/p>\n\u003cp>It was always after an arts community meeting organized by the city, she explains. Attendees showed up hoping to ask questions about Mayor Lurie’s plan to \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">merge the city’s three arts agencies\u003c/a>. Would grant disbursement change? Would available funding shrink? Artists and arts administrators went to these events looking for civic discourse and real dialogue.\u003c/p>\n\u003cp>“But what happened after each of the meetings I attended is that we left feeling rather unfulfilled,” Jenson says. Hence the hurried corner debriefings.\u003c/p>\n\u003cp>If the city wasn’t going to provide a forum for these conversations, SOMArts would, Jenson and her board decided. On Friday, Feb. 13, the cultural center will host a community convening they’re calling “\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here\u003c/a>.” All are welcome; the event will follow an “unconference” format, a participant-driven way to capture topics and conversations as they unfold over the course of four hours.\u003c/p>\n\u003cp>“This is a state of emergency and urgency,” Jenson says. “It’s not a moment to continue to have these very, almost curated civic meetings.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco arts scene has experienced major blows in recent weeks. On Jan. 13, the 119-year-old California College of the Arts, Northern California’s last remaining nonprofit art and design school, \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">announced it would close\u003c/a> at the end of the 2026–2027 school year. Less than two weeks later, the Mission Cultural Center for Latino Arts (MCCLA), founded in 1977, \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">shuttered indefinitely\u003c/a> due to financial crisis. These sudden announcements came after a spate of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery\u003c/a> and nonprofit art space closures at the end of 2025.\u003c/p>\n\u003cp>“The infrastructure that sustains creative life is eroding faster than policy and philanthropy can respond,” the “Artists Live Here” event page proclaims. “If we don’t have this conversation now, we may not get another chance.”\u003c/p>\n\u003cp>Taking matters into their own hands is very much in keeping with the historical role of San Francisco’s \u003ca href=\"https://www.sfartscommission.org/experience-art/cultural-centers\">seven neighborhood cultural centers\u003c/a>, which provide accessible arts spaces, classes, exhibitions and other programming. In addition to the MCCLA and SOMArts, the city’s cultural centers include the African American Art and Culture Complex, the American Indian Cultural Center, the Asian Pacific Islander Cultural Center, Bayview Opera House Ruth Williams Memorial Theatre, and the Queer Cultural Center. Only four — now three — have physical spaces.\u003c/p>\n\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Brass and Copper,’ 2017, part of the artist’s current exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday’s convening comes as SOMArts is itself facing an uncertain financial future. “We received a 10% cut for this fiscal year, which we didn’t learn was going to happen until way after we normally prepare our annual budget,” Jenson explains. At the most recent Arts Commission meeting, a budget presentation shared big-picture numbers, but not the detailed breakdown that will help Jenson, her staff and board make plans for SOMArts’ future.\u003c/p>\n\u003cp>[aside postID='arts_13986135']“What is it going to be this year? Is it a 2% cut? Is it a 10% cut, is it more?” she asks. “That is instability right there.”\u003c/p>\n\u003cp>Meanwhile, major changes to San Francisco’s arts agencies are already underway. The cultural affairs director of the San Francisco Arts Commission (SFAC) announced his retirement on Feb. 2, less than week after the mayor posted \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">the job listing\u003c/a> for the city’s first executive director of arts and culture, a role that will oversee the still-undefined merger of the SFAC, Grants for the Arts and the Film Commission.\u003c/p>\n\u003cp>In its \u003ca href=\"https://media.api.sf.gov/documents/Commission_Streamlining_Task_Force_Final_Report.pdf\">final report\u003c/a>, the Commission Streamlining Task Force has recommended moving the majority of the 15-member Arts Commission’s functions out of the city charter and into the administrative code, where it will be more malleable — and subject to shifts in each administration’s priorities.\u003c/p>\n\u003cp>“If you wanted to create a perfect storm for an arts and culture community, then it’s all of the things we’re talking about,” Jenson says, counting off the staffing, organizational and budget changes coming from the city. “All of this change is rolling out and it’s coming towards the arts community. It looks like a small wave when you look out on the horizon, but it’s actually a tsunami.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here: Community Convening\u003c/a>’ will take place at SOMArts (934 Brannan St., San Francisco) on Friday, Feb. 13, 4–8 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent months, \u003ca href=\"https://www.kqed.org/arts/tag/somarts\">SOMArts\u003c/a> Executive Director Maria Jenson has routinely found herself huddled in small groups, debriefing on street corners.\u003c/p>\n\u003cp>It was always after an arts community meeting organized by the city, she explains. Attendees showed up hoping to ask questions about Mayor Lurie’s plan to \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">merge the city’s three arts agencies\u003c/a>. Would grant disbursement change? Would available funding shrink? Artists and arts administrators went to these events looking for civic discourse and real dialogue.\u003c/p>\n\u003cp>“But what happened after each of the meetings I attended is that we left feeling rather unfulfilled,” Jenson says. Hence the hurried corner debriefings.\u003c/p>\n\u003cp>If the city wasn’t going to provide a forum for these conversations, SOMArts would, Jenson and her board decided. On Friday, Feb. 13, the cultural center will host a community convening they’re calling “\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here\u003c/a>.” All are welcome; the event will follow an “unconference” format, a participant-driven way to capture topics and conversations as they unfold over the course of four hours.\u003c/p>\n\u003cp>“This is a state of emergency and urgency,” Jenson says. “It’s not a moment to continue to have these very, almost curated civic meetings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco arts scene has experienced major blows in recent weeks. On Jan. 13, the 119-year-old California College of the Arts, Northern California’s last remaining nonprofit art and design school, \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">announced it would close\u003c/a> at the end of the 2026–2027 school year. Less than two weeks later, the Mission Cultural Center for Latino Arts (MCCLA), founded in 1977, \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">shuttered indefinitely\u003c/a> due to financial crisis. These sudden announcements came after a spate of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery\u003c/a> and nonprofit art space closures at the end of 2025.\u003c/p>\n\u003cp>“The infrastructure that sustains creative life is eroding faster than policy and philanthropy can respond,” the “Artists Live Here” event page proclaims. “If we don’t have this conversation now, we may not get another chance.”\u003c/p>\n\u003cp>Taking matters into their own hands is very much in keeping with the historical role of San Francisco’s \u003ca href=\"https://www.sfartscommission.org/experience-art/cultural-centers\">seven neighborhood cultural centers\u003c/a>, which provide accessible arts spaces, classes, exhibitions and other programming. In addition to the MCCLA and SOMArts, the city’s cultural centers include the African American Art and Culture Complex, the American Indian Cultural Center, the Asian Pacific Islander Cultural Center, Bayview Opera House Ruth Williams Memorial Theatre, and the Queer Cultural Center. Only four — now three — have physical spaces.\u003c/p>\n\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Brass and Copper,’ 2017, part of the artist’s current exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday’s convening comes as SOMArts is itself facing an uncertain financial future. “We received a 10% cut for this fiscal year, which we didn’t learn was going to happen until way after we normally prepare our annual budget,” Jenson explains. At the most recent Arts Commission meeting, a budget presentation shared big-picture numbers, but not the detailed breakdown that will help Jenson, her staff and board make plans for SOMArts’ future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What is it going to be this year? Is it a 2% cut? Is it a 10% cut, is it more?” she asks. “That is instability right there.”\u003c/p>\n\u003cp>Meanwhile, major changes to San Francisco’s arts agencies are already underway. The cultural affairs director of the San Francisco Arts Commission (SFAC) announced his retirement on Feb. 2, less than week after the mayor posted \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">the job listing\u003c/a> for the city’s first executive director of arts and culture, a role that will oversee the still-undefined merger of the SFAC, Grants for the Arts and the Film Commission.\u003c/p>\n\u003cp>In its \u003ca href=\"https://media.api.sf.gov/documents/Commission_Streamlining_Task_Force_Final_Report.pdf\">final report\u003c/a>, the Commission Streamlining Task Force has recommended moving the majority of the 15-member Arts Commission’s functions out of the city charter and into the administrative code, where it will be more malleable — and subject to shifts in each administration’s priorities.\u003c/p>\n\u003cp>“If you wanted to create a perfect storm for an arts and culture community, then it’s all of the things we’re talking about,” Jenson says, counting off the staffing, organizational and budget changes coming from the city. “All of this change is rolling out and it’s coming towards the arts community. It looks like a small wave when you look out on the horizon, but it’s actually a tsunami.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here: Community Convening\u003c/a>’ will take place at SOMArts (934 Brannan St., San Francisco) on Friday, Feb. 13, 4–8 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Delusions do not pay the bills.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Theatre\u003c/a>’s interpretation of Anton Chekhov’s final play \u003cem>The Cherry Orchard\u003c/em>, Liubóv is coming to terms with this fact, but in the worst way possible. It is her pride, and her belief that everything will magically turn around, that causes her downfall — all while disregarding that her aristocratic lot in society teeters on the brink of disappearance.\u003c/p>\n\u003cp>In a wonderful translation by Paul Schmidt, Marin Theatre’s production soars with a gleaming cast built from some of the best acting talents in the region. Those talents are showcased with terrific movement and sharp tableaus from Carey Perloff’s erudite direction.\u003c/p>\n\u003cfigure id=\"attachment_13986404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg\" alt=\"\" width=\"2000\" height=\"1305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liubóv Andréyevna Ranyévskaya (Liz Sklar), Lopákhin (Lance Gardner), Firs (Howard Swain), and Gáyev (Anthony Fusco) in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv (Liz Sklar) returns from Paris after a five-year absence to her “nursery,” a residence that sits on the massive land beside the family cherry orchard. The property has become a drag on the family’s bank account, the orchard no longer holding the magic that birthed so many variations of cherry, including the delicious dried one that 87-year-old valet Firs (Howard Swain) recalls with luscious longing. When the wealthy Lopákhin (Lance Gardner), whose enslaved father and grandfather worked this very land, suggests building summer cottages as a way to stay, Liubóv scoffs at the mere suggestion.\u003c/p>\n\u003cp>But what options are there? Liubóv has lived her life firmly upon the richest clouds of Russian society at the turn of the 20th century. Her lifetime habit of wasteful spending is not a new problem, but one that’s reached a breaking point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The power of Chekhov’s story is evident: all of the characters in this archaic aristocracy are careening towards extinction. There’s Liubóv’s adopted daughter Varya (Rosie Hallett), who awkwardly prances around with a perpetual hood over her head, hopelessly in love with Lopákhin while facing her own demise as the estate’s manager. Liubóv’s brother Gáyev (Anthony Fusco) presents as a hollow member of the aristocracy, often flexing his bona fides and penchant for great billiards shots, while also insulting those he feels are beneath him.\u003c/p>\n\u003cfigure id=\"attachment_13986409\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg\" alt=\"\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-1082x1536.jpg 1082w\" sizes=\"auto, (max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">Ánya (Anna Takayo) and Trofímov (Joseph O’Malley) reflect on the estate in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv’s biological daughter Ánya (Anna Takayo) is only 17, but shares a deep connection with eternal student Trofímov (Joseph O’Malley), who advertises to be above love, focusing instead on his idealistic worldview that resists materialism.\u003c/p>\n\u003cp>Perloff’s direction shines in its commitment to symbolism, highly enhanced by Nina Ball’s scenic design with plenty of rustic, antique dolls that have seen better days, beautifully lit by Kate Boyd. For much of the play, actions only exist in a grander context.\u003c/p>\n\u003cp>[aside postID='arts_13984286']Notice the brilliant moment where a passerby begs for money and asks to cut through the orchard. With Liubóv’s action of presenting this beggar a gold coin, the others thunder that her own serfs are starving. Her inability to understand her own frivolity is perhaps her greatest tragic flaw. Throwing a ball you can’t afford on the day your property is about to be auctioned off? Bless her heart.\u003c/p>\n\u003cp>Does this allow for a completely empathetic view of Liubóv, who is genuinely crushed by her own vices? Well, yes and no. While many are in no rush to shed tears for a class that has built their fortunes on the literal backs of others, the production makes clear the pain of letting go of the place where Liubóv’s young child lost his life.\u003c/p>\n\u003cfigure id=\"attachment_13986402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg\" alt=\"\" width=\"2000\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lopákhin (Lance Gardner) and Várya (Rosie Hallett) share a moment in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmidt’s interpretation strikes a wonderful balance of drawing out the story’s tragic elements while being terribly funny. As Píschik, Danny Scheie continues to display his sharp hilarity as one of the region’s most skilled comic actors, whether searching for some money or dealing with a sudden jolt of gout. Jomar Tagatac’s bumbling clerk Yepikhódov showcases his fantastic commitment to physical comedy.\u003c/p>\n\u003cp>[aside postid='arts_13983649']The production’s range belongs to both Sklar and Gardner, two performers who possess oodles of stage presence. Sklar’s strength is advocating for a character who’s clueless about what is coming. Her performance is loaded with melancholy radiance — choosing to dance in the most inopportune moments, while hoping this will all just go away.\u003c/p>\n\u003cp>Gardner’s power comes from understanding how his Lopákhin has the upper hand, and his unbridled glee at his rise from the lowest rungs of his class, now on the cusp of generational financial power. That makes for one particularly breathtaking, devastating moment, when he’s alone with Varya in a perfect position to propose, choosing instead to pull the earth from beneath her. (Hallett, as Varya, is in full command of how to play disappointment and devastation with grace.)\u003c/p>\n\u003cfigure id=\"attachment_13986403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Ánya (Anna Takayo) and Várya (Rosie Hallett) connect in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the play’s symbols are as striking as what Swain does with Firs, who gently appears throughout the story. In one of the play’s most painful moments, Firs is simply forgotten, a life deemed insignificant now cast aside, no matter how loyal he was to those whom he loved. Swain’s devastating physical work, showcasing Firs’ body slowly giving way to age, speaks volumes about the fragile nature of the past.\u003c/p>\n\u003cp>Chekhov’s characters are sometimes described as sipping delicious hot tea while the walls crumble around them. In \u003cem>The Cherry Orchard\u003c/em>, it’s not walls, but trees. And when those trees finally crumble, due to Lopákhin’s new vision, all that’s left of this obscure cherry orchard is a lonely old man, riddled with dementia, forgotten and unafraid.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Cherry Orchard’ runs through Feb. 22 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://www.marintheatre.org/show-details/the-cherry-orchard\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Review: ‘The Cherry Orchard’ Makes Family Delusion Captivating in Marin | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Delusions do not pay the bills.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Theatre\u003c/a>’s interpretation of Anton Chekhov’s final play \u003cem>The Cherry Orchard\u003c/em>, Liubóv is coming to terms with this fact, but in the worst way possible. It is her pride, and her belief that everything will magically turn around, that causes her downfall — all while disregarding that her aristocratic lot in society teeters on the brink of disappearance.\u003c/p>\n\u003cp>In a wonderful translation by Paul Schmidt, Marin Theatre’s production soars with a gleaming cast built from some of the best acting talents in the region. Those talents are showcased with terrific movement and sharp tableaus from Carey Perloff’s erudite direction.\u003c/p>\n\u003cfigure id=\"attachment_13986404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg\" alt=\"\" width=\"2000\" height=\"1305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liubóv Andréyevna Ranyévskaya (Liz Sklar), Lopákhin (Lance Gardner), Firs (Howard Swain), and Gáyev (Anthony Fusco) in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv (Liz Sklar) returns from Paris after a five-year absence to her “nursery,” a residence that sits on the massive land beside the family cherry orchard. The property has become a drag on the family’s bank account, the orchard no longer holding the magic that birthed so many variations of cherry, including the delicious dried one that 87-year-old valet Firs (Howard Swain) recalls with luscious longing. When the wealthy Lopákhin (Lance Gardner), whose enslaved father and grandfather worked this very land, suggests building summer cottages as a way to stay, Liubóv scoffs at the mere suggestion.\u003c/p>\n\u003cp>But what options are there? Liubóv has lived her life firmly upon the richest clouds of Russian society at the turn of the 20th century. Her lifetime habit of wasteful spending is not a new problem, but one that’s reached a breaking point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The power of Chekhov’s story is evident: all of the characters in this archaic aristocracy are careening towards extinction. There’s Liubóv’s adopted daughter Varya (Rosie Hallett), who awkwardly prances around with a perpetual hood over her head, hopelessly in love with Lopákhin while facing her own demise as the estate’s manager. Liubóv’s brother Gáyev (Anthony Fusco) presents as a hollow member of the aristocracy, often flexing his bona fides and penchant for great billiards shots, while also insulting those he feels are beneath him.\u003c/p>\n\u003cfigure id=\"attachment_13986409\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg\" alt=\"\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-1082x1536.jpg 1082w\" sizes=\"auto, (max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">Ánya (Anna Takayo) and Trofímov (Joseph O’Malley) reflect on the estate in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv’s biological daughter Ánya (Anna Takayo) is only 17, but shares a deep connection with eternal student Trofímov (Joseph O’Malley), who advertises to be above love, focusing instead on his idealistic worldview that resists materialism.\u003c/p>\n\u003cp>Perloff’s direction shines in its commitment to symbolism, highly enhanced by Nina Ball’s scenic design with plenty of rustic, antique dolls that have seen better days, beautifully lit by Kate Boyd. For much of the play, actions only exist in a grander context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Notice the brilliant moment where a passerby begs for money and asks to cut through the orchard. With Liubóv’s action of presenting this beggar a gold coin, the others thunder that her own serfs are starving. Her inability to understand her own frivolity is perhaps her greatest tragic flaw. Throwing a ball you can’t afford on the day your property is about to be auctioned off? Bless her heart.\u003c/p>\n\u003cp>Does this allow for a completely empathetic view of Liubóv, who is genuinely crushed by her own vices? Well, yes and no. While many are in no rush to shed tears for a class that has built their fortunes on the literal backs of others, the production makes clear the pain of letting go of the place where Liubóv’s young child lost his life.\u003c/p>\n\u003cfigure id=\"attachment_13986402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg\" alt=\"\" width=\"2000\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lopákhin (Lance Gardner) and Várya (Rosie Hallett) share a moment in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmidt’s interpretation strikes a wonderful balance of drawing out the story’s tragic elements while being terribly funny. As Píschik, Danny Scheie continues to display his sharp hilarity as one of the region’s most skilled comic actors, whether searching for some money or dealing with a sudden jolt of gout. Jomar Tagatac’s bumbling clerk Yepikhódov showcases his fantastic commitment to physical comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The production’s range belongs to both Sklar and Gardner, two performers who possess oodles of stage presence. Sklar’s strength is advocating for a character who’s clueless about what is coming. Her performance is loaded with melancholy radiance — choosing to dance in the most inopportune moments, while hoping this will all just go away.\u003c/p>\n\u003cp>Gardner’s power comes from understanding how his Lopákhin has the upper hand, and his unbridled glee at his rise from the lowest rungs of his class, now on the cusp of generational financial power. That makes for one particularly breathtaking, devastating moment, when he’s alone with Varya in a perfect position to propose, choosing instead to pull the earth from beneath her. (Hallett, as Varya, is in full command of how to play disappointment and devastation with grace.)\u003c/p>\n\u003cfigure id=\"attachment_13986403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Ánya (Anna Takayo) and Várya (Rosie Hallett) connect in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the play’s symbols are as striking as what Swain does with Firs, who gently appears throughout the story. In one of the play’s most painful moments, Firs is simply forgotten, a life deemed insignificant now cast aside, no matter how loyal he was to those whom he loved. Swain’s devastating physical work, showcasing Firs’ body slowly giving way to age, speaks volumes about the fragile nature of the past.\u003c/p>\n\u003cp>Chekhov’s characters are sometimes described as sipping delicious hot tea while the walls crumble around them. In \u003cem>The Cherry Orchard\u003c/em>, it’s not walls, but trees. And when those trees finally crumble, due to Lopákhin’s new vision, all that’s left of this obscure cherry orchard is a lonely old man, riddled with dementia, forgotten and unafraid.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Cherry Orchard’ runs through Feb. 22 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://www.marintheatre.org/show-details/the-cherry-orchard\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are so many words in \u003ci>\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>\u003c/i> that it can be a bit daunting to form a written response of one’s own. The retrospective at the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, curated by Victoria Sung with assistance from Tausif Noor, presents a decade of work by an artist who died too soon: in 1982, at the age of 31. The museum has housed her art and archives since 1992.\u003c/p>\n\u003cp>Cha’s practice transcended media, but words — spoken, recorded, written — are nearly always at the center. Born in Busan, South Korea in 1951, she immigrated with her family to Hawaii in 1962. They moved to San Francisco two years later. Words in Korean, English and French punctuated and inscribed her practice, which included performances, sound pieces, films, artist books and mail art.\u003c/p>\n\u003cp>Berkeley isn’t just the starting point for this traveling retrospective, it’s the geographical backdrop of Cha’s commitment to art. The artist spent eight years at UC Berkeley, getting bachelor’s degrees in comparative literature and art, then an MA and an MFA. She worked at the Pacific Film Archive, and as a preparator and video technician at the University Art Museum, BAMPFA’s precursor. Along the way, she showed at a mix of major Bay Area institutions and artist-run spaces: 63 Bluxome, La Mamelle, the San Francisco Art Institute, the San Francisco Museum of Modern Art, 80 Langton Street.\u003c/p>\n\u003cfigure id=\"attachment_13986357\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000.jpg\" alt=\"image of Asian woman in black, one hand tucked in pocket, the other leaning on window she looks out of; stenciled text piece on raw canvas\" width=\"2000\" height=\"1404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Theresa Hak Kyung Cha in 1979. R: Theresa Hak Kyung Cha, ‘Repetitive Pattern,’ 1975. \u003ccite>(Photo by James H. Cha; Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The main body of my work is with language,” she wrote in an artist statement in the late ’70s, “‘looking for the roots of the language before it is born on the tip of the tongue.’” Later in the same text, she used the phrase “multiple telling with multiple offering” to describe how she combined images, text and sound to give audiences a variety of entry points into the works.\u003c/p>\n\u003cp>Despite Cha’s short career, \u003ci>Multiple Offerings\u003c/i> contains over 100 works, starting with early ’70s forays into ceramics and weaving, and ending with \u003ci>\u003ca href=\"https://www.ucpress.edu/books/dictee/paper\">Dictée\u003c/a>\u003c/i>, an 1982 experimental book published by Tanam Press. Shortly after the book was published, Cha was raped and murdered in New York City, where she moved in 1980.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That staggering loss — of a full life and career — threatens to overshadow any posthumous reception of Cha’s work. In the beautiful catalog that accompanies BAMPFA’s exhibition, Mason Leaver-Yap cautions against solely focusing on “absence” in Cha’s work. “The repeated emphasis on its ‘ghostliness’ congeals uncomfortably to a retrospective biographical lensing,” Leaver-Yap writes. Cha had no presentiment of her own death. In the mid-’70s she began a piece of text with “i have time.”\u003c/p>\n\u003cp>\u003ci>Multiple Offerings\u003c/i> fleshes out the art historical context of Cha’s years at Berkeley with show posters, sketchbooks and the contemporaries who influenced her work. Wrapping around one corner of the first gallery, documentation of a 1975 rehearsal for \u003ci>Aveugle Voix\u003c/i> (“blind voice”) shows Cha in large, warmly framed black-and-white photos, wrapping fabric around her eyes and mouth at Berkeley’s Greek Theatre. She unfurls a long white cloth with words stenciled down its center, then crouches, barefoot, head tucked into arms.\u003c/p>\n\u003cfigure id=\"attachment_13986358\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000.jpg\" alt=\"gallery view with framed black and white photographs and a table of ceramics\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Theresa Hak Kyung Cha: Multiple Offerings’ at BAMPFA with ‘Aveugle Voix’ in the corner. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Cha’s work was temporal — her body took up time and space in the moment of performance, then flattened into a series of still images, onto film or video footage. Save for her early ceramic vessels, very little of Cha’s work at BAMPFA extends beyond the thickness of a book. But \u003ci>Multiple Offerings\u003c/i> is far from immaterial. Unfolding gracefully via sound and moving image, the show rewards a slower pace.\u003c/p>\n\u003cp>The formal spareness of Cha’s work, mainly rendered in a spectrum of black and white, belies its playfulness and generosity. She delighted in wordplay, printing text upside down and backwards, prying words apart into new formulations. \u003ci>A Ble Wail\u003c/i>, a 1975 performance piece, is read as “a blue whale.” In \u003ci>Dictée\u003c/i>, “afar” becomes “a far.”\u003c/p>\n\u003cp>Sometimes her art looked like a magic trick. In the 1974 performance \u003ci>Barren Cave Mute\u003c/i>, she marked large sheets of white paper with invisible wax letters. As she held a candle to the paper, the wax melted to reveal the hidden message of the artwork’s title.\u003c/p>\n\u003cp>The 1976 film \u003ci>Permutations\u003c/i> is made up of six one-second shots of Cha’s younger sister Bernadette, ordered and repeated by chance. Cha embedded herself in the film like a secret message, spliced between her sister’s images. In BAMPFA’s presentation, a suspended scrim catches the projection for a double-sided presentation.\u003c/p>\n\u003cfigure id=\"attachment_13986376\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000.jpg\" alt=\"thick black edged envelopes mounted sticking out from burgundy wall\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13986376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Hak Kyung Cha, ‘Faire-Part,’ 1976; Ink and press type on fifteen envelopes. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition moves chronologically and geographically, following Cha’s semester abroad in Paris in 1976 and her trips back to Korea in 1979 and 1980. European travel brought her into contact with Fluxus, mail art and, in Amsterdam, the conceptual artist and bookmaker Ulises Carrión. In Korea, she traveled with her brother James, shooting footage for \u003ci>White Dust from Mongolia\u003c/i>, a film that remained unfinished at her death.\u003c/p>\n\u003cp>Scattered throughout the show are works by her antecedents and successors. A sound and textile installation by Cecila Vicuña (subject of her own \u003ca href=\"https://www.kqed.org/arts/13838208/at-bampfa-the-discarded-and-forgotten-become-prayers-for-the-future\">stunning BAMPFA retrospective\u003c/a> in 2018) adds vertical columns of gauzy color to the show’s restrained palette. \u003ca href=\"https://www.na-mira.com/\">Na Mira\u003c/a>’s video installation \u003ci>Marquee\u003c/i>, deploys some of Cha’s now-familiar tactics (reflection, text, a proxy figure) around a transistor radio tuned to the Los Angeles AM station Radio Korea.\u003c/p>\n\u003cp>Distance, displacement, memory, grief — Cha addressed these seemingly inexpressible things from as many angles as possible, and sometimes from every angle at once. It’s an approach, an offering, that still feels instructive, even 44 years after her death. Cha made her work with generosity, curiosity and rigor, reminding us now that no matter how difficult it is to form the words, there’s great value in trying.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.) through April 19, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many words in \u003ci>\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>\u003c/i> that it can be a bit daunting to form a written response of one’s own. The retrospective at the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, curated by Victoria Sung with assistance from Tausif Noor, presents a decade of work by an artist who died too soon: in 1982, at the age of 31. The museum has housed her art and archives since 1992.\u003c/p>\n\u003cp>Cha’s practice transcended media, but words — spoken, recorded, written — are nearly always at the center. Born in Busan, South Korea in 1951, she immigrated with her family to Hawaii in 1962. They moved to San Francisco two years later. Words in Korean, English and French punctuated and inscribed her practice, which included performances, sound pieces, films, artist books and mail art.\u003c/p>\n\u003cp>Berkeley isn’t just the starting point for this traveling retrospective, it’s the geographical backdrop of Cha’s commitment to art. The artist spent eight years at UC Berkeley, getting bachelor’s degrees in comparative literature and art, then an MA and an MFA. She worked at the Pacific Film Archive, and as a preparator and video technician at the University Art Museum, BAMPFA’s precursor. Along the way, she showed at a mix of major Bay Area institutions and artist-run spaces: 63 Bluxome, La Mamelle, the San Francisco Art Institute, the San Francisco Museum of Modern Art, 80 Langton Street.\u003c/p>\n\u003cfigure id=\"attachment_13986357\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000.jpg\" alt=\"image of Asian woman in black, one hand tucked in pocket, the other leaning on window she looks out of; stenciled text piece on raw canvas\" width=\"2000\" height=\"1404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Theresa Hak Kyung Cha in 1979. R: Theresa Hak Kyung Cha, ‘Repetitive Pattern,’ 1975. \u003ccite>(Photo by James H. Cha; Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The main body of my work is with language,” she wrote in an artist statement in the late ’70s, “‘looking for the roots of the language before it is born on the tip of the tongue.’” Later in the same text, she used the phrase “multiple telling with multiple offering” to describe how she combined images, text and sound to give audiences a variety of entry points into the works.\u003c/p>\n\u003cp>Despite Cha’s short career, \u003ci>Multiple Offerings\u003c/i> contains over 100 works, starting with early ’70s forays into ceramics and weaving, and ending with \u003ci>\u003ca href=\"https://www.ucpress.edu/books/dictee/paper\">Dictée\u003c/a>\u003c/i>, an 1982 experimental book published by Tanam Press. Shortly after the book was published, Cha was raped and murdered in New York City, where she moved in 1980.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That staggering loss — of a full life and career — threatens to overshadow any posthumous reception of Cha’s work. In the beautiful catalog that accompanies BAMPFA’s exhibition, Mason Leaver-Yap cautions against solely focusing on “absence” in Cha’s work. “The repeated emphasis on its ‘ghostliness’ congeals uncomfortably to a retrospective biographical lensing,” Leaver-Yap writes. Cha had no presentiment of her own death. In the mid-’70s she began a piece of text with “i have time.”\u003c/p>\n\u003cp>\u003ci>Multiple Offerings\u003c/i> fleshes out the art historical context of Cha’s years at Berkeley with show posters, sketchbooks and the contemporaries who influenced her work. Wrapping around one corner of the first gallery, documentation of a 1975 rehearsal for \u003ci>Aveugle Voix\u003c/i> (“blind voice”) shows Cha in large, warmly framed black-and-white photos, wrapping fabric around her eyes and mouth at Berkeley’s Greek Theatre. She unfurls a long white cloth with words stenciled down its center, then crouches, barefoot, head tucked into arms.\u003c/p>\n\u003cfigure id=\"attachment_13986358\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000.jpg\" alt=\"gallery view with framed black and white photographs and a table of ceramics\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Theresa Hak Kyung Cha: Multiple Offerings’ at BAMPFA with ‘Aveugle Voix’ in the corner. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Cha’s work was temporal — her body took up time and space in the moment of performance, then flattened into a series of still images, onto film or video footage. Save for her early ceramic vessels, very little of Cha’s work at BAMPFA extends beyond the thickness of a book. But \u003ci>Multiple Offerings\u003c/i> is far from immaterial. Unfolding gracefully via sound and moving image, the show rewards a slower pace.\u003c/p>\n\u003cp>The formal spareness of Cha’s work, mainly rendered in a spectrum of black and white, belies its playfulness and generosity. She delighted in wordplay, printing text upside down and backwards, prying words apart into new formulations. \u003ci>A Ble Wail\u003c/i>, a 1975 performance piece, is read as “a blue whale.” In \u003ci>Dictée\u003c/i>, “afar” becomes “a far.”\u003c/p>\n\u003cp>Sometimes her art looked like a magic trick. In the 1974 performance \u003ci>Barren Cave Mute\u003c/i>, she marked large sheets of white paper with invisible wax letters. As she held a candle to the paper, the wax melted to reveal the hidden message of the artwork’s title.\u003c/p>\n\u003cp>The 1976 film \u003ci>Permutations\u003c/i> is made up of six one-second shots of Cha’s younger sister Bernadette, ordered and repeated by chance. Cha embedded herself in the film like a secret message, spliced between her sister’s images. In BAMPFA’s presentation, a suspended scrim catches the projection for a double-sided presentation.\u003c/p>\n\u003cfigure id=\"attachment_13986376\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000.jpg\" alt=\"thick black edged envelopes mounted sticking out from burgundy wall\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13986376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Hak Kyung Cha, ‘Faire-Part,’ 1976; Ink and press type on fifteen envelopes. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition moves chronologically and geographically, following Cha’s semester abroad in Paris in 1976 and her trips back to Korea in 1979 and 1980. European travel brought her into contact with Fluxus, mail art and, in Amsterdam, the conceptual artist and bookmaker Ulises Carrión. In Korea, she traveled with her brother James, shooting footage for \u003ci>White Dust from Mongolia\u003c/i>, a film that remained unfinished at her death.\u003c/p>\n\u003cp>Scattered throughout the show are works by her antecedents and successors. A sound and textile installation by Cecila Vicuña (subject of her own \u003ca href=\"https://www.kqed.org/arts/13838208/at-bampfa-the-discarded-and-forgotten-become-prayers-for-the-future\">stunning BAMPFA retrospective\u003c/a> in 2018) adds vertical columns of gauzy color to the show’s restrained palette. \u003ca href=\"https://www.na-mira.com/\">Na Mira\u003c/a>’s video installation \u003ci>Marquee\u003c/i>, deploys some of Cha’s now-familiar tactics (reflection, text, a proxy figure) around a transistor radio tuned to the Los Angeles AM station Radio Korea.\u003c/p>\n\u003cp>Distance, displacement, memory, grief — Cha addressed these seemingly inexpressible things from as many angles as possible, and sometimes from every angle at once. It’s an approach, an offering, that still feels instructive, even 44 years after her death. Cha made her work with generosity, curiosity and rigor, reminding us now that no matter how difficult it is to form the words, there’s great value in trying.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.) through April 19, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At one point in new documentary \u003cem>SANTACON\u003c/em>, Chuck Palahniuk is working very hard to bring meaning to his early involvement in \u003ca href=\"https://www.kqed.org/news/11707402/how-santacon-got-its-start-in-san-francisco-counterculture-2\">SantaCon\u003c/a>, the infamous festive event that wreaks havoc on cities all over the world every December.\u003c/p>\n\u003cp>“I had so wanted Santa to be real,” the \u003cem>Fight Club\u003c/em> author says of his childhood. “I had played by all of Santa’s rules. And when I was finally told it was all a huge conspiracy and that the people I loved most in the world had all lied to me to produce a certain kind of behavior, I was just devastated. I couldn’t trust anyone again after that. Now it makes it very easy to believe in people like Jeffrey Epstein.”\u003c/p>\n\u003cp>[aside postid='news_11707402'] Palahniuk’s words sound a lot like satire, yes, but his face suggests he’s being deadly serious.\u003c/p>\n\u003cp>If you live in San Francisco — where SantaCon started — you almost certainly know what this annual event now involves: thousands of drunk idiots in Santa suits, shouting, puking, flashing, fighting and dry humping their way through a bar crawl around the city. It is, to bystanders everywhere, a traveling dumpster fire.\u003c/p>\n\u003cp>To get to the real roots of today’s red-and-white menace, New York-based filmmaker Seth Porges tracked down the founders and early participants of SantaCon for his documentary. It turns out that the most annoying holiday party in history was started by the \u003ca href=\"https://www.kqed.org/arts/122043/tales_of_the_san_francisco_cacophony_society\">San Francisco Cacophony Society\u003c/a> — the same kooks who started \u003ca href=\"https://www.kqed.org/news/tag/burning-man\">Burning Man\u003c/a>. (Because of course it was them. \u003cem>Of course it was\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the founders — Palahniuk included — do their darnedest in \u003cem>SANTACON\u003c/em> to try and drag meaning into the banquet of bufoonery they started. Almost all insist that SantaCon was originally intended to be artistic street theater and social commentary with a dash of Santa-based trauma on the side.\u003c/p>\n\u003cp>Luckily, generously supplementing Porges’ interviews is a wealth of gloriously ’90s home videos from four of the first five SantaCons. (The very first SantaCon happened in 1994, was the brainchild of Rob Schmitt and only involved about 20 people — none of whom seem to have documented it.) The camcorder footage in \u003cem>SANTACON\u003c/em> does a much better job of depicting the early SantaCons than any nostalgic human ever could.\u003c/p>\n\u003cp>Based on this footage, there was indeed a concerted effort at the second SantaCon in 1995 to go after San Francisco’s elite while mocking capitalist values. That year, the Cacophony Society met up on the Embarcadero, then unleashed chaos on the Hyatt Regency Hotel, the Legion of Honor, Macy’s, and more. In Macy’s, the Santas chant “Spend your money! Charge it! Keep shopping!” Later that evening, one Santa notes that the group stopped at Nob Hill’s Huntington Park because it’s “where the evil lizard people control the Earth from.” The 1995 SantaCon invaded fancy events, plundered buffets and stole wine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r7C0WCqBICw\u003c/p>\n\u003cp>It was also a night that started with a ton of festive cheer — bewildered bystanders are clearly thrilled by the sight of the Santas chanting “ho ho ho!” and singing carols as they roam around downtown. If only that portion of the evening hadn’t culminated in SantaCon leader John Law getting hung from a lamppost in Union Square in front of hundreds of families out holiday shopping, they might have been onto a great thing.\u003c/p>\n\u003cp>“When you’re lynching Santa Claus in the middle of Union Square, you’re definitely making a statement,” says Cacophony Society member Chris Radcliffe, interviewed for \u003cem>SANTACON\u003c/em> before his 2024 death, “whether you’ve thought it through or not.”\u003c/p>\n\u003cp>[aside postid='arts_122043']In his own interview, Law doubles down on the anti-capitalist sentiments of the early events. “It’s the job of pranksters and artists to fuck with the people who control everything,” he says. “Because you can’t actually go after their money — they’ll kill you. You \u003cem>can\u003c/em> make fun of ’em though.”\u003c/p>\n\u003cp>\u003cem>SANTACON\u003c/em>’s subsequent footage of Portland (1996) and Los Angeles (1997) stands as evidence that the anti-capitalist point might have died in ’95. Participants can be seen attempting repeatedly to recapture the anarchic magic of the ’95 SantaCon and mostly failing. Portland’s event was devoid of joy because of an overzealous police presence. And the highlight of LA’s event appears to be the Santas getting quietly kicked out of a strip club.\u003c/p>\n\u003cp>Though footage from SantaCon ’98 in New York City offers somewhat of a return to ’95 form, it’s clear that, before the new millennium had even started, SantaCon was a dead horse that had been flogged enough. If \u003cem>SANTACON\u003c/em> proves nothing else, it’s that if SantaCon been left in ’95, the event would have remained golden, the stuff of local legend, lightning in a bottle. Instead, now we have … that terrible thing that we have.\u003c/p>\n\u003cfigure id=\"attachment_13986171\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC.png\" alt=\"A distinguished older white man with a white mustache wearing a red bow tie, santa hat and camel colored winter coat, stands next to a white man of similar age wearing a santa suit.\" width=\"2000\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-1536x932.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L) John Law and (R) Rob Schmitt, the original co-founders of SantaCon. \u003ccite>(‘SANTACON’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary culminates in John Law and Rob Schmitt making an appearance at a recent New York SantaCon — and looking utterly mortified at what they find. Law is visibly taken aback by the sea of drunken college kids that hail him as a hero. When one young man approaches him and slurs, “Look at this! You created this!” Law replies, “Well, we \u003cem>started\u003c/em> it. You created this.”\u003c/p>\n\u003cp>Later, Law tells the filmmakers: “It’s pretty mind-boggling that such a kernel of an idea could grow into something so ridiculous. I mean, we live in an idiotic culture. So of course something silly and idiotic is going to rise to the top.”\u003c/p>\n\u003cp>[aside postid='arts_13985828']But that’s the thing that sticks in the craw at the end of \u003cem>SANTACON\u003c/em>. For all the interviewees’ commentary on artistic values and experimentation and freedom, what the home video footage ultimately proves is that SantaCon was \u003cem>always\u003c/em> mostly about getting drunk and running amok. From the very beginning, many people were there purely to cause mayhem. It always involved bro jokes, flashing body parts and imbibing too much booze. \u003cem>SANTACON\u003c/em> is smart enough to let the evidence speak for itself.\u003c/p>\n\u003cp>As early as 1998, Santas can be seen roaming through the streets chanting “Hey hey! Ho ho! Santa needs some blow!”\u003c/p>\n\u003cp>Is it any wonder future generations missed the point?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/sf-indiefest-santacon/\">Santacon\u003c/a>’ opens this year’s \u003ca href=\"https://roxie.com/series/25th-sf-indiefest/\">San Francisco IndieFest\u003c/a> on Feb. 5, 2026. Filmmaker Seth Porges and original SantaCon participants are expected to appear for a Q&A after the screening.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At one point in new documentary \u003cem>SANTACON\u003c/em>, Chuck Palahniuk is working very hard to bring meaning to his early involvement in \u003ca href=\"https://www.kqed.org/news/11707402/how-santacon-got-its-start-in-san-francisco-counterculture-2\">SantaCon\u003c/a>, the infamous festive event that wreaks havoc on cities all over the world every December.\u003c/p>\n\u003cp>“I had so wanted Santa to be real,” the \u003cem>Fight Club\u003c/em> author says of his childhood. “I had played by all of Santa’s rules. And when I was finally told it was all a huge conspiracy and that the people I loved most in the world had all lied to me to produce a certain kind of behavior, I was just devastated. I couldn’t trust anyone again after that. Now it makes it very easy to believe in people like Jeffrey Epstein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Palahniuk’s words sound a lot like satire, yes, but his face suggests he’s being deadly serious.\u003c/p>\n\u003cp>If you live in San Francisco — where SantaCon started — you almost certainly know what this annual event now involves: thousands of drunk idiots in Santa suits, shouting, puking, flashing, fighting and dry humping their way through a bar crawl around the city. It is, to bystanders everywhere, a traveling dumpster fire.\u003c/p>\n\u003cp>To get to the real roots of today’s red-and-white menace, New York-based filmmaker Seth Porges tracked down the founders and early participants of SantaCon for his documentary. It turns out that the most annoying holiday party in history was started by the \u003ca href=\"https://www.kqed.org/arts/122043/tales_of_the_san_francisco_cacophony_society\">San Francisco Cacophony Society\u003c/a> — the same kooks who started \u003ca href=\"https://www.kqed.org/news/tag/burning-man\">Burning Man\u003c/a>. (Because of course it was them. \u003cem>Of course it was\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the founders — Palahniuk included — do their darnedest in \u003cem>SANTACON\u003c/em> to try and drag meaning into the banquet of bufoonery they started. Almost all insist that SantaCon was originally intended to be artistic street theater and social commentary with a dash of Santa-based trauma on the side.\u003c/p>\n\u003cp>Luckily, generously supplementing Porges’ interviews is a wealth of gloriously ’90s home videos from four of the first five SantaCons. (The very first SantaCon happened in 1994, was the brainchild of Rob Schmitt and only involved about 20 people — none of whom seem to have documented it.) The camcorder footage in \u003cem>SANTACON\u003c/em> does a much better job of depicting the early SantaCons than any nostalgic human ever could.\u003c/p>\n\u003cp>Based on this footage, there was indeed a concerted effort at the second SantaCon in 1995 to go after San Francisco’s elite while mocking capitalist values. That year, the Cacophony Society met up on the Embarcadero, then unleashed chaos on the Hyatt Regency Hotel, the Legion of Honor, Macy’s, and more. In Macy’s, the Santas chant “Spend your money! Charge it! Keep shopping!” Later that evening, one Santa notes that the group stopped at Nob Hill’s Huntington Park because it’s “where the evil lizard people control the Earth from.” The 1995 SantaCon invaded fancy events, plundered buffets and stole wine.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r7C0WCqBICw'\n title='//www.youtube.com/embed/r7C0WCqBICw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was also a night that started with a ton of festive cheer — bewildered bystanders are clearly thrilled by the sight of the Santas chanting “ho ho ho!” and singing carols as they roam around downtown. If only that portion of the evening hadn’t culminated in SantaCon leader John Law getting hung from a lamppost in Union Square in front of hundreds of families out holiday shopping, they might have been onto a great thing.\u003c/p>\n\u003cp>“When you’re lynching Santa Claus in the middle of Union Square, you’re definitely making a statement,” says Cacophony Society member Chris Radcliffe, interviewed for \u003cem>SANTACON\u003c/em> before his 2024 death, “whether you’ve thought it through or not.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In his own interview, Law doubles down on the anti-capitalist sentiments of the early events. “It’s the job of pranksters and artists to fuck with the people who control everything,” he says. “Because you can’t actually go after their money — they’ll kill you. You \u003cem>can\u003c/em> make fun of ’em though.”\u003c/p>\n\u003cp>\u003cem>SANTACON\u003c/em>’s subsequent footage of Portland (1996) and Los Angeles (1997) stands as evidence that the anti-capitalist point might have died in ’95. Participants can be seen attempting repeatedly to recapture the anarchic magic of the ’95 SantaCon and mostly failing. Portland’s event was devoid of joy because of an overzealous police presence. And the highlight of LA’s event appears to be the Santas getting quietly kicked out of a strip club.\u003c/p>\n\u003cp>Though footage from SantaCon ’98 in New York City offers somewhat of a return to ’95 form, it’s clear that, before the new millennium had even started, SantaCon was a dead horse that had been flogged enough. If \u003cem>SANTACON\u003c/em> proves nothing else, it’s that if SantaCon been left in ’95, the event would have remained golden, the stuff of local legend, lightning in a bottle. Instead, now we have … that terrible thing that we have.\u003c/p>\n\u003cfigure id=\"attachment_13986171\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC.png\" alt=\"A distinguished older white man with a white mustache wearing a red bow tie, santa hat and camel colored winter coat, stands next to a white man of similar age wearing a santa suit.\" width=\"2000\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-1536x932.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L) John Law and (R) Rob Schmitt, the original co-founders of SantaCon. \u003ccite>(‘SANTACON’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary culminates in John Law and Rob Schmitt making an appearance at a recent New York SantaCon — and looking utterly mortified at what they find. Law is visibly taken aback by the sea of drunken college kids that hail him as a hero. When one young man approaches him and slurs, “Look at this! You created this!” Law replies, “Well, we \u003cem>started\u003c/em> it. You created this.”\u003c/p>\n\u003cp>Later, Law tells the filmmakers: “It’s pretty mind-boggling that such a kernel of an idea could grow into something so ridiculous. I mean, we live in an idiotic culture. So of course something silly and idiotic is going to rise to the top.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But that’s the thing that sticks in the craw at the end of \u003cem>SANTACON\u003c/em>. For all the interviewees’ commentary on artistic values and experimentation and freedom, what the home video footage ultimately proves is that SantaCon was \u003cem>always\u003c/em> mostly about getting drunk and running amok. From the very beginning, many people were there purely to cause mayhem. It always involved bro jokes, flashing body parts and imbibing too much booze. \u003cem>SANTACON\u003c/em> is smart enough to let the evidence speak for itself.\u003c/p>\n\u003cp>As early as 1998, Santas can be seen roaming through the streets chanting “Hey hey! Ho ho! Santa needs some blow!”\u003c/p>\n\u003cp>Is it any wonder future generations missed the point?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/sf-indiefest-santacon/\">Santacon\u003c/a>’ opens this year’s \u003ca href=\"https://roxie.com/series/25th-sf-indiefest/\">San Francisco IndieFest\u003c/a> on Feb. 5, 2026. Filmmaker Seth Porges and original SantaCon participants are expected to appear for a Q&A after the screening.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cece-carpio-somarts-exhibition",
"title": "Time Traveling Through Cece Carpio’s New Exhibition at SOMArts",
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"headTitle": "Time Traveling Through Cece Carpio’s New Exhibition at SOMArts | KQED",
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"content": "\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio. ‘Brass and Copper,’ 2017. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside SOMArts gallery, the walls are adorned with sharp machete blades everywhere, and a pair of adorable, covertly embedded dangly earrings. Bold depictions of goddesses, painted in acrylic on wood and canvas, are surrounded by real bird feathers, wicker fans and seashells.\u003c/p>\n\u003cp>In one corner, a suspended pile of sticks rotating counterclockwise is accentuated with miscellaneous objects, including a mug with the face of Gromit from \u003cem>Wallace and Gromit\u003c/em>. In another corner, a multimedia installation airs an archival video from the \u003ca href=\"http://news.bbc.co.uk/2/hi/programmes/documentary_archive/4713466.stm\">EDSA People Power Revolution of February 1986\u003c/a> in Manila, Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13986202\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986202 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-scaled.jpg\" alt=\"A colorful display of paintings on two vertically standing surf boards that bookend a shrine-like display of arts. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘The Central Altar,’ 2026. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The wide range of materials — which also includes boots, a bottle of small-batch rum, surf boards, driftwood, brass bowls, copper containers and more blades than one can count — is all part of renowned visual artist \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a>’s first solo gallery exhibition, \u003ci>\u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>“The literal translation is ‘set aside, set aside,'” Carpio says of the exhibition’s title during a video call, noting the cultural norm of repeating a word for of emphasis. The title derives from the belief that spirits live in the forest, where one must “carve pathways” and “ask for permission to be able to walk through where they’re living.”\u003c/p>\n\u003cp>The exhibition, on view through March 29, provides a look into the heritage, heart and mind of a longtime painter whose work can be found on walls of the streets around the Bay Area, and in countries around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Using more than paint, Carpio combines multiple mediums with poetically penned descriptions, bringing audiences into a world where time travel and mysticism overlap with oral traditions and family history. Ultimately, her work reimagines what we understand, and creatively fills in the gaps where knowledge is lacking.\u003c/p>\n\u003cfigure id=\"attachment_13986203\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-scaled.jpg\" alt=\"A painted image of three brown-skinned faces, all with their eyes closed, next to each other as they're surrounded by pink flower pedals. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Bugambilia,’ 2025. \u003ccite>(Brandon Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in the Philippines and raised by her great-grandmother until the age of 12, Carpio attests that, in many ways, this exhibition is an ode to the matriarch of her family.\u003c/p>\n\u003cp>“She passed away in 1998 when she was 99 years old,” Carpio says of her great-grandmother. The year of her birth, 1899, is now tattooed on the artist’s neck.\u003c/p>\n\u003cp>Carpio’s great-grandmother was a midwife, an herbalist, a farmer and more. She survived wars and outlived her husband, as well as her own children. “She raised my mother, who then left [for America] when I was like three months old, and then she raised me,” says Carpio, affirming that her great-grandmother raised five generations in total. “Her story \u003cem>is\u003c/em> time travel.”\u003c/p>\n\u003cp>Childhood interactions with her great-grandmother brought about Carpio’s earliest art pieces. Living in a farming village where tropical fruits readily grew, Carpio would illustrate things that were rare to her, like apples brought back from the United States by her parents during visits. When Carpio wasn’t teaching her great-grandmother how to read numbers, she would illustrate stories she’d learned at school.\u003c/p>\n\u003cp>“I wanted share that with her,” Carpio tells me. “Obviously, there were words” — at the time, she was also learning English herself — “but sometimes, the images actually say so much more.”\u003c/p>\n\u003cfigure id=\"attachment_13986204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918.jpg\" alt=\"Through white clothing on a clothes line a painted picture is revealed, depicting a woman balancing a gourd on her head with one hand. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Indianale: Goddess of Labor,’ 2019. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Education went both ways. Carpio’s great-grandmother, not a woman of many words, would wake every morning and sweep the leaves in the front yard before burning them; a custom in their village. Carpio sees this seemingly mundane practice, a morning meditation of sorts, as a microcosm of the lack of understanding about indigenous cultures.\u003c/p>\n\u003cp>“If you’re an outsider looking in, then it’s something unfamiliar. I guess that’s what they make a lot of movies and animation about,” she posits, referencing the scene from \u003cem>The Little Mermaid\u003c/em> where Ariel sees a fork and thinks it’s a comb.\u003c/p>\n\u003cp>“If it’s not familiar in people’s eyes, then it is going to be odd, it is going to be awkward, it’s going to be weird,” Carpio says sharply. “But if you practice it every day, and you have a whole community practicing every day, you don’t necessarily question it anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13986205\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986205 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-scaled.jpg\" alt=\"A small figurine placed in a pile of foliage, mounted on a bamboo-raft like object. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A small community offering sits atop Cece Carpio’s ‘Maganda at Malakas,’ 2023. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Navigating “the norm” has been prevalent throughout Carpio’s life. As a kid she accepted that her parents living nearly 7,000 miles away was the way things were. When Carpio herself moved to the United States as a preteen, she learned to deal with cultural differences — namely, her accent — by drawing.\u003c/p>\n\u003cp>“Art became a tool of communication,” she says, recalling middle school days where she’d draw characters and flyers for folks’ birthday parties in exchange for a dollar or two. “And that made me cool,” Carpio says with a laugh. “It’s like, ‘It’s that girl who, I don’t know if she talks, but she can draw.'”\u003c/p>\n\u003cp>Blessed to have landed in the Bay Area, Carpio still celebrates finding “like-hearted and like-minded people.” She’s built deep bonds with others also raised by their grandparents or great-grandparents. She’s befriended folks who listened to bedtime stories that didn’t come from books, but from the mouths of elders. She’s found community in people who were also allowed to play with machetes at five years old.\u003c/p>\n\u003cfigure id=\"attachment_13986206\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13986206\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2000x1333.jpg\" alt=\"A broad view of multiple art pieces inside of a gallery with moody lighting. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A installation view of Cece Carpio’s exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts in San Francisco. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To this day, Carpio, a member of the \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle Collective\u003c/a>, says that members of her crew sometimes gift small daggers to each other. Both practical and symbolic, Carpio says the daggers are a reminder that “we are trying to cut the injustices of… all those things that we know are not working.”\u003c/p>\n\u003cp>Growing up poor, she says, forced Carpio to dream. In turn, her imagination became a tool of survival. She learned to change things she couldn’t control, and create things when there was a lack. She used story, myths and folklore to explain the incomprehensible.\u003c/p>\n\u003cp>And that’s on par with how she lives now. “In this show,” she says, “I’m highlighting some of those mythologies.”\u003c/p>\n\u003cp>Using folklore and mythology, she says, is more normal than not. And, she adds, it plays a big part in her process of creating art.\u003c/p>\n\u003cp>“We create things that we not only imagine,” she professes, “but we \u003cem>see\u003c/em> and we \u003cem>believe\u003c/em>. At least that’s a hope.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here\u003c/a>’ is on view through March 29 at SOMArts (934 Brannan St, San Francisco). \u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio. ‘Brass and Copper,’ 2017. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside SOMArts gallery, the walls are adorned with sharp machete blades everywhere, and a pair of adorable, covertly embedded dangly earrings. Bold depictions of goddesses, painted in acrylic on wood and canvas, are surrounded by real bird feathers, wicker fans and seashells.\u003c/p>\n\u003cp>In one corner, a suspended pile of sticks rotating counterclockwise is accentuated with miscellaneous objects, including a mug with the face of Gromit from \u003cem>Wallace and Gromit\u003c/em>. In another corner, a multimedia installation airs an archival video from the \u003ca href=\"http://news.bbc.co.uk/2/hi/programmes/documentary_archive/4713466.stm\">EDSA People Power Revolution of February 1986\u003c/a> in Manila, Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13986202\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986202 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-scaled.jpg\" alt=\"A colorful display of paintings on two vertically standing surf boards that bookend a shrine-like display of arts. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘The Central Altar,’ 2026. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The wide range of materials — which also includes boots, a bottle of small-batch rum, surf boards, driftwood, brass bowls, copper containers and more blades than one can count — is all part of renowned visual artist \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a>’s first solo gallery exhibition, \u003ci>\u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>“The literal translation is ‘set aside, set aside,'” Carpio says of the exhibition’s title during a video call, noting the cultural norm of repeating a word for of emphasis. The title derives from the belief that spirits live in the forest, where one must “carve pathways” and “ask for permission to be able to walk through where they’re living.”\u003c/p>\n\u003cp>The exhibition, on view through March 29, provides a look into the heritage, heart and mind of a longtime painter whose work can be found on walls of the streets around the Bay Area, and in countries around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Using more than paint, Carpio combines multiple mediums with poetically penned descriptions, bringing audiences into a world where time travel and mysticism overlap with oral traditions and family history. Ultimately, her work reimagines what we understand, and creatively fills in the gaps where knowledge is lacking.\u003c/p>\n\u003cfigure id=\"attachment_13986203\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-scaled.jpg\" alt=\"A painted image of three brown-skinned faces, all with their eyes closed, next to each other as they're surrounded by pink flower pedals. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Bugambilia,’ 2025. \u003ccite>(Brandon Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in the Philippines and raised by her great-grandmother until the age of 12, Carpio attests that, in many ways, this exhibition is an ode to the matriarch of her family.\u003c/p>\n\u003cp>“She passed away in 1998 when she was 99 years old,” Carpio says of her great-grandmother. The year of her birth, 1899, is now tattooed on the artist’s neck.\u003c/p>\n\u003cp>Carpio’s great-grandmother was a midwife, an herbalist, a farmer and more. She survived wars and outlived her husband, as well as her own children. “She raised my mother, who then left [for America] when I was like three months old, and then she raised me,” says Carpio, affirming that her great-grandmother raised five generations in total. “Her story \u003cem>is\u003c/em> time travel.”\u003c/p>\n\u003cp>Childhood interactions with her great-grandmother brought about Carpio’s earliest art pieces. Living in a farming village where tropical fruits readily grew, Carpio would illustrate things that were rare to her, like apples brought back from the United States by her parents during visits. When Carpio wasn’t teaching her great-grandmother how to read numbers, she would illustrate stories she’d learned at school.\u003c/p>\n\u003cp>“I wanted share that with her,” Carpio tells me. “Obviously, there were words” — at the time, she was also learning English herself — “but sometimes, the images actually say so much more.”\u003c/p>\n\u003cfigure id=\"attachment_13986204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918.jpg\" alt=\"Through white clothing on a clothes line a painted picture is revealed, depicting a woman balancing a gourd on her head with one hand. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Indianale: Goddess of Labor,’ 2019. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Education went both ways. Carpio’s great-grandmother, not a woman of many words, would wake every morning and sweep the leaves in the front yard before burning them; a custom in their village. Carpio sees this seemingly mundane practice, a morning meditation of sorts, as a microcosm of the lack of understanding about indigenous cultures.\u003c/p>\n\u003cp>“If you’re an outsider looking in, then it’s something unfamiliar. I guess that’s what they make a lot of movies and animation about,” she posits, referencing the scene from \u003cem>The Little Mermaid\u003c/em> where Ariel sees a fork and thinks it’s a comb.\u003c/p>\n\u003cp>“If it’s not familiar in people’s eyes, then it is going to be odd, it is going to be awkward, it’s going to be weird,” Carpio says sharply. “But if you practice it every day, and you have a whole community practicing every day, you don’t necessarily question it anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13986205\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986205 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-scaled.jpg\" alt=\"A small figurine placed in a pile of foliage, mounted on a bamboo-raft like object. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A small community offering sits atop Cece Carpio’s ‘Maganda at Malakas,’ 2023. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Navigating “the norm” has been prevalent throughout Carpio’s life. As a kid she accepted that her parents living nearly 7,000 miles away was the way things were. When Carpio herself moved to the United States as a preteen, she learned to deal with cultural differences — namely, her accent — by drawing.\u003c/p>\n\u003cp>“Art became a tool of communication,” she says, recalling middle school days where she’d draw characters and flyers for folks’ birthday parties in exchange for a dollar or two. “And that made me cool,” Carpio says with a laugh. “It’s like, ‘It’s that girl who, I don’t know if she talks, but she can draw.'”\u003c/p>\n\u003cp>Blessed to have landed in the Bay Area, Carpio still celebrates finding “like-hearted and like-minded people.” She’s built deep bonds with others also raised by their grandparents or great-grandparents. She’s befriended folks who listened to bedtime stories that didn’t come from books, but from the mouths of elders. She’s found community in people who were also allowed to play with machetes at five years old.\u003c/p>\n\u003cfigure id=\"attachment_13986206\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13986206\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2000x1333.jpg\" alt=\"A broad view of multiple art pieces inside of a gallery with moody lighting. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A installation view of Cece Carpio’s exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts in San Francisco. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To this day, Carpio, a member of the \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle Collective\u003c/a>, says that members of her crew sometimes gift small daggers to each other. Both practical and symbolic, Carpio says the daggers are a reminder that “we are trying to cut the injustices of… all those things that we know are not working.”\u003c/p>\n\u003cp>Growing up poor, she says, forced Carpio to dream. In turn, her imagination became a tool of survival. She learned to change things she couldn’t control, and create things when there was a lack. She used story, myths and folklore to explain the incomprehensible.\u003c/p>\n\u003cp>And that’s on par with how she lives now. “In this show,” she says, “I’m highlighting some of those mythologies.”\u003c/p>\n\u003cp>Using folklore and mythology, she says, is more normal than not. And, she adds, it plays a big part in her process of creating art.\u003c/p>\n\u003cp>“We create things that we not only imagine,” she professes, “but we \u003cem>see\u003c/em> and we \u003cem>believe\u003c/em>. At least that’s a hope.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here\u003c/a>’ is on view through March 29 at SOMArts (934 Brannan St, San Francisco). \u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> week is upon us, and by now you’ve likely heard of all the big-time hotshot corporate parties. Kehlani and Dom Dolla are coming to San José, Illenium is performing at the Cow Palace, and Calvin Harris is making his appearance at the Midway. The Bay Area is packed with watch parties, concerts and block parties to celebrate the game.\u003c/p>\n\u003cp>But for those who favor more chill, less commercialized sports-oriented events, there’s no shortage of options. Whether it’s because you’re not a huge football fan yourself, or your team didn’t make it into the mix, here’s a list of game-week events that aren’t exceedingly big, brawny and Super Bowl-centric. Even though you may not be into the game, it doesn’t mean you can’t have a little bit of fun too.\u003c/p>\n\u003cfigure id=\"attachment_13985982\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985982\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_.jpg\" alt=\"\" width=\"2000\" height=\"941\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_-768x361.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_-1536x723.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Jonathan Kermit (left) and Mario Dimas included in ‘Super Hunger Anti Valentine Bowl Games Part LX’ at San José Works. \u003ccite>(San José Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://workssanjose.org/\">\u003cb>Super Hunger Anti Valentine Bowl Games Part LX \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Through Feb. 15\u003c/i>\u003cbr>\n\u003ci>San José Works, San José \u003c/i>\u003c/p>\n\u003cp>Works/San José is hosting their second ever Super Hunger Anti Valentine Bowl Games exhibition. Combining their biennial Anti Valentine exhibit with the excitement around the Super Bowl and upcoming \u003ci>Hunger Games\u003c/i> movie release, this open-call exhibit explores themes of love, hate, sports and brutality.\u003c/p>\n\u003cp>\u003ca href=\"https://sj26.sanjose.org/the-big-game?eventid=OTE3MTFfMjAyNi0wMi0wMg%253D%253D\">\u003cb>The Big Game Opening Night Drone Show\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 2\u003c/i>\u003cbr>\n\u003ci>Discovery Meadow, San José \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Super Bowl week kicks off with drones lighting up the night sky in downtown San José. It’s free, family friendly, and you don’t have to know the names of the starting quarterbacks to enjoy it.\u003c/p>\n\u003cp>[aside postID='news_12071347']\u003ca href=\"https://www.eventbrite.com/e/bad-bunny-lookalike-contest-loteria-night-at-tacolicious-tickets-1980892840811?aff=erelexpmlt\">\u003cb>Bad Bunny Lookalike Contest and Lotería Party \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 5\u003c/i>\u003cbr>\n\u003ci>Tacolicious, San Francisco \u003c/i>\u003c/p>\n\u003cp>Maybe you’re more of a Bad Bunny fan than a football fan. While many people won’t be able to see the Puerto Rican star perform live in person, they’ll have the chance to catch his look-a-likes at Tacolicous’s contest while playing Lotería.\u003c/p>\n\u003cp>\u003ca href=\"https://visitunionsquaresf.com/park-programs\">\u003cb>Big Game Days in Union Square\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 5–7 \u003c/i>\u003cbr>\n\u003ci>Union Square Plaza, San Francisco \u003c/i>\u003c/p>\n\u003cp>The days leading up to the game promise action in the heart of San Francisco. Free family-friendly events in Union Square serve up inflatable footballs, high-flying CheerSF stunts, Salsa in the Square, a Cal Band performance and a spicy hot wings showdown.\u003c/p>\n\u003cfigure id=\"attachment_13985984\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">San José’s downtown ice rink will be open throughout Super Bowl weekend. \u003ccite>(San José Downtown Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/DTbFWfKkox6/\">\u003cb>Downtown Ice Skating \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Through Feb. 8\u003c/i>\u003cbr>\n\u003ci>120 S. Market St., San José \u003c/i>\u003c/p>\n\u003cp>Although the holiday season has melted away, Downtown San José’s ice rink stays frozen in place. While it usually closes down by the time Super Bowl season comes around, DTSJ has extended their “Downtown Ice” through Super Bowl weekend.\u003c/p>\n\u003cp>\u003ca href=\"https://events.scu.edu/de-saisset/event/369470-kota-ezawa-artist-talk-one-day-screening-of-national-\">\u003cb>Kota Ezawa: Artist Talk & One-Day Screening of ‘National Anthem\u003c/b>\u003c/a>\u003cb>’\u003c/b>\u003cbr>\n\u003ci>Feb. 7 \u003c/i>\u003cbr>\n\u003ci>de Saisset Museum, Santa Clara University\u003c/i>\u003c/p>\n\u003cp>If peaceful protests, racial injustice or police brutality are on your mind, Oakland-based artist Kota Ezawa’s watercolor animation, \u003ci>National Anthem\u003c/i>, will play on loop at SCU’s de Saisset Museum. The piece documents athletes “taking a knee” during the national anthem. Ezawa will speak at 12:30 p.m., and a reception follows.\u003c/p>\n\u003cp>[aside postID='arts_13985599']\u003ca href=\"https://www.eventbrite.com/o/fan-love-llc-31428601917\">\u003cb>Paint, Sip, Perrero! \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 7–8\u003c/i>\u003cbr>\n\u003ci>Theory, Oakland\u003c/i>\u003c/p>\n\u003cp>Reggaetón sets the tone at this Bad Bunny-themed paint-and-sip in Oakland, taking place both the day before and the day of the Super Bowl. Pre-sketched canvases celebrate Bad Bunny’s style, a curated playlist keeps the beats going, and cocktails keep the creativity flowing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.visitoakland.com/event/super-bowl-weekend-art-party%3A-benito-bowl/34988/\">\u003cb>Super Bowl Weekend Rooftop Art Party \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 8 \u003c/i>\u003cbr>\n\u003ci>Torch Oakland Rooftop Bar \u003c/i>\u003c/p>\n\u003cp>The classic paint-and-sip meets the Super Bowl at Oakland’s Torch Rooftop Bar. Champagne, wine, mimosas – regardless of your drink of preference, here’s the chance to get boozy with brushstrokes as the big game plays in the background.\u003c/p>\n\u003cfigure id=\"attachment_13985985\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A family attends one of SFMOMA’s Family Studio workshops.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfmoma.org/event/family-studio-sports-pennants/\">\u003cb>SFMOMA Sports Pennant Making\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 8 \u003c/i>\u003cbr>\n\u003ci>SFMOMA, San Francisco \u003c/i>\u003c/p>\n\u003cp>If you’d rather spend your day crafting rather than watching the big game, SFMOMA is hosting a free craft session for families to create sports pennants of their favorite teams as part of their Family Sundays program.\u003c/p>\n\u003cp>\u003ca href=\"http://sjdowntown.com/event/tackle-san-jose-clean-up-with-the-mayor/2026-07-11/\">\u003cb>Tackle San José: Clean Up With the Mayor \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Various dates and locations\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A volunteer clean-up service is another way of bringing the community together for the big game. This year, BeautifySJ and San José’s Mayor (and \u003ca href=\"https://www.kqed.org/news/12071306/san-jose-mayor-matt-mahan-announces-run-for-california-governor\">candidate for governor\u003c/a>) Matt Mahan are hosting multiple clean-up events downtown every weekend leading up to the Super Bowl.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> week is upon us, and by now you’ve likely heard of all the big-time hotshot corporate parties. Kehlani and Dom Dolla are coming to San José, Illenium is performing at the Cow Palace, and Calvin Harris is making his appearance at the Midway. The Bay Area is packed with watch parties, concerts and block parties to celebrate the game.\u003c/p>\n\u003cp>But for those who favor more chill, less commercialized sports-oriented events, there’s no shortage of options. Whether it’s because you’re not a huge football fan yourself, or your team didn’t make it into the mix, here’s a list of game-week events that aren’t exceedingly big, brawny and Super Bowl-centric. Even though you may not be into the game, it doesn’t mean you can’t have a little bit of fun too.\u003c/p>\n\u003cfigure id=\"attachment_13985982\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985982\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_.jpg\" alt=\"\" width=\"2000\" height=\"941\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_-768x361.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_-1536x723.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Jonathan Kermit (left) and Mario Dimas included in ‘Super Hunger Anti Valentine Bowl Games Part LX’ at San José Works. \u003ccite>(San José Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://workssanjose.org/\">\u003cb>Super Hunger Anti Valentine Bowl Games Part LX \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Through Feb. 15\u003c/i>\u003cbr>\n\u003ci>San José Works, San José \u003c/i>\u003c/p>\n\u003cp>Works/San José is hosting their second ever Super Hunger Anti Valentine Bowl Games exhibition. Combining their biennial Anti Valentine exhibit with the excitement around the Super Bowl and upcoming \u003ci>Hunger Games\u003c/i> movie release, this open-call exhibit explores themes of love, hate, sports and brutality.\u003c/p>\n\u003cp>\u003ca href=\"https://sj26.sanjose.org/the-big-game?eventid=OTE3MTFfMjAyNi0wMi0wMg%253D%253D\">\u003cb>The Big Game Opening Night Drone Show\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 2\u003c/i>\u003cbr>\n\u003ci>Discovery Meadow, San José \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Super Bowl week kicks off with drones lighting up the night sky in downtown San José. It’s free, family friendly, and you don’t have to know the names of the starting quarterbacks to enjoy it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.eventbrite.com/e/bad-bunny-lookalike-contest-loteria-night-at-tacolicious-tickets-1980892840811?aff=erelexpmlt\">\u003cb>Bad Bunny Lookalike Contest and Lotería Party \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 5\u003c/i>\u003cbr>\n\u003ci>Tacolicious, San Francisco \u003c/i>\u003c/p>\n\u003cp>Maybe you’re more of a Bad Bunny fan than a football fan. While many people won’t be able to see the Puerto Rican star perform live in person, they’ll have the chance to catch his look-a-likes at Tacolicous’s contest while playing Lotería.\u003c/p>\n\u003cp>\u003ca href=\"https://visitunionsquaresf.com/park-programs\">\u003cb>Big Game Days in Union Square\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 5–7 \u003c/i>\u003cbr>\n\u003ci>Union Square Plaza, San Francisco \u003c/i>\u003c/p>\n\u003cp>The days leading up to the game promise action in the heart of San Francisco. Free family-friendly events in Union Square serve up inflatable footballs, high-flying CheerSF stunts, Salsa in the Square, a Cal Band performance and a spicy hot wings showdown.\u003c/p>\n\u003cfigure id=\"attachment_13985984\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">San José’s downtown ice rink will be open throughout Super Bowl weekend. \u003ccite>(San José Downtown Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/DTbFWfKkox6/\">\u003cb>Downtown Ice Skating \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Through Feb. 8\u003c/i>\u003cbr>\n\u003ci>120 S. Market St., San José \u003c/i>\u003c/p>\n\u003cp>Although the holiday season has melted away, Downtown San José’s ice rink stays frozen in place. While it usually closes down by the time Super Bowl season comes around, DTSJ has extended their “Downtown Ice” through Super Bowl weekend.\u003c/p>\n\u003cp>\u003ca href=\"https://events.scu.edu/de-saisset/event/369470-kota-ezawa-artist-talk-one-day-screening-of-national-\">\u003cb>Kota Ezawa: Artist Talk & One-Day Screening of ‘National Anthem\u003c/b>\u003c/a>\u003cb>’\u003c/b>\u003cbr>\n\u003ci>Feb. 7 \u003c/i>\u003cbr>\n\u003ci>de Saisset Museum, Santa Clara University\u003c/i>\u003c/p>\n\u003cp>If peaceful protests, racial injustice or police brutality are on your mind, Oakland-based artist Kota Ezawa’s watercolor animation, \u003ci>National Anthem\u003c/i>, will play on loop at SCU’s de Saisset Museum. The piece documents athletes “taking a knee” during the national anthem. Ezawa will speak at 12:30 p.m., and a reception follows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.eventbrite.com/o/fan-love-llc-31428601917\">\u003cb>Paint, Sip, Perrero! \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 7–8\u003c/i>\u003cbr>\n\u003ci>Theory, Oakland\u003c/i>\u003c/p>\n\u003cp>Reggaetón sets the tone at this Bad Bunny-themed paint-and-sip in Oakland, taking place both the day before and the day of the Super Bowl. Pre-sketched canvases celebrate Bad Bunny’s style, a curated playlist keeps the beats going, and cocktails keep the creativity flowing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.visitoakland.com/event/super-bowl-weekend-art-party%3A-benito-bowl/34988/\">\u003cb>Super Bowl Weekend Rooftop Art Party \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 8 \u003c/i>\u003cbr>\n\u003ci>Torch Oakland Rooftop Bar \u003c/i>\u003c/p>\n\u003cp>The classic paint-and-sip meets the Super Bowl at Oakland’s Torch Rooftop Bar. Champagne, wine, mimosas – regardless of your drink of preference, here’s the chance to get boozy with brushstrokes as the big game plays in the background.\u003c/p>\n\u003cfigure id=\"attachment_13985985\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A family attends one of SFMOMA’s Family Studio workshops.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfmoma.org/event/family-studio-sports-pennants/\">\u003cb>SFMOMA Sports Pennant Making\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 8 \u003c/i>\u003cbr>\n\u003ci>SFMOMA, San Francisco \u003c/i>\u003c/p>\n\u003cp>If you’d rather spend your day crafting rather than watching the big game, SFMOMA is hosting a free craft session for families to create sports pennants of their favorite teams as part of their Family Sundays program.\u003c/p>\n\u003cp>\u003ca href=\"http://sjdowntown.com/event/tackle-san-jose-clean-up-with-the-mayor/2026-07-11/\">\u003cb>Tackle San José: Clean Up With the Mayor \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Various dates and locations\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A volunteer clean-up service is another way of bringing the community together for the big game. This year, BeautifySJ and San José’s Mayor (and \u003ca href=\"https://www.kqed.org/news/12071306/san-jose-mayor-matt-mahan-announces-run-for-california-governor\">candidate for governor\u003c/a>) Matt Mahan are hosting multiple clean-up events downtown every weekend leading up to the Super Bowl.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Colombian Farce ‘A Poet’ Is a Brilliant Critique of Hypocritical Creatives",
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"content": "\u003cp>In Simón Mesa Soto’s \u003cem>A Poet\u003c/em>, Oscar Restrepo (Ubeimar Rios) is a failed Colombian writer who keeps a photo of the author José Asunción Silva above his mantle. Silva died at age 30, and even Oscar would admit his own career would be a lot better if he had died young, too.\u003c/p>\n\u003cp>Mid-aged in Medellín, Oscar is unemployed, divorced and living with his mother (Margarita Soto). His case isn’t one of misunderstood genius, either. Oscar is prone to self-made disaster. A more successful friend, Efrain (Guillermo Cardona), calls him “a walking problem.”\u003c/p>\n\u003cp>“You’re a poem,” Efrain tells him. “A pretty sad one.” [aside postid='arts_13985828']\u003c/p>\n\u003cp>But in the pantheon of sad-sack protagonists, Oscar is a triumph. Rios, a nonprofessional actor who squints behind thick glasses and whose arms hang stubbornly low from his hunched shoulders, creates in Oscar a figure of farcical perfection: a tortured artist, equal parts comedy and tragedy.\u003c/p>\n\u003cp>There’s little that’s lyrical or beautiful about Oscar’s life. This is a guy who, on a rare visit to his teenage daughter (Alisson Correa), asks if he can borrow $10. At the same time, Oscar is a stout believer in the grandest ideals of art. Give him a drink, or a microphone, and he’ll soon be rhapsodizing about the power of “poesía.” For someone one step from the gutter, he’s comically high minded.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it’s been decades since he was published. He declares: “I’m a poet.” His sister corrects: “You’re unemployed.” Yet Oscar manages to land a job teaching at a local high school. The students mostly laugh at him, but Oscar believes one, a soft-spoken young woman named Yurlady (Rebeca Andrade), shows tremendous potential. Redemption for Oscar is, maybe, at hand.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ia4PVP0qtO4\u003c/p>\n\u003cp>Yurlady, herself, doesn’t have any real literary ambitions. But Oscar, resolving to mentor her, helps her apply to Poetry Viva, a workshop for young writers run by Efrain, a smooth-talker acclaimed for his social issues writing. He’s the central foil to Oscar — a pompous but savvy achiever who urges Yurlady not to submit her simple from-the-heart poems but something about racism or poverty that will win over liberal-minded European judges.\u003c/p>\n\u003cp>In this, Soto’s film is an ironic allegory about art worlds beyond poetry. \u003cem>A Poet\u003c/em> premiered at last year’s Cannes Film Festival, winning an award in the Un Certain Regard section. Soto first broke out in Cannes with a prize-winning short in 2014. In the intervening years, as a Colombian filmmaker, he’s surely encountered some stereotypical expectations. The film industry would no doubt be more welcoming to, say, a cartel tale from Soto then a Medellín-set, Woody Allen-like farce about an unsuccessful poet.\u003c/p>\n\u003cp>[aside postid='arts_13985957']But while \u003cem>A Poet\u003c/em> might remind you of some other films — one would be Cord Jefferson’s \u003cem>American Fiction\u003c/em> — it is, like Oscar, steadfastly its own thing. Filmed on grainy 16mm, it’s even rough and dirty around the edges, as if the movie is wearing its protagonist’s clothes.\u003c/p>\n\u003cp>But if Soto’s film is loose and gritty, its satire is remarkably precise. This is a farce of creative life where the only pure artistic intention is a joke. Success belongs to hypocrites like Efrain. Yurlady’s working class family sees only a chance for money. But Oscar, for all his foolishness, is at least uncompromising. He’s wrong about almost everything, except what really counts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Poet’ begins a run at the Roxie Theater (3117 16th St., San Francisco) on Feb. 2, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in the pantheon of sad-sack protagonists, Oscar is a triumph. Rios, a nonprofessional actor who squints behind thick glasses and whose arms hang stubbornly low from his hunched shoulders, creates in Oscar a figure of farcical perfection: a tortured artist, equal parts comedy and tragedy.\u003c/p>\n\u003cp>There’s little that’s lyrical or beautiful about Oscar’s life. This is a guy who, on a rare visit to his teenage daughter (Alisson Correa), asks if he can borrow $10. At the same time, Oscar is a stout believer in the grandest ideals of art. Give him a drink, or a microphone, and he’ll soon be rhapsodizing about the power of “poesía.” For someone one step from the gutter, he’s comically high minded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s been decades since he was published. He declares: “I’m a poet.” His sister corrects: “You’re unemployed.” Yet Oscar manages to land a job teaching at a local high school. The students mostly laugh at him, but Oscar believes one, a soft-spoken young woman named Yurlady (Rebeca Andrade), shows tremendous potential. Redemption for Oscar is, maybe, at hand.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ia4PVP0qtO4'\n title='//www.youtube.com/embed/Ia4PVP0qtO4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yurlady, herself, doesn’t have any real literary ambitions. But Oscar, resolving to mentor her, helps her apply to Poetry Viva, a workshop for young writers run by Efrain, a smooth-talker acclaimed for his social issues writing. He’s the central foil to Oscar — a pompous but savvy achiever who urges Yurlady not to submit her simple from-the-heart poems but something about racism or poverty that will win over liberal-minded European judges.\u003c/p>\n\u003cp>In this, Soto’s film is an ironic allegory about art worlds beyond poetry. \u003cem>A Poet\u003c/em> premiered at last year’s Cannes Film Festival, winning an award in the Un Certain Regard section. Soto first broke out in Cannes with a prize-winning short in 2014. In the intervening years, as a Colombian filmmaker, he’s surely encountered some stereotypical expectations. The film industry would no doubt be more welcoming to, say, a cartel tale from Soto then a Medellín-set, Woody Allen-like farce about an unsuccessful poet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But while \u003cem>A Poet\u003c/em> might remind you of some other films — one would be Cord Jefferson’s \u003cem>American Fiction\u003c/em> — it is, like Oscar, steadfastly its own thing. Filmed on grainy 16mm, it’s even rough and dirty around the edges, as if the movie is wearing its protagonist’s clothes.\u003c/p>\n\u003cp>But if Soto’s film is loose and gritty, its satire is remarkably precise. This is a farce of creative life where the only pure artistic intention is a joke. Success belongs to hypocrites like Efrain. Yurlady’s working class family sees only a chance for money. But Oscar, for all his foolishness, is at least uncompromising. He’s wrong about almost everything, except what really counts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Poet’ begins a run at the Roxie Theater (3117 16th St., San Francisco) on Feb. 2, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Arco’ Is a Dystopian Tale Imbued With a Surprising Amount of Optimism",
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"content": "\u003cp>In all the dystopian visions of the future that the movies have trotted out over the last few decades, the one that sticks the most, surprisingly, is \u003cem>WALL-E\u003c/em>. That’s not just because of the chastening sight of an over-polluted Earth or those sedentary humans glued to their screens. It’s because those quite plausible possibilities mean something different in a kids movie. It’s their future, after all.\u003c/p>\n\u003cp>Some of the same can be said about Ugo Bienvenu’s \u003cem>Arco\u003c/em>, a charming and dreamy sci-fi animated movie where environmental catastrophe and cartoony fun collide. Like \u003cem>WALL-E\u003c/em>, there are heroic robots in \u003cem>Arco\u003c/em>, an Oscar nominee for best animated feature. But it’s the film’s plucky young protagonists that give Bienvenu’s future-set film its heart.\u003c/p>\n\u003cp>[aside postid='arts_13985867']The film opens in a distant future where a family lives on \u003cem>Jetsons\u003c/em>-like platforms in the clouds. They wear drab onesies (fashion sense has seemingly been lost along with the Earth’s surface) but sport rainbow cloaks that enable them to fly through time, leaving a rainbow streak behind.\u003c/p>\n\u003cp>Though 10-year-old Arco (voiced by Juliano Krue Valdi in the English dub) has been told he can’t fly until he’s older, he sneaks off with his sister’s cape and, hoping for a glimpse of the dinosaurs, accidentally crash lands in 2075.\u003c/p>\n\u003cp>\u003cem>Arco\u003c/em> is the unusual movie to exist in two future times, never our present. And it can take a moment to acclimate to both its jumbled timeline and the sheer amount of rainbows. But Bienvenu, a French comic-book artist making his directorial debut, richly imagines a 2075 future of recognizable extremes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e4RrOe8IbI8\u003c/p>\n\u003cp>Storms have become so violent that homes now have protective bubbles around them. Adults work such long hours in a distant city that they are usually mere holograms to their kids — an image that will send shudders down the spine of any parent who Zooms from a work trip. For Iris (voiced by Romy Fay) and her baby brother, the family robot does most of the parenting. In fact, robots do most things: teaching, construction, medical aid.\u003c/p>\n\u003cp>Iris, a sharp young girl, sees Arco’s rainbow fly into the woods and runs to find him. At the same time, three bumbling, oddly dressed fellows, dressed in primary colors and wearing rainbow glasses, come looking for him. This trio — voiced in the English dub by Will Ferrell, Andy Samberg and Flea — are a goofy and very French addition to the movie. Ferrell and company are a marked improvement from the original.\u003c/p>\n\u003cp>[aside postid='arts_13985828']But there’s no harm in giving \u003cem>Arco\u003c/em> some Saturday-morning-cartoon slapstick to go with the apocalyptic doom. Those three, believing they’re hot on a time-travel trail, stay in pursuit while Arco and Iris develop a friendship and learn about each’s eras.\u003c/p>\n\u003cp>Parents remain largely absent. In \u003cem>Arco\u003c/em>, kids are left to fend for themselves in a world of technology and ecological disaster. (In one of the movie’s most damning moments, the kids find refuge in a library because no one goes in there anymore.) But while there’s no shortage of films that comment on our overly digital lives, technology is far from a villain in \u003cem>Arco\u003c/em>. It is closer to the savior.\u003c/p>\n\u003cp>So while Bienvenu’s film bears similarities to movies before it — Arco is far from the first future boy to fall from the sky — it’s the first that I recall that so directly confronts ecological apocalypse and yet still finds a thrillingly optimistic note to end on. Thrilling because it puts the future in the hands of the young. \u003cem>Arco\u003c/em> dares to imagine a fate for them, somewhere over the rainbow.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Arco’ is released nationwide on Jan. 30, 2026. \u003c/em>\u003c/p>\n\n",
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"title": "Movie Review: Ugo Bienvenu’s Animated ‘Arco’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In all the dystopian visions of the future that the movies have trotted out over the last few decades, the one that sticks the most, surprisingly, is \u003cem>WALL-E\u003c/em>. That’s not just because of the chastening sight of an over-polluted Earth or those sedentary humans glued to their screens. It’s because those quite plausible possibilities mean something different in a kids movie. It’s their future, after all.\u003c/p>\n\u003cp>Some of the same can be said about Ugo Bienvenu’s \u003cem>Arco\u003c/em>, a charming and dreamy sci-fi animated movie where environmental catastrophe and cartoony fun collide. Like \u003cem>WALL-E\u003c/em>, there are heroic robots in \u003cem>Arco\u003c/em>, an Oscar nominee for best animated feature. But it’s the film’s plucky young protagonists that give Bienvenu’s future-set film its heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film opens in a distant future where a family lives on \u003cem>Jetsons\u003c/em>-like platforms in the clouds. They wear drab onesies (fashion sense has seemingly been lost along with the Earth’s surface) but sport rainbow cloaks that enable them to fly through time, leaving a rainbow streak behind.\u003c/p>\n\u003cp>Though 10-year-old Arco (voiced by Juliano Krue Valdi in the English dub) has been told he can’t fly until he’s older, he sneaks off with his sister’s cape and, hoping for a glimpse of the dinosaurs, accidentally crash lands in 2075.\u003c/p>\n\u003cp>\u003cem>Arco\u003c/em> is the unusual movie to exist in two future times, never our present. And it can take a moment to acclimate to both its jumbled timeline and the sheer amount of rainbows. But Bienvenu, a French comic-book artist making his directorial debut, richly imagines a 2075 future of recognizable extremes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there’s no harm in giving \u003cem>Arco\u003c/em> some Saturday-morning-cartoon slapstick to go with the apocalyptic doom. Those three, believing they’re hot on a time-travel trail, stay in pursuit while Arco and Iris develop a friendship and learn about each’s eras.\u003c/p>\n\u003cp>Parents remain largely absent. In \u003cem>Arco\u003c/em>, kids are left to fend for themselves in a world of technology and ecological disaster. (In one of the movie’s most damning moments, the kids find refuge in a library because no one goes in there anymore.) But while there’s no shortage of films that comment on our overly digital lives, technology is far from a villain in \u003cem>Arco\u003c/em>. It is closer to the savior.\u003c/p>\n\u003cp>So while Bienvenu’s film bears similarities to movies before it — Arco is far from the first future boy to fall from the sky — it’s the first that I recall that so directly confronts ecological apocalypse and yet still finds a thrillingly optimistic note to end on. Thrilling because it puts the future in the hands of the young. \u003cem>Arco\u003c/em> dares to imagine a fate for them, somewhere over the rainbow.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Arco’ is released nationwide on Jan. 30, 2026. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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