Aspen Art Museum

Is it necessary—or even feasible—to maintain the same habits and practices we held before the world went on lockdown? Los Angeles–based artist Clarissa Tossin, currently an artist-in-residence at the Curtis. R. Priem Experimental Media and Performing Arts Center at Rensselaer, New York, discusses a redefinition of productivity and her inspiration right now. Tossin also unveils in-progress projects and plays an excerpt from a recent score using 3-D-printed replicas of pre-Columbian musical instruments.

Initiated during this period of unprecedented physical distancing, Slow.Look.Live., offers an occasion to slow down and reflect with deeper intention on artistic processes and dialogues. Introducing a range of artists, curators, and thinkers, the new initiative focuses on how perception, creation, and community are being shaped by our various current geographical locations. Each week, we chart the relationships of our guests to the changing world, their immediate environments, and their studios. As we continually redefine how art can be made and experienced, Slow.Look.Live., will evolve indefinitely as a core program for Aspen Art Museum’s visitors and beyond.

Join a regional, national, and international group of participants on Fridays at 4 p.m. (MDT) with Rachel Ropeik, AAM Learning Director, on Instagram Live and Instagram Stories @AspenArtMuseum.

Image Credit: A clip from Clarissa Tossin’s work-in-progress presentation for Mojo’q che b’ixan ri ixkanulab’ / Antes de que los Volcanes Canten / Before the Volcanoes Sing at EMPAC / Rensselaer. Working with 3D-printed versions of pre-Columbian wind instruments held in US and Guatemalan museum collections, Tossin and her collaborators discuss the prototypes produced with anthropologist/archaeologist Jared Katz, the Mayer Post-Doctoral Curatorial Fellow for Pre-Columbian Art at the Denver Art Museum.