Christina Freeman

2022 Aim Fellow

Biography

I am a conceptual artist working in participatory performance, ephemeral events, and immersive installation. I appropriate familiar institutions and rituals as material–the lemonade stand, tech support event, or nomadic library–often inviting the audience to co-create with me in a radical space. I document these events through drawings, photographs, and video.
For Best Value Lemonade (2016-2018), I invited gallery visitors to respond to surveys on symbolic value, in exchange for a glass of lemonade. Using the infamous “Lemonade Stand” to discuss non-monetary value, I subverted the capitalist tradition held within the space of youth entrepreneurship.
In Unfriend Me Friend (2018), I responded to Facebook’s sale of user data by hosting a free data download party. I provided technical support and themed cocktails in exchange for participation. Projecting Mark Zuckerberg’s 2018 congressional testimony as a backdrop, I purchased participants’ Facebook data for 75 cents–the amount paid by Cambridge Analytica.
UltraViolet Archive (2018-2019) is an interactive collection of creative works that were banned, challenged, or partially censored. Visitors are invited to conduct research and contribute to the archive.
By interrupting the routines of American culture—capitalism, data harvesting, censorship—I hope to give the audience an opportunity to look critically at the institutions that hold and reinforce power.

Artist Statement

I am a conceptual artist working in participatory performance, ephemeral events, and immersive installation. I appropriate familiar institutions and rituals as material–the lemonade stand, tech support event, or nomadic library–often inviting the audience to co-create with me in a radical space. I document these events through drawings, photographs, and video.
For Best Value Lemonade (2016-2018), I invited gallery visitors to respond to surveys on symbolic value, in exchange for a glass of lemonade. Using the infamous “Lemonade Stand” to discuss non-monetary value, I subverted the capitalist tradition held within the space of youth entrepreneurship.
In Unfriend Me Friend (2018), I responded to Facebook’s sale of user data by hosting a free data download party. I provided technical support and themed cocktails in exchange for participation. Projecting Mark Zuckerberg’s 2018 congressional testimony as a backdrop, I purchased participants’ Facebook data for 75 cents–the amount paid by Cambridge Analytica.
UltraViolet Archive (2018-2019) is an interactive collection of creative works that were banned, challenged, or partially censored. Visitors are invited to conduct research and contribute to the archive.
By interrupting the routines of American culture—capitalism, data harvesting, censorship—I hope to give the audience an opportunity to look critically at the institutions that hold and reinforce power.
Apoye a The Bronx Museum Apoye a The Bronx Museum