The Hole Left Behind.

Marcus Branch, Issue 002

Shop Issue 003 - “The Healing Issue”

In our third issue artists and creatives from around the world explore healing and self-care and its relation to their artistic practice.


Guest Editors: Aziz Sohail and Wit López

In this issue: Sammy Kovnat | Samya Abu-Orf | Briana Shewan | Kimberly Elliott | DJ Delish | Essa Terick/Tahnee | Icon Ebony Fierce | Noor Ibn Najam | Luiza Prado | Ryan Flynn | Benny Nemerofsky Ramsay | Amy June | Roland Santana



 Whether it's bachelorette parties going for the novelty of it, straight couples, or predatory men there by themselves dancing up on anyone within arm's reach. Since I made the shirt, every single person who got one says people have come up to them asking about the shirt, either relating their experience or inquiring. It means different things to different people.


Roland Santana, Issue 003

Issue 003/ART

I observe as much as I can unless destiny calls. Pink is sweet and Green is sour, Blue can be a wonderful hybrid of both, White is fresh mint and Black is bitter and earthy. I believe that there are some things that you will not understand from this, you might have to read this two or three times, or leave and come back in a month. But these words will be here for you dear reader. 


Benny, Issue 003


In his work you will find bells, bouquets, ceramic vases, enchanted forests, folding screens, gay elders, glitter, gold leaf, love letters, imaginary paintings, madrigals, megaphones, mirrors, naked men, sex-changing flowers, sign language, subtitles, and the voices of birds, boy sopranos, contraltos, countertenors, and sirens. 


PIAF 2018 - Photo by Joe Hegrich

Philadelphia Inclusive Arts Fest ‘18

In September 2018, Caldera alongside CUE and Access Point Philadelphia hosted the first PIAF! A weekend series of events promoting true inclusivity within the arts. Check out our gallery for images of the festival, and sign-up for our newsletter to be the first to hear about PIAF 2019!


“The three of us coming together gives us a really strong foundation to create an event that’s inclusive for people of all background and abilities — and how those things intersect with each other,” she said, “because they are not mutually exclusive.”

-Davinica, Executive Director CUE


Issue 001/ART

I think we are socialized to think of existence as compartmentalized fields, when really epistemological limits are many times social limitations and constructs that maybe we feel pressured to live by, more so than they are actual physical limitations of a person’s mind and potential.  In reality I have found myself lucky to be exposed and therefore present and attentive to an ongoing and highly varied series of experiences, fields, and relationships. This has provided the architecture for how I understand the world around me, and then what I do with the way I understand. 



The sad truth is that we are very comfortable with the abuse that exists in the world of performance. Abuse is woven into every fiber of the performance world: how we teach performance, how we perform, how we learn performance, how we build relationships with fellow performers, and even how we interact with performance as members of an audience. The abuse is a legacy that is normalized and even praised. It is explained away behind well-meaning phrases when you inquire about it and congratulatory actions when you embody it. 



The work I’ve done this year has emerged around a broad artistic research project, which I called “A Topography of Excesses”. When I first conceived this project, I had been struggling with the difficulty of doing work that does not merely offer a denunciation of the effects of coloniality, but that is capable of enunciating other ways of being. Work that is healing, and that unravels and concerns itself with issues of care, and love.