Tuesday, March 4, 2014

Sewn Border - New Video

Here's a link to a new video - Sewn Border


I'm literally sewing politics into geography.

The piece is best when projected and viewed with a group of people. Turn the sound up as loud as possible when viewing.
Still from Sewn Border

La Grande Illusione - Rome, Italy

L’Associazione Culturale L’Arte della memoria
presents the exhibition
La grande illusione / The great illusion
curated by Manuela De Leonardis
Gallery of Art - Temple University Rome
opening Tuesday, February 18, 2014 at 18.00

A fund raising exhibition in support of the project CAKE for Bait al Karama Women’s

Susan Harbage Page
Piccolo Monument to Misconceptions/
Piccolo Monumento ai Fraintendimenti, 2013
libro trovato (Roman Spring di Sandra Marton),
cordoncino nero, etichetta per tessuti creata

Minou Amirsoleimani, Valentina Angeli, Marco Baldicchi, Alessandra Baldoni, Enzo Barchi,
Heidi Bedenknecht-De Felice, Claudio Bianchi, Benedetta Bonichi, Claudio Bonichi, Paolo
Buggiani, Maila Buglioni, Viviana Buttarelli, Alejandro Caiazza, Pamela Campagna, Claudio
Cantelmi, Carlo Cecchi, Bruno Ceccobelli, Consuelo Celluzzi, Franco Cenci, Claudia Chianese,
Rupa Chordia, Fabrizio Cicero, Laura Cionci, Letizia Colella e Renata Del Medico, Dario Coletti,
Vera Comploj, Teresa Coratella e Nora Lux, Claudio Corrivetti, Angelo Cricchi, Chiara Dellerba,
Tommaso De Dona, Benjamin Demeyere, Simon d'Exéa, Claudio Di Carlo, Mauro Di Silvestre,
Gianni Dorigo, Elena El Asmar, Stefano Esposito, Laura Facchini, Gaetano Fanelli, Angela Ferrara,
Candida Ferrari, Inès Fontenla, Giovanni Gaggia, Pietro Gagliano’, Antonella Gandini, Eugenio
Giliberti, Gianni Godi, Guido Guidi, Archana Hande, Susan Harbage Page, Satoshi Hirose, Iginio
Iurilli, Mojmir U. Ježek, Mikhail Koulakov, Luca Lavatori, Giusy Lauriola, Lemeh42, Emilio
Leofreddi, Loredana Longo, Lorenzo Lupano, mad|is|dead, Sergio Marcelli, Melissa Marchetti,
Graziano Marini, Leonardo Martellucci, Sergio Meloni, Maria Carmela Milano, Patrizia Molinari,
Silvia Morera, Carla Mura, Elly Nagaoka, Massimo Nardi, Melina Nicolaides, Giacinto
Occhionero, Franco Ottavianelli, Luigi Pagano, Mirko Pagliacci, Daria Paladino, Angela Palmarelli,
Daniela Papadia, Valentina Parisi, Stefano Parrini, Daniela Perego, Luana Perilli, Emanuela Petrini,
Grezzo Piacentimi, Antonio Picardi, Francesca Romana Pinzari, Franco Profili, Pupillo, Claudia
Quintieri, Quraish (Mohammed Quraiseh), Carlo Rocchi Bilancini, Mimmo Rubino, Massimo
Saverio Ruiu, Virginia Ryan, Jack Sal, Lorella Salvagni, Jackie Samosa, Francesco Sannicandro,
Suzanne Santoro, Paco Simon, Jolanda Spagno, Rita Soccio, Giuliana Storino, Lino Strangis, Silvia
Stucky, Pio Tarantini, Claudia Tröbinger, Franco Troiani, Roberta Ubaldi, Gloria Valente, Delphine
Valli, Xavier Vantaggi, Fernanda Veron, Irene Veschi, Stefano Veschini, Alessandro Vignali,
Maria Angeles Vila, Rita Vitali Rosati, Michele Welke, Fiorenzo Zaffina, Luca Zampetti.
The exhibition La grande illusione / The Great Illusion alludes ironically to the content of the
original 124 of 128 romance novels, the starting point for which many international artists were
invited to reflect on the theme of love.

Each artist was given a book which was interpreted in the total creative freedom. All books, found
by the curator in April 2013, in Rome, next to a dumpster, are romance novels in pocket format,
written in English and published in the United States between 1984 and 2012.

The idea of romantic love, which underlies these novels (exclusively heterosexual), passionate,
outrageous, adrenaline fueled illusions that feed the imagination and dreams of avid readers; it's an
escape that becomes a comforting formula through its literary invention. The actual dynamics
within loving relationships and the implications of the context are only partially (and temporarily)
due to the stereotypes offered by this kind of literature.

One hundred twenty four personal interpretations of the artists that offer additional stimulus for
reflection. A chorus that also expresses a key of access that can be selfless love: solidarity.
The works produced and generously provided by these 124 artists have as their objective the fund
raising in support of the project CAKE for Bait al Karama Women’s Centre, the first Palestinian
cooking school and a Slow Food convivium in Nablus (Palestine). The link between the two
projects, apart from being “found objects” - destined to oblivion, cancellation - which returns a new

Also the book Cake, The Culture of dessert between the Arab and Western traditions (Postcart
Editions, 2013), curated by Manuela De Leonardis and with the participation of artists Hassan Al-
Meer, Paolo Angelosanto, Yto Barrada, Beatrice Catanzaro, Maimuna Feroze-Nana, Parastou
Forouhar, Maimouna Patrizia Guerresi, Susan Harbage Page, Reiko Hiramatsu, Uttam Kumar
Karmaker, Silvia Levenson, Loredana Longo, MAD_Angela Ferrara and Dino Lorusso, Sükran
Moral, Ketna Patel, Pushpamala N, Anton Roca, Jack Sal, Larissa Sansour and the technical support
of Marimo - Brandlife designers and M.Th.I. Music Theatre International was born out of a
notebook, a book of recipes by an anonymous woman (purchased at a “charity shop” in London),
who wrote in Arabic and French recipes for sweets that bear the names of women, friends and

La grande illusione / The great illusion
curated by Manuela De Leonardis
Promoter: Associazione Culturale L’Arte della memoria
Gallery of Art, Temple University Rome| Lungotevere Arnaldo Da Brescia, 15| 00196 Rome
Opening hours to the public: Mon-fri. 10-19
opening Tuesday, February 18, 2014 at 18.00
Catalogue with texts by Shara Wasserman, Manuela De Leonardis and texts by the Artists
Technical partners:
Studioidea Ltd, Monterotondo (Rome)
Temple University Rome Campus
With the patronage of

Sunday, December 29, 2013

Wexner Center for the Arts, Columbus, Ohio, January 23

Susan Harbage Page, My Mother's Teacups on the U.S.-Mexico Border
Courtesy of the artist

Public Programs - Informal presentations by artists.

The US-Mexico Border Project: Tracing the Physical and Psychological Borderlands
Susan Harbage Page
Thu, Jan 23, 2014 4 PM
What does the physical and psychological space of the US-Mexico border look and feel like? An internationally exhibited visual artist, Susan Harbage Page has been posing this question since 2007, traveling each year to work in Brownsville, Texas; Matamoros, Mexico; and the surrounding Rio Grande Valley. Page walks the border and photographs the objects that are left behind as individuals swim across the Rio Grande River, change from wet clothes into dry clothes, and continue their journeys into an uncertain future in the United States. The objects are photographed in place and then shipped back to Page’s studio, where they are photographed again and placed in her Anti-Archive. These present-day archeological remains range from toothbrushes and lipsticks to passports and bullets, each coming with its own incomplete narrative and history of flight, surveillance, and fear.
Page is currently an assistant professor in the Department of Women’s and Gender Studies and affiliate faculty member in Global Studies at the University of North Carolina at Chapel Hill.
Cosponsored by Ohio State’s Department of Political Science and the Department of Women’s, Gender, and Sexuality Studies.

Monday, November 18, 2013


Erased Border (near Brownsville, Texas and Matamoros, Mexico) - Video Coming Soon
Graphite on Handmade Abaca Paper, 20 x 30 Inches, 2013

Monday, November 11, 2013

Art in Odd Places Follow Up

Drawing from AIOP Greensboro, North Carolina, Nov. 1 and 2

I used a doilie from Elsewhere in Greensboro for my inspiration and drew it on the wall of Just Be changing chalk colors every 100 stitches to make the labor visible.

Photos thanks to Dhanraj Emanuel and AIOP

Tuesday, October 29, 2013

Art in Odd Places in Greensboro on Friday


Stitch-by-Stitch: A Numbered Meditation

Drawn in chalk, stitch by stitch, from the center out, this giant and colorful crocheted doily will transform the pavement of downtown Greensboro. Every one hundred stitches will be visualized with a different color of chalk. The completed drawing and meditative performance will make public and visible the number of stitches in the doily, a reference to the gendered labor that often becomes invisible when looking at a completed piece of handwork, piece of lace or other handmade product largely produced by women both locally and globally.


Nov. 1 & Nov. 2


SW corner of McGee / Just Be

Here's a link to the Art In Odd Places Festival happening this Friday in Downtown Greensboro.

Saturday, October 5, 2013

What Border-Crossers Leave Behind in the Mexican-American Desert

On Monday October 7, please join the BorderWork(s) Lab and Humanitarian Challenges Focus for an evening with photographer Susan Harbage Page at Duke Univeristy (7pm; FHI Garage - C105, Bay 4, Smith Warehouse).  

This event is part of the weekly series Monday Nights @ BorderWork(s) (go to http://sites.fhi.duke.edu/borderworks/monday-nights-with-borderworks-speaker-series-returns/  

Harbage Page's work is currently on view at Duke's Nasher Museum of Art, in an installation also featuring Pedro Lasch and Yinka Shonibare (http://nasher.duke.edu/exhibitions/lasch-page-shonibare/). Focused on the human consequences of the creation and regulation of borders, this exhibit is linked with Lines of Control: Partition as Productive Space (http://nasher.duke.edu/exhibitions/lines-of-control/) and Defining Lines: Cartography in the Age of Empire (http://nasher.duke.edu/exhibitions/defining-lines/), both at the Nasher and co-sponsored by BorderWork(s).  For more information on the exhibits and related events, please see:http://sites.fhi.duke.edu/borderworks/borderworks-the-nasher/

In US-Mexico Border Project and other works, Harbage Page examines the experience of crossing the U.S.-Mexico border, documenting in visual terms the effect such journeys have on material objects and, by extension, their human carriers. In a series of photographs, Harbage Page captures objects—such as a wallet, a lone argyle sock and scraps of fabric and paper—left behind as migrants crossed the U.S.-Mexican border. These items are no longer possessions but rather documents testifying to a life that has moved on, reminding us of what else may have been left behind: family, friends, and home. They serve as haunting reminders of the past as well as symbols of hope for the future.