Hilary Horvath
Holly Stalder
Kate Towers
Nahanni Arntzen
Sea + Pattern
Skin by Ori 

Wednesday, December 14 (6-8PM) 

Nationale is excited to announce a special evening with clothing designers Nahanni Arntzen, Holly Stalder, and Kate Towers; jewelry designer Sea + Pattern; and featuring mistletoe from florist Hilary Horvath. Whether designing in fabric, clay, or flowers, these five artists create unique & beautiful work. Skin By Ori will be offering her amazing lip sugar waxing. For one evening only, come meet these rad women and experience their captivating ways. 

☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄ ☃❄

Hilary Horvath is dedicated to sourcing the most beautiful, local flowers to feature in her shop & for her clients. One of her favorite and distinguished customers has said, "not even in Paris are the flowers this beautiful." Hilary is constantly amazed and inspired by the offerings of the many flower growers with whom she is fortunate to know in the Pacific Northwest. Hilary Horvath Flowers is located inside Alder & Co in downtown Portland.

Holly Stalder is a clothing designer, bridal designer, and shop owner holding court at 811 East Burnside in Portland, OR. Her days consist of dreaming up and making fanciful clothing in her tiny treasure box of a store, HAUNT where her two clothing labels, HOLLY STALDER and THE DIAMOND SEA BRIDAL, can be found. She is sweet, likes to accept challenges, and loves anything over a 100 years old. Since she established her business in 2000, she has been featured in national magazines, including Elle, Martha Stewert Weddings, The Wall Street Journal, Bust, and Venus. She is hands down what Nationale has missed the most since moving to Division in 2014.

Self taught through experimentation and an artist’s vision, Kate Towers creates non-seasonal one of a kind clothing. From 2000–2007, Towers was co-founder and co-owner of seaplane, a renowned shop in Portland featuring local designers and an intriguing collection of hand-made clothing. It is there that she developed her own line and helped inspire the fashion scene that is now Portland. She works out of her studio—located at 1215 SE 8th, Suite C—during the hours of Portland Public School. Visitors welcome! 

Nahanni Arntzen was born in a teepee in Kingdom Inlet, 11 miles up the river on a sandbar, way out there on the Southwest coast of British Columbia, Canada. Partly inspired by the styles she grew up with, as well as for a desire to expand her everyday jeans and t-shirt uniform, Nahanni designs clothing to be worn anywhere. All pieces are designed and produced onsite in her studio in Portland, OR (located at 1215 SE 8th, Suite C).  

Sea + Pattern is a Portland-based minimalist jewelry line and lifestyle blog with an edge by Britt Campagna Hawkes. There she shares her unique perspective and provide inspiration to all lovers of design.

Skin By Ori is the practice of Oriana Lewton-Leopold, a licensed esthetician and certified Reiki practitioner. She specializes in holistic facials using organic, plant based products that incorporate massage and healing touch, as well as natural sugar hair removal. Sugaring is an art form dating back to ancient Egypt. Using a paste made of sugar, lemon and water, it is molded to the skin and then flicked off, gently extracting hair at the follicle. Oriana’s background as an artist guides her as she helps her clients tap into their inner beauty, enhancing what makes them uniquely lovely. Skin By Ori is located across the street from Nationale, within Luminary Salon.


As much as Nationale has always tried to play the retail game when it comes to Black Friday, we're not in the mood this year for business as usual. Actually we are outraged by what is happening at Standing Rock and have a hard time focusing on running a business when there seems to be so many more important ways we could use our time and energy right now. 

With this in mind, Nationale will be donating 15% of all Black Friday sales to Standing Rock Sioux Tribe - Dakota Access Pipeline Donation Fund. To thank our generous customers for helping us make this event have an impact, we will give complimentary copies of the life changing book, Lame Deer, Seeker of Visions to those who spend $100 or more in the shop ♥ 

Lame Deer

Lame Deer


In these newly collected essays, interviews, and speeches, world-renowned activist and scholar Angela Y. Davis illuminates the connections between struggles against state violence and oppression throughout history and around the world. 

Reflecting on the importance of black feminism, intersectionality, and prison abolitionism for today's struggles, Davis discusses the legacies of previous liberation struggles, from the Black Freedom Movement to the South African anti-Apartheid movement. She highlights connections and analyzes today's struggles against state terror, from Ferguson to Palestine.

Facing a world of outrageous injustice, Davis challenges us to imagine and build the movement for human liberation. And in doing so, she reminds us that "Freedom is a constant struggle."

Angela Y. Davis is a political activist, scholar, author, and speaker. She is an outspoken advocate for the oppressed and exploited, writing on Black liberation, prison abolition, the intersections of race, gender, and class, and international solidarity with Palestine. She is the author of several books, including Women, Race, and Class and Are Prisons Obsolete? She is the subject of the acclaimed documentary Free Angela and All Political Prisoners and is Distinguished Professor Emerita at the University of California, Santa Cruz.


Nationale will be hosting a special workshop with Sarah Gottesdiener on Friday, December 2 (7—9:30 pm). Register HERE (limited space available).

To many religions, the Moon represents the Female aspect of Divinity, shining softly and brightly. 

Understanding the phases of the moon is helpful to any modern mystic, to any woman, and person—as our closest celestial neighbor, ruler of the tides, and a gentle guide to our own intuitive cycles. The moon is a powerful force circling round our planet, and harnessing her energy is a natural step when thinking about our own dreams and goals.

In this workshop we will discuss scientific facts about the moon, become familiar with its 8 different cycles, and upon the symbolic importance of the moon in different cultures. We will go over basic types of manifestation work and spells as they pertain to the four key different moon cycles. Different magickal ingredients, spells, and suggestions on working with cycles will be discussed.

We will end the workshop with a short guided meditation and pertaining to the Moon phase occurring that day.

This course is intended for curious individuals, and for those practitioners who want to focus on using the power and energy of the moon in their meditations, manifestations, and spell casting.

Sarah Faith Gottesdiener is an artist, designer, tarot reader, and writer. She has been working with the mystic muse for the last 12 years, and has been teaching workshops on metaphysical subjects for the past 3. Gottesdiener self-publishes the Many Moons Workbook. Read more at visualmagic.info


student juried exhibition fall 2016.jpg

Congrats to Gabi, who co-curated the student exhibition at OCAC ending on November 20.

The juried OCAC Student Exhibition offers a glimpse at the new artistic directions of OCAC’s degree and continuing education students. Innovative approaches, stylized techniques and personal imagery contribute to pieces ranging from utilitarian to conceptual to autobiographical.

Gabi Lewton-Leopold | Assistant Director, Nationale
Taryn Wiens | Co-Director, S/PLI/T


Max Ritvo’s newest, and unfortunately only, body of work Four Reincarnations can and should be taken as the physical embodiment of Ritvo himself. Subdivided into four parts, each section capable of standing on its own—a kind of reincarnation—easily represents the young poet’s mind, spirit, soul, and heart. Emotion spills from these pages, and although Ritvo’s pain is tangible, readers can also find solace in the most unexpected places in his poetry. The same was true of Ritvo, who claimed that the day he was no longer able to write would be the day when it was his time to pass. In Poem To My Litter he writes, “Even my suffering is good, in part,” good because it allowed him to create beauty out of suffering. On August 22nd, 2016, Ritvo’s mother said her son was too weak to write poetry; he passed the next morning on August 23rd in Los Angeles, California, at the age of 25 after an arduous battle with Ewing’s sarcoma.

Not only are these poems a reincarnation of Ritvo, they are also representative of a lifelong struggle that extends far beyond his struggles with cancer. They grapple with what is often at the core of every person, an ongoing search for meaning and sense of belonging. The young poet treads uncertain ground with valor, both in his battle with cancer and in his ambitious writing. Having reached the physical limits of his body, with Four Reincarnations he turns to his mind where his time is not up yet. In the poem Black Bulls he addresses the reader directly and claims, “I am sorry that you have come to this mind of mine,” yet, it is my belief that no one who has ever read his poems is sorry to have been graced with such original and breathtaking compositions.

I think the beauty of his works lies in his own self-awareness—he is unabashedly public and vulnerable, traits that go a long way in managing poetry that has the ability to go from despair to humor in a matter of lines. It is also important that he is unafraid to speak directly to his audience and does not shy away from any topic. In To Randal, Crow-Stealer, Lord of The Greenhouse he even addresses himself. He writes:

I master the technology to make bricks.
I build altars clumped with fire.
I am not afraid to light
A flower and destroy her beauty;
The crispy flower has been taken to a godly feast.
Do you pity my imagination? It will kill you.

His imagery deeply appeals to the senses with scenes of a hungry fire and pure flower in the same stanza, both images coming together in a “godly feast”, much like all of his works. Reading Ritvo, unbeknownst of his personal history, is like an out-of-body experience. Definitely autobiographical, although not necessarily confessional, Ritvo tackles topics anywhere from love to life to loss to Listerine strips. He is unafraid to light a fire in all his readers and build an altar for himself in the world of poetry.

For the young poet, art was an unconditional love, and this collection shouldn’t be read solely as his last words despite the fact that they indisputably are. Shame (and by extension self-pity) is no longer an entity for him, which he makes very clear in this heartbreaking collection. When reading Four Reincarnations, it is my instruction to devour every word meticulously, and perhaps equally important is to make sure to also read the acknowledgments. They are as raw as his prose; a perfect and intensely personal send-off. Being an artist is in itself walking close to death, and of the many contemporary poets, there is none other that treads that line so finely as Max Ritvo. Even in defeat, there is solidarity and perseverance. Despite Ritvo’s death and the recent election results, there is still unwavering hope and strength and solace.


Jaik with Wolf Mask (2016)

Jaik with Wolf Mask (2016)

We are thrilled to welcome Jaik Faulk back to Nationale for, "I feel alright with azaleas around," his fifth solo exhibition with the gallery. Jaik left Louisiana last Monday to drive his new paintings to Portland. Somewhere around Texas and New Mexico, he somehow took a wrong turn, which led him through the darkest stretch he'd ever driven. For three hours he saw no lights, no towns, no sign of life. It was at that exact time on the radio that the media called the election for Donald J. Trump. With this in mind, I'd like to thank Jaik not only for making the 2500-mile trek but for these haunting and beautiful new southern paintings.
Please join us tomorrow Thursday, November 17 for the reception (6—8 p.m.)


Please join us on Sunday, November 13 (2—3pm) as we welcome gallery artist Carson Ellis back to Nationale for a special event celebrating the release of her new book, Du Iz Tak? 

Limited quantities available. We recommend you reserve your signed copy now. See you next Sunday!

Praise for Du Iz Tak?

Ellis’s bewitching creation stars a lively company of insects who speak a language unrelated to English, and working out what they are saying is one of the story’s delights...Very gently, Ellis suggests that humans have no idea what wonders are unfolding at their feet—and that what takes place in the lives of insects is not so different from their own. Has there ever been anything quite like it? Ma nazoot. —Publishers Weekly (starred review)

Ellis elevates gibberish to an art form with her brilliant account of a few bugs, who discover a green shoot sprouting from the ground...Readers and pre-readers alike will find myriad visual cues in Ellis’ splendid folk-style, gouache-and-ink illustrations that will allow them to draw meaning from the nonsensical dialogue, as well as observe the subtle changing of the seasons. The entire story unfolds on the same small stretch of ground, where each new detail is integral to the scene at hand. Effortlessly working on many levels, Ellis’ newest is outstanding. —Booklist (starred review)

There’s an elusive yet distinctly joyful quality to Carson Ellis’s picture book that feels like suspended glee, or a laugh caught halfway in the throat. As in her 2015 debut, “Home,” the gouache and ink illustrations in “Du Iz Tak?” are chic and subtly witty. But this time Ms. Carson matches them with dialogue in the enchanting foreign language of the elegantly dressed beetles and insects that live on a small, eventful patch of earth. —The Wall Street Journal

In a wordless coda of successive double-page spreads we are comforted by the cycle of the seasons. By the final words, “Du iz tak?” we are fluent speakers of Bug. Completely scrivadelly, this is a tour de force of original storytelling. —Horn Book (starred review)

Carson Ellis has created a fantastic microcosm with her usual grace and inventiveness...I was completely captivated by Ellis’s wonderful creatures, their charming little world and their droll language. —The New York Times Book Review

High drama ensues in the clean, odd, beautiful pages ahead. A marvel. —Shelf Awareness for Readers

Kirkus Reviews (starred review)


It's coming through a hole in the air
From those nights in Tiananmen Square
It's coming from the feel
That this ain't exactly real
Or it's real, but it ain't exactly there
From the wars against disorder
From the sirens night and day
From the fires of the homeless
From the ashes of the gay
Democracy is coming to the USA
It's coming through a crack in the wall
On a visionary flood of alcohol
From the staggering account
Of the Sermon on the Mount
Which I don't pretend to understand at all
It's coming from the silence
On the dock of the bay,
From the brave, the bold, the battered
Heart of Chevrolet
Democracy is coming to the USA

It's coming from the sorrow in the street
The holy places where the races meet
From the homicidal bitchin'
That goes down in every kitchen
To determine who will serve and who will eat
From the wells of disappointment
Where the women kneel to pray
For the grace of God in the desert here
And the desert far away:
Democracy is coming to the USA

Sail on, sail on
Oh mighty ship of State
To the shores of need
Past the reefs of greed
Through the Squalls of hate
Sail on, sail on, sail on, sail on

It's coming to America first
The cradle of the best and of the worst
It's here they got the range
And the machinery for change
And it's here they got the spiritual thirst
It's here the family's broken
And it's here the lonely say
That the heart has got to open
In a fundamental way
Democracy is coming to the USA

It's coming from the women and the men
Oh baby, we'll be making love again
We'll be going down so deep
The river's going to weep,
And the mountain's going to shout Amen
It's coming like the tidal flood
Beneath the lunar sway
Imperial, mysterious
In amorous array
Democracy is coming to the USA

Sail on, sail on
O mighty ship of State
To the shores of need
Past the reefs of greed
Through the squalls of hate
Sail on, sail on, sail on, sail on

I'm sentimental, if you know what I mean
I love the country but I can't stand the scene
And I'm neither left or right
I'm just staying home tonight
Getting lost in that hopeless little screen
But I'm stubborn as those garbage bags
As time cannot decay
I'm junk but I'm still holding up this little wild bouquet
Democracy is coming to the USA
To the USA

Leonard Cohen (21 September 1934 – 10 November 2016)


Issue #:
Add To Cart

Issue 18 of Apartamento Magazine features a trip to Andrea Zittel’s A-Z West homestead in Joshua Tree, Kembra Pfahler, Molly Goddard, Luis Venegas, Jessica Koslow, Duncan Hannah, Margaret Howell, Sébastien Meyer & Arnaud Vaillant, The house as a city, Jeanne Greenberg Rohatyn, JB Blunk, Fernando Arrabal, and Chloe Wise. Plus: The kamara, a series of paintings from the Peloponnese coast by Jean-Philippe Delhomme, and Making meaning, a conversation with Susan Sellers, Andrew Zuckerman, and Sam Grawe

We will be shipping in early November as soon as the issue is officially released! 


Foreigners on view at Nationale through November 13, 2016

Foreigners on view at Nationale through November 13, 2016

Issues of ethnicity and foreignness have always sparked contentious debate in our country, and more than likely always will. Nationale's current show Foreigners brings these heated issues to the forefront via the work of four Portland-based immigrant artists. I would call these artists and their pieces nothing short of impassioned and powerful. In our current highly politicized and tense society, it is refreshing to see how artists are choosing to confront these ever-present and foreboding hurdles, hurdles that impose on their selfhood and their artistic agency.

Modou Dieng, born in Saint-Louis, Senegal, is a multidisciplinary artist; he draws on pop culture as a presence in our society to comment on its permeability in culture and its inherent allegorical functions. With After Thoughts he is carefully recalling Muhammad Ali and all of the strength the famous boxer carries with him and subsequently radiating out. With Goodbye Blue Sky… it is easy, yet problematic, to imbue the work with post-colonial fervor, yet this is not Dieng’s primary intention. Simply the mixed media of the European flag with denim on the back, all a soft shade of blue, means to narrate through his own perspective what it means to be a Generation X African. It is also interesting how he plays with the notion of American ideal and the American Dream; blue skies make way for opportunity, but here he’s waving goodbye to all of that... The gold leaf details on both pieces are subtle, but eye-catching touches.

Modou Dieng, Goodbye Blue Sky... (detail)

Modou Dieng, Goodbye Blue Sky... (detail)

Victor Maldonado’s work is perhaps the most playful of the works displayed using bright colors and slightly caricature-esque facial shapes. By calling on an iconic and recognizable Mexican symbol, his prints and wooden stencils of luchador masks evoke powerful connotations on the migrant experience. Born in Michoacan, Mexico, but having grown up in the Central San Joaquin Valley, his pieces, such as Lucha Mask II, carefully draw on his heritage to create careful commentary on the political and cultural balance that exists even between such close boundaries as the United States and Mexico. Much like actual luchador fights, these pieces on display are energetic, vibrant, and confronting.

Victor Maldonado, Lucha Mask II, 2016, acrylic on wood10.5 x 11.5”

Victor Maldonado, Lucha Mask II, 2016, acrylic on wood10.5 x 11.5”

Espinas V, Espinas VI and Espinas II by Angelica Millán are commanding and demand attention from the room separate from the fact that they employ bright, eye-catching designs. The size of Espinas II itself is impressive, especially when seen next to the other two works, yet what is most understated about these works is the delicate manner in which they are riddled with thorns. The fabric Millán uses in Espinas II she herself buried and then unearthed, evokes nuances of “home-grown”, “roots” and “rebirth”. The smaller pieces are torn and burned, and finally, each of her canvases are delicately and arduously littered with thorns in what I can only imagine was a painstaking act of love. Further, themes of femininity and home-making are not lost with these works, bringing their vigor full circle.

Angelica Millán, Espinas VI, 2016, thorns on burnt fabric and wood, 10 x 10"

Angelica Millán, Espinas VI, 2016, thorns on burnt fabric and wood, 10 x 10"

The final artist on show is Bukola Koiki, Nigeria born but resident of the US since her youth. Her work narrates what it means to identify as multi-cultural. However, on the opposite spectrum, Koiki is fully aware of the cultural dislocation that often goes alongside such identification. As a result, her work is often toeing that boundary by employing themes of tradition and ritual. An Aggregate of Power, a huge sculptural piece with handmade and hand-dyed and paper beads recalling traditional Nigerian necklaces, is a testament to her heritage and the role it occupies in her personal, inter-cultural discourse. The fact that it is so large-scale and in the context of a gallery space, as opposed to an actual necklace to be worn in Nigeria, changes its reception. Similarly, Tyvek Gele 1 (along with the video: I Claim That Which Was Never Mine) toys with what it means to translate something so personal to one’s identity in terms that are accessible to another background -- the “gele” is a traditional Nigerian headpiece worn by women, but Koiki here has made it out of dyed Tyvek, a highly commercialized Western industrial material dyed with indigo in an attempt to bridge, or at least highlight, that gap.

Bukola Koiki from the series I Claim That Which Was Never Mine, Tyvek Gele 1, 2014, Tyvek, natural indigo, and thread, 10.5 x 9.75 x 9” & MP4 video

Bukola Koiki from the series I Claim That Which Was Never Mine, Tyvek Gele 1, 2014, Tyvek, natural indigo, and thread, 10.5 x 9.75 x 9” & MP4 video

As an immigrant myself, I was instantly drawn to these works. The notion of "in-betweenness" that all of these artists explore is something that I have always felt. Born in Bulgaria, but having divided my time equally between living there, Spain, and the States, being "grounded" and achieving a state of stability is not something that I can say I've ever achieved. Perhaps for brief moments in time, but much like thriving in one's cultural roots, those moments are fleeting. As a result, I can easily visualize the need these artists must have felt in expounding on a sense/space that is both transitional and simultaneously homely. What they have achieved both individually and collectively here with Foreigners is not to be overlooked and certainly will not be forgotten.

Shown here, works by Victor Maldonado, Bukola Koiki, and Angelica Millán

Shown here, works by Victor Maldonado, Bukola Koiki, and Angelica Millán