![]() Complementing works in sculpture, textile, and generative video, the exhibition also includes TalkMeTender.life, an online artificial intelligence chatbot developed in collaboration with London-based artist Minna Pöllänen.* Trained on feminist texts concerning themes of care and mortality the chatbot provides a counterpoint to the exhibition’s probing of biopolitical frameworks, by looking at vulnerability and difference as sites of care and possibility rather than exploitation and subjugation.Īmerika. Originating from a 15th century Korean superstition believed to induce an abortion, the exhibition title frames Han’s practice as a series of ritualized acts that grind and chip away at the metaphorical thresholds guarding asymmetric social and political power structures. Through playful and jarring juxtapositions and layering, Han creates material manifestations of the reverberating desires and libidinal investments at work within the legal documents, government memoranda, and written and spoken words of figures in positions of power, including Justice Brett Kavanaugh, Harvey Weinstein, and Congressman Henry J. ![]() Working across a diverse array of media forms and processes, from weaving to artificial intelligence, Han critically engages with shifting understandings of public and private territories in relation to language, gender and body. If You Grind The Threshold of Three Other Houses is a solo exhibition of recent work by Bang Geul Han. The works are never circumscribed to any one time and place, and often play on a tension between opacity and legibility-a proxy for the indeterminacy of the shifting ground beneath migration and the inevitable fading of intergenerational memory. ![]() used for everything from washing your body to cleaning dishes-is reconstituted into ghost doubles of bricks from the artist’s Bronx childhood home hand-me-down furniture passed down from the artist’s grandparents is transformed into lanterns that seem to magically light themselves, a reference to the prevalent blackouts in the Caribbean nation. Working with archival material, hand-me-down objects, oral histories and folklore, Ciprian mines the ephemera of the Dominican diaspora and broader immigrant imaginary as a source of wisdom, mystery and resilience.Īt once personal and allegorical, the exhibition draws on a vast wealth of personal stories, riddles, and superstitions the artist has archived over the years as well as objects and images with special significance in the Dominican immigrant imaginary. Medicina de Amor (Love Medicine) is a solo exhibition of recent work by Gerardo Dexter Ciprian.
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