One Hundred and Eight Point Hood Shield
MSU Broad Art Museum
East Lansing, MI
Dates: November 7, 2020 – April 10, 2021.
The exhibition Interstates of Mind both celebrates and critically examines the role of the automobile and the building of the interstate highway system in rewriting the social, cultural, and economic map of the United States.
To watch a tour of the exhibition by curators Steven L. Bridges and Georgia Erger, please click here.
One Hundred and Eight Point Hood Shield, 2019. Steel, car hood sections, and zip ties. Photo: Steven L. Bridges / MSU Broad.
18th Street Art Center
Santa Monica, CA
October 26, 2020 – February 5, 2021
In Becoming Atmosphere, Beatriz Cortez and Kang Seung Lee consider the atmosphere as the core of cosmic becoming, a living entity that envelops everything we know. Meditating on the final work of Gilles Deleuze, Pure Immanence: Essays on a Life, the artists imagine freeing the potentialities of a life from the constraints of identity, with works focusing on aspects of disappearance, transformation, and becoming. Drawing from the writings of Emanuele Coccia, they also consider the concept of the atmosphere as “the essence of cosmic fluidity, the deepest face of our world, the one that reveals it as the infinite mixture of all things, present, past, and future.” In the wake of this idea, the artists invite us to imagine the entanglement of flows towards the future.
In Becoming Atmosphere, the artists question the erasure of others who came before them and who remain unseen. Lee’s video titled Garden is centered on Derek Jarman and Joon-soo Oh, both artists and gay rights activists in their respective England and Korea who died from AIDS complications in the 1990s. Lee buries parts of his drawings at various sites of memory and invisibility such as Derek Jarman’s garden and Namsan Park in Seoul. Cortez invites us to imagine entering the world under the ground guided by Roots, a series of sculptures that explore diversity and non-human life on the planet.
Plants form the link between the underworld and the atmosphere that they generate, one that permeates all living bodies, that contains a record of all lives on Earth, and that allows us to imagine stepping outside our identities and flowing towards the future. The atmosphere is a communal space that holds intergenerational memories and makes coexistence in multiple temporalities possible. The Infinite Mixture of All Things Past, Present, and Future, explores Cortez’s engagement with temporal and spatial simultaneity through motions that are at once circular and linear, and the gesture of circulating atmospheric flows that are being generated by a moving garden. Lee’s reverential drawings of Tseng Kwong Chi are an act of cross-temporal embodiment inspired by self-portraits of the Hong Kong Chinese artist, in which Tseng photographed himself at well-known tourist destinations in the U.S. and abroad in the 1970s and 80s. Dressed in a Zhongshan, or “Mao” suit, Tseng’s masquerade questioned issues of identity, belonging, and cultural difference during the height of the AIDS epidemic. an act of cross-temporal embodiment through image.
Collective care crosses the boundaries of a human life and moves across generations, environments, walls, and borders. For this exhibition, the artists have been entrusted with a growth of Harvey Milk’s cactus given to Lee by fellow artist and friend Julie Tolentino as a gesture of transference of multigenerational responsibility and care. Statements uttered by the Children in detention centers, separated from their families and held in cold isolation, also call for an extension of such care. Through the use of materials that react and engage with the atmosphere, like unsealed steel or ephemeral receipt paper, living plants, and the evocation of the materials that surround the children, the artists invite us to reimagine collective care enabled through the flows of forces beyond the human body, beyond one single life, and to consider erasure and invisibility as potentiality.
Installation view. Photo: Marc Walker. To experience the virtual tour of the exhibition, please click here.
Susan J. Weiler Fund, New York
Dates: September 25 – December 18, 2020
The Fortune Teller (nomad edition) is an interactive sculpture that prints fortune messages in English and in Spanish. The future that this machine predicts relates to the experience of immigration. The sculpture is based on the idea that words have power and that one can will the future into being, and to imagine a different future, one where our imaginary is linked to a collective subjectivity.
FUTURE TEXTS explores notions of progress and technology as defined by artists and their processes. The exhibiting artists are equally grounded in their unique cultural traditions, proposing personal visions of the future that redress history and expose and revoke the cultural and gendered biases of outmoded techno-narratives.
We Live! Memories of Resistance
Presented by In Plain Sight at
Kyle Stephan and Paulina Lara
September 14 – November 29, 2020
Two Hundred and Sixteen Point Shield, 2019. Steel and zip ties.
Two Hundred and Sixteen Point Shield is a geometric structure of welded steel segments assembled with zip ties that evokes themes of displacement, immigrant labor, nomadism, environmental degradation, and space travel. Although fashioned from repurposed industrial materials, the movile dome-like structure applies ancient construction techniques and indigenous knowledge systems to propose speculative futures defined by sustainability, collectivity, care, and protection for all people.
To visit a virtual tour of the exhibition, please click here. Photo courtesy of the artist and Commonwealth and Council. Photo: Alex Marks / Ballroom Marfa.
Donde hubo fuego: Arte contemporáneo de El Salvador
Museo de Arte de El Salvador, MARTE
San Salvador, El Salvador
Dates: January 19, 2018 – January 18, 2023
Armor for Rufina Amaya was made to honor Rufina Amaya, survivor of the Massacre of El Mozote in December 1981 in Morazán, El Salvador. This massacre, perpetrated by the US funded and trained elite Atlacatl Battalion of the Salvadoran Army, is known as the worst massacre in the Americas. The majority of the dead were children under the age of 12. The armor seeks to cross through time and space to offer solace to Rufina Amaya’s body and to the memory of horror that she shared with the world for the 25 years that she survived after the massacre.
This exhibition was curated by Simón Vega and Rafael Alas Vazquez. Photograph: Walterio Iraheta.