The work of Polish artist Agata Ingarden advances propositions for imaginary worlds. Her visual vocabulary surprises, introducing unexpected connections between everyday objects and natural materials, industrial processes and organic forms. Yet a sense of familiarity pervades the work, recalling as it does ancient cultures and techniques. Often produced at a distinctively nonhuman scale, it also has an alien feeling, conveying a novel, non-anthropocentric perspective.
In the presence of Collar’s mute things, I fall asleep into the static of dreams and awake expecting chaos. In them, the potential of something catastrophic is unveiled in slow motion.
Today, diplomatically isolated and subject to cyclical brain drain, youth in Taiwan live on both “treasure island” (one translation of the Ilha Formosa) and “ghost island” (a place with no future and no hope).
Central to Li’s work is his interest in the evolution of style and subjectivity as mediated by power dynamics across racial, sexual, class, and national boundaries. From the eighteenth century through the twentieth—while queer signs like the mannerisms of the by-then-obsolete European aristocracy were being adopted by cosmopolitan homosexuals in dis-identification with the increasingly dominant and normative social body of the bourgeoisie—growing exchange between East and West spawned fantasies permeated by fear of the foreign, resulting in Europe’s assimilation of other bodies, desires, and aesthetic traditions into its own canon.
Oscillating between intimate transparency and enigmatic opacity, Win McCarthy's entire oeuvre suggests the impossibility of inhabiting other people’s minds or even mapping the complexity of our own psyche (since we will always be trapped within). Despite the elaborate composition of every detail, each work seems fragile and threatens to fall apart.