I first encountered Korean artist Mire Lee via an Instagram story—a documentation of Andrea, Ophelia, at the endless house (2018). Her works, despite intermediary layers of digital conversion, evoked a convolution of haptic intrigue: the darkened studio space was dimly lit by a screen looping a voyeuristic video of Asian women in transit. Next to it, a mysterious, wet thing—towels, chains, silicone hoses, and steel wire entangled into a giant lump—slowly rotated in a pool of glycerin spread across a steel plinth suspended by a set of tentacular appendages. Suddenly the thing spasmed, making a loud noise as it disentangled itself and splashed gooey liquid onto the floor. Confronted by that creature born of machinery and slime, I felt a mixture of nausea and arousal.
Winner of the Arnaldo Pomodoro Prize for Sculpture, Domanović has conceived a sculpture consisting of an app that, dialoguing with La Portinaia, is composed of different environments accessible through augmented reality (AR).
The actors come from a similar context to me. I wanted whoever performed the piece to have as close a relationship as possible to the written testimony in the work. In the end, the actors that I worked with all recognized the experiences in their own autobiographies.
In this sense and more, to revisit personal artistic approaches to the use of writing, language, sign, and surface as points from which to delve into new means of perceiving and relating to the world is a thread running through all the other exhibitions on view at MAMCO.
Artist Tyler Coburn and writer Elvia Wilk both deal with materiality, embodiment, and speculative futures in their work. In this conversation they discuss how grappling with new materialist philosophies has led them to consider very old materialist viewpoints such as the medieval concepts of resurrection and incarnation. How do centuries-old notions of virtuality and corporeality relate to highly contemporary questions about invisible structures beyond the human scale? How can current art practices resurrect the future imaginary? Looking at deep-past materialisms, they find, might be one way to construct better material futures.