In the word-sculpture Theorie (2017), Japanese-French artist Naoki Sutter-Shudo disorients literary systems of meaning to similar end. Woodblock letters in an alpine green are speckled with frail daisies; each letter is a mirror of itself. In this twin aspect, Theorie is laden with the vertigo of love with no reason or rationality.
When Fernanda Laguna had her first exhibition at Buenos Aires’s Centro Cultural Ricardo Rojas in 1995, she decided to take her then-boyfriend’s advice to “follow your heart’s path,” and she’s been following it ever since.
New York-based artist Cici Wu is interested not only in the materiality of the tools and machines we use to observe the world, but also in the myriad ways our worldly experiences are propelled by subtle interactions among language, memory, rituals, sociopolitical structures, and different states of awareness and emotions that can be triggered by moving images and their ambient effects.
Bodies of water as a feminist figuration is thus about relationship and care. It is about sustaining and holding other kinds of bodies, and bathing new kinds of bodies into being. In this sense, bodies of water as figuration is necessarily about difference, too.
In early 2021, Julien Nguyen will be holding his ninth solo exhibition, and his first at Matthew Marks Gallery, New York. The following is a survey of his recent work and dominant themes through the lens of Mónica Belevan’s “Covidian aesthetics,” an effort launched in March to analyse perception and representation at the end of the long twentieth century, and the dawn of the next.