Join us for the launching of Atelier Céladon, a community-based studio that supports pilot and ongoing visual projects by young creators.
one-day exposition
Negar Nakhai
Kosi Nnebe
shakti-in-flux
Tiffany Ting-Yuk Or
Võ Thiên Việt
DJs
Rhythm & Hues
¤ bélier ¤
one-day exposition—artist statements
Yolk | NEGAR NAKHAI
digital print—2015—work-in-progress
By presenting bodies in conflict or harmony with their natural or digital environment, I aim to render visible the transparent layer of discipline that bodies are subjected to through performance in daily life. By presenting familiar images of consumerism in an alien way, I am placing emphasis on the visual culture of material and the aesthetic conditioning that it facilitates. Bodies and minds, like terrains are palimpsests that read stories of privilege or marginality. to visually represent the conditioning of bodies, I am leaving a trace, making it uncomfortable to navigate a privileged environment with ease. this series was made in collaboration with Veronica Aronova.
Radical Imaginaries: An Exploded View | KOSISOCHUKWU NNEBE
mirror, wire, flashlight, iPhone, marker on glass—2015
Radical Imaginaries: An Exploded View is a digital art installation exploring the progression from a modern, essentialist, black female subjectivity toward one that is fluid, postmodern, and radical. Grounded primarily in theories from black female intellectuals bell hooks and Melissa-Harris Perry, the installation sets out to visualize the destruction of the “crooked room” – a theoretical space wherein black female subjectivity is regulated and circumscribed – and the concomitant creation of an alternative conception of space wherein blackness is both questioned and loved.
untitled | SHAKTI-IN-FLUX
video projection—2015—work-in-progress
Don't leave me, China | TIFFANY TING-YUK OR
acrylic on canvas—2011
Don’t leave me, China depicts the resilience of porcelain against decay and organic degradation through a series of paintings. the objects are neglected in isolation, battling an infestation of the grotesque. this relationship alludes to the condition of being unloved and left to maintain your own selfhood. On a deeper metaphysical level, these objects represent a part of our internal selves that we neglect and leave in a dusty cupboard out of careless ignorance of truer values. In other words, they represent the true part of ourselves we strive to bury because it conflicts with our need for ego validation and superficial assurance of who we are. however, the objects are undamaged and whole, suggesting the truth they hold, while the projections of grotesque appear as hallucinations, delusions we project onto ourselves. It’s like a bad trip we dare not venture toward, even though it’s fictitious and all in our heads. We are, fundamentally, afraid of confronting and getting to know ourselves.
Distant Intimacies | VÕ THIÊN VIÊT, EMILY YEE CLARE & AN LI
inkjet paper—2014—work-in-progress
Through strikes and rants, we have struggled together to digest and understand our identities. always complicated, always confusing, we want to investigate who we are, memory and its place within our communities. although, we come from different places and perspectives, our narratives have woven together through love, activism, and friendship.
Intimacies bring us together, strengthen our will, and empower us to fight for our communities and our politics. We want to highlight the two sides of this: the internal care and love and the outward cry for justice.
photos by Laura Baldwinson