The Homeward Bound group exhibition at Los Angeles’ Nicodim Gallery opened October 21 and is running to December 9.
The show includes work by over 25 artists including Monica Majoli, Kris Lemsalu, Simphiwe Ndzube, Ciprian Muresan, Namio Harukawa and Polly Borland among others. The press release and curatorial premise frames the concept of home “at its sweetest, most sinister, most honest. It’s where the heart is. And the liver. And the genitals.”
Playing with the format of a domestic setting, the installation fills the space and works play off and on each other, bleeding or stomping into the next where “all the skeletons are let out of the closet.” Designed by Oliver M. Furth, the gallery space becomes a home with each room exploring fenshui and friction. Moments of waiting for a lover to return, lounging with bondage and jello moulds that transform in orifices, contribute to the act of interior decorating.**
An exhibition of painting, sculpture, video and installation, the curatorial premise “fantasizes the cultural aftermath of the colonization of Mars,” where current politics and geographies are explored through non-linear narrative within both the physical and present-day realities of inhabiting Earth as well as the desire for a Martian landscape. The press included a text by Andy Heckboyd that reads:
We are all together, like one big head. Floating over the land like a balloon. Each line-in to the central heart. It’s located in the nose. The thing that was figured out on Earth was how to use the internet to connect everyone to everything. The data would be useful. A big head on Mars. Is full of many different people, in individual unity.
Stockholm-based DJ Ninort El-Khoury grew up in Gothenburg to a Lebanese father. His experience is like that of many children of first-generation immigrant families, split between identities, not quite fitting in either way. That experience is part of what brought El-Khoury back to Beirut in October this year, where he produced a mix for the local Radio Beirut, here shared via AQNB.
Tracks by Joanna Brouk, Firaasbeats and artist and producer Kareem Lotfy are included in the mix, which is described by the Glum Trigger label c0-founder (with ishi vu and Niklas) as capturing the feeling and energy of driving through the city. The selection — that has everything from meditation music and Swedish dancehall to experimental electronica and hip hop — captures a sense of wistful movement and longing that only a person whose heart is split across geographies can really understand. El-Khoury opted to go without his immediate family to Beirut for the second time this year, getting to know a place that might have been his birthplace better on his own terms. “We just go from one uncle’s house to another uncle’s house and drink coffee and eat,” he says about his formative experiences of Beirut and Zahle village, where his dad is from, “That’s nice but for a restless person like me, I got bored. I want to go out with my cousins and meet people, or just look and feel the energy from my other home.”**
1. Linkwood, ‘Outside In [expressions]’
2. Joanna Brouk, ‘The Creative’
3. Muslimgauze, ‘Jawani Zindabad’
4. Noctilucents, ‘Run With Me’
5. Shakarchi & Stranéus, ‘Wheel Of Fortune (Unreleased)’
6. Firaasbeats, ‘Zen Mod’
7. ishi vu, ‘U (Unreleased)’
8. Sch, ‘Je La Connais’
9. Khotin, ‘Dawn Flowers’
10. Cos/mes, ‘Dfg (Featuring Dr. Nishimura)’
11. Kareem Lotfy, ‘Triplego Eau Frais Mallorca Version’
12. Orlando, ‘The Tide That Moves Me’
13. Mo x Aden x Asme Jet Lyriks
14. Mishon, ‘Rock My Chain (Instrumental)’
15. E 40 Ft. T I. And Chris Brown, ‘Episode Instrumental’
16. Lanark Artefax, ‘Touch Absence (Intimidating Stillness Mix)’
17. Occult Orientated Crime, ‘Japanese Trains’
18. Grxgvr, ‘Skinny2-the-bone’
It’s title is a reference to the idea of soft power, as well as the 80s British New Wave band Soft Cell, while suggesting “a padded cell and by extension the panoptic gaze of the state or the institution.” Also referencing Benjamin H. Bratton‘s reverse panopticon effect as ‘exhibitionism in bad faith,’ where one understands they’re being watched but acts as if they’re not, the show looks at architecture, as it is employed within commercial and museum settings. It thus places emphasis on ‘surface, image and display,’ while rendering us “passive consumers and impotent political agents.”
Objects scattered around the room enter into a playful conversation with each other: tiny dogs placed on the floor, on bookends, on shelves and walls, a bright pink bucket with a strainer cast in bronze, plaster, crystals, clay mixture that hangs off of steel welded frames.
The press release describes the space but admits the question, “is something we can’t quite put our finger on? Dogs?” Accompanying the exhibition is a book publication of Sturla’s work, with 25 copies available and also online.
Goswell Road is Paris-based art space and publishing house run by Ruiz Stephinson.**
The project is open to participation and embraces an “instant radical inclusion trademark technique” with an open source team of over 80 curators. ‘Instant Radical Inclusion’ means “if you believe your art and/or your curating talent must be part of The Wrong, then for us it’s a must” and it accepts submissions up until the last day of the event.
The installation is an assemblage of fabric, posters and photography, where slogans and words crop up inconspicuously, rubbing against each other in their own conversation. ‘Black Lives Matter’ and ‘Anti-Antifa’ appear tattooed on the same man’s body, badge and other punk insignias read ‘Ska & Rocksteady,’ ‘Corporeal Anarchy’ and ‘Rock Against Racism’ and ‘SwastikaFetish.’ Intertwined is another layer of imagined conversation through a dialogue taking place in speech bubbles.
A number of posters are plastered onto a painted green wall that move between a language of newspaper headlines and more personal notes or twitter captions, such as ‘THE OFFICIAL SHOES OF WHITE PEOPLE’ and ‘…SHE ADOPTED A BRITISH ACCENT TO LAND A SKINHEAD BOYFRIEND AND KEPT UP THE ACT FOR MONTHS.’