The show will also present a performative lecture alongside, which will take place on the opening night at 7:15 and “discuss the stories of radical women from three different times, over a period of six hundred years.” In addition, there will be a film element that follows characters who were all residents of the now-named Borough of Tower Hamlets.
Exploring precarity and resistance related to ideas of labour and gender, the lecture and exhibition looks at these ideas through the lens of a capitalist structure relating to the global textile industry, and will be experimenting with non-linear narrative.
The multi-disciplinary show is placed within the “conditions of white supremacy” and will include a large-scale painting among performance, film and figures made of wax. The press release notes that his work A Unified Theory of Love will be central to the presentation and looks into the mechanics of “objectification and dehumanization”.
Buckley is a Black British artist of caribbean and Irish extraction who now lives in New York. A 2015 graduate from the Yale MFA program, he also recently completed the NY Community Trust Van Lier Residency at the International Studio & Curatorial Programme (ISCP) where he presented solo exhibition The Demon Of Regret (2016).
Curated by Ed Leezon, the show will take the form of a four-screen installation and will show for the first time in its entirety, four episodic films called ‘Vesmir Peklo’, ’17:17’, ‘Widows’ and ‘Flood’ made between 2014 and 2016. In addition, there will be a sculptural element; natural materials such as mud and sand and various other detritus seep out into the gallery space, relating back to the landscape of Earth, Fire, Air, and Water found in the videos. The press release describes the works as “visual metaphors for emotional reaction to traumatic events: loss of home, car crash, death of a loved one, natural disaster.”
Examining the way female hysteria is presented, Laroche is working with the duo Keira Fox and Ellen Freed of New Noveta who explore anxiety through their performance.
The event is a continuation of her ongoing series Thinking Like a Mountain, a term coined by Aldo Leopold. The series explores thinking of the mountain’s ecosystem in terms of what is good for the mountain, rather than what is good for the human.
Friend and Foe “translates the desire for humans to assimilate with their surroundings” and “sums up the contact with this danger and the fascination with it”. It is about the merging of humans and tools — instead of nature, but more specifically the “prosthesis they are using to survive”.
Humans Unite, a solo show by Kitty Clark at new London space, Public Exhibitions ran May 27 – June 12, 2016. Curated by Valentina Fois, the show presented a new series of works by Clark that address futile desires and contemporary anxiety through what Fois describes as “a transhuman mentality”.
It’s comprised of mainly sculptural pieces featuring materials and arrangements such as aluminium, etched text onto acrylic, dead flies, and laminate. Some air vents with printed text look to be providing air to an empty see-through chamber that acts as an arm rest for an animatronic hand perched, armless on top. A large-scale digitally projected 3D virtual environment of a ‘Wheatfield (FEEL KNOW)’ presents Humans Unite as a clinical space for its items, the projected work acting as a perfect backdrop for a perfectly possible emotional transformation.
To accompany the show the London-based artist provided the following text with the press release, which was also printed in ‘stages’ snaking around each aluminium air vent installed in the space:
The exhibition, which takes form in two parts: an online piece and a physical show in the space hosts a new series of works that address, according to the press release, “futile desires and contemporary anxiety [that belong to] the transhuman ideal of remodeling and enhancing the body” with things that might radically transform human intellectual physical and emotional capabilities.
In the space will be a severed animatronic hand of a silicone love doll incessantly tapping one finger, and a stomach breathing peacefully in spite of the screws that hold it down, for example, while the accompanying text prefaces the show with a short bullet point-based story about bugs and their human ‘adopters’.
Clark has recently shown work in group shows, Difference and Repetition in Bari and in A British Art Show at New York’s Meyohas.