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Alex Ito, 'In the Dunes' (2017). Installation detail. Courtesy the artist + Hotel Art Pavilion, New York.
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Amna Asghar, 'Twenty Nine Weeks to a Fairness Like Never Before' (2017). Installation view. Courtesy the artist + Hotel Art Pavilion, New York.
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Alex Ito, 'In the Dunes' (2017). Installation view. Courtesy the artist + Hotel Art Pavilion, New York.
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Alex Ito, 'In the Dunes' (2017). Installation detail. Courtesy the artist + Hotel Art Pavilion, New York.
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Amna Asghar, 'Straigtening' (2017). Installation view. Courtesy the artist + Hotel Art Pavilion, New York.
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Amna Asghar, 'Boom Boom (Chori Chori)' (2017). Installation view. Courtesy the artist + Hotel Art Pavilion, New York.
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Left-right: Alex Ito, 'In the Dunes,' Amna Asghar, 'Straigtening' (2017). Installation view. Courtesy the artists + Hotel Art Pavilion, New York.
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Alex Ito + Amna Asghar, (O), The Stranger (2017). Exhibition view. Courtesy the artists + Hotel Art Pavilion, New York.
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Alex Ito + Amna Asghar, (O), The Stranger (2017). Exhibition view. Courtesy the artists + Hotel Art Pavilion, New York.
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Alex Ito + Amna Asghar, (O), The Stranger (2017). Exhibition view. Courtesy the artists + Hotel Art Pavilion, New York.
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The fickle ruptures between familiarity + alienation in Amna Asghar + Alex Ito’s (O), The Stranger at New York’s Hotel Art Pavilion

, 6 September 2017
photo

Amna Asghar and Alex Ito‘s (O), The Stranger joint exhibition on at New York’s Hotel Art Pavilion, opened August 12 and is running to September 23.

Alex Ito + Amna Asghar, (O), The Stranger (2017). Exhibition view. Courtesy the artists + Hotel Art Pavilion, New York.

In the free standing shed in a Brooklyn backyard, the two artists capture “the fickle ruptures between familiarity and alienation” by transforming everyday objects into art and addressing “the translation and intersection between historical and personal narrative in visual culture.”

Influenced by jhankaar remix music, Asghar takes the cropped and fragmented images of Pakistani digest magazines, texts, advertisements, and personal ephemera, and combines them with painting to mirror the “rhythmic uncertainties” of identity formation and its entanglements. 

Ito’s sculptural installation of deformed chromed objects, on the other hand, presents mounted images of Japanese internment to contemplate “the body/object’s ability to retain and distort legacies of violence and trauma embedded in spaces we inhabit.”** 

Amna Asghar + Alex Ito’s (O), The Stranger joint exhibition is on at New York’s Hotel Art Pavilion, running August 12 to September 23, 2017.

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Alex Ito Amna Asghar Hotel Art Pavilion o The Stranger'
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Music: iamamiwhoami – o

14 April 2010
news

Amna Asghar and Alex Ito‘s (O), The Stranger joint exhibition on at New York’s Hotel Art Pavilion, opened August 12 and is running to September 23.

Alex Ito + Amna Asghar, (O), The Stranger (2017). Exhibition view. Courtesy the artists + Hotel Art Pavilion, New York.

In the free standing shed in a Brooklyn backyard, the two artists capture “the fickle ruptures between familiarity and alienation” by transforming everyday objects into art and addressing “the translation and intersection between historical and personal narrative in visual culture.”

Influenced by jhankaar remix music, Asghar takes the cropped and fragmented images of Pakistani digest magazines, texts, advertisements, and personal ephemera, and combines them with painting to mirror the “rhythmic uncertainties” of identity formation and its entanglements. 

Ito’s sculptural installation of deformed chromed objects, on the other hand, presents mounted images of Japanese internment to contemplate “the body/object’s ability to retain and distort legacies of violence and trauma embedded in spaces we inhabit.”** 

Amna Asghar + Alex Ito’s (O), The Stranger joint exhibition is on at New York’s Hotel Art Pavilion, running August 12 to September 23, 2017.

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