GROUP EXHIBITION

Opal Ecker DeRuvo uses lasers, frequency generators, and strobe lights to question photography’s role in structuring scientific knowledge and the collapsing of subjects into flattened identities in order to perform new gender subjectivities.

Kara Güt mixes image-based and digital media into virtual worlds to shape new forms of human intimacy. Using the mod Immersive Lover’s Comfort by flexcreator, Güt distorts the intended narrative of a role-playing game, opening up a multiplicity of identities that are possible at any given moment, and in any given character.

Meticulously constructed, Sharon Yaoxi He’s abstract paintings reveal and simultaneously conceal spatialities translated from Chinese landscape painting in a continued unfolding of architectural space, gesturing to what a painting never captures, never knows, and never can show.

Informed by the ethos and politics of feminist and queer space-making in Pakistan, Fiza Khatri’s paintings draw from taxidermy specimens found in museum ethnographies as well as poetic and sacred traditions to construct new fictions between the invented and the real.

Andreia Santana’s glass sculptures, cast from relics, debris, and wildlife affixed onto scaffold-like structures, appropriate techniques of archaeology to draw attention to the forgotten. Additionally, her ironed-out fish glue sculptures explore the use of this material and associated ritual practices that link the real to the supernatural.

Together these positions converge in a choreography of movements, each conjuring new possibilities.

—Anthony Terzino