11th Gwangju Biennale
2. 9. – 6. 11. 2016
Korea

Artists

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Anicka Yi

Anicka Yi's (b. 1971, Seoul/New York) installations resemble a forensic setting of pop-decorated quarantined tents occupied by para-scientific assemblages. In one room, we see a mix of beeswax, dried shrimp, seaweed, and pigment powder on strange aggregations on top of the table. In another, scent is diffused from a motorcycle helmet, in a quasi-industrial setting. Testing the limits of empathy and biopolitical warfare in a decaying patriarchal society, Yi's practice appeals to new sensibilities and scenic strategies to captivate the viewer. We navigate through rooms filled with unexpected scents, microbial designs beyond translucent surfaces, science-fiction micro-universes inside aquariums and tents, and metabolic processes that change with time.

Analyzing the rising social paranoia around contagion and “the enduring patriarchal fear of feminism and potency of female networks,” (Lumi Tan) these works, previously presented in the artist's recent show “You Can Call Me F” (2015) at The Kitchen in New York, were developed with the aid of synthetic biologists and scent fabricators. During the process of its making, Yi “gathered biological information from one hundred women to cultivate the idea of the female figure as a viral pathogen, which undergoes external attempts to be contained and neutralized.”

Yi's work is often developed in conversation with scientists and theorists, in order to design and debate the necessary technological tools and critical framework to emphasize her positions and artistic views. Driven by a careful reading of materialism as a philosophical discourse, Yi's work often addresses the exponential effects of mass consumerism, and the precarity of bodies, with a strong sense of synthetic, industrial, and organic processes. MM


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