Tense Renderings

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	<title>Tense Renderings</title>
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	<pubDate>Fri, 27 Jan 2023 20:19:46 +0000</pubDate>
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		<pubDate>Mon, 31 Oct 2022 22:59:12 +0000</pubDate>

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		<title>Exhibition</title>
				
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		<pubDate>Sun, 30 Oct 2022 21:29:25 +0000</pubDate>

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	Jumanah AbbasC. BainAmy ChiaoNatan Diacon-FurtadoJen D’MelloAlexsa DurransChristine Imperialsj&#38;nbsp;kim-ryuWesley LariosJulia Saenz LorduySonya MerutkaAmanda TeixeiraSarah Sophia YanniBz Zhang


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Event photography by Rafael Hernandez, Fía Benitez, and Simone Zapata. Installation images by Evan Walsh.&#38;nbsp;


“Space is not a static field. It does not wait for our offerings or our movements. It is not blank and has never been blank. Spaces moan. They are of another order.” 
—Renee Gladman, from the Bagley Wright Lecture “Lines into Grasses”
Tense Renderings: the will and won’t of spatial logics began as a series of conversations between a poet and a visual artist, examining the intersections of our respective practices. Simone’s previous research attended to how the syntax and systems of language simulate presence—prompted by her aunt’s lived experience with schizophrenia and state-sanctioned early death. Fía’s ongoing body of work Root Rot engages the archival and site-specific legacy of colonialism through its material vestiges, including land grant maps, citrus crate labels, and photographs.
We found shared meaning in the physical and cognitive act of tracing, challenging the purported objectivity of documents, and investigating the function of absent referents in visual and textual language. To render space is to abstract it; and this abstraction has profound implications for how we experience the worlds we live in. Although the practice of cartography extends over eighteen thousand years into the past, in more recent history, maps have also served as tools for the Western imagination to differentially author and surveil land and body. But these spaces of dwelling exceed their governing logics, interrupt the map’s attempt for fidelity. How do the spaces we harbor refuse their representation?As a homonym, Tense Renderings both problematizes the act of rendering, and accounts for the temporality of such renditions. Here, fourteen artists across disciplines and time zones come together to interrogate the motivations, conditions, and limitations of maps and mapmaking. We invite viewers to engage the multivalent—and sometimes dialectic—quality of the works on display: the circumstances of existing in multiple places at once, the intimate reverberations of violent infrastructure, claims to and against contested territories, and the recursive reification and disavowal of institutionalized belonging.If space is never—has never been—blank, we are thus faced with an accumulation of history and futurity. A simultaneous spillage and consumption. A tearing, a stitching, an insistent probing—from our repulsive ruptures and our quietest corners.

—Simone Zapata, Fía Benitez&#38;nbsp;

@_REBELGREEN

@N0_RELATION
	

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		<title>Jumanah Abbas</title>
				
		<link>https://tenserenderings.com/Jumanah-Abbas-1</link>

		<pubDate>Mon, 31 Oct 2022 23:14:06 +0000</pubDate>

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	Jumanah Abbas
	

	&#60;img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/da42dbe3afa74fdcd787a873af5e65ec7be35d97ce7c26eee4f94653e2214b2f/Select_Abbas_Hernandez_CIA_20220624_030155.jpg" data-mid="162434205" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/da42dbe3afa74fdcd787a873af5e65ec7be35d97ce7c26eee4f94653e2214b2f/Select_Abbas_Hernandez_CIA_20220624_030155.jpg" /&#62;
Jumanah Abbas;&#38;nbsp;I Had Come From the Sea, 2020-ongoing; Prints of digital maps; Dimensions variable

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Jumanah Abbas; I Had Come From the Sea (detail), 2020-ongoing; Prints of digital maps; Dimensions variable


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	I HAD COME FROM THE SEA
I Had Come from the Sea is a dossier that visualizes testimonies to reveal what happens within, as well as around, the sea of Palestine. These maps are used to project moments of fishing across different times and coordinates, as they spatialize each fisherman’s lived experience. Read as counter-maps, the fishers’ testimonies are placed within a maritime geography, and its geopolitical boundaries that can be driven by two conditions for coastal labor: time and distance. The objective of these maps is to heighten the visibilities of fishing practices, retelling the many encounters between the fisher and the navy army, and offering a pathway through which these testimonies can make claims to the sea. As time is frozen and coordinates are brought to the foreground, these maps are at risk of repeating the traps of colonial cartographies, which flatten, abstract, and erase the human experience. What differs in these maps, is that the livelihood of the fisher surfaces, and lives in the viewer’s imagination. 


BIOJumanah Abbas is an architect, writer, and curator, working through an ecology of interdisciplinarity that architecture concepts, debates, and dialogues engage with. Jumanah is part of ongoing collaborations with institutes, regional organizations, and universities. Mapping Memories of Resistance: The Untold Story of the Occupation of the Golan Heights is a project in collaboration with London School of Economics, Birzeit University, and Al Marsad, Arab Human Rights Center in Golan Heights. Another is Tasmeem Biennial 2022, themed around Radical Futures, by Virginia Commonwealth University, School of the Arts in Qatar, where she curated the biennial spatial design. She is currently working towards the realization of Qatar Museums’ Quadrennial Project, a multi-site art exhibition opening in 2024.&#38;nbsp;

@JUMANAHABBAS_&#38;nbsp;
	
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		<title>C. Bain</title>
				
		<link>https://tenserenderings.com/C-Bain-1</link>

		<pubDate>Mon, 31 Oct 2022 23:17:36 +0000</pubDate>

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	C. Bain
	

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C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Performance&#60;img width="1240" height="827" width_o="1240" height_o="827" data-src="https://freight.cargo.site/t/original/i/994023916ee849e76e10512e2982467c9eae8e9251880d19affdf7c0bea5af6c/Select_Bain_Hernandez_CIA_20220624_030540.jpg" data-mid="169125254" border="0"  src="https://freight.cargo.site/w/1000/i/994023916ee849e76e10512e2982467c9eae8e9251880d19affdf7c0bea5af6c/Select_Bain_Hernandez_CIA_20220624_030540.jpg" /&#62;
C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Performance

&#60;img width="1240" height="774" width_o="1240" height_o="774" data-src="https://freight.cargo.site/t/original/i/830aa69a486ba59f46a1b0b86a75e3649b1b2b493fb8317873397f5da002cec3/Select_PHOTO-2022-06-24-22-54-12-2.jpg" data-mid="169125257" border="0"  src="https://freight.cargo.site/w/1000/i/830aa69a486ba59f46a1b0b86a75e3649b1b2b493fb8317873397f5da002cec3/Select_PHOTO-2022-06-24-22-54-12-2.jpg" /&#62;C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Performance
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&#60;img width="1240" height="827" width_o="1240" height_o="827" data-src="https://freight.cargo.site/t/original/i/cb1717c6865af052a1f40831008108c7632e4b8c6900409a09ba34e0ca72bc0c/Select_Bain_Walsh_tense_renderings_11013.jpg" data-mid="169125256" border="0"  src="https://freight.cargo.site/w/1000/i/cb1717c6865af052a1f40831008108c7632e4b8c6900409a09ba34e0ca72bc0c/Select_Bain_Walsh_tense_renderings_11013.jpg" /&#62;C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Cardboard, duct tape; Dimensions variable; Photography by Evan Walsh


C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022


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&#60;img width="1909" height="2656" width_o="1909" height_o="2656" data-src="https://freight.cargo.site/t/original/i/818cdd52a0ffcd5bb52ae3e73e4ae00c8abc7a5563c9c5ef0059179e1a581b93/Select_TR-erasure-jpeg_Page_05.jpg" data-mid="169125764" border="0"  src="https://freight.cargo.site/w/1000/i/818cdd52a0ffcd5bb52ae3e73e4ae00c8abc7a5563c9c5ef0059179e1a581b93/Select_TR-erasure-jpeg_Page_05.jpg" /&#62;
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&#60;img width="1960" height="2737" width_o="1960" height_o="2737" data-src="https://freight.cargo.site/t/original/i/885915fde194bbf9c1b94bda34ce4fc867a031df2142117ddd5b1612d38abc4e/Select_TR-erasure-jpeg_Page_08.jpg" data-mid="169125767" border="0"  src="https://freight.cargo.site/w/1000/i/885915fde194bbf9c1b94bda34ce4fc867a031df2142117ddd5b1612d38abc4e/Select_TR-erasure-jpeg_Page_08.jpg" /&#62;
&#60;img width="1919" height="2714" width_o="1919" height_o="2714" data-src="https://freight.cargo.site/t/original/i/1f4b2efdebd1413040b7b24da4ca9c1efb017ac68d3371cb7fc85c4562927f9c/Select_TR-erasure-jpeg_Page_09.jpg" data-mid="169125768" border="0"  src="https://freight.cargo.site/w/1000/i/1f4b2efdebd1413040b7b24da4ca9c1efb017ac68d3371cb7fc85c4562927f9c/Select_TR-erasure-jpeg_Page_09.jpg" /&#62;
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C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Erasure

Click to download


	AN INFORMAL HISTORY OF THE ATLAS OF TOPOGRAPHICAL AND APPLIED HUMAN ANATOMY AND ITS PRECEDENTS
	
	
On the other side of time there are men who are making a map of you. They’ve been at it forever and they are sure they will eventually finish; the whole interiority knowable, exposed, transformed into surface. The technology is making the men obsolete. It is doing their work for them. The work is a story which is driven by a certain amount of factual information. The men have names and faces and in the performance, they are named, faced. They are in their way humanists, invested in humanism. When it isn’t activated, it is garbage. When it is garbage in a gallery, it is an installation. If there is an empty space, power will reconstruct itself, build itself out of the detritus of what resisted it. Cardboard, mostly. The rest of what’s there is secret, the rest of what’s there is not intended to be seen; to see it you would have to want to look at it, and why would you look at something that was essentially a prop for a performance that’s concluded. The work is remains, is what remains. 
BIOC. Bain is a gender liminal writer, performer, and artist. He was a poet first, and continues to run towards and away from language as his overriding structure. For Tense Renderings as elsewhere, he is focused on the way that the body’s subjection to “knowledge” is both a seduction-compulsion and a fatal practice. De-normalizing language could perhaps indicate a way to interrupt the codifying, carceral propensities of the body itself—liberation to annihilation, a cyclic dyad: HSV, joint dislocation of left lower extremity, impingement on left rotator cuff, malarial parasites may persist in the blood but it’s unlikely, it has been several years. Skin forming nodules at the self-injury site. Non-current illnesses and their presiding sequelae, HPV, generally being formed as a subject through refusal. C. Bain has a mental health focused MSW from Hunter College, and an Art MFA from CalArts.
TIRESIASPROJEKT.COM
	

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	<item>
		<title>Amy Chiao</title>
				
		<link>https://tenserenderings.com/Amy-Chiao-2</link>

		<pubDate>Fri, 27 Jan 2023 01:37:03 +0000</pubDate>

		<dc:creator>Tense Renderings</dc:creator>

		<guid isPermaLink="true">https://tenserenderings.com/Amy-Chiao-2</guid>

		<description>
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	
	Amy Chiao
	

	&#60;img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/d0e0b78d63a74e3feab2c0e9a4884701ef4a56a54137ef5d5496bcf3a377eb8d/Select_Chiao_Hernandez_CIA_20220624_030187.jpg" data-mid="166279532" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/d0e0b78d63a74e3feab2c0e9a4884701ef4a56a54137ef5d5496bcf3a377eb8d/Select_Chiao_Hernandez_CIA_20220624_030187.jpg" /&#62;
Amy Chiao;&#38;nbsp;Discover the Top 5 Luxury Eco-Tourist Destinations in the Galaxy sponsored by Peter Thiel’s Pet Turtle Institute &#38;amp; McMoon Nuggets Fast Food Chain Restaurants on Planet O’Harezon X, 2020-ongoing; Custom printed collage luggage, electronics, sand, chicken bones, seashells, fake chicken wings, drone, water bottle, toothbrush, acrylic puzzles;&#38;nbsp;Dimensions variable
&#60;img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/f87f03c8548eb005d2d3aa297321ecee298676ab534b0edab95e5e4ff6682dd9/Select_Chiao_Hernandez_CIA_20220624_030178.jpg" data-mid="166279611" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f87f03c8548eb005d2d3aa297321ecee298676ab534b0edab95e5e4ff6682dd9/Select_Chiao_Hernandez_CIA_20220624_030178.jpg" /&#62;
Amy Chiao; Discover the Top 5 Luxury Eco-Tourist Destinations in the Galaxy sponsored by Peter Thiel’s Pet Turtle Institute &#38;amp; McMoon Nuggets Fast Food Chain Restaurants on Planet O’Harezon X (detail), 2020-ongoing; Custom printed collage luggage, electronics, sand, chicken bones, seashells, fake chicken wings, drone, water bottle, toothbrush, acrylic puzzles;&#38;nbsp;Dimensions variable
&#60;img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/4a03ca6ad6a947d845c02f2365653cf8c1b7bbe23b970dc324c31e3cbd169e62/Select_Chiao_Hernandez_CIA_20220624_030171.jpg" data-mid="166279662" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/4a03ca6ad6a947d845c02f2365653cf8c1b7bbe23b970dc324c31e3cbd169e62/Select_Chiao_Hernandez_CIA_20220624_030171.jpg" /&#62;Amy Chiao; Discover the Top 5 Luxury Eco-Tourist Destinations in the Galaxy sponsored by Peter Thiel’s Pet Turtle Institute &#38;amp; McMoon Nuggets Fast Food Chain Restaurants on Planet O’Harezon X (detail), 2020-ongoing; Custom printed collage luggage, electronics, sand, chicken bones, seashells, fake chicken wings, drone, water bottle, toothbrush, acrylic puzzles;&#38;nbsp;Dimensions variable


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	DISCOVER THE TOP 5 LUXURY ECO-TOURIST DESTINATIONS IN THE GALAXY SPONSORED BY PETER THIEL’S PET TURTLE INSTITUTE &#38;amp; McMOON NUGGETS FAST FOOD CHAIN RESTAURANTS ON PLANET O’HAREZON XShall we conquer the rest of Earth, or venture out to Space? Do you want to win a safe-waters trip floating on Peter Thiel’s Pet Turtle Institute’s Polynesian cruise line? Have a frisky dining experience munching at McMoon Nuggets Fast Food Chain Restaurants on Planet O’Harezon X? At the height of COVID quarantine 2020, this project developed into two speculative design ecosystems themed on mythologies of the Aesop fable “The Tortoise and the Hare” as a metaphor for the sustainable trajectory of speed in human progress, production, and colonization. These dichotomic lifestyles prophesize the domestication of two beloved animals: pet turtles and rabbits. As technologies for transportation, sustenance, and other essential material energy resources, the fable cutely packages high tech, neo-colonial ventures as marketable eco-tourism sites. Leisure – in lieu of survival – is the way to consumers’ hearts and wallets. Three leading angel investors – Peter Thiel, Elon Musk, and Jeff Bezos – envision these future cities of the last humans standing, built upon their own ethos of political autonomy. Sellable animal mascots take the place of the entrepreneurial figures, as branded teams for oceanic and extraterrestrial micronations.


BIOAmy Chiao is a multimedia artist, performer, designer, and director working in site-specific performance, video, installation, collage, and material design. She holds a BFA in Textiles from the Rhode Island School of Design and is a recent graduate of the MFA program at CalArts in Scene Design, with a concentration in Integrated Media. Her expansive bodies of work and research uncover the fictitious nature of society, critiquing the performativity of bodies, characters, and brand entities through speculative design narrative strategies.

 @AMYEATFRIES
AMYCHIAO.COM
	
	
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	<item>
		<title>Natan Diacon-Furtado</title>
				
		<link>https://tenserenderings.com/Natan-Diacon-Furtado-2</link>

		<pubDate>Fri, 27 Jan 2023 01:17:49 +0000</pubDate>

		<dc:creator>Tense Renderings</dc:creator>

		<guid isPermaLink="true">https://tenserenderings.com/Natan-Diacon-Furtado-2</guid>

		<description>

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	Natan Diacon-Furtado
	

	&#60;img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/411b5977047d682b9d78f621b098513cb48a572d81fa256dcbdebeb4571dc657/Select_Diacon-Furtado_Hernandez_CIA_20220624_030049.jpg" data-mid="166278438" border="0"  src="https://freight.cargo.site/w/1000/i/411b5977047d682b9d78f621b098513cb48a572d81fa256dcbdebeb4571dc657/Select_Diacon-Furtado_Hernandez_CIA_20220624_030049.jpg" /&#62;
Natan Diacon-Furtado;&#38;nbsp;Our Maps, 2020;&#38;nbsp;Archival ink stamped oil exploration map;&#38;nbsp;45.75 x 40 in.
&#60;img width="3968" height="2616" width_o="3968" height_o="2616" data-src="https://freight.cargo.site/t/original/i/b854f77d0040c752f8ac7b606650705ac8f852e172126ef0585b498e9c72b26d/Select_CROPPED_DSC_0089_edit.jpg" data-mid="166278454" border="0"  src="https://freight.cargo.site/w/1000/i/b854f77d0040c752f8ac7b606650705ac8f852e172126ef0585b498e9c72b26d/Select_CROPPED_DSC_0089_edit.jpg" /&#62;
Natan Diacon-Furtado; Our Maps (detail), 2020; Archival ink stamped oil exploration map;&#38;nbsp;45.75 x 40 in.
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/744d3f063e0fb6d130710122f1ba379558e59313244329a883b49065d6ebd1a9/Select_DSC_0082_edit.jpg" data-mid="166278460" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/744d3f063e0fb6d130710122f1ba379558e59313244329a883b49065d6ebd1a9/Select_DSC_0082_edit.jpg" /&#62;
Natan Diacon-Furtado; Our Maps (detail), 2020; Archival ink stamped oil exploration map;&#38;nbsp;45.75 x 40 in.

&#38;nbsp;


	OUR MAPS Handmade rubber stamps are used to create simple, yet complex patterns referencing the abstract tilework found on and within most modernist construction projects in Brazil. This pattern is hand-stamped over a 20th Century oil exploration map of the African continent, found on the side of the road by the artist. The act of stamping onto the found map connects the artist’s childhood memories of growing up in Brasilia – the modernist capital of Brazil – and policies of exploitation and extraction, particularly the white supremacist legacy of “branqueamento,” as it relates to the perception and erasure of race in the artist’s own family.

BIO
Natan is a Brazilian and American collaborative artist and designer trained as a cultural anthropologist and architect. Their work embraces a globally southern heritage of fundamental geometries and pattern-making as visual translation devices for experiencing and exploring issues of race, identity, and community through collaboration. They have exhibited at the Venice Biennale of Architecture, Delft Architectural Biennial, Buenos Aires Biennale of Architecture, Terrain Biennial, and a solo museum exhibition at Indiana University’s Wiley House Museum, and have been a 2021 Joan Mitchell Center Artist-In-Residence, 2021 Artist-in-Residence at Montgomery College, and a 2020 PlySpace Resident Fellow. In addition, Natan’s design work has been named one of the “World’s Greatest Places” by TIME Magazine. Natan engages ambiguity, loose-ness, and a make-do attitude to allow for deep and wide-ranging collaborations that imbue basic forms and patterns with shared meaning, crafting spaces and projects that act as community architectures and living archives. 
@DFNATANDF 
DIACONFURTADO.COM
	

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	<item>
		<title>Jen D'Mello</title>
				
		<link>https://tenserenderings.com/Jen-D-Mello-2</link>

		<pubDate>Fri, 27 Jan 2023 01:24:54 +0000</pubDate>

		<dc:creator>Tense Renderings</dc:creator>

		<guid isPermaLink="true">https://tenserenderings.com/Jen-D-Mello-2</guid>

		<description>
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	
	Jen D’Mello
	

	&#60;img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/3ddf0bc21cc400d30685a35229943511e483220f0e890835522610675a05f4f9/Select_D_Mello_Walsh_tense_renderings_11026.jpg" data-mid="166278842" border="0"  src="https://freight.cargo.site/w/1000/i/3ddf0bc21cc400d30685a35229943511e483220f0e890835522610675a05f4f9/Select_D_Mello_Walsh_tense_renderings_11026.jpg" /&#62;
Jen D’Mello;&#38;nbsp;Incite Swerve, Shift Ensemble, 2022; Transparencies, permanent transparency pens, thread, turkey feathers; Dimensions variable; Photography by Evan Walsh
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/b5886afe4d36c0b0aee198364e46d435827b892165681daee780d758066b3a1b/Select_IMG_3742.JPG" data-mid="166278857" border="0"  src="https://freight.cargo.site/w/1000/i/b5886afe4d36c0b0aee198364e46d435827b892165681daee780d758066b3a1b/Select_IMG_3742.JPG" /&#62;Jen D’Mello; Incite Swerve, Shift Ensemble, 2022; Performance&#38;nbsp;
&#60;img width="999" height="846" width_o="999" height_o="846" data-src="https://freight.cargo.site/t/original/i/9f2e4f73169e85aea6963f962aa5e0aa0855b519af2d762d5b49467e8785746e/600dpi-0000709jzb.jpeg" data-mid="169405990" border="0"  src="https://freight.cargo.site/w/999/i/9f2e4f73169e85aea6963f962aa5e0aa0855b519af2d762d5b49467e8785746e/600dpi-0000709jzb.jpeg" /&#62;Remedios Varo; Creation of the Birds; c.1957; Oil on masonite
&#60;img width="612" height="792" width_o="612" height_o="792" data-src="https://freight.cargo.site/t/original/i/4962ed2654cf55bc9fcd0f4baa29c400ea96286ea1fce89b3119fedf3ee78c34/Select_Murmuration_Exerpt_2022.jpg" data-mid="166278866" border="0"  src="https://freight.cargo.site/w/612/i/4962ed2654cf55bc9fcd0f4baa29c400ea96286ea1fce89b3119fedf3ee78c34/Select_Murmuration_Exerpt_2022.jpg" /&#62;
&#60;img width="612" height="792" width_o="612" height_o="792" data-src="https://freight.cargo.site/t/original/i/4a3d7ef239bc01bd05c08d6b271a4776044f3bfec092e56679e0a3071100c4f3/page2.jpg" data-mid="166278870" border="0"  src="https://freight.cargo.site/w/612/i/4a3d7ef239bc01bd05c08d6b271a4776044f3bfec092e56679e0a3071100c4f3/page2.jpg" /&#62;
&#60;img width="612" height="792" width_o="612" height_o="792" data-src="https://freight.cargo.site/t/original/i/827bf6f6d2a5f4d4ef2c256ee3405320a7a70998ce9cffbad96486bc5dc96513/page3.jpg" data-mid="166278871" border="0"  src="https://freight.cargo.site/w/612/i/827bf6f6d2a5f4d4ef2c256ee3405320a7a70998ce9cffbad96486bc5dc96513/page3.jpg" /&#62;
&#60;img width="612" height="792" width_o="612" height_o="792" data-src="https://freight.cargo.site/t/original/i/da9eedd21a5de909753e122be84c2b668b0dc5ac87e1052284ccccc07bcf0ea2/page4.jpg" data-mid="166278872" border="0"  src="https://freight.cargo.site/w/612/i/da9eedd21a5de909753e122be84c2b668b0dc5ac87e1052284ccccc07bcf0ea2/page4.jpg" /&#62;


Jen D’Mello; Excerpts from&#38;nbsp;Murmurations; 2022


	INCITE SWERVE, SHIFT ENSEMBLEDebuting at the closing reception, Incite Swerve, Shift Ensemble is a meditation on ritualized movement excavated from memory. Over the course of three hours, D’Mello conjures memories of a ritual carried out by her grandmother and great-grandmother during her childhood.Accompanying these memories is the recreation of vision in which she encounters the owl humanimal from Remedios Varo’s Creation of the Birds, where the owl punctures her flesh with bird feathers at the bottom of a cerulean blue sea. Despite her capacity to grow wings, she chooses to move along the sea floor, contributing to the preservation and regeneration of queer proprioception; the traces of which she marks on transparencies. These traces will serve as markings for future movements; as such, D’Mello becomes both bird and bird-maker. 
BIOJen D’Mello is a writer, performance, and sound artist from Southeast Los Angeles County. She engages in intellectual ruminations on queer sociality, paying careful attention to women’s mobility, social proprioception, and murmuration as lyric. 

@JEN_DMELLO 
JENDMELLO.COM
	

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	</item>
		
		
	<item>
		<title>Alexsa Durrans</title>
				
		<link>https://tenserenderings.com/Alexsa-Durrans-2</link>

		<pubDate>Fri, 27 Jan 2023 01:30:29 +0000</pubDate>

		<dc:creator>Tense Renderings</dc:creator>

		<guid isPermaLink="true">https://tenserenderings.com/Alexsa-Durrans-2</guid>

		<description>
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	
	Alexsa Durrans


	&#60;img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/f549cbb2a3d9e09f4968313e28c08d450e2b32591f56e25da3418cfbf8a667e6/Select_Durrans_Hernandez_CIA_20220624_030109.jpg" data-mid="166279066" border="0"  src="https://freight.cargo.site/w/1000/i/f549cbb2a3d9e09f4968313e28c08d450e2b32591f56e25da3418cfbf8a667e6/Select_Durrans_Hernandez_CIA_20220624_030109.jpg" /&#62;Alexsa Durrans; Vestige of A Trace, 2022; 3 channel video installation with sound; 44 min;&#38;nbsp;Choreography and Direction: Alexsa Durrans;&#38;nbsp;Director of Photography and Editing: Wenxin Zho;&#38;nbsp;Videography: Wenxin Zhou, Irene Gil Ramon, Poppy Miller;&#38;nbsp;Dancers: Lena Martin, Andrea Soto, Mady Thornques;&#38;nbsp;Set Design and Dramaturgy: Amy Chiao;&#38;nbsp;Music &#38;amp; Sound Design: Max Jaffe;&#38;nbsp;Lighting Design: Violet Smith;&#38;nbsp;Costume Design: Nishtha Tyagi

&#60;img width="1357" height="1005" width_o="1357" height_o="1005" data-src="https://freight.cargo.site/t/original/i/aefe8df0aeaa066362e11e58413ab55410b728ac25cfb17e2e6df56afdddc714/Select_durrans_VoaT_installview_3.png" data-mid="166279039" border="0"  src="https://freight.cargo.site/w/1000/i/aefe8df0aeaa066362e11e58413ab55410b728ac25cfb17e2e6df56afdddc714/Select_durrans_VoaT_installview_3.png" /&#62;

Alexsa Durrans; Vestige of A Trace, 2022; 3 channel video installation with sound;&#38;nbsp;44 min;&#38;nbsp;Choreography and Direction: Alexsa Durrans;&#38;nbsp;Director of Photography and Editing: Wenxin Zho;&#38;nbsp;Videography: Wenxin Zhou, Irene Gil Ramon, Poppy Miller;&#38;nbsp;Dancers: Lena Martin, Andrea Soto, Mady Thornques;&#38;nbsp;Set Design and Dramaturgy: Amy Chiao;&#38;nbsp;Music &#38;amp; Sound Design: Max Jaffe;&#38;nbsp;Lighting Design: Violet Smith;&#38;nbsp;Costume Design: Nishtha Tyagi

&#60;img width="3779" height="2834" width_o="3779" height_o="2834" data-src="https://freight.cargo.site/t/original/i/fd6ed219fc5c50ba963c32fbfec8c2d79ccb09fd424111c1a548aebe4017eaea/Select_IMG_3692.JPG" data-mid="166279080" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/fd6ed219fc5c50ba963c32fbfec8c2d79ccb09fd424111c1a548aebe4017eaea/Select_IMG_3692.JPG" /&#62;
Alexsa Durrans;&#38;nbsp;Vestige of A Trace, 2022; 3 channel video installation with sound;&#38;nbsp;44 min;&#38;nbsp;Choreography and Direction: Alexsa Durrans;&#38;nbsp;Director of Photography and Editing: Wenxin Zho;&#38;nbsp;Videography: Wenxin Zhou, Irene Gil Ramon, Poppy Miller;&#38;nbsp;Dancers: Lena Martin, Andrea Soto, Mady Thornques;&#38;nbsp;Set Design and Dramaturgy: Amy Chiao;&#38;nbsp;Music &#38;amp; Sound Design: Max Jaffe;&#38;nbsp;Lighting Design: Violet Smith;&#38;nbsp;Costume Design: Nishtha Tyagi
Alexsa Durrans; Vestige of A Trace, 2022; 3 channel video installation with sound;&#38;nbsp;44 min;&#38;nbsp;Choreography and Direction: Alexsa Durrans;&#38;nbsp;Director of Photography and Editing: Wenxin Zho;&#38;nbsp;Videography: Wenxin Zhou, Irene Gil Ramon, Poppy Miller;&#38;nbsp;Dancers: Lena Martin, Andrea Soto, Mady Thornques;&#38;nbsp;Set Design and Dramaturgy: Amy Chiao;&#38;nbsp;Music &#38;amp; Sound Design: Max Jaffe;&#38;nbsp;Lighting Design: Violet Smith;&#38;nbsp;Costume Design: Nishtha Tyagi

&#38;nbsp;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	
	VESTIGE OF A TRACEInching in waves across a sprawl of asphalt, Vestige of A Trace explores how sculpted spaces disperse, split, align, and intersect the body. The three-channel video installation identifies a nameless, mundane, and languid routine of three dancers perpetually moving through space on vast expanses of concrete. The dancers negotiate their own muscle memories and consider the information they collect as processes of tracing, working to reveal that this landscape is in fact a chosen, constructed, carved, and directed system of participation. The cameras survey and archive the dancer’s gridlocking and spanning patterns. This multi-channel display speculates the way their movement is shaped and changed by the location and suggests the ways individual pathways synchronize and intersect with others. 


BIOAlexsa creates site specific movement assemblages and video works that act as sculptures and landscapes to engage viewers outside of the proscenium dance environment. In shifting movement into new lenses, her work explores visual hierarchies coded into our bodies. Alexsa’s work articulates traces, perpetuations and disruptions of embodiment by structuring particular modes of interacting with choreographed bodies. Her work is framed by relentless and enduring ecosystems created by video, stage design, text, and movement. Alexsa uses the tools of cross disciplinarity to provide a frame of reference to the body; a means to connect and reassemble ideas of how the body is activated. 

@ALEXSADURRANS 
ALEXSADURRANS.COM

	
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	<item>
		<title>Christine Imperial</title>
				
		<link>https://tenserenderings.com/Christine-Imperial-1</link>

		<pubDate>Fri, 27 Jan 2023 01:44:13 +0000</pubDate>

		<dc:creator>Tense Renderings</dc:creator>

		<guid isPermaLink="true">https://tenserenderings.com/Christine-Imperial-1</guid>

		<description>
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	
	Christine Imperial
	

	&#60;img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/ef7c5d1724896072d35fbf0c645630690a92d40a4efd913c5151c169959f1679/Select_Imperial_Hernandez_CIA_20220624_030069.jpg" data-mid="166280188" border="0"  src="https://freight.cargo.site/w/1000/i/ef7c5d1724896072d35fbf0c645630690a92d40a4efd913c5151c169959f1679/Select_Imperial_Hernandez_CIA_20220624_030069.jpg" /&#62;
Christine Imperial;&#38;nbsp;Proof of Legal Presence, 2022;&#38;nbsp;Inkjet print;&#38;nbsp;Dimensions variable
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e744cef202b00be0e9bb529cdde9f3b2ef39bd25e243fc4a5901691929276c88/Select_IMG_3021-1.JPG" data-mid="166280187" border="0"  src="https://freight.cargo.site/w/1000/i/e744cef202b00be0e9bb529cdde9f3b2ef39bd25e243fc4a5901691929276c88/Select_IMG_3021-1.JPG" /&#62;Christine Imperial; yours is a history of being subdued, 2022; Printed transparency, Lite-Brite lightbox;&#38;nbsp;14 x 11 x 9 in.

&#60;img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/92c0c771ffd73ea0ff27786532d45574a018e6662fd1520a073665356e564aea/Select_Imperial_Hernandez_CIA_20220624_030163.jpg" data-mid="166280189" border="0"  src="https://freight.cargo.site/w/1000/i/92c0c771ffd73ea0ff27786532d45574a018e6662fd1520a073665356e564aea/Select_Imperial_Hernandez_CIA_20220624_030163.jpg" /&#62;Christine Imperial; yours is a history of being subdued, 2022; Printed transparency, Lite-Brite lightbox; 14 x 11 x 9 in.


&#60;img width="1700" height="2200" width_o="1700" height_o="2200" data-src="https://freight.cargo.site/t/original/i/e3b0837cad57f21741be57011f234410b19994a214f4e3ce4d87d18ba7012ef1/Select_8-x-11-Figure-25-Original-Philippines-Map.jpg" data-mid="169406520" border="0"  src="https://freight.cargo.site/w/1000/i/e3b0837cad57f21741be57011f234410b19994a214f4e3ce4d87d18ba7012ef1/Select_8-x-11-Figure-25-Original-Philippines-Map.jpg" /&#62;
&#60;img width="3400" height="4400" width_o="3400" height_o="4400" data-src="https://freight.cargo.site/t/original/i/4ff9418d17a654994aa002bfaaf8f86fecc4a2f21f410e1c4c8d4c5128b99d71/Select_Proof-of-Legal-Presence-tif2.jpg" data-mid="169406523" border="0"  src="https://freight.cargo.site/w/1000/i/4ff9418d17a654994aa002bfaaf8f86fecc4a2f21f410e1c4c8d4c5128b99d71/Select_Proof-of-Legal-Presence-tif2.jpg" /&#62;
Christine Imperial; Excerpts from Mistaken for an Empire: A Memoir in Tongues; Mad Creek Books, an imprint of The Ohio State University Press; 2023


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	
	PROOF OF LEGAL PRESENCE 
Excerpt from Mistaken for an Empire: A Memoir in Tongues by Christine Imperial. Used by permission of Mad Creek Books, an imprint of The Ohio State University Press Proof of Legal Presence asks the subject to locate a geographical and cultural point that the other can reference. At first glance, the question “Where do you call home?” might seem identical to the question “Where are you from?” To ask the question only once fails to reflect the multiple ways in which the question can be read, answered, accepted, and refused: “Where do you call home?” not only asks for a home country, but asks for something beyond the coordinates of a map. Read another way, the question also asks, “From where do you call home?” The work welcomes (mis)translations of the question as they perform the experience of relearning and mislearning language. Accompanying the question is the excess of statements rejecting the expectation of a single answer. 
YOURS IS A HISTORY OF BEING SUBDUED 
Excerpt from Mistaken for an Empire: A Memoir in Tongues by Christine Imperial. Used by permission of Mad Creek Books, an imprint of The Ohio State University Press The repetition and fragmentation of yours is a history of being subdued confronts the viewer with the reality of the Philippines as both past colony and neo-colony whose people continue to be subdued: as oppressed, as colonized; as indictment of the ways in which Filipinos themselves – specifically those in power – have willingly subdued to foreign oppressors; and ultimately, subdued as submissive and unassuming: a disposition undertaken by Filipinos to evade deportation and exile, which breeds unquestioned obedience to authority, and/or apathy towards change.


BIO
Christine Imperial is a Filipino-American writer and poet. Her debut book, Mistaken for an Empire: A Memoir in Tongues, will be published with Ohio University State Press as the 2021 Gournay Prize Winner. Christine is a PhD student at UC Davis, as the Dean’s Distinguished Graduate Fellow. Most recently, she was awarded the Hawker Prize for Southeast Asian Poetry by Sing Lit Station (LTD). Her work has been featured in POETRY, TLDTD, Inverted Syntax, among others. She holds a BFA from Ateneo de Manila University, where she was a recipient of the Loyola Schools Award for the Arts in poetry, and an MFA from CalArts, where she earned the Emi Kuriyama Thesis Award. She was a 2021 CalArts REEF Residency fellow. 

@SPAMLIKELY________ 
CIMPERIAL.COM
	

</description>
		
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	<item>
		<title>sj kim-ryu</title>
				
		<link>https://tenserenderings.com/sj-kim-ryu-1</link>

		<pubDate>Fri, 27 Jan 2023 20:19:46 +0000</pubDate>

		<dc:creator>Tense Renderings</dc:creator>

		<guid isPermaLink="true">https://tenserenderings.com/sj-kim-ryu-1</guid>

		<description>
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	
	sj kim-ryu
	

	&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/896da0db23a2fcc47aeff61b8ff83b68fe5a67a9f24a4818adba8dcd7e9373c5/Select_Kim-Ryu_Walsh_tense_renderings_11042.jpg" data-mid="166378567" border="0"  src="https://freight.cargo.site/w/1000/i/896da0db23a2fcc47aeff61b8ff83b68fe5a67a9f24a4818adba8dcd7e9373c5/Select_Kim-Ryu_Walsh_tense_renderings_11042.jpg" /&#62;
sj kim-ryu;&#38;nbsp;Gut Piano, 2022; Text, thread, cotton fabric, ink, paper; Dimensions variable; Photography by Evan Walsh
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0c92fbcb6eda6ec5417c4f317c27116605b77d4c8240d423137c7915d3361c8e/Select_IMG_9351.jpg" data-mid="169117694" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/0c92fbcb6eda6ec5417c4f317c27116605b77d4c8240d423137c7915d3361c8e/Select_IMG_9351.jpg" /&#62;
sj kim-ryu; Gut Piano (detail), 2022; Text, thread, cotton fabric, ink, paper; Dimensions variable
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/fd47ccaf31dc45a6d8b4b6a7c0ae062aaa3abf0c8074507fc17ccd0d21d58a94/Select_Kim-Ryu_Walsh_tense_renderings_11053.jpg" data-mid="166378569" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/fd47ccaf31dc45a6d8b4b6a7c0ae062aaa3abf0c8074507fc17ccd0d21d58a94/Select_Kim-Ryu_Walsh_tense_renderings_11053.jpg" /&#62;
sj kim-ryu; Gut Piano (detail), 2022; Text, thread, cotton fabric, ink, paper; Dimensions variable; Photography by Evan Walsh
&#60;img width="7489" height="4995" width_o="7489" height_o="4995" data-src="https://freight.cargo.site/t/original/i/f211cca2476a752c950af6833fefdbf4c5f328a8dabb77b79addb8a645498207/Select_Kim-Ryu_Hernandez_CIA_20220624_030254.jpg" data-mid="166378667" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f211cca2476a752c950af6833fefdbf4c5f328a8dabb77b79addb8a645498207/Select_Kim-Ryu_Hernandez_CIA_20220624_030254.jpg" /&#62;sj kim-ryu; Waiting for Gut Piano, 2022; Triptych, inkjet print; 24 x 36 in., each; &#38;nbsp;Suilma R-T, Tammy K, Gwendolyn B
&#60;img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/8599133ef1a1a9f5fa99b0de6de1bddf2948427f26fc995e933f78b68c81173e/Select_Kim-Ryu_Hernandez_CIA_20220624_030142.jpg" data-mid="166378666" border="0"  src="https://freight.cargo.site/w/1000/i/8599133ef1a1a9f5fa99b0de6de1bddf2948427f26fc995e933f78b68c81173e/Select_Kim-Ryu_Hernandez_CIA_20220624_030142.jpg" /&#62;
sj kim-ryu; Waiting for Gut Piano (detail), 2022; Triptych, inkjet print; 24 x 36 in., each; &#38;nbsp;Suilma R-T, Tammy K, Gwendolyn B

&#38;nbsp;


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	
	GUT PIANO

Gut Piano, playing “Remorse in Four Movements” is a sculpture that is also a continuing performance. In 2019, “Remorse in Four Movements” was recited in kim-ryu’s durational performance, Knuckles, I Know. The same vermillion threads were used in the outdoor performing space, creating a large geometric portal, centering an oak tree. In Gut Piano, kim-ryu’s poems shape-shift again into a different medium: sculpture. Ceremonial red threads that were used in the performance in 2019 are truncated into long pieces, radiating from a black box, piercing into the text of “Remorse in Four Movements.” As a body that decomposes and reincarnates into the various elements of the universe, the materials that were used in the past iteration of er poetry reincarnate into another form. 


WAITING FOR GUT PIANO
Waiting for Gut Piano is kim-ryu’s offering to the goddess of Force Majeure, uncertainty and chaos. They are not only photographs of women who are close to er, but also a silent audience who is a dormant storm. As a sister piece of Gut Piano, this triptych pre-performs a journey back to the black, a deep sea, a licorice calm.&#38;nbsp;&#38;nbsp;
@GUTPIANO22 

BIO

sj kim-ryu is a poet who works in various mediums, whose focal point has been a language of migration that took place around the Pacific Ocean. A body of water is a form of borderlessness; hence its continual transformation beyond boundaries. kim-ryu’s creative process comes from er earlier days of navigating this land, as a young undocumented immigrant. By constantly shifting between genres and mediums, kim-ryu’s work generates an energy of the primordial, deeply rooted in the improvisation and chaos, landing in minimal rituals. 

@SJKIMRYU
	

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