fifth-floor Eldridge
ZEIBA: You often stage shows that are—well, “risky” is a lazy word to use… but they’re not strictly “art” as many people often define it. I’m thinking, for example, of your showing Women’s History Museum, a fashion-art project and curated vintage retailer. How do you think about bringing fashion or performance into the gallery?
ZEIBA: When you put together a group of artists, what are you trying to stage, whether specifically in this instance or generally in your curatorial practice? NNAMDIE: I would be lying if I said that I wasn’t thinking of certain people who would come and appreciate the work. I mean, I would be incredibly out of touch if I said otherwise, right? With the show “Photography Then,” as someone who used to be an image maker for 10 years, I knew that there wasn’t really a space for a lot of image makers to be celebrated commercially.
ZEIBA: You grew up with a lot of art. You were at MoMA for a bit, and Fotografiska with Isolde Brielmaier, right? What was the impetus to go out on your own? YVE YANG: Usually, we do studio visits with them. It was probably two or three rounds of studio visits in half a year for this exhibition []. Also, after the group exhibition, we will talk to each of the artists. For example, we’ve already talked with Soren Hope and Ang [Ziqi Zhang] for a solo show in the coming fall and next spring.
AO: While we were in Boston, there were a lot of scientists or people in different professional disciplines that came to see our shows. In New York, I feel like it’s a very professional art world, it’s very direct. They understand what contemporary art is, and you don’t really have to do pre-education, which makes it almost become very efficient.
YANG: When we were in Boston, we were doing a lot of interactive technology art. Compared with the whole Boston art scene, we are very contemporary, very experimental. And here in New York, we had a midtown location before we moved here. That was before the pandemic, 2017 to 2020, and we also tried to do very experimental things in that space. And now that we moved here, we want to be more complete, not just experimental driven.
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