Ahaaina/Biennial | Noho malie i ka malamaia

Hōʻike ʻo Chris Clarke i ka Whitney Biennial 2022 ma New York City.

ʻO Eric Wesley, North American Buff Tit, 2022, plastic, aniani, stainless steel, a me dichloromethane (213.4 × 66 × 66 cm), hōʻiliʻili o ka mea pena, nānā hoʻonohonoho, Whitney Biennial 2022: Quiet as It's Kept, Whitney Museum of American Art , Niu Ioka: kiʻi na Guang Xu, mahalo ʻia e ka mea pena kiʻi a me Bortolami, New York. ʻO Eric Wesley, North American Buff Tit, 2022, plastic, aniani, stainless steel, a me dichloromethane (213.4 × 66 × 66 cm), hōʻiliʻili o ka mea pena, nānā hoʻonohonoho, Whitney Biennial 2022: Quiet as It's Kept, Whitney Museum of American Art , Niu Ioka: kiʻi na Guang Xu, mahalo ʻia e ka mea pena kiʻi a me Bortolami, New York.

The colloquialism ' malie e like me ka mālama 'ia 'ana i ke kūlana o ka hūnā a me ka collusion. Hoʻopili ia i nā poʻe ʻē aʻe i loko o kahi kuʻikahi like, kahi ʻaelike e noho mālie i ka wā i mua o ka poʻe ʻike ʻole. Ma ke ʻano he manaʻo curatorial, a me kahi huaʻōlelo e pili ana i nā hana like ʻole e ka mea pena ʻo David Hammons, ka mea kākau ʻo Toni Morrison, a me ka mea hoʻokani pahu jazz ʻo Max Roach, hiki iā ia ke ʻike i kahi ʻano ambiguity, e hoʻopili ana i nā ʻano hana like ʻole me ka hoʻohālikelike ʻana, ʻoiai inā ʻaʻole ʻike koke ʻia. aia kahi loina kumu e pāʻani nei. I ka ʻae ʻana i kēia ʻōlelo, ʻo ka Whitney Biennial 2022 (6 ʻApelila - 5 Kepakemapa) no laila e ʻimi nei i mua i ka naʻau a me ke koʻikoʻi, ʻoiai inā, i ke kaʻina hana, hele kokoke loa ia i nā mea ākea ākea a me nā ʻoluʻolu o ka abstraction.

Ma kekahi mau mea, e manaoia keia; ʻo ka makahiki ʻelua, ma hope o nā mea a pau, ua pale i nā hoʻopaʻapaʻa i kāna mau ʻōlelo hou ʻelua. Ua haʻalele kekahi mau mea pena kiʻi i kā lākou hana mai ka 2019 edition e kūʻē i ka lālā o ka papa ʻo Whitney Warren B. Kanders, nona ka hui ʻo Safariland i hana i nā pahu waimaka i hoʻohana ʻia ma ka palena ʻo Mexico-USA; ʻoiai ma 2017, ka mea pena keʻokeʻo ʻo Dana Schutz Puke Wehe (2016), e hōʻike ana i ke kino hoʻomāinoino o ka ʻōpio ʻApelika-ʻAmelika, ʻo Emmett Till, i hāpai i nā kūʻē e kāhea ana i ka wehe ʻana o ka hana. ʻAʻole ia he mea kupanaha no ka nānā ʻana o kēia biennial i ka makaʻala, ka hapa nui o ka hoʻāʻo ʻana i nā polemics a me ka hoʻonāukiuki. Me ka nui o nā hana e noho ana i ʻelua pae o ka Whitney Museum of American Art, hoʻolaha ʻia ma kahi ākea ākea, piha i ka mālamalama, a pani ʻia i loko o kahi labyrinth o nā enclaves ʻeleʻele, ʻo ka hoʻolālā ʻana o ka hōʻikeʻike ka hihia nui loa ma aneʻi. 

I loko o ka ea atrium o nā hale papa ʻelima, ua hoʻopili ʻia nā hana like ʻole, e hoʻemi ana i ka manaʻo o ka pilina, a me ka hoʻopili ʻana i ka ʻike āpau. ʻO Eric Wesley ke kiʻi plastik nui o ka manu inu, ʻAmelika ʻĀkau Buff Tit (2022), nā teeters e pili ana i nā kiʻi ʻewalu CGI o Andrew Roberts o nā limahana zombified e heluhelu ana i nā mele, kā lākou mau pālule i hoʻopaʻa ʻia me nā logo o Walmart, Netflix a me Amazon. Hoʻonohonoho ʻia nā hale modular a puni ka lewa, e lawelawe ana ma ke ʻano he kākoʻo no Ellen Gallagher i hoʻopaʻa ʻia i nā kolamu o ka ʻaila, ka puaʻa a me ka lau palladium, me nā ʻano like ʻole o ka nalu, nā conduits snaking, a me nā kiʻi kiʻi kiʻi totemic e lana ana ma luna o ka ʻili, a no Dyani. ʻO White Hawk Wopila / Lineage (2021) - he hui nui o nā ʻāpana aniani a me nā huinakolu kala ʻulaʻula, e hui pū ana me nā backdrops like ʻole o ka ʻeleʻele a me ke keʻokeʻo, e hoʻohana pono ana i nā ʻenehana Lakota kuʻuna o ka beadwork a me ka humuhumu. ʻO kahi hoʻonohonoho o nā hana seminal a Theresa Hak Kyung Cha, i hōʻike ʻia ma ke kiʻi, kikokikona, a me ke kiʻiʻoniʻoni, ua hoʻokaʻawale ʻia i loko o kahi pā e like me ka hale lole. Aia kahi ʻano kupapaʻu kūpono i ka hoʻonohonoho ʻana (Ua pepehi ʻia ʻo Cha ma 1981 i ka makahiki 31), a me nā palapala o nā hana e like me HE BLE W AIL (1975), kahi e neʻe ai ka mea pena kiʻi keʻokeʻo i loko o kahi pākū, kukui a me ke aniani aniani, e hoʻāla i ka neʻe ʻana a Cha i manaʻo ai he malihini Korea i ʻAmelika. 

Aia nā ʻike ma ʻaneʻi i ka manaʻo o ka poʻe curators, ʻo ka abstraction ma ke ʻano he hana kālai'āina, ma ke ʻano he mea e hōʻike ai i nā moʻolelo i hōʻike ʻole ʻia. Eia nō naʻe, ʻo ka hoʻonui nui ʻana o nā mea a me nā mea pale e pale i ka noʻonoʻo ʻana i ko lākou mau ʻano ʻano. ʻO ka papahele kiʻekiʻe, ma ka hoʻohālikelike ʻana, ʻaʻohe mea e hoʻomanaʻo e like me ke ʻano o nā keʻena nānā pahu ʻeleʻele. ʻO ke ʻano o ka hoʻohālikelike ʻana o nā wahi like ʻole me ke ʻano ʻano ʻole a me ka hoʻokalakupua ʻole i wehewehe ʻia e nā curators ʻo David Breslin lāua ʻo Adrienne Edwards, kahi i hoʻololi ʻia ai nā ʻōlelo e nā 'hunches' a hāʻawi nā palena ʻāina i nā hiʻohiʻona o waho. mai waho mai o ʻAmelika Hui Pū ʻIa). ʻO kēia hoʻolālā naʻe, hiki ke ʻae i nā hālāwai i ana ʻia me nā hana kikoʻī, e like me Coco Fusco's disquieting He ʻōlelo ʻole kou mau maka (2021), kahi e hoʻokele ai ka mea pena i nā wai a puni ʻo Hart Island ma ka waʻa. Aia i loko o ka pūnaewele nā ​​lua kupapaʻu nui o ka poʻe make inoa ʻole o New York, kanu ʻia e ka hana hale paʻahao mai 1869, a me nā mea i loaʻa i ka Covid, AIDS, tuberculosis, a me nā maʻi maʻi ʻē aʻe. . ʻAʻohe mea i ʻike maoli. " Kiola ʻo Fusco i nā pua ma luna o ka moana, me ka hoʻohanohano ʻana i kēia poʻe inoa ʻole, ʻoiai ʻo ia e neʻe mau ana ma kahakai; he hoʻihoʻi maikaʻi ʻia o nā aʻa mōʻaukala o quarantine i ka mālama ʻana i nā moku i maʻi ʻia ma ka heleuma no 40 mau lā.

Loaʻa kēia hiʻohiʻona ʻaoʻao ma Trinh T. Minh-Ha Pehea Kina? (2021), he kiʻi paʻi kiʻi ʻia o ke ola kuaʻāina a me ka hoʻololi ʻana i ka urbanism i hopu ʻia e nā hiʻohiʻona o ka hale kuʻuna kauhale. ʻO ke ahi i loko, e ʻā ana mai lalo mai o nā papa papahele o kahi home spartan, e wela ana i ka ipu hao e kau ana. ʻO nā kaola lāʻau e hui me nā kaola. Ua "kūkulu ʻia ke alahaka me nā kui ʻole a me nā rivets." Noho nā hale moa ma ka ʻaoʻao o nā puʻu wahie. Hōʻike ka leo kāne kāne i ka hiʻohiʻona - "ka hale kiaʻi pahu, kahi hōʻailona moʻomeheu a me kahi wahi koʻikoʻi o ka hui lehulehu" - me he mea lā e hoʻokumu ana i ka laina pāʻina kūhelu, ʻoiai nā wahine haʻi'ōlelo e hāʻawi aku i nā hiʻohiʻona pilikino, noʻonoʻo a me ka noʻonoʻo: "Hiki i kekahi ke hopu i ka loli. a me ka reflux o ka manawa ma ka nānā ʻana i nā ʻano. Hiki i kekahi ke ʻike i ka ʻoiaʻiʻo a me ka hoʻopunipuni ma ka nānā ʻana i nā mea i loko o kā lākou mau hōʻike paʻa. Hōʻike ka hopena kumulative i ke ʻano o ka hoʻololi ʻana i kāna mau kikoʻī liʻiliʻi loa. Ma lalo o ka haʻiʻōlelo maʻamau, ua hoʻomaka kēia mau hanana i kahi cavalcade o ka liʻiliʻi - akā naʻe hoʻokahi seismic - ruptures. ʻO nā hoʻololi i hoʻopaʻa ʻia ma ʻaneʻi, ʻoiai ʻaʻole hele wāwae i ʻAmelika, ʻoi aku ka nui o nā hopena no ʻAmelika Hui Pū ʻIa a me kona noho ʻana i ka honua ma mua o kekahi o nā hopohopo aupuni. Hoʻopili pololei ʻia, mai ka ʻaoʻao, lawe ka kiʻiʻoniʻoni i kahi pilikia e hoʻopiʻi pololei ʻia, hiki ke loaʻa i ka ʻaelike maikaʻi a i ʻole ke kūʻē kūʻē. Akā, hele mai ia ma ke ʻano malū, me ka ʻole o ka ʻōlelo aʻo ʻana, a waiho i ka mea nānā i hoʻololi ʻole ʻia. 

ʻO Chris Clarke he mea hoʻohewa a he curator kiʻekiʻe ma Glucksman, Cork.