Monthly Archives: August 2013

My Hands are My Heart: Shigeyuki Kihara’s Language in Motion

by Katherine Somody

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Gabriel Orozco’s My Hands are My Heart (1991)

To view the work of Samoan­-Japanese artist Shigeyuki Kihara on display at the Satellite Gallery, one must first navigate past a heavy black velvet curtain, like that which is raised to mark the start of a show on a grand stage. This is a theatrical space, a space of performance, it seems to tell us. Indeed, behind the curtain we find Kihara dancing excerpts of the classical Samoan taualuga in three video pieces that interrogate ways of seeing and complicate expectations of performer and audience. Continue reading

Shigeyuki Kihara’s Alter Ego and the Past and Present of Samoa

by Areum Kim

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After meeting artist Shigeyuki Kihara at the reception for Paradise Lost? I was excited to have the chance to hear her speak about her work. As a part of the International Symposium of the Pacific Arts Association, Kihara, along with other artists in the exhibition, gave a presentation on her video work which is currently being shown at Satellite Gallery. Continue reading

Laughter into Tears: Ayman Baalbaki’s Destination X

by Rhys Edwards       

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When I take visitors on tours of MOA, I occasionally bring them into the Audain Gallery to show them our major contemporary art exhibition, SAFAR/VOYAGE. Although visitors express an interest in all the works in the room, there is one piece in particular which seems to draw the most enthusiastic response: Ayman Baalbaki’s Destination X. Continue reading

Yangachi’s “Surveillance Opera”

by Areum Kim

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Still from Yangachi’s 007:Surveillance Opera, 2008

Here is an artist who is digging the frontier of new media/performance-based art using surveillance cameras. South Korean artist Yangachi, whose pseudonym in Korean means a ‘jerk’, produced 007: Surveillance Opera (2008) using CCTV cameras that are ubiquitously installed in everyday places, a phenomenon that is becoming more and more systematic and obsessive. Yangachi manages to hijack these security cameras that are meant to continuously survey citizens, and he uses them as the channel to broadcast and record his recreation of a scene from the famous 007 movies. Continue reading

Fashion as Art: From Miuccia to the Met

by Joanna Chaffin

Alexander McQueen (British, 1969–2010). Dress, autumn,winter 2010–11. Courtesy of Alexander McQueen. Photograph, Copyright Solve Sundsbo Art + Commerce

Alexander McQueen (British, 1969–2010). Dress, autumn/winter 2010–11. Courtesy of Alexander McQueen. Photograph © Sølve Sundsbø / Art + Commerce

I can’t help but feel a slight stigma when telling people that I love fashion or even have aspirations to work within the industry. Is it the elitist frivolity in the ever-changing nature that tells you one minute something’s in and the next minute there’s a new black? Well consider my delight when such cultural institutions as the Metropolitan Museum of Art (Met), the Victoria and Albert Museum (V&A), and the Whitney Museum of Art started recognizing contemporary fashion as an upheld artistic practice worthy of exhibition in a precious gallery. Could it be that designers such as Miuccia Prada, Lee Alexander McQueen or Jean Paul Gaultier are worthy of the same platform as the likes of Vincent van Gogh or Rembrandt? Continue reading