JULIETA ARANDA | JAMES FUENTES

JULIETA ARANDA | JAMES FUENTES

SWIMMING IN RIVERS OF GLUE (AN EXERCISE IN COUNTERINTUITIVE EMPATHY)
MAY 1 - JUNE 19, 2016
55 DELANCEY STREET


A complex multi-media exhibition lit in an all-consuming violet-blue hue. Spider web forms, groups of minimalist shapes, full plastic bags hanging from the ceiling, a giant crossword of abstract words. This show is heady yet visually pleasing, with video to boot.
— Brandon Johnson, New York Curator

James Fuentes is pleased to present Swimming in Rivers of Glue (an exercise in counterintuitive empathy), an exhibition by Julieta Aranda.

Swimming in Rivers of Glue looks at the mechanisms of hostile / defensive architecture, and the effects its deployment has in the constitution and use of public space. Julieta Aranda’s work spans sculpture, installation, video, and print media. Her complex body of work exists outside the boundaries of the object, and is characterized by the struggle of catching sight of elusive concepts such as time, circulation, and imagination. Aranda’s installations and temporary projects, which often examine social interactions and the role that the circulation of objects plays in the cycles of production and consumption, are intensely site-specific. Much of her work takes up the concept of time, sometimes to consider alternative notions of the temporal experience, and other times to approach the arbitrariness of time and freedom from time.

 Stealing one’s own corpse (an alternative set of footholds for an ascent into the dark) Part 2 – Swimming in rivers of glue – The perspective of perspective. 2016, digital video projection, 9 minutes 57 seconds, dimensions variable

Stealing one’s own corpse (an alternative set of footholds for an ascent into the dark) Part 2 – Swimming in rivers of glue – The perspective of perspective. 2016, digital video projection, 9 minutes 57 seconds, dimensions variable

 Stealing one’s own corpse (an alternative set of footholds for an ascent into the dark) Part 2 – Swimming in rivers of glue – The perspective of perspective. 2016, digital video projection, 9 minutes 57 seconds, dimensions variable

Stealing one’s own corpse (an alternative set of footholds for an ascent into the dark) Part 2 – Swimming in rivers of glue – The perspective of perspective. 2016, digital video projection, 9 minutes 57 seconds, dimensions variable

 Stealing one’s own corpse (an alternative set of footholds for an ascent into the dark) Part 2 – Swimming in rivers of glue – The perspective of perspective. 2016, digital video projection, 9 minutes 57 seconds, dimensions variable

Stealing one’s own corpse (an alternative set of footholds for an ascent into the dark) Part 2 – Swimming in rivers of glue – The perspective of perspective. 2016, digital video projection, 9 minutes 57 seconds, dimensions variable

 32H – EXISTENCE Passing through, being marked and to some extent damaged by the geography of the present. 2016, plaster, foam, wood and latex, 21 x 73 x 30 inches

32H – EXISTENCE Passing through, being marked and to some extent damaged by the geography of the present. 2016, plaster, foam, wood and latex, 21 x 73 x 30 inches

 22V – PLACEMENT (JAPAN) There is no substitute for a man on the ground. 2016, plaster, dimensions variable

22V – PLACEMENT (JAPAN) There is no substitute for a man on the ground. 2016, plaster, dimensions variable

 54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it., 2016, black cold glaze on air cured clay, 19 x 23.5 x 2 inches

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it., 2016, black cold glaze on air cured clay, 19 x 23.5 x 2 inches

 6V – RECOGNITION In the movement from a kind of knowledge to its refusal we see the real contours of things. 2016, glass, plaster, and found book wrapped in latex, 11 x 26 x 10 inches

6V – RECOGNITION In the movement from a kind of knowledge to its refusal we see the real contours of things. 2016, glass, plaster, and found book wrapped in latex, 11 x 26 x 10 inches

 54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it., 2016, black cold glaze on air cured clay, 19 x 23.5 x 2 inches

54H – SURVIVABILITY I had no idea of what I was supposed to want, but knew better than to admit it., 2016, black cold glaze on air cured clay, 19 x 23.5 x 2 inches

As a co-director of the online platform e-flux together with Anton Vidokle, Julieta Aranda has developed the projects Time/Bank, Pawnshop, and e-flux video rental, all of which started in the e-flux storefront in New York, and have travelled to many venues worldwide. Arandas work has been exhibited internationally, in venues such as the 56th Venice Biennale (2015), Guggenheim Museum (2015, 2009), Kunsthalle Fridericianum, Kassel (2015), 8th Berlin Biennale (2014), Berardo Museum, Lisbon (2014), Witte de With (2013 and 2010), Museo d’Arte Contemporanea Villa Croce, Genova (2013), MACRO Roma (2012) Documenta 13 (2012), N.B.K. (2012), Gwangju Biennial (2012), 54th Venice Biennial (2011), Istanbul Biennial (2011), Portikus, Frankfurt (2011), New Museum NY (2010), Kunstverein Arnsberg (2010), MOCA Miami (2009), Museum of Contemporary Art, Chicago (2007), 2nd Moscow Biennial (2007) MUSAC, Spain (2010 and 2006), and VII Havanna Biennial; amongst many others.

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