as a critic and curator, my interests involve poetry, performance, collaboration, and the pragmatics of decolonial dialogues. from 2015–18, i was assistant curator at artists space, new york, where, among other things, i developed public programming.
with marlie mul, i co-edit ground, a zine that gathers grassroots political and aesthetic perspectives on contemporary art. with amy lien & enzo camacho, i am working on collaborative research that builds on a recent project at cordova, barcelona. i blog here.
writing:
Lu Yang, Spike Art Quarterly
“Geographies of Imagination” at SAVVY Contemporary, frieze
Julien Ceccaldi: Kölnischer Kunstverein / Cologne, Flash Art
“The Conditions of Being Art (Pat Hearn Gallery and American Fine Arts, Co. (1983–2004)” at Hessel Museum of Art, Spike Art Quarterly
Whitewalling: Art, Race & Protest in 3 Acts, ArtReview Asia
hamishi farah’s painting of dana schutz’s son exposes the art world’s white fragility (with Whitney Mallett), i-D
Cici Wu at 47 Canal, Spike Art Quarterly
Issues & Commentary: Here to Stay, Art in America
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archive
curation:
凔凔暖人 who loves in the world, Canton Gallery, Guangzhou
Bhanu Kapil, Khairani Barokka, SALTS, Basel
Segue Reading Series: February – March 2018 (with Precious Okoyomon), Zinc Bar, New York
Ho King Man: Stiff Cotton Brain Stone, SALTS, Basel
Hanne Lippard: Pocket, SALTS, Basel
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archive
poetry:
hopes and dreams for the future, self-published
Love During Wartime, If a Leaf Falls, Edinburgh
Brackets, Publishing House, New York
City of God (with Alessandro Bava), Version House, Berlin
I Love Roses When They’re Past Their Best (ed.), Test Centre, London
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exhibitions:
Fabriques de contre-savoirs (with Marlie Mul as ground), 49 Nord 6 Est—FRAC Lorraine, Metz
Hopes and dreams for the future (with Amy Lien & Enzo Camacho), Cordova, Barcelona
Baltic Triennial 13, Lithuania, Estonia, Latvia
Holland Festival: I’d Rather Be Outside (with åyr), Stedelijk, Amsterdam
Perverts, Cell Project Space, London
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i am WAGENT #13
Before they set out for their hometowns respectively, they’d say goodbye to each other in the station with a conversation like this: “Did you eat watermelon today?” “Yes I did.” “Was the watermelon tasty?” “Very tasty.” Then they’d cup their hands under their chins, pretending to eat watermelon eagerly. Onlookers were confused by their words and gestures, which was what they intended. It was a code only shared between the two of them. They were the watermelon, and “eating” meant “missing you.”
– Chung Wenyin, Woman Islands