ARTISTS
1497
18 Jan, 2016 - 06 Mar, 2016
Green Art Gallery presents 1497, a group exhibition curated by Lantian Xie, featuring works by Hera B眉y眉kta艧莽谋yan, Gitanjali Dang, Shilpa Gupta, Raja鈥檃 Khalid, Jacob Lawrence, Matheus Rocha Pitta, UBIK, Deepak Unnikrishnan, and Danh Vo.
The four-number sequence that makes up the exhibition鈥檚 name refers variously to:
1. The number of a hotel room.
2. The street address of someone鈥檚 house.
3. A year in history, in which Europeans first arrived by sea into two different gulfs.
Here, images, scents, texts, and objects allude to a home in which history has taken place, amidst roofs on fire, a greenhouse filled with tropical plants, an orphaned balcony, scattered threads, a soup made from stone, and chapters pulled from books not yet written.
1497 is configured as a set in which intimations of homeliness are also stagings and props that pretend to describe determinable trajectories. Instead, these intimations are incomplete, or led awry, evoking ellipses, truncations, and shifts in hand and position. They feign familiarity鈥攆or homes, lands, places to be remembered or longed for鈥攚hilst in turn betraying their own constructedness, distance, and impossible heaviness, feeling somehow adrift. Like that Borges story about the nation of cartographers who try to draw a comprehensive map of their empire, only to end up with a map so vast and detailed that it turns out to be the exact size of the empire itself, and thereby useless, and left to ruin. Here too is an implication of bodies鈥攐f residents, long-timers, locals, as well as tourists, guests, strangers, and colonizers鈥攁nd how differently the same house is conjured by each, and also for whom a house is intended or not intended at any given time.
The four-number sequence that makes up the exhibition鈥檚 name refers variously to:
1. The number of a hotel room.
2. The street address of someone鈥檚 house.
3. A year in history, in which Europeans first arrived by sea into two different gulfs.
Here, images, scents, texts, and objects allude to a home in which history has taken place, amidst roofs on fire, a greenhouse filled with tropical plants, an orphaned balcony, scattered threads, a soup made from stone, and chapters pulled from books not yet written.
1497 is configured as a set in which intimations of homeliness are also stagings and props that pretend to describe determinable trajectories. Instead, these intimations are incomplete, or led awry, evoking ellipses, truncations, and shifts in hand and position. They feign familiarity鈥攆or homes, lands, places to be remembered or longed for鈥攚hilst in turn betraying their own constructedness, distance, and impossible heaviness, feeling somehow adrift. Like that Borges story about the nation of cartographers who try to draw a comprehensive map of their empire, only to end up with a map so vast and detailed that it turns out to be the exact size of the empire itself, and thereby useless, and left to ruin. Here too is an implication of bodies鈥攐f residents, long-timers, locals, as well as tourists, guests, strangers, and colonizers鈥攁nd how differently the same house is conjured by each, and also for whom a house is intended or not intended at any given time.
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Green Art Gallery presents 1497, a group exhibition curated by Lantian Xie, featuring works by Hera B眉y眉kta艧莽谋yan, Gitanjali Dang, Shilpa Gupta, Raja鈥檃 Khalid, Jacob Lawrence, Matheus Rocha Pitta, UBIK, Deepak Unnikrishnan, and Danh Vo.
The four-number sequence that makes up the exhibition鈥檚 name refers variously to:
1. The number of a hotel room.
2. The street address of someone鈥檚 house.
3. A year in history, in which Europeans first arrived by sea into two different gulfs.
Here, images, scents, texts, and objects allude to a home in which history has taken place, amidst roofs on fire, a greenhouse filled with tropical plants, an orphaned balcony, scattered threads, a soup made from stone, and chapters pulled from books not yet written.
1497 is configured as a set in which intimations of homeliness are also stagings and props that pretend to describe determinable trajectories. Instead, these intimations are incomplete, or led awry, evoking ellipses, truncations, and shifts in hand and position. They feign familiarity鈥攆or homes, lands, places to be remembered or longed for鈥攚hilst in turn betraying their own constructedness, distance, and impossible heaviness, feeling somehow adrift. Like that Borges story about the nation of cartographers who try to draw a comprehensive map of their empire, only to end up with a map so vast and detailed that it turns out to be the exact size of the empire itself, and thereby useless, and left to ruin. Here too is an implication of bodies鈥攐f residents, long-timers, locals, as well as tourists, guests, strangers, and colonizers鈥攁nd how differently the same house is conjured by each, and also for whom a house is intended or not intended at any given time.
The four-number sequence that makes up the exhibition鈥檚 name refers variously to:
1. The number of a hotel room.
2. The street address of someone鈥檚 house.
3. A year in history, in which Europeans first arrived by sea into two different gulfs.
Here, images, scents, texts, and objects allude to a home in which history has taken place, amidst roofs on fire, a greenhouse filled with tropical plants, an orphaned balcony, scattered threads, a soup made from stone, and chapters pulled from books not yet written.
1497 is configured as a set in which intimations of homeliness are also stagings and props that pretend to describe determinable trajectories. Instead, these intimations are incomplete, or led awry, evoking ellipses, truncations, and shifts in hand and position. They feign familiarity鈥攆or homes, lands, places to be remembered or longed for鈥攚hilst in turn betraying their own constructedness, distance, and impossible heaviness, feeling somehow adrift. Like that Borges story about the nation of cartographers who try to draw a comprehensive map of their empire, only to end up with a map so vast and detailed that it turns out to be the exact size of the empire itself, and thereby useless, and left to ruin. Here too is an implication of bodies鈥攐f residents, long-timers, locals, as well as tourists, guests, strangers, and colonizers鈥攁nd how differently the same house is conjured by each, and also for whom a house is intended or not intended at any given time.
Contact details
Al Quoz 1, Street 8, Al Serkal Avenue, Unit 28 P.O.Box 25711 Dubai, United Arab Emirates
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