#EIGHT MARBLES 2X GAME MIRANDA SERIES#
1980s) showing a series of stylised depictions of the 1980 repression, and Kim Chang-Hun's SHINE: Gwangju Soundscape (2018), which captures sounds recorded where 5.18 took place, and finally, Park Hwayeon's reconstruction of the square facing the city's old provincial office. The third part tries to bridge the gap between activism in the 1980s in South Korea and modern-day activism, beginning with Hong Sung-Dam's 'May Print' series (c.
The latter includes a video installation by Kader Attia, Shifting Borders (2018), which explores the political reasons and irrational motives that echo along the surface of Korean history, and the 49th Hexagram (2020) by Ho Tzu Nyen, which links the Gwangju revolt to the 49th hexagram of the I Ching (late 9th century BC) in an anime-style depiction of the uprising. This counter-narrative is conceived as a constant stratification of meaning that draws inspiration from the practice of Islamic ceramics and Persian miniatures, creating new ecosystems of significance-what the trio of artists call the 'negotiated fields of interaction'. The installation, comprising iron sculptures holding terracotta plates decorated with repainted photographic scenes taken from the 'flow of news' detritus that the name of the exhibition suggests ( alluvium meaning loose clay in Latin), tells a story of resistance to hegemonic journalistic narratives while acting as a coordinated effort to integrate the physical properties of the materials into the space. The project Alluvium, a creation of the Iranian collective Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian in collaboration with OGR Torino, is hosted in one of the spaces of the Complesso dell'Ospedaletto, within the same complex hosting the exhibition by Fondazione In Between Art Film.
MSĪrtist Profile Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian View Bio, Works & Photo: Marco Cappelletti con Filippo Rossi.Įxploring the outcome of personal experiences and her sympathy towards the 'wretched of the earth', Dumas' portraits of pop stars, universal characters, Black and Brown bodies, and the human form draw attention to the tactile quality of her colours and traits, which resemble mouldy surfaces, disfigured, rusty metals, and decomposing, corpse-like figures.Īlthough not visibly political, Dumas' commitment to an ethical stance against any type of discrimination and exclusion is clear in the visual impact of her art and the subtle and disturbing eroticism at the essence of her artistic message.
Exhibition view: Marlene Dumas, open-end at Palazzo Grassi, Venice (27 March 2022–8 January 2023). Left to right: Marlene Dumas, iPhone (2018), courtesy David Zwirner Alien (2017), courtesy Pinault Collection Spring (2017), courtesy private collection courtesy David Zwirner, Amazon (2016), private collection, Switzerland.