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In the Cosmos

Coming Together in Parts: Carriers

until
Filmstill, das einen Arm im Wasser zeigt
Jeamin Cha, Nameless Syndrome, 2022 | 4k video, color, sound; 24 minutes

Under the title “Coming Together in Parts,” a two-part film program presents works by artists exploring the interaction between bodies and technologies as well as alternative narratives of the future. The first chapter, “Carriers,” features video works by Jeamin Cha, Jill Magid, and Sondra Perry. Their perspectives respond to and extend the themes of the exhibition “Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s”—across media, time, and content.

Info

Period

until

Location

Lower level

Curated by

Franziska Linhardt

“Carriers” addresses bodies as carriers of meaning and how artists engage with the representations of bodies in digital and technological environments. The video works on display, by Jill Magid, Sondra Perry, and Jeamin Cha, examine different forms of alienation between subjects and their images, as well as their relationships to organizations and institutional structures.

Filmstill, das zwei Frauen in einem Schwimmbecken zeigt.

Jeamin Cha, Nameless Syndrome, 2022

In five chapters, Jeamin Cha’s essay film “Nameless Syndrome” (2022) follows the undiagnosable illnesses of women. In doing so, she addresses the constant reduction of the self through its digital images and data, but also through institutions and social systems. Investigative tools such as medical imaging fail to capture the nature of contemporary bodily ailments due to their symptomatic and political complexity. By overlaying image, sound, and quoted excerpts of text, Cha questions the empirical truths claimed by science and medicine.

Filmstill, das eine Einganghalle mit Menschen in Rückenansicht zeigt, die auf einen Bildschirm sehen.

Jill Magid, Lobby 7, 1999

Jill Magid’s “Lobby 7” (1999) documents a performance that took place in the lobby of the Massachusetts Institute of Technology (MIT). The artist hijacked the information screen and interrupted its program with her own transmission: using a miniature camera underneath her clothes, she explored her body in real time and filmed the reactions of passersby. Magid confronts surveillance mechanisms and control with voyeurism, personal intimacy, and desire.

Filmstill, dass ein verschwommenes Foto von zwei Menschen zeigt, auf dem einen blaue Figur schwebt

Sondra Perry, IT’S IN THE GAME ’17, 2017

Sondra Perry’s “IT’S IN THE GAME ’17” (2017) revolves around a digital, but real theft. The image of the artist’s twin brother—a professional basketball player—was used for an avatar in a video game without his consent and without compensation. Perry compares this to the way major museums have built their collections on looted art from colonial contexts. Between the private and the public, the real and the virtual, the original and the copy, the work raises questions about authorship, identity, and cultural justice.

Dunkler Raum mit Leinwand, auf der eine Videoarbeit läuft. Zu sehen ist eine Person mit Headset in einem Büro.
Exhibition view Coming Together in Parts: Carriers

Related exhibition

Exhibition

Exhibition Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s

until