2024: Acquisitions of MIT List Visual Arts Center, Massachusetts Institute of Technology
Alison Nguyen: history as hauntology (process), 2024, and I am screenless and I am wireless, 2022
history as hauntology (process), 2024, archival pigment print on metallic rag in aluminum artist's frame, framed: 13 5/8 x 17 5/8 x 2 in. (34.61 x 44.77 x 5.08 cm.)
I am screenless and I am wireless, 2022, gold on rag, framed: 6 x 8 x 1 in. (15.24 x 20.32 x 2.54 cm.)
Westbund Art Center Hall A, Shanghai
November 7 - 10 2024
gdm participates in Westbund Shanghai 2024, presenting works from 11 artists at booth A132.
logging out is hard but you're here, logging out is effort but you're here, 2024, gold on acrylic on cotton canvas, 53.93” x 36.02” x 1.58”
CHAPTER 1: A Question of Quantum Entanglement
Curated by Joowon Park and Valentine Umansky
September 2 – 6, 2024
Alison Nguyen, my favorite software is being here, 2021, 20 min
For the third year in a row, Frieze Film returns to Frieze Seoul 2024. This year’s programme is in partnership with Ewha Media Art Presentation (EMAP), on view from 2-6 September at Ewha Womans University and online at frieze.com.
Curated by Joowon Park and Valentine Umansky, this year’s programme is titled ‘All that Weaves the Universe: Of Quantum Entanglements’. It brings together time-based media works of 37 international artists, unfolding under 8 chapters.
CHAPTER 2 - Longing & Belonging
These four films deal with the possible subversions of digital space, raising questions around identity and surveillance, in direct or symbolic ways. While Dineo Seshee Bopape’s is i am sky offers the possibility of cosmic infinity as a frontier for Black liberation, Alison Nguyen’s and Vitória Cribb’s works raise concerns about contemporary forms of oppression, through the generalization of digital mechanisms of control.
Together, the four works reflect ways of finding – unmonitored – spaces to connect in today’s age. They aptly emphasize how the interplay between capitalism and technology has driven economic inequality and exploitative dependency and offer possibilities of liberation through the blurring of identity markers and the construction of alternate universes.
Visiting Artist Professor: Alison Nguyen
Film and Electronic Arts Program, Bard College, New York
Fall 2024
At Odds With, ISP Studio Exhibition 2024
Westbeth Gallery, 55 Bethune Street
May 9 – 24, 2024
The Studio Program exhibition, At Odds With, presents recent work by the 2023–24 Elaine G. Weitzen Studio Program Fellows S Emsaki, Kimi Hanauer, sadé powell, Albert Samreth, Shobun Baile, Mae Howard, Alison Nguyen, Elliot Reed, Omolola Ajao, José De Sancristóbal, Daniel Ramos, tarah douglas, Kearra Amaya Gopee, Emily Velez Nelms, and Jennifer Teresa Villanueva, and Helena Rubinstein Curatorial Fellow Ella den Elzen. Curated by Juana Berrío, the exhibition will be on view May 9–24 at Westbeth Gallery, a nonprofit fine arts gallery located across the street from the ISP at 55 Bethune St, New York, NY 10014. An opening reception for At Odds With will be held at Westbeth Gallery on Thursday, May 9 from 6–8 pm.
Taipei Dangdai, Taipei Nangang Exhibition Center
May 9 - 12, 2024
gdm participates in the 2024 edition of Taipei Dangdai, presenting iconic works of 13 artists, at booth E07.
Left: I am here to succeed in an image, 2024, acrylic and Gold on Canvas, 30 x 36 in., 91.5 x 76.2 cm.
Right: Your content is my occupation, 2024, gold on acrylic on canvas, 30 x 36 in., 91.5 x 76.2 cm.
Exhibition organized by Lunch Hour
Graphic Design by James Oates
Sheerly Touch-Ya and Shisanwu LLC warehouse, NY
May 18 – July 31, 2024
Screening of History as Hypnosis
PART-TIME, Los Angeles Festival of Movies
April 6, 2024
Now Instant and the Los Angeles Festival of Movies present PART-TIME, a collection of six new moving image works drawn from the worlds of fine art, experimental film, and narrative cinema that impel the structural capacities of the form.
Curated by Joshua Simon
On-site: February 16 – 18, 2024 | main room
Online: February 16 – June 30, 2024 |
SLIME is a unique hybrid on-line and on-site project about our hybrid realities. Taking place at the Secession as an on-site event and as an on-line program, it includes commissioned and historic artworks, talks and performances, screenings and workshops (including one for making actual slime). Taking its name from the children's toy—a metastable plasma-like substance that has both unique material and tactile features and a constant presence online through tutorials and documentation of people playing with it—SLIME tackles the social, cultural, political, and sensory operations of digital hybridity.
Where we meet today—at the point of realization, as opposed to the point of production—shifts occur in the ways meaning is organized: from strikes to riots, from working class to surplus populations, from solidarity to conspiracy, from organization to petty sovereignty . Digital hybridity enhances finance's assault on social reproduction. The belief in the digital as an unmediated mode of operation generates sensory and political frontiers that embody this logic—be it ASMR or extreme right-wing politics. Exploring this social phenomenon and its precursors in art, the program at the Secession looks at our political, economic, and cultural realities stemming from the digital hybridity that is SLIME.
Participants on-site program:
Robert Birchbauer, Albrecht Dürer, Francesco Finizio, Ulrich Formann with Yul Koh, Elisa Giardina Papa, Liv Schulman, Steffi Stanković, Sophia Stolz, Ana Teixeira Pinto, Noam Yuran, the shapes of the sculptures of Franz West, and the birthmark of Mikhail Sergeyevich Gorbachev
Participants on-line program:
Liat Berdugo, Lulo Demarco, Rrose Sélavy/Marcel Duchamp, Eva Egermann and Cordula Thym, Thomas Feuerstein, Pauline Ghersi, Monica Heller, HaYoung, Shachar Freddy Kislev, Alison Nguyen, Ruth Patir, Oliver Payne, Mika Rottenberg, Liv Schulman, and Lior Zalmanson
