Shifting Sands at ChaShaMa

Art Spiel Photo Story

From left to right: Spandita Malik ‘Salwar-Kameez on Clothesline’ 2021 Sun-printing, Phulkari silk thread embroidery on Khaddar fabric, 32 x 40 inches ; Geuryung Lee‘The movement’ 2019 Drypoint on paper 18 x 24 inches; Sofia Luisa Suazo Monsalve ‘Post-photographic landscape #1,2,3’ 2019 Digital chromogenic print on paper, 9 x 18 inches; j.p.mot ‘Stool + boogey’ 2017 Mixed media, 7ft x 5ft x 6ft; Hyun Jung AhnBlanket Windows’ 2021 Felt and linen, 72 x 62 inches

SHIFTING SANDS is a group exhibition showcasing the creative breadth of 20 artists from the 2020 New York Foundation for the Arts Immigrant Artist Mentoring Program. Each of these artists has crossed physical borders, leaving one part of the world for another – in doing so, they hold space for various identities and shifting realities. From this common experience emerges unique perspectives on identity, belonging, home, memory, hope and resilience. Many of the pieces exhibited were created during the pandemic. They express the rollercoaster of emotions, the shifting states of being, and new possibility.

Exhibiting artists: Zeshan AhmedKatya AkumaIvana Brenner, Hedwig BrouckaertZorica ColicCarin Kulb DangotBel FalleirosNathier FernandezVinay HiraJaejoon JangHyun Jung AhnAe Yun KimGeuryung LeeJiaoyang LiiSpandita MalikLevan Mindiashvili, j.p.motGhislaine SabitiLeila SeyedzadehSofia Suazo

Curated byYvette MolinaGhislaine Sabiti and Hedwig Brouckaert

Jiaoyang Li’s video Hereabout, includes poetry written over the past year. At turns humorous and tender, it is a poignant reflection on her life during the pandemic. JP Mot’s meticulously constructed, cardboard rollercoaster expresses the idea of a fast shifting reality. Jaejoon Jang’s ‘My nose will grow now, a small wooden Pinocchio doll stuck with its nose in the wall, refers to the Pinocchio or the liar paradox.

Jiaoyang Li ‘Hereabout’ 2021 Video/Poetry, 15min

In his new work and performance What Vinay Hira thinks about when he thinks about Vinay Hira created for the exhibition, Vinay Hira questions postmodernism and intersectional identity politics, and puts a cultural-capitalist leaning on the irreverent, sardonic branding of his own existence. 

Levan Mindiashvili’s installation Levani’s Room: AMERICA (“I STAND AT THE window of this great house […] as night falls, created for the Immigrant Artist Biennial in 2020, honors a sense of queer kinship through his artistic forebears as James Baldwin and Félix González-Torres.

Levan Mindiashvili ‘Levani’s Room: AMERICA (“I STAND AT THE window of this great house […] as night falls’ 2020, Excerpt from James Baldwin’s “Giovanni’s Room” transferred on translucent chiffon, outdoor string lights cord, LED black light bulbs, hanging hardware. Curtain: 12 x 14 3/4 feet, String Lights: 48 feet, bulbs 24, 12 x 14 x 2 feet. ; Vinay Hira ‘What Vinay Hira thinks about when he thinks about Vinay Hira’ 2021, performance; Vinay Hira ‘The Maze Isn’t For You’ 2021 Sandstone, Clear resin, 3D rendering of a bi-cameral maze, watercolors, 9.6 x 9.6 x 0.75 inches; Bel Falleiros ‘Flag for Brazil’ 2020 Brazil wood-dyeing on cotton, 60 x 40 inches ; Zorica Colic ‘Cutaneous Vision’ 2020 Video and sound, 4:16

Ivana Brenner’s ceramic and gold luster sculptures focus on human and non-human bodies, fleshiness, and bodily fluids. Zorica Colic’s new video Cutaneous Visionaddresses self-fashioning as a way in which bodies become alternately erased and fetishized and is composed of material culled from the bewildering array of corporeal images sold online: body parts, medical models, esthetic attachments and tools for bodily ‘enhancements’.

Akin by Hedwig Brouckaert is a grid structure covered with fashion magazine clippings of human skin, reflecting both on the fear of touch and the racial injustices that the pandemic brought to clear light.

Through the inherited language of embroidery, Spandita Malik collaborates with women victims of violence in India, by creating exquisite embroidered photography based portraits.

Spandita Malik ‘Salwar-Kameez on Clothesline’ 2021 Sun-printing, Phulkari silk thread embroidery on Khaddar fabric 32 x 40 inches

Ghislaine Sabiti’s paintings on leather portray the victims of police brutality in the US, addressing social justice issues that came to the forefront in 2020. The series Mothers by Katya Akuma, is created with reclaimed leather strips from the fashion industry explores the challenges inherent in immigration such as transnational identity, feeling of loss, displacement, and nostalgia.

Ghislaine SabitiBreanna Taylor’ 2020 Oil on leather, 28 x 39 inches

Zeshan Ahmed’s work questions the premise of what is seen in a multi-layered photography based installation. By folding, twisting, and compressing, Carin Dangot created sensuous colorful sculptures that are exclusively made out of paint.

Katya Akuma ‘Oumina’ & ‘Aida’ 2019 Discarded leather scraps, nails on wood 12 in × 12 inches; Carin Kulb Dangot ‘Wall’ 2018 Acrylic paint and gel medium 9 x 5 x 10 inches/ ‘Island’ 2018 Acrylic Paint, 10 x 9 x 5 inches/ ‘Mama’ 2019 Acrylic Paint 11 x 8 x 3 inches/ ‘Totem’ 2018 Acrylic Paint 12 x 4 x 3 inches

Ae Yun Kim’s hand sewn drawing, is a reflection on her shifting between three different cities of the past year. An intricate abstract drypoint etching is on view by Geuryung Lee. Blanket Windows, a quilted piece by Hyun Jung Ahn is covered in a repeating pattern of black tear or rain drop shapes informed by states of being experienced during the pandemic.

Bel Falleiros’ Flag for Brazil uses the natural pigment of the tree that gave its name to the country and that was almost logged to extinction during colonial times. ‘Faint memories’, Leila Seyedzadeh’s painting, represents an imaginary landscape that is immersed in ‘placelessness’. Sofia Suazo’s algorithmically synthesized imagery is based on “The Sims 3” in-game landscape photography, which portrays the inevitable symbiosis between the digital/artificial and the analog/real world. Nathier Fernandez presents an installation of objects that speculate on a future looking at DNA not only as data, but as a vessel where information can be stored, multiplied and harvested.

Zeshan Ahmed ‘I am sure. I am sure its…but would it make sense?’ 2019 Unique Digital C print, 30 x 60 inches

Open until June 10; Closing event Thursday June 10, 6-8pm Gallery hours: Thurs 1-8 pm/ Fri 3-8pm/ Sat 1-6pm ChaShaMa, 340 E 64th Street Gallery, New York

Public programming supported by ChaShaMa:

WORKSHOP Meditation and Calligraphy lead by artist GEURYUNG LEE – SATURDAY MAY 29, 3 – 4 pm, with RSVP Live streamed @Chashama IG

PERFORMANCE What Vinay Hira Thinks When He Thinks About Vinay Hira by artist VINAY HIRA – THURSDAY JUNE 3, 6 – 7 pm with RSVP

ARTIST TALK – THURSDAY JUNE 10, 5 – 6 pm with artists Zorica Colicj.p. motLevan Mindiashvili, and curators/artists Ghislaine Sabiti and Hedwig Brouckaert, with RSVP. Live streamed @Chashama IG