New York, USA
February 12, 2021 – March 14, 2021
14th A.I.R. Biennial “An A-historical Daydream”
A.I.R. Gallery presents its 14th Biennial exhibition, An A-historical Daydream, curated by Jasmine Wahi. The exhibition is presented in two phases, the first online on A.I.R.’s website and the second at its gallery in Brooklyn, New York. Comprised of a selection of media-based works, the online portion of the show is on view since January 8 through March 14, 2021. The gallery exhibition can be visited by appointment since February 12, 2021.
An A-historical Daydream investigates the slipperiness of linear time across a variety of both parallel and intersecting histories. Histories are often singular narratives: they are agendized and unbalanced, and often promote a binary idea of “us vs them” or “conqueror and conquered”. This exhibition invites artists to consider time, history, and future in new and radical ways. It asks them to reflect upon the popular histories that we have been taught, and to then radically imagine a space/time dimension in which colonialism and hegemonic structures either never existed or existed in a different form.
The exhibition presents an array of artists thinking through complex ideas of time, history, space, non-history, and revisionism. Conceptually, it is categorized by different points in a multi-dimensional, malleable, and utterly surreal non-linear time-space. Some artists in the exhibition, such as Noa Yekutieli, Marcy Chevali, Jo Ann Block, Darice Polo, Andrea Ray, and Hana Zhang explore the possibilities of reimagined histories and presents based on a radical reconsideration of “what could have been”. Others such as Jin-Yong Choi, Molmol Kuo, Catherine Lie with Caroline White-Nockleby, Marianna Peragallo, Nitcha Tothong (Fame), Carrie Sijia Wang, Luis Vasquez La Roche, Caroline Garcia, and Yekutieli look staunchly towards a future that is largely untainted by our scorched cyclical past. And finally, a selection of artists look at a world as removed as possible from the historical realities that have shaped our present. This final grouping of artists, including Bridget Leslie, Nikesha Breeze, Helina Metaferia, Marina Leybishkis, Heesoo Kwon, Nikki Luna, and Zhang, explore futurity through the lens of introspection and self-reflection. It is worth noting that some of the artists’ works fall into more than one category.
Jasmine Wahi is an Activist, TEDx Speaker, Founder and Co-Director of Project for Empty Space, and the Holly Block Social Justice Curator at the Bronx Museum. Her practice predominantly focuses on issues of femme empowerment, complicating binary structures within social discourses, and exploring multipositional cultural identities through the lens of intersectional feminism. In addition to her other work, Ms. Wahi is a faculty member at the School of Visual Arts: MFA Fine Arts department, and a Visiting Critic at Yale University.
Jo Ann Block, Marcy Chevali, Jin-Yong Choi, Molmol Kuo, Marina Leybishkis, Nikki Luna, Helina Metaferia, Marianna Peragallo, Nitcha Tothong (Fame), Luis Vasquez La Roche, Noa Yekutieli.
Nikesha Breeze, Caroline Garcia, Heesoo Kwon, Bridget Leslie, Catherine Lie with Caroline White-Nockleby, Darice Polo, Andrea Ray, Nitcha Tothong (Fame), Carrie Sijia Wang, Hana Zhang.
A.I.R. Gallery also presents Lost Perimeters, an exhibition by 2019-2020 A.I.R. Fellow Victoria Manganiello. The show includes a selection of the artist’s recent woven paintings, varying in color and scale and displayed for the first time as a single, overlapping installation. This is Manganiello’s first major solo exhibition in New York City.
Lost Perimeters brings together 15 works that explore the boundaries of physical space and the blurring of binaries. With textiles spanning the walls, occupying corners, and spreading onto the floor and ceiling, the exhibition addresses the interstitial spaces—both physical and metaphorical—that are often unacknowledged or fade into the background. Similarly, Manganiello’s manipulation of scale, color, and light in these works activates and transforms familiar, everyday materials like cotton, wool, and silk. In the installation, individual textiles cede their edges to others, disavowing autonomy in favor of an uninterrupted intermingling.
Manganiello works primarily with traditional textile-making techniques such as yarn spinning, color dying, and floor loom weaving, often combining these approaches with surprising technologies and unconventional applications. Likewise, her textiles marry natural, organic materials with synthetic threads and dyes. With her large-scale abstract pieces, Manganiello questions how the binaries we impose upon ourselves—across gender, race, age, nationality, and nature— saturate the objects we live with. Through her use of textiles, the most intimate and close-to-the-body of mediums, she offers spectrums as alternatives to binaries.
Victoria Manganiello is based in Brooklyn, NY. She holds an MA from New York University and a BA from Skidmore College. Recent exhibitions include The Museum of Arts and Design, Knockdown Center, Indianapolis Contemporary, and Ars Electronica. Named as one of Forbes Magazine’s Art & Style 30 Under 30 for 2019, Manganiello has received multiple internationally recognized grants and residency appointments including the Wave Farm Media Artist Grant, S&R Washington Award, Cafe Royal Cultural Foundation Arts Grant, Wassaic Project Residency, Harvest Works, and the Textile Arts Center Residency. She has exhibited her work throughout the USA and internationally, including in Romania, Bulgaria, Taiwan, Croatia, and Italy. She is an adjunct professor of Textiles at NYU and Parsons The New School. She is currently the executive producer of an upcoming documentary about textiles.