The current group exhibition at The Lab, "Alternorthern," features the work
of nine emerging Canadian artists who explore various themes around national
and global identities. Among these is queer Canadian artist Vincent
Chevalier, whose interdisciplinary work focuses on themes of disclosure,
agency, labor, and identity. Central to his work are his own identity as a
queer, HIV positive person and how that in part structures his daily
existence.
Also featured in "Alternorthern" is Zoë Yuristy, a queer Canadian artist
whose work engages with the cultural production of images as a means of
exploring identity. For example, Northern Afghanistan Fantasy Play-set
(2009) consists of a series of small figurines of army men (approximately
500 sculptures) posed in sexual positions and spray-painted bright pink.
"Alternorthern" runs through Saturday, March 6. Gallery hours: Wednesday -
Saturday, 1:00 - 6:00 p.m.
The Lab, 2948 Sixteenth Street, San Francisco, CA 94103.
http://www.thelab.org
Vincent Chevalier and Zoë Yuristy in "Alternorthern"
Vincent Chevalier ( http://www.vincentchevalier.ca/ ) is an interdisciplinary
artist performing work around themes of disclosure, agency, labor, and
identity. Chevalier uses video, performance, and installation to reveal
hidden relationships of power between the body as subject and structures
that dictate our everyday action. These actions range from the quotidian to
the theatrical; they bring the personal to the public, and push the latent
into view.
Some of Chevalier's past actions include: walking on a piece of red carpet
continuously for a whole week; giving public lectures about his drug addiction while serving beer; dressing up as Lisa Loeb and lip-syncing her debut album in a single video take; sanding pieces of plywood into dust; and, as part of an ongoing and relentless process, telling people that he is queer and HIV-positive.
This disclosure informs Chevalier's aesthetic and methodological approaches.
The artist considers the act to be a formal gesture around which his
practice can be organized. Recently, Chevalier has been examining disclosure
as an intersubjective process that produces physical, emotional, and social
effects. He writes: "This holds personal as well as political significance.
As an individual claiming a queer/fag and HIV-positive subject position,
disclosing plays a significant role in structuring my everyday. My art
practice attempts to insert this gesture into the everyday as an
intervention."
This exhibition showcases three separate works by Chevalier: So... when did
you figure out that you had AIDS?, Full Disclosure: I have gingivitis, and
Roundabout.
So... when did you figure out that you had AIDS? consists of home video
footage recorded when Chevalier was 13 years old in which the artist plays
the role of "a man dying from AIDS." The video predates Chevalier's HIV
diagnosis and performance career. Chevalier presents the performance as a
foundational work within his art and identity histories highlighting themes
of performativity and representation.
Zoë Yuristy's (http://zoeyuristy.wordpress.com/) photography based work
engages with the cultural production of images as a means of exploring
identity. In doing so, Yuristy's work moves seamlessly through art
historical conceptualism, pop cultural references, historical narratives,
and personal confessions. Through juxtaposing sincere gestures and ironic
distanciation, the artist is able to create a space where the real and the
fantastical can co-exist. Yuristy is often concerned with subversively
appropriating references to pop culture, the historical, and art historical
narratives. For the artist, image-making is a multi-faceted process by which
narratives about culture become sites for artistic production. In this way,
Yuristy's approach to imagemaking is as unique to each work as the diversity
of themes the artist addresses.
"Alternorthern" includes three works by Zoë Yuristy: Northern Afghanistan
Fantasy Playset, After William Notman Series, and Lost Boy and 5225 Figueroa Mountain Rd, Los Olivos, CA 93441 (Neverland Ranch).
Northern Afghanistan Fantasy Play-set (2009) consists of a series of small
figurines of army men (approximately 500 sculptures) posed in sexual
positions and spray-painted bright pink that are available for purchase by
gallery visitors.
In this work, Yuristy uses humor to critically deconstruct heterosexist
constructions of masculinity. In place of repressive structures and violent
landscapes, she has created a queer utopia where army figurines can be used
to imaginatively promote "love and peace," rather than hatred and violence.
Lost Boy and 5225 Figueroa Mountain Rd, Los Olivos, CA 93441 (Neverland
Ranch) (2008) is a photographic diptych conceived as a meditation on the
contemporary anxieties we feel about images of children as well as a
questioning of whether it is possible to produce images of children in this
context. In Lost Boy, the artist occupies the role of the children's fiction
character Peter Pan, a boy caught in a state of eternal youth. The figure,
whose posture indicates his assurance and defiance, gazes defiantly out at
the viewer. The character's body is read off against text from the play that
speaks to the haptic nature of the photographic image. "No one must ever
touch me," Peter declares. As the viewer's desire to touch - the image, the
object/subject - is made palpable, it is revealed as problematic. The
accompanying image, Neverland Ranch, contributes to the anxiety that is
brought upon by looking. The image is constructed out of satellite
photographs taken from the area in and around Michael Jackson's Neverland
Ranch, the children's theme park where Jackson was alleged to have sexually
assaulted young boys. The awesome beauty of this landscape seduces the
viewer while it's real-world context keeps them at a distance.
The Lab, a project of The art re grüp, Inc., is supported in part by the
William and Flora Hewlett Foundation; The Barbro Osher Pro Suecia
Foundation; San Francisco Publicity and Advertising Fund's Hotel Tax/Grants
for the Arts program; The San Francisco Foundation; The San Francisco Arts
Commission¹s Cultural Equity Grants Program; Zellerbach Family Fund; and
members and volunteers of The Lab.
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