Do-Until Loop Parade
Curated by Ash Cortes, Katelynn Dunn, Emma Gasterland Gustafsson, Tamara Khasanova, Carina Martinez, Yuan Shi, Zezhou Wang, and Kevin Wu, with Exhibition Practicum instructor Noam Segal
Artists: Hyemi Kim, Po Han Huang, Fernando Sancho, Weihan Zhou, Yi Hsuan Lai, Lingfei Ren, Jinglin Wang
April 2021
Do-Until Loop Parade is an exhibition in a box inspired by Marcel Duchamp’s Boîte en Valise (1935–41). Artworks featured in this show hint at the existence of “loops” that have long dictated our psychological, socioeconomic and political freedoms. These loops are constructs—systems of control—but their origins and logics are obscured. Nonetheless, their effects on our lives are palpable.
The exhibition brings together selected works from the SVA MFA Photography, Video and Related Media program’s class of 2020, which have been selected by their relevance to ideas of cyclicality and isolation. The artworks reflect on the mobility and stagnancy of our contemporary experience. Hyemi Kim’s City Collage (2019) video presents collaged situations, environments, objects and processes that invite viewers to think beyond the bounds of reality. Po Han Huang’s postcards from his Reverberation of Memory (2020) installation represent a mnemonic of the past, meant to fuse with the present as the audience interacts with images of the infinite. Fernando Sancho’s A Highrise Laundry Room (2019) film invites understanding to invisible extensions of care from one community of immigrants to their employment in the residences of a high-rise apartment building on the Upper West Side. Weihan Zhou’s Chair (2020) and Moththth (2020) films inspire recollection of uncanny memories constructed through an analogue animation of a woman falling in a chair, and a story of encountering a moth within one’s home. Yi Hsuan Lai’s Hand in Hand (2020) sculptures made out of Sculpey clay induce fantasies of escape through falsifying the body’s restrictions to time and space. Lingfei Ren’s 2D, 4D, 6D, 7D (2019) photo sculpture investigates multi-spatial, multi-temporal environments by creating visual compressions of urban domesticity caught between the personal and generic. Jinglin Wang’s 24 Hours Older (2020) gif asks us to imagine the limits of the corporeal form and beauty of time as inescapable.