Jennifer Nevitt & En-Man Chang
Exhibition On View
08/19/18 - 09/16-18
FOGSTAND Gallery & Studio
1456 Edmund Ave., St. Paul, MN 55104
(Gallery entrance is located through the garage door on Pascal St.)
Gallery Open Hours
Sat/Sun, 11:00am - 4:00pm (or by appointment)
FREE TO THE PUBLIC
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FOGSTAND is happy to announce XXOO, an exhibition indebted to precarity, place and the contaminated diversity made by their often co-opting pressures.* The selected artists—En-Man Chang (Taiwan) and Jennifer Nevitt (USA)—embody, rather differently, creative practices that suss out the “sense-making” and “place-staking” contours that British anthropologist Tim Ingold clearly, albeit awkwardly calls “being alongly integrated”.
“Bathed in light, submerged in sound and rapt in feeling, the sentient body, at once both perceiver and producer, traces the paths of the world’s becoming in the very course of contributing to its ongoing renewal. Here, surely, lies the essence of what it means to dwell. It is, literally to be embarked upon a movement along a way of life. The perceiver-producer is thus a wayfarer, and the mode of production is itself a trail blazed or a path followed. Along such paths, lives are lived, skills developed, observations made and understandings grown. But if this is so, then we can no longer suppose that dwelling is emplaced in quite the way Heidegger imagined, in an opening akin to a clearing in the forest. To be, I would now say, is not to be in place but to be along paths. The path, and not the place, is the primary condition of being, or rather of becoming.”
― Tim Ingold
* It must be noted that the language in this sentence is not my own, but constructed out of the admiration and sense made from reading Anna Lowenhaupt Tsing’s The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins.
About The Participating Artists
En-Man Chang (張恩滿), Taiwan.
In the beginning, En-Man Chang’s identity (being hal-findigenousTaiwanese, more specifically of the Paiwan people) triggered her creative aspirations, embarking on a journey around the island of Taiwan. Returning to the indigenous tribes and experiencing the social geographical texture of these locales, she attempted to unearth the complex food chain-like interconnections in order to better visualize Taiwan’s cultural landscape.
Under dissolving borders—hastened by globalization and the ideological mechanisms of a dominant culture—the artist's body shifts and strikes via guerrilla tactics, both within and outside these physical, historical and ideological boundaries. Whilst engaging in the mapping of a self, a tribe, a nation, a spirit, she also attempts to expand the overall (dis)figuration of an ever expanding community and world.
Jennifer Nevitt (珍妮佛 那維), USA.
Jennifer Nevitt’s artistic practice and attitude fulfill Jacque Ranceire’s description of artistic practice, that being “ways of doing and making that intervene in the general distribution of ways of doing and making as well as in the relationships they maintain to modes of being and forms of visibility”. This is due to a seeming reluctancy in overstaying (which by way of its own stasis becomes a mode of over-stating) within consistent modes of and reasons for artistic production. The result is a powerful lack of “double-languaging”, one where several overlaying echoes of description and intentionality sit atop artistic production in order to “order the sensual into a multi-functional sensbile”. In its place is a continual pausing (dwelling), reducing the risk of “place-ing” any type of certainty in encountering an unravelling world.
Project support provided by the Visual Arts Fund, administered by Midway Contemporary Art with generous funding from The Andy Warhol Foundation for the Visual Arts, New York.