Art: Courtesy YDC © Christine Sun Kim. Courtesy François Ghebaly Gallery and White Space
In a 2020 Essay for the New York TimesThe Artist Christine Sun kim Described Her “Huge Disappointment” at Being Asked to Perform the National Anthem in Sign Language at the Super Bowl, Only for Performance to Be Virtuely Ignored by Broadcasters. “Thrilled and excited to be on the Field serving the deaf community,” she wrote, “I was angry and exasperated.”
Anger and exasperation are at the core of “All day all night,” her new show at the Whitney. If that if imem’s excemation sound like a kind of revenge on a Society that has long passed over disabled artists, it is revenge at it mont gripping. Deploying Drawings, Diagrams, Musical Nottion, Text, Wall Painting, and Video, Kim Explores How Sound, Silence, and Oral Language Are Social-Political Currencies that Place the Def at A Constant Disadvantage, in Areas Ranging From Mother Motherhoo.
In her Screen Real Estate for Asl InterpretersLittle Boxes Connote How Much Room is gioven to the Deaf on television broadcasts (there is an especally one for “January 6th commmittee on youtube”). Suggested Amount of Friends to Sing Songs to A Baby is a grid of musical notes interapaced with lots of little p’s to signify pianissimo, or quiet. Suggested Way of Getting A Baby’s Attention by Waving Hands or Stomping on the Floor Insing of Using Voice is a graph of symbols that reveals how a deaf parent communicates with a Hearing Child. The titles alone are shocking in their bitterless and frustration, a way for chem to make her mereings overte in Large Black-And-White Drawings Done in a Sketchy Saul Steinberg-Ian Hand.
There is a great video of Kim and Her Husband Sandwiched Together, Front to Back, Facing The Camera, in Which One Makes Language and the Other Augments with Eyebrow Movements, Facial Expressions, and Changes of Posture. In this and other works, you can hear a sardonic sort of laughter, laced with suffering. Alexander Graham Bell, The Inventor of the Telephone, Appears Occossionally As A Satanic Figure Due to HIS Advocacy for “Oralism,” Which favor and speaking over signing and Made communication for the defficult.
Deaf Deaf RageFirst Exhibited at the 2019 Whitney Biennial, May Be Her Best Work. Composed of Six Charcoal Drawings of Pie Charts with Captions, IT AIMS BETWEEN The Eyes, and Can Change How You See the Disabled. The Drawing Titled Defrees of My Deaf Rage in the Art World Has a Caption that Reads “Museums with Zero Deaf Programming (and No Deaf Docents/Educators).” Bard MFAwhere she is earned one of her advanced Degrees, has a One-Word Caption that Reads “Trauma. Other Captions Read: “Fake Terps at News Conferences. Beyond Rage”; “Being offending a wheelchair at the arrival gate”; and “Flight Attendant Leaves Suitcase on the Runway Becausea Wen As isked in Spoken English No One CLALIMED it.”
Kim Takes Her Position As a Spokesperson for the Disabled Serious. In Access RiderKim Prescribes How Her Work Should Be Written About. “PLEASE EXERCIS Sensitivity,” She Sayys, Citting “The Oppression Faced by the Deaf Community.” She Says Critics Who Center Her Deafness Are “Reductive and Othering,” As Are Those Who Use Deafness As “Over-Reding Description (Deaf Artist Christine Kim).” Is this identity art? Only in the sense that all art, in stitching the contours and distortions of experience, is identity art.
اترك تعليقاً