I scarcely have the right to use this ghostly verb


April 3, 2014 - April 16, 2014

Arnold and Sheila Aronson Galleries

Related Public Programs

Publication Launch and Film Screenings
Friday, April 11, 2014, Launch at 5:00 p.m., Screenings at 7:00 p.m.

The Orientation Room (M101)

Sheila C. Johnson Design Center, 2 West 13 Street at 5th Avenue, New York, NY

I, a publication of texts and visual works from artists, scholars, and writers will be presented at the Sheila C. Johnson Design Center on Friday, April 11 at 6:30 p.m. A reading of Borges’ “Funes The Memorious” inspired contributions that intermingle perspectives of a singular “I” and the collective, expanding the dialogue of the exhibition. I includes the work of Andrés Felipe Torres, Alex Walton, Avi Alpert and Sreshta Rit Premnath, Carlos Labbé, Gavan Blau, Heather M. O’Brien and Andrew Freeman, Hernán Rivera, Isaac Pool, Ilyn Wong, Jessica Posner, Joen Vedel, Kaitlynn Redell and Sara Jiménez, Arrow MacGowan, Maricruz Alarcón, Margarita Sánchez, Matthew C. Wilson, Thom Donovan, and Vincent Vulsma. On the same evening there will be a screening of Ignacio Agüero’s No Olvidar, Camila Guzmán’s The Sugar Curtain, and Chen Chieh Jen’s Military Court and Prison. Focusing on events that occurred during the last decades of the Cold War, these documentaries illuminate the political role of personal memory within the constitution of historical narratives.

No Olvidar by Ignacio Agüero
1982, 30 min

Filmed clandestinely during Augusto Pinochet’s dictatorship in Chile, No Olvidar chronicles the experience of the women of the Maureira family, who after six years of not knowing where their loved ones were, found their bodies buried in a limestone mine in Lonquén. No Olvidar is one of the first documents of the disappearances and the ongoing assassinations ordered by Pinochet’s regime.

The Sugar Curtain by Camila Guzmán
2005, 82 min

In this autobiographical portrait, the filmmaker revisits the singular experience of growing up in La Havana during the golden era of the revolution. It is also a lament for the end of that dream, which began to fizzle after the fall of the Berlin Wall. Highlighting the contrasting fortunes of the Cuban Revolution over the last two decades, The Sugar Curtain offers a provocative historical perspective on one of the most significant turning point in the 20th Century history.

Military Court and Prison by Chen Chieh-Jen
2007 – 2008, 62 min

Originally commissioned by the Reina Sofia Museum, this two-part film responds to the Martial Law period in Taiwan. In the first part, the artist reflects his memories of the prison and military court that was near his home in Taipei, while the other represents the official vision of the government regarding the years of the dictatorship and Martial Law in Taiwan.

Additional support for the screening has been provided by Ignacio Agüero and Icarus Films.
For more information about the exhibition and public events, please contact ghostlyverb@gmail.com.

I scarcely have the right to use this ghostly verb is a multi-media exhibition that explores notions of cultural memory expressed by a generation whose identities are shaped by events to which they did not actually bear witness, but which have directly impacted their experiences of the present. The project highlights the problematic nature of claiming historical narratives for any generation as a whole, wary that these claims may, in fact, co-opt forms of persisting hegemonies. The exhibition in the Arnold and Sheila Aronson Galleries, features seven emerging artists whose works create a space of conversation with one another and with historical works drawn from The New School Art Collection, and includes painting, drawing, installation, sculpture, text, and video. Accompanying the exhibition, there will also be a night of film screenings and a publication of texts and images from artists, scholars, and writers whose contributions augment the dialogue, intermingling the personal and the collective.

The exhibition features works by: Mounira Al Solh, Firelei Baez, Tatiana Istomina, Reena Katz and Pablo Gómez Uribe, Heather M. O’Brien, María Paz Ortúzar, John Albok, and David Wojnarowicz.

I scarcely have the right to use this ghostly verb is a collaborative curatorial project by Parsons MFA Fine Arts alumni Maricruz Alarcón, Pieter Paul Pothoven, and Ilyn Wong.  The exhibition was made possible through the generous support of the Sheila C. Johnson Design Center and Parsons Fine Arts.

To download a copy of the accompanying publication i, please click here. (Adobe PDF)

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