“Many artworks in the exhibition address the analog and digital, but they aren’t about nostalgia vs. the status quo,” Lucas said in a statement. “These artists propose analogues within those frameworks, they exacerbate or collapse those distinctions, and conjure opportunities for integration. There is a lot of possibility and speculation, but there is also a specter of pathos and futility. When I first introduced the exhibition in formation to Baseera last winter, she summed it up with this brilliant phrase: ‘cheerfully apocalyptic.’”
Designed by artist Ryan Kuo, who is known for addressing organizational hierarchies and information architecture in his works, the exhibition website will serve as a virtual 3-D model of the venue that is organized on a 2-D plane. The website is intended to serve simultaneously as an experiential tool and an extension of the ideas within the exhibition.
“Taking ‘Volumes’ as a cue, the website grid is composed of an HTML table that threatens (but usually fails, thanks to QI 2018’s actual voices and bodies) to visually tabulate the data within a universal hierarchy,” said Kuo. “The computer tirelessly garbles the text while cutups of the floor plans and animated flythroughs of the virtual galleries give form to truths, half-truths, and algorithmic untruths about the promises of a biennial.”
Additionally, for the first time, the Queens Museum is partnering with the Queens Library to present artworks in select library branches.
The full list of participating artists is as follows:
Camel Collective (Anthony Graves and Carla Herrera-Prats)
Oscar Rene Cornejo
Brian Droitcour and Christine Wong Yap
Heidi Howard and Liz Phillips
Paolo Javier and David Mason
Emilio Martinez Poppe
KT Pe Benito
Raycaster (Ziv Schneider and Shirin Anlen)
Mary A. Valverde
Thursday, July 5th
Flag Raising, 5pm
As part of the Opening Exhibition of Pintados: Portraits of Immigrants as Ancestors
Speaking to solidarity with immigrants and the working class, this flag, created by Jevijoe Vitug, embraces the image of a raised fist as an early symbol of union organizing. On the arm are the artist’s own tattoos of ocean waves and the flight pattern of birds, referencing his personal experiences with movement and migration. The layered images offer multiple meanings, including immigrant (in)visibility or stripes as prison bars.