Distance and (Missed) Connections
Type
Conversation
Reading
Series
On Distance
Location
Dorsky Gallery Curatorial Programs
11-03 45th Ave
Long Island City, NY 11101
Date
1 – 2:30 PM
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Cyriaco Lopes and Negar Ahkami in conversation in "Distance", 2019
1 of 2
Cyriaco Lopes and Negar Ahkami in conversation in "Distance", 2019
Cyriaco Lopes and Negar Ahkami discuss how themes of distance and missed connection inform their distinct practices. They engage in conversation about the creative potential they find in observations of things that don’t quite line up, or when disparate people, cultures, ideas, or things try to connect. The conversation begins with two readings: Negar reads Look, the Solmaz Sharif book of poems that inspired the exhibition, and Cyriaco reads from Craigslist “missed connections (man for man),” which inspired his works.
Solmaz Sharif: Look
It matters what you call a thing: Exquisite a lover called me.
Exquisite.
Whereas Well, if I were from your culture, living in this country,
said the man outside the 2004 Republican National
Convention, I would put up with that for this country;
Whereas I felt the need to clarify: You would put up with
TORTURE, you mean and he proclaimed: Yes;
Whereas what is your life;
Whereas years after they LOOK down from their jets
and declare my mother’s Abadan block PROBABLY
DESTROYED, we walked by the villas, the faces of
buildings torn off into dioramas, and recorded it on a
hand-held camcorder;
Whereas it could take as long as 16 seconds between
the trigger pulled in Las Vegas and the Hellfire missile
landing in Mazar-e-Sharif, after which they will ask
Did we hit a child? No. A dog. they will answer themselves;
Whereas the federal judge at the sentencing hearing said
I want to make sure I pronounce the defendant’s name
correctly;
Whereas this lover would pronounce my name and call me
Exquisite and lay the floor lamp across the floor,
softening even the light;
Whereas the lover made my heat rise, rise so that if heat
sensors were trained on me, they could read
my THERMAL SHADOW through the roof and through
the wardrobe;
Whereas you know we ran into like groups like mass executions.
w/ hands tied behind their backs. and everybody shot
in the head side by side. its not like seeing a dead body walking
to the grocery store here. its not like that. its iraq you know
its iraq. its kinda like acceptable to see that there and not – it
was kinda like seeing a dead dog or a dead cat lying – ;
Whereas I thought if he would LOOK at my exquisite face
or my father’s, he would reconsider;
Whereas You mean I should be disappeared because of my family
name? and he answered Yes. That’s exactly what I mean,
adding that his wife helped draft the PATRIOT Act;
Whereas the federal judge wanted to be sure he was
pronouncing the defendant’s name correctly and said he
had read all the exhibits, which included the letter I
wrote to cast the defendant in a loving light;
Whereas today we celebrate things like his transfer to a
detention centre closer to home;
Whereas his son has moved across the country;
Whereas I made nothing happen;
Whereas ye know not what shall be on the morrow. For what is
your life? It is even a THERMAL SHADOW, it appears
so little, and then vanishes from the screen;
Whereas I cannot control my own heat and it can take
as long as 16 seconds between the trigger, the Hellfire
missile, and A dog, they will answer themselves;
Whereas A dog, they will say: Now, therefore,
Let it matter what we call a thing.
Let it be the exquisite face for at least 16 seconds.
Let me LOOK at you.
Let me LOOK at you in a light that takes years to get here.
About the series:
Distance (February 17–April 7, 2019) is an exhibition that digs around the concept of “distance”—physical, chronological, intellectual, emotional, and geographic. The project is curated by artists Betsy Alwin and Steve Locke at the Dorsky Gallery Curatorial Programs in New York. They were inspired by Look, a poem by American-Iranian poet Solmaz Sharif’s, which explores the consequences of perceptions of difference and distance, and assembles her and her family’s fragmented narratives after war. The exhibition includes works by Skowhegan artists from different cultural backgrounds, who work in multiple locations around the country and the world. It brings together “works on paper,” in a diversity of shapes, sizes, materials and techniques as a reflection of the variety of contemporary art practices encompassed under that single rubric. The exhibition’s themes and concepts inspired a series of public programs.