Kaleidoscope’s opening section is one of seasonal Highlights, where a dozen profiles account for the beast of the season. Here, we always feature a selection of the most up-and-coming young artists – in this issue Bunny Rogers, Eric Mack, Anicka Yi, Nancy Lupo, Than Hussein Clark, Ming Wong, and Melanie Matranga – accompanied by stories on exciting new spaces, such as Miami’s Guccivuitton, and experiences from other fields of contemporary culture, such as musician Holly Herndon and fashion label Études Studio. With Études we have also collaborated in the flesh on a Kaleidoscope merchandise line that will launch this summer.
Why did you choose Eric Mack for your Highlight section?
The images presented here are outtakes from a photo shoot by David Brandon Geeting with artist Eric Mack at his studio in Harlem, New York. Eric makes an inventive use of textile materials, creating works at the crossover of painting and sculpture with an acute sensibility in composition. He is currently an artist in residence at the borough’s iconic Studio Museum, where he will stage an exhibition this summer. From the window of his studio, which I visited a few weeks back, hangs the pole of David Hammons’ historic work African American Flag (1990). Not bad.
Who is Bunny Rogers? Why did you decide to include her?
Bunny Rogers was born in 1990 and is a representative of the 89+ generation, artists who were born after 1989 and thus have never experienced a world without the Internet. 89+ is a concept coined by Hans Ulrich Obrist and Simon Castets and developed into a multi-platform research project which, by the way, has an exclusive ongoing column in Kaleidoscope.
In Bunny’s work, the collaborative element of the web is transferred into real life and to any media necessary. Presented by her Berlin gallery Societé, she will have a solo exhibition in the Statements section of Art Basel this June.
Why did you pick Ibrahim Mahama?
Mahama is a Ghanaian artist born in 1987, whose work is currently exhibited as part of this year’s Venice Biennale, “All the World’s Futures,” curated by African superstar curator Okwui Enwezor. He has one of the most impressive and memorable works in Venice – a site-specific installation created covering the walls of the Arsenale with jute bags in various states of decay. Stitched together in collaboration with migrant workers, the bags form a gigantic patchwork blanket which evokes individual and collective narratives through the residual materials of capitalism.
Why did you choose Ming Wong?
Ming Wong is a Singaporean artist who lives and works in Berlin, whose queer practice uses drag as a device to interrogate time, race, language, space, age and history.
This article by Binghao Wong was originally published in the launch issue of Kaleidoscope Asia, our new sister publication dedicated to contemporary art and culture from the Asia-Pacific region. Currently, Ming Wong has an exhibition at the Ullens Center for Contemporary Art in Beijing, curated by Kaleidoscope Asia’s deputy editor Venus Lau.