Note: GeoVanna Gonzalez’ exhibition at Locust Projects, originally scheduled to open April 3, 2020, was postponed due to COVID-19.
GeoVanna Gonzalez’s solo show at Locust Projects, HOW TO: Oh, look at me, is an act of intersemiotic translation. The words / commas / syntax of Martin Jackson’s poem ‘No Rothko’ have been translated into the metal / bolts / corners of Gonzalez’s installation.
The poem is taken from Jackson’s open-source poetry collection: www.tutorials.fyi. Written and shared in Google Docs, readers are invited to comment and edit on the poems. The collection is always completing, never completed. The invitation in this show is to see Gonzalez’s work in a similar light, as open-source installation. The work only becomes itself through us within it; we are the figuration.
How often are we alone with our own first-person? How often do we stop looking for flattering backdrop and light? Be inside yourself, the installation says. Look for looking’s sake. Listen to the rhythms of Miami rain. This is meditational aesthetics.
As the fifth iteration of her HOW TO series, this show deepens Gonzalez’s commitment to creating provocative, participatory social spaces within institutional settings. As acts of queer infiltration, class-aware interventionism, her work wants us to see and explore, to dance and read-out-loud the potential of our embodied cognition. The poem translated for this show reads: “We are, all of us, edgeless, / and senseless.” There is no self without space. No you without where you are.
Oh, look at you.
ABOUT THE ARTIST
GeoVanna Gonzalez is a Miami/Berlin-based artist. Interested in producing alternative environments, her work explores the connections between private and public spaces through interventionist and participatory art, new forms of collaboration and deliberate collectivity. Recent works have focused on making public art more inclusive and queer, as a way of opening up different and deeper ways of seeing-through and being-in our environments. When we open every window (2019), a solo show at Gr_und in Berlin, Germany, was a participatory social sculpture, a real-life rendering of a house from Gonzalez’s childhood in Inglewood, LA. Play, Lay, Aye (2019) at the Bass Museum, Miami, was a modular structure activated by dancers, poetry readings, day-to-day visitors. She is founder and curator of Supplement Projects, an alternative art space & community meeting point based in a communal home and a studio in Miami; co-founder of performative reading club Read What You Want!; and member of queer/feminist arts collective COVEN Berlin.
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