The artistic aromas of Anicka Yi

The First Art Newspaper on the Net    Established in 1996 Thursday, March 28, 2024


The artistic aromas of Anicka Yi
Anicka Yi at Tate Modern in London with her “biologized machines” that will float and undulate in the museum, Oct. 6, 2021. The conceptual artist has taken over Tate Modern’s Turbine Hall with an odorous work to excite the senses. Lauren Fleishman/The New York Times.

by Tess Thackara



NEW YORK, NY.- Six years ago, artist Anicka Yi created an exhibition on a theme that now feels eerily prescient: human fears of viral contagion. After an ebola case was confirmed in New York, unsettling city life and causing months of anxiety, Yi set up tents at The Kitchen arts venue in New York City to display petri dishes containing bacteria she had gathered from 100 women.

For Yi, 50, the germs and microbes that pass between us are key to understanding how humans respond to one another. And the air that we breathe is where much of this molecular exchange takes place.

Now as she takes over Turbine Hall at Tate Modern in London for a solo presentation running from Tuesday through Jan. 16, 2022, Yi has made air her primary material and subject.

When visitors enter the cavernous, industrial hall, they will encounter a series of giant airborne creatures that look like the ethereal cousins of jellyfish and amoeba, brought to life with drone technology and algorithms.

The hall will also be filled with another, less tangible, suggestion of microbial life: an aroma that will change from week to week, conjuring the fragrant history of the Bankside area around the museum, from the Precambrian and late Jurassic eras to the Machine Age. Among the scent profiles Yi has created are those that represent more noxious periods in London history, including the smells of cholera and the bubonic plague.

The ecosystem of Turbine Hall, as Yi has envisioned it, “is the site of all this biological entanglement,” she said in a recent video interview from London, where she was installing the “aerobes,” or “biologized machines,” as she calls them, that float and undulate in the space.

“I want to foreground the idea that air is a sculpture that we inhabit,” she said.

Olfactory experience and overlooked or maligned organisms — like bacteria, algae and amoeba — have long been central components of Yi’s work. Curator Lumi Tan, who worked with Yi on her 2015 exhibition at The Kitchen, remembers seeing an early work by the artist of an image projected onto a block of tofu.

“With the heat of the projection and the tofu being unrefrigerated, you could see the tofu sweating,” Tan said in an interview. “You could smell it.”

“She is fearless about making those things that we don’t like to see on a daily basis” — like signs of decomposition and contamination — “the center of an exhibition,” she added.

Yi’s work with odors runs the gamut from the emotional to the sociopolitical, illuminating her interest in the way the human nose has been conditioned by outside forces. She has cultivated a smell to represent the experience of forgetting, created an “immigrant” aroma and recreated the scent of a New York showroom owned by art dealer Larry Gagosian.

“I talk a lot about how power has no odor,” Yi said. “This is why you should not be smelling any odors when you walk into a gallery in Chelsea, or when you walk into a bank,” she added. “These are places of power and sterility, oftentimes associated with the masculine.” Her scents can be read as feminist subversions of the primacy of the visual in art and the Enlightenment’s celebration of the human brain as the seat of all intelligence.

“I think that smell opens up an incredible, totalizing potential for art,” Yi said. “Smell alters our chemicals. It shapes our desires. It can also make us gravely ill. There is always going to be biological risk, social risk, when we talk about air.”




Yi’s floating forms respond to the air in Turbine Hall in unpredictable ways, with each of the tentacular, bulbous creatures programmed to display its own set of behaviors. Heat sensors installed throughout the space allow them to detect the presence of visitors — and may prompt one or two of them to float down, hovering a few feet over visitors’ heads.

The interest in algorithms is a recent development, but it builds on ideas that run through Yi’s artistic career. In the 2019 Venice Biennale, she presented a series of translucent cocoons made of kelp skins and inhabited by animatronic flies. A complementary installation of hanging vitrines housed soil and bacteria, with artificial intelligence monitoring the bacteria’s behavior, learning from it and adjusting the climate inside.

Yi said she hoped to return machines to nature: She wants them to manifest and represent the intelligence of diverse life-forms, not just human intelligence. And she wants them to learn from embodied experience.

“It seems to me that that’s where we should be heading with our AI research,” Yi said, “as opposed to artificial intelligence that is ostensibly pure cognition and disembodied.”

For many of us, the prospect of autonomous machines freely occupying the living world may summon dystopian nightmares, but Yi said she was optimistic: “I want to break the binary that we have with machines that is purely adversarial,” she explained. “Machines are not going away, and there is still time for us to shape and develop them in a more gentle and compassionate way.”

It is this attribute that sets Yi apart as an artist, said Barbara Gladstone, her dealer. “I’ve always been interested in those artists who use what’s available in the present: technologically, scientifically, culturally,” she said. “Those artists open doors, and are realists. They are not sentimental about the world that they live in.”

Far from being sentimental about the world, Yi remembered feeling removed from nature as a child in suburban Southern California. But when she found her way to art-making in her 30s — after dabbling in various other careers — it was in large part because of her own biology.

In her youth, Yi experienced persistent and chronic stomach troubles that doctors struggled to diagnose.

“I would almost say that my gut problems launched my art practice,” she said. After moving to New York in the 1990s, after a stint in London, Yi fell in with a circle of artists and began researching microbiology, experimenting with tinctures and making sculptures that expressed her preoccupation with metabolism. One 2010 artwork was of a transparent Longchamps handbag containing a cow’s stomach submerged in hair gel.

In the interview, Yi was reluctant to dwell on the details of her past, something she explored in a 2015 exhibition at Kunsthalle Basel in Switzerland. For that show, she created new artworks that referenced old ones, suggesting their evolution over time; an accompanying catalog was ritually burned, emitting a fragrance laced in the paper — the aforementioned scent of forgetting.

“I was obsessed with the future,” Yi recalled of this period. “I had convinced myself that I was brought from the future to compost our present, so that we could transition to the future.”

Indeed, much of Yi’s earlier work seems concerned with metabolizing the world — including her own physical and emotional experiences — into microbial matter. Her past materials have included snail excretions, shaved sea lice and the rubber sole of a Teva sandal ground to dust.

With her Turbine Hall presentation, Yi said she hoped to “decenter the human” and cultivate empathy for nature and machines, creating a sense that we can all coexist in harmony in a perpetual state of exchange and mutual learning.

“The attempts to seal the borders — and I mean that in all senses it might conjure — is symptomatic of our fears and anxieties,” Yi said. Instead, she said, we should let it all flow together. “There is nothing but ceaseless porousness.”

This article originally appeared in The New York Times










Today's News

October 12, 2021

Julien Dupré Virtual Catalogue Raisonné is Now Live

Ketterer Kunst to offer a seminal work by Egon Schiele

Christie's to offer Banksy painting from the collection of Sir Paul Smith

The artistic aromas of Anicka Yi

Richard Schultz, designer who made the outdoors modern, dies at 95

Phillips presents Art For Change: Comic Relief x Phillips

Philadelphia Museum of Art opens the first major retrospective exhibition of the work of Emma Amos

MFA Boston displays two iconic Harriet Powers quilts together for the first time

Hammer Museum and ICA LA present 'Witch Hunt'

Kehinde Wiley's Portrait of Melissa Thompson goes on display at the V&A

Theaster Gates delivers conceptual sermons on the meaning and significance of clay in expansive new survey

Pradiauto presents the group exhibition 'De Oro en su Núcleo'

Ingrid Swenson to leave PEER

Art Gallery of New South Wales exhibits a collection of historically significant works from Western Desert artists

The City in Masks: Photographs by Francesca Magnani on view at the Consulate General of Italy in New York

North Carolina Museum of Art commissions campaign inspired by Alphonse Mucha exhibition

Woody Auction to offer the lifetime collection of Dr. Peter and Grace Jochimsen

The ICA presents Channel B by Nine Nights, an audiovisual exploration of Black futurism

Gauri Gill's first solo exhibition with James Cohan opens in New York

The 15-Minute City wins £100,000 OBEL Award for architecture

Underground Museum looks to Philadelphia curator

Bernard Tapie, French tycoon, actor and politician, dies at 78

Superman comes out, as DC Comics ushers in a new man of steel

Dottie Dodgion, a standout drummer in more ways than one, dies at 91

Issues to consider when downloading Instagram videos via IG downloader

Things to consider before starting a YouTube channel

5 SEO Wordpress plugins for beginners

Discord: Everything You Should Know




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit
Attorneys
Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful