Screening: Trisha Baga's Mollusca & The Pelvic Floor (2018)
Followed by Q&A session with the artist, moderated by Prof. Pamela M. Lee
Wednesday, March 6 at 4:30pm
Loria Center 351 (190 York Street, New Haven)
RSVP essential: email email@example.com with subject line “Trisha Baga”
PLEASE NOTE: SEATING IS LIMITED.
The History of Art Department at Yale University is pleased to host the artist Trisha Baga for a screening of her 2018 two-channel video work, Mollusca & The Pelvic Floor, followed by a Q&A session modified by Prof. Pamela M. Lee. Baga’s screening is the inaugural event of the Art and Media Project, a multi-year series of lectures and publications organized by Prof. Lee.
Mollusca & The Pelvic Floor ”examines language, technology, identity, and intimacy, through an expanding and contracting scope that ranges from galactic footage sourced from the sci-fi movie Contact, to video of intimate minutia such as Baga’s toes peeking out from a bathtub, an image echoed in a pair of small ceramic sculptures on the floor. Mollusca & The Pelvic Floor loosely narrates Baga’s increasingly intimate relationship with Mollusca—the name and prompt Baga has given to the virtual assistant more commonly known as Alexa. Baga’s entanglement with Mollusca eventually becomes embodiment, narrated by descriptions of metamorphosis and inter-species contact from Octavia Butler’s Imago, Dan Brown’s Origin, and Michael Chrichton’s Sphere. Orchestrated between two projectors, which spill across the gallery floor, the video’s wild shifts in narrative scope are compounded by the elastic space Baga achieves with 3D video and layered audio.” (Description courtesy Greene Naftali.)
Trisha Baga lives and works in New York. Recent solo exhibitions include Mollusca & The Pelvic Floor, Greene Naftali, New York (2018); Biologue, Gallery TPW, Toronto (2018); Trisha Baga: CCC, Carpenter Center for the Visual Arts, Harvard College, Cambridge (2017); Biologue, 356 Mission Road, Los Angeles; Greene Naftali, New York (2015); Zabludowicz Collection, London (2014); Gio Marconi, Milan (2014) (cut); Peep-Hole, Milan (2013); Societe, Berlin (2013); Whitney Museum of American Art, New York (2012); and Greene Naftali, New York (2011). Her work belongs to the collection of the Whitney Museum of American Art, New York; Zabludowicz Collection, London/New York/Sarvisalo; Julia Stoschek Collection, Düsseldorf; Museum für Moderne Kunst, Frankfurt am Main; Moderna Museet, Stockholm; Aïshti Foundation, Beirut; and the Museum of Modern and Contemporary Art of Trento and Roverto.
About the Art and Media Project (AMP)
AMP is a platform for artists, scholars, curators and critics to reflect upon the most pressing questions informing the relationship between art, media and technology today. Each year of the program will be devoted to a single theme, explored from diverse perspectives and approaches, followed by a publication showcasing the results of our collective findings.
Our theme this academic year is Gender Technologies and Intersectional Code. Some 35 years after Donna Haraway published her groundbreaking manifesto on feminism and cyborg subjectivity, the topic of gender, media and technology has acquired greater significance and urgency relative to race, ethnicity, ability and sexuality.