Emotional Supply Chains, on view until July 17 at Zabludowicz Collection, London, addresses the construction of identity in the digital age. Featuring 17 leading international artists and including four new commissions, all works are drawn from the collection and produced since the year 2000. The show explores how a fluid sense of self is fabricated in our digital present via a supply chain of objects, ideas and experiences. Emotional Supply Chains is structured into three parts, each exploring aspects of contemporary identity: the dualities of self, the performed and networked self, and origins and renewal. Projects inspired by dualities of self include Simon Denny's, The Personal Effects of Kim Dotcom, 2013 (ongoing), reimagined for the main gallery space, and Korakrit Arunanondchai’s exploration of East and West pop cultural excess and spiritual depth in his video Painting with history in a room filled with people with funny names 3, 2015. In 2011, fascinated by how Facebook shapes the narratives of people’s lives, Ed Fornieles produced Dorm Daze, an ambitious project enlisting 32 volunteers to enact a three month long Facebook “sitcom”. For this exhibition, the archive of the performance has been reconceived in a new installation and sound piece. In the final section, artists examine the intersection of place and personal history. David Blandy’s installation Child of the Atom, 2010, for example, was inspired by a family myth connecting his late grandfather, a Japanese prisoner of war, and the atomic bombing of Hiroshima. Other artists on show include Frances Stark, Ann Hirsch, Aleksandra Domanović, Neïl Beloufa, David Raymond Conroy, Andrea Crespo, Michael Fullerton, Guan Xiao, Christopher Kulendran Thomas, Seth Price, Eloise Hawser and Pierre Huyghe.
In the labyrinthine walk across the space, plaster masks and faces appear, intertwined ceramic tongues talk to one another, fragments of texts poured into plaster balls are suspended at eye level. The exhibition unfolds then almost as a declaration of love to existence and to the body beyond the tangible. Galerie Chantal Crousel, Paris
In the beginning was the wall. Before geo-politics, Pink Floyd or wall-drawing was the structure itself: a divider between us and the rest of the world, it builds on the promise of all civilization, of protection and enclosure, of distinguishing that which we have claimed as ours from that which is not. Gladstone Gallery, New York