Descripción de la Exposición
Jan 24–Mar 13, 2020 | July 30–Sep 7, 2020
New York-based artist Carissa Rodriguez (American, born 1970) creates artworks that explore the material and social conditions of art’s reproduction and circulation.
This exhibition features Rodriguez’s film The Maid (2018), which takes its name from a 1913 short story by Swiss writer Robert Walser. The story traces a devoted caregiver’s 20-year journey in search of a young girl who got lost while in her care. Rodriguez’s film orbits around conceptual artist Sherrie Levine’s 1993 Newborn sculptures, a series of works that are themselves casts of sculptures by early 20th-century artist Constantin Brancusi. The film tracks six of Levine’s Newborns across the world through private residences, a museum storage facility, and an auction house, providing the viewer with a prolonged contemplation of their journey.
Also highlighted in the exhibition is a second video work, The Girls, filmed on a playground in Rodriguez’s Chinatown neighborhood in 1997 and recently edited to accompany The Maid. Shown alongside these video works is All the Best Memories Are Hers, a photographic portrait of embryos taken with an EmbryoScope, a hybrid instrument that is at once an incubator and a time-lapse camera. Metaphors of creation, reproduction, and the passage of time unite the three works in this exhibition, the artist’s first in Chicago.
Exposición. 24 ene de 2020 - 07 sep de 2020 / Art Institute of Chicago / Chicago, Illinois, Estados Unidos
Exposición. 31 oct de 2024 - 09 feb de 2025 / Artium - Centro Museo Vasco de Arte Contemporáneo / Vitoria-Gasteiz, Álava, España
Formación. 16 nov de 2024 - 17 nov de 2024 / Bizkaia Aretoa / Bilbao, Vizcaya, España
La mirada feminista. Perspectivas feministas en las producciones artísticas y las teorías del arte
