Resident Evil (2016) by Sondra Perry

In 1971, Sun Ra said “Black people need a mythocracy, not a democracy because they’ll never make it in history.…Truth is not permissible for me to use because I’m not righteous and holy, I’m evil, that’s because I’m black and I’m not subscribed to any types of righteousness.” Sondra Perry‘s new video installation examines this active disinterest in the respectability that blackness has been perpetually asked to earn by white culture, providing a site in which her work, as well its viewers, can begin to reimagine standing value systems and moral structures. Through the lens of the Alien movie franchise— one which has been providing allegories of colonialism and mutability for decades—Perry’s work asks: how do agents of power behave when their subjects become absolutely unpredictable, fluidly inhabiting societal norms in order to destroy them? How can these defiantly multiplicitous subjects be watched? And how is veracity redefined by this surveillance? Curated by Lumi Tan. – From the Kitchen’s site

Also, read this from Art in America about the show (short)

Jenny Holzer

Jenny Holzer’s truisms, such as “Abuse of power comes as no surprise” and “Protect me from what I want,” have appeared on posters, billboards, and even condoms, and as LED signs and monumental light projections. Whether questioning consumerism, describing torture, or lamenting death and disease, her use of language (sometimes mistaken for advertising when installed in public spaces) is designed to agitate and disturb. Holzer’s recent work ranges from silk-screened paintings of declassified government memos to a large-scale poetry and light installation in the lobby of 7 World Trade Center, New York.

Light Music (1975) by Liz Rhodes

Lis Rhodes’ installation, Light Music, experiments with celluloid and sound to push the formal, spatial and performative boundaries of cinema. As light beams from two film projectors positioned opposite each other, abstracted forms of light and shadow are created. Through this dynamic, the audience are encouraged to become active participants, moving through the beams and creating new forms. Here she discusses the process behind Light Music.

Pipilotti Rist

She likes red beets a lot. Her focus is video/audio installations because there is room in them for everything (painting, technology, language, music, movement, lousy, flowing pictures, poetry, commotion, premonition of death, sex and friendliness) – like in a compact handbag. Her opinon is: Arts task is to contribute to evolution, to encourage the mind, to guarantee a detached view of social changes, to conjure up positive energies, to create sensuousness, to reconcile reason and instinct, to research possibilities and to destroy clichés and prejudices.

Face to Face (2012) by Tony Oursler

With Tony Oursler’s singular, almost living objects, we are presented with an untraditional exhibition of video art focusing on the interaction between public and work. Face to Face takes the visitor along on a remarkable expedition in the spirit of Alice in Wonderland, who is suddenly and unexpectedly drawn through a deep hole to emerge in a world in which everything can happen.  We can be captured by the clinical interior of the exhibition in which white corridors lead visitors into a world of completely crazy, disturbingly amusing and fantastically impressive video installations. The staging of the exhibition mimics Oursler’s two-sided and slightly schizophrenic universe by being constructed in the form of a labyrinth in two sections. One section has twisting passageways clad with clinically white vinyl, rather like a mutated padded cell, while the other section is a dark but stringent labyrinth hiding fantastic secrets and reminiscent of a cross between a garden labyrinth and a rat laboratory.