Since 2002, Park Nights has commissioned practitioners in the fields of art, music, film, theatre, dance, literature and philosophy to create site-specific work in the summer Pavilion, offering unique ways of experiencing architecture and performance.
PARK NIGHTS 2018 PROGRAMME
Friday 13 July, 8pm
Since the beginning of her career in the 1960's, Dorothy Iannone has been making vibrant paintings, drawings, prints, films, objects and books, all with a markedly narrative and overtly autobiographical visual feel. Her oeuvre is like an exhilarating ode to an unbridled sexuality and celebration of ecstatic unity, unconditional love, and a singular attachment to Eros as a philosophical concept. She has had to frequently face censorship problems, in particular in the Friends' Exhibition organized by Harald Szeemann at the Kunsthalle Bern in 1969. Iannone later recreated the event in her well-known book,The Story Of Bern. Her works narrate the artist's life in intimate detail, transforming somewhat the feminist discourse of the 1960's, by emphasizing personal freedom and spiritual transcendence through complete devotion to, and union with, a lover. The New Museum presented Lioness, her first solo show in the United States in 2009. Her mixed media work " Was Thinking Of You was included in the Whitney Biennial in 2006. She has recently had major retrospectives, notably at Camden Arts Centre in London (2013), the Berlinische Galerie in Berlin (2014) and Migros Museum in Zurich (2014). Her installation Follow Me has recently been acquired by the Centre Pompidou, Paris. Iannone also recently received the BZ Kultur Preis in 2016. An exhibition of Iannone’s work is scheduled to take place at the Centre Pompidou in Paris in 2019.
Friday 20 July, 8pm
Meriem Bennani has been developing a shape-shifting practice of films, installations and immersive environments, interlacing references to globalized popular culture (music, reality TV, fashion) with the vernacular and traditional representation of her native Morocco’s culture and visual aesthetics that she captures with her iPhone. Composed with a wry humour and a subtle agility to misappropriate the clichés of North-African culture, her work questions our contemporary society and its fractured identities, gender issues and ubiquitous dominance of digital technologies. Music and dance are at the core of Bennani’s video work, such as in the animation iButt (2015) where an apple shakes to the sound of belly dance music; or her recent installation Siham & Hafida, commissioned by The Kitchen in New York and on view at Stanley Picker Gallery in London until 14 July 2018. Female presence is a very strong element throughout her visual realm, and in particular, the female characters of her family who are featured in most of her pieces. In Fardaous Funjab, a satire based on a reality TV show depicting a hijab designer, the main character is played by her mother, and, in Fly, she captures her grandma and aunt. The tools that Meriem Bennani uses in her work, such as humour and détournement, are in fact deeply engaged ways of dealing with identity politics, but with an infinite sense of distance and self-derision. Her recent solo shows include: Ghariba, Art Dubai, Dubai (2017); FLY, MoMA PS1, New York (2016); Gradual Kingdom, Signal Gallery, Brooklyn (2015); and Fardaous Funjab, Stream Gallery, New York (2015). Her work has also been shown internationally in group exhibitions including Commercial Break, Public Art Fund, New York (2017); Flying House, Shanghai Biennale (2016); Reality Bytes, Frank F. Yang Art & Education Foundation, Shenzhen (2016); We Dance, We Smoke, We Kiss, Flax Fahrenheit, LA (2016); Unorthodox, The Jewish Museum, New York (2016); ARA-B-LESS ?, Saatchi Gallery, London (2015); Surface Support, SIGNAL, Brooklyn (2015); NEWD Art Show, The 1896, New York (2015); Kick in the Door, MANA Contemporary, New Jersey (2015); UOVO x NEWD, Freehand, Miami (2014); Paste, Brooklyn (2014); and Humain trop humain, Palais de Tokyo, Paris (2014).
Friday 27 July, 8pm
Victoria Sin is an artist using speculative fiction within performance, moving image, writing, and print to interrupt normative processes of desire, identification, and objectification. This includes: drag as a practice of purposeful embodiment questioning the reification and ascription of ideal images within technologies of representation and systems of looking, science fiction as a practice of rewriting patriarchal and colonial narratives naturalized by scientific and historical discourses on states of sexed, gendered and raced bodies and storytelling as a collective practice of centering marginalized experience, creating a multiplicity of social contexts to be immersed in and strive towards. Drawing from close personal encounters of looking and wanting, their work presents heavily constructed fantasy narratives on the often unsettling experience of the physical within the social body. Their long-term project Dream Babes explores science and speculative fiction as a productive strategy of queer resistance, imaging futurity that does not depend on existing historical and social infrastructure. It has included science fiction porn screenings and talks, a three-day programme of performance at Auto Italia South East, a publication, and a regular science fiction reading group for queer people of colour.
Friday 3 August, 8pm
Kamasi Washington is a multi-instrumentalist, composer and producer from Los Angeles. His debut album, The Epic, was released in 2015 to rapturous critical reception, universally embraced as one of the best of the year and awarded the inaugural American Music Prize. His highly anticipated sophomore album Heaven and Earth, will be released on June 22nd.
Friday 10 August, 8pm
Founded by Telfar Clemens and since its inception in 2005, unisex line TELFAR has continually challenged the conventions of the fashion industry through unexpected executions, among them, mobile pop-up presentations, artistic instructional films (about topics like layering), and an online video game for adding colour to TELFAR pieces. TELFAR disrupts fashion conventions with its inclusive, democratically horizontal, “simplex” aesthetic (simple + complex). Laying the blueprint for today’s black avant-garde, TELFAR was genderless a decade before it became a trend, launching projects with a remarkably horizontal cultural impact—from collaborations with Solange Knowles at the Guggenheim Museum to designing the nationwide uniforms for over 10,000 employees of the US fast-food chain White Castle. After winning the 2017 Vogue/CFDA Fashion Fund, TELFAR is poised to take its place in the foreground of America’s fashion future.
Babak Radboy is an artist working exclusively within the professional idiom of an art direction. He is the creative director of the unisex clothing brand TELFAR and the non-profit platform Bidoun Projects. He was 'not the creative director' of the controversial IXth Berlin Biennale and has collaborated with artists and writers such as Roe Ethridge, Bjarne Melgaard and Chris Kraus. His commercial clients range from Kanye West and Hugo Boss to the fast-food chain White Castle.
Friday 7 September, 8pm
Yaeji’s music is an invitation into an intimate, healing, world exploring identity and self-reflection through dreamlike house productions that morph from whispery confessionals to dancefloor burners. Born in Queens, NY to South Korean parents, Yaeji repatriated to Seoul shortly after, where she spent her formative years attending school, learning Korean and English side-by-side. Yaeji returned to America to study fine arts, East Asian studies, and communication design at Carnegie Mellon University in Pittsburgh, Pennsylvania. Throughout her studies, Yaeji made a home for herself at the college radio station, where she was introduced to the local underground electronic music community and seminal club nights like Hot Mass, all formative experiences leading to her fascination with dance music production. With her fully-fledged music obsession in tow, Yaeji moved back to her birth city after graduation and began cultivating her own community of artists and DJs in Brooklyn’s local dance scene while recording music of her own. Yaeji’s first musical offering, her self-titled Yaeji EP, found the producer merging her club influences with songwriting and hazy raps flitting between Korean and English. Most recently, Yaeji followed up her debut with EP2, featuring singles “Drink I’m Sippin On” and “Raingurl.” EP2 marks Yaeji’s ascendance as a singular and leading voice in dance, hip-hop and avant-pop music.
Friday 14 September, 8pm
Megan Rooney is an enigmatic storyteller whose work expands across painting, performance, written and spoken word, sculpture and installation. The artist summons a cast of recurring characters that expand and contract across ephemeral incarnations—the self is not solid, nor are its narratives. Rooney’s references engage with materiality and the human subject and are deeply invested in the present moment: the festering chaos of politics with its myriad cruelties and the laden violence of our society, so resident in the home, in the female, in the body. Rooney creates site-specific installation, populated by figures and objects that lurk on the periphery of written and performed narratives. Environments are vacated and sinister, but also inviting and intimate, begging the question-who or what lives here? And when, or how, might they be reanimated? These recurring characters are neither reliable nor empathetic. For the viewer of the work, they hover somewhere between identification and critique, while also suggesting that each iteration of the artist’s work is merely a fragment of a larger whole, a gesamtkunstwerk that is ordered by no single framing mechanism. Rooney lives and works in London.
Friday 21 September, 8pm
Pedro Reyes studied architecture but considers himself a sculptor, although his works integrate elements of theatre, psychology and activism. His work takes on a great variety of forms, from penetrable sculptures (Capulas, 2002-08) to puppet productions (Baby Marx, 2008), (The Permanent Revolution, 2014). In 2008, Reyes initiated the ongoing Palas por Pistolas where 1,527 guns were collected in Mexico through a voluntary donation campaign to produce the same number of shovels to plant 1,527 trees. This led to Disarm (2012), where 6,700 destroyed weapons were transformed into a series of musical instruments. In 2011, Reyes initiated Sanatorium, a transient clinic that provides short unexpected treatments mixing art and psychology. Originally commissioned by the Guggenheim Museum in New York City, Sanatorium has been in operation at Documenta 13, Kassel (2012), Whitechapel Gallery, London (2013), and OCA, Sao Paulo (2015) among others. In 2013, he presented the first edition of pUN: The People’s United Nations at Queens Museum in New York City. pUN is an experimental conference in which regular citizens act as delegates for each of the countries in the UN and seek to apply techniques and resources from social psychology, theatre, art, and conflict resolution to geopolitics. pUN’s second edition took place at the Hammer Museum in Los Angeles (2015). The third General Assembly of pUN took place in December 2015 at the Museum of the 21st century in Kanazawa, Japan. In 2015, he received the U.S. State Department Medal for the Arts and the Ford Foundation Fellowship. In late 2016, he presented Doomocracy, an immersive theatre installation commissioned by Creative Time. He held a visiting scholar position at Massachusetts Institute of Technology’s for the fall of 2016, and he is currently conducting his residency at MIT’s CAST as the inaugural Dasha Zhukova Distinguished Visiting Artist. In addition to his artistic practice, Pedro Reyes has curated numerous shows and often contributes to art and architectural publications. He lives and works in Mexico City.