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Exhibition Catalog Writing, Performing, Curating, Replacing Home of Minnesota Press, 2012). In order to make into a portable dwelling structure and nomadic Retaining the same name, the exhibition Replac- With snow tracing the frozen ground, it is the publically visible the displacement of certain social system, while Do Ho Suh creates an exact fabric ing Home activates the open-endedness of both first week of February in Milwaukee, WI – a high bodies and the networks of dependency required replica of his childhood home in Seoul to roll my concept of replacing and of the infrastruc- of 15 degrees and a low of -5 (give or take a to re-situate us all over time, the book navigates up and take with him. Presenting a particular tural relations of home, while suggesting that few) – and I am standing on a rock along the edge a path that begins by acknowledging idealized material’s genealogy over time as remembered both written and curated platforms are equally of Lake Michigan, wearing my book. Or rather, historical narratives of individually situated dwell- and misremembered, Jim Charles’ Towel Rack integral, and that there could, as yet, be further pages of my manuscript painstakingly printed ing and that moves towards a program for socially gestures towards an unknown object’s past uses, instantiations. As a method and system of being on blush-colored tissue paper, then sewn and engaged spatial situation, in which temporary, and its potentially endless reuses and reincarna- and belonging, replacing identifies an infinitely sculpted onto a short slip. Almost a year ago, visible, cohesive and public moments of being in tions. For designer Hussein Chalayan, transfor- extendable act of being in the place of something Milwaukee-based photographer Jessica Kaminski place are continuously re-determined. Home, as mations in garments afford hidden possibilities or someone again, without fully taking that object, launched The Home Project, an ongoing series both a material structure and an experience of that may help situate wearers as they are forced site, or body’s place. Looping forwards and back of conceptual garments and images that examine belonging, becomes viable through a system of to move, while Lucy Orta’s Refuge Wear offers over time, as current, absent and remembered specific embodied experiences of belonging in and replacing that reinstates embodied interactions emergency relief shelters and communities that forms of home coalesce, both book and exhibition out of place. I had just finished writing Replacing in specific sites by way of constantly renewable make visible the plight of those without homes. catalyze precarious moments and sites of material Home, and had moved from Berkeley, CA to structural analogies, substitutions and surrogacies. Performing the impulse for social connection, Lisa reconnection between readers, makers, viewers Milwaukee. She asked me what I brought with me Hecht’s series of photographs track her efforts to and the various spatial situations in which they are to my newly adopted city; I said mainly my books. As a book, Replacing Home refuses an ending, communicate with the world outside her studio momentarily enmeshed. So there I am, standing with arms outstretched, but instead challenges us to continue asking during a month-long installation. Indeed, commu- vulnerably encased in my own words – about the what it means to be and belong, to find new nity formation and social cohesion frame the basis As for me, this past August, jet-lagged a day after possibility of being in place, of coming together and different proposals, and above all to remain for any kind of belonging in place, as evident in the flying back from Tokyo, I am encased in another with and apart from others over time, of reusing unsure whether or not home is possible – as if the work of Rafael LozanHemmer, Nathaniel Stern, Kaminski dress, this one resembling a cocoon. and resituating structures of belonging – as only assurance is to keep asking the question of and Yevgeniya Kaganovich. Lozano-Hemmer’s This time, I am standing on Baker’s Beach in San rematerialized so delicately into my only protection ourselves, and of others, in varying and particular Relational Architecture asks real and virtual Francisco, on the shores of the city I was born against the elements. It is not enough, and it is circumstances. The Home Project initiated an participants to cooperate in revising their experi- in, where my family lives, and where, amongst all everything. expansion of the book’s parameters, by perform- ences of public buildings and sites. In Nathaniel my travels, I keep returning. I close my eyes and ing my ongoing desire to keep questioning and Stern’s Sentimental Constructions, public space tilt my head back. It is not everything, and it is What does it mean, now, to be and belong in one to stay uncertain. This group exhibition, which is performed alongside and through minimal enough. place and with another? This is the most basic includes artists from the book and others who architectural structures that rely on communal and enduring question that drives the conceptual generate new dialogues with it, is the next step. play and improvised collaborations. Yevgeniya - Jennifer Johung foundation, theoretical framework, historical Kaganovich’s mouth pieces, in turn, propose Los Angeles, January 2012 context, and reasoning behind the range of artists, Signaling the necessary portability of structural that intimate, unequal and frustrated interactions www.johung.com designers and architects explored in my book, habitations that respond to our ever-increasing between two people can offer contingent Replacing Home: From Primordial Hut to movements across the globe, Lot-ek’s Mobile moments of social dependency that result in the Digital Network in Contemporary Art (University Dwelling Unit transforms a shipping container creation of new spaces of connection. 1 2 HUSSEIN CHALAYAN Afterwords (Autumn/Winter 2000 Womenswear Collection) Bio: Statement: Hussein Chalayan is an internationally regarded Afterwords was inspired by the horror of having fashion designer who is renowned for his innova- to leave your home at the time of war. Initially tive use of materials, meticulous pattern cutting Chalayan took his inspiration from how Turkish and progressive attitude to new technology. He Cypriots (including members of Chalayan’s fam- was educated both in Cyprus and England. He ily) were subjected to ethnic cleansing in Cyprus has twice been crowned British Designer of the prior to 1974 (as there were attempts to annex Year (1999, 2000). Chalayan is inspired by Cyprus to Greece). After talks with his family, architectural theories, science and technology. Chalayan explored the idea of how we may want He has been involved in numerous international to hide our possessions of how we may want to exhibitions, including ‘Radical Fashion’ at the carry them with us on departure in such an ordeal. V&A Victoria & Albert museum in London (1997), In this light, a living room was created where ‘Fashion’ at the Kyoto Costume Institute in Japan clothes were disguised as chair covers, suitcases (1999), ‘Airmail Clothing’ at the Musée de la Mode, as chairs, and each object in the room fit into a Palais du Louvre in Paris (1999), the Istanbul special pocket that was specifically designed to Biennial (2001) and ‘Goddess: the classical mode’ contain them. at the Museum of Modern Art in New York (2003). Chalayan has also designed costumes for opera http://www.husseinchalayan.com and dance performances. He represented Turkey at the 51st Art Biennale in Venice (2005). He was awarded the M.B.E. in the 2006 Queen of England’s birthday honors list for his services to the fashion Industry. In 2009, London’s Design Museum presented the first exhibition of the designer’s work in his adopted country, although the show was based on a presentation at a museum in Groningen, the Netherlands, in 2005. 3 4 JIM CHARLES Towel Rack (2011) Bio: Jim Charles is a Pennsylvania born artist currently Despite the sophisticated tools utilized in making living and working in Milwaukee, Wisconsin. He the replacement, it is a mere approximation of the received a degree in Jewelry and Metalsmithing original, unable to replace it in meaning, value and from the State University of New York at New function. This work examines what is invested Paltz in 2002. His work is represented by Heidi in each object: traces of function within the built Lowe Gallery in Rehoboth, Delaware. Locally it environment, and the evidence of daily life that is on view at 3rd Ward Jewelry in Milwaukee and has been left behind. Magpie Jewelry and Metals Studio in Wauwatosa. Statement: The diptych “towel rack” consists of two opposing architectural panels, one containing a remnant of a domestic environment, the other – its replace- ment. One modality persists as an architectural remnant, a physical reminder of functional life, representing a missing history, a lost function, a trace memory. What remains leaves the ques- tions of why it is missing, how and when it was removed. The other exists as a replacement of what was lost or forgotten. The trace is replicated with the use of new technologies, a futile attempt to remember/represent what is missing in form, without being able to determine and reproduce the original function. 5 6 LISA HECHT I have been here for one month and nobody has written to me yet (2002) I sometimes wonder what you are thinking about when you stand there (2002) Difficulty Sleeping (2002) Bio: Statement: Lisa Hecht was born in Montreal, Canada and I have been here for one month and nobody has currently lives in Philadelphia, PA. She received written to me yet, is a series of photographs of an her MFA from The School of the Art Institute of installation created in my live/work studio in Basel, Chicago in 1999 and her BFA from Concordia Uni- Switzerland during a residency at the International versity in Montreal in 1994.
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