6 October – 15 December 2018
Curator: Hannah Mathews
French artist Lili Reynaud-Dewar’s most recent project TEETH, GUMS, MACHINES, FUTURE, SOCIETY comprises a film and expanded installation of sculptural objects and text-based works. The project revolves around two interconnected cultural icons: ‘grills’ or teeth jewellery made of precious metals that are a status symbol in the rap and hip hop scenes; and Donna Haraway’s futurist essay, A Cyborg Manifesto (1985).
In this Australian première of her work, Reynaud-Dewar boldly ties these seemingly disparate elements together by appropriating grills as a ‘cybernetic’ prosthesis and means of social emancipation which she connects to Haraway’s essay and its focus on the cyborg as a way beyond the binary mindset of dichotomies such as nature/culture, man/woman, right/wrong, truth/illusion and self/other, envisioning a future without discrimination.
TEETH, GUMS, MACHINES, FUTURE, SOCIETY was originally commissioned by the Kunstverein in Hamburg, Museion in Bolzano, and de Vleeshal in Middelburg.
Arriving in October 2018. TEETH, GUMS, MACHINES, FUTURE, SOCIETY, is accompanied by a book published by Hatje Cantz and supported by MUMA, Kunstverein, Hamburg; Museion, Bolzano, and de Vleeshal; Middelburg.
Presented with Melbourne International Arts Festival.
Lili Reynaud-Dewar’s performance is supported by Institut Français.