Furen Dai and Annalisa Alloatti & Mirella Bentivoglio
The Broodthaers Society of America is pleased to present Furen Dai and Annalisa Alloatti & Mirella Bentivoglio. For this exhibition, New York artist Furen Dai has made a series of site-sensitive sculptures that are informed by the architecture of the Broodthaers Society and in response to Storia del monumento, a concrete poem by Annalisa Alloatti & Mirella Bentivoglio.
Furen Dai is interested in the symbiosis between her work, herself, and the institutions they inhabit. She approaches language, architecture, image production, and display with a mix of critical engagement and ambiguity. The effect of her work, however, is not so much an artist dealing with uncertainty as that of a forensic architect reimagining systems of control. Dai's sculptures are materially rich and labor intensive. They rely on an ancient technique for preparing a ground in which an admixture of chalk and rabbit skin glue is repeatedly applied, sanded, and reapplied. The resulting objects appear to have been recovered from memory or approximated from language. When lined up on the floor or stacked vertically, however, they produce a powerful sense of innuendo.
Storia del monumento (1968) is a serial concrete poem that graphically erects, destabilizes, and then topples the Italian word for "monument" out of the letters that make it up. Alloatti & Bentivoglio playfully rearranged the letters like two children playing with alphabet blocks, stacking them higher and higher so that the structure inevitably teeters and falls. In their telling, however, the story of the monument feels more like a liberation from convention than a tragedy of culture or history, suggesting, rightly, that some conventions very well need to be dismantled. It's significant that Alloatti & Bentivoglio's Storia del monumento conveys this sentiment with as more glee than malice.
Furen Dai (Changsha, China, 1988) earned a BA in Russian Language and Literature from Beijing Foreign Studies University, Beijing, and an MFA from the School of the Museum of Fine Arts at Tufts University, Boston. She has participated in the New England Triennial, the Moscow International Video Art Festival, and the Edinburgh Artists' Moving Image Festival. Recently she has published Temporal Text, a critical analysis of the terms of identification used throughout the history of the United States Census (Asian Art Archive, Hong Kong, 2023), and a contribution to Best! Letters from Asian Americans in the arts, an epistolary manifesto published by Paper Monument (Brooklyn, 2021). She is an alumnus of numerous residency programs, most notably the ZK/U Center for Arts and Urbanism, Berlin, and the International Studio and Curatorial Program, New York.
Annalisa Alloatti (Torino, 1926–2000) was a graphic artist whose work plied the space between visual and textual communication. Her work employed paravisual elements such as dots, time stamps, graphic shapes, and Braille, as well as nonverbal intonations. She participated in Arti visive. Poesia visiva (1976) and Mirella Bentivoglio's Materializzazione del linguaggio, the landmark group exhibition organized as part of the 1978 Venice Biennale. Important publications include Finzione [Fictions] and Cecità [Blindness], both published in 1975.
Mirella Bentivoglio (Klagenfurt, 1922–2017) grew up in Milan where she published her first poetry collection, Giardino, in 1943. By the mid-1960s she had abandoned conventional poetry for more visual- and material-based approaches, from typography and sculpture to concrete poetry and live performance. She was equally polymathic professionally, having worked as a professor, an art critic, and a curator in addition to being a poet and visual artist. The Benton Museum of Art at Pomona College published the first English-language monograph on her work in 2015, and she was a key figure in Primary Information's Women in Concrete Poetry: 1959-1979, edited by Alex Bagliu and Mónica de la Torre.
Furen Dai is interested in the symbiosis between her work, herself, and the institutions they inhabit. She approaches language, architecture, image production, and display with a mix of critical engagement and ambiguity. The effect of her work, however, is not so much an artist dealing with uncertainty as that of a forensic architect reimagining systems of control. Dai's sculptures are materially rich and labor intensive. They rely on an ancient technique for preparing a ground in which an admixture of chalk and rabbit skin glue is repeatedly applied, sanded, and reapplied. The resulting objects appear to have been recovered from memory or approximated from language. When lined up on the floor or stacked vertically, however, they produce a powerful sense of innuendo.
Storia del monumento (1968) is a serial concrete poem that graphically erects, destabilizes, and then topples the Italian word for "monument" out of the letters that make it up. Alloatti & Bentivoglio playfully rearranged the letters like two children playing with alphabet blocks, stacking them higher and higher so that the structure inevitably teeters and falls. In their telling, however, the story of the monument feels more like a liberation from convention than a tragedy of culture or history, suggesting, rightly, that some conventions very well need to be dismantled. It's significant that Alloatti & Bentivoglio's Storia del monumento conveys this sentiment with as more glee than malice.
Furen Dai (Changsha, China, 1988) earned a BA in Russian Language and Literature from Beijing Foreign Studies University, Beijing, and an MFA from the School of the Museum of Fine Arts at Tufts University, Boston. She has participated in the New England Triennial, the Moscow International Video Art Festival, and the Edinburgh Artists' Moving Image Festival. Recently she has published Temporal Text, a critical analysis of the terms of identification used throughout the history of the United States Census (Asian Art Archive, Hong Kong, 2023), and a contribution to Best! Letters from Asian Americans in the arts, an epistolary manifesto published by Paper Monument (Brooklyn, 2021). She is an alumnus of numerous residency programs, most notably the ZK/U Center for Arts and Urbanism, Berlin, and the International Studio and Curatorial Program, New York.
Annalisa Alloatti (Torino, 1926–2000) was a graphic artist whose work plied the space between visual and textual communication. Her work employed paravisual elements such as dots, time stamps, graphic shapes, and Braille, as well as nonverbal intonations. She participated in Arti visive. Poesia visiva (1976) and Mirella Bentivoglio's Materializzazione del linguaggio, the landmark group exhibition organized as part of the 1978 Venice Biennale. Important publications include Finzione [Fictions] and Cecità [Blindness], both published in 1975.
Mirella Bentivoglio (Klagenfurt, 1922–2017) grew up in Milan where she published her first poetry collection, Giardino, in 1943. By the mid-1960s she had abandoned conventional poetry for more visual- and material-based approaches, from typography and sculpture to concrete poetry and live performance. She was equally polymathic professionally, having worked as a professor, an art critic, and a curator in addition to being a poet and visual artist. The Benton Museum of Art at Pomona College published the first English-language monograph on her work in 2015, and she was a key figure in Primary Information's Women in Concrete Poetry: 1959-1979, edited by Alex Bagliu and Mónica de la Torre.