PEOPLE YOU MUST LOOK AT ME
or

Badger & Coyote Were Neighbors

or

The Origin of Eternal Death

 

Suzanne Kite

For her first solo exhibition at Infinity Room, Oglala Lakota artist Suzanne Kite debuts PEOPLE YOU MUST LOOK AT ME or Badger & Coyote Were Neighbors or The Origin of Eternal Death, a set of discrete pieces that converse with one another in a performative, multi-media installation. Using data and narrative to deconstruct one another as she interweaves fiction and ‘the real’, Kite battles with the questions: “What is an indigenous narrative, and is data meaningless without narrative?” while trying to claim her body through its contextualization within her work.

 

The aesthetics of the work are an inquiry into the ways that technological and Native aesthetics can coexist when the culture is most often portrayed as artifacts of a time past. In this way, Kite compresses time to the duration of the viewer’s experience. The artist seizes this moment of singularity to pull our conceptions of Native identity forward, and roots our ideas about the future in the past.

 

By incorporating elements like her performance and sculptures that create their own data, Kite puts the relevance of ‘information’ up for critique. The sculptures reflect their immediate surroundings numerically: those who are reflected by the numbers, and those who decode and apply it are who bring meaning. Working with Devin Ronneberg and James Hurwitz for the piece 0,0,0,0,0,0,0,0..., Kite asks the viewer to revisit Robert Kerr’s Compression and Oppression in her constructed and cyclical singularity: the movement affects the data, and the data informs the interaction.

 

Kite’s use of synthetic and ephemeral materials brings us back to the awe of the 1946 New York Plastics Exposition, where material became the liaison to the future and all of its possibilities. During PEOPLE YOU MUST LOOK AT ME, Kite uses materials that are signifiers of progress to create numbers that correlate to her position while navigating a fluid indigenous topography. Changing the landscape through Kite’s navigation, she reveals possible approaches to her narratives for the future. She then gives context through the application of the data in media that supports her fictional setting.

 

Suzanne Kite is an Oglala Lakota performance artist, visual artist, violinist, and composer from Southern California, with a BFA from CalArts in music composition and a MFA candidate at Bard College’s Milton Avery Graduate School. Kite's work include drawings, animations, choreography, movement, electronic productions, arrangements for large ensembles, sound sculpture, gallery installation, text scores, and video compositions. Kite is influenced by writers such as Jorge Luis Borges, Francois Jullien, Nick Land, Rudy Rucker, and Jean Baudrillard. Recently, Kite has been developing a body interface for movement performances, carbon fiber sculptures,video & sound installations, and has recently launched the experimental electronic imprint, Unheard Records.

 

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James Hurwitz
is a Los Angeles native artist who practices sound engineering, digital fabrication, projection mapping, interactive design and event production with his design company Blueroar. His passion is to create transformational experiences through immersive interactive environments. His work has been featured at music and art festivals including Lightning in a Bottle, Lucidity, and Burning Man.

 

Devin Ronneberg is a Los Angeles based multidisciplinary artist and recent CalArts Music Technology graduate whose practice incorporates sound, light, sculpture, and hardware / software design to create installations and exhibits that engage audiences in multiple interconnected modalities. He is also a founding member of the LA label Private Selection Records and produces and performs live as Aerial. His work and the label have been featured by publications such as Resident Advisor, XLR8R, and Dummy Mag.

 

 

Performance & Reception: October 23rd, 8 pm

Second performance: November 5th, 7:30 pm