University
Art
Galleries
New Opening Date:
The Intimacies Between Continents brings t ogether the work of Sula Bermudez-Silverman\, Danielle Dean\, and Africanu s Okokon — three contemporary artists who work across video\, sculpture\, and installation to unearth the often forgotten material traces of the his torical processes that produced global capitalism. The show borrows its ti tle from The Intimacies of Four Continents (2015) by Lisa Lowe\, in which she ties seemingly private\, individualized domestic tranquility to broade r systems of extraction. In contradistinction to the dominant notion of in timacy as “being personally intimate”\, (i.e. an emotional\, typically rom antic relationship between two people within/and in relation to bourgeois domesticity and marriage)\, Lowe associates the word as “residual” and “em ergent” forms of connection: implied but less visible forms of alliance an d affinity among variously colonized peoples upon which that dominant mode depends.
We might think of the difference as a matter of distance . Seen from a certain angle\, the story of modernity is one of distance\, of vast distances being collapsed\, a story of obstacles overcome: space a nd time gradually made irrelevant by technological progress. Past events r endered eternally visible on screens viewed from the comfort of one’s own couch. Goods—manufactured\, assembled\, and sold on disparate continents—d elivered with the merest gesture\, a flick of a finger. These activities n ecessarily occur within the home\, the place where intimacy must occur\, b etween two lovingly possessive individuals. They nestle against each other \, satisfied.
All this is further structured by desire\, an acquis itive desire: to have and to hold. To possess. To defend\, because such bl iss is invariably fragile. The artists in this show shed light on the ways in which these dominant forms of intimacy and their attendant comforts of consumption are materially reproduced. They re-enact the construction of trading castles and re-purpose the sea chests that conveyed goods from con tinent to continent. They index the raw materials—rice\, salt\, sugar\, go ld—whose fevered exchange ushered in the modern era. Collectively\, the wo rks in this exhibition scrutinize the racialized and gendered structures o f economic power that undergird idealized domesticity—and in so doing\, pe rform and instantiate an emergent intimacy.
Image credit: Sula Be rmudez-Silverman\, Detail of White Zombie\, 2020\, Image courtesy of the a rtist.
Learn more about the exhibition\, including artist a nd curator bios\, here.
\nUniversity
\nArt
\nGalleries
Department of Art: 949-824-4917 | art.arts.uci.edu | S
tuArt@uci.edu
\nUniversity Art Galleries: 949-824-9854 | uag.art.arts
.uci.edu | gallery@uci.edu
\nGallery hours: Tuesday-Saturday\, noon-6
p.m.
Free admission
Know Before You Go
Please visit our secure direct giv
ing page and make a gift to support the Department of Art today!
\nMake a Gift
DTSTART;TZID=America/Los_Angeles:20250208T120000 DTEND;TZID=America/Los_Angeles:20250405T180000 LAST-MODIFIED:20250920T015121Z SUMMARY:The Intimacies Between Continents TRANSP:OPAQUE X-ALT-DESC;FMTTYPE=TEXT/HTML:The Intimacies Between Continents Curated by C oleman Collins Artists:
New Opening Date:< br /> Feb. 8-April 5\, 2025
The Intimacies Between Contine nts brings together the work of Sula Bermudez-Silverman\, Danielle Dean\, and Africanus Okokon — three contemporary artists who work across video\, sculpture\, and installation to unearth the often forgotten material trace s of the historical processes that produced global capitalism. The show bo rrows its title from The Intimacies of Four Continents (2015) by Lisa Lowe \, in which she ties seemingly private\, individualized domestic tranquili ty to broader systems of extraction. In contradistinction to the dominant notion of intimacy as “being personally intimate”\, (i.e. an emotional\, t ypically romantic relationship between two people within/and in relation t o bourgeois domesticity and marriage)\, Lowe associates the word as “resid ual” and “emergent” forms of connection: implied but less visible forms of alliance and affinity among variously colonized peoples upon which that d ominant mode depends.
We might think of the difference as a matter of distance. Seen from a certain angle\, the story of modernity is one of distance\, of vast distances being collapsed\, a story of obstacles overc ome: space and time gradually made irrelevant by technological progress. P ast events rendered eternally visible on screens viewed from the comfort o f one’s own couch. Goods—manufactured\, assembled\, and sold on disparate continents—delivered with the merest gesture\, a flick of a finger. These activities necessarily occur within the home\, the place where intimacy mu st occur\, between two lovingly possessive individuals. They nestle agains t each other\, satisfied.
All this is further structured by desire \, an acquisitive desire: to have and to hold. To possess. To defend\, bec ause such bliss is invariably fragile. The artists in this show shed light on the ways in which these dominant forms of intimacy and their attendant comforts of consumption are materially reproduced. They re-enact the cons truction of trading castles and re-purpose the sea chests that conveyed go ods from continent to continent. They index the raw materials—rice\, salt\ , sugar\, gold—whose fevered exchange ushered in the modern era. Collectiv ely\, the works in this exhibition scrutinize the racialized and gendered structures of economic power that undergird idealized domesticity—and in s o doing\, perform and instantiate an emergent intimacy.
Image cre dit: Sula Bermudez-Silverman\, Detail of White Zombie\, 2020\, Image court esy of the artist.
Learn more about the exhibition\, includ ing artist and curator bios\, here.
University
Art
Galleries
Depart
ment of Art: 949-824-4917 | art.arts.uci.edu | StuArt@uci.edu
Univer
sity Art Galleries: 949-824-9854 | uag.art.arts.uci.edu | gallery@uci.edu<
br /> Gallery hours: Tuesday-Saturday\, noon-6 p.m.
Free ad mission
Please visit our secure di rect giving page and make a gift to support the Department of Art today! Make a Gift
END:VEVENT BEGIN:VEVENT UID:65366564-6137-4437-b233-643934643039 DTSTAMP:20260608T103047Z CLASS:PUBLIC CREATED:20250920T015121Z DESCRIPTION:The Intimacies Between Continents Curated by Coleman Collins Artists:
New Opening Date:
The Intimacies Between Continents brings t ogether the work of Sula Bermudez-Silverman\, Danielle Dean\, and Africanu s Okokon — three contemporary artists who work across video\, sculpture\, and installation to unearth the often forgotten material traces of the his torical processes that produced global capitalism. The show borrows its ti tle from The Intimacies of Four Continents (2015) by Lisa Lowe\, in which she ties seemingly private\, individualized domestic tranquility to broade r systems of extraction. In contradistinction to the dominant notion of in timacy as “being personally intimate”\, (i.e. an emotional\, typically rom antic relationship between two people within/and in relation to bourgeois domesticity and marriage)\, Lowe associates the word as “residual” and “em ergent” forms of connection: implied but less visible forms of alliance an d affinity among variously colonized peoples upon which that dominant mode depends.
We might think of the difference as a matter of distance . Seen from a certain angle\, the story of modernity is one of distance\, of vast distances being collapsed\, a story of obstacles overcome: space a nd time gradually made irrelevant by technological progress. Past events r endered eternally visible on screens viewed from the comfort of one’s own couch. Goods—manufactured\, assembled\, and sold on disparate continents—d elivered with the merest gesture\, a flick of a finger. These activities n ecessarily occur within the home\, the place where intimacy must occur\, b etween two lovingly possessive individuals. They nestle against each other \, satisfied.
All this is further structured by desire\, an acquis itive desire: to have and to hold. To possess. To defend\, because such bl iss is invariably fragile. The artists in this show shed light on the ways in which these dominant forms of intimacy and their attendant comforts of consumption are materially reproduced. They re-enact the construction of trading castles and re-purpose the sea chests that conveyed goods from con tinent to continent. They index the raw materials—rice\, salt\, sugar\, go ld—whose fevered exchange ushered in the modern era. Collectively\, the wo rks in this exhibition scrutinize the racialized and gendered structures o f economic power that undergird idealized domesticity—and in so doing\, pe rform and instantiate an emergent intimacy.
Image credit: Sula Be rmudez-Silverman\, Detail of White Zombie\, 2020\, Image courtesy of the a rtist.
Learn more about the exhibition\, including artist a nd curator bios\, here.
\nUniversity
\nArt
\nGalleries
Department of Art: 949-824-4917 | art.arts.uci.edu | S
tuArt@uci.edu
\nUniversity Art Galleries: 949-824-9854 | uag.art.arts
.uci.edu | gallery@uci.edu
\nGallery hours: Tuesday-Saturday\, noon-6
p.m.
Free admission
Know Before You Go
Please visit our secure direct giv
ing page and make a gift to support the Department of Art today!
\nMake a Gift
DTSTART;TZID=America/Los_Angeles:20250405T120000 DTEND;TZID=America/Los_Angeles:20250405T180000 LAST-MODIFIED:20250920T015121Z SUMMARY:The Intimacies Between Continents TRANSP:OPAQUE X-ALT-DESC;FMTTYPE=TEXT/HTML:The Intimacies Between Continents Curated by C oleman Collins Artists:
New Opening Date:< br /> Feb. 8-April 5\, 2025
The Intimacies Between Contine nts brings together the work of Sula Bermudez-Silverman\, Danielle Dean\, and Africanus Okokon — three contemporary artists who work across video\, sculpture\, and installation to unearth the often forgotten material trace s of the historical processes that produced global capitalism. The show bo rrows its title from The Intimacies of Four Continents (2015) by Lisa Lowe \, in which she ties seemingly private\, individualized domestic tranquili ty to broader systems of extraction. In contradistinction to the dominant notion of intimacy as “being personally intimate”\, (i.e. an emotional\, t ypically romantic relationship between two people within/and in relation t o bourgeois domesticity and marriage)\, Lowe associates the word as “resid ual” and “emergent” forms of connection: implied but less visible forms of alliance and affinity among variously colonized peoples upon which that d ominant mode depends.
We might think of the difference as a matter of distance. Seen from a certain angle\, the story of modernity is one of distance\, of vast distances being collapsed\, a story of obstacles overc ome: space and time gradually made irrelevant by technological progress. P ast events rendered eternally visible on screens viewed from the comfort o f one’s own couch. Goods—manufactured\, assembled\, and sold on disparate continents—delivered with the merest gesture\, a flick of a finger. These activities necessarily occur within the home\, the place where intimacy mu st occur\, between two lovingly possessive individuals. They nestle agains t each other\, satisfied.
All this is further structured by desire \, an acquisitive desire: to have and to hold. To possess. To defend\, bec ause such bliss is invariably fragile. The artists in this show shed light on the ways in which these dominant forms of intimacy and their attendant comforts of consumption are materially reproduced. They re-enact the cons truction of trading castles and re-purpose the sea chests that conveyed go ods from continent to continent. They index the raw materials—rice\, salt\ , sugar\, gold—whose fevered exchange ushered in the modern era. Collectiv ely\, the works in this exhibition scrutinize the racialized and gendered structures of economic power that undergird idealized domesticity—and in s o doing\, perform and instantiate an emergent intimacy.
Image cre dit: Sula Bermudez-Silverman\, Detail of White Zombie\, 2020\, Image court esy of the artist.
Learn more about the exhibition\, includ ing artist and curator bios\, here.
University
Art
Galleries
Depart
ment of Art: 949-824-4917 | art.arts.uci.edu | StuArt@uci.edu
Univer
sity Art Galleries: 949-824-9854 | uag.art.arts.uci.edu | gallery@uci.edu<
br /> Gallery hours: Tuesday-Saturday\, noon-6 p.m.
Free ad mission
Please visit our secure di rect giving page and make a gift to support the Department of Art today! Make a Gift
END:VEVENT END:VCALENDAR