• Lotus Laurie Kang
  • CV
  • Molt, Horizon Art Foundation
  • Mesoderm, 2022-ongoing
  • Do Redo Repeat, Catriona Jeffries
  • Great Shuttle, New Museum
  • Earth Surge, Helena Anrather and Franz Kaka
  • Her Own Devices, Franz Kaka
  • In Practice: Total Disbelief, SculptureCenter
  • Beolle, Oakville Galleries
  • Eidetic Tides, SAAG
  • Guts
  • Terrene
  • If I have a body, Remai Modern
  • Asphodel Meadows
  • NADA House, Governors Island
  • Channeller, Interstate Projects
  • A Body Knots, Gallery TPW
  • Fascia Lines, Projet Pangee
  • Line Litter, Franz Kaka
  • How deep is your love?, Cooper Cole
  • Nesticulations, In Limbo
  • Knots
  • Babble On, Rockaway Topless
  • The Mouth Holds the Tongue, The Power Plant
  • Untitled, Erin Stump Projects
Lotus Laurie Kang
CV
Molt, Horizon Art Foundation
Mesoderm, 2022-ongoing
Do Redo Repeat, Catriona Jeffries
Great Shuttle, New Museum
Earth Surge, Helena Anrather and Franz Kaka
Her Own Devices, Franz Kaka
In Practice: Total Disbelief, SculptureCenter
Beolle, Oakville Galleries
Eidetic Tides, SAAG
Guts
Terrene
If I have a body, Remai Modern
Asphodel Meadows
NADA House, Governors Island
Channeller, Interstate Projects
A Body Knots, Gallery TPW
Fascia Lines, Projet Pangee
Line Litter, Franz Kaka
How deep is your love?, Cooper Cole
Nesticulations, In Limbo
Knots
Babble On, Rockaway Topless
The Mouth Holds the Tongue, The Power Plant
Untitled, Erin Stump Projects

In Practice: Total Disbelief, SculptureCenter

Jan 16 - Mar 23, 2020

Catalogue

Qais Assali, Andrew Cannon, Jesse Chun, Hadi Fallahpisheh, Emilie Louise Gossiaux, Ficus Interfaith, Laurie Kang, Devin Kenny and Andrea Solstad, K.R.M. Mooney, sidony o’neal, Mariana Silva, Jordan Strafer, and Andrew Norman Wilson

In Practice: Total Disbelief considers artistic engagements with dimensions of doubt as they contribute to the formation of social life. Across media, the works in the exhibition engage formal tools that uphold belief and produce what we consider to be true – narrative and cinematic tropes, photographic technologies, empiricism, and others – and use them to make any number of other truth claims. A position of disbelief may see these aesthetic conventions as valid, but still delimited by external forces, as if they are suggesting something, but not the right thing, or not saying all they can or could say.


While characterized on one hand by the clean slate of a baseline lack of faith, an active engagement with disbelief also means taking stock of astonishment, navigating defense mechanisms, and pitting skepticism against a real desire to be convinced and to know. In Practice: Total Disbelief posits that artworks are the products and by-products of these dynamics, appearing as objects, images, and activities that sustain uncertainty, not in the least about the capacities of the art object itself.


The exhibition features newly commissioned works by: Qais Assali, Andrew Cannon, Jesse Chun, Hadi Fallahpisheh, Ficus Interfaith, Emilie Louise Gossiaux, Laurie Kang, Devin Kenny and Andrea Solstad, K.R.M. Mooney, sidony o’neal, Mariana Silva, Jordan Strafer, and Andrew Norman Wilson and is curated by Kyle Dancewicz, SculptureCenter’s Director of Exhibitions and Programs.


Hull
Flex-C track, steel studs, silicone, Haraboji’s crushed pastels, photographs, unfixed photographic paper, darkroom chemicals and films (continually sensitive), aluminum cast dried anchovies, magnets.
Installation view, In Practice: Total Disbelief, SculptureCenter, New York, 2020. 
Photo: Kyle Knodell

Bodied, burgeon

Stainless steel steamer, pigmented silicone, dried lotus root, polymer clay, fruit mesh bags

Installation view, In Practice: Total Disbelief, SculptureCenter, New York, 2020. 

Photo: Kyle Knodell

In Practice: Total Disbelief, SculptureCenter

Jan 16 - Mar 23, 2020

Catalogue

Qais Assali, Andrew Cannon, Jesse Chun, Hadi Fallahpisheh, Emilie Louise Gossiaux, Ficus Interfaith, Laurie Kang, Devin Kenny and Andrea Solstad, K.R.M. Mooney, sidony o’neal, Mariana Silva, Jordan Strafer, and Andrew Norman Wilson

In Practice: Total Disbelief considers artistic engagements with dimensions of doubt as they contribute to the formation of social life. Across media, the works in the exhibition engage formal tools that uphold belief and produce what we consider to be true – narrative and cinematic tropes, photographic technologies, empiricism, and others – and use them to make any number of other truth claims. A position of disbelief may see these aesthetic conventions as valid, but still delimited by external forces, as if they are suggesting something, but not the right thing, or not saying all they can or could say.


While characterized on one hand by the clean slate of a baseline lack of faith, an active engagement with disbelief also means taking stock of astonishment, navigating defense mechanisms, and pitting skepticism against a real desire to be convinced and to know. In Practice: Total Disbelief posits that artworks are the products and by-products of these dynamics, appearing as objects, images, and activities that sustain uncertainty, not in the least about the capacities of the art object itself.


The exhibition features newly commissioned works by: Qais Assali, Andrew Cannon, Jesse Chun, Hadi Fallahpisheh, Ficus Interfaith, Emilie Louise Gossiaux, Laurie Kang, Devin Kenny and Andrea Solstad, K.R.M. Mooney, sidony o’neal, Mariana Silva, Jordan Strafer, and Andrew Norman Wilson and is curated by Kyle Dancewicz, SculptureCenter’s Director of Exhibitions and Programs.


Hull
Flex-C track, steel studs, silicone, Haraboji’s crushed pastels, photographs, unfixed photographic paper, darkroom chemicals and films (continually sensitive), aluminum cast dried anchovies, magnets.
Installation view, In Practice: Total Disbelief, SculptureCenter, New York, 2020. 
Photo: Kyle Knodell

Bodied, burgeon

Stainless steel steamer, pigmented silicone, dried lotus root, polymer clay, fruit mesh bags

Installation view, In Practice: Total Disbelief, SculptureCenter, New York, 2020. 

Photo: Kyle Knodell