SHIMMER

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Always Thinking Like A Scrim: Part 2 with Pauline Boudry / Renate Lorenz, Cihad Caner, Daniel Giles, Hana Miletić, Lotus L. Kang and Tenant of Culture on view until 11 August 2024.

A scrim (mesh fabric) is a lightweight, open-weave fabric used primarily in theatrical performances and veils. Depending on the lighting, the scrim can be visible or invisible, and it often serves as reinforcement for repairing damaged fabrics. Etel Adnan and Lynn Marie Kirby wrote “Always Thinking Like A Scrim”, just as a scrim can be both visible and invisible, depending on the light, our experience of the world is shaped by multiple, often overlapping facets.

For this unfolding show, Shimmer’s explores the lifecycle of fabric, and through the action of making, we enter into the deep. Textiles speak a language that crosses cultures, but also goes underneath them, providing opportunities to talk about things that you can not say in any other medium. From the pollution caused by the mass consumption of textiles, to the canvas stretched as an image, from the swaddling cloth in which we are wrapped at birth to the clothes we choose to be buried in, we see fabric in the most expansive sense, as a barometer of our lives.

Part one of Always Thinking Like A Scrim began in March 2024 with works by Matt Hinkley, Liz Magor, and Hana Miletić and changed in June with works by Pauline Boudry and Renate Lorenz, Cihad Caner, Daniel Giles, Lotus L. Kang and Tenant of Culture (part 2).

In part two, a large necklace by Pauline Boudry and Renate Lorenz meets the offcuts of fashion in a suspension between archaeology and commodity by Tenant of Culture. Fabrics of loss found by Cihad Caner meet aluminum cast fruits draped across a tatami mat by Lotus L. Kang, the velvet-like qualities of charcoal flockings, impress upon us remnants of architecture through the work of Daniel Giles. Holding the two parts of the exhibition together are works by Hana Miletić who uses the weaving process to reflect on the social and cultural realities of repair within the everyday of the cityscape.

Floor text

Cihad Caner
What happens to the geographical borders when the land itself moves (2016-2017)
Video, approx. 4 mins 23 secs
Courtesy of the artist

Daniel Giles
Untitled (white pictures), 2024
Modeling paste, acrylic paint, India ink, graphite powder on primed cotton duck canvas
75 cm x 114.5 cm
Courtesy of the artist

Lotus L. Kang
Receiver Transmitter (Root), 2023
Tatami mat, pigmented silicone, cast aluminum lotus tubers, cast bronze lotus tubers, construction sac
Dimensions variable
Courtesy of the artist and Commonwealth and Council, Los Angeles

Tenant of Culture
Dry Fit (Series), 2022
Recycled outerwear and sportswear, elastic, toggles, thread, fabric
400 cm x 330 cm, dimensions variable
Courtesy of the artist and Fons Welters, Amsterdam

Photography by Jhoeko, courtesy of Shimmer

Pauline Boudry / Renate Lorenz
Wall Necklace Piece (otherworldly I), 2022
Chains and snap hooks
280 cm x 170 cm x 220 cm
Courtesy of the artists and Marcelle Alix, Paris

Hana Miletić
Materials, 2020
Hand-woven textile
Apple green organic wet-spun linen and apple green organic cotton
26.0 cm x 26.0 cm x 1.0 cm
Courtesy of the artist and The Approach, London