Unauthorized SFMOMA Solo Show

San Francisco Museum of Modern Art is presenting an "Unauthorized SFMOMA Show", which allows people to upload images of artworks to SFMOMA website, and "all works are immediately accepted, each submission automatically constituting an Unauthorized SFMOMA Solo Show on view at SFMOMA via the same website ( http://sfmoma.show ). Each exhibition starts when a work is submitted and ends when a new work is submitted."

At the moment, to view the "solo shows", visitors need "to be physically present at SFMOMA and have access to a device that can connect to the Internet. Once there, go to http://sfmoma.show to see the show (please, allow location access to Unauthorized SFMOMA Show in order to confirm your location). Note that public spaces at SFMOMA don't require ticket and thus Unauthorized SFMOMA Shows are free to visit." This show is not being displayed on any public device in SFMOMA.

Furthermore, the catalogue will be published this summer.

Naturally, I wanted to be part of this wonderful enterprise. The pieces for my entries were three multimedia installations, as they fit best the spirit and image of SFMOMA. I uploaded those three pieces on a May day when I visited SFMOMA and I also carefully chose the place I viewed and photographed my works on my mobile device, so as to display and record my works near similar works or inspiration by masters.

The first piece I "exhibited" at SFMOMA was a 2016 piece, titled Wilting Flowers, spurred by my continued fascination with paper material – delicate, malleable, and transitory, characteristics well suited for hinting at, versus representing, a world of fragility and vulnerability, constantly under threat of total destruction. The location of "my display" featured the great sculpture of Richard Serra's Sequence.







My second piece Niobe was about this mythological princess and mother of fourteen children, seven sons and seven daughters (the Niobids), whose boast of her large family and jeer at goddess Leto, who had only two children, the powerful twins Apollo and Artemis, resulted in unbearable tragedy. I used two shades of origami dresses to represent the male and female figures of the queen and her slaughtered sons and daughters.



The gallery for my display featured works by one of my greatest heroes, Anselm Kiefer, who also employed unconventional auxiliary media, and often concerned human suffering and struggle, often through retelling of ancient myths.




Margarethe, 1981, Anselm Kiefer




Wölundlied (Wayland's Song) 1982, Anselm Kiefer




Wege: märkischer Sand (Ways: March Sand), 1980, Anselm Kiefer





The last piece I posted in that May day was Stringed White Dresses — an Installation, the very first piece in my continuing series of installation or assemblage employing paper as main medium.

Using some rather square and unyielding origami white dresses, pasted onto twine, which was in turn attached to a wooden frame, I created a subtle contrast between order and disarray, manifested in the rather random formation of the white dresses. To enhance the contrast and drama, I affixed to the frame an abstract ink drawing - mostly in black, with dashes of muted red. 



The location for my viewing was in the lobby, overlooking Alexander Calder's 1963 installation, Untitled, which also featuring a series of similar objects on wire or strings.












A couple weeks later, I uploaded two oil paintings - my main endeavors, to be included in the upcoming catalogue. 


Grandma, Oil on Canvas, 40"x30", 2003


Liberation Road, Oil on Canvas, 18"x24", 2010

Thank you, SFMOMA!


Other Related posts on Art · 文化 · Kunst:
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- Introduction to Fisher Collection and the 75th Anniversary Exhibit at SFMOMA
- "The Political Line" - Keith Haring Exhibition at De Young Museum
- "Fresh Works VII" Juried Exhibition in Pleasanton
- "Golden Ages" Opening at Expressions Gallery, Berkeley 
- Featured Installation - Wilting Flowers