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Asya Reznikov

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Coming to the United States as a political refugee when I was a child has made me particularly aware of my cultural identity. Recently, I have been exploring humankind’s relationship to language, culture, and myth through creating installations, which incorporate kinetic sculpture, shadows, video, and audio. The imagery is inspired by the myth of the Tower of Babel, personal experience, as well as data about contemporary language extinction. Using languages allows me to examine the experience if immigration and emigration, otherness, and perception. I investigate how one presents oneself to others. This presentation simultaneously reinforces a particular cultural identity and fortifies otherness and distance.
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I am interested in how culture and language precede us and shape our perception and understanding of reality, accompanying us like a shadow, something always there and unique to each individual, but which we are often oblivious to.
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Tower of Babel ( Image 2 ) is a precarious looking structure which appears to extend endlessly through the ceiling. It is comprised of dozens of maps in different languages. I recall the myth of the Tower of Babel and the irony that is created between the myth and what we treasure as cultures and languages today. I question what the ziggurat (the believed structure of the Tower of Babel) symbolizes by realizing the Tower of Babel in various forms through drawings and through actual constructions and models.-- Mapping: 23 Minutes, 23 Tongues ( Image 4 ) is a video depicting the cumulative affect of my writing the names of the seven continents in as many languages as I could accumulate to form the world map. -- The installations Disposable Humanity ( Image 6 ) and Replacements ( Image 5 ) discuss issues of the human being’s relationship to developing and ‘progressive’ society and the loss of identity that is created. Disposable Humanity addresses the commodification of the human. The installation calls into question what our culture mass-produces and how we as humans fall into this world of commodities. The Evian bottle (which serves as a metaphor for the disposability of human life) was used as a model for this installation because Evian was first to produce the award
winning design for the ‘crushable (compatible) plastic bottle.’ In Disposable Humanity I use glass because it creates a paradoxical relation with the objects that the glass pieces reference (disposable plastic bottles). - Replacements is comprised of glowing glass ‘composite organs’-- IMAGE DESCRIPTION : 1. - Migration, 2004, handmade paper, motors, plastic, wood, mixed media. 32x48 x48in. Kinetic sculpture .
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2. - Tower of Babel, 2003, paper, foamcore, 144x32x19 in . 3. - Vena, Arteria, 2003, 20.25x14x3.5in.(vena), 21.75x10.5x in. (arteria) blown glass, gases, wood, electrodes, mixed media. 4. - Mapping: 23 Minutes, 23 Tongues, 2003, variable size video projection, Five Stills from Video (23 min.) 5. - Replacements, 2003,19x19x4 in (each), blown glass, gases, electrodes, wood, mixed media. 6. - Disposable Humanity, 2003, 90x148 x8 in, blown glass, plastic, mixed media 4 sizes of glass human-shaped water bottles (infant, adolescent, female, male)
Asya Reznikov
61 W104th St. #3B
NY 10025
New York, NY
New York
North America

T: +1 917.405.2335
F: +1
M: +1
w: http://www.asyareznikov.com




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Asya Reznikov
Nancy Hoffman Gallery
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