Gelare Khoshgozaran

The moments of exposure under surveillance create a photographic possibility to capture the intimacy and tactility of violence as a running current. Curating the objects in a suitcase when traveling is utilizing their entry into a semantic regime—translating bodies to subjects and vice versa—as material to make aesthetic images. All the items used in the creation of the analogue collages, along with the rolls of film used to photograph them for this exhibition, were carried in the artist’s suitcase during an overseas residency, and involuntarily exposed to X-Ray at different international airports. The instances of exposure, captured on digital videos shot through the X-Ray tunnel, manifest only as scarcely brighter pixels in a few frames. The manipulated pixels are used to project a new temporality of exposure into the space of the gallery. Biased algorithms and data organization methods such as Google Alerts, are used to process, archive and sort the news of a subject to the subject itself; in this case uttered by the artist to a machine and recorded on tape. Hundreds of small toy models arranged on the gallery's floor, reproduce an aerial view image of a boneyard.

LIKELY MINE ponders the production of a site through the perception of objects and images. Beginning with the computer screen as a site of artistic research and experience itself, the milky, light-emitting surface works as a backdrop for the arrangement of objects to both document and display on.

In the likelihood of possession, the explosive and the extractable are equally pernicious: LIKELY MINE is dedicated to Daisy, the sanctioned oil tanker.

Some of the research, thoughts and processes that went into the production of LIKELY MINE is accessible and will be shared periodically on https://www.artscabinet.org/.


Gelare Khoshgozaran is an undisciplinary artist and writer who, in 2009 was transplanted from street protests in a city of four seasons to the windowless rooms of the University of Southern California where aesthetics and politics were discussed in endless summers. Her films, video essays, installations and performances have been presented in solo and group exhibitions at the New Museum, Queens Museum, Eyebeam, Hammer Museum, LAXART, Human Resources, Articule (Montreal), Beursschouwburg (Brussels), Pori Art Museum (Pori, Finland) and Yarat Contemporary Art Space (Baku, Azerbaijan). She was the recipient of a Creative Capital | Andy Warhol Foundation Arts Writers Grant (2015) and an Art Matters Award (2017). Her essays and interviews on art, politics and culture have been published and are forthcoming in contemptorary (co-founding editor), The Brooklyn Rail, Parkett, X-TRA, The Enemy, Art Practical, Flat Journal, Ajam Media Collective and Temporary Art Review, amongst others.

2-1-2044050
2-1-2043976
2-1-2044010
2-1-2043990
2-1-2043993
2-1-2043998
2-1-2043999
2-1-2044003
2-1-2044002
2-1-2044032
2-1-2044015
2-1-2044071
2-1-2044072
2-1-2044077
2-1-2044079
2-1-2044068
2-1-2044066
2-1-2044067
2-1-2044081
2-1-2044062
2-1-2043984
2-1-2044162
2-1-2044155
2-1-2044216
2-1-2044153
2-1-2044150
2-1-2044160
2-1-2044208
2-1-2044169
2-1-2044161
2-1-2044168
2-1-2044172
2-1-2044173
2-1-2044209
2-1-2044201
2-1-2044193
2-1-2044199
2-1-2044211
2-1-2044210
2-1-2044212
2-1-2044213
2-1-2044190
2-1-2044195
2-1-2044239
2-1-2044217
2-1-2044225
_MG_2077
_MG_2075
_MG_2084
_MG_2092