image text special

'Pink Velvet Dress with the Fur Collar' by Quay Quinn Wolf
 at Interface, Oakland

article image; primary-color: #B0AAAA;
article image; primary-color: #B3ABA9;
article image; primary-color: #B8B5B0;
article image; primary-color: #B7B2AE;
article image; primary-color: #BFB5B3;
article image; primary-color: #B6B1AD;
article image; primary-color: #BDB9B6;
article image; primary-color: #C8C3C0;
article image; primary-color: #A9A8A6;
article image; primary-color: #B8B6B7;
article image; primary-color: #ABA7A4;
article image; primary-color: #999594;
article image; primary-color: #AEAAA9;
article image; primary-color: #BFB5B4;
article image; primary-color: #B9B4B0;
article image; primary-color: #B5B0AD;
article image; primary-color: #BDB9B6;
article image; primary-color: #ACA8A5;

Interface is pleased to present Pink Velvet Dress with the Fur Collar, a solo exhibition by Quay Quinn Wolf. Wolf presents objects in ways that evoke memories and the ephemerality of experience. He often uses materials that adorn or augment the body such as hair gels, oils, velvet, satin, clothing, and flowers, to suggest the body and its transience.

For this exhibition, Wolf will present an installation of new sculptures exploring his relationship to his grandmother and reflecting on her relationship to 1950's cinema, specifically, Douglas Sirk’s Imitation of Life (1959), which he remembers watching with her.

Sirk’s film is a tale of two single mothers, one white, and the other black. Wolf has memories of his grandmother’s comments during the film as she would imagine the black domestic characters adorned in the opulent fabrics the white female characters wore.

The works consider Wolf's grandmother’s aspiration to own and wear the luxury items she saw white Hollywood movie stars wear. As such, they reflect in a very personal way, on class and racial divides that continue today.

16.8.19 — 29.9.19

Interface

'Extra Medium' by Vladislav Markov at Spazio ORR, Brescia

'Her Own Devices' by Laurie Kang at Franz Kaka, Toronto

'THE MOUTH OF THE GIFTED HORSE' by Wisrah Villefort at Goswell Road, Paris

'FRESH' by Rune Bering and Kevin Josias at Tableau, Copenhagen

Armen Avanessian: ‘So let us ask, why we still call this a capitalist world?’

'Dream again of better Generationenvertrag' by Niklas Taleb at Lucas Hirsch, Duss

'TOYS' by Jascha Schieche at FONDA, Leipzig

'YOU ARE HERE' by Linda Lerseth at Podium, Oslo

'Space Almond Head Void' by Sasha Auerbakh at GOMO, Vienna

'UwU' by Tea Strazicic at ung5, Cologne

'Friends Objects' by Helin Alas at Loggia, Munich

'Talent Didn’t Bring Me Here' by Günther Möbius at BPA Space, Cologne

'P**** B**** ARENA' by Isabelle Frances McGuire at Good Weather (Hosted by Et al.

'Flat Tire' by Janis Dzirnieks at Robert Fruinstraat 56, Rotterdam

'Sheets of Past and Layers of Reality', a Group Show at Hoib, Tallinn

Garden Cult Triennale, Chapter I: Sopot, Poland

'踢館 Tek Kwun' at Tai Kwun Centre for Heritage and Arts, Hong Kong

'Theological Time, Mean Landscape, Circumcision Throne, Burping Bird, Auto-censur

Next Page