My artwork (photos + text + installation video) are in a group exhibition in Djúpavík in the West Fjords of Iceland this summer. It's an honor to be a part of this very unique, and very uniquely located, show.
From http://djupavik.is/en/the-factory-art-exhibition/:
The Factory art exhibition will be held in the old fish factory in Djúpavík from June 1 to August 31, 2018. The focal point of the group show is to explore the artists’ personal relation to, and perception of, Iceland. This year The Factory is hosting 16 international artists/artist groups.
As a multidisciplinary exhibit, The Factory showcases a multitude of visual arts, including but not limited to: photography, paintings, sound, mixed media, video art and installations. This fosters a diverse and dynamic show, welcoming a broad audience. By building a bridge between the old herring factory in Djúpavík and new contemporary art, the building will gain a modern and attractive aura. The goal is to support the community and the artists – and honour Iceland and its inspiring influence on people via art and culture.
The Factory 2018 is the 3rd iteration of the event.
Hotel Djúpavík is the host of the exhibition.
From June 1 to August 31, 2018
Open daily from 9am to 6.30pm
Free admission
Facebook: /thefactorydjupavik
Instagram: #djupavikart
Webpage: djupavik.is
Below is the description of my work in The Factory 2018.
Dead Time, 2018
Dead Time is a hybrid collage of poetry fragments, image and video meant to evoke the "temps morts" of displacement, or one’s inevitable placement in certain histories. As a Vietnamese-born American, artist Dao Strom’s citizenship in the world is informed by multiple histories of violence. She came to Iceland wondering how it would feel, in her particular body, to stand in a geography quite disparate from those histories. This series is a result of that contemplation.
The title Dead Time is a nod toward Korean-American artist Theresa Hak Kyung Cha’s Temps Morts/Exilée, in which the phrase “temps morts” expresses the liminal state of being indenitely severed from one’s roots. Three-plus decades after Cha, Dao Strom looks meaningfully toward her as lineage. But Dao Strom marks the beginning of this work, for herself, by initiating it far from the energies of America. She also adds in sound and collaboration.
You can also see pieces from this series online at The Tenderness Project, a curation project by poets Shayla Lawson & Ross Gay.
