Now at MIT’s List Center in Cambridge are powerful installations by women sculptors, Kapwani Kiwanga and Kathleen Ryan. Kiwanga’s installation, “Safe Passage,” creates an experience of the power dynamics inherent in an unfamiliar environment. Sculpted searchlights and walls of slatted two-way mirrors form a disorienting pathway leading to a gallery displaying pages of a Green Book, on which are addresses of safe houses
In “Cultivator,” Kathleen Ryan uses mighty industrial spare parts in combination with delicate natural forms—floral-ish pods of wire and beads hung from giant iron petals, and dense tiles of abalone shell carefully placed in the interior of salvaged ship parts. Draped on the floor are polished bowling balls that form two enormous bracelets—one black, one white—gems for a giantess. Through April 21. (at top, gallery view of “Cultivator.”)
Katrín Sigurdardóttir‘s installation of very small houses at MIT’s List Gallery is a stunning doorway into the world of memory, and an individual’s perception of home. The houses are grouped into two series: Ellefu (“Eleven” in Icelandic) and Unbuilt Residences in Reykjavik 1925–1930. “Eleven” consist of eleven segments of the artist’s childhood home (one of which is shown at top). The models are reconstructed from basswood and plaster, and serve as physical souvenirs as well as signifiers of the particularities of lived experience filtered (faultily, or partially) by memory. Fault lines exist more noticeably in the second series (Unbuilt Residences). These architectural models have been burned, dropped, and otherwise damaged. Their cracks are, in some cases, visibly patched, while in others the shattered walls are left bare and gaping.
At the MIT List Visual Art Center until April 12.