MIT List Visual Arts Center

  • Joan Jonas: Selected Films and Videos 1972-2005

    In conjunction with the presentation of Joan Jonas’s new work made for the U.S. Pavilion as part of the 2015 Venice Biennale, the List presents seven of the artist’s seminal film and video works surveying the breadth of her career. Immersed in the post-minimal experiments of New York’s downtown scene, Jonas developed her distinctive performances drawing on dance, ritual and various theater traditions in the late 1960s, and soon began to incorporate video into her work.

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  • Joan Jonas They Come to Us without a Word

    Joan Jonas’s They Come to Us without a Word is presented by the MIT List Visual Arts Center in cooperation with the U.S. Department of State at the 56th International Art Exhibition - la Biennale di Venezia. Jonas, a pioneering figure in video and performance art, is occupying the entirety of the Pavilion’s five galleries with a new video installation involving drawings and sculptural elements. A new performance by the artist is also planned for Venice in July 2015, with new music by Jonas’s long-time collaborator Jason Moran, American jazz pianist and composer. On the occasion of the closing of the Biennale in November Joan Jonas will perform her recent work Reanimation, also with music by Jason Moran, in the historical Venetian theater, Teatro Goldoni.

    The Jury of the 56th International Art Exhibition of la Biennale di Venezia honored Joan Jonas with a special mention award honoring her as an artist of significant oeuvre and influence for her work at the United States Pavilion. 

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  • Eva Koťátková: Out of Sight

    Poetic, darkly humorous, and occasionally ominous, Eva Koťátkovácounts Czech surrealism and absurdist literature among her sources of inspiration. For the MIT List Visual Arts Center, her first solo museum show in the U.S., she presents a group of new sculptures and drawing.

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  • Anicka Yi: 6,070,430K of Digital Spit

    Departing from the ambiguity between the significations of taste as a sense and taste as aesthetic discernment, Anicka Yi’s work for the MIT List Visual Arts Center foregrounds her ongoing project The Flavor Genome. The artist’s sculptural installation examines how “flavors”—visual, olfactory, gustatory, auditory—can form sense memories and spur longing, though their cultural and economic value is subject to global consumerism and a politics of taste.

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