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Beneath the vaulted ceilings of the gallery, a ruin emerges from the ground to meet a shroud suspended above. From wood, mesh, clay and ash-stained cloth, curator Myriam Ben Salah has invited Dala Nasser to build an effigy of the Temple of Adonis, which is located in Lebanon.
Her new exhibition at the Renaissance Society bears witness to infrastructural failure, colonial theft, and disregarded histories.
Multimedia artist Nasser reinterprets mythology to recreate a world of grief and rituals.
This season, speculative futures and collective histories with Faith Ringgold, Candace Hunter, Carlos Cortéz, Remedios Varo, and others.
There’s a point about halfway through After SFX (2018) where Lawrence Abu Hamdan pauses his performance—he’s just relayed the story of Lebanese President Émile Lahoud’s security tackling a cameraman after mistaking the sound of a tripod for the sound of a pistol—and a low, screeching hum, like a buzzing bee or a car burning out in the distance, fills the auditorium.