• Mel Chin, Safe, 2005, oil on Belgian linen, gilded wood and plaster, weathered wood, nails, 11' 1“ x 7' x 1' 6”.

    Mel Chin

    Thomas Rehbein Galerie

    “I was wondering, how do you get an idea into a system, and let it replicate within that system,” Mel Chin once remarked in an interview. He was talking about In the Name of the Place, 1995–97, a project for which, in collaboration with the GALA Committee, he “smuggled” art objects into the TV series Melrose Place as props. They conveyed messages you wouldn’t expect to find in a prime-time series: A takeout container, for instance, bore the slogan HUMAN RIGHTS/TURMOIL in Chinese. A similar strategy of using forms and ideas as viruses to infiltrate representational systems could be seen at work

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