View of “Do Ho Suh,” 2014.

View of “Do Ho Suh,” 2014.

Do Ho Suh

The Contemporary Austin | Jones Center

View of “Do Ho Suh,” 2014.

So many weighty themes are piled onto Do Ho Suh’s fabric sculptures, it seems remarkable that his diaphanous structures don’t collapse under their heavy load. History and biography, longing and belonging, migration and globalization—these are only a handful of the ponderous concatenations apparently called to mind by the artist’s works. Such associations are perhaps not surprising, given that Suh’s work addresses architecture, a perennially symbolic subject, and specifically the home—surely the most intensely symbolic of architectural spaces. Indeed, in his more literal moments, Suh has not hesitated to exploit architecture’s unique capacity to function as a highly legible reification of relations of power, politics, culture, and identity. For example, Fallen Star 1/5, 2008–11 (not on view here), is a scale model depicting the traditional Korean house that was Suh’s

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