new-york

Anna K.E., Unfinished Smile, 2014, varnished tiles, Lycra, wood, video projection, ink-jet print. Installation view. From “No entrance, no exit.”

“No entrance, no exit”

The Kitchen

Anna K.E., Unfinished Smile, 2014, varnished tiles, Lycra, wood, video projection, ink-jet print. Installation view. From “No entrance, no exit.”

Today the membrane that screens private space from public has disintegrated to almost nothing. You could say it’s as thin as a layer of liquid crystal. Still, slight as it might be, it’s in this diminished borderland that “No entrance, no exit,” an exhibition of works at the Kitchen by Anna K.E., Alina Tenser, and Viola Yeşiltaç, was set. Each artist responded to the pervasive atmosphere of publicity in our present moment: one in which we have begun to accept that much of our activity is captured, distributed, and analyzed and in which we are virtually powerless to the fact that our every move might be performed for some unknown public.

The exhibition, which was curated by Lumi Tan, featured constricted, slippery spaces; its centerpiece was K.E.’s Unfinished Smile, 2014, a shallow, empty swimming pool tiled in gleaming white, and given occasional accents—in lilac, black,

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