zurich

Wu Tsang, DAMELO TODO // ODOT OLEMAD (Gimme Everything // Gnihtyreve Emmig), 2010/2014, production still from the 25-minute color video (with sound) component of a mixed-media installation additionally comprising wood, mirrors, carpet, and a bench.

Wu Tsang

Migros Museum für Gegenwartskunst

Wu Tsang, DAMELO TODO // ODOT OLEMAD (Gimme Everything // Gnihtyreve Emmig), 2010/2014, production still from the 25-minute color video (with sound) component of a mixed-media installation additionally comprising wood, mirrors, carpet, and a bench.

In spite of its defiant title, “Not in my language,” mutinously followed up by an electric-blue neon sign reminding entering visitors that THE FIST IS STILL UP (a work ironically titled Safe Space, 2014), Wu Tsang’s European institutional debut was an accessible best-of sampler. The exhibition encompassed his portrayals of race, sexual identity, and emerging forms of life, ranging from LA’s latest queer/transgender subset to Berlin’s clubby-organic everyday along the Berghain-Kreuzberg-Schöneberg axis. In other words: It was quite a stretch.

Once upon a time, there was the Silver Platter, a bar in LA’s MacArthur Park area that catered to a predominantly Latino transgender and gay community. There, Tsang hosted a weekly “Wildness” party, an occasional social mixer at which the city’s MFA set encountered the bar’s literally more colorful patrons. In the video DAMELO TODO // ODOT

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