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Donna Huanca, POLYSTYRENE’S BRACES, 2015. Performance view, December 6, 2015. Gabija Birina. Photo: Ansis Starks.

Donna Huanca

kim? Contemporary Art Centre

Donna Huanca, POLYSTYRENE’S BRACES, 2015. Performance view, December 6, 2015. Gabija Birina. Photo: Ansis Starks.

A painting needs a body if it is to move freely in space. And if the surface of the painting were the skin of that body, the paint would serve as clothes. Set the body in motion and the painting becomes unfixed, its textures and colors forming fleeting compositions. Painted clothes are stripped of their usual function—they smear or crack, dry up and flake off, and in this way they tell stories about the body they occupy. Such fluid interplays of painting, clothing, and memory abound in POLYSTYRENE’S BRACES, 2016, the surreal installation by Bolivian American artist Donna Huanca, recently on view at kim? Contemporary Art Centre. (Curated by Anne Barlow, this new commission—the first presentation of the artist’s work in the Baltics—resulted from a long-term collaboration between the institution and Art in General in New York.)

On the exhibition’s opening night, two

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