KIERAN MYLES-ANDRÉS TVERBAKK But The Skin Of The Earth Is Seamless

LAMIA ABUKHADRAThe Shape of Thin Air


ALSO: We are excited to announce that the first edition of Justin Jones’ FOLLICLE | CUTICLE has just dropped, a ongoing podcast series in conversation with exhibitions presented in the HAIR+NAILS gallery. This one swirls around Alexa Horochowski’s just ended show Nomeacuerdo (I-don’t-remember-land) in her own words:

A review of Alexa’s show was just published in Art Papers by Brooks Turner. Check it out here:

HAIR + NAILS is pleased to announce KIERAN MYLES-ANDRÉS TVERBAKK But The Skin Of The Earth Is Seamless || LAMIA ABUKHADRA The Shape of Thin Air || KELLEY MEISTERFallout Shelter, concurrent solo art exhibitions of new paintings, sculpture, print-based and installation artat HAIR+NAILS opening April 3, 2021. A year delayed, this show bears the imprints of each artists’perseverance and creativity in realizing projects in pandemic conditions.

Kieran Myles-Andrés Tverbakk: 
But The Skin Of The Earth is Seamless is a series of sculptural artworks exploring our relationship to land and body. Reflecting on the harmful separations caused by ongoing settler colonialism and imperialism, I draw parallels between gender expectations imposed upon the body and human’s maltreatment of the earth.” 

Lamia Abukhadra: 
The Shape of Thin Air ruminates on questions of form.
How does one locate and practice an aesthetic and political form which eludes co-option, outwits and counters the irrational yet hegemonic truths of the settler colony, existing for generations to come? What traditions did our ancestors (often proactively) practice to generate culture and kinship, and how can we resurrect them now? 
I present an excerpt of my research: a series of studies on gaps, huddles, layers, mounds; the polyvocal, the chorus, the folkloric; the body (human and nonhuman) as witness, as stone, as mutable, as agent of resistance..” 
My research-based practice studies and confronts the irrational truths, derived from imaginaries, ethoses, and tools, within settler colonial power and their extractive repercussions. Western colonial inventions such as urban planning, archiving, geography, and institutionalism affect the perception of Palestine and Palestinians, Palestinian daily life, intimacy, historiography, cultural production etc. I embed my own speculative frameworks, intuited from practices, existing long before the dawn of western hegemony, which bring to light intimate and historical connections, poetic occurrences, and generative possibilities of survival, mutation, and self-determination.” 

Kelley Meister: 
“In Fallout Shelter, a room-sized installation, I ask the audience to consider the practices of preparation that we engage in (or wish we had engaged in or purposefully do not engage in) when a disaster occurs. I am breaking open the narrow definition of a disaster to include personal disasters such as loss of a loved one or mental health crises; economic and financial disasters; oppressive disasters wrought by racist, colonizer-built systems that reverberate through multiple generations; environmental disasters like oil spills and those climate-change disasters wrought by fossil fuel and nuclear capitalism; as well as natural disasters that include earthquakes, pandemics, and bacterial overgrowths.  
As an interdisciplinary artist, I build transformative experiences and environments that encourage empathy through a shared emotional experience or exploration. Over the last decade, my work has focused on shared worldwide issues, such as climate change and nuclear war, in order to investigate empathetic responses that emerge from global threats and existential fear. I approach my art as both a researcher and a sensitive human. Fear explored in my work is at times infused with levity to foster empathetic and understanding responses. I combine art, science, and social practice in order to cultivate empowerment as an antidote to fear through shared experiences, tools, and actions. In the past year we have experienced multiple disasters. My artistic practice explores what constitutes natural and social landscapes as artistic material and as public engagement. Further, I am concerned with how humans impact our environments – in micro and macro ways – historically, currently, and in future possibilities. Tourism, disasters, NIMBY-mentality, resource extraction, waste storage, and American exceptionalism create entry points for my investigations. I resolve to represent things that are not tangible, including emotional responses, physical (but invisible) phenomena such as radiation or pollution, and that which is purposefully ‘invisibilized’ by the forces of colonialism and capitalism such as mutual aid and collective empowerment.” 


–gallery capacity reduced to 10 people at a time.
–masks required in the gallery. Individually-wrapped new masks provided.
–several hand-sanitizing stations and a hand-washing sink in the gallery.
—wipedowns with 91% isopropyl alcohol of doorknobs and any touch surfaces between visitors.
–air circulated by central air, open doors, and air purifiers with uvc light.
–single-direction traffic flow for opening night.
–HAIR+NAILS gallery attendants queried for symptoms before every shift.
–6-foot social distancing requested in both the gallery and the frontyard/backyard waiting areas.–Continuing consultation of CDC and Minnesota guidelines. Adjusting
plans accordingly as needed.
–Individual appointments available for visitors and their companions who live with greater concern for contracting COVID-19.