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NEW HAVEN, CT — Monica Ong is a 21st-century beheld artisan who extends the reader’s faculty of what is possible. She is the columnist of Silent Anatomies (Kore Press, 2014), which acclaimed artisan Joy Harjo called for a Aboriginal Book accolade in poetry. This book meshes calm images, such as ancestors photos, sonagrams, and anatomical diagrams, with concordance entries, texts and phrases she has altered, and her own writing. It begins with the columnist advertent that she had a “Mystery Uncle,” but, as with all ancestors stories, beyond armament are at play, and this is what Ong pursues.
One folio pictures a canteen labeled “Fortune Babies.” The characterization includes a photograph of a man, woman, and child, and directions: “If you accept adversity conceiving, accept a adolescent […].” Another canteen is labeled “Chinaman” and has a ancestors photo placed aloft concordance definitions. By superimposing accent and angel on a bottle, Ong underscores how behavior and means of cerebration and seeing become anchored in one’s culture, abstraction the way we communicate.
Ong is a artisan who does not alpha by autograph words on a bald page, at atomic as her assignment appears in its final conceived form. She belongs to the ancestors of conceptual poet-artists that includes Marcel Broodthaers and Theresa Hak Kyung Cha.
Yet all of the aloft does not activate to call what I accomplished back I went to see Planetaria: An Exhibition of Beheld Balladry by Monica Ong at the Gallery Upstairs at the Institute Library (June 8–September 8, 2021), curated by Martha Willette Lewis.
The account on Ong’s website describes, abreast the beginning:
Planetaria is a alternation of beheld balladry by Monica Ong that advantage the beheld accent of astrochemistry to analyze the ambiguous territories of motherhood, women in science, and banishment identity. Playfully demography balladry off the folio as ablaze box assemblages and handheld volvelle poems, this alternation seeks to brainstorm the sky from a changeable perspective, analytical the adeptness struggles that myth-making elicits.
The exhibition includes a planisphere, ablaze boxes, brilliant maps, pages from a absent astrochemistry book, an admiration to Caroline Herschel (1750–1848), the aboriginal woman to be paid a bacon as a scientist and broadcast her discoveries in the Philosophical Transactions of the Royal Society, and six cards Ong was commissioned by the Asian American Literary Review to architecture for an Asian American tarot deck. In this aftermost work, six adapted authors composed the six cards. Ong is a artisan accessible to collaboration, and to alive with printmakers, as a collective adventure is generally all-important to her projects. Presentation is acute to her, as it was to Broodthaers. She has formed anxiously with assorted shops, including Boxcar Press in Syracuse, New York, to accomplish her work.
The starting point of Planetaria — the arena on which abounding of the works were accounting — is a Chinese brilliant chart, which is decidedly adapted from the Greco-Roman one, in which constellations accompany abroad stars calm to map and acclimatize the sky. Instead, the Chinese groupings are abate and accepted as asterisms.
Chinese astronomers disconnected the night sky into four groups of 283 asterisms, with three of the groups admired as “enclosures” and accustomed names: Purple Forbidden enclosure, Supreme Market enclosure, and Heavenly Market enclosure. The fourth accumulation consists of the “Twenty-Eight Mansions” (groups of stars) that accept been disconnected into four groups of seven symbols. Astrochemistry and astrology, we should remember, were already connected.
Driven by a abysmal concern about area names and behavior appear from, and how they adeptness be altered, Ong’s works are a acme of analysis and reading. As the age-old Chinese astronomers called the three enclosures and 28 mansions according to a affectionate bias, Ong rewrites the curve and tales associated with the asterisms through a feminist gaze.
“Purple Forbidden Enclosure” (2019), which was produced in accord with Boxcar Press, is a deep-blue ellipsoidal allotment with gold and argent antithesis stamping. Beneath the gold appellation forth the top bend is a circle, or enclosure, aural which Ong has printed the asterisms, accompanied by a description or name that goes with it, such as FLYING SERPENTS or SHIPS. She incorporates anniversary of these ample descriptions into a byword or sentence: “Little girl’s absent BASKET OF MULBERRY LEAVES.” Through these, Ong replaces a macho accent with a changeable language.
This is from an adapter anecdotic her ambition with “Purple Forbidden Enclosure,” which Ong beatific me:
This beheld composition rewrites the constellations of the Chinese arctic angelic pole from a changeable gaze, framing anniversary asterism as a stop on the ambiguous adventure of womanhood.
While the ambition sounds didactic, the aftereffect is not. The autograph feels accessible and evocative:
Another archetype is:
Or:
One of Ong’s abounding strengths is her adeptness to accompany calm abstruse phrases and anecdotic words in a way that resists accessible understanding. In this work, the autograph is adage rather than discursive.
In the ablaze box “The Way of Milk”(2020), Ong has overlaid an angel of two pairs of accouchement captivation easily with a angular aggressive diagram of a area of the Milky Way that identifies some clusters and some distinct stars: for instance, “ELEGY AS SNOW” and “MIGRANT PARADISE.” By allotment an abandoned brilliant “MIGRANT PARADISE,” she suggests article about the admiring and faculty of accident and break that is a abysmal allotment of the immigrant experience. The abutment of the four accouchement and the Milky Way enhances but does not enclose that recognition.
Just as artists advance signature styles and cast themselves, poets advance signature vocabularies, subjects, and abstruse moves. Ong is not one of them. The accent shifts, generally in nuanced ways, from activity to project. Her amalgamation of the abutment — be it an ample blueprint or a diagram — with the argument is consistently anxiously anticipation out.
LOST ASTRONOMY (2020) is alternation of agenda prints on best paper. Anniversary folio seems to accept generated the poem, but in a way that I would not accede programmatic. At times, I could not acquaint if the autograph was Ong’s or if she was citation someone’s writing, and that accompaniment of absent was adorable for all sorts of reasons. A folio with the branch “Blood Red Woman” includes six poems, anniversary independent in its own bound amplitude aloft and beneath the close-up angel of a red moon.
The curve are in two typefaces, suggesting two authors. Ong is one. At the basal of the folio we read: “With Curve from ‘Quiet Night Thought’ by Li Bai (701–762).” Also accepted as Li Po, Li’s balladry afflicted Ezra Pound and James Wright, amid abounding others.
In this poem, which is on the basal appropriate bend of the page, Ong juxtaposes a band that evokes Li Bai’s animosity of isolation, as he has acceptable been beatific to a absurd government column afar from area he lives, with her own description of a allegorical figure. The old patriarchy is crumbling, but it does not assume to apprehend that this is the case.
Each folio in this assignment is different, as is Ong’s response. This is absolutely area her arresting aptitude as a artisan and artisan became bright to me, in how she has seamlessly chip abounding adapted strands of adumbration and abstruse languages, such as accurate texts, in her work. LOST ASTRONOMY should be appear as a book. Ong’s assignment should be bigger accepted and her ability as a above amount should be a given.
Planetaria: An Exhibition of Beheld Balladry by Monica Ong continues at the Gallery Upstairs at the Institute Library (847 Chapel Street, New Haven, Connecticut) through September 8.
A anxiously curated exhibition at ICA London lays bald the insidious attributes of the chains of Black bodies in Britain.
The accident was devised by artisan Maria Lai and complex about all of Ulassai’s 1,000 citizenry and appropriate about 17 afar of ablaze dejected denim ribbon.
Portfolios and prints by the iconic Pop artisan booty over the celebrated Gramercy Park club in New York City. Admission is free.
Our access as an alignment with 25 years of acquaintance in bearing agenda association arts has been to about-face the adeptness relations.
A new allotment created by Mexican artisan Pedro Reyes depicting an Olmec woman is slated to go up on October 12.
Courses are accessible in a array of capacity including accomplished arts, film, art & activism, beheld narrative, and more. Fall courses activate September 20.
“Museums accept to be able to do ‘rapid response’ accession afterwards an event,” says HistoryMiami administrator Jorge Zamanillo.
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