Ekrem Serdar

Punctures: Textiles in Digital and Material Time

2019—2020 at Squeaky Wheel (Buffalo, NY)
2021 at SPACE (Portland, ME)
Curatorial Research Assistant, Kyla Gordon

Punctures: Textiles in Digital and Material Time was a research project that evolved into a multi-part exhibition and event series, presented by Squeaky Wheel (Buffalo, NY). Beginning as an inquiry into the historical, material, and metaphorical connections between textiles and media arts, Punctures was a showcase of contemporary artists who utilize this connection towards liberatory purposes.

Squeaky Wheel presented the project between September 2019–February 2020 with three exhibitions and several public programs, opening with a fashion show and new installation by Charlie Best. Best’s work was installed for the duration of Punctures. The exhibition additionally featured work by Betty Yu, Cecilia Vicuña, Kite, Sabrina Gschwandtner, and a newly commissioned work by Eniola Dawodu. Films screened as part of Punctures included feature length work by Jodie Mack, Pat Ferrero, and Wang Bing, and short and medium length work by Alta Kahn, Charlie Best, Cydnii Wilde Harris, Eytan İpeker, Laura Kraning, Lesley Loksi Chan, the Manaki Brothers, Senga Nengudi, and Sabrina Gschwandtner, and Susie Bennally. The visual identity and program notes for the exhibitions and screenings were designed by Kelly Walters; you can download a PDF and read it here. The page on Squeaky Wheel’s site can be seen here.

Along with Best’s fashion show, public events in Punctures included a performance by Kite; an augmented reality workshop for youth by Betty Yu; and four artist talks with invited guests: Eniola Dawodu in conversation with Amy Sall; Kite in conversation with Jolene Rickard; Betty Yu in conversation with Jasmina Tumbas; and Charlie Best in conversation with myself.

Six of Charlie Best's models are gathered together, wearing Best's garments. The garments are colorful, one of a kind. They are all smiling, pictured in movement.
Charlie Best is pictured in movement, their hands in the air, possibly mid-dance. Their models are walking around them.
Two of Charlie Best's models, Tabia and Seth, are pictured outdoors in Buffalo, NY, with the nighttime city skyscape in the background. There are many audience members surrounding them. The models are smiling and walking while wearing Best's garments.
Charlie Best is posing for the camera. Their installation, We Now Interrupt this Program, composed of several CRT televisions, confetti, and patterned objects, is behind them.
The shadows of four people sitting; behind them are the lines and strings of Cecilia Vicuña's video installation, La Noche de las Especies.
A photograph of Eniola Dawodu's installation Iran si Iran (Generation to Generation), a large textile sculpture that is hanging from the ceiling. Beneath it is a small stool you can stand underneath.
Eniola Dawodu is pictured, smiling towards the camera. They are sitting underneath a large textile sculpture that is their artwork, Iran si Iran (Generation to Generation)
A close-up of Eniola Dawodu's textile sculpture, Iran si Iran (Generation to Generation). Cloth is sewn and knotted through each other.
A close-up of the dress that is part of Kite's installation, Everything I say is True. Several strings are sewn in a circular pattern along with lettering that spells lines such as "Bureau found corrupt" and "Indian Relocation Act"
Kite is photographed, with a colorful video projection on top of her, as she is performing her work "Everything I Say Is True"
A photograph of Kite, in conversation with Jolene Rickard.
Betty Yu and a student with their backs turned against us as they are teaching their workshop "Threading Roots with Augmented Reality". The students is holding up an Ipad with its camera open. Behind them is a large television that is showing what the student is seeing.
A close-up from the elements of Betty Yu's installation, The Garment Worker. These include old photographs, and a Resident Alien card for "Yu, Kwong Chung" with the birth date listed as September 10, 1937.
Two people and a baby are photographed with Betty Yu's installation "The Garment Worker". There are several photographs, garments, a table lamp, and sewing materials visible.

A touring iteration of Punctures was presented by SPACE (Portland, ME) in July 2021. Photographs below by Carolyn Wachnicki. You can see more info about this iteration here. I’m grateful to them for committing to the exhibition – originally due to open in Summer 2020 – despite the challenges of the pandemic.

A photograph of Eniola Dawodu's textile sculpture, Iran si Iran, with Kite's installation Everything I Say Is True, visible behind it.
A photograph of Eniola Dawodu's Iran si Iran (Generation to Generation); on the right are garments from Charlie Best's We Interrupt this Program, and elements from Betty Yu's The Garment Worker.
A single screen showing Cecilia Vicuña's La Noche de las Especies. A person is seen watching it.
A close-up of a garment by Charlie Best that is part of We Interrupt this program. The garment has flippy sequins, and red and blue flannel.
A photograph showing a garment and video by Charlie Best as part of their work We Interrupt this Program.
A wide shot with vertical televisions on the sides and a large dress, hung circularly, as part of Kite's Everything I Say Is True.
A person is interacting with Betty Yu's installation The Garment Worker.
Sabrina Gschwandtner's video work "Hands at Work" on a large vertical television.

In November 2018, Squeaky Wheel presented a three day symposium regarding Punctures towards the final exhibition. Speakers and moderators for the symposium included Terri Francis, Kyla Gordon, Kite, Beryl Korot, Chris Lee, Jodi Lynn Maracle, Tiona Nekkia McClodden, Stephen Monteiro, Tina Rivers Ryan, Jasmina Tumbas, Kelly Walters, the WASH Project, Betty Yu, and myself. The event featured screenings of work by Abraham Ravett, Laura Huertas Millán, Jodie Mack, and a performance by Kite. Click here to read more about the symposium.

Initial research into the project was supported by 5harfliler who published a brief blog post (in Turkish) by myself on the connection between textiles and media arts; this was followed by support from the SAHA Foundation who supported my attendance at Independent Curators International’s New Orleans Intensive; and a Curatorial Research Fellowship from the Andy Warhol Foundation for the Visual Arts. The exhibition at Squeaky Wheel was funded in part by the Andy Warhol Foundation for the Visual Arts and the Creative Arts Initiative at the University at Buffalo.