An installation of video, sculpture, sound and scent about the life of Second Life avatar Linqox Criss and her queer cis male user.
Video of Second Life avatar Linqox Criss and her queer cis male user exploring an online hospital prison.
Desiring to be data for others, 2016, installation view, dimensions variable
Pulsating (from installation Desiring to be data for others), 2016, glass bottled shower fluid made from essential oils, Emeco Navy chair, Plexiglas shelves, mirror, dimensions variable
Continuous looping fluid machine for the release of my Pulsating vapors (from installation Desiring to be data for others), 2016, freestanding glass shower, hot water heater, water pump, dimensions variable
. Sensorial Reactivation Stations #1 and #2: Olfaction Ablution and Sit & Smell (from installation Desiring to be data for others), 2016, found church stoup filled with lemons, coffee beans and water and IKEA couch, dimensions variable
Remnants and residue from my deceased mother’s rug (from installation Desiring to be data for others), 2016, Plexiglas, spray adhesive, various debris, 4’ x 8’
On a scale from 1 to 10, 2016 (from installation Desiring to be data for others), parabolic speaker sound piece, dimensions variable
The signals are caressing us, 2015, installation view, dimensions variable
Orgasmic exhalation form #13 (from installation The signals are caressing us), 2015, CNC routed foam and aqua resin, 6’ x 13” x 17”
Orgasmic exhalation body spray #13 with atomizing time keeping mechanism (from installation The signals are caressing us), 2015, 6-gallon jug with custom body spray perfume, plastic tubing, wall atomizer, synthetic rug, dimensions variable
Notes from our Google doc (from installation The signals are caressing us), 2016, vinyl wall text, dimensions variable
Orgasmic Exhalations #01 - #13, 2015, edition of thirteen bottles of body spray perfumes made of essential oils and alcohol, dimensions variable
Having and losing are indistinguishable, 2015, automatic soap dispensers and vinyl wall text (installation view), dimensions variable
Having and losing are indistinguishable, 2015, automatic soap dispensers and vinyl wall text (detail view), dimensions variable
-0 to 1, 2013, installation view, dimensions variable
Group exhalation (from installation -0 to 1), 2013, 2013, CNC routed foam and aqua resin, 32” x 27” x 16”
The smell of our heat (from installation -0 to 1), 2013, edition of six perfumes made of essential oils, dimensions variable
The shape of my perspiration (from installation -0 to 1), 2013, digitally printed vector drawing on canvas wallpaper, 122” x 6’
Taste my heart’s rhythmic beating (from installation -0 to 1), 2013, edition of 22 one-dram volume of custom made drinkable elixirs, dimensions variable
My work is about recording, translating and re-organizing the sensuousness of the body. Bodies are intimately related to the histories and power structures embedded within science, medicine, design, and digital communication. The history of the internet or the discovery of the birth control pill, for example, are inscribed within the network of systems of the body, becoming a living body archive. The relationship between history and the body reveals how identity and subjectivity cyclically materialize, evaporate, and re-materialize. Using scent, sound, image, text and performance within sculptural immersive environments, I reactivate the sensuousness of the living body archive.
I create biological algorithms through employing electronic sensors, digital micro controllers, and computer software programs. Biometric sensors are used to record and archive breath, body heat, perspiration, heartbeats, brainwaves and more. Sculptures, images, scents, elixirs or sounds are composed directly from collections of bodily data, such as articulations of recording a person’s heartbeat or exhaled carbon dioxide. Through this process of digitally archiving bodily phenomena, I am able to create new objects and conditions. Most often, scent is used as a philosophy to dispel sense.
Various power structures that have worked historically to control and discipline the body and its desires are subverted by opening up the possibility for the body to manifest and express in a multitude of forms, from the architectural to the molecular. The digital interventions that I perform with the body deal with ways in which the body is disciplined, policed, coded, hacked, leaked, bought, and sold.
1985, New Jersey. Lives and works in Brooklyn, New York
M.F.A Combined Media, Hunter College, New York
B.F.A Fine Arts with Honors, School of Visual Arts, New York
The Living Body Archive of Linqox Criss, City Limits Gallery, Oakland, CA, October 14 – November 19 (forthcoming solo show).
LIFEFORCE, Untitled Space, NY, NY, July 26 – August 6 (group show).
Desiring To Be Data For Others, Five Myles Gallery, Brooklyn, NY, January 23 – February 21 (solo show)
Littlest Sister Art Fair at Art Basel Miami Beach, Spinello Projects, Miami, Florida, November 30 – December 13 (group show).
Fuck, Marry Kill, performance with Marissa Bluestone, Present Company, Brooklyn, October 30 (group show).
Enduring Ephemera, AIR Gallery, Governors Island, NY, July 23 – August 23 (group show).
Care Readings, presented by Dana Kopel & Marian Tubbs for Minerva, Interstate Projects, Brooklyn, NY, July 12 (group show).
Immediate Female, Judith Charles Gallery, New York, January 25 – March 8 (group show).
The Signals Are Caressing Us, A.I.R. Gallery, Brooklyn, NY, January 8 – February 1 (solo show).
Sing’s Millennium Mart, curated by Seung-Min Lee, Interstate Projects, Brooklyn, NY, December 13, 2014 – February 4, 2015 (group show).
Sex Without Bodies, Temporary Agency, Queens, NY, September 5 – 18 (group show).
New Visions: Crown Heights, organized by Carl E.Hazlewood, Five Myles Gallery, Brooklyn, NY, September 6 – October 5 (group show).
Pure Product, curated by Isaac Lyles, 247365 Gallery, Brooklyn, NY, July 18 – August 18 (group show).
Currency As Space, HDLU Treasury and Mint, Zagreb, Croatia, March 5 – 27 (group show).
Constructed, Collaged, Combined & Congruent, Galerie Protégé, 197 Ninth Ave, New York, Feb 6 – March 8 (group show).
Newly Minted, Hans Weiss Newspace Gallery, Connecticut, September 12 –October 16 (group show).
-0 to 1, Hunter College MFA Spring Thesis Exhibition, Times Square Gallery, New York, May 15 – June 16
Social Studies, La Conservera Centro Arte Contemporaneo, Murcia, Spain (group show)
Studio Cube, ACE Curatorial Collective, Hunter College Times Square Gallery, New York (group show)
Art and Technology, School of Visual Arts Gallery, New York (group show)
Prizes and Awards
Honors Award, School of Visual Arts, NY
Cisneros Scholarship Award for SOMA Summer Residency, Mexico City
Residencies and Fellowships
SOMA Summer with support by the Hunter College Cisneros Scholarship, Mexico City
A.I.R Fellow, A.I.R. Gallery, Brooklyn, NY
Distributed Intimacies, The Banff Centre, Alberta, Canada, May 26 – June 13
Digital Remnants: Sex Without Bodies?, GUTS Magazine, Issue 3: Sex, December
20/20 Catalog, curated by Ciaran Bennett, School of Visual Arts Press
i.D for Vice Magazine, reviewed by Hannah Ogley http://i-d.vice.com/en_us/article/the-all-female-art-show-imagining-a-cyborg-feminist-future
Art Critical, reviewed by Mira Dayal http://www.artcritical.com/2016/02/19/mira-dayal-on-amanda-turner-pohan/
Blunderbuss Magazine, reviewed by Amelia Rina http://www.blunderbussmag.com/desiring-to-be-data-for-others/.
Daily Serving, reviewed by Amelia Rina http://dailyserving.com/2015/01/amanda-turner-pohan-the-signals-are-caressing-us-at-a-i-r-gallery/#more-46825
On Verge, reviewed by Lara Saget http://www.on-verge.org/reviews/amanda-turner-pohans-the-signals-are-caressing-us-a-circular-formula/.
Huffington Post, reviewed by Priscilla Frank http://www.huffingtonpost.com/2015/01/22/immediate-female_n_6517662.htmL.
NY Times online, reviewed by Martha Schwendener http://www.nytimes.com/2015/01/30/arts/design/sings-millennium-mart-at-interstate-projects.html?ref=design&_r=1