Author: Darren Tesar
Darren Tesar’s activity—visual, curatorial and textual—can be understood as simply as a prolonged proximity maintained between entities, materials and/or processes. Prolonged proximities that produce a kind of pidgin—a grammatically simplified means of communication that develops between two or more groups that do not have a language in common. The result is a production and maintenance of signs that are doubly non-native, meaning the author and object/subject are both made into partial objects.
This notion of partial plays off all three of its possible meanings, namely having a particular liking or fondness for something or someone, that, by nature of its sentimentality (a form of bias or prejudice), relates to being or affectation only in part, not total; incomplete
b.1984 USA, lives and works between USA and Taiwan.
Graduated with a BFA from the University of Wisconsin-Stout in 2008 and with a MFA from the Glasgow School of Art in 2010.
Recent activities include: National Culture & Arts foundation: Development Grant, Taipei, Taiwan, 2020; Yoke Anima, Seohak Photo Gallery, Jeonju, South Korea, 2019; Guest Curator: unsupportive, N/A Gallery, Seoul, South Korea, 2019: VAF Fund, Midway Contemporary Art (Visual Arts Fund, administered by Midway Contemporary Art with generous funding from The Andy Warhol Foundation for the Visual Arts, New York), Minneapolis, MN, USA, 2018; Guest Curator (with Wen Li Chen): he’ (FOGSTAND Gallery) Taiwan Academy, New York, NY, USA 2018; Rough Sleeper, Sadie Halie Projects, Minneapolis, MN, USA 2018;
Past activities include: bar-mouthing, Sadie Halie Projects, Minneapolis, MN, USA, 2106; bar-mouthing, (Exhibition text, They Rephrased the Question for Another Answer: Chun Kaifeng), Fost Gallery, Singapore, 2016; fromming (Exhibition text for Death is the mother of beauty: Charles Matson Lume), New York Mills Regional Cultural Center, New York Mills, MN, 2015; Refining Commitment, Serpentine Magazine, USA & DE, 2015; Guest Curator: Absolving the Object: Kaifeng Chun, Richard Frater, Song-yun Kim, Latent Spaces, Singapore, 2015; Time after Time, Market Gallery, Glasgow, UK, 2014; Nameless Forms, Latent Spaces, Singapore, 2014; Refining Commitment, XMS Gallery, Taipei, Taiwan, 2013; Reverential, published for the exhibition, Della Liquidezza Della Terra, Milan, Italy, 2013; Resident Artist at Seoul Art Space_Geumcheon, Seoul, South Korea 2013.