Anicka Yi's art is a captivating exploration of the ephemeral and the interconnected, where living, dying, and flying artworks converge to challenge our perceptions and relationships with the microscopic and the technological. Her work, spanning from the Hudson Valley to the New Museum, is a testament to her unique vision and her ability to weave together diverse elements, from microbial life to machine consciousness. In this article, I will delve into Yi's practice, examining her approach to art, her fascination with the ephemeral, and her exploration of the relationships between humans, machines, and microbes. I will also reflect on the broader implications of her work and its potential impact on our understanding of art, science, and the natural world.
The Ephemeral Universe
Anicka Yi's art is characterized by its ephemeral nature, where artworks are designed to be short-lived and constantly evolving. Her works, such as the columns bursting with mercurial microbial life at Storm King Art Center and the jellyfish-like flying machines at the New Museum, are a testament to this ephemeral quality. The artist's fascination with the ephemeral is rooted in her desire to challenge the monumentality of art, which she sees as a protest against the perishable nature of human existence. In her words, "I started my practice with the ephemeral, the perishable as a protest against this monumentality of art that had been handed down to my generation by the modernists and especially the 1960s minimalist sculptors. I wanted to make more impermanent statements, because we’re all impermanent."
What makes Yi's ephemeral artworks particularly fascinating is her ability to create a sense of depth and complexity within the short-lived. Her Winogradsky columns, for example, are small, self-contained ecosystems that evolve over time, creating vividly hued layers. This process, which takes two years to complete, is a testament to the artist's patience and her willingness to embrace uncertainty. As she explains, "The other ingredient is time, so they’ve just been cooking for two years."
The Interconnectedness of Life
Yi's art is also characterized by its exploration of the interconnectedness of life, where humans, machines, and microbes are seen as part of a larger ecosystem. Her works, such as the "Message from the Mud" installation at Storm King, are a testament to this interconnectedness. The artist's fascination with the interconnectedness of life is rooted in her own experiences with gut health issues and her interest in the ways in which bacteria exert power over our lives. As she explains, "I feel it everywhere. I feel the potency. We’re talking about these pandemics, these microorganisms. They’re calling the shots and it’s as pervasive as the air that we breathe."
What makes Yi's exploration of the interconnectedness of life particularly interesting is her ability to create a sense of symbiosis within her own practice. Her radiolaria-inspired sculptures, for example, were born from a series of "Alien Ocean" paintings made in collaboration with machine-learning algorithms trained on her earlier works. This process, which involves the exchange of ideas and materials between humans and machines, is a testament to the artist's willingness to embrace new technologies and her interest in the potential of AI.
The Role of Science and Technology
Yi's art is also characterized by its engagement with science and technology, where she collaborates with scientists to develop and execute her works. Her collaborations with microbiologists, such as Frank Cusimano, and her interest in AI, are a testament to her desire to push the boundaries of art and explore new possibilities. As she explains, "I collaborate with scientists to develop and execute my works, such as the microbiologist Frank Cusimano, who assisted her on her first foray into Winogradsky cultures at the Venice Biennale in 2019."
What makes Yi's engagement with science and technology particularly interesting is her ability to create a sense of learning and discovery within her own practice. Her works, such as the "In Love With the World" flying machines, are a testament to this learning process. The artist's willingness to embrace new technologies and her interest in the potential of AI are a reflection of her desire to push the boundaries of art and explore new possibilities.
The Impact of Yi's Art
Yi's art has the potential to impact our understanding of art, science, and the natural world. Her works, which challenge our perceptions and relationships with the microscopic and the technological, are a testament to her unique vision and her ability to weave together diverse elements. As Massimiliano Gioni, who leads the New Museum's curatorial team, explains, "She thought it would bring levity or a sense of optimism that maybe the entire exhibition doesn’t have. There is an immediate sense of elation, or fantastical surprise when you see them."
What makes Yi's art particularly impactful is her ability to create a sense of curiosity and wonder within her viewers. Her works, which are designed to be interactive and engaging, are a testament to her desire to create a sense of symbiosis between the artist and the viewer. As she explains, "I feel it everywhere. I feel the potency. We’re talking about these pandemics, these microorganisms. They’re calling the shots and it’s as pervasive as the air that we breathe."
In conclusion, Anicka Yi's art is a captivating exploration of the ephemeral and the interconnected, where living, dying, and flying artworks converge to challenge our perceptions and relationships with the microscopic and the technological. Her works, which are characterized by their ephemeral nature, their exploration of the interconnectedness of life, and their engagement with science and technology, are a testament to her unique vision and her ability to weave together diverse elements. As we reflect on Yi's art, we are reminded of the power of art to challenge our perceptions and relationships with the world around us, and to inspire us to explore new possibilities and to embrace the unknown.
