Mira Mann

Mira Mann
UV direct print on alu dibond
90,5 x 136 cm
1 set + 2 AP (set)
3.000 €
Mira Mann The retired silversmith (Dru Drury)
The retired silversmith (Dru Drury), 2021
UV direct print on alu dibond
24 x 52 cm
Series of 11 unique copies + 2 AP (set)
450 €
Mira Mann So, You Can Tell (Songi)
So, You Can Tell (Songi), 2021
UV direct print on alu dibond
25 x 30 cm
Series of 11 unique copies + 2 AP (set)
350 €
Mira Mann twin stranger
twin stranger, 2021
UV direct print on alu dibond
32 x 27 cm
Series of 11 unique copies + 2 AP (set)
400 €
Mira Mann joa ru ru ru
joa ru ru ru, 2021
UV direct print on alu dibond
32 x 24 cm
Series of 11 unique copies + 2 AP (set)
400 €
Mira Mann vanity
vanity, 2021
UV direct print on alu dibond
19 x 35 cm
Series of 11 unique copies + 2 AP (set)
350 €
sold out
Mira Mann in the meantime
in the meantime, 2021
UV direct print on alu dibond
19 x 53 cm
Series of 11 unique copies + 2 AP (set)
400 €
Mira Mann click
click, 2021
UV direct print on alu dibond
27 x 24 cm
Series of 11 unique copies + 2 AP (set)
350 €
sold out
Mira Mann with ōmu eyes (Nausicaä)
with ōmu eyes (Nausicaä), 2021
UV direct print on alu dibond
61 x 24 cm
Series of 11 unique copies + 2 AP (set)
450 €
sold out
Mira Mann renegades of the binary
renegades of the binary, 2021
UV direct print on alu dibond
44 x 35 cm
Series of 11 unique copies + 2 AP (set)
450 €
Mira Mann eye and blind spot
eye and blind spot, 2021
UV direct print on alu dibond
44 x 35 cm
Series of 11 unique copies + 2 AP (set)
450 €
Mira Mann wing nuts (Tree of Heaven)
wing nuts (Tree of Heaven), 2021
UV direct print on alu dibond
32 x 25 cm
Series of 11 unique copies + 2 AP (set)
350 €

The liminoid membranes of Mira Mann’s multipart edition create a vortex in time, within which mongrels, larvae, moths, foreigners, others, and hybrids all assemble for transtemporal resistance. As creatures of the threshold, they are neither here nor there, neither one nor the other. The liminality of their cocoon indicates a process of radical transformation and potential turning points, a betwixt and between of non-fixable positions. The speculative storyboard connects fragments taken from the script of the artist’s most recent performance, SSSSUUUU-GUUUUNG-GGGGAAAA, with diverse research materials on pansori. First developed in the 17th century in close connection with the ceremonies and narrative singing of mudang shamans, this genre of epic and musical storytelling was over time also interpreted by kisaeng (Korean courtesans, entertainers and sex workers of the Joseon dynasty and their descendants). Set pieces taken from these engagements with authorship, Asian-diasporic experiences, and colonial exploitation overlap in the edition’s various panels with scenographies of non-human narratives of plant and insect migration. The flying seeds of the so-called “tree of heaven” appear alongside measurements and written descriptions of silk moths, which were first brought to Europe from Asia in 1751. In the transgressive assemblage of the edition, such classifications mutate into “wild” subjectifications, spinning a visual narrative that is without any category.

Victoria Tarak