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Christine Sun Kim, Degrees of Institutional Deaf Rage, 2019, charcoal and oil pastel on paper.
COURTESY THE ARTST AND FRANÇOIS GHEBALY
With the Whitney Biennial garnering attention after opening last week, one artist in the exhibition has new gallery representation: Christine Sun Kim. The California-born, Berlin-based artist will now be part of the stable of François Ghebaly in Los Angeles, which mounted a solo show of her work last year.
Kim is known for art that engages ways in which sound relates to silence and vice versa, particularly in relation to privileges shared among hearing people. Kim is pre-lingually deaf, and her work has manifested in various media, including performance, video, writing, technology, and drawing.
Her inclusion in the Whitney Biennial is a homecoming of sorts since she worked at the museum for more than a decade to help to develop American Sign Language programming. Her works in the exhibition, all of which carry variations of the title “Degrees of Deaf Rage,” chronicle instances in which Kim has felt anger, and they are embedded with a sense of wry humor as she depicts the extent of her rage—“legit” (a right angle), “straight up” (180 degrees), “full on” (a circle).
In a 2015 interview with ARTnews, Kim said that her practice is in part about “unlearning sound etiquette.” She added, “I’m trying to unlearn what I’ve been taught by others and trying to find my own definition of both sound and silence.”
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