Join us for the opening of Kira Dominguez Hultgren’s second solo exhibition “Intrusions” with Eleanor Harwood Gallery on Saturday, January 11th, from 6 – 8 PM. This opening reception will coincide with Minnesota Street Project’s First Saturdays, where the galleries within the building remain open till 8 PM.
“Intrusions” Press Release
January 11th, 2020 (San Francisco, CA) — Eleanor Harwood Gallery is pleased to present Intrusions, our second solo exhibition with Kira Dominguez Hultgren.
Pleased to be presenting her second solo-show with the gallery, Kira Dominguez Hultgren weaves together histories of tangled intrusions nourished on the global confusion of Indian and Indian. Beginning with her own family history of immigration from Punjab, India, Dominguez Hultgren pieces together a material story of generational inheritance and partition. In her work, “Arose”, Dominguez Hultgren studies and reenacts this history through the embroidery work of her great-aunt Dalip Kaur across two Punjabi shawls called phulkaris. Punjabi phulkaris exist not only between the borders of what today is Pakistan and India, but also between the borders of handwork and industrialization, globalism and regional labor, and spectacle and body. They intrude into Gandhi’s symbolic handspun khadi cloth (the symbol of Indian self-sufficiency and revolution against the British empire), obscuring the symbol, as the entire khadi cloth is buried in embroidery.
Paired with this history, Dominguez Hultgren also analyzes and weaves a story about two Navajo weavings (artists unknown) in her work, “In the Negative.” Although used as symbols of U.S. patriotism in exhibition catalogues, and centennial and bicentennial celebrations across the U.S., these weavings complicate this historically accepted patriotic reading, according to Dominguez Hultgren. Through her research at the Palace of the Governors Photo Archive (Santa Fe, New Mexico), Dominguez Hultgren follows what she believes to be intruding counter-narratives structurally embedded into the weavings themselves. As a weaver, she asks herself when studying these documentary photographs of weavings: what does it mean for this Navajo artist to have woven in nearly invisible zigzag stripes that not only cut perpendicular to the horizontal red-and-white stripes of the flag, but leave the flag structurally vulnerable, quite literally in tatters, even if visibly whole?
In this show, Dominguez Hultgren intrudes into the history of phulkari embroidery and Navajo weaving documentation, through material analyses realized as a series of outsized sculpture and wall pieces. In “Made in Mexico; XicanX and the Second(Hand)-Generation,” she questions how woven intrusions are both a lens by which to see the intersections of nation, culture, history, and technology as they intrude into and form the brown body, as well as manifestos, instructions by which she can flip those same intersections back on themselves. For Dominguez Hultgren, textiles are an archive of material metaphor and physical protest from which she can reenact and destabilize history.