Magali Duzant is a NY-based interdisciplinary artist. Her work combines the poetics of perception alongside in-depth research practices to examine the subjectivity of seeing and the roles of technology and translation as mediators of lived experience.
Her work has been exhibited internationally most recently at the Centre for Contemporary Photography in Melbourne, the Queens Museum, Spring Break Art Fair, and Fridman Gallery in NY, Hermitage Museum in St. Petersburg, Russia, Sydney College of Art and Parramatta Artist Studios in Australia. She has created a number of public commissions for BRIC and Memorial Sloan Kettering amongst others. Her book, Light Blue Desire : A Manual to the Color Blue was published in 2018 by Conveyor Editions following the 2015 publication of, I Looked & Looked, a collection of 20 views of the moon on the night of Hurricane Sandy, inspired by the synchronicity of a romantic letter exchange between Stieglitz and O’Keeffe. She is a 2018 recipient of a New Work Grant from NYC’s DCLA and QCA. In 2015 she was awarded a Queens Council on The Arts Grant for her public work, Live Streaming Sunset, a 2016 SU-CASA grant from the NYC Department of Cultural Affairs and has held residencies with Picture Berlin, Lumen in Italy, and NY’s NARS Foundation and was a 2017/18 Keyholder in Residence at the Lower East Side Printshop. She holds an MFA in Photography from Parsons The New School for Design and a BHA in Fine Arts and Visual Culture from Carnegie Mellon University.
Working within an expanded practice I incorporate photography, text, artist books, and installation to explore the ways in which we describe, inhabit, and share experiences on intimate scales both large and small. Pulling poetics out of the research of perception, romantic gestures emerge out of data as answers to a rapidly changing, digitized world. The act of looking as both private and public gesture is a through line, from projects in which a live sunset is stretched from time zone to time zone into a 24 hour sun in perpetual motion of setting, beamed out into public spaces to the effects of distance and natural disaster on viewing the moon and on to cyanotypes exposed via slide projectors, humming, burning, in essence destroying imagery to birth a new translation. Language weaves its way through the works, specifically the book projects in examining and playing with the minefield of communication – clunky, kind, visual, and leaden.
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