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THIS PLACE WAS HOME BEFORE I LIVED HERE: POEMS AFTER JANGAR
Drawing on Jangar – a centuries-old Kalmyk-Mongolian epic that has survived migration, persecution, deportation, and diaspora – Sasha Stiles returns to a foundational story of her nomadic heritage to consider how language, memory, and culture are carried forward, or fall silent. Working across voice, script, print, code, and generative systems, Stiles continues Jangar's living tradition, using ancient practices of oral transmission, portable memory, and embodied knowledge to offer new ways of understanding our increasingly networked, mobile, and computational world. From original poetry to 3D-printed objects, cyanotypes, encoded beadwork, spoken word, and hybrid scrolls, each translation expands language beyond text, making it something counted, worn, and felt as much as written or read. Underpinning the exhibition is a recurring family of sculptural forms: part personal iconography, part relic, part prototype. Emerging through years of generative imaging and hybrid practice, they have gradually begun to coalesce into a latent alphabet that roams freely across voice, script, print, code, image, and object. Returning language to the realm of the glyph, the symbol, and the talisman as units of meaning, these evolving figures are not illustration but another way of making poetry.
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We often think of analog and digital as opposites: the warm, continuous hand set against the cold, discrete machine. Stiles dissolves the polarity at the root of the word itself: digitus, the finger, which implies that to go digital is first of all to count on the fingers. The abacus, the Jacquard loom, the knotted quipu, the rosary recited bead by bead: each of these objects is a digital machine run by an analog hand, and this recognition forms the throughline of her practice, from the ongoing Analog Binary Code and Cursive Binary series to A LIVING POEM, the self-rewriting poem recently presented on a monumental screen at the Museum of Modern Art in New York. Whereas this latter work existed as pure light — endless, placeless, erasing itself every hour — the present exhibition at SAPAR CONTEMPORARY transfers the generative logic off the screen and into the palm, into code one can hold in the hand.
-- Cecilia Alemani, Director & Chief Curator of High Line Art
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Sasha Stiles (US)
Current viewing_room


