Dwelling in Transit at Safehouse 1
co-curated with Heeyoon Jung
The exhibition frames dwelling not just as an act of staying within a physical location, but a state of mind shaped by memory and dislocation from place. Dwelling is continuously reconstructed through internal emotions and bodily sensations, and to remain in transit is to situate our bodies within this instability and change.
The artists engage in an active reimagining of a place within their works, from diverse personal and cultural backgrounds, reconsidering dwelling through drawing, moving image, installation, sculpture, performance, and publication. Their works respond to the traces of elsewhere, guided by personal memories and emotions. They explore what it means to remain within change, and how care can shape temporary forms of comfort in uncertain spaces.
We invite audiences to reflect on how we each construct our own ways of dwelling—between migration and borders, between familiarity and unfamiliarity. The exhibition speaks to the dislocations and everyday acts of reorientation that define what it means to dwell.
Documented by Dashen Zhang
During private view, two performances and a live installation period were arranged. The live installation period was ticketed and allowed people to come an hour before opening to talk with artists and to engage in the atmosphere just before official opening, showcasing a tiny snippet of the labour and energy generated during this dynamic period of time.
We were proud to host Zoe Yang's first official iteration of her performance titled Fledgling, and Iris Su's automatic drawing as a part of her installation of her work Trashy, Scribble, Joy!
Documented by Yuri Xiao
Ceramic artist Camila Dilshat led a workshop titled Bodily Imprints, a hands-on two hour session in which participants were introduced to her artistic practice in an entry-level format. They worked with clay and using their bodies to press, throw, slam, and knead the clay, as if it were dough, onto the paper. Dilshat talks about her memories of her mother's cooking, a connection point to her Uyghur heritage, working with dough to make hand-pulled noodles.
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Exhibition Posters
