and where kinship as a form of (mutual) recognition and support offers possibilities for survival, exchange, collaboration, and growth. About making this work, Tiravanija has said, “As I watched John perform, I felt the great wave of energy and compassion, the force of life that John was transferring onto us (his listener, his viewer, his audience).” 6 This intergenerational energy transfer, effectuated through the audio-visual and temporal medium of film and later video, circumvents any normative understanding of kinship and genealogy or any simplistic notion of commemoration. Similarly, across Kang Seung Lee’s works — Garden (2018) and The Heart of A Hand (2022)— a queer, transnational poetics is at play, surfacing relationships between significant cultural figures across disparate contexts whose lives were indelibly impacted by HIV/AIDS. Lee works across media, often producing elaborately rendered flat-bed arrangements of a wide range of images, embroideries, texts, and collected objects associated with queer subjects, their bodies, and histories. Functioning as fragmentary memorials or altars for remembrance, the conceptual connection between Lee’s assemblage works and the videos included in Homage is evident. In Garden , the artist makes a pilgrimage to storied landscapes created continents apart by the artist Derek Jarman (1942–94) and the writer Oh Joon-soo (1964–98), where his camera frames tended earth and nearby expanses of vegetation, sea, and sky. Lee orchestrates a link between both hallowed sites and their founding figures through a ritual of transfer and exchange, bringing drawings he made in the other person’s garden (on biodegradable sheepskin parchment) as well as a small amount of soil, for the purposes of
ers.html yc/chapt ,” https://www.ilovejohngiorno.n 6 “John Giorno Reads
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