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Zackary Drucker and Manuel Vason

Don't Look At Me Like That

October 19 – November 23, 2013

Zackary Drucker and Manuel Vason Collaboration #2, Milan, (Playing with the bits you want to transform), 2010 Duratrans on LED light box ​36 x 24 in.

Zackary Drucker and Manuel Vason
Collaboration #2, Milan, (Playing with the bits you want to transform), 2010
Duratrans on LED light box
36 x 24 in.

Zackary Drucker and Manuel Vason Collaboration #1, Milan, (This is the way I want to remember you)​, 2010 Duratrans on LED light box 36 x 24 in.

Zackary Drucker and Manuel Vason
Collaboration #1, Milan, (This is the way I want to remember you), 2010
Duratrans on LED light box
36 x 24 in.

Zackary Drucker and Manuel Vason Collaboration #5, Milan, (Taking on the piss), 2010 Duratrans on LED light box 36 x 24 in.

Zackary Drucker and Manuel Vason
Collaboration #5, Milan, (Taking on the piss), 2010
Duratrans on LED light box
36 x 24 in.

Zackary Drucker and Manuel Vason Collaboration #3, Milan, (Don’t look at me like that), 2010 Duratrans on LED light box ​36 x 24 in.

Zackary Drucker and Manuel Vason
Collaboration #3, Milan, (Don’t look at me like that), 2010
Duratrans on LED light box
36 x 24 in.

Press Release

Don't Look At Me Like That is a collaboration between LA-based performance, photographer, video artist Zackary Drucker and London-based photographer, Manuel Vason.  Shot in Milan in 2010 during the course of one of Drucker's performances, this will be the first time the series is presented in Los Angeles.  

The disciple of a silenced, ghettoized community, Zackary Drucker, a young transgender artist/performer from Los Angeles, uses a range of creative devices that all strive towards the portrayal of bodily identity, her own and that of others, obsessively infusing visual media-photographs, videos and performance art-with acute, masochistic emotional compulsions. 

Conceiving, discovering, and manifesting herself as “a woman in the wrong world”, her work is rooted in cultivating and investigating under-recognized aspects of transgender history, locating herself in that history, and communicating her contemporary experience of gender and sexuality. With self-awareness and agency, her work reinvents and redistributes relationships of spectacle-spectator, dominator-subjugated, and the domesticated-exoticized. “My work provides a place to construct myself” says Drucker. “I revisit erased histories, perform and inhabit multiple roles and narratives, and document moments of, and in between, gender scripting a narrative that is inherently self-reflexive as it is constructed, deconstructed and experienced.”

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