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Nash Glynn
THE FUTURE IS FICTION
May 19 – Jun 30, 2019

Nash Glynn, *Lover Earth (YOU USED ME)*, 2018. Video performance

Nash Glynn, Lover Earth (YOU USED ME), 2018. Video performance

Thursday, June 20, 7pm
Nash Glynn in conversation with Jack Halberstam

 

PARTICIPANT INC presents Nash Glynn, The Future is Fiction, the artist’s first New York solo exhibition. Comprised of paintings, drawings, videos, and photography, in each Glynn uses her body as a medium to interrogate categories such as nature, female, human. Through self-portraiture, Glynn places the transfeminine form in relation to rapidly changing ecologies, positing climate change not only as a problem of representation, but also as a threat to essentialist gender ideologies. As artist and writer Aliza Shvarts notes, Glynn deploys self-representation as “signifier at a geological scale in the contemporary context of climate change, ecological disaster, and mass extinctions of the Anthropocene. Through self-portraiture, digital manipulation, and extra-planetary imagination, Glynn poses the trans female body as a metaphor for the contradictions of nature and culture. Working through ideas of utopia and dystopia, industry and intimacy, seduction and ruin, she uses techniques such as photomontage to blend the artificial and the real. These cohesive environments ask the viewer to consider the fate of the body, the planet, and the representational capacities of the artist beyond the framework of humanism” (The Archive, Spring 2018, Issue 63).

Nash Glynn, *The Future is Fiction*. Installation view

Nash Glynn, The Future is Fiction. Installation view

Nash Glynn, *The Future is Fiction*. Installation view

Nash Glynn, The Future is Fiction. Installation view

Nash Glynn, *The Future is Fiction*. Installation view

Nash Glynn, The Future is Fiction. Installation view

Nash Glynn, *Mars Terraformation - Phase I & II*, 2019. Diptych, photomontage, light boxes

Nash Glynn, Mars Terraformation - Phase I & II, 2019. Diptych, photomontage, light boxes

Nash Glynn, *Mars Terraformation - Phase I*, 2019. Diptych, photomontage, light boxes

Nash Glynn, Mars Terraformation - Phase I, 2019. Diptych, photomontage, light boxes

Nash Glynn, *Mars Terraformation - Phase II*, 2019. Diptych, photomontage, light boxes

Nash Glynn, Mars Terraformation - Phase II, 2019. Diptych, photomontage, light boxes

Nash Glynn, *The Future is Fiction*. Installation view

Nash Glynn, The Future is Fiction. Installation view

Nash Glynn, *The Future is Fiction*. Installation view

Nash Glynn, The Future is Fiction. Installation view

Nash Glynn, *Standing (Self Portrait)*, 2018. Acrylic on canvas

Nash Glynn, Standing (Self Portrait), 2018. Acrylic on canvas

Nash Glynn, *a late winter waterfall*, 2018. Graphite on paper

Nash Glynn, a late winter waterfall, 2018. Graphite on paper

Nash Glynn, *March in the Hudson Valley*, 2018. Graphite on paper 

Nash Glynn, March in the Hudson Valley, 2018. Graphite on paper 

Nash Glynn, *The Future is Fiction*. Installation view

Nash Glynn, The Future is Fiction. Installation view

Nash Glynn, *Before & After (Self Portrait, Split Zombie)*, 2016. Diptych, digital photographs

Nash Glynn, Before & After (Self Portrait, Split Zombie), 2016. Diptych, digital photographs

Nash Glynn, *Stealth 01*, 2017. Triptych, digital photographs, performance (shot in Riverside Park, NYC)

Nash Glynn, Stealth 01, 2017. Triptych, digital photographs, performance (shot in Riverside Park, NYC)

Nash Glynn, *The Future is Fiction*. Installation view

Nash Glynn, The Future is Fiction. Installation view

Nash Glynn, *Untitled*, 2019. Acrylic on canvas

Nash Glynn, Untitled, 2019. Acrylic on canvas

Nash Glynn, *Automata*, 2019. Photomontage

Nash Glynn, Automata, 2019. Photomontage

Nash Glynn, *In the studio*, 2019. Acrylic on canvas

Nash Glynn, In the studio, 2019. Acrylic on canvas

More from Season 17

Karin Schneider, *Sabotage*, 2017. CCA Wattis Institute, San Francisco. Courtesy of Karin Schneider
A NEW JOB TO UNWORK AT
Sep 9–Oct 14, 2018
Julia Scher, *I'll Be Gentle*, 1991. Installation view at Pat Hearn Gallery, New York
THE CONDITIONS OF BEING ART: PAT HEARN GALLERY AND AMERICAN FINE ARTS, CO. (1983-2004)
Oct 20 & 21, 2018
Ellen Cantor, *Pinochet Porn*, 2008-16. Super-8 film transferred to video (black and white and color, sound), 123 min.
Ellen Cantor
A HISTORY OF THE WORLD AS IT HAS BECOME KNOWN TO ME
Oct 28, 2018
Cy Gavin, *Breaking Wave*, 2018. Acrylic on denim
BREAKING WAVE
Nov 4–18, 2018
Kathe Burkhart
S.O.S. (SAVE OUR SPACES)
Nov 11, 2018
Diana Hamilton and Shiv Kotecha
GOD WAS RIGHT AND THE SWITCH
Nov 14, 2018
Tiona Nekkia McClodden, Virginia de Medeiros
JOURNEYS WITH THE INITIATED
Dec 2, 2018–Jan 13, 2019
Viva Ruiz, A Joyful Noise: Thank God For Abortion Pride Parade Float. Photo: Elliot Luscombe
Viva Ruiz
PROABORTION SHAKIRA: A THANK GOD FOR ABORTION INTROSPECTIVE
Feb 3–Mar 10, 2019
LAST DAYS AT HOT SLIT: THE RADICAL FEMINISM OF ANDREA DWORKIN
Mar 10, 2019
JD Hollingsworth
THE WORK
Mar 14, 2019
Dash Snow, *Newspapers 1*. C-Print. 34 5/16 x 51 3/8 inches. © Dash Snow, Courtesy of the Dash Snow Archive, New York City
Dash Snow
THE DROWNED WORLD: SELECTIONS FROM THE DASH SNOW ARCHIVE
Mar 31–May 12, 2019
Nash Glynn, *Lover Earth (YOU USED ME)*, 2018. Video performance
Nash Glynn
THE FUTURE IS FICTION
May 19 – Jun 30, 2019
*Altered After* catalog cover (detail), designed by Jean Foos. Image: Leslie Kaliades, still from *Altered After*, 1997. Video, black and white, sound, 15:07 min
ALTERED AFTER
Jul 10–Aug 18, 2019
M. Lamar
NEGROGOTHIC GARDEN PARTY
Sunday, June 2, 2019

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