Anicka Yi outlines scenarios where organic rot meets the utterance of the synthetic. The South-Korean-born and New York-based artist addresses the post-human present through art works that end up hyper-humanizing viewers by stimulating their senses: an aluminum pot filled with a simmering mixture of edible and inedible matters (Convox Dialer Double Distance of a Shining Path, 2011), olive oil drooling from holes in the wall of a cubicle (Auras, Orgasms and Nervous Peaches, 2011), bouquets fried in tempura flour and potted into a turtleneck sweater (Sister, 2012), a psychedelic scene of ice sculptures displayed within a kitchen freezer (Gli Studi Cinematografici, 2012), a handcrafted, fragrant gelatin enclosed in glass bowls (Bolivian Bath, 2012), and so on. The artist’s resume counts solo presentations at 47 Canal, New York; Galerie Rüdiger Schöttle, Munich; and Green Gallery, Milwaukee, as well as group exhibitions at Sculpture Center, New York and GAMeC, Bergamo. She has a bustling year ahead of her, with forthcoming individual shows at Lars Friedrich, Berlin, and Studiolo, Zurich, and group shows at Altman Siegel, San Francisco; Palais de Tokyo, Paris; Museum für Gegenwartskunst, Basel; L&M Arts, Los Angeles; along with the Biennale de Lyon. In addition to all these opportunities to see her work in person, the Internet offers remnants of “Circular File Channel,” a television series developed for the 2009 edition of Performa by Yi’s collaborative project Circular File. (Michele D’Aurizio)