27 Aug 2014 / 1 note
There is a composite of illusion and reality in the images, and I think they’re even more believable because they are produced in black and white. Considering how overly fantastic the world can look with CGI technology, it always surprises me how many people question the actual events within an image I’ve created. Even though they know it’s not real, their mind is manipulated somehow, and suddenly they think the content could be possible. I understand how some of the images could maybe relate to things that exist in real life – hirsutism, like you mentioned – but it doesn’t interest me to tell those stories. The work should be considered a relief from reality.
Borrowed from Asger Carlsen, in conversation with Alex Moshakis. The full text can be found here.
Mom and me in mirror
While the project with my mother wasn’t staged, in a very real sense my mother was also authoring the circumstances, and placing me within the central role of her drama. I see her performance of sexuality as having a number of functions: to challenge the atmosphere of moralism and conformism surrounding her; to shield herself from her aging; to find a benefactor; to enact an intimacy with me and my brother through various surrogate figures. And, perhaps most importantly, I see her using a masochistic model as a negation: by submitting herself to a trauma as a means of transgressing a normative logic, it paradoxically became possible for her to overwrite the power dynamics within our family. It was a form of emotional hijacking. She was actively stigmatizing herself as an indirect means of stigmatizing and disempowering her father. Because of my specific relationship as her son, with its associated taboo, she was employing me as a kind of weapon.
From Leigh Ledare in conversation with David Joselit on American Suburb X. The full text can be found here.
Burning At The Stake 45x30
With American Cockroach, I am interested not so much in troublesome behavior as in an animal humans find problematic. The roach, and the disgust we feel for it, make for a rich conduit to the psychological landscape that inculcates our complex and often violent relationship with the animal world. I can think of few species that are as thoroughly loathed as the cockroach. But interestingly enough, although they carry this heavy burden of our hostility, they don’t do very much in terms of behavior. They don’t eat in a dramatic way, and they certainly don’t have the wild sex life of, say, the praying mantis. They don’t sting, bite, or carry the dangerous pathogens that flies, mice, and mosquitoes regularly do. Having a cockroach in your kitchen is not like having a venomous snake living in the house. There’s nothing about the animal that is life-threatening. The dichotomy of the roach being a loaded subject, yet in habit, a fairly blank canvas, allowed me to bring more to this work.
25 Jul 2014 / 2 notes
24 Jul 2014 / 1 note
"This is about objects, not motifs. The photo is only a substitute for an object; it is unsuitable as a picture in its customary sense"
Bernd and Hilla Becher
Silver gelatin on cotton
21 Jul 2014 / 0 notes
Elizabeth McAlpine’s 20-minute looping super8 film, 98m (the height of the Campanelie, San Marco, Venice) pans from the bottom to the top of the Campanelie in Venice. While the images projected onto the wall - the size of a postcard - continue to repeat themselves, the 98 meters of film feeding through the glass case below the projector is in constant motion, creating endlessly unique forms.
While Marie Lund’s found curtains in no way employ a traditional photographic process, the work’s ontic sunburns begin to poke at many long-standing debates regarding truth in photographic representation.
Taking the most basic understanding of a Photograph, broken down to its etymological parts, photo: meaning light and graph: to draw, along with the absence of an apparatus, or aesthetic consideration, Lund applies the curtain’s inherited conditions to contextualize the once utilitarian object into a kind of modern-proto photograph.