More from Friday's Adaptation Syndrome panel -
Margaret Evangeline - Margaret Evangeline has three aluminum with gunshot pieces included in the show. She said she was interested in "taking a very pure square" and doing "a kind of mark-making that changes it and takes away from it's purity". She liked the idea of "a painting about the sensation of painting without using paint". Something I didn't notice on my previous two visits to the show is that the back of these pieces are lined with porcelain, something to look at "through the wound".
I wasn't completely clear but it sounds like Evangeline sometimes rents out her studio for fashion and photography shoots, and things from her studio wind up being used in these shoots. This, along with Bruce Nauman's Mapping The Studio, inspired her to make a video in her own studio incorporating elements of the fashion shoots. The video, Bataille, was a dreamy floor-level view of the studio floor covered in some kind of silvery foil. A woman in spike heels - we can only see the feet - walks around and stamps the foil with her heels, bits of curling foil popping up with each stamp that sort of reminded me of shell casings. Occasional cuts to a glittery framed mirror on a shadowy wall had a noir fairytale feel.
Damage, glamour, dependence, ruin, subjugation, rebellion, resentment, role-playing, degradation, sex, sabotage - yup, that sounds like Bataille (I think, I'm no expert). Margaret Evangeline's work is way more complicated than I first thought, and I'm struggling to think of how to articulate ideas I now have about it - a conflicted desire for subjection to some idea of an absolute (I'm practically stealing that line from a Maud McInerney essay, but can't word it any better). I guess this might be a good time to segue into Dominique Nahas.
Dominique Nahas - I stated previously that Margaret Evangeline and Dominique Nahas are a couple or something. Mr. Nahas talked a little about inner-space and outer-space, the public and private, and wondered about what constitutes a sanctioned art practice. Good questions.
Incidentally, Dominique Nahas was from 2000-2004 an Associate Curator at the Palm Beach ICA and Margaret Evangeline had a solo show at the Palm Beach ICA in 2001.
Nahas mentioned a few artists but I'm hesitant to go into it because I'm unsure if they were artists he was perhaps paid to plug or not.
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4 comments:
martian, you are very nosy. Why?
Duh.
"Mr. Nahas talked a little about inner-space and outer-space, the public and private, and wondered about what constitutes a sanctioned art practice. Good questions."
Question: Why is it that the same people who get the most worked up about backroom deals in government and other industries all shrug their shoulders when it comes to our own?
2nd Question: Where do (so many) critics and curators get off thinking they can make pronouncements on art and artists but artists can't examine them in response?
3rd Question: What constitutes a sanctioned critical/curatorial practice?
doink.
Martian, I wish I could communicate about my work. It all comes out in inarticulate jumbles. I have a story for it, but it is boring and not true.
Now you lost me.
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