There is no better place on earth to become one with yourself than the bathtub. So much that you never wish to get out. Or get back in as soon as possible. At least that’s how I feel. I take a bath every day. Sometimes even two. Starting your day with a full bath is so different than jumping into the shower. Win- ding down in a full bath at the end of the day is so different from going straight to bed and falling asleep. Bathtub: it’s a transition zone between night and day; it’s an interface of different states. But most of all it’s a place for becoming-one-with-yourself, a moment where hard edges dissolve. Home – for me it isn’t the four walls of an apartment; Instead home is: Your own body slipping into the warm water of a tub, where ever that tub may be. Tub – shell, not prison; tub – cocoon, not box; body enveloped by water, enveloped by a tub – that’s me with myself.
The battery dies at 30 %, again. Mischieving nature compressed to gadget, performing things on its own, clogging seamless communication. Cut off from the network, a body reclines on spring grass while staring into a starless sky. Across blue-hued layers are other bodies, unreachable but abundant with recourses, asteroids, like lonely gas stations reverberating in immense space. Bodies in landscapes.
How do we break from these simulatory boundaries provided within this millennial world? How can one be liberated or emancipated from the bind of digital life. Would it be too romantic to argue that one truly only lives on the edge when encountering the unpredictable or the uncanny, in danger or on the brink of death? Shouldn’t life announce itself through the dynamism of feeling, passion and the direct experience of the present?
Queer history and social space have always interested Emily Roysdon generating an interdisciplinary working method with projects taking the form of performances, photographic installations, print making, texts, videos, curating and collaborations. Her notions about what it is ‘unseen in time’ and the politics of transitions had recently formed Uncounted, a site-specific project that has unfolded over several years through a series of related questions and visual vocabulary. At the core of the project is a 23 part text that engages a vocabulary of movement, margins and trespass. Drawing on texts by W.H. Auden, David Hammons and Gertrude Stein, the work considers “uncounted experience,” what is “beyond the will to measure,” posing such questions as “What is time if not activism?” and “What instruments have we?”
Aujourd’hui is pleased to release this exclusive interview with Patricia Treib by Timothy Hull during Treib’s latest exhibition of paintings titled Intersticies at Bureau in New York. Treib’s work explores the malleable boundaries of the picture plane and plumbs the depths of forms, both familiar and distant. Her paintings have an irrepressibly active surface, as colors dance about in melody and forms arrive at destinations heretofore mysterious. Treib’s current exhibition furthers her intimate and dynamic research into the secret life of objects and motifs.
- Timothy Hull
Pamela Rosenkranz investigates the meaning of human nature in the contemporary world. Her artistic research references various fields of knowledge – from medicine, religion and philosophy, to art and marketing. These references are aimed at questioning the way we see and perceive things, and at exploring the way the elements, advertising, and culture influence our identity. Working with a variety of media, sometimes in unusual pairings, that range from branded water bottles to Amazon Echo speakers, materials including pigments and pheromones, neuro-active microbes and parasites, colors and scents, she addresses the shifting meanings of the ‘natural’ and the ‘human’ in the Anthropocene age. Her persistence as to the ‘naturalness’ of seemingly unnatural materials evaporates the foundational distinction between ‘organic’ and ‘synthetic’.
Some people believe art develops in a backstitch manner, in a one step back, two steps forward fashion. Starting from one point, the needle leads the thread one point back in direction of sewing, creating a loop through the back of the fabric and getting out one point forward from where it started. This technique is repeated again and again and allows the stitching line to be filled from both sides and thus endure better.
As is typical of her practice, this new body of work by Marguerite Humeau began with an excavation of the past. Wielding research as a spade, Humeau dug into the science and myth surrounding the origin of war. The artist corresponded with the archaeologists unpacking Site 117, the earliest recorded mass cemetery, as an entry point. Her discus-sions led her to early depictions of war from Assyria and Egypt where myth and history were foiled by one another. In Riddles, Humeau weaves together the speculative tales of fact and fiction to form a new narrative for the sphinx.
In 'Einsame Insel' Kenneth Alme delves in deeper to investigate the mind, gestures and properties of an artist. Through painting, sculpture and video Alme takes his outset in the philosophic phrase first put forth by philosopher George Berkeley 'If a tree were to fall on an uninhabited island, would there be any sound'. In the same way Kenneth Alme asks the question 'if nobody are around to experience an artwork, does it exist'.
The expression Based on a true story, which recalls pop and Hollywood culture as much as memories of the found object, forms the basis of the Galerie Derouillon’s summer show. On the cusp of words and space, and in a context of “alternative facts” and post-truth, the selected works invite the visitor on a joyous ramble between the disjointed blocks of our youth.
Standing against prevailing sociocultural acceptances that see language as an arena of texts, ideology, narratives, codes and metaphors, Cosmic Words is a group exhibition that traces the movements and interplays between matter and language. Whilst the common use of language designates an intention to communicate, it is ultimately a free, physical signifier in itself, that could serve as bridge towards an understanding of the natural world built upon the basis of physical forces, flows and exchanges.
Société presents a solo exhibition by the artist Lu Yang titled "Welcome to Luyang Hell". Born in Shanghai, where she currently lives and works, Yang is a multimedia artist dealing in her works with neuroscience, mortality, and religion. In their imagery, her videos and installations borrows equally from pop culture, science fiction, and technology.
Timothy Hull is known for capturing material traces of ancient civilizations in laborious, layered drawings and paintings; this is not to say his work is stuck in the past, but exists to help us see how this world becomes translated and understood in our present. Rather than attempt to tell a complete story, Hull brings humor, poetry, and irreverence to his work to point to the subjectivities within each historical position.
For this exhibition Belgian artist Stevie Dix has created a new series of oil paintings. With these works, Dix has captured the intangible space in-between figurative meaning, shape and composition. Treated on their own terms, allowing form to take over any figure so as to catch-out both viewer and creator. Her work shows a raw, yet determined painterly quality, where anthropomorphic objects leave residues of human activity and they obtain a personality of their own.
The artistic research of Alice Browne is aimed at the organization of pictorial structures and sculptural objects that expand the discussion of the connection between individual, past and social forces within the real and mental space. Using the visual ploy of the rock-paper-scissors and then exploiting the symbols that animate the essence of the game, Browne broadens the discussion of the me- aning of images and structures that surround the human being, explaining its fragility and instability and at the same time its durability and strength. Associations and meanings collide in unexpected forms, as well as the evidence of the solidity of the rock, beaten in the rock-paper-scissors game, by the fragile paper. And the game is still to offer similarities between the mimicked gestures of the hands and the symbols of revolt or coercion that they can represent. The artist's research opens a chapter on the power relations between different social forms that are the basis of the relationship between groups of individuals. The forms and functions of power and authority, from the Neolithic until the early industrial revolution to the present day, have continuously changed, so much so that in recent decades capitalism, nation-states and globalization have helped to create new sources of con ict in the masses which in fact resulted in anger and revolution in various parts of the globe. Such contrasts are the basis of conflicts between individuals and ideologies, meanings that create symbols, synthesized for Browne in scissors, paper and rock.
A du-rag, typically wrapped around the head to condition hair overnight and establish natural waves, is stretched, distorted and hung on the wall in conversation with a necktie. The utility of the du-rag as hair product, or wave cap, is contrasted by disparate affiliations of thuggery and respectability, ultimately criminalizing its use. In 2001, the du-rag was banned by the NFL, compelling alternate designs of the skull cap by brands such as Nike, Under Armour, and formerly retired NFL player Marshawn Lynch’s apparel line “Beast Mode”. Lynch, a running back known for his agility and brute force, utilized his position in the public eye to destabilize stigmas often fed by the media in an attempt to regain control over his own narrative.