<div dir="ltr">Hi Daniel,<div><br></div><div>Comparing it to the airplane sequence in "The Ticket That Exploded", I dislike Kerry Downey's piece, even for the sake of the issues we are discussing here, intensely. In the airplane scene, events relate to each other with no fancy tricks, just a pan of the camera or I think unobtrusive cuts. In this piece the relationship is achieved through the digital machine. In the terms of our discussion, I would say it reeks of manipulation. What this video communicates to me is not a message of liberation through contact with reality and the body ("..("<span style="color:rgb(102,102,102);font-family:Verdana,Geneva,sans-serif;font-size:11px">the somatic ways feminist and queer histories move through bodies.)</span> ; but rather the contrary, that digitally programmed robot, can replicate human movement and behavior: the very anti-thesis of what the video claims to achieve. I find the work "arty" in the worst sense of the word -- a "wrong" direction.</div><div><br></div><div>Daniel, I hope you don't mind my being direct. Otherwise, the discussions end up being echo chambers.</div><div><br></div><div>Ciao,</div><div>Murat </div><div><br></div><div><br></div></div><div class="gmail_extra"><br><div class="gmail_quote">On Sat, Jul 21, 2018 at 10:22 AM, Daniel Lichtman <span dir="ltr"><<a href="mailto:danielp73@gmail.com" target="_blank">danielp73@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr"><div>-“body dubbing” as I heard in the video. a good starting point for thinking about this work</div><div><br></div><div>-artist imitates Angela’s body movements in the form of a silhouette (via overhead projector according to description). relation/translation of body movement in for form of a drawing with water and ink. artist also repeats character’s voice and dogs movements</div><div><br></div><div>-i look back and forth between the two parts of the video, creating some visual/shapes-based/ fluid connection between the ink/water and Angela talking.</div><div><br></div><div>-Angela makes fishing flies that link her to the body-form of insect and the tastes of fish in the river. she makes these connections through working with her hands. Artist makes connections to Angela through work with their hands, body</div><div><br></div><div>-love Angela’s cursing. Her reflections are not detached intellect; they are emotional and through the various bodies she interacts with</div><div><br></div><div>-Angela seeks “responsive state.” Such a state sounds lovely. </div><div><br></div><div>-seems important that Artist’s imitation is in silhouette form. Abstracts the relationship between artist and Angela. though artist mimics Angela’s movements fairly exactly, the silhouette creates space for inhabiting this relationship in an open-ended (full of potential instead of precisely metaphorical, closed-down) way.</div><div><br></div><div>-love imitation of dog. use of dogs fur. dog, and also the river and forest—seem like a substrate or glue for holding the work together.</div><div><br></div><div>-“they should be peeing” it’s obvious isn’t it</div><div><br></div><div>-whisper at the beginning makes me feel I’m privy to a secret—the work will uncover secret dimensions of their relationship.</div><div><br></div><div>-also wonder how this is installed—is this documentation of a performance? or a video? was there a live audience for Kerry’s actions? Doesn’t look like it. When Kerry’s talking, looks like they’re talking directly to me, the viewer of the video. The setup of the video puts the viewer in close quarters with the various bodies, voices, movements, skills, histories, actions, etc etc presented in the work.</div></div><br><div class="gmail_quote"><div dir="ltr">On Sat, Jul 14, 2018 at 10:29 PM Daniel Lichtman <<a href="mailto:danielp73@gmail.com" target="_blank">danielp73@gmail.com</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="ltr">Kerry Downey<div>Fishing With Angela</div><div><br></div><div>Link to video and documentation: <a href="http://kerrydowney.com/videos--/fishing-with-angela/1" target="_blank">http://<wbr>kerrydowney.com/videos--/<wbr>fishing-with-angela/1</a><br><div><br>Kerry Downey (b.1979, Ft. Lauderdale) is a multidisciplinary artist whose work draws relationships between states of embodiment and forms of power. Downey has recently had a solo show at CAVE in Detroit, MI and a two-person show at Knockdown Center in Maspeth, NY. They have also exhibited at the Queens Museum, Flushing, NY; the Hessel Museum at Bard College, Annandale, NY; the Drawing Center, New York, NY; Franklin Street Works, Stamford, CT; The Alice, Seattle, WA; and at the Paris International with Taylor Macklin of Zurich. In 2015, Downey was awarded the Joan Mitchell Foundation Emerging Artist Grant. Artist-in-residencies and Fellowships include Skowhegan School of Painting and Sculpture, Triangle Arts Association, SHIFT at the EFA Project Space, the Drawing Center’s Open Sessions, Real Time and Space in Oakland, CA, the Vermont Studio Center, and the Queer/Art/Mentorship Program. Their work has been in Artforum, the Brooklyn Rail, and the Washington Post. They hold a BA from Bard College and an MFA from Hunter College.</div></div></div>
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