LIGHT YEAR 92: If all bodies attract each other, how is it possible the Universe is expanding?*
Thursday, December 1st, 2022
ONLINE: 2-10pm EST
LIVE: Dusk - 10pm @ Pearl Street Triangle; DUMBO, Brooklyn
Berlin Premiere:
SCOPE BLN
Lübecker Straße 43, 10559, Berlin
Thursday, December 1st, 8:45-10pm CET
Canada Premiere:
THE DREY
Woodbine Ave, East York, ON M4C 4E1, Canada
Thursday, December 1st, 6-10 PM EST
Somewhere in Jean Baudrillar’s book Cool Memories (1990), about the “disillusioned side of America”, I read the phrase “crossing spaces is erotic”. In an instant (and at least for an instant) my own disillusionment and melancholy were shattered. I think the crossing spaces that Baudrillard referred to is the joy of inhabiting with action. The joy of creating a relationship with an inert space and turning it into a living organism, to inhabit together, rather than in it. The drive behind this program is that kind of joy.
In Dakota Gearhart’s Life Touching Life a half toxic-algae-bloom, half woman is the joyful presenter of a new life. Our neurons and skin cells have rebelled and remixed and woven a tangible dream of something akin to justice. Like an octopus tethered to the internet, in Wire Bath, Faith Holland bathes in a tangle of ethernet cables and bubbles—a scene full of pleasure and a vague aftertaste of danger. Is it the combination of water and cables? Or the knots that touch and caress, but also slightly suffocate? Nothing is alive in Meredith Drum’s Séance for Dead Horse Bay—except everything is, in another dimension, where the agency of bodies and photons is inverted, and the wasted lives of horses in Dead Horse Bay have re-emerged as rays of light. The most difficult to grasp inversion, perhaps because it appears so familiar, is that in Janet Biggs’ Airs Above The Ground. Her young synchronized swimmer, separated from any sense of gravity, seems not to need air to breathe, but requires incessant movement to survive.
The four artists in this program propose tensions bursting with pleasure, effort, and abandonment. They create a sticky physicality that touches invisible realities and rejects “normal” behaviors, both of matter and of relationships. Would that mean that matter and relationships are malleable, and only ingrained perceptions and inertia prevent our dissolution into one joyful, fluid, ever-changing collectiveness?
Featuring work by: Janet Biggs, Meredith Drum, Dakota Gearhart, and Faith Holland
Curated by Eva Davidova