March 23 to March 30
Katja Stuke
Ivana Vollaro
Catalina Swinburn
Manuela Morgaine
Dettie Flynn
Catherine Radosa
Photography made during long-term film project in Gonesse, France (2018-2021).
Photo : Vladimir Turner
Emma Woffenden
In 1999 I exhibited two glass sculptures on tables inside a circular white plastic screen. One was a solid glass casting, a simplified human trunk, an arched spine and pelvis cut off where the legs and head normally continue. On the smaller table a head-like shape with an interior shape meeting the outside made from two blown glass pieces. They represented two separated body parts, the head with the lung and the torso. I didn’t know why I did this and it took a lot of motivation to develop and make, but now looking back I understand how I am connected to it, how we hold thoughts, contortions, expression in our body. I titled the work Severed Installation.
Three years later in 2002 my sister was suddenly taken ill and was on life support in intensive care, unconscious for five weeks. We often sat with her, terrified she wouldn’t survive. Through my brothers determination the hospital tried a new ventilator, bought in from a different hospital. Instead of the in and out rhythm of the first machine, it relentlessly and noisily pumped air in, and her body did recover. Later I connected the incident, the body and the breathing machine, with the Severed Installation and now I am connecting both to scenes from the pandemic. However difficult the incident, making connections makes me feel better, less out of control.
When we were children I would go to sleep listening to my sisters asthmatic wheezing. The yellow tablet she was given before bed, placed under her tongue, was always removed and placed in the hem of the curtain when my mother left the room. They formed even little peaked yellow stains along the curtain edge.
Natacha Nisic
Tous les gestes entre nous tous les gestes revus tous les gestes perdus tous les gestes déchus tous les gestes appris tous les gestes oubliés tous les gestes à faire tous les gestes entretenus tous les gestes sans fin tous les gestes référencés tous les gestes enfouis tous les gestes inconnus tous les gestes vertueux tous les gestes infâmes tous les gestes verrouillés tous les gestes abîmés tous les gestes révoltés tous les gestes fabriqués tous les gestes bienvenus tous les gestes sérieux tous les gestes envieux tous les gestes avariés tous les gestes invisibles tous les gestes communs tous les gestes admirés tous les gestes pourris tous les gestes amoureux tous les gestes illégaux tous les gestes perçus tous les gestes interdits tous les gestes reconnus tous les gestes déçus tous les gestes attendus tous les gestes convenus tous les gestes protégés tous les gestes délivrés tous les gestes aboutis tous les gestes innocents tous les gestes appropriés tous les gestes difficiles tous les gestes attendus tous les gestes investis tous les gestes répudiés tous les gestes inscrits tous les gestes à venir
SE Barnet
Ruth Maclennan
Liza Dimbleby
Dreams tantalise not only with half-recognised rooms, or the train that we never quite manage to catch, but with the promise that they might disclose something — an insight or an answer even, that has been withheld by the dispersal of the everyday. We pursue our dreams in the hope that they might lead somewhere…
Pandemic Dreams, Fifth Box: Journeys
click here to read and see more
Anne Brunswic
Prophylaxie
En tant que médecin-chef, je jouissais du privilège de circuler sans escorte. J’habitais au village dans un appartement où la Guépéou avait réquisitionné une chambre. Martha m’avait fait parvenir un colis de vêtements, du papier à lettres, quelques livres. Tchekhov me consolait et me servait de guide. Tout ce que je savais des bagnes, je le tenais de lui. De l’île de Sakhaline au canal de la mer Blanche quarante ans plus tard, le noir était-il devenu moins noir ? Mon cher Anton Pavlovitch se taisait.