Kelly Akashi, Mathis Altmann, Autumn Ramsey, Anina Troesch
Au revoir, jewelled alligators and white hotels, hallucinatory forests, farewell
I was applying for a visa to live in the US. On the day I received the confirmation, November 8 2016, Trump was elected.1
Au revoir, jewelled alligators and white hotels, hallucinatory forests, farewell.2
These images are most often of wild animals that feed on, or are fed-on, by other animals, sometimes by force.3
Fiction is a branch of neurology.4
People think you are fragile and poetic but they dont understand that you are weeping with them. You are a monument to yourself, like the body of a cavern.5
There is a seeking for ‘elsewhere-ness’ and how to deal with lack of the strength required to enter a place/(no-place) towards a body.6
In fact I believe that one may be able one day to represent a novel or short story, with all its images and relationships, simply as a three-dimensional geometric model.7
It’s in your body right now, everything inside you, the experiences of our foremothers, accumulating until this moment.8
Human intersections are diminished.9
About rights, about ownership over your own body.10
Images and events became isolated, defining their own boundaries. Crocodiles enthroned themselves in the armour of their own tissues.11
The animals, in particular the largest birds and cats, foreground a psychological relationship between the role of predator and prey, playing on and making visible ideas of life feeding on life.12
The linear elements have been eliminated, the reality of the narrative is relativistic.13
Dollhouses are dream houses.14
After Freud’s explorations within the psyche it is now the outer world of reality which will have to be quantified and eroticised.15
As a lived experience, but also as some Metaphor for larger socio-political question.16
Nowadays dollhouses result from some odd hobby activities in a basement or a California garage.17
Why must we await, and fear, a disaster in space in order to understand our own times?18
What if they resurrect me 300 years later, just because I made sure to hang around. Just because I don’t understand the difference between my waste and my self.19
I am of course the producer and the consumer, the monstrous creature and the one whose life is under threat.20
Buy it or lose it, that’s the bitter truth.21
1, 9, 14, 17, 21 ALTMANN, Mathis, Press Release,Wir sind das Volz, Mar 12—Apr 22 2017, Freedman Fitzpatrick.
2, 4, 7, 11, 13, 15, 18 BALLARD, J. G., 1966, “Notes From Nowhere: Comments On Work In Progress“
3, 12, 20 RAMSEY, Autumn, email, december 13, 2016.
5, 8, 19 AKASHI, Kelly, &, November 22, 2015 - January 10, 2016, Tomorrow, New York.
6, 10, 16 TROESCH Anina, email, April 26, 2017.