U-Bahn Sophie Charlotte Platz
red shirt, yellow line
blue
sage green
washed yellow
Green/blue - sun glasses
Floral - running white shoes
red shirt, yellow line
blue
sage green
washed yellow
Green/blue - sun glasses
Floral - running white shoes
big plastic bag
cane
cape - white
black tote bag TXL
surprised
dragging feet
sandals
It smells dusty
passive
stare
checkered
brown dress
A durational performance in the
U-Bahn Sophie Charlotte Platz, Berlin August to December 2023.
red shirt, yellow line
blue
sage green
washed yellow
Green/blue - sun glasses
Floral - running white shoes
red shirt, yellow line
blue
sage green
washed yellow
Green/blue - sun glasses
Floral - running white shoes
big plastic bag
cane
cape - white
black tote bag TXL
surprised
dragging feet
sandals
It smells dusty
passive
stare
checkered
brown dress
A durational performance in the
U-Bahn Sophie Charlotte Platz, Berlin August to December 2023.
Bodies of Love
An exhibition with Kat Cutler-MacKenzie and Ben Caro, gr_und Berlin February 2023
In our current world of crisis and conflicts, with increased individualism and intense consumption, love in the 21st century is seriously threatened and regularly challenged…seismic sociological changes concerning sexuality, marriage and intimacy, alongside developments in gender issues, [have] affected the way we conceive of love.
Rachael Gilbourne, ‘What We Call Love’, 2016
The body is and has been a highly coded and contested site of political debate. When intersected with contemporary notions of love – which range from the romantic to the patriotic, and intertwine with the associated issues of marriage, family, sexuality, gender, desire… – the site of the body is further complicated. In Bodies of Love the artists seek to develop a visual vocabulary with which to open up contemporary, intersectional conceptions of love that take into account the politicized nature of this phenomenon. The artists explore how, in the current Euro-American context, sociological changes have impacted the ways in which love is understood, and ask whether (and if so, how) artistic interventions can help to build a vocabulary around this shifting, ‘intangible’ act or emotion beyond its traditional stance. As bell hooks writes in all about love, “as a society we are embarrassed by love…without a supple vocabulary, we can’t even talk or think about it directly”. In this exhibition the artists pose an exploratory and fragmentary insight into contemporary notions of love through Muriel Lisk-McIntyre’s sound based installation Its tradition, we Love it! and Ben Caro and Kat Cutler-MacKenzie’s 35mm slide installation feeling looking.
Following a traditional methodology of love, Lisk-McIntyre explores personal relationships of love that are transmitted in the domestic setting. Its tradition, we Love it! is a dining room set, where a conversation on and about love is staged. It is the centerpiece and conversation piece between four women. The aim and questions brought to the table: to attempt to deconstruct and question the ways in which these women show and share love. While considering that the dining table – understood in this work as the center of the home – is an environment in which tradition, behaviors and education about love are passed on from generation to generation. The artist is asking why, on another level, are there still traditional methods of love that ‘we love’, maintain and reproduce to this day? Even though these methods are written in tradition from a patriarchal stance, Lisk McIntyre uses the premise of a matriarchal space to rethink these traditions. Through a series of objects chosen by the artist for their proximity to traditional objects of love, conversations will pour out onto the dining table. and reconsiders the home as the primary school of Love (to be nuanced). As our mothers and grandmothers see new rights passed, then rescind back, Lisk-McIntyre seeks to explore whether love challenges notions of ‘social progress’ or disrupts notions of linear time.
An exhibition with Kat Cutler-MacKenzie and Ben Caro, gr_und Berlin February 2023
In our current world of crisis and conflicts, with increased individualism and intense consumption, love in the 21st century is seriously threatened and regularly challenged…seismic sociological changes concerning sexuality, marriage and intimacy, alongside developments in gender issues, [have] affected the way we conceive of love.
Rachael Gilbourne, ‘What We Call Love’, 2016
The body is and has been a highly coded and contested site of political debate. When intersected with contemporary notions of love – which range from the romantic to the patriotic, and intertwine with the associated issues of marriage, family, sexuality, gender, desire… – the site of the body is further complicated. In Bodies of Love the artists seek to develop a visual vocabulary with which to open up contemporary, intersectional conceptions of love that take into account the politicized nature of this phenomenon. The artists explore how, in the current Euro-American context, sociological changes have impacted the ways in which love is understood, and ask whether (and if so, how) artistic interventions can help to build a vocabulary around this shifting, ‘intangible’ act or emotion beyond its traditional stance. As bell hooks writes in all about love, “as a society we are embarrassed by love…without a supple vocabulary, we can’t even talk or think about it directly”. In this exhibition the artists pose an exploratory and fragmentary insight into contemporary notions of love through Muriel Lisk-McIntyre’s sound based installation Its tradition, we Love it! and Ben Caro and Kat Cutler-MacKenzie’s 35mm slide installation feeling looking.
Following a traditional methodology of love, Lisk-McIntyre explores personal relationships of love that are transmitted in the domestic setting. Its tradition, we Love it! is a dining room set, where a conversation on and about love is staged. It is the centerpiece and conversation piece between four women. The aim and questions brought to the table: to attempt to deconstruct and question the ways in which these women show and share love. While considering that the dining table – understood in this work as the center of the home – is an environment in which tradition, behaviors and education about love are passed on from generation to generation. The artist is asking why, on another level, are there still traditional methods of love that ‘we love’, maintain and reproduce to this day? Even though these methods are written in tradition from a patriarchal stance, Lisk McIntyre uses the premise of a matriarchal space to rethink these traditions. Through a series of objects chosen by the artist for their proximity to traditional objects of love, conversations will pour out onto the dining table. and reconsiders the home as the primary school of Love (to be nuanced). As our mothers and grandmothers see new rights passed, then rescind back, Lisk-McIntyre seeks to explore whether love challenges notions of ‘social progress’ or disrupts notions of linear time.
L’usine MF
Installation, France, 2021
I installed my work in an abandoned paper factory. It is interesting to consider this space in relation to our current days. They had become the cathedrals of the industrial era, and now have no utility in rural France. This space, like other abandonned buildings, have become obsolete, and this is what I find interesting.
The film explores my work in this factory. Between still shots, fixed shots, and moving/rotating images, it offers a view on a display I have been working on since January. There are found objects such as little statues, my father's old tennis towel, a maquette of a lion's foot, the vertically cut chairs, the vertical blinds, and edible croissant, whipped cream, and egg yolk and pork trotters. Characters enter the space and disappear in a mysterious way.
︎ Link to the video here
Installation, France, 2021
I installed my work in an abandoned paper factory. It is interesting to consider this space in relation to our current days. They had become the cathedrals of the industrial era, and now have no utility in rural France. This space, like other abandonned buildings, have become obsolete, and this is what I find interesting.
The film explores my work in this factory. Between still shots, fixed shots, and moving/rotating images, it offers a view on a display I have been working on since January. There are found objects such as little statues, my father's old tennis towel, a maquette of a lion's foot, the vertically cut chairs, the vertical blinds, and edible croissant, whipped cream, and egg yolk and pork trotters. Characters enter the space and disappear in a mysterious way.
︎ Link to the video here
Waiting for (Beckett?)
is an installation.
Two strangers, Scarlette and Roisin, wait in my space.
They walk around it, change it, but never see oneanother.
︎ Link to the moving image
Edinbugh December 2021
is an installation.
Two strangers, Scarlette and Roisin, wait in my space.
They walk around it, change it, but never see oneanother.
︎ Link to the moving image
Edinbugh December 2021
Collage
Various collages 2020
Various collages 2020
