Bodies of Love is an exhibtion at gr_und gallery, along side Kat Cutler Mackenzie and Ben Caro.
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.
The creture is inhbiting the metro.
The meat stand is inhabiting the metro
The coat is in the metro.
Exploring my nomadic objects in non spaces.
Digital collage, Berlin 2022.
The meat stand is inhabiting the metro
The coat is in the metro.
Exploring my nomadic objects in non spaces.
Digital collage, Berlin 2022.
L’usine MF
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
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
Leash and control for mouvement
Tula came into my space. December 2020.
To introduce chaos into the sleek and still space, I had a live greyhound come into an installation of mine. It was interesting to consider how the animal interacted with the space, first intrigued, then bored until it sat down in the waiting room. There was no dead animal produce this time, as the focus was on the movement of the live animal.
Oranges, coper colour, metal bars, suit jacket, a pen, vertical blinds.
︎Link to the vidoe - click here.
Photographed by Ben Caro and Kat Cutler-Mackenzie.
Tula came into my space. December 2020.
To introduce chaos into the sleek and still space, I had a live greyhound come into an installation of mine. It was interesting to consider how the animal interacted with the space, first intrigued, then bored until it sat down in the waiting room. There was no dead animal produce this time, as the focus was on the movement of the live animal.
Oranges, coper colour, metal bars, suit jacket, a pen, vertical blinds.
︎Link to the vidoe - click here.
Photographed by Ben Caro and Kat Cutler-Mackenzie.
A table
A triptych of table display. Inspired from the southern Louisiana home.
New Orleans 2021.
A triptych of table display. Inspired from the southern Louisiana home.
New Orleans 2021.
As an installation artist and curator, I have come to understand that my practice is about creating space for art via the medium of the exhibition. The process of display, placing, laying down, hooking up is what I do. Finding the space that my fabrications will respond to and resonate with is key to my practice.
I have participated in curation of exhibitions, and am an active member in gr_und project space in Berlin.
List of exhibition:
Corona Culture, (Co-curator, assistant producer), Alte Munze, Berlin Germany, October 2021
Ping Pong, (co-curator), gr_und, Berlin Germany January 2022
Mortal Shell, (assistant curator), gr_und, Berlin Germany Febuary 2022
unreal city, under the brown fog of a winter dawn, (curatorial), gr_und, Berlin Germany July 2022
ASSETS MUST BE STRANDED, Oliver Ressler, (Assistant curator, assistant producer) State of Concept Athens, Greece, May-Sept 2022
I have participated in curation of exhibitions, and am an active member in gr_und project space in Berlin.
List of exhibition:
Corona Culture, (Co-curator, assistant producer), Alte Munze, Berlin Germany, October 2021
Ping Pong, (co-curator), gr_und, Berlin Germany January 2022
Mortal Shell, (assistant curator), gr_und, Berlin Germany Febuary 2022
unreal city, under the brown fog of a winter dawn, (curatorial), gr_und, Berlin Germany July 2022
ASSETS MUST BE STRANDED, Oliver Ressler, (Assistant curator, assistant producer) State of Concept Athens, Greece, May-Sept 2022
The Waiting Room
The Waiting Room is a future space for installation art.
Through it, I am carrying on the work I’ve been doing as an independant artists.
It is a fragment in contemporary practice, where display and exhibition are the mediums experimented with.
What is it saying?
Why is it relevant?
Where?
I am still in the research phase of its conception. By being part of different cultural spaces, such as project spaces and institutional art places, I am learning how to build the foundations of a physical space on the spot. On a theoretical level, I am actively engaged in the research of project spaces and institutional art places to understand the hisotry, ideologies and initial stories of where art happens, takes places and challenges the norm of its establishement.
email: thewaitingroom.mcintyre@gamil.com
The Waiting Room is a future space for installation art.
Through it, I am carrying on the work I’ve been doing as an independant artists.
It is a fragment in contemporary practice, where display and exhibition are the mediums experimented with.
What is it saying?
Why is it relevant?
Where?
I am still in the research phase of its conception. By being part of different cultural spaces, such as project spaces and institutional art places, I am learning how to build the foundations of a physical space on the spot. On a theoretical level, I am actively engaged in the research of project spaces and institutional art places to understand the hisotry, ideologies and initial stories of where art happens, takes places and challenges the norm of its establishement.
email: thewaitingroom.mcintyre@gamil.com
︎ Muriel Lisk-McIntytre
| Radio80k |
| NTS |
| Intergalactic FM |
| Radio boycot |
| Refuge radio |
| Subtext Radio |
For now, you can enjoy some tunes on my Muriel Office Tunes playlist
︎ Muriel Lisk-McIntyre
Reading for LABOR
| Library Titles |
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| Institutions by artists | |
| The curatorial turn | |
| Curation as artist as curator | |
| Bruce Altshuler’s The Avant Garde in Exhibition: New Art in the Twentieth Century | |
| Inside the white cube: the ideology of the gally space | |
| The transfiguration of the bureaucrat - AA Bronson | |
| Museum by artists | |
| What is Contemporary about Institutional Critique? Verónica Tello | |
| Tania Bruguera | |
| The humiliation of the Bureaucrat AA bronson |
|
| The exhibitionary complex, Tony Bennet | |
| The post research condition | |
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| |
| Total installation, Kabakov | “But it is precisely the walls in the Total Insall that play a definitive role in the formation of the viewer's feeling in the space of the installation… They perform the role of a complete universe, a cpletet, self contains modell of the world”P;7 |
| Filipovic,+Introduction,+The+Artist+as+Curator |
Exhibition as “an articulation of form”. P.6 |
Reading for LABOR
| The politics of speculative labor | |
| General performance | |
| Bureaucracy labor: the administrator as subject | |
| The delicate essence of artistic collaboration | |
| Installation art, De Olivera | |