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A Body No More is a collection of work that includes video, a collection of polaroid’s and still images.

The work relates to a body, a body that is objectified and sexualized because of their gender and sexual orientation. A body that is not seen as a person but an erotic fantasy.

A polaroid is a single-use item. It cannot be reproduced or manipulated and still be the same as the original. The image it contains is the truest form.

The polaroid itself becomes an object to marvel at. The context can be given but often not. When a close-up of a body part is taken it would be hardly possible to know what body part this is.

A fold in your arm can be seen as a crease in your cleavage.

A Body Inhabiting a space.

The surrounding area around the polaroid changes the context of the image.

A mapping of the body, a representation of my mind, and an outdated outlook on the female role.

I was heavily inspired by queer women in history. Their own achievements and works are overshadowed by the characterization of their sexual identity. In “A Body No More” I used "women” a poem was written by Natalie Clifford Barney as she describes her lust for women and the beauty of women.

Artist such as Ana Mendieta, Sarah Lucas, Adrian Piper, and Nan Goldin inspired and Enlighted my work. Their work being venerable and showing how a body can be displayed and inhabited a space, all the while speaking to the idea of sexuality, femininity, and protest to the objectification of a body.

A body should be celebrated and supported. A body should not be objectified and used for egos.

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the idea around this body of work is to speak the idea of the female body. the county background brings its own sybleism as in that old ways of the county side. Thorns and sticks are rough and can easly damage your body on the surface.
the inner child is brought out with the swing over the stream. there is a sence of danger as the swing is fraile and is almost about to snap at any moment.

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Adrian Piper was born in New York City in 1948 and grew up in a middle-class home in Washington Heights, near the Harlem area of Manhattan.
"(I) grew up physically inviolate, unable even to imagine the possibility of a breach to my physical integrity."
Throughout the 1970s Piper first began to explore the ideas that would come to define her oeuvre, delving into the frequently controversial and polarizing topics of xenophobia, race, and gender. She often did this through autobiographical content or self-portraiture.

"The Legacy of Adrian Piper

Piper's distinctly confrontational ability to address pertinent topics around racial segregation and stereotyping have established her voice as one which is fearless, powerful, and hugely influential. Her ability to excel in the two distinct fields of visual art and academic philosophy also demonstrates a rare tenacity, while her ongoing support for others to follow her example in doing so through her APRA research grants supports the next generation of interdisciplinary creative voices."

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this was a serise of photographs that depicts a number of african amricians smiling.
"We are among you", and "We are around you". But to accompany the photographs in the gallery space, Piper recorded her own voice reciting various possible negative reactions to the imagery, which included statements like, "I'm sorry, I just don't feel comfortable with this. I mean, of course, I appreciate the artist's good intentions. I really do. But I am just having a lot of trouble with this piece." it speaks about rasism. what strikes me is the words sound like you should be fearful but the image tells a driffrent story. there is nothing to be feared. its a projection of rasisim.

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I am a member of the LGBTQ+ community living in the 21st century. I have some questions about the idea of identity and sexuality. My practice uses performance, sculpture, video, sound, photography and site specificity to create a body of work responds to the question “When did my sexuality become my identity?”

The fetishisation of the word “lesbian” has become problematic for me. With the label I have given myself, I have now to live to a certain standard that corresponds to the word lesbian. There are many questions surrounding my sexual identity that I cannot answer but one thing I am certain of is that sexuality is fluid.

While researching the topic of sexuality I looked at texts that questioned the ideas around queer identity such as Gender is Burning by Judith Butler. In the text she discusses the fetishisation of lesbians and how heterosexual discrimination regards them as faking their sexuality because they hate men. Movies such as “Paris is burning” displays how the LGBTQ+ community can become like a family but can also be toxic in their ideas of gender and social norms.

An artist that has really inspired my work is Sarah Lucas. My work “fluid” was heavily inspired by her use of taboos and strong imagery of sexuality in her work. Taking back the use of bodies and nudity in work doesn't necessarily imply sexualisation.

My work is about being vulnerable and tries to break the taboos around sex and identity. It tries to break the social norms around lesbians, labels and how sexuality is on display.

I used sound in my work to create an emotion and a heightened sense of being in a private space. Using cardboard as a material was manageable and easy to manipulate or change, much like the idea of sexuality. By hanging figures of the body from the ceiling “adult crib” these objects became like a child’s mobile. Using my own body as a medium to create work, I revealed my vulnerability while taking back the use of a woman's body in artworks. Inspired by artists like the Guerilla Girls, I wanted to use my body as a powerful way to protest against the sexualisation of a woman's body even when it's not in a sexual position. Nudity is natural much like the need for affection or sexuality.

Lines have been crossed and hard discussions have been had. But one thing I know for certain is sexuality is fluid and there's no need to put yourself in fixed categories to please other people.

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Laura fizterald is a visual artits that works with text, video, drawing, sculpture and other medias. Her lectuture was about her work and how she came up with the ideas for her exabitions.
her work comes from her own experances "failer" and the stuggel of an artist career. Using humor in her texts they give her work life. usings Stones to repersent her career and as a stand in for a human.
laura has a theme of text throught her work. Text that that has accompany her work comes in the form of hand writing under the her drawings, a newpaper that was created for that exabitions or a book that she wrote her self. the idea of identy and the counrty side runs through out. She using arcives from Duchas.ie and writens from Thecrativeindpented.com to help her crativty.

https://laurafitzgeraldfrominch.com/cv/

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musem highlights

boarding on polictal ideas and socail/class ideas.

public policey

naming instatuions if you have enough money

econoimics of class

cultuerd taste

"training in taste."

the role of her chatcheter was an unpaid postion in a gallery that is defind a publc space but only the higher class vist or seem welcome to visit.

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Video with voice over from Laura. Her artist invoice, her through a about her practice and the fear that comes with it! It’s light hearted and speed up with the artist voice high pitched

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website that is decaided to women artist

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Villa Vassilieff - 21, avenue du Maine 75015 Paris (France) - info[at]aware-art[.]org - +33 (0)1 55 26 90 29

© 2023 Archives of Women Artists, Research and Exhibitions.
Tous droits réservés dans tous pays/All rights reserved for all countries.

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Polly Borland - AWARE Women artists / Femmes artistes

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Polly Borland est une artiste internationalement reconnue qui expose depuis la fin des années 1980. Dans la continuité de sa pratique photographique, elle a étendu son travail iconographique en créant des sculptures à la fois souples et rigides. Au cours de sa carrière, elle est ainsi...

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Dirctor of kilmainain goal and Pearse musume. working on the cruation of musem exabition. in  his talk he spoke about how he came to his postion in the musems he has worked in and the prosses of the exbition. looking heavley into Irish culture and the people around Irish history, the exibitions he helped create would revole around a person whos story hasnt been told or in the case of Patrick Pearse the life they had in that space.
using archives and and some "speculation" to find information on the LGBTQ history of the goal, Brian has curated a exabition in kilamnum gaol on the LGBTQ community in the prison.
With the challange of covid Kilmainham jail has posted videos of the tour onto there youtube channel and social media platforms.

"Holding our hands up and saying we dont know" was the hardest lesson Brian has learned while researching for exabition that there is no record or not much records about.

Links:

http://kilmainhamgaolmuseum.ie/kilmainham-gaol-on-lockdown
http://pearsemuseum.ie
http://derrynanehouse.ie
https://www.irishmuseums.org/
https://www.heritagecouncil.ie/mspi-training
brian.crowley@opw.ie

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the use of langue is discricitive. In how the charthes are presented, looks, colours of sceans and smells.

toxic maslinty peaks through.

snap shot of there lifes but mainly foces on ennis.

written. in the third person

feeling of stress while reading.

lieing to themself and the reader " im not queer". chaning how there are percived.

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Influencal artist

The idea of duty free art is aimed at influential artist and there work

The problem with free ports

Freud and tax advation

Favours the rich and who can afford this work

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Pictorial photography
The idea of fine art is based on the old masters and there tecnquices.

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Prima Facie (Third State) : Inconsolable / Exuberant,

2005

the idea around how text can change the narrative of an image or can imply a meaning to the pices that the viwer would see through the artist eyes

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Hot and cold, 2018
human charateristics to natural forms

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Renate Bertlmann has dedicated herself to the spirit of rebellion, through her art. Almost obsessively, her art refers back to bodies, focusing mainly on their intimate zones and giving them a voice. themes of the incommensurability of motherhood and the role of the female artist

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Mo(u)rning, 2011

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This too shall pass, 2015, color photograph

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Helena Almeida studied painting at the School of Fine Arts in Lisbon, where her first solo exhibition took place in 1967. As she says, “My work is my body, my body is my work.” While her work is sometimes described as body art, she uses a variety of mediums, photographs, performances, drawings, and videos, to question the nature of creation itself, its infinitesimal character. Her ambiguous attitudes, simple scenery, and poor accessories – metal wire, hemp, mirrors, powdered pigments, primitive clothing – contribute to austere and poetic displays of creation and the space in between.

Pintura habitada [Inhabited painting], 1975, acrylic on photograph

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“I am using myself as a model because I can go the farthest with me" – Soltau

"Since the beginning of her career in the 1970s, Annegret SOLTAU has championed an experimental approach to art, challenging the conventional notions of representation through performance, photography and collage. While the focus of Soltau’s work never ventures far from the female body and its bodily processes, often incorporating images of herself, at the heart of her practice is an inexhaustible search for identity and meaning."

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"I am using myself as a model because I can go the farthest with me" - Soltau

Since the beginning of her career in the 1970s, Annegret SOLTAU has championed an experimental approach to art, challenging the conventional notions of representation through performance, photography and collage. While the focus of Soltau's work never ventures far from the female body and its bodily processes, often incorporating images of herself, at the heart of her practice is an inexhaustible search for identity and meaning.

Annegret Soltau's work was included in the critically acclaimed exhibition 'Wack! Art and the Feminist Revolution', the first comprehensive exhibition to examine the international foundations and legacy of Feminist art, organised by MoCA, Los Angeles in 2007, later travelling to MoMA PS1 in New York in 2008 and the Vancouver Art Gallery in 2009. Other important solo exhibitions include 'Cut and Paste: 400 Years of Collage', Scottish National Gallery of Modern Art, Edinburgh, Scotland (2019); 'Silberglanz. Von der Kunst des Alters (Silvery Radiance. The Art of Aging)', Landesmuseum Hannover, Hanover, Germany (2017); 'Share_ Connect', Kunsthalle der Sparkassensti ung, Lüneburg, Germany (2016); 'Personal Idenity', Maurer Zilioli Contemporary Arts, Munich, Germany (2015); and 'Oneness and Separation', Frauen Museum, Bonn, Germany (2014). Her work is featured in the collections of the Museum of Fine Arts, Boston; Kunsthalle Bremen; Deutsche Bank; Hamburger Kunsthalle; SAMMLUNG VERBUND, Vienna and THE VERO GROUP, amongst others.

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"I am using myself as a model because I can go the farthest with me" - Soltau Since the beginning of her career in the 1970s, Annegret SOLTAU has championed an experimental approach to art, challenging the conventional notions of representation through performance, photography and collage. While the focus of...

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On the birth table pregnant II], 1978

The focas of the femail body during pergney and the truma it gose through

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Working with video, photography and installation MacWilliam’s work explores obscure and overlooked histories and considers perceptual phenomena and the world of the paranormal and supersensory.  Through anecdote, reconstruction and detailed editing MacWilliam’s works explore forms of portraiture and interpretation, and provide a historical visual record of cases within the history of parapsychology and psychical research. The works consider the world of the paranormal, the supersensory and the tradition of psychical research. With an interest in that which is on the periphery of the mainstream and which falls beyond conventional fields of science and psychology MacWilliam has developed an extensive body of work, exploring a range of phenomena including dermo optical perception, table tilting, psychic abilities and mediumship.

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The Telepaths, 2019 is an installation of sculpture, video, and photographic work that explores the ideas and imagery related to historical investigations of telepathy and extrasensory perception.

The idea of looking into history of witches or phyicals

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The Telepaths, 2019 is an installation of sculpture, video, and photographic work that explores the ideas and imagery related to historical investigations of telepathy and extrasensory perception.

The idea of looking into history of witches or phyicals

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Pull down, 2016,
Conjuring up the dark spaces of the séance room, Pull Down intimately observes the collapsing and slumping of a girl through the focusing lens of a camera. Continuing the artist's explorations of the phenomena of spiritualism, Pull Down draws attention to the role of the camera as observer of the medium within historic psychical research studies.

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Fate 1, 2018

The use of the gaze in Jenny savilles work is a recurring theme. The use of body’s in a hyper realist way is something that inspires me. awkward positions of the body and the unflattering view. The gaze of the viewer dose not see these as nessely sexual but a person or flesh

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February 1977, 2019

Mickalane is best known for her paintings, collages, photography, video, and installations that draw on art history and popular culture to create a contemporary vision of female sexuality, beauty, and power. Blurring the distinction between object and subject, concrete and abstract, real and imaginary, Thomas constructs complex portraits, landscapes, and interiors in order to examine how identity, gender, and sense-of-self are informed by the ways women (and “feminine” spaces) are represented in art and popular culture.

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orgainal meaning - strange odd pecuilar or not quite right.

" there nowt so queer folk"

you look unwell as another meaning.

in the 19th cen it changed to sexual devance

"the love that dare not speak its speaks its names" two lover, Dougals

queering - queer reading

"creation of a subculture or idenity."

crid to the second wave of femininsm

lesbian term comes form the greek island od lesbos called that until the 19th centery.

lesbians have a nursological diese. named URANIAN after a greek god.

discribed as a life long condition, well yeah!

1980's desexualization of lesbianism by cultural feminists

femist sex war bgun form this. sex postative vs anit porn side.

lesbian sex mafia an orginzation that give infromation to lgbtq comuntiy based of lesbianism.

lesbian death bed

gold star lesbian.

1980s Butch and femme were considered coarse by American lesbians of higher social standing during this period.

in the middle east Individuals identifying with or otherwise engaging in lesbian practices in the region can face family violence and societal persecution, including what are commonly referred to as "honor killings." The justifications provided by murderers relate to a person's perceived sexual immorality, loss of virginity (outside of acceptable frames of marriage), and target female victims primarily

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Some one giving a lable when you dont idenfy as that. 

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Some one giving a lable when you dont idenfy as that. 

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a wroped sence of the idea of my own image. if you tell someone what they are you are giving them a narrative. they can not chnage that narative.

Distortion of realty, if someone tells you what you are and you dont feel that way.

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A trinty college graduate. a writer who incorpartaes fine art and visual comuncations into her writting style. working with artist, sue has been commistioned to write artist statment for Fiona Mc Donald, Damien Flood and Celina Mundooon just to name a few. these commuitions came form concel grants and gallerys that these works were apart off. Coming into contact with artist by doing studio visits gave Sue a chance to make some contact that thern gave her commition work.
Working with Bridget O Gamon was the turning point in her carrer. working on a scripted pices and then going on the reciveing the rescendy programe in imma for the Luasan Frued exabition With Bridget. Living off publishing advaces and bursseys such as the Kildare reading festavel and RTE Radio 1 story telling serise that Seoisa Ronan took part off.
Her lastest book Reeder day, due to be relased in October is hevaly influnced by Ana Mendieta works around the female body and it place in socity. Sue has done extensive research into fine art, truama, gender and littarly writings around these themes.

https://www.suerainsford.com/
https://www.penguin.co.uk/authors/1084931/sue-rainsford.html

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The idea of people looking at a person and determine the sexuality by the way the excesseise

It’s a stereo type that all lesbians and bi girls have a million tote bags

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Will I only be known as the lesbian who made some art 

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Will I only be known as the lesbian who made some art 

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jesse explain his idea around his show that was in the baltic. the idea of puppets and the human figur with out having a phyical body in that space. its more of a self protait and a sceane of his life. mass production is a theme that gose through the works.

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Working in the national gallery since 2008, Muriaine has been part of the consvation team since then. after studying fine art in tud she went on to teach and paint in a plc course. From there she became intrested in the consvation of  painting and slowing down the prosesses of ageing. Muraine studied for her MA in consvation of art in north unberline college. There she learned how the painting metraials were made and hoe best to slow down the prosses of ageing. in her time in the gallery she has over seen the removal of sevely important paintings as the gallery was getting revanted from 2012-2017. During this time they restored frames and tryed to provent the aging prosses of art works in the gallery. The National Gallery holds training for post gards to help them learn more about restoring and conavying paitings.

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The idea of turning my space where I live into an exactions of a lesbian life. A script will accompany the video filled with definitions maybe some poetry. Some info around my space because this is the place where most of my adult life has been explored and espessly my sexuality.

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the male gaze, women being looked at as objects. in movies and tv women are made put to be the dansel in destress. a pretty thing to look at.

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WILD AFFECTIONS

2017

C-type / giclee / Duraclear prints, paper mache rock, lamps, wood, cement, tripod, rope, video projection, metal  poles, tapes, 35mm slide projector, clips, wire, photography studio lamps,  live performers

the idea of placing a body into a wprk that is already printed.

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Claude CahunStudies for a keepsakec. 1925

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Claude CahunStudies for a keepsakec. 1925

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dealing with identy and figuring out who he was as a person. gender bending and not confroming to socail norms at the time.

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Adult crib is a collection of 13 cardboard cut outs that is based around the idea of sexuality. It is collection of underwear, breasts, chest areas and hands. It is an installation piece that was placed in the bedroom because of the asscoation of sexuality. It resbles a moble to create an immersive space. The conscept behind the work was the idea of how your  home life has become public. that a place of rest becomes topic of coverstion.

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Fluid explores the idea of gesture and an inner monloge of a lesbain. these quitions of sexualty thnat no one has the answer for but yet would be judged for talking about.

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A thought process. Sexuailty is fluid. It dose not define you.

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Natural gestures is a video performance of two hands exploring space.  Natural gestures spreaks about how touch and being affectionate is very natural way to communicate. How wanting that affection is natural. This was performed with a women who idenifys as bi sexeual and myself, who idenifys as a lesbian. The emotions of the piece lies in the music and the rising of the spetrem of colours.

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Modrest photography and how photography plays a roll in art.

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Photography_ A Critical Introduction - PDF Room (1)

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Songs of sabotage, 2018
my powerpoint presentation.

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Ana Mendieta this website i ill leave here but it dose have alot of graffic images from ana that is very powerful and moving.

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Exhibition dates: 29th March - 6th July 2014

Marcus

.
Many thankx to the Museum der Moderne Salzburg for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image.

View the catalogue essays Ana Mendieta: Traces by Stephanie Rosenthal and Embers by Adrian Heathfield (2.66Mb pdf)

"Art is a material act of culture, but its greatest value is its spiritual role, and that influences society, because it's the greatest contribution to the intellectual and moral development of humanity that can be made"

"My art is grounded on the belief in one universal energy which runs through everything; from insect to man, from man to spectre, from spectre to plant, from plant to galaxy."

"To me, the work has existed on different levels. It existed on the level of being in nature and eventually being eroded away. But obviously when it's shown to someone as a photograph, that's what it is."

The few women working with the body at that time were in instant affinity with each other... The struggle for all of us was to keep the sensuousness of the body and to de-eroticize it in terms of cultural expectations. It was gratifying and exciting to discover her work. Those of us who had already been situating the body as central to our visual aesthetic could also anticipate the resistance that would be around her.

I see her death as part of some larger denial of the feminine. Like a huge metaphor saying, we don't want this depth of feminine eroticism, nature, absorption, integration to happen. It's too organic. It's too sacral. In a way, her death also has a symbolic trajectory. More than Ana dies, when she dies."

.
Carolee Schneeman quoted in Camhi, Leslie. "ART; Her Body, Herself," on theNew York Times website published June 20, 2004 [Online] Cited 20/06/2014

"You do feel the sadness that she's not with us and you wonder where she would have gone with her work."

Ana Mendieta
Untitled (Facial Cosmetic Variations)(detail)1972
Suite of eight color photographs (estate prints, 1997)
Each 50.8 x 40.6 cm
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

Ana Mendieta
Untitled (Facial Hair Transplant)
1972
Suite of seven colour photographs, estate prints 1997
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

Rape Scene (1973) was part of series of works devised in response to the rape and murder of a fellow student on the Iowa University campus, where Mendieta completed her BA, MA (painting) and an MFA (inter-media). She invited friends and fellow students to her apartment. The viewer entered through a slightly ajar door into a dark apartment into a room where the artist appeared under a single source of light revealing Mendieta stripped from the waist down. The artist stood slouched and bound over a table, nude from the waist down with her body smeared in blood. Around her was an assemblage of broken plates and blood on the floor. Her direct identification with a specific victim meant that she could not be seen as an anonymous object in a theatrical tableau.

Ana Mendieta
Untitled (Self-Portrait with Blood)(detail)1973
Suite of six color photographs (estate prints 1997)
Each 50.8 x 40.6 cm
Private collection, London; Courtesy Alison Jacques Gallery, London

Ana Mendieta
Untitle d (Body Tracks)
1974
Colour photograph, lifetime print
Collection of Igor DaCosta
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

Ana Mendieta
Unt itled (Glass on Body Imprints)
1972
Suite of six colour photographs, estate prints
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

"Ana Mendieta: Traces is the first comprehensive survey of this influential artist's work to be presented in Great Britain or the German-speaking world. It persuasively demonstrates that her art, while very much rooted in the concerns of her day, maintains a powerful connection to our present moment. Born in Cuba in 1948, Mendieta was forced to immigrate to the United States as a child due to her father's political situation, and much of her work is obliquely haunted by the exile's sense of displacement, while also reflecting her position as a double minority in North America's largely white, male art world of the 1970s and 1980s. From the beginning, motifs of transience, absence, violence, belonging, and an identity in flux animated her multidisciplinary art, which ranged nomadically across practices associated with body art, land art, performance, sculpture, photography and film. At its core lay her recurring use of her own body - its physical and photographic traces - and her interest in marginal outdoor sites and elemental materials.

Spanning her brief, yet remarkably productive, career, this exhibition explores the many distinct facets of her practice. It captures her powerfully visceral evocation of ritual and sacrifice, as well as cycles of life and decay, while also highlighting her pioneering role as a conceptual border-crosser. Including photographs, drawings, sculptures, Super-8 films and a substantial selection of photographic slides, most of which have not been exhibited until now, Ana Mendieta: Traces reveals an artist whose underlying concerns led her to bravely re-work and re-combine genres, to draw on different cultures, both archaic and contemporary, while challenging the limits of the art discourse of her time. Her work continues to profoundly challenge, disturb, influence and inspire.

The Museum der Moderne Salzburg will open an extensive retrospective of the work of Ana Mendieta, one of our era's most important and influential artists. Mendieta was born to a politically active family in Havana, Cuba in 1948. In the wake of the Cuban revolution, when she was only twelve years old, her parents sent her together with her sister to the United States. In 1985, at just thirty-six years old, she died under tragic circumstance in New York. During her short yet prolific career, she developed a unique visual language that is mesmerizing in its intimacy, and equally challenging. Her pioneering work has been acknowledged by large retrospectives in the United States and Europe, and is represented in the collections of major museums.

According to Sabine Breitwieser, director at the Museum der Moderne Salzburg, who has arranged the exhibition, "a comprehensive exhibition in the German-speaking area, especially in Austria, and the German monograph on Ana Mendieta are long overdue. The artist's distinctive work, in which she stages her body within the landscape, seems to be ideally exhibited at this site, where nature and the theatrical take on such a major role. Due to the fragility of the work, this could possibly be one of the last extensive Mendieta exhibitions."

Among the central themes in Mendieta's artistic work are exile and cultural displacement. In her search for identity and finding her place in the world, she attempted to create a dialogue between the landscape and the female body. Her work reveals numerous points of contingency with the emerging art movements of the 1960s and 1970s - Conceptual art, land art, and performance art. Nonetheless, it refuses any kind of categorization and instead addresses missing links or gaps between different media and art forms. "Through my art I want to express the immediacy of life and the eternity of nature," wrote Mendieta in 1981. Using her own body and elementary materials, such as blood, fire, earth, and water, she created transitory pieces that combine rituals with metaphors for life, death, rebirth, and spiritual transformation. Her disembodied "earth body" sculptures were private, meditative ceremonies in nature documented in the form of slides and films. From them, Mendieta developed the so-called Siluetas (silhouettes), which form the core of her work. In the 1980s, Mendieta's body disappeared from her artworks and she started to generate indoor works for galleries. Her engagement with nature continued in her sculptures and drawings, which she created as lasting works.

The exhibition presents roughly 150 works, which are organized throughout twelve spaces; two of these spaces are reconstructions of the original exhibitions by the artist. The works shown are in a multitude of media ranging from photography, film, and sculpture through to drawing. A further section will present the artist's archive. Slides and photographs, notebooks and postcards offer insight into Mendieta's working methods. The concern of Stephanie Rosenthal, chief curator of the Hayward Gallery London, is "to show Ana Mendieta's outstanding work in all of its facets, and to place her artistic process at the center."

While the artistic media that Mendieta utilizes in her works could not be any more diverse, the pictures that she produces are characterized by an unmistakable, overwhelming and mystical poetry. This exhibition makes clear that almost thirty years after the artist's premature death, her work has lost none of its singularity and uniqueness."

Text from the Museum der Moderne Salzburg website

Ana Mendieta
Untitled (Silueta Series)
1978
Gelatin silver print
20.3 x 25.4 cm
Solomon R. Guggenheim Museum

Ana Mendieta
Anima, Silueta de Cohetes (Firework Piece) (still)1976
(Soul, Silhouette of Fireworks)
Super-8 color, silent film transferred to DVD
2:22 minutes
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

"Ana Mendieta died at just 36 years old, but the imprint of her life digs deeper than most. Mendieta's work occupies the indeterminate space between land, body and performance art, refusing to be confined to any one genre while working to expand the horizons of them all. With the immediacy of a fresh wound and the weightlessness of a half-remembered song, Mendieta's artwork remains as haunting and relevant today as ever.

Her haunting imagery explores the relationship between earth and spirit while tackling the eternally plaguing questions of love, death and rebirth. Like an ancient cave drawing, Mendieta's art gets as close as possible to her subject matter allowing no excess, using primal and visceral means to navigate her themes. Decades after her death, the Museum der Moderne Salzburg will show a retrospective of the late feminist artist's work, simply titled "Ana Mendieta: Traces."

Mendieta, who was born in Havana, Cuba in 1948, moved to the U.S. at 12 years old to escape Castro's regime. There she hopped between refugee camps and foster homes, planting inside her an obsession with ideas of loss, belonging and the impermanence of place. As an artist in the 1970s, Mendieta embarked upon her iconic series "Silhouettes," in which she merged body and earthly material, making nature both canvas and medium. In her initial "Silhouette," Mendieta lay shrouded in an ancient Zapotec grave, letting natural forms eat up her diminutive form.

Her "earth-body" sculptures, as they came to be known, feature blood, feathers, flowers and dirt smothered and stuck on Mendieta's flesh in various combinations. In "Imagen de Yagul," speckled feverishly in tiny white flowers, she appears as ethereal and disembodied as Ophelia, while in "Untitled Blood and Feathers" Mendieta looks simultaneously the helpless victim and the guilty culprit. "She always had a direction - that feeling that everything is connected," Ana's sister Raquelin said of her work.

An uncertain mythology runs throughout Mendieta's oeuvre, a feeling at once primal, pagan and feminine. Admirers have cited the Afro-Cuban religion of Santeria as an influence, as well as the ancient rituals of Mexico, where Mendieta made much of her work. Yet many of Mendieta's pieces removed themselves from the spiritual realm to address present day events, for example "Rape Scene," a 1973 performance based off the rape and murder of a close friend. For the piece Mendieta remained tied to a table for two hours, motionless, her naked body smeared with cow's blood. In another work, Mendieta smushes her face and body against glass panes, like a child eager to peek into an off-limits locale, or a bug that's crashed into a windshield. Against the glass, her scrambled facial features almost resemble a Cubist artwork.

Mendieta died tragically young in 1985, falling from her New York City apartment window onto a delicatessen below. She was living with her husband of eight months, minimalist sculptor Carl Andre at the time. Andre was convicted of murder following the horrific incident and later acquitted. Though the art world remains captivated by the mysterious nature of Mendieta's passing, her sister emphasized the importance of removing Ana's work from her life story. "I don't want it to get in the way of the work," she said. "Her death has really nothing to do with her work. Her work was about life and power and energy and not about death."

Fellow feminist performance artist Carolee Schneeman disagrees, however, telling The New York Times in 2004: "I see her death as part of some larger denial of the feminine. Like a huge metaphor saying, we don't want this depth of feminine eroticism, nature, absorption, integration to happen. It's too organic. It's too sacral. In a way, her death also has a symbolic trajectory."

Since many of Mendieta's artworks were bodily performances, the ephemera that remain are but traces of her original endeavors. For an artist whose career was built on imprints, ghosts and impressions, this seems aptly fitting. Visceral yet distant, bodily yet spiritual, Mendieta's images speak a language very distant from the insular artistic themes that so often populate gallery and museum walls. Mendieta's works present the female body turned out, at once vulnerable and all-powerful, frail and supernatural. As her retrospective makes obvious, her artistic traces are still oozing lifeblood."

Priscilla Frank. "The Haunting Traces Of Ana Mendieta Go On View (NSFW)," on the Huffington Post website February 4, 2014 [Online] Cited 30/06/2014

Ana Mendieta1976
"Silueta Series, Mexico"
Color photograph (lifetime print)
39.8 x 31 x 3.2 cm (framed)
Tate: Presented by the American Patrons of Tate, courtesy of the Latin American Acquisitions Committee 2010

Mendieta formed a silueta on the beach at La Ventosa, Mexico, filling it with red tempera that was ultimately washed away by the ocean waves. The artist documented the obliteration of the figure by the tide in a sequence of 35 mm slides.

Ana Mendieta1978
"Silueta Series, Iowa"
Color photograph (lifetime print)
25.4 x 20.3 cm
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

Ana Mendieta
Itiba Cahubab a (Esculturas Rupestres) [Old Mother Blood (Rupestrian Sculptures)]
1982
Black-and-white photograph, box mounted, exhibition copy
Collection Ignacio C. Mendieta
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

Ana Mendieta with Untitled wood sculpture, 1984-85
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

Museum der Moderne Mönchsberg
Mönchsberg 32
5020 Salzburg
T: +43.662.84 22 20-403

Opening hours:
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Wednesday: 10.00 am - 8.00 pm
Monday: closed
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Exhibition dates: 29th March - 6th July 2014 Marcus . Many thankx to the Museum der Moderne Salzburg for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image.

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The idea around this work as to bring text into a space. It was edited in a horror movie style as the feed back I had gotten form privous works of the same nature said it had a sinister feel.
The work feels almost humours with the way the words are displayed created the atmosphere of the work. The idea of throw away words played a part in the video. Word that are used without any real coscinces in the real world, mainly used in social media.
i turned my livimg space into a projection of the lable of lesbians.

An exbhition of a lesbians life.

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a video work made with. drape that has been painted on. The drape has has femme colours and drawings of my "Melt" works.
the idea around this work was to show the all incumancaning feeling of a lable. the expentation of femme lesbains and the roll of a women. it can feel like your drowning in your own thoughts. But you display it with pride. Its left to hang on the washing line line like your dirty laundery. an outdated out look on the female body.

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a video work with sound and script.
A poem form Natalie Clifford Bartney "women" is used in this work.
A polorad is a single item. It can not be reperdused in the same way. It contains that image and can not be minuplated after the fact. it becomes an object. This object is now spertate to my body. This is an attempt to desexulised.
You do not know if its a women or a man. Gay or straight by this poloard. it can be moved and the projection can be distubed. My body was ment to be taken out of context.

its a mapping of the body. the body being minpulated/ moved/ flexed.

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"Language is a virus"William S.Burroughs, The Ticket That Exploded"

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"Language is a virus"William S.Burroughs, The Ticket That Exploded"

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Onym is a web-based, interactive audio-visual project produced by visual artist Niall de Buitlear during the Covid-19 pandemic.

The work is based around pairs of antonyms forming conventional binary oppositions such as "life" and "death". For each pair of antonyms a thesaurus was used to build a chain of synonyms to bridge the gap between them. Starting with one word the process was repeated until its antonym was suggested by the Thesaurus.
This is an interactive space where you can select any line at anytime to hear Niall de Buitlear say each word in that circle.

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An interactive online audio-visual artwork by Niall de Buitlear

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Passing time an online exibion that was created by artist for artist. Theresults as they exist on the passing-time platform function as both meta artwork, composite portrait and living archive. The work is shown via this website with videos shown in sequance.

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passing-time is an artist-driven experiment that has no commercial or institutional affiliation. artists are invited by fellow artists, writers and curators to submit work that reflects the conditions we find ourselves in and the new practices they may engender. the results as they exist on the passing-time platform function as both meta artwork, composite portrait and living archive. a multi-authored randomized document of our times the anonymous contributions subsume ego to collective effort. like the moment it may or may not describe, passing-time is a river of singular and shared consciousness. monotony is stalked by inspiration and boredom punctuated by brilliance.

passing-time was initiated march 20th 2020 when california became the first state in the US to order lockdown. submissions and other enquiries can be sent to mail@passing-time.org

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passing-time is an artist-driven experiment that has no commercial or institutional affiliation. artists are invited by fellow artists, writers and curators to submit work that reflects the conditions we find ourselves in and the new practices they may engender. the results as they exist on the passing-time platform function as both meta artwork, composite portrait and living archive.

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MARK FRANCIS - SONIC DUB, 2021, the kerlin gallery 

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MARK FRANCIS - SONIC DUB, 2021, the kerlin gallery 

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Mark Francis’ ongoing fascination with the ‘mysteries of the universe’ and in particular sound recordings provides a point of departure in the studio.  An invisible energy which powers all cosmic activity including our very own existence is given a form, colour and structure in these new, hypnotic paintings.
Due to covid the exbition has been moved online and can be seen via the Kerlin gallery website in their online show room.

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Kerlin Gallery is delighted to present
a series of new paintings by
Mark Francis.

Mark Francis' ongoing fascination with the 'mysteries of the universe' and in particular sound recordings provides a point of departure in the studio. An invisible energy which powers all cosmic activity including our very own existence is given a form, colour and structure in these new, hypnotic paintings.

'As a starting point, I visualise the universe is made up of a loosely structured grid where order and chaos can reside. As the work develops, this quickly gets lost or moves aside in the painting process. I like to visualise the paintings as the photographic moment capturing the birth and death of invisible energy'.

In the Studio with Mark Francis
a film by Erin Hope Francis

Mark Francis
b.1962, Newtownards, Northern Ireland
lives and works in London

Over the past thirty years, Mark Francis has made paintings of singular optical intensity - powerful, apparently abstract combinations of concentrated patterning and stark colour contrasts that are in fact principally based on what the unaided human eye lacks the power to see. His work draws significantly on discoveries about the form and substance of reality that result from technologically enhanced vision. An enduring fascination, for instance, has been the visual worlds made accessible by the matter-penetrating gaze of electron microscopes: the dark, scattered, interconnecting orbs or the variously taut and slack lines of his paintings have drawn their strange forms from imagery of the miniature universe, the realm of molecular structure and cellular association out of which all life is assembled.

Selected solo exhibitions include: Palazzo Collicola Spoleto, Italy (2022); White Light, Kerlin Gallery, (2019); There is Geometry in the Humming of the Strings ..., Peninsula Arts Gallery, Plymouth University, UK, (2016); Arena, Abbot Hall Gallery, UK (2010) Pulse, Dublin City Gallery, The Hugh Lane, Dublin, (2008), and Elements, Milton Keynes Gallery, UK (2000).

Selected group exhibitions include Abstract Painting Now!, Kunsthalle Krems, Austria (both 2017); Strukturen Projekt, Kunsthalle Wilhelmshaven, Germany, (2014): Lets Party For A Piece Of Art, Pinakothek der Moderne, Munich, Germany; Creating the New Century - Contemporary Art from the Dicke Collection, Fort Collins Museum of Contemporary Art (FCMOCA), Fort Collins, CO, USA; LITOS GRAFERA, Kunst Centret Silkeborg Bad, Silkeborg, Denmark, (all 2011); Cream - Kiasma, Museum of Contemporary Art, Helsinki, Finland; Kunstmuseum St. Gallen, St. Gallen, Switzerland, (both 2010); What lies beneath the surface, Irish Museum of Modern Art, Dublin, (2008); Die Kunst zu sammeln, Museum Kunst Palast, Düsseldorf, Germany, (2007).

Francis' work is represented in the collections of The Irish Museum of Modern Art, Dublin; TATE, London; Victoria & Albert Museum, London; Metropolitan Museum of Art, New York; de Young Memorial Museum, San Francisco; Museum of Modern Art, Miami; The Saint Louis Art Museum, St. Louis, Missouri and Dublin City Gallery The Hugh Lane and in private and corporate collections worldwide.

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Kerlin Gallery is delighted to present a series of new paintings by Mark Francis. Mark Francis' ongoing fascination with the 'mysteries of the universe' and in particular sound recordings provides a point of departure in the studio. An invisible energy which powers all cosmic activity including our very own existence is given a form, colour and structure in these new, hypnotic paintings.

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Willie Doherty - ENDLESS 2020, the kerlin gallery

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Willie Doherty - ENDLESS 2020, the kerlin gallery

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ENDLESS features the actor Christopher Eccleston in the role of a solitary, unnamed man, dressed in the plainest of plain clothes, encountered in the most basic of architectural environments, an empty building with bare brick walls and bare board floors.
this Video instaltion can be seen on the kerlins website via their online show room.

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In collaboration with Alexander and Bonin, NY and Galerie Peter Kilchmann, Zürich, Kerlin Gallery presents ENDLESS, a new film by Willie Doherty. ENDLESS features the actor Christopher Eccleston in the role of a solitary, unnamed man, dressed in the plainest of plain clothes, encountered in the most basic of architectural environments, an empty building with bare brick walls and bare board floors.

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Lar O’Toole’s practice responds to the environment and our relationship with nature. The work examines a compression of astronomical proportions relative to the human experience; it considers the science/pseudo-science boundary, modern mythology and anxiety. He experiments with multidisciplinary methods using a wide range of media and materials. This produces imagery and forms that can evoke elemental forces or scientific inquiry, establishing a material connection with cosmic cycles and natural phenomena. By exploring this visual language, O’Toole reflects scientific reality and subverts destructive systems. By initiating a connection with nature and the cosmological, he invites the viewer to reflect upon the environment and the unnatural forces that impact upon it.