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Gallery D300, CalArts, Santa Clarita, CA, USA

MFA Mid Residency Show

January 15—22, 2022

Exhibition including inkjet on soft-fiber cellulose, polymer sheet, polymer glass, polymer paint, galvanized steel, 4h2m sound recording and mix

Text sources include Vito Acconci, Hanne Darboven, Ezra Pound, Julia Kristeva, Edouard Glissant, Gilles Deleuze

Sound sources include Gioacchino Rossini, Lykke Li, Morphine, Underground Resistance, Ludwig van Beethoven, Gerald Donald, Viola Valentino, Tim Maia

Untitled (2022) could be referred to as an event weaving (in) the relationship between truth, knowledge, and witness. The syncopated space of a constant aftermath, where the materiality of a shattered polymeric screen explodes in fixating words that announce without explaining, that configure without describing. These words are the words of a poem written across the 67 days prior to the space's 'opening' and devoid of a clear subject, focus, direction, destination; a collector, the dislocation of a life onto a warping plane. The poem unfolds along the space's perimeter (a periphery) pronouncing a life of excess, control, excess, poiesis, brainfeeding, ending, the kiss, the trouble with description and describing, configuration, pain, the animal, critique, juices, malady, taming, zones, policing, masks, Brighid, navigating and navigation, loving, water, more kuss, self-mining, islands and retaliation, among other things.

Untitled (2022) was influenced by Giorgio Agamben's text Testimony and Truth, published in the collection Quando la Casa Brucia (Giometti & Antonello, 2020). Agamben's text and Untitled (2022) could be read and experienced as commentaries of each other.

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