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Sincerity Condition. Sophie Jung

Working across text, sound, sculpture and generally considered a performance artist reading or ‘ad libing’ the sculptures’ polyvocal excursions, They Might Stay the Night is the artist’s first major sculptural (only) show. An assembly of agents, a collection of ‘uncollectables’, they stand as a network of abiding incompletion, an ever-changing choir of urgencies and pleasures, traumas and manifestations that communally relay between dominant and minor themes with their materi a list conditions and conditionings go on try to list en loudly. Try to matter, they try to matter as matter that is both legible utensil, metaphoric apparition and autonomous plurality on a mission or asleep.

Made from found, stolen, borrowed and haphazardly made attributes, confused limbs of limbo’tic inhabitems itants itants I tanz noch lang nicht ausgetantzt, jahrzehntel unverbracht the ancient re gymnasts can’t go home yet rehearsal for better condiction ex- or elocution less on out of nightm air is crisp the sky is blue they are set in a space made/not made (who can tell these days the days oh the days) for them, against a pictouresque, counter-simulacric twee yet structurally brutal backdrop of Luxembourg’s National Saving Bank (which Disney famously modelled his theme park on), the former Gestapo villa, National symbols and multinationals’ headquarters upon headquartered and feathered on freshly-tarred roads and in the far distance, overlooking what a piece of tourist couture in the giftshop down the road calls “the original country of dreams”. Within the Mediterranean baroque of the Casino Luxembourg they mimic and counter, in a permanent haze of excited exhaustion, unsure of where to next, ready to roll a pair of dice or raid a pair of banks or just to sleep. For a bit, or a good long time. Collectively interrupted and corrupted views with eyes patched around and into a greater hole. A troupe of awkward comrades, not good exactly, but full of leaky compassion and anti-heroic manoeuvres, they query metaphoric apparition by way of delving into subconscious scripting territories around hallucinations of materialist manifestations.

Yesterday’s players whisper into the s’hell of significance they howl across the smoker’s valley and through the tower chained at the b’ankles too skinny for capt you’re one of us or are you one of us?

Are you one or are you many times asked never respondered the result in the tip of my toe is sprained across the floor in bitesized nuggets. Tree times a slaythee if you breathe a word. What even is a word a world I was going to say word. On the streets is nothing, a decomposed entity sighing out of tune.

Not one showed up to their refinal floor-bored ambulation before always already having had your back turned on you through a mirror staged a coup of milk of tears of ripped up bed spring’s been cancelled too so we lie softer. Such as: Stability in ruffled feathers. Not as: Sweet dreams in tethers cos when the bailiffs come to change the locks on your pretty little head you skip to the beat of no drum roll over and contract in time with a hungry intest in tests they didn’t show up the stats and figures were on our side and drooping but backstage. Wouldn’t you too, you’ve been walking loops for too long to adjust pace in a place unlevelled too shevelled for peace by peace the n/r ations run out of a hoard a crowd a pit full of come rad raids the cupboards and dims the light, some Re spite in a beam of lied about the pillar of socie a sigh. Aspirational constcriptures rolled up and shoved from palm to palm off offer of a better deal. The pie chart’er flight of fancy sectioned into seg mental image or an orange or anger in the wake of a tangerinable resultimately specululuation. I have yet to pro fit for work despite respirational constrictions. All or nothing lab or no thing for a wreath for a wrath.

Hands up hands down hands wringing all around my ears the bell announces a tie: for and against sincerity sin certinty con dition condiction.

Ancore!

A chore!

Carrington, Leonora, Kathrine Talbot, and Anthony Kerrigan. The Complete Stories of Leonora Carrington. St. Louis: Dorothy Project, 2017.

The mirror stage (Applause) occurs in infants between six and endless months of age, when they misrecognize themselves while looking in the mirror as a coherent and omnipotent ego. People who misrecognized this this also misrecognized

Self-made man

Notes, Judith Butler's Imitation and Gender Insubordination

12. Although miming suggests that there is a prior model which is being copied, it can have the effect of exposing that prior model as purely phantasmic. In Jacques Derrida's "The Double Session" in Dissemination, trans. Barbara Johnson (Chicago: University of Chicago Press, 1981), he considers the textual effect of the mime in Mallarme's "Mimique." There Derrida argues that mime does not imitate or copy some prior phenomena, idea, or figure, but constitutes-- some might say performatively-- the phantasm of the original in and through the mime:

He represents nothing, imitates nothing, does not have to conform to any prior referent with the aim of achieving adequation or verisimilitude. One can here foresee an objection: since the mime imitates nothing, reproduces nothing, opens up in its origin the very thing he is tracing out, presenting or producing, he must be the very movement of truth. Not, of course, truth in the form of adequation between the representation and the present of the thing itself, or between imitator and imitated, but truth as the present unveiling of the present... but this is not the case.... We are faced then with mimicry imitating nothing: faced, so to speak, with the double that couples no simple, a double that nothing anticipates, nothing at least, that is not itself already double. There is no simple reference... this speculum reflects no reality: it produces mere "reality-effects"... in this speculum with no reality, in this mirror of a mirror, a difference or dyad does exist, since there are mimes and phantoms. But it is a difference without reference, or rather reference without a referent, without any first or last unit, a ghost that is the phantom of no flesh... (206)

Further Reading

available online at a-z.lu

not available online but still worth reading

  • Beckett, Samuel. Waiting for Godot: tragicomedy in 2 acts. London: Faber and Faber, 1986.
  • Brooke-Rose, Christine. The Brooke-Rose Omnibus : Four Novels. London : Carcanet Press, 2006.
  • Carrington, Leonora, Kathrine Talbot, and Anthony Kerrigan. The Complete Stories of Leonora Carrington. St. Louis: Dorothy Project, 2017.
  • Carson, Anne. Autobiography of Red : A Novel in Verse. Toronto : McClelland & Stewart, 2016.
  • Eco, Umberto. Semiotics and the Philosophy of Language. Bloomington, In : Indiana University Press, 1986.
  • Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. London : Routledge, 2018.
  • Geisel, Theodor Seuss. The Cat in the Hat. London : Harper Collins Children's Books, 2010.
  • Gladman, Renee. Prose Architectures. Seattle : Wave Books, 2017.
  • Green, Tom. Being Tommy Cooper. [London]: Samuel French, 2014.
  • Hammond, Emma. The Story of No. London Penned in the Margins, 2015.
  • Joyce, James. Finnegans Wake. London: Faber & Faber, 1960.
  • Le Guin, Ursula K., and David Naimon. Ursula K. Le Guin: Conversations on Writing. 2018.
  • Le Guin, Ursula K., and David Streitfeld. Ursula K. Le Guin: The Last Interview and Other Conversations. 2019.
  • Lorde, Audre. Your Silence Will Not Protect You. London : Silver Pres, 2017.
  • Mathews, Harry. Singular pleasures. [New York] : The Grenfell Press, 1988.
  • Stein, Gertrude. Composition As Explanation. London : L. & V. Woolf at the Hogarth Press, 1989.
  • Whitelaw, Billie. Billie Whitelaw, Who He ? An Autobiography. London : Sceptre, 1996.
  • Williams, Raymond. Keywords: A Vocabulary of Culture and Society. New York : Oxford University Press, 2015.

Casino Luxembourg - Forum d'art contemporain

Sophie Jung - They might stay the night

07.03 - 07.06.2020

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