coralation

Erwin Wurm One Minute Sculpture 1997 Silver dye bleach print Albertina, Vienna

Horn described using this mask in a performance exploring ideas of sexual availability and intimacy: ‘My face is covered by two intertwined, closed feather wings. The person standing before me touches the feathers delicately, then separates and opens the wings. The spread wings stretch like long bird wings, and softly enclose around [both] our heads. The feather-enclosure isolates our heads from the surrounding environment, and forces us to remain intimately alone, together.’ The use of the mask is deliberately ambiguous and the performance implies a tension between tenderness and aggression. (Text Via)

Dona-Arbre [Woman-Tree] - Fina Miralles

The full statement by Lesbian Avenger Heather Janules can be read here.

SEAN MUNDY / “CYCLES” / 2020

Lifetime color photograph  

Valie Export - Body Configurations

Pinar Yolaçan, from Perishables, 2007

Rebecca Horn, Gleichzeitig die Wände berühren (Scratching Both Walls at Once), 1974

Marina Abramović, Nude in the Cave, 2005

CHARLES RAY / PLANK PIECE I & II / 1973 [gelatin silver print mounted on board, in 2 parts | 40 x 27″]

ingela ihrman

SUMMIT challenges current societal attitudes towards the pregnant body and unpacks their origins whilst celebrating pregnancy as a source of power rather than weakness.  Jackson is using her pregnancy to tackle the current crisis in pregnancy and birth practices and the cultural distrust in natural female bodily ability and autonomy affecting them. SUMMIT journals and shapes this incredible period in the artist’s life both personally and artistically.

Charlotte Moorman / Nam June Paik, Human Cello, 1965

Nancy Holt, Sun Tunnels, 1973–76 — detail of one of three views published alongside her essay on the work in Artforum in April 1977.

Allison Wiese. Untitled. 2014.

Anna Reivilä, Bond