#enzocamacho

#Amylien and #EnzoCamacho for #motionsofthiskind @bruneigallery @soasuni Amy Lien & Enzo Camacho  Immersion 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse (a fibrous byproduct of cane sugar manufacturing), and palm husk 66 cm x 30 cm Big Dick Energy 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse, and palm husk 56 cm x 56 cm Beneficiaries 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse, sugarcane flowers, and bird’s nests 36 cm x 25 cm Death Curve 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse, and organic carbonated rice hulls 36 cm x 25 cm Notice of Coverage 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse, tree bark, and organic carbonated rice hulls  36 cm x 25 cm Alongside this mural is a new series of drawings on handmade paper, embedded with various organic matter gathered in Negros—including sugarcane pulp sourced from the same sugar mill complex that is the site of The Angry Christ. This bio-matter is enmeshed with a wax-resist technique that Ossorio utilized in a series of drawings made while working on the mural, which embodied a private perversity that couldn’t be expressed in the sacred space of the church. The drawings have been unpacked and repacked, worked and reworked, on their journey from Negros to London, via Hong Kong and Manila, tracing the exigencies of the artists’ peripatetic movements. Presenting this project here in London draws the specificity of The Angry Christ into the global metropolis, underscoring an urgency to acknowledge those overlooked spaces that bear the harshest wounds from capitalist circulation. Images by @agnesesanvito (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/Bxo_ib7FqRr/?igshid=14quja7b334bs

#Amylien and #EnzoCamacho for #motionsofthiskind @bruneigallery @soasuni Amy Lien & Enzo Camacho Notes on “The Angry Christ” 2019 Charcoal, real/imitation blood, molasses, semen, and soil Alongside this mural is a new series of drawings on handmade paper, embedded with various organic matter gathered in Negros—including sugarcane pulp sourced from the same sugar mill complex that is the site of The Angry Christ. This bio-matter is enmeshed with a wax-resist technique that Ossorio utilized in a series of drawings made while working on the mural, which embodied a private perversity that couldn’t be expressed in the sacred space of the church. The drawings have been unpacked and repacked, worked and reworked, on their journey from Negros to London, via Hong Kong and Manila, tracing the exigencies of the artists’ peripatetic movements. Presenting this project here in London draws the specificity of The Angry Christ into the global metropolis, underscoring an urgency to acknowledge those overlooked spaces that bear the harshest wounds from capitalist circulation. (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/Bxo_HoFFYAF/?igshid=qz4ycd0rists

#Amylien and #EnzoCamacho for #motionsofthiskind @bruneigallery @soasuni Amy Lien & Enzo Camacho Notes on “The Angry Christ” 2019 Charcoal, real/imitation blood, molasses, semen, and soil Amy Lien and Enzo Camacho’s work departs from a remarkable church mural on the Philippine island of Negros commonly known as The Angry Christ. Painted in 1950 by the New York-based Filipino- American artist Alfonso Ossorio, this wild depiction of the Last Judgment adorns a chapel built to service the workers of an industrial sugar refinery. Both the refinery and chapel are still in use today. Notes on “The Angry Christ” consists of fragmentary research notes transcribed over charcoal tracings of the mural on several walls in the gallery’s light-saturated upper stairwell. By engaging the act of copying as a mode of close study and interpretation, Lien & Camacho utilize the formal density of Ossorio’s original mural as a structural tool, sketching out a lush cosmology of queerness and Modernism, Catholicism and Communism, oligarchy and sugar that spirals outward from the The Angry Christ and its regional context. By following these threads forward into the present and tying them to live political struggles, the artists ask how The Angry Christ might be radically reprogrammed towards collective expressions of anger in our contemporary moment. (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/Bxo-4A0lSDz/?igshid=kbvgqnno4kox