Contemporary Art in the Americas Arte Contemporáneo en las Américas

*and what good does all the research of the Impressionists do them…*

Curated by Zoë Claire Miller and Eva Wilson

Squash Editions Ciudad de México 01/19/2018 – 01/21/2018

Installation view of *and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank*, Squash Editions, Mexico City, 2018. Courtesy of Chelsea Culprit and Squash Editions

Installation view of *and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank*, Squash Editions, Mexico City, 2018. Courtesy of Chelsea Culprit and Squash Editions

Installation view of *and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank*, Squash Editions, Mexico City, 2018. Courtesy of Chelsea Culprit and Squash Editions

*and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank*

Red lines mark the out of bounds of the squash court, forming an odd horizon that signals the limits of the playing field. Contained in the here and now of the court and the back and forth between the players, each body reacts to the movements of the other. Instead of facing one another on opposing sides, the players share the same space; they challenge the same wall: rebounding off the sweaty confines of the court, their game culminates in a perpetually concussed flirtation of rubber balls with the then and there of the out-of-bounds.

The sixth exhibition at Squash Editions explores the out-of-bounds, the indeterminacy and potentiality of what queer theorist José Esteban Muñoz has called queer futurity: “To see queerness as the horizon is to perceive it as a modality of ecstatic time in which the temporal stranglehold that I describe as straight time is interrupted or stepped out of. Ecstatic time is signaled at the moment one feels ecstasy, announced perhaps in a scream or grunt of pleasure, and more importantly during moments of contemplation when one looks back at a scene from one’s past, present, or future.” (José Esteban Muñoz, Cruising Utopia, 2009)

The works in the exhibition are interested in queered encounters with adversaries/companions within common (but often displaced) spaces and temporalities—whether these are shared in solidarity, in ecstasy, by a violation, in resistance or by encroachment. Separate from the outside world, the squash court offers a kind of exclusion zone where space and time are renegotiated, where bodies can collide with each other or narrowly avoid collision.

The three-day show, with pieces by international artists working in diverse media and across different times, takes place at Squash Editions—a court at Squash Ciprés in Santa Maria La Ribera, CDMX. It is accompanied by a zine which offers an “anthology” of texts and images by artists and writers alongside theory and other literary and visual formats that speak to ecstatic queer temporalities, arranged as excerpts and fragments, in English and Spanish.

Works and writing by: Iphgenia Baal, Caitlin Berrigan, Gerry Bibby, Chelsea Culprit, Joseph Grigely/Gregory Battcock, Petrit Halilaj and Alvaro Urbano, Kolbeinn Hugi, Dorothy Iannone, Frieda Toranzo Jaeger, Hanne Lippard, Victor del Moral, José Esteban Muñoz, Frank O’Hara, Heather Phillipson, Paula Piedra, Paul B. Preciado, Manuel Solano, and Linda Stupart.

www.squasheditions.com

Vista de la instalación *and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank*, Squash Editions, Ciudad de México, 2018. Cortesía de Chelsea Culprit y Squash Editions

Vista de la instalación *and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank*, Squash Editions, Ciudad de México, 2018. Cortesía de Chelsea Culprit y Squash Editions

*and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank*

Líneas rojas marcan los límites de la cancha de squash, formando un horizonte extraño al señalar los límites del campo de juego. Contenidos en el aquí y ahora de la cancha, el avance y retorno entre los jugadores, cada cuerpo reacciona a los movimientos del otro. En lugar de enfrentarse entre sí en lados opuestos, los jugadores comparten el mismo espacio, desafían la misma pared; rebotando en los confines sudorosos de la cancha, su juego culmina en un flirteo perpetuamente conmocionado por pelotas de goma, el allí y el allá del fuera de cancha.

La sexta exposición de Squash Editions explora el fuera de límites, la indeterminación y la potencialidad de lo que el teórico queer José Esteban Muñoz ha llamado futuro queer: “Ver lo queer como horizonte es percibirlo como una modalidad de tiempo extático en el que el tiempo opresivo absoluto que describo como tiempo directo, se interrumpe o se sale de. El momento extático se señala en el momento en que uno siente éxtasis, anunciado quizás en un grito o gruñido de placer, y más importante durante momentos de contemplación, cuando uno considera escenas de su pasado, presente o futuro.” (José Esteban Muñoz, Cruising Utopia, 2009)

Las obras de la exposición pone énfasis en encuentros queer del adversario / acompañante, dentro de espacios y temporalidades comunes (aunque a menudo desplazadas)—compartidas en solidaridad, en éxtasis, por trasgresión, en resistencia o por usurpación. Separado del mundo exterior, la cancha de squash ofrece una especie de zona de exclusión donde se renegocia el espacio y el tiempo, donde los cuerpos pueden chocar entre sí o escapar la colisión.

La exposición de tres días, con piezas de artistas internacionales que trabajan en diversos medios y en diferentes tiempos, tiene lugar en Squash Editions, una cancha en Squash Ciprés en Santa Maria La Ribera, CDMX. Se acompaña de un fanzine que ofrece una ‘antología’ de textos e imágenes de artistas y escritores junto con teoría y otros formatos literarios y visuales que hablan de las temporalidades queer, arregladas como extractos y fragmentos, en Inglés y Español.

Obras y escrituras de Iphgenia Baal, Caitlin Berrigan, Gerry Bibby, Chelsea Culprit, Joseph Grigely/Gregory Battcock, Petrit Halilaj and Alvaro Urbano, Kolbeinn Hugi, Dorothy Iannone, Frieda Toranzo Jaeger, Hanne Lippard, Victor del Moral, José Esteban Muñoz, Frank O’Hara, Heather Phillipson, Paula Piedra, Paul B. Preciado, Manuel Solano, y Linda Stupart.

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