“Instead of drafting a definitive curatorial statement, Churchman offers an exhibition note in which art historian Manuela Ammer inquires in lyrical form: “Who controls the border of painting? What is the border of painting anyway. The edges of the canvas?” These questions’ self-congratulatory rhetoric suggests that the exhibition is the product of a circle of insiders. Yet, despite its jump-cut style and gestural naiveté, “New Dawn” is a sublime staging of the painterly form as a registration of affect and the exhibition format as a “medium” of contagion. The show offers a communal ground in which personal subjectivity negotiates a multifold “borderspace” where political life, the human-animal, and the cosmological meet. It fundamentally awakens our re-enchantment with a world whose sensuality is being systemically drained into unfeeling states of conformity.”
author: Natasha Ginwala is an independent curator, researcher, and writer. She is currently part of the artistic team of the 8th Berlin Biennale for Contemporary Art (2014).
I find the above an interesting discursive analysis – I appreciate the idea that the entire space however lyrical can function as a painting. I also enjoy a good read of complexity. The idea of a world being drained into ‘unfeeling states of conformity’ is something that has come up in multiple places – meaning it could be indicative of our time.
Although the work is very different than my own, I enjoy understanding and at times grappling with new ideas that are being presented.
Here are some installation shots of the exhibition – the link also has more along with more text and the artists’ names.