September 16th - November 18th
ROGNTUDJUUUUU!!!* – unpronounceable title: unnamable, inaccessible truth, unreliable, unlimited language, a old body that can’t be spoken – GODDAMMIT!
A bearded beardless pseudo-byzantine novice zenned out in a space-head dreams of a cultish artist commune, saints of drunkenness and sleep, god’s worms, Real feet. All the while the sheep keep on fucking.
“One starts speaking as if it were possible to stop at will. It is better so. The search for the means to put an end to things, an end to speech, is what enables the discourse to continue. No, I must not try to think, simply utter. Method or no method I shall have to banish them in the end – the beings, things, shapes, sounds and lights with which my haste to speak has encumbered this place. (In the frenzy of utterance, the concern with truth.) Hence the interest of a possible deliverance by means of encounter. But not so fast. First dirty, then make clean.” *
*Samuel Beckett – The Unnameable
The prosthetic supplements the ‘natural’. But “there is no nature, only effects of nature: denaturation or naturalization. Nature, the meaning of nature, is reconstituted after the fact on the basis of a simulacrum (for example literature) that it is thought to cause.” *The prosthetic supplements the ‘natural’. But “there is no nature, only effects of nature: denaturation or naturalization. Nature, the meaning of nature, is reconstituted after the fact on the basis of a simulacrum (for example literature) that it is thought to cause.” *
* “…we supply values, as on a standard form or chart: title, name, sex, age, rank, religion, ethnicity, nationality, languages(s), height, weight, hair color, eye color, marital status, parental status, health status, occupation, education, income, activities, (dis)abilities, and so forth. As real as these categories may seem, they are unstable, unfixed, and acquire meaning or value only contextually, within an ideologically specific discursive network in which they validate social systems collectively deemed vital to our cultural institution. Objects themselves possess no value, meaning or history; rather, the value freighted by fetish objects provides a history of culture’s creation of meaning and coherence for its social systems of power and the ideological assumptions supporting them, which crucially require phenomenal validation.
Hair’s intimate association with the body, for example, lends the beard a perceived authenticity that is denied crafted objects not naturally formed, but assumptions about its transparent integrity crucially rely on disavowal of the knowledge that hair can be shaped, removed, provided, transferred, bought, sold, misplaced, stolen, mimicked, falsified, regulated, and so forth. Ironically, it is the naturally man-made quality of the beard as a product of the body that ostensibly distinguishes it from inferior, artificially man made object… The prosthetic supplement thus constitutes a conspicuous target for fetish since the logic of the prosthesis, which exchanges material object for missing body part, significantly blurs the distinction between subject and object. In ‘Materializing Gender’, Will Fisher considers clothing and body parts as equivalently prosthetic, arguing that such items constitute neither clearly nature not culture, essential or constructed, body or artifact, self or other, inside or outside.”
Johnston, Mark Albert, Beard Fetish in Early Modern England: Sex, Gender, and Registers of Value, New York: Routledge, 2011, Print.
“Would you like to become a real boy?” she asked, “then you must first learn to work hard, to obey, and to tell the truth.”
A film and reliquaries to introduce Mole’s new body of work in which she uses scenarios of communes, monasteries and pre-renaissance religious image-making to continue to examine the relationship between meaning and the body.
Olivia Mole worked as a set designer for mainstream film and animation before returning to studio work. She has shown video, performance, sculpture and drawing at Southern Exposure, The Wattis Institute, Steven Wolf Fine Arts, Pro Arts Oakland, JOAN Gallery Los Angeles and at other off-site locations. She was educated at the Ruskin School of Art, Oxford University (UK), The National Film and Television School (UK) and begins an MFA in New Genres at UCLA in fall 2017.