On the occasion of their first solo institutional show, Jesse Darling talks of why Jerome’s is a tale of oppression and love, how values are fetishes like BDSM, how bodies and civilizations inevitably fail, and why flowers grow particularly well in a graveyard.
It’s an apparently labyrinthine structure, but really just a short pathway leading you through a spiral-like route entirely constructed from clothes—button-downs, T-shirts, trousers, pulled, worn-out, sewn together like an epidermis sourced from a flea market.
. Using our bodies, we learned forms of protest, explored forms of civil pilgrimage, and reenacted choreographic analysis of police operations, et cetera.
The darkened space hosts two screens across from each other. While on one screen the film runs forward, on the other it runs backward. Behind these, to one side, run the credits of the film which reveal also the significance of its locations; forwards and then backwards again, endlessly.
The dialogue will focus on what knowledge can be produced by art, and how the unknown can be a productive incubator in times of crisis. On the heels of the screening, Marian Goodman Gallery presents in New York the film in a solo exhibition which runs until 21 December 2018.