Camilla Wills and Allison Katz “Perra Perdida” at Lulu, Mexico City
: Marginalia :
Leash seeks lost bitch.
To find oneself in movement. To become a local fixture but not fixed. A flâneur; a transject (1). First half of the nineteenth century: A poet walks his lobster on a leash(2). First half of the twenty-first century: An artist flies out to Paris and in an act of will, intuition and humor, takes off his red argyle socks, knots them into a lobster shape, and ties them to a makeshift leash to drag them around the same garden (3).
What remains is: the leash.
Restriction. Control. Cord. Metal or leather distance to the neck. Encounter between hand and body: training. Leathered obedience. Braided softness. Nylon is ordinary. Even a harness. Even a ring. Knots that slip for greater agility. Retractable prosthesis. The law of the halter, of the rein, pulling. Prevention. Composite-material protection. Limitation without punishment. Reflective material. Cutback of accidents. Variety, models, color, design. Hold. Toy. Sexual accessory. Never-before-seen speedy connection. Pending. Controversy. Laxity. Elasticity. Push and pull. To the ankle. Resistance. Humiliation. Extension.
Elasticity. Obedience is limitation without punishment. Variety, models, color, design. Composite materials. Ring. Anus. In nylon it’s ordinary. Never-before-seen fast connection. Cord. Extension. Leather distance. Accident. Metal up to the neck. Shit up to the neck. Protection. Confortable and tight hook. Law. Hand and body. Accessory. Companion elasticity. Extension. Greater braided agility. Command with certainty.
To heel. To walk. To walk around. To the walker. The walker can only be local. Extension-Restriction. Training a ring. Variety without punishment. Reflective compounds. Get a hold of the subject. Run. Variety. Greater agility. Color prosthesis. Lightweight nylon harness. Halter and rein. Get a hold of the model. The softness.
And yet, the bitch is lost.
The lobster is, in fact, the animal self, coming out of the depths and being trained, tamed, walked on a leash in broad daylight. Who is walking whom? To self-leash.
Leash seeks lost bitch
A thick layer of plaster. An envelope. A compact skin. Plaster had become a constraint.
[…] a plaster that both contained and cohered an agonizing affective body: a clandestine shelter.
The plaster that had until then been the guarantee of survival, to the point where it could be mistaken for skin. (4)
Plaster is a leash.
How to “pitch against this hardening”? (5)
Plaster has a certain level of absorbency.
Cocteau “talks” to his mural on Leicester Place, London—the material is porous.
“Plaster is an ear.” To hear. Here.
Mixing, causing reactions, effervescences, thickening. Dealing in the mystical and the perverse.
Is the animal self still on a leash?
The grotesque: caves filled with al fresco decorations, mostly frames, and other peripheral ornaments depicting the place where human becomes animal, plant becomes human—the hybrid.
Painting al fresco implies freshness, something raw, unfinished. And yet: there is hardening, irreversibility. This hardening of the paint on the walls is history itself. It is also religion.
Plaster requires time: absorption, evaporation, setting. And yet there is resistance. Resisting through marks, bites. Surface tension.
If plaster is an ear. To mark and bite it. An act of violence or desire. Alchemy or boxing?
Plaster heals. Think of cataplasms. If porous ear, then it is also hospitable. Make yourself at home here.
How to prevent this petrification? To blast and to make last. An act of vitality.
Gabriela Jauregui, November 2013
1c.f. Lazlo Moholy-Nagy
2c.f. Gérard de Nerval
3c.f. Scoli Acosta
4. All italics are taken from Suely Rolnik’s “Deleuze Schizoanalist” http://www.e-flux.com/journal/deleuze-schizoanalyst/ (e-flux # 23 March, 2011)
5. These and all other fragments in quotation marks are taken from Camilla Wills and Allison Katz’s notes for the exhibition.
until 4 February 2014
Camilla WIlls and Allison Katz, “Perra Perdida” at Lulu, Mexico City, 2013
Courtesy; the artists; Lulu, Mexico City. Photo: Isaac Contreras.