Home Bodies, Away Teams
It began with a rope of dead dogs; one after the other every few hundred feet, quiet as sandcastles along a twenty mile stretch of highway between Bluff and Blanding. We were in Southeast Utah to study a parcel of land at the juncture where four states meet; where a women had built a home and activated a community of one-hundred, housing them in roughhewn cabins that radiated from inner to outer in concentric "portals." Marie Ogden, the Home of Truth's founder, believed in rebirth. She believed in the arcane power of numbers, of occult ritual, and in milk and egg enemas as a remedy to post-mortem decomposition. Utah, life elevated; that's what the sign said. On our way out we passed a dead horse, or a soft mound of suede disappeared into copper-red dirt. A pile of black hair (its mane, I imagine) fluttered menacingly beside a bone-drawn contour. We accidented into such scenes, sidestepping shallow potash lakes, baiting squirrels that nested inside of the couch. At dusk, a pack of coyotes heckled, zig-zagging across the canyon, tossing their laughter recklessly from crest to butte. With the moon came the lion's sick wail; oh yeah, she cried bloody murder.
HOME BODIES, AWAY TEAMS grew from this. It is a two-fold event spanning Los Angeles (Oct 21, 2017) and Salt Lake City (Jan 26--May 12, 2018), whose iterations are not identical but engage in a fluid exchange.
This first incarnation, a one-night event at 7329 S. Broadway Street, Los Angeles, brings together artists mulching around in the transit zone beyond reason; artists who occupy and articulate, as far as it is possible, a place at the end of thought.*
As the post-modern sublime transmutates, taking two left turns, we look again, askew, to the numinous, the revelatory, the cryptic, the spurious, in an effort to journey past rational thought into ecstasy.
Why is flesh not consciousness? If reality is what's outside of the window, then perspective is a form of intuition. What other ways of knowing can we inhabit? What ledges might offer a perch?
HOME BODIES, AWAY TEAMS unites the unutterable, the intimate, the incommunicable, embracing the impossibility of what was just stated but striking around in the dark nevertheless, swinging wildly with a lamp post attached to a fishing pole on the off chance of making a connection. In a way this is Simone Weil's "near-far," not distance but proximity; Emmanuel Levinas' "Not not being" (but beyond, over) and Stephen Wright's "not, not art." “If only I could see a landscape as it is when I am not there,” Weil brooded. Indeed, our world is a bit of a problem. But we are curious what might be gleaned if we widen the affinities of art and conditions of knowledge, if practice becomes devotion, without dogma. What happens in this show is not united by theme, per se, but by a tending towards, a pivot, a sightline on a weaving horizon.
Participants across both events include:
Ana Weider Blank
Institute for New Feeling
Phillip Andrew Lewis
João Maria Gusmão + Pedro Paiva
Kevin Alan Swenson
Initiated by Earl Gravy; Curated by Earl Gravy
*Juha Varto in Basics of Artistic Research, 2012