The Aunque

Jan 11 – Feb 16, 2013, Romer Young Gallery, SF

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Misfits, 1979 (Sex and Art), Hand-dyed, screenprinted, and sewn fabric; powder-coated aluminum, 68 x 48 inches
In 1978, an eight-color Rainbow Flag was designed by Gilbert Baker. Baker and friends hand-dyed and sewed the flag here in San Francisco for the first Pride March. A year later, in 1979, two colors, hot pink and turquoise were dropped from the flag due to the limitations of commercial printing. Each of the original colors in Baker’s flag were assigned meaning: pink – sexuality; red – life; orange – healing; yellow – sunlight; green – nature; turquoise – art/magic; blue – harmony; and violet – spirit.

Aunque installation detail

Misfits, 1979 (Sex and Art), Aunque, Violencia es Total, Jean Genet in the Aunque, My problem is no longer to oppose you, and Prime Time

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Misfits, 1979 (Sex and Art) and Aunque, Violencia es Total

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Aunque, Violencia es Total, Gouache on paper, 14.75 x 11.75 inches

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We Need Our Perverts,* Acrylic and gesso on dyed canvas, 22 x 16 inches
*Title attributed to Eileen Myles in “The Situation in American Writing: Eileen Myles,” Full Stop, 18 May 2012.

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Black Swans, Acrylic on canvas, 11.5 x 8.75 inches

Aunqueinstall_web

We Need Our Perverts and Black Swans

My problem is no longer to oppose you (side view)

My problem is no longer to oppose you,* Acrylic and fabric dye on canvas, 13 x 10 inches
*Title attributed to Jean Genet in Playboy, Vol. 11, No. 4, April 1964.

PrimeTime_web

Video still from Prime Time, looped video

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Gallery view: Prime Time, We Need Our Perverts, and Black Swans

Aunque_Scandalous_web

I am Scandalous,* Acrylic on paper, 15 x 11 inches
*Title attributed to Abdellah Taia from his open letter, “Homosexuality Explained to my Mother,” TelQuel, 10 April 2009.

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My Desire, My Refuge, My Catastrophe,* Acrylic on paper, 11 x 15 inches
*Title attributed to Violette LeDuc in The Bastard, 1964.

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Feminist Napkin, Embossed cocktail napkins, 5 x 5 inches each

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The Call to Love,* Acrylic, enamel, and fabric dye on canvas, 36 x 36 inches
The night wasn’t dark enough: I could make out the shapes of trees, kitbags, guns. When my eyes got used to a very dim patch and I peered hard, I could see, instead of the patch, a long shadowy path ending in a sort of intersection from which other even darker paths branched out. The call to love came not from voices or things, perhaps not even from myself, but from the configuration of nature in the darkness. A daylight landscape, too, sometimes issues the order to love.
*Title and quote attributed to Jean Genet in Prisoner of Love, 1986.

CalltoLoveInstall_web

The Call to Love,* Acrylic, enamel, and fabric dye on canvas, 36 x 36 inches
The night wasn’t dark enough: I could make out the shapes of trees, kitbags, guns. When my eyes got used to a very dim patch and I peered hard, I could see, instead of the patch, a long shadowy path ending in a sort of intersection from which other even darker paths branched out. The call to love came not from voices or things, perhaps not even from myself, but from the configuration of nature in the darkness. A daylight landscape, too, sometimes issues the order to love.
*Title and quote attributed to Jean Genet in Prisoner of Love, 1986.

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Gallery view: I am Scandalous, My Desire, My Refuge, My Catastrophe, and The Call to Love

Aunqueinstall.longwall_web

Foreground: Jean Genet in the Aunque play, props, and sandwich board
Background: We Need Our Perverts, Black Swans, I am Scandalous, My Desire, My Refuge, My Catastrophe, The Call to Love

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Jean Genet in the Aunque, poster and sandwich board with scripts and props for performance, 2013

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Jean Genet in the Aunque script for performance, 2013

Jean Genet in the Aunque performance

Jean Genet in the Aunque performance, 2013

Jean Genet in the Aunque performance

Jean Genet in the Aunque performance

'Jean Genet in the Aunque' performance

Jean Genet in the Aunque performance

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Gallery view of The Aunque

Aunque_Misfits_webAunque installation detailcurreri.install.left2_webAunque_webWeNeedOurPerverts_webRGBAunque_Swans_webAunqueinstall_webMy problem is no longer to oppose you (side view)Video still from Prime Time, looped videoAunqueinstall.backwall_webAunque_Scandalous_webAunque_MyDesire_webAunquefeminist_webAunque_CalltoLove_webCalltoLoveInstall_webAunqueinstall.right_webAunqueinstall.longwall_webJG_sandwichboard_webJean Genet in the Aunque script for performance, 2013Jean Genet in the Aunque performanceJean Genet in the Aunque performance'Jean Genet in the Aunque' performanceCurreri_Aunqueinstall_webz

 

From the Press Release:

Romer Young Gallery is pleased to present its third solo exhibition with Bay Area artist Amanda Curreri. Curreri transforms the gallery into The Aunque – a space of possibility, a space of the ‘even though’. With both irreverence and with earnestness, The Aunque serves as a space for reflection on power, identity, and desire in the face of the violence of contemporary social life.

Beginning with the titular language shift from English to Spanish, Curreri’s work invokes a power shift and implicates itself and the viewer in acts of “reading” and legibility. The phrase “Aunque, violencia es total” entered Curreri’s head like a mantra while on a long-distance run. Highlighting this meditative state achieved through physical and sensory experience, Curreri insists on an equivalence between body knowledge and cerebral understanding as a crucial tool of negotiating identity.

Artworks within The Aunque are a re-envisioned hand-dyed and sewn flag, multiple paintings, a video, confounding cocktail napkins, and an invitational play. The diverse languages in effect – color, form, vernacular, linguistic – all converge via poetry as a pragmatic model for this new work. Amanda offers: “I was looking for an intimate one-to-one structure for this work which is what lead me to poems. Poetry is so flagrantly about heart and commitment and also so much about the rogue and necessary pied piper figure in society. I asked a poet friend for insight on what makes something a poem, and, of course, they said that it is structure and form and then the breaking and bending of that form.” Curreri applies this formalist approach as a vehicle to push into new spaces of discourse.

On Wednesday, January 30, 7pm, Curreri hosts a performance, Jean Genet in the Aunque, which utilizes a collaged script of quotes to create a conversation of poetry and outlaws, performance of selves, and cross-identification. Pocket-knives optional.

Romer Young Gallery, 1240 22nd Street, SF, CA