Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un lin...

Milano Chow ░ Egg and Tongue

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Milano Chow at Mary Mary



Artist: Milano Chow
Venue: Mary Mary, Glasgow
Exhibition Title: Egg and Tongue
Date: September 17 – October 29, 2016


Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Mary Mary, Glasgow. Photos by Max Slaven.
Press Release:
Mary Mary is delighted to present ‘Egg and Tongue,’ a solo exhibition by Milano Chow and her first in the UK. Chow presents a group of new works on paper that continue her use of ornamental motifs around imagined facades and interiors.
‘Egg and Tongue’ lingers on the frame. The frame acts as the edge or enclosure of a picture, the structural skeleton of a building, or the description of a person’s build (“a slender frame”). The film frame is an isolated still image that operates as a marker of time passed. The frame can also be immaterial – a liminal space between the interior and the exterior and between the visible and the invisible.
In Milano Chow’s drawings, frames are represented by ornate borders and architectural objects such as mantelpieces, windows, and mirrors. These boundaries establish visual fields and frames within frames that emphasize the drawings’ construction. Influenced by the apparatus of movie and theatre sets, particularly black-and-white film, the compositions use devices that manipulate and confuse perception. Slight shadows give the smallest implication of a ground and extreme shifts in scale indicate receding space. These cues rely on a conditioned eye trained in the language of commerce and entertainment.
The frames are occupied by female figures borrowed from fashion magazines and catalogues, sources of staged photography that share the drawings’ heightened artifice. In Chow’s work, turtlenecks, socks-in-heels, and berets (these signs of slightly dated fashions) create a displacement of time and era, in conjunction with the anachronistic ornamentation of the settings’ architecture. The women glance beyond the picture planes, as if the act of looking is a means of puncturing the frames’ edges.