FLYING NO. 6
FLYING NO. 1
FLYING NO. 2
FLYING NO. 3
FLYING NO. 4
FLYING NO. 5
FLYING NO. 6
FLYING NO. 7
FLYING NO. 8
FLYING NO. 9
FLYING NO. 10
INFO & CONTACT
Katrina's Room: moonbeams, to negotiate a better arrangement
The Pole, Den Haag
March 9, 2020 – April 8, 2020
The passing of centuries took with it an altarpiece. It commemorates a woman who lived a life bound tight to religion and morals, yet who was unable to escape spilling out of herself from time to time; flying outside of her body; ripping through; rippling in ecstasy.
The altarpiece was manipulated into a video: 5 channels of seductive slowness. The woman, Catherine, destined to stay within her chamber for all her remaining days; eyes still upon her as she goes about her daily rituals, her repetitive, meditative performance suspends her in an eternal, cyclical present. And he who made her decided she should live a life of pure devotion, inside a room that alludes appearance, and disappearance.
Trapped in the centuries, she now enters a new cycle. The super Worm Moon re-sets. Cawing of crows signaling the end of winter, she is disentangled from your appearances, unraveled from the mirage, escaping from your surface and image. For, has she ever been anything but your dream of midday or midnight?
She falls back into a depth of thought: that goes right to the bottom of things, beyond appearances; difficult to penetrate because it is more internal, more secret, but also more durable. For now, she takes her devotion into her own hands; handling her cycle carefully and illuminating the shadows around her as she turns. She turns. Turns her back and turns her front.
Did you forget that she is always looking back at you?
And now she lives for a short while here; looking out with an eye in two directions, while you look in. She invites you in; a mesh of possibilities, gaps, overlaps. Reflecting back at you in the slippery light.
And you all had to lose sight of me so I could come back, toward you, with another gaze.
. . .
Including a selection of words and sentences from
Marine Lover of Friedrich Nietzsche, Luce Irigaray
& Tendencies, Eve Kosofsky Sedgwick.
Annemarie Wadlow (UK, 1993) is an artist working with photography and video.
She investigates the beguiling space perched in the muddle between the image and the imagined.
Katrina's Room: moonbeams, to negotiate a better arrangement, 2020
predella of five exposures: digital print on synthetic mesh
each: 130 x 98 cm