Natalie Häusler: A Virus Can be on a Mussel or in Some Liquid on This Salad Leaf or That Tomato or in This Person's Mouth or Not

128 pages
English
Softcover, 20,5 x 16,5 cm
ISBN 9788867490905

13.00Add to cart


A Virus Can be on a Mussel or in Some Liquid on This Salad Leaf or That Tomato or in This Person’s Mouth or Not brings together two recent bodies of work by German artist and poet Natalie Häusler. “Impressionnisme,” was written in conjunction with an exhibition at M.1/Arthur Boskamp-Stiftung. The long ekphrastic poem delves into the phenomenology of sense perception, using the streets and museums of Paris as template and Impressionism as tool, to execute a distorted analysis of the passage of time. A series of short lyrics which appeared first in form of audio tracks in “Case Mod,” Haeusler’s most recent solo exhibition at Supportico Lopez, modulate between public and private, moments of rest and transport, commentary and observation. More than simply providing insight into the artist’s method of working with text and visuals, this book reveals her investment in poetic practice as an everyday documentary form—an affective record of place, placement of self and an effort to process observation.

Natalie Häusler: A Virus Can be on a Mussel or in Some Liquid on This Salad Leaf or That Tomato or in This Person’s Mouth or Not

13.00

13.00Add to cart

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A Virus Can be on a Mussel or in Some Liquid on This Salad Leaf or That Tomato or in This Person’s Mouth or Not brings together two recent bodies of work by German artist and poet Natalie Häusler. “Impressionnisme,” was written in conjunction with an exhibition at M.1/Arthur Boskamp-Stiftung. The long ekphrastic poem delves into the phenomenology of sense perception, using the streets and museums of Paris as template and Impressionism as tool, to execute a distorted analysis of the passage of time. A series of short lyrics which appeared first in form of audio tracks in “Case Mod,” Haeusler’s most recent solo exhibition at Supportico Lopez, modulate between public and private, moments of rest and transport, commentary and observation. More than simply providing insight into the artist’s method of working with text and visuals, this book reveals her investment in poetic practice as an everyday documentary form—an affective record of place, placement of self and an effort to process observation.

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