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  talk
  October 5th - October 31st, 2018
  Likely General, Toronto
  
  

  “Is there a form to a shared togetherness? Are there rules that generate that form? How to trace and project the connective tissue that constitutes togetherness? How to display a new social body?”
  

  this time we’ll keep it a secret, Triple Canopy
  Martin Beck

  The works shown in Talk mark a return to Maryanne’s movement practice and each piece is in collaboration with either Sarah or Lauren, both professional dancers. Collaboration and the process of shared-togetherness(1) is so crucial to this new work that it feels a little weird to credit Maryanne solely in writing, like it should be Maryanne-Sarah-Lauren. It matters(2) that you know this, about the process, and about the work that takes place outside of what is on view, because Maryanne-Sarah-Lauren’s new work is largely about being-in process.

  Maryanne–Sarah –Yam–Tablecloth

  This show takes its title from Linda Rosenkrantz’s Talk; a book of transcribed audio recordings that describe the friendship between three thirty- year olds living in the 1965 art milieu of New York. Esmé Hogeveen calls Talk (the book) a project of examining how experiences themselves are always made and unmade – understood, challenged and reinterpreted – according to how they are articulated in the present(3), and, it’s not a far stretch to extend this description to the works shown in Talk (the art).

  Maryanne–Lauren-Labyrinth–Red Cords

  Producing this text was a collaborative process with Maryanne, and in the spirit of Talk, this is a self-conscious foray into writing about someone’s work who I have just begun to know. In the process of figuring out what this text might become, we talked. We talked about all sorts of things: about my relationship to my mother, trying to move beyond the feminism we grew up with, intimate encounters, forms of learning, ex-lovers. The time Maryanne makes in her collaborative work for acknowledging the moments of intimacy and vulnerability that come with forming a new creative relationship is what fills the space between playfulness, performance, and pleasure in Talk.

  You-Me-Maryanne -Lauren-Sarah-Clay-Strawberry- Stranger- Grief-Weather- Dirt-Dog- Apple-Farmer-Pleasure

  Donna Haraway says it matters how kin generate kin(4), coining the term OddKin to describe the need for unexpected collaborations and combinations to deal with (survive) our present climactic-social-political circumstances. Dance, touch and movement become OddKin-making activities in Maryanne-Sarah-Lauren’s Talk. As much room for non-verbal choreographic input is extended to a yam, a strawberry, an apple, as there is for the two women we see. Each scene is presented to us on a moment-by-moment basis, inviting us to witness the possibilities held in each touch and each fleshy encounter (human or fruit).

  Aubyn O'Grady

  (1) “Is there a form to a shared togetherness?” is question borrowed from this time we’ll keep It a secret by Martin Beck, Maryanne shared this early in our process.  
  (2) From Staying with the Trouble: Making Kin in the Chthulucene, by Donna Haraway: “It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts, what descriptions describe descriptions, what ties tie ties. It matters what stories make worlds, what worlds make stories.”
  (3) Esmé Hogeveen also describes Talk as “a living object that exists self-consciously within a broader cultural history” in C Magazine issue 129.
  (4) This is quote is from an article titled Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin published in the journal Environmental Humanities.

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  lxst-nxght:

  Vogue Spain September 2018
  

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  lamignonette:

  stopping off place

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  harryssolotour:

  violentwavesofemotion:

  Dorothy Livesay, from The Collected Poems: The Two Seasons; “Nocturne,” wr. c. 1948 (x)
  

  
  

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  windowwaterr:

  Louise bourgeois, Pink days and blue days, 1997

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  mentaltimetraveller:

  Fausto Melotti,

  Uccello che entra nella foresta, 1977

  Brass

  39 3/8 x 35 ½ x 10 ¼ inches (100 x 90 x 26 cm)

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  🖐🏼

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  womanhouse:

  Angela Pulido Zorro, The ordinance of a history that arranges itself in a loop, or how to spell a scream, 2014
  

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  1010ll:

  https://www.instagram.com/p/Bkf4MC7H8Vk/?

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  at OCAD University

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  Something my brilliant friend Anni said the other night is really sticking with me. I paraphrase. She said that coming to a new skill, interest, attitude, experience later in life in your own time is equally, if not, more, or just as interesting as being a savant in it.

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  projecteur:

  larissa hoffmann

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  arterialtrees:

  Rebecca Horn. Still from performance of Körperfächer, 1972, from Performances II, 1970-73. Courtesy of the artist and Sean Kelly Gallery, New York.
  
  

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  bizarreauhavre:

  Tori wranes

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  themodernartists:

  David Hockney (b. 1937), Tennis Court, 1973. Chromogenic Print.

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  liquidnight:

  Sally Mann

  From At Twelve: Portraits of Young Women 1983-1985

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  patchworkquiltedbutterflychair:

  Vito Acconci, Garbage Seating  (1986)
  Garbage cans, tire, dead plants
  

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  vodis:

  Airmail clothing, Hussein Chalayan, Tyvek, 1999
  

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  invinculis:

  The Humming Room by Adrian Piper (2012). MoMa.

  ig: xlu.tiff

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  maaarine:

  MBTI & Celebs (x)
  Lauren Bacall: ENTJ

  “I think [my voice] gives people the impression sometimes that I’m angry when I’m not, or that I’m being very forceful when I’m really not.”

  “There are some who think that, to know you and to see you from a distance, that this is not a vulnerable woman.”

  “Right. Or an approachable one. I think the voice is what does it. But it’s the voice that I have, and there’s nothing I can do about it. And also, what kind of a man would be afraid to approach me because of that?”

  See also: Katharine Hepburn