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UB ART GALLERIES
Punctuating both levels of CFA Gallery’s spaces, printed wallpaper wraps itself around five walls, highlighting architectural features of the space and its later use-led adaptations—bodies and space produce each other. These five Atlas_ works are part of Lynne Marsh’s wider project entitled Ninfa Atlas, which translates the human figure from historical archive through embodied performance to digital asset. The project mines Mnemosyne Atlas (1924–1929), the image archive in which Aby Warburg identified recurring motifs in Western art and culture, by focusing on the gestures of the archive’s main protagonist, the nymph. Ninfa Atlas tracks this female figure’s “hospitality,” her adaptation across technological eras, social contexts, and historical situations.
As a way to diversify and extend this archive, Marsh invited five performers to reanimate, modify, contest, and improvise gestures into short dance phrases enacted in a volumetric video capture studio. The five Atlas_ works on view turn the raw image-data harvested in this process—also called two-dimensional image maps or atlases—into wallpaper, an astute strategy that brings critical attention to the violence that is at the core of digital imaging: 3D asset construction flattens out and tears bodies into sections. Bodies have long been the subject of, and subjected to, the regime of the image: they drive image innovation and are in turn shaped by images. While violence and care are our inheritance, how can we construct non-violent images and worlds?
BIOGRAPHY
Lynne Marsh’s practice questions the status of the image through mediation, technology, and production. The ideas central to Marsh’s research include offstage space; production-in-production; affective and cultural labor; music as a framing device; and the Brechtian revealing of the mechanics of cultural and theatrical production. Solo exhibitions of her work have been presented at UCR ARTS Riverside, Riverside, CA (2021); Tintype Gallery, London (2018); Berlinische Galerie, Berlin (2017); Opera North, Leeds (2015); ICA, London (2015); Toronto International Film Festival (2014); and Musée d’art contemporain de Montréal (2008). Her work has also been featured in numerous group exhibitions and perennial events including La Biennale de Montréal (2014); Manif d’art 5–The Québec City Biennial (2010); and the 10th International Istanbul Biennial (2010).
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Change Name
UB ART GALLERIES
Punctuating both levels of CFA Gallery’s spaces, printed wallpaper wraps itself around five walls, highlighting architectural features of the space and its later use-led adaptations—bodies and space produce each other. These five Atlas_ works are part of Lynne Marsh’s wider project entitled Ninfa Atlas, which translates the human figure from historical archive through embodied performance to digital asset. The project mines Mnemosyne Atlas (1924–1929), the image archive in which Aby Warburg identified recurring motifs in Western art and culture, by focusing on the gestures of the archive’s main protagonist, the nymph. Ninfa Atlas tracks this female figure’s “hospitality,” her adaptation across technological eras, social contexts, and historical situations.
As a way to diversify and extend this archive, Marsh invited five performers to reanimate, modify, contest, and improvise gestures into short dance phrases enacted in a volumetric video capture studio. The five Atlas_ works on view turn the raw image-data harvested in this process—also called two-dimensional image maps or atlases—into wallpaper, an astute strategy that brings critical attention to the violence that is at the core of digital imaging: 3D asset construction flattens out and tears bodies into sections. Bodies have long been the subject of, and subjected to, the regime of the image: they drive image innovation and are in turn shaped by images. While violence and care are our inheritance, how can we construct non-violent images and worlds?
BIOGRAPHY
Lynne Marsh’s practice questions the status of the image through mediation, technology, and production. The ideas central to Marsh’s research include offstage space; production-in-production; affective and cultural labor; music as a framing device; and the Brechtian revealing of the mechanics of cultural and theatrical production. Solo exhibitions of her work have been presented at UCR ARTS Riverside, Riverside, CA (2021); Tintype Gallery, London (2018); Berlinische Galerie, Berlin (2017); Opera North, Leeds (2015); ICA, London (2015); Toronto International Film Festival (2014); and Musée d’art contemporain de Montréal (2008). Her work has also been featured in numerous group exhibitions and perennial events including La Biennale de Montréal (2014); Manif d’art 5–The Québec City Biennial (2010); and the 10th International Istanbul Biennial (2010).
→ Website
PROGRAMS
PRESS
RESOURCES
To add....