Bobbi Woods

VizArts Monthly: Revolving by degree

A new year opens, inch by inch, and lines of flight are revealed

The Earth inches around the sun a fraction less than one degree between December 31 and January 1, and yet somehow I still believe that something momentous has occurred. “Thank the far-flung heavens that 2017 is over,” I exclaim aloud to myself and anyone within hearing distance. People roll their eyes in agreement, make the universal gesture of disgust (raising the index and middle fingers toward the mouth), even snarl audibly—these are the times we live in. We are hoping for better, or at least no worse, a psychological imperative, maybe.

I resolve, I resolve, I resolve. And for some minutes, hours, days, under the spell of those resolutions, I may feel a new lightness in my step. All the same, I know that the environment that produced those universal gestures of disgust hasn’t changed very much during that one degree of revolution (will someone out there check my math?).

Fortunately, the culture itself, our local culture, still has the elements that offered me support during 2017, no matter how grotesque it seemed. I’ll paraphrase Gilles Deleuze and Felix Guattari in “A Thousand Plateaus” (and pardon me if it’s wildly inappropriate here): In 2017 there were “lines of articulation or segmentarity, strata and territories”; but I also found “lines of flight, movements of deterritorialization and destratification.” Mostly I found them manifest and represented in the creative acts of art I bumped into during the year, and even in the society itself occasionally, often prompted by a state of mind initiated by the arts.

Lines of flight. Movements of deterritorialization and destratification. Deleuze and Guattari’s book was published in 1987. And yet…I’m sifting through the experiences the culture offers looking for those same things some 30 years later. Degree by degree, as the Earth revolves. Which maybe itself is a line of flight.

Some art exhibitions opening in January that may destratify your consciousness?

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Appropriation, Information, and Cyborgs: An Interview with Michele Fiedler

Curator Michele Fiedler talks about the third show in her residency at Disjecta

By MACK CARLISLE

This past Sunday, January 15, amid Portland’s latest snowpocalypse, I had the pleasure walking through the current exhibition, “Oh Time Your Gilded Pages,” with Michele Fiedler, Disjecta’s sixth Curator-in-Residence. Fiedler is a curator and writer based in Mexico City, where she is the Curator at Sala de Arte Publico Siqueiros. Born in Puerto Rico, she received an MA in Curatorial Practice from California College of the Arts.

Guided by the artwork of Adriana Minoliti and Bobbi Woods in the exhibition, we discussed media representations, marketing, appropriation, posters, and porn. We also talked about the thread connecting Fiedler’s four Disjecta exhibitions, information, and what to expect from the remainder of her year in residence. Midway through our conversation, artist Adriana Minoliti walked in and topics turned toward installation, cyborgs, sex, and science fiction.

Exhibition: Oh Time Your Gilded Pages
(magazines, posters, adds, porn, interior design, perfume, jewels, movies, and cyborgs)
Disjecta: 8371 N Interstate Avenue
Artists: Adriana Minoliti and Bobbi Woods
Curator: Michele Fiedler
Showing: through February 26, 2017
Gallery Hours: Friday–Sunday, 12–5pm

The golden glow of the gilded works and the warmth of the rose-colored wall suffused our time together with a little special magic, perhaps felt most in contrast to the cold outside.

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