Tracing Pain: Geo Wyeth on reconsidering the body’s relationship to the world during pandemic & protest on AQNB’s Artist Statement podcast

22 September 2020

“I have tried to find language for histories that are present with us, that I didn’t have language for, that were unarticulated to me; that are difficult to take apart, to express and to take account for,” says musician, performance artist and educator Geo Wyeth. “To do that in a way that doesn’t just retool the wound, that’s the tricky part.” Speaking to AQNB editor Steph Kretowicz for AQNB’s latest Artist Statement podcast from their home in Rotterdam, the New York-born artist talks about their interdisciplinary work, which explores colonial and racial histories through embodied storytelling.

Wyeth is co-founder of queer social space Tender Center, and has worked with the likes of Tourmaline, Jen Rosenblit, Josefin Arnell and Navild Acosta, among others. They most recently collaborated with cult icon Vava Dudu, translating the Parisian fashion designer, musician and painter’s poetry from French to English and performing a joint companion piece organised by Buenos Tiempos, Intl’s Alberto García del Castillo at BOZAR Brussels in June. Wyeth’s presentations—that also include video and ‘narrative sculpture’—are equal parts funny and playful; tender and discomfiting, exploring the body’s relationship to the world in a special synthesis of humour and grief.

‘Tracing Pain’ is the latest in our Artist Statement podcast series, with past episodes, featuring Colin SelfLegacy Russell, Katja Novitskova and more. The full episode is accessible to our subscribers right now on Patreon. Sign up now:**

The latest episode of AQNB’s Artist Statement podcast featuring Legacy Russell is available exclusively to our subscribers today.

  share news item

Sophie Serber picks at the scab of an unidentified psychological trigger for her “nauseous, squeamish & horny” show at Vienna’s Shore

11 September 2020

Bracket Sentiment And The Technicolor Yawn, a solo exhibition by Sophie Serber, curated by Steph Kretowicz, is on at Vienna’s Shore Gallery, running September 5 to October 24.

Sophie Serber, ‘Autophagy II’ (2020). Detail. Photo by Sophie Serber. Courtesy the artist.

Opened as part of the Austrian capital’s Curated by gallery festival, which closes on September 26, the London-based artist’s show probed the psychological and physical responses to external and internal triggers of various dependencies buried in body memory and trauma. The combined series of new wall works, sculpture, a found object and sound recording are what Kretowicz calls “nauseous, squeamish and horny” in the exhibition’s curatorial essay. It describes Serber’s ambivalent examination of notions of immunity and disgust, communication and connection, as follows:

Sometimes Sophie Serber thinks the words ‘control’ and ‘understanding’ are the same thing. But while it’s often hard for her to understand, it doesn’t stop her from taking control.

You can read a conversation between artist and curator on the site.**

Sophie Serber’s Bracket Sentiment And The Technicolor Yawn solo exhibition, curated by Steph Kretowicz, is on at Vienna’s Shore Gallery from September 5 to October 24, 2020.

  share news item