Cleft [ dramaturgical pîlos ]
Cleft [ dramaturgical pîlos ] exhibited at Petzel Gallery's 456 W 18th St. location on July 15th -- to August 14th 2020
See below for bellow for a special text by the artist, as presented at Petzel Gallery
Presented in conjunction with this piece was a special text by the Artist. See below to read an excerpt from the printed Text by artist Danica Barboza, or to download the document as it was presented in full at the gallery.
On March the 13th 2020, My friend, a doctor working in Europe, just witnessing the newly-understood gravity of the expanding pandemic, wrote to me (translating his thoughts from Dutch), hoping to sound
caution to myself here (in the pre-lockdown U.S.) and likely others, the newly being understood necessity of precaution and extreme care. :
“Here in Europe and in France where we are now […] it looks like a war, the world is on fire. […] my hospital where I work and where my children are working are transformed into respiratory units, young patients dying in intensive care.”
On May the 7th 2020, —In continued exchange with my physician friend, H, and just previous to my own family’s personal loss — I found myself in shared concurrence with H, over the sentiment and experience of speaking on deaf ears.
“ …the nature of humanity seems to be manic; ”
Concerning Cleft [ dramaturgical pîlos ]
Cleft [ dramaturgical pîlos], is my response to the inherent and natural stage of ‘baring witness,’ which, even at this moment, now takes place in a collective sense, —a sense of the ‘collective’ in its larger all-encompassing essence, already distinctly tied by the sheer suddenness and precepts of mass-shared experience.
– A votive which subsists aside from the banal pacifications of “togetherness” – reiterated again and again by commercial culture, its meaning dwindled away at this time into the stock, straw-meanings of a hackneyed platitude— A greater gravity towards honoring a collective act of ‘turning inward’ (whether acknowledged in or out of a state of lockdown or quarantine), feels to me more worthy of accentuation, and all the more so by dent of it being less loudly or frequently proclaimed and acknowledged, and this accentuation of significance is what I felt compelled to embody in Cleft, through modalities of Bricolage, and specifically in a ‘tonal’ significance, an organic and reactionary attempt to match the tenor of ‘felt-experiences’ and quiet observation, which as explained, I believe should be acknowledged at this time.
Regarding . . .