Jenna Bliss, Armored Chain #2, 2016
Installation view, Jenna Bliss, Bound Charm X, 2016; Jenna Bliss, Chart Bracelet #1, 2016; Jenna Bliss, Armored Chain #1, 2016; Jenna Bliss, Chart Bracelet #2, 2016
Lea Porsager, #THoTH_LoPLoP_bed (The Avian Menace: Masturbatory Powertool for Levitation and Absorption into Foam), 2015
Fiona James with Jess Wiesner, You are that technicality, 2016
DRANG, you you you’re givin me you had baaaaaaby this you had me your givin me the you’re givin me you had me wraaaap the blame your givin me the blame wraaap your blame you had me blame but i never had you yo’ure givin me blame the dont blame it on me wraaaap your blanket round me blame it on see I you away wrap wrap way way way see IIIII wrap wraap cant liiiiiiiive wrap wrap wrap you had me caaaant wrap i had you see III liiiiiiiive you had me i caaaant wrap cant you had me liiiiiiive verge of breaking down baaaaaaby this is simply the best you had me me blame it on my wiiiild you had me wiiiiild you had me baaaaaaby this is seeeeeerious you had me wild me seeee me sweetest me down sweetest me sweetest me on me down sweetest me IIIIIIIm every woman verge of breaking dooouuuwn iiiiim every See I you’re givin me see I your givin me me your givin never had yooooou you’re givin wiiild heart iii you iiii yoooouuuu youuu blame it on my wiiiild heart you you you you you hiiii hiiiiii breaking down, 2016
On collectivity, masturbatory power tools, contraceptive pills, drugs, and the affects of childbirth on brain plasticity
Jenna Bliss, DRANG (Mia Edelgart, Katrine Gjerding, Deirdre Humphrys, Anna Wærum Hansen, and Cara Tolmie), Lea Porsager, and Fiona James with Jess Wiesner
SixtyEight Art Institute
30 September – 29 October 2016
Roll over spin forward is a group exhibition, consisting of new research, installation, sound and performance in pursuit of states of collective emancipation. The exhibition brings together artists who are working around ideas of desire, the orgasm, enlightenment and togetherness as tools for collective consciousness and social change.
The exhibition takes its title from conceptual artist Lee Lozano’s description of a female orgasm as ‘a roll over spin forward crash wave’. While Lozano is known for practicing seclusion – in 1971 she vowed to avoid other women –Roll over spin forward indulges and wallows both in bodies and in collective thinking.
Using this description of the female orgasm as a choreography for collective emancipation, the exhibition proposes to think together through our bodies, emotions, and ecstasies as a means to momentarily reconsider western society’s individualist, protestant, capitalist, and dominantly masculine values.
Moments of coming together in ecstasy – whether through rituals, religion, political spectacles, drugs, sports events, or fan culture – possess the potential of questioning ingrained social arrangements of power and allow for reflection on our ways of being in common with one another.
Expanding on philosopher and writer Aldous Huxley’s observation that ‘it is with their muscles that humans most easily obtain knowledge of the divine’ the exhibition aims to connect with the mind, body, muscle and sensory systems of its audience.
Roll over spin forward is a continuation of curatorial and artistic research started in the exhibition FLUID PHOSPHORESCENCE (New York, 2015). At SixtyEight Art Institute the conversation will be widening, deepening and spreading.