1988, United Kingdom ; lives and works in London
What does it mean to be “a body in the world, both politically charged and culturally determined?” Jesse Darling’s works, in which identities are brittle and structures and bodies irremediably fallible, are organized around this question.
Along a washing line which connects several pillars in the Halle de la Courrouze, J. Darling has hung a set of manufactured current consumer objects, toys, tea-towels and pairs of sneakers floating over our heads. A Fine Line (2018) has an everyday dimension, immediately conjuring up laundry drying at the same time as it creates a festive atmosphere enlivened by fairy lights and other kinds of bunting. But the sight of rolls of barbed wire in some parts of the work may give rise to a certain anxiety. These cordes which criss-cross our household spaces might well be demarcation lines in the middle of a battlefield. Among all these hanging things, it is hard not to notice the ubiquity of forms of synthetic matter, artefacts imported from China, and plastic bags. The artist has the habit of working with this stuff, a paragon of modernity, whose floating vulnerability takes away nothing of its indestructible character. This, incidentally, is precisely what interests them here and in most of their works, the fragility and resistance of a body or subject raised in what the artist calls “the high church of the modern”, within which the wounds caused by a white suprematism rub shoulders with the traumatic repetition of an unshakeable faith in progress. Like a precarious and moveable tabernacle, the work thus takes on a spiritual dimension, and the robust ivy leaves which embellish it in certain places promise an everlasting life, even though they are poisonous.
Avec le soutien de / with the support of Fluxus Art Projects
A Fine Line, 2018
Courtesy of the artist.
With the support of Fluxus Art Projects.