Why is public art important today? How did this inform the work for CIRCA?
I don’t think about art in terms of its perceived importance, I think that tends to lead to a very conservative reading of art’s power. I just like working in different contexts and gigantic screens is a new one for me. I certainly thought about people passing by when the piece was playing and how best to create something that felt wrong in that space.
My Head is a Haunted House, group exhibition curated by Charlie Fox at Sadie Coles HQ and Rodeo Gallery in London, 2019
Matt Copson, Ed Atkins, Sue de Beer, Larry Clark, Alex Da Corte, Tom Friedman, Robert Gober, Richard Hawkins, Lonnie Holley, Cameron Jamie, Mike Kelley, Tetsumi Kudo, Daniel Lopatin and Nate Boyce, Mary Ellen Mark, Megan Marrin, Sam McKinniss, Marianna Simnett, Haim Steinbach, Claude Wampler
"Disorientingly familiar, the entrance of My Head Is a Haunted House is covered with a Twin Peaks–esque Red Room floor vinyl that grounds whatever happens there in another dimension. But in contrast to David Lynch’s tricks, there are no velvet curtains bordering an outside; there is no alternative to rambling through the rooms suffused in green and pink lights and joining the mad tea parties thrown by the resident ghosts and ghouls. Among them is Charlie Fox, the orchestrator of this group show at Sadie Coles HQ and of Dracula’s Wedding at Rodeo, both in London."
This Young Monster, by Charlie Fox, 2017
This Young Monster is a hallucinatory celebration of artists who raise hell, transform their bodies, anger their elders and show their audience dark, disturbing things. What does it mean to be a freak? Why might we be wise to think of the present as a time of monstrosity? And how does the concept of the monster irradiate our thinking about queerness, disability, children and adolescents? From Twin Peaks to Leigh Bowery, Harmony Korine to Alice in Wonderland, This Young Monster gets high on a whole range of riotous art as its voice and form shape-shift, all in the name of dealing with the strange wonders of what Nabokov once called ‘monsterhood’. Ready or not, here they come...
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