image text special

'At Bay' by Ellie Hunter at Editorial, Vilnius

article image; primary-color: #A5A5A5;
Installation view
article image; primary-color: #B4BCC7;
Installation view
article image; primary-color: #B0B6C2;
Installation view
article image; primary-color: #ACA7BD;
Ellie Hunter, Figure X (detail), 2018
article image; primary-color: #948C8A;
Ellie Hunter, Figure X and Arms Length and Never Asymptotic, 2018
article image; primary-color: #948A88;
Ellie Hunter,Figure X andArms Length and Never Asymptotic (detail), 2018
article image; primary-color: #95887F;
Ellie Hunter,Arms Length and Never Asymptotic, 2018
article image; primary-color: #56514E;
Ellie Hunter,Figure X (detail), 2018
article image; primary-color: #BFBFC1;
Ellie Hunter,Chatte Perdu, 2018
article image; primary-color: #707C8C;
Ellie Hunter,Chatte Perdu (detail), 2018
article image; primary-color: #CBCCD0;
Installation view
article image; primary-color: #D4D5D9;
Ellie Hunter, Crawlers, 2018
article image; primary-color: #C2C3C5;
Ellie Hunter, Crawlers, 2018
article image; primary-color: #CBCCD0;
Ellie Hunter, Crawlers, 2018
article image; primary-color: #AEB1B6;
Ellie Hunter, My night face up 1, 2018
article image; primary-color: #B4B5B9;
Ellie Hunter, My night face up 2, 2018
article image; primary-color: #7B7275;
Ellie Hunter, My night face up 2 (detail), 2018
article image; primary-color: #B1B2B7;
Ellie Hunter, My night face up 3, 2018
article image; primary-color: #6A696E;
Ellie Hunter, My night face up 3 (detail), 2018
article image; primary-color: #B5B6BA;
Ellie Hunter, My night face up 4, 2018
article image; primary-color: #595458;
Ellie Hunter, My night face up 4 (detail), 2018
article image; primary-color: #B4B4B2;
Ellie Hunter, My night face up 5, 2018
article image; primary-color: #5E5641;
Ellie Hunter, My night face up 5 (detail), 2018
article image; primary-color: #C1C2C6;
Installation view
article image; primary-color: #AEAFB4;
Ellie Hunter, Untitled, 2018
article image; primary-color: #8B8E95;
Ellie Hunter, Untitled, 2018
article image; primary-color: #44424D;
Ellie Hunter, Untitled, 2018
article image; primary-color: #D3D4D8;
Ellie Hunter, Crawlers, 2018
article image; primary-color: #CBCCCE;
Ellie Hunter, Crawlers, 2018
article image; primary-color: #B3C0D3;
Ellie Hunter, Figure Y, 2018

"At Bay" considers the horizontal viewpoint of a bedridden figure; a forced horizontality. It’s a frustrated, anesthetized sight. A sight that privileges the image plane of ceiling panels hovering parallel above her head, or the eye of the lamp glaring down at her. A tilted neck reveals sock-tipped toes, and the sun rises and sets peripherally in the bedside window. Curtains meant to shield her body hang like sterile ghosts, with inevitable, anxious gaps between them. Their long figures seem to taunt her earthbound axis.

From this viewpoint, it is necessary to leave the outline of your body. You invent, layer and fold images in on themselves until they become almost entirely muted or disappeared. You join the dancing figures in the pastel-colored print on the wall, peek over the curtain to the bed next door, and descend to dress your bandages. You prod your collarbone and lick your hair back from your face. Hovered now nose-to-nose with yourself; at bay.

article image; primary-color: #2F4B63;
article image; primary-color: #29506D;
article image; primary-color: #27455F;
article image; primary-color: #2A364C;
article image; primary-color: #4E4F64;
article image; primary-color: #3B6885;
article image; primary-color: #1F4558;
article image; primary-color: #3D688B;

You relax, you put your body parallel to mine, you rest it on sterile textile. Your breath stinks. You want to kiss me. We kiss and the smell is totally there. It mixes with my hot saliva through the tender, warm movements of our mouths, like pollution blending with a setting, round sun. Let’s go to a place called sunset in a polluted city. Let’s go to the bay. Together the sun and the pollution create a breathtaking orange…. and our cells renew until they don’t. 

24.11.18 — 24.12.18

Performance by Ellie Hunter, Anni Puolakka Score by Miša Skalskis

Photo by Laurynas Skeisgiela

Editorial

'Another Night in Dream City' by Seán Boylan at Stranger, Baltimore

'I SAW A CROW, ORCA WAS I' by Alison Yip at Monte Clark Gallery, Vancouver

'DIGESTING DUCK ENTRY LEVEL POSITION' by Isabelle Frances McGuire at From the Des

'Access Modes for Encountering Large Industrial Bodies' by Kitty Maria at Het Res

'La ballade des sardines – Die Liebe der Sardinen' by Robert Brambora at Sans tit

'Weathered Shabby Shabby Brenches: Vernal Festivity of the Four Clari' by MRZB at

'Rose Button' by Romain Vicari at Placement Produit, Aubervilliers

'리좀적 주문 Rhizomatic Spell', a Group Show at Kvalitář, Prague

'Die ZWEITE HAND' by Niclas Riepshoff at Stadium, Berlin

'Bit Rot' by Bob Bicknell-Knight at Broadway Studio and Gallery, Letchworth Garde

'ALL ONE' by MYLASHER / Tine Günther at The Complex, Dublin

'Jacques de Bascher', a Group Show at Treize, Paris

'Confusion is next and next after that is the truth' by Jonathan Castro Alejos at

'Dewdrop Toadstool Hopscotch' by Isabelle Adams at Garthim, Mattheissen State Par

Behrang Karimi at Zarinbal Khoshbakht, Cologne

'Selfing' by Elif Saydam at MÉLANGE, Cologne

'From the Xmas Tree of Lucy Bull 2', a Group Show at From the Desk of Lucy Bull,

'Lotosesser' by Ernst Yohji Jaeger at 15 Orient, New York

More