Tuesday, February 10, 2009
Monday, February 9, 2009
You Can't Take Me
the image of your face...
and the love of the linden trees...
you can't... you can't... you can't take me...
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the image of your face...
and the love of the linden trees...
you can't... you can't... you can't take me...
the image of your face...
and the love of the linden trees...
you can't... you can't... you can't take me...
whom is the speaking:
Bethany Ides:
bethany[dot]ides[at]gmail
bethany[dot]ides[at]gmail
flitted fleet of:
consortium corroborare:
- An Approximate L1
- Cosa Nostra Editions
- DIVA (Downtown Initiative for the Visual Arts)
- Festival (Lindsay Powell)
- Gallery 1412
- Gallery Homeland
- HUB Collective - Lindsey Hammond
- Jeffrey ("Lindersei") T. Baker
- Lectures w/ Lindsay (Benedict)
- Lindsay Benedict (work/images)
- Lindsay C. Chamberlain
- Lindsay De Armond
- Lindsay Family Crest
- Lindsay Hill
- Lindsay Page
- Lindsey Boldt
- Lindsey: a planned community
- Lyndsey MacKenzie
- Performance Works NW
- Regional Arts & Culture Council
- the Tangent Reading Series
- Worksound Gallery
~ Becoming What ~
Based on a sci-fi-leaning prose poem, Approximate L begins with a semi-identifiable or somewhat mundane substance (the name, Lindsay) and, through methodical examination, renders it utterly elusive, alien and non-referential.
Working with as many participants who share (variant spellings) of the name, Approx investigates the poetics of the proper name as vessel, that which invokes something larger than itself while manifesting itself as particular, autonomous form. As an obsessive gesture toward the improbably absolute, Approx seeks to configure the spectrum (& specter?) of L[indsay]-ness in the site of the gallery using media that relies on spatial alterity: text, recorded sound, video, appropriated & transitional material, and actual visual work created by professional artists named L[indsay] shipped in from other time zones.
Working with as many participants who share (variant spellings) of the name, Approx investigates the poetics of the proper name as vessel, that which invokes something larger than itself while manifesting itself as particular, autonomous form. As an obsessive gesture toward the improbably absolute, Approx seeks to configure the spectrum (& specter?) of L[indsay]-ness in the site of the gallery using media that relies on spatial alterity: text, recorded sound, video, appropriated & transitional material, and actual visual work created by professional artists named L[indsay] shipped in from other time zones.