Chris Mus<strong>in</strong>a <strong>The</strong> Wolf <strong>of</strong> Ansbach (To Our Dearly Departed Burgermëister), 2011, acrylic on canvas 48" x 66" © Chris Mus<strong>in</strong>a 6
Chris Mus<strong>in</strong>a La Mort et la Béatification de St. Gu<strong>in</strong>efort, 2011, oil and gold leaf on canvas 40" x 30" © Chris Mus<strong>in</strong>a This preys on a sense <strong>of</strong> contemporaneous unease surround<strong>in</strong>g us, specifically <strong>in</strong> our relationship to nature, and its seem<strong>in</strong>g break down <strong>in</strong> the time <strong>in</strong> which we live: a time <strong>in</strong>creas<strong>in</strong>gly be<strong>in</strong>g dubbed the Anthropocene. In an attempt to elicit powerful visceral reactions, I merge the power <strong>of</strong> spectacle with humor and horror, all the while exam<strong>in</strong><strong>in</strong>g those natural histories and representations, their pasts, presents and possible futures. This chimeric amalgamation elicits a sense <strong>of</strong> connection and familiarity, unsettled by an uncerta<strong>in</strong>ty caused by loaded obscure references. I borrow from places where I see the animal as central, where the viewer will recognize the syntax, even if they are unfamiliar with the specifics. I am call<strong>in</strong>g upon the human-animal relationship by creat<strong>in</strong>g new and unpredictable mythologies that draw attention to a culture that is only a product <strong>of</strong> our animal nature, and a nature that is a notion developed by our place with<strong>in</strong> culture. In uneasy times, we search for certa<strong>in</strong>ty <strong>in</strong> science, stories, histories and myths, places ridden with represented animals. I don’t work to aid this comfort, but to capitalize on it, to appropriate, problematize and exacerbates its representation. I love pa<strong>in</strong>t<strong>in</strong>g fur, the repetitive mark mak<strong>in</strong>g and brush strokes, the pa<strong>in</strong>t rolls s<strong>of</strong>tly, as luxurious as the real th<strong>in</strong>g, guid<strong>in</strong>g your eye, as if your hand, down through a s<strong>of</strong>t silky coat. I want the viewer to feel that desire, that animalistic want to touch that fur, to stroke it gently, runn<strong>in</strong>g their hand all the way down the animal’s body until they encounter someth<strong>in</strong>g 7
- Page 1 and 2: Antennae Issue 26 - Autumn 2013 ISS
- Page 3 and 4: EDITORIAL ANTENNAE ISSUE 26 This an
- Page 5: TOWARDS A NEW ANIMISM Drawing from
- Page 9 and 10: Chris Musina Rape of the Taung Chil
- Page 11 and 12: A MODERN-MYSTIC LOOK AT ANIMALS Gro
- Page 13 and 14: Christopher Reiger Submerged in His
- Page 15 and 16: ANIMALS AS WALLPAPER London-based a
- Page 17 and 18: Jessica Holmes Hours or even days o
- Page 19 and 20: Sunaura Taylor Chicken Truck, oil o
- Page 21 and 22: Sunaura Taylor Dead Calves on a Con
- Page 23 and 24: Sunaura Taylor Baby Lamb Undergoing
- Page 25 and 26: Sunaura Taylor Animals With Arthrog
- Page 27 and 28: Sunaura Taylor Lobster Girl, oil pa
- Page 29 and 30: Sunaura Taylor No Arms! (Self-Portr
- Page 31 and 32: René J. Marquez Aspen, oil on canv
- Page 33 and 34: René J. Marquez Untitled (puppies
- Page 35 and 36: René J. Marquez Sophia, oil and ac
- Page 37 and 38: these histories and identities cons
- Page 39 and 40: René J. Marquez Tina, oil on canva
- Page 41 and 42: René J. Marquez Tina, oil on canva
- Page 43 and 44: As Cabinet’s writer Charles Green
- Page 45 and 46: Olly and Suzi Bull Moose, Syracuse,
- Page 47 and 48: Olly and Suzi Cheeta Gang Inspectin
- Page 49 and 50: Olly and Suzi 3 Ravens, Northern Mi
- Page 51 and 52: Olly and Suzi Deer for Beuys, North
- Page 53 and 54: Vanessa Barbay Lamb of God (Spring
- Page 55 and 56: Vanessa Barbay Resurrection (Spring
- Page 57 and 58:
Vanessa Barbay Eruption (Spring Kin
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POSTHUMAN ANIMALS AND THE AVANT-GAR
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avant-garde. Still, for my purposes
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made between the art object and its
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Charles Le Brun’s plates of anima
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the production of distinctions betw
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Daniel Spoerri Fig.1 Carnival of An
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Daniel Spoerri Fig.2 Carnival of An
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Daniel Spoerri Fig.3 Fleischwolfbru
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incongruities, that (by chance) bot
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distinct from an architectural land
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Vroni Schwegler Small Shoal in Linz
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an action and its agents: artist, f
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Petra Schilder Fig.1Smuiger, Dutch
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Petra Schilder Bully (tulip pigment
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gospels, Mass of the Virgin, Hours
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Fig.2 Master of Mary of Burgundy, H
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Fig.3 Master of Mary of Burgundy, H
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from 1500-1700 also points to the e
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Fig.5 Hours of Mary of Burgundy cod
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Fig.7 97 Hours of Mary of Burgundy
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Fig.8 Selected Hunting Scenes, Hour
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from speaking.[41] With the Vienna
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Antennae.org.uk Issue twenty-seven