02_Kadie Salmon
Fred Mann and New Art Projects are delighted to launch the second of our series of artist publications, conceived as a critical reaction to the restrictions of lockdown. This beautiful book is a monograph of the work of Kadie Salmon, and fully illustrated. We are very grateful to the authors of the supporting essays: Emma Wilson of Cambridge University and Maria Walsh of Chelsea College of Arts. This book continues in our aim of matching the best in critical dialog with the artists we support. We would also like to thank Christian Kusters and Barbara Nassisi of CHK design for their beautiful and sensitive design.
Fred Mann and New Art Projects are delighted to launch the second of our series of artist publications, conceived as a critical reaction to the restrictions of lockdown. This beautiful book is a monograph of the work of Kadie Salmon, and fully illustrated. We are very grateful to the authors of the supporting essays: Emma Wilson of Cambridge University and Maria Walsh of Chelsea College of Arts. This book continues in our aim of matching the best in critical dialog with the artists we support. We would also like to thank Christian Kusters and Barbara Nassisi of CHK design for their beautiful and sensitive design.
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place only in the intervals between, through difference, succession’. 3
Rather than the arrest of the pose which cuts duration, in the
performative mode of self-affection sensation transitions between
phrases and states of desire touched by the imaginary others that
co-constitute a self.
This movement undoes the false hierarchy between the fluidity
of duration and the stilled capture of the photographic image.
In her use of photography, paint and digital film, I read Salmon’s
palimpsestic replications of herself as an intermedial space of
self-affection akin to that described by Irigaray as ‘the pleasure
of endless exchange with the other in a (self-) touching that no
privileged identification arrests by re-absorption. Neither one nor
the other being taken as a term, nor the supplement of their passing
one into the other’. 4 Salmon’s recitation of an excerpt from Klara
du Plessis’s poem ‘Someone other than else’ towards the latter part
of Moon Bathing underscores this generative sensory embodying.
…
my body drops like a wave,
breasts trickling off my chest, thighs fighting
then collapsing, spreading, expanding
and thinning out, limpid and clear,
before retracting, climbing into themselves,
refining their pores
a pool of water collecting itself solemnly
to return to solidity.
…
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