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A tear, engineered in 1856 by Rodolphe-the adulterous lover of Flaubert's Madame Bovary-is dripped onto a breakup letter and sent to the heroine via messenger. "There ought to have been some tears on this; but I can't cry; it isn't my fault," he says, but not to her. Then, having filled a drinking glass with water, Rodolphe dips his finger and lets a big drop fall onto the paper, leaving a pale stain on the ink. Cally Spooner's monograph documents a large eco-system of 40+ works which takes the incident of this false tear as a lynch pin, to reflect on the outsourcing, hijacking, erosion, decay, or destruction of personal, subjective utterance, in a 21st-century hyper connected and financialized climate. For the monograph, Spooner describes each work in an active, present-tense voice, intercut with diagrams, drawings, culled, and censored correspondence. New essays bring into focus central themes that play out in Spooner's transdisciplinary performance work.
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Cally Spooner, Vanessa Boni
- Langue
- Année de publication
- 2020
- product-detail.submit-box.info.binding
- (souple)
Modes de paiement
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- Titre
- Cally Spooner
- Sous-titre
- On False Tears
- Langue
- Anglais
- Auteurs
- Vanessa Boni
- Éditeur
- Hatje Cantz
- Publié
- 2020
- Format
- souple
- Pages
- 236
- ISBN10
- 3775746811
- ISBN13
- 9783775746816
- Séries
- Mots clés
- Nonfiction
- Description
- A tear, engineered in 1856 by Rodolphe-the adulterous lover of Flaubert's Madame Bovary-is dripped onto a breakup letter and sent to the heroine via messenger. "There ought to have been some tears on this; but I can't cry; it isn't my fault," he says, but not to her. Then, having filled a drinking glass with water, Rodolphe dips his finger and lets a big drop fall onto the paper, leaving a pale stain on the ink. Cally Spooner's monograph documents a large eco-system of 40+ works which takes the incident of this false tear as a lynch pin, to reflect on the outsourcing, hijacking, erosion, decay, or destruction of personal, subjective utterance, in a 21st-century hyper connected and financialized climate. For the monograph, Spooner describes each work in an active, present-tense voice, intercut with diagrams, drawings, culled, and censored correspondence. New essays bring into focus central themes that play out in Spooner's transdisciplinary performance work.