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With its succinct, descriptive enumeration, the exhibition’s trinitarian title “Walls, Windows, and Blood” implies unsettling visual conversations to which she gives form with a selection of images from three new series (all works 2023), clustered in grids, lined up along walls, and proceeding in colonnades. Shot in a Vatican City emptied of visitors during the pandemic summer of 2021, Catherine Opie’s new photographs provocatively reshuffle different threads of her longstanding inquiries-the spectrum from transparency to opacity communal spaces the body as/and architecture queerness and institutions. They say ghosts, vampires, and the soulless cast no shadows. Alongside illustrations of chained and leashed animals from … The left channel consists solely of yellow subtitles with no corresponding voice, a pastiche of quotations on the topic of disgust. Clark edited this video-a zoo’s promotional clip gone viral-to preserve some mystery on behalf of the orangutan, cutting the ending so that the card, instead of falling to the ground, remains affixed to the glass.Ī collage of sampled footage, still pictures, medical scans, and her own camerawork, Neighboring Animals scrutinizes the thresholds between inside and outside, human and beast. After giving it a sniff and twirling it around in his hands, he places it back on the glass, tapping it a few times with his makeshift wand-perhaps his attempt to send it back through the seemingly porous window.
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Holding a stick in one hand, the ape nimbly picks up the card, now (miraculously!) on his side of the barrier. While an elderly orangutan watches from the other side of his enclosure’s window, two human hands press a single playing card against the thick safety glass. There’s a card trick midway through Mary Helena Clark’s Neighboring Animals (all works 2024 unless otherwise stated), a two-channel video projected into a darkened corner.