november, 2018

14novAll Day10janTenseTenseFort Point


November 14 (Wednesday) - January 10 (Thursday) EST


Fort Point

Boston, MA

Event Details


The Fort Point Arts Community Gallery is pleased to announce Tense, the first show of the 2018-2019 season, juried by Sam Toabe, Gallery Director of the University Hall Gallery at UMass Boston. Tense (November 14, 2018 – January 10, 2019), curated by Gina Mudge, will bring together Marissa Cote, Danielle Potwin, Sophie Pratt, Courtney Stock and Mel Taing.

“What does tension look like?” asks Mudge. “Physical restraints on materials we perceive to be fragile. The pulling of a fabric that looks like it’s just about to give. But that’s the beauty, it never does. It relies on the illusion that it’ll break at any point, yet it doesn’t, the tension in fact allows the work to exist. Creating physical tension to speak to emotional tension. Tension that occurs as a result of having our own skin pushed or pulled, the vulnerability of those bodies consistently tested, stretched to the limits. One may wonder if external forces pull harder and harder in an attempt to see how far they can pull until it all snaps back.”

In selecting Tense for the FPAC Gallery, Toabe noted, “The corporeal relationship that we have with fiber-based art is well recognized, but in this exhibition, the curator and the artists utilize the media to speak directly to bodily processes to confront body politics through bodily gestures.” According to Toabe. “Contrapposto, the pulling of skin, and how we move about architecture, makes the fiber works not only relate to the bodily form but instead stands in for the body, controls and contorts the body. It is an active rather than passive experience of the soft form.”

Mudge explains the connection of the exhibit to the word origins of tense: tendere and tenus (stretched). “Can only things that are tender be stretched?” she asks. “Can only people who are tender be stretched? And will they remain that way? We use time as a way to escape this tension. We conveniently drench unfortunate histories with romanticized vignettes, or we use the prospect of the future as a way to escape the harsh realities of the present.

“What does it mean to make work that is affectionately nostalgic, yet simultaneously, and almost paradoxically, telling of the tense realities of walking in around “tender” skin. Events from the past tense create tension, they ferociously pull in an unforgiving way, but they almost always inevitably ignite work that demands to be made for future tense, work that will continue to redefine our outdated perceptions of what fragility is, and what or whom is subjected to such tension, physical or otherwise?”


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