‘Confession,” French feminist Helen Cixous tells us, ‘puts into play something which seems to me impossible and terrible: erasure.
- Are we supposed to be amnestied? Confession treats ritually what is absolutely untreatable.” Nicola Deane arrives at a similar conclusion in her contribution to the Michaelis masters students group exhibition Heimlich Manoeuvres. Deane is perhaps best known for her 2002 performance where she made three casts of her vagina in chocolate. In her new work she offers a quieter critique of phallogocentric capitalist culture. Comprising a series of poems, litanies, slogans and secret messages, she hold a mirror up to a contemporary culture of ‘shamelessness” as epitomised by reality television or in tell-all tabloid confessionals. The language of her investigation includes Morse codes, scrolled secrets, montage, fabricated relics and Dictaphone diaries. In her work, Deane exploits the way theses mediums betray every inaccuracy, and combines her aphorisms with a technique where craft meets reproduction. The resulting images reflect the emptiness of the codes by which our lives and art are defined while at the same time offering an antidote in the form of poetry.
Michaelis Gallery, Orange Road, Gardens, Cape Town, Until April 21.Caption: Nicola Deane, I have started to feel alone with you, Typewriter text on cotton paper, 2011
Association For Visual Arts, 35 Church Street, Cape Town, April 18 until May 13.