That Head brought to a head the explicit aims of Donegan’s earlier exploits isn’t enough to explain its popularity. Made in the heyday of music video kinestasis, Head dissented in its static, single take. Milk remains in the plastic bottle, leaking from its punctured hole, hard to swallow. 8 While her feeding and milking of the object may be timed to the music, logical time, again, outdoes duration, as she exits the frame before the song is done. Head is a single-take escapade, in which Donegan synchronizes or “cuts” her actions to a pop tune. To suck, siphon, and spit milk-regurgitate, recycle, relay. That will become one of her primary techniques. K.M.R.I.A., she uses her body as a template for printmaking, a transfer process 2),ĭonegan embarks on her quest to merge mark- and moving image–making. With the 1993 video limerick Kiss My Royal Irish Ass (K.M.R.I.A.) (Fig. Performance art-the art-historical designation for what she recurrently disrobesĪs drag. Her prank is less Coney Island stunt than practical With futility as her aim, herewith, Donegan privileges The gag is on us, for she succeeds in demonstrating the impossible, to eat an entireīaguette inserted upright between her legs. Of her single-action “turn it on, turn it off” works. 6ĭonegan’s first scission was the bite, which she uses in Gag (1991 page 248)-the first At the crux of her artistic operation is the body, as an enjoying substance in her case as cavity, vacuole, or sack- My Plastic Bag. It is with this surplus, impossible to anticipate or quantify, that Donegan will orient her singular know-how to proceed. Pursuing her works chronologically distills their logical and atemporal coordinates, that is, what transpires “inherently.” 5 Her initial aim was to have it all, yet each exploit left a remainder-loaf heel, banana bit, spilled milk, paint-print on a studio chair, doubt.
Buck and gag definition series#
Their time, each installment of her ongoing series signaling our way. Not only traverse these market, techno-scientific developments, but also tick with The unprecedented collusion of capitalism and science, and the consequentialĪscendance of consumer technology to the social apex. Identity politics and the valuation of video art as white-cube commodity.ģ But more importantly, her artistic development spans a seismic shift in civilization, 2ĭonegan’s work was forged in nineties art-making ideologies, notably Metaphor for the endless desires of metonymy. By doing so, I was able to divine in the shards of her name her know-how to reuse it to bypass the Name of the Father as a woman who renounces the repetitive citations of
Buck and gag definition skin#
Shear, all, done, again-the constitutive and heretical parts of her practisse!ġ I had to look, and look again, at her more than thirty video works in order to spot the clues covered in clear sight, on the skin as it were, like “Adam’s” rib or thigh “master,” two of the puns that riddle her body in Body Type (1993 Fig. What happenstance, what happiness, to have discovered in the homophonicĮquivocation of the syllables that drop from the dissection of an artist’s name.
Video, color, sound, 5:47 min.Courtesy the artist and Electronic Arts Intermix (EAI), New York
2: Cheryl Donegan, Kiss My Royal Irish Ass (K.M.R.I.A.), 1993. Jacques Lacan, The Seminar of Jacques Lacan, Book XX, Encore: On Feminine Sexuality,įig. There’s no such thing as Woman because, in her essence.she is not-all. “There’s no such thing as Woman, Woman with a capital W indicating the universal. Miller, “Lost in the Detail,” Chuo University, Tokyo, Japan, October 2017 “That perhaps is what style comes to: the preponderance of Throwaway over Takeaway.”
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