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Jesper Just
Bliss and Heaven
2005
Super 16mm with sound
8:10 minutes

 

 

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Rona Yefman
excerpt from Beach Story, Let it Bleed
2010
Video with sound

 

 

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Keren Cytter
Der Spiegel
2007
Video with sound
5 minutes

 

 

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Carolee Schneemann
Plumb Line
1968-71
Super 8mm film on video with sound
18 minutes

 

 

"The fold itself is a signifier of in-betweenness. Folding is a practice of spacing, it creates an inside and an outside with additional spaces where new things can happen. It creates a 'one and other' whilst its own space fluctuates, remaining always in limbo—is the fold on the inside or is it outside? The fold behaves like a hing, creating, out of a simple surface, two—it complicates matters, loses 'the smooth simplicity of its surface'1 and produces a strange conflation of multiplicity and singularity—that which was singular becomes multiple and yet remains singular—'the fold renders (itself) manifold but (is) not (one).'2 The fold unites through distinction and difference: as Deleuze states, 'it relates one to the other by distinguishing them: a severing by which each term casts the other forward, a tension by which each fold is pulled into the other'.3 It decomposes and recomposes itself, fans out and pulls together again to produce new networks of differences, erasing any possibility of a master discourse, instead creating a dialogic structure which is marked by 'a dynamic process of multiple meanings and hovering significations constantly reactivated. '4"

—Patricia Allmer, "Of Fallen Angels and Angels of Anarchy," Angels of Anarchy: Women Artists and Surrealism, ed. Patricia Allmer (Manchester: Prestel, 2009), 22.

1 Jacques Derrida, Dissemination, translated by Barbara Johnson (London: Athlone, 1981), 259.
2 Ibid., 229.
3 Gilles Deleuze, The Fold, translated by Tom Conley (London: Continuum, 1993), 34.
4 Elza Adamovicz, Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse
(Cambridge: Cambridge University Press, 1998), 25.

 

 

 

 

 

The subjects of the videos in this issue present unique expressions of the diverse meaning of bachelorhood. Whether longing for an understanding and accepting partner, seducing the object of their desire, rebelling against the constraints of monogamy or lamenting their solitude – artists Jesper Just, Rona Yefman, Keren Cytter, and Carolee Schneeman all expose resistance(s) to the everyday cultural norms which construct sexual identity, desirability and relationships. By performing or revealing these positions, the subjects force the viewer to consider the life of the bachelor as both vulnerable and empowered.