Scapular Gallery Nomad by Judy Freya Sibayan
Timeline and rhizomatic mapping of Scapular Gallery NomadTimeline and rhizomatic mapping of Scapular Gallery Nomad

Scapular Gallery Nomad : “A Small Art Gallery Resting on my Shoulders"

$ 800.08

Scapular Gallery Nomad, a piece of clothing, a habit is a space I have created where I can essentially curate upon my body. Just as I care for myself in this performance, I also care for the artists by curating their works in my body gallery. 


Excerpted from Judy Freya Sibayan’s Scapular Gallery Nomad: Beyond the Limits of the Center and Into One’s Own

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Product Description

Scapular Gallery Nomad’s maintenance and integrity are dependent on the resources and reality of my daily living. It has no demands beyond the small scale of my life I hand sew the scapulars; write and desktop publish the exhibition notes in my bedroom; print them low tech , each copy costing from 10 to 15 US cents. I only carry small, light delicate artworks: photographs, prints, books, computer diskettes, egg white merengue and textile sculptures, oil paintings on paper. They are unframed, unpropped on pedestals; protected, wrapped only in cloth, never a burden on my shoulders. 

My movements too are conservative. Except for the intimate dinners hosted by the artists during their opening events, I hardly go out of my way to make a separate event of it, separate from the usual flow of my life that is. Some Imports were quiet , unattended, unseen events. On three occasions it was just the simple undonning of the old scapular and the donning of the new one with the new works on the set date wherever I was. The adding of artists, now thirty-two, to the exhibition list also happened as I met them in my daily life. I never went out of my way to find them. 

The results are never a spectacle. The artworks are now removed from the context of the pure-gaze. In fact it always surprises me when I get to see the photographs. Often, I am a small event in bigger events. invited me to perform during their own gallery openings. 

Most of the time the work is experienced as I share a meal with family or friends. I am comforted by this fact. The performance has somehow entered a sacred space, a sacred act, the breaking of bread among those I love. Entered my dreams I am now perform the work even in my sleep. I am outside an old church, surveying it as a good place to perform the work; in another, in a garden, four young men around around a marble table view the artworks and mull over the word neg-entropy, a word I used in the notes. Climbing ladders, I pursue a friend to show him the artworks I carry, running up terraces built one on top of the other. outside all the way to the subconscious, the performance is one smooth flow of space and events. 

Project timeline here

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