This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Fusce at elit quis felis ullamcorper vehicula non in est. Maecenas finibus pharetra justo et faucibus. Nulla eu tortor vel ex volutpat efficitur. Vivamus placerat turpis in aliquet venenatis. Quisque ac lacinia mauris. Nam quis lobortis elit. Vestibulum sagittis nisi sit amet euismod hendrerit. Mauris non sodales odio. Donec efficitur molestie quam, sed lobortis massa vestibulum ut.
Nunc at arcu sodales nisi porta euismod non vel neque. Phasellus at lobortis ante, in suscipit justo. Proin non purus vitae nisi molestie consectetur. Vestibulum volutpat lobortis interdum. Vestibulum pretium ligula lorem, egestas ultricies lectus ultricies ac. Curabitur venenatis vulputate dolor.
The installation is a summation of the past fifteen years of the artist's work. The gallery is 3,500 square feet, divided longitudinally by a wall. The entire installation is arranged and constructed according to the principles of ecclesiastical architecture. The first room, which Tracy describes as the "passive space," is a storage area. A combination of his altarpieces, crosses, tabernacles, and oil paintings are housed there. The "active space," which consists of an altar to the left and a sacristy to the right, functions as a performance space. This area contains huge, golden triptychs, dark Stations of the Cross, an altar pierced with machetes, and rows of mesquite chairs. Curated by Sheena Wagstaff
When
1994
Where
500 Sampsonia, 3rd Floor
Michael Tracy (b. 1943) is an American artist best known for his sculptures defining minimalism and conceptual tendencies of the 1980s and early 1990s. He lives in San Ignacio, a small border town in Texas.
