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Mattress Factory is an artist-centered museum, international residency program and renowned producer and presenter of installation art. We say “yes” to artists, offering time and space to dream and realize projects in our hometown, Pittsburgh, PA. We invite audiences from around the world and around the corner to step inside, immerse and connect with the artistic process.

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Jenny Lee

The Black Watch

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.

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In alignment with her interrogative conceptual practice, here Jenny Lee chose decidedly nontraditional spaces, painting directly onto the surrounding frames and dividing spaces of the doorway. Contrasting two divergent cultural tropes—on one hand, an Aztec-inspired motif and, on the other, a classic Scottish tartan pattern—Lee has created an installation that actively negates any notion of definitive meaning through its use of pattern and artifice, subverting the viewer’s tendency to “trust” the validity or conclusive meaning of work in a museum setting. The subversive quality of the installation is further extended in the fact that a viewer might, in passing through the space to the second floor, potentially miss her work entirely and only realize its existence upon returning down the stairs to exit the museum.

Curated by Heather Pesanti

When

2008

About The Artist

Working in multiple genres and subject matter, Jenny Lee is a painter who questions notions of authenticity and authorship through her work.

In alignment with her interrogative conceptual practice, here Jenny Lee chose decidedly nontraditional spaces, painting directly onto the surrounding frames and dividing spaces of the doorway. Contrasting two divergent cultural tropes—on one hand, an Aztec-inspired motif and, on the other, a classic Scottish tartan pattern—Lee has created an installation that actively negates any notion of definitive meaning through its use of pattern and artifice, subverting the viewer’s tendency to “trust” the validity or conclusive meaning of work in a museum setting. The subversive quality of the installation is further extended in the fact that a viewer might, in passing through the space to the second floor, potentially miss her work entirely and only realize its existence upon returning down the stairs to exit the museum.

Curated by Heather Pesanti

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