iMinnesota Street Project · Dogpatch
Elena Gross curates Alexa Burrell, Sienna Freeman, Barbara Hammer and Daviel Shy at Slash: sculpture, collage, photography and video on lesbian ways of looking.
Alexa Burrell stands in for Josephine Baker in a black-and-white video projected onto a curtain of falling water, dancing just out of reach in the damp. Ambient Cunt is a new commission and the centrepiece of this four-artist show at Slash.
Curator Elena Gross took her cue from Daviel Shy's essay "Women Seeing Women": the sideways glance as a lesbian way of looking that won't split looker from looked-at. Sienna Freeman sets a lopsided dining table with silk-wrapped limbs and venomous fruit. Shy answers Kenneth Anger from a cenote at Chichen Itza, and Barbara Hammer's 1979 film has her drawing in sand. October is dry season here, so the most dependable rain in Dogpatch is Burrell's, indoors.
No critic has reviewed it yet. The work is openly erotic, and the two films run 12 and 20 minutes, so you'll need over half an hour to see both whole. Entry is free. Slash is in Building B at 1150 25th St, open Thursday to Saturday, 11am to 6pm.
Baker in the rain
Look for Burrell's black-and-white video mapped onto a mist-shrouded curtain of water, her stand-in for Josephine Baker dancing in it, framed by twelve silver gelatin stills of the projection.
Freeman's dining table
Bounty, On All Fours is an asymmetrical table almost seven feet long, laid with silk-shrouded limbs, lashing tongues, bulging mounds and venomous fruit.
Gemstones in the cenote
In After the Pleasure Dome, Shy performs as her alter ego Burnt Reynolds in a psychedelic cenote, slowly pulling glittering baubles and gemstones from her own body.
Hammer writing in sand
In Available Space (1979), Hammer drags her camera's shutter cable behind her as she traces glyph-like patterns in the sand, performer and director at once.
You're visiting with kids: the works are openly erotic, and one video shows gemstones pulled from the artist's body.
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