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FIONA ALISON DUNCAN
FIONA ALISON DUNCAN is a Canadian-American author and artist. Her debut novel Exquisite Mariposa won the 2020 LAMBDA Literary Prize for Bisexual Fiction.

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Interview with Fanny Howe

Interview

Issue No. 29

FIONA ALISON DUNCAN

Interview

Issue No. 29

Fanny Howe’s bibliography is as bewildering as her itinerant biography. Born in 1940 in Buffalo, New York, the poet and author grew up in...

Interview

January 2020

Interview with Jamieson Webster

FIONA ALISON DUNCAN

Interview

January 2020

Jamieson Webster serves as a torchbearer for a field out of popular favour. Her practice, psychoanalysis, was last century’s...

A collection of workers’ shirts, mounted like shopping displays and gathered into the regimented, brightly coloured rows that might mark a labour demonstration, stands as the centrepiece of Jonathas de Andrade’s solo exhibition One to One (2019), at the Museum of Contemporary Art, Chicago (MCA) The shirts are men’s Paint daubs and sweat stains trail across them, and the work, Suar a camisa (Working up a sweat) (2014), captures much of the dense, reticent logic of de Andrade’s art   De Andrade acquired the shirts from male workers in the streets of Recife and the countryside of Brazil’s Nordeste, his home city and region, and a cohering local force in his art He would approach workers on their off hours, as they travelled to work or commuted home, clearly attracted by the shirts’ vividness, their lambent yellows or soiled oranges, as well as their ability to signify – they appear worn, sturdy, industrial, as if they’ve just emerged from under the hood of a car Striking up conversations with the men, he would begin a line of inquiry: could he buy their shirt, or propose a deal, or – the preferred option – exchange his own for theirs? It’s hard to imagine the exchange coming to fruition, and yet the process resulted in de Andrade receiving 120 shirts, hung on poles and assembled in the centre of MCA’s gallery, a crowd of hollow figures   The work unfolds in layers, and my first impression was of a kind of startling political presence, as if 120 working men stood at the centre of MCA Here, it seemed, was a sincere and wishful image of the working class, its labour expressed through the sweat-marks and enlivened into the collective form of a workers’ protest But as I circled the installation, a contradictory possibility soon shadowed my optimistic impression as presence gave way to a more definitive sense of absence Not a popular uprising but shirts without bodies, dead labour rather than labour, adding up not to working-class potency but its waning or disorganisation This feeling was made more potent by the recent election of Jair Bolsonaro,

Contributor

June 2019

FIONA ALISON DUNCAN

Contributor

June 2019

FIONA ALISON DUNCAN is a Canadian-American author and artist. Her debut novel Exquisite Mariposa won the 2020 LAMBDA Literary...

Exquisite Mariposa

Fiction

July 2019

FIONA ALISON DUNCAN

Fiction

July 2019

I broke three contracts in 2016. The first was verbal, a monogamy clause. But he was fucking around too, and I knew, because everybody...

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Art

Issue No. 3

Borism

Lee Rourke

Oliver Griffin

Art

Issue No. 3

ES9 is the latest body of work by Oliver Griffin in his archival series The Evaluation of Space. Taken...

feature

October 2015

War is Easy, Peace is Hard

Alexander Christie-Miller

feature

October 2015

At around midday on 19 July, Koray Türkay boarded a bus in Istanbul and set off for the Syrian...

poetry

July 2012

Poem for the Sightless Man (After Kate Clanchy)

Abigail Nelson

poetry

July 2012

This is just to say,   that the inked glasses that you wear look like the sound of shop...

 

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