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Rose McLaren

Rose McLaren is an artist in London.



Articles Available Online


Talk Into My Bullet Hole

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July 2015

Rose McLaren

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July 2015

‘Someday people are going to read about you in a story or a poem. Will you describe yourself for those people?’ ‘Oh, I don’t...

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May 2014

Art Does Not Know a Beyond: On Karl Ove Knausgaard

Rose McLaren

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May 2014

Karl Ove Knausgaard’s My Struggle has an oddly medieval form: a cycle, composed of six auto-biographical books about the...

In 1977, a group of mothers began to meet on Thursday afternoons in Plaza de Mayo, the site of the presidential palace in Buenos Aires, to protest the growing numbers of the ‘disappeared’: thousands of individuals who were being abducted and murdered by the military government in Argentina Risking arrest or even death (three of the group’s original leaders were kidnapped and drowned), the women walked and chanted, carrying photographs of the missing children, with their names inscribed on their white headscarves, a symbolic reference to the white dove of peace Their meetings continue to this day   Making Love Revolutionary, the title of Anna Maria Maiolino’s survey exhibition at London’s Whitechapel Gallery — her first major exhibition in the UK, with over 150 works on show — is a reference to the non-violent demonstrations led by the ‘Mothers of Plaza de Mayo’, who she encountered while living between Argentina and Brazil in the 1980s The phrase itself is taken from the final sentence of an unrealized installation project Maiolino began in 1991, in response to the mothers’ collective political challenge The title is a recognition of their maternal love as a potent language in the discourse of resistance against violence Throughout her practice, Maiolino turns to fragments, images, signs, and phrases drawn from her proximity to loaded histories — elements she endeavours to make cohesive through poetic contiguity rather than linear narratives   Born in Southern Italy in 1942, Maiolino emigrated with her family to Venezuela aged 12, in order to escape the economic hardship and food shortages caused by WW2, before finally settling in Rio de Janeiro, Brazil in 1960, aged 18 Her experiences of cultural displacement and marginalisation are evident in her explorations of daily existence, domesticity, and bodily cycles In one of the earliest works in the show, the graphic woodcut print Glu Glu Glu (1967), a figure is sat at a laden kitchen table, their mouth gaping open The scene is paired with an image of a toilet, a doubling that functions as a diagram depicting the preparation, consumption, and expulsion of food, a physiological motif that Maiolino

Contributor

August 2014

Rose McLaren

Contributor

August 2014

Rose McLaren is an artist in London.

The Prosaic Sublime of Béla Tarr

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Issue No. 6

Rose McLaren

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Issue No. 6

I have to recognise it’s cosmical; the shit is cosmical. It’s not just social, it’s not just ontological, it’s really huge. And that’s why we...
Stalker, Writer or Professor? Geoff Dyer's Zona and Genre

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February 2012

Rose McLaren

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February 2012

‘So what kind of a writer am I, reduced to writing a summary of a film?’ wonders Geoff Dyer half way through Zona. Such...

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poetry

July 2015

About Blue: Velestovo

Tatiana Daniliyants

TR. Katherine E. Young

poetry

July 2015

About Blue: Velestovo   1   …when I say the name: Velestovo, I think of deep blue. Of blue...

fiction

July 2013

univers, univers

Régis Jauffret

TR. Jeffrey Zuckerman

fiction

July 2013

I. You remember your childhood. Your tow-headed, reddish-tinged mother, who yelled after you all day like a Paraguayan peasant...

fiction

May 2016

See Inside for Holiday Special

Joanna Quinn

fiction

May 2016

We are not tourists. We are journalists. We fly out from Heathrow, Bristol, Glasgow and Newcastle to foreign airports...

 

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