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On a planet that’s incessantly heating up, we ourselves have gotten tinder. A lament to the more and more flammable nature of existence, A. L. Steiner’s solo exhibition “Irthebound” continues the artist’s meditation on Earth’s demise by way of pictures, video, and sculpture.
Channeled as a vital supply of inspiration for this present is Françoise d’Eaubonne’s seminal 1974 publication Le féminisme ou la mort (Feminism or Death_, _translated into English in 2022), wherein the creator coined the time period ecofeminism. The creator of a fiery manifesto on par with the likes of Jill Johnston and Valerie Solanas, d’Eaubonne argued that environmental crises are a direct results of the patriarchal previous and current, thus providing the concept of a feminist revolution as the final word answer. Within the gallery, Steiner’s compilations of discovered footage and information documenting ecological disasters are interwoven with scenic images of skies and waters. These are juxtaposed, in flip, with the artist’s signature preparations of snapshots from her on a regular basis life, prominently that includes her queer group: the urged different, or antithesis, to patriarchal buildings.
All of this culminates in To Chnge Evrythng (feminism or dying for Françoise), 2023, a two-channel video set up presenting a nonlinear narrative montage manifesto wherein d’Eaubonne, Eileen Myles, and Sinead O’Connor all make an look to argue for an ecosensual, ecocritical, and ecofeminist world. The exhibition general, nevertheless, just isn’t some utopian promise or remedy for our nihilistic doom-scrolling, for it maintains a strict sense of skepticism as its methodology. In truth, Steiner’s radical ecofeminist observe extends far past the gallery partitions, into the ontological situation of being a queer girl artist and the disaster of language itself. D’Eaubonne famous in her e book that “if phrases proved that the way in which out was not verbal”—quoting French-Tunisian author Albert Memmi—then, in accordance with her, “they’ve already served a sure goal.” Steiner’s exhibition proves that the way in which out isn’t visible, both—artwork, alas, won’t save us. However maybe it could be nicer if all of us burn collectively moderately than alone.
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