In the second chapter of his book Symbolic Logic (1892), C.L Dodgson, whose everlasting name is Lewis Carroll, wrote that the universe consists of things which can be ordered by classes and that one of these is the class of the impossible. He gave as an example the class of things which weigh more than a ton and that a boy is able to levitate. If they don’t exist, if they were not part of our happiness, we would say that the books of Alice [Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass, and What Alice Found There (1871)] correspond to this category. In effect, how to conceive a work that is not less delightful and inviting than The Arabian Nights and that is likewise a plot of paradoxes of logical and metaphysical order? Alice dreams of the Red King, who is dreaming of her, and someone warns her that if the King awakens, she will go out like a candle, because she is no more than a dream of the King that she is dreaming. In regard to this reciprocal dream that well could have no end, Martin Gardner recalls a certain fat woman, who painted a thin female painter, who painted a fat female painter that painted a thin female painter, and so on to infinity.
The layers of meaning embedded in representations of the human form and the complex relationship between the dialectics of the viewer and the object are at the core of the works in a Secret Affair: Selections from the Fuhrman Family Collection. The exhibition takes its name from Secret Affair (Gold), 2007, a stainless-steel sculpture by the Scottish artist Jim Lambie comprising the outline of an oversized keyhole placed incongruously in the landscape on the grounds of Laguna Gloria. In this work, a simple framing device becomes an Alice in Wonderland portal to a secret garden, an irresistible invitation to what lies beyond and a metaphor for the infinite possibilities that exist between the corporeal and the abstract.
Text Citation: Top: An excerpt from Jorge Luis Borges’s preface to the Spanish translation of the works of Lewis Carroll’s (Charles Lutwidge Dodgson) published in 1976. For more, click here. Bottom: An excerpt from “The Subversive Body,” an essay by Heather Pesanti, included in the catalogue accompanying the exhibition A Secret Affair: Selections from the Fuhrman Family Collection, on view at The Contemporary Austin from May 3 – August 24, 2014. For more information, click here.
Image Credits: Left: Installation view of Jim Lambie’s Secret Affair, 2008, at the Royal Botanic Garden Edinburgh, Scotland. Right: Installation view of Jim Lambie’s Secret Affair (in the trees), 2007, part of the exhibition Reconstruction #2, Sudeley Castle, Cheltenham, United Kingdom.
Where’s lover boy? Oh, I see. You’re gonna help him, right? Well, that’s sweet. You know, it´s too bad you couldn’t help your little friend. That little girl. What was her name again? Rue? Well, we killed her and now we’re gonna kill you.
So, I was over at my friends house and we were watching The Hunger Games. You know the scene where Rue takes Cato’s sword? Well I was looking at the weapon Rue had in her hand, and it looked nothing like a sword. To me, it looked a lot like one of Clove’s knives. I mean come on, look how short the handle and blade are. I think that’s why they showed Clove with like a little smirk on her face. Maybe Cato promised her that he’ll get back her knife. I don’t know, maybe I’m just over-thinking things. But this Clato moment was too cute to overlook(: