SLIDE LINE

... …. The main focus of her work focuses on the unsolvable tension between the environment and its phenomenological inscription. The artists gives visibility to something that could be named the hidden traffic of metaphor. The French psychoanalyst Jacques Lacan introduced the neologism “extimacy” (extimité) that seems to correspond exactly to the intentions of the artist. This term configures something that consists and insists neither inside nor outside. In fact the extimacy is not the contrary of intimacy but it says that the intimate is Other-like a foreign body, a parasite. That’s precisely what these celibate devices staged by Falconer try to point out.

The topic chosen by the artist is the window, and precisely the window-hymen of Konstantin Melnikov’ house in Moscow. Melnikov has been one of the most influent architects of the avant-garde movement in Russia. His famous house presents two cylindrical structures and one of these cylinder is somehow riddled by lots of hexagonal windows. These windows are very close to each other and the single patterns of their structures are all different. From this starting point the artist develops a strategy aimed to display the synaesthetic imbrications of light filtering from the outside and consequently how the inside is affected by this allogenic dissemination. The Side-lines video reenacts this process in the studio of the artist where she filmed the reverberation of light haunting down both the inner objects ( parts of her past projects or even ad-hoc assemblages) and the environment outside, creating an indiscernible extimacy in which every scopic coincidence collapses and collides restlessly. All the installations presented here seems to be intruded by this phenomenological impasse that literally displaces and drives the perceiveness in the blind spot of its inexausted dromoscopy.

Living fossils of an unknown geometry (Slight tilt towards…facing) that keeps on excreting its antibodies, its lost metaphor in an anachronistic cadence that from now on it will show nothing but the sight, only the sight, only its virtual inscription. Living fossils of a ‘dead language’ that release the hypostasis of a nameless idiom in which the signifier experiences the perpetual undertow of its self-expropriation. The whole space of the gallery becomes a huge chamber of incubation, the eye becomes deeply haptic, penetrating and withdrawing in the vicious circle of an a-subjective fold of indistinction; a temporalization of space and a spazialization of time that articulate the impersonal horizons that in all directions outrun the body-as-perceiver.

Alessandro Sarri

Untitled, silver gelatin print, wood, formica and glass frame, 2010

Untitled, photocopies on acetate, video projector, 2010

Untitled, silver gelatin print, wood, formica and glass frame, 2010