https://karileighrosenfeld.com Kari Leigh Rosenfeld Fri, 07 Oct 2022 11:53:01 +0000 https://karileighrosenfeld.com en https://karileighrosenfeld.com/Mr-Peonies Fri, 07 Oct 2022 11:53:01 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/Mr-Peonies “Xeny meets Mr. Peonies” Kari Rosenfeld and Lou Lou Sainsbury Performance (1:00:00) Gasworks, LondonLou Lou Sainsbury’s Earth is a Deadname September 18, 2022 Mr. Peonies and Xeny come from two different cinematic worlds: Xeny, the Xenomorph from Alien, from Sainsbury’s Performance “Xeny”, and Mr. Peonies, a character based off an amalgamation of characters played by Philip Seymour Hoffman from Rosenfeld’s “Mr. Peonies Grief Diary.” They are characters from seperate text performances by Lou Lou Sainsbury and Kari Rosenfeld but in this performance their texts, and therefore themselves are put in the same world. Xeny’s love poem, expressing fantasies of being cracked open and seep seep seepsing through the pores of the one who they desire and Mr. Peonies through his diary as he reflects on green as the color of life, death, and empire dissolution. The performances create a sonic universe where their worlds meet in clashes of cymbals and song. “Mr. Peonies Grief Diary” Performance / Text (15:00) Motto Books, Berlin August 9, 2022 Sick Architecture (by Lauryn Youden) on PlusX, Cashmere Radio, Berlin November 12, 2022Mr. Peonies Grief Diary is the first performance through Rosenfeld’s shadow-drag character “Mr. Peonies.” Mr. Peonies is a middle aged academic man, loosely inspired by Philip Seymour Hoffman, living in New York City documenting his experience of grief in the wake of the death of his brother. Mr. Peonies diary entries tell his story: he goes to alanon, googles the apocolypse, and confronts griefs ultimate banality. *read text here* Documentation of&nbsp; “Xeny Meets Mr. Peonies”: <img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/ab5419c2acd7cdcb3c92c657b748956ffa38cbbc19dc5a7c8f16232aa9240854/descending-notes-39.jpg" data-mid="155150842" border="0" src="https://freight.cargo.site/w/1000/i/ab5419c2acd7cdcb3c92c657b748956ffa38cbbc19dc5a7c8f16232aa9240854/descending-notes-39.jpg" /> <img width="3579" height="2562" width_o="3579" height_o="2562" data-src="https://freight.cargo.site/t/original/i/b2ee6550f9df588140c58af41efacc0c1c5cd635329d822994d7b8cb69edec12/descending-notes-37.jpg" data-mid="155150693" border="0" src="https://freight.cargo.site/w/1000/i/b2ee6550f9df588140c58af41efacc0c1c5cd635329d822994d7b8cb69edec12/descending-notes-37.jpg" /> <img width="2640" height="3960" width_o="2640" height_o="3960" data-src="https://freight.cargo.site/t/original/i/946d98862d16a9b20ea4b858028647b71dc7a0baabf836861aa01fe1dfb962ae/descending-notes-40.jpg" data-mid="155150694" border="0" src="https://freight.cargo.site/w/1000/i/946d98862d16a9b20ea4b858028647b71dc7a0baabf836861aa01fe1dfb962ae/descending-notes-40.jpg" /> <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/264a839772939dd429d833e6b9d873af9326bb6d6a982b440ff42c6670f298f4/OE2A0030.JPG" data-mid="155150818" border="0" src="https://freight.cargo.site/w/1000/i/264a839772939dd429d833e6b9d873af9326bb6d6a982b440ff42c6670f298f4/OE2A0030.JPG" /> <img width="3840" height="5760" width_o="3840" height_o="5760" data-src="https://freight.cargo.site/t/original/i/ed47b38df7f7c309d69017b951ae96c61416bc5ca402d53f61efec57976cacd6/OE2A0050.JPG" data-mid="155150888" border="0" src="https://freight.cargo.site/w/1000/i/ed47b38df7f7c309d69017b951ae96c61416bc5ca402d53f61efec57976cacd6/OE2A0050.JPG" />This was commissioned as a part of Lou Lou Sainsbury's solo exhibition 'Earth is a Deadname' at Gasworks with generous support from the Freelands Foundation. https://karileighrosenfeld.com/Law-of-Desire-1 Sat, 16 Jul 2022 10:39:20 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/Law-of-Desire-1 “Law of Desire is Fascist”Kari Rosenfeld and Lou Lou Sainsbury sound, subtitles (15:50) Gasworks, London, Lou Lou Sainsbury’s “Earth is a Deadname” July 6 -September 17, 2022 Motto Books, Berlin Affect Aliens August 9, 2022 - September 10, 2022 Jo Mariner’s powerful voice takes on kalidiscopes while subtitles follow their jolting rhythm. Part dialogue to oneself, part ramble, part lament, “The Law of Desire is Fascist” complicates gender, desire, and religous narratives in a world of pharmoco-dystopian possibility. An exploration of the history of whippets, a celebration of the potenetials of HRT, and a glimpse inside the body from another world: “Can’t you find another way to eat me? stick your finger into a gaping hole in my ribs—feel warm lung bone, appendix, take your finger out, covered in bile, oil check. Yellowed to the knuckle to believe me. ” “The word ‘form’ is crucial: this work is, at least partly, about how words form us, as trans people whose identities were formed largely by the categorizations of the 20th century medical establishment, but mainly about the aesthetic, social and political possibilities that come with rejecting the forms imposed by outsiders and creating our own...The Law of Desire Is Fascist’s dreams of no longer being ‘trapped in a body’.” - Juliet Jacques, Frieze Magazine <img width="3527" height="2312" width_o="3527" height_o="2312" data-src="https://freight.cargo.site/t/original/i/56d7fe673218a41296eac023a1e9a0bf346aef4b4c9a3cb4df9712a61b848830/Earth-is-a-Deadname_Karidocu-9809-2.jpg" data-mid="152932856" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/56d7fe673218a41296eac023a1e9a0bf346aef4b4c9a3cb4df9712a61b848830/Earth-is-a-Deadname_Karidocu-9809-2.jpg" />&nbsp; This was commissioned as a part of Lou Lou Sainsbury's solo exhibition 'Earth is a Deadname' at Gasworks with generous support from the Freelands Foundation. https://karileighrosenfeld.com/cupcakes Sat, 16 Jul 2022 10:39:15 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/cupcakes “i keep you in my gut i keep you in my throat--are you hungry? i can feel you beating in me i can.” Kari Rosenfeld and Lou Lou Sainsbury wax, epoxy resin, clay, soil, spray paint, gummies, quail eggs, apple core, sugar, tree back, lichen, popcorn, plasticine, make up, jacket, crochet, steel. 3 plates, each 125x109x1cm Lou Lou Sainsbury’s&nbsp;“Earth is a Deadname” Gasworks, London&nbsp; July 6 -September 17, 2022 Affixed to large steel plates, painted by rust after years of sitting, are different entities, made intricately but entirely failing at what they are suppose to be. Gummies are made into brains or celestial earth matter; wax, resin, and dirt make cupcakes sometimes including sugar and eggs, but fully toxic. The piece is an interpretation of the world built through the sound installation “The Law of Desire is Fascist,” where desire cannot be resisted, where it is saturated in ambivalence and addiction, where the body is celebrated, alien, and condemned. “...the support of a substance or a friend is not without doubt or difficulty - as witnessed by i keep you in my gut i keep you in my throat -are you hungry? i can feel you beating in me i can, three steel plates bearing a 'cupcake cosmos' handmade with Kari Rosenfeld. These treats are viscerally sensual, all bubbly resin and fingerprinted plasticine, whilst also being absolutely inedible: several are iced with choice words such as 'mucus', 'burst' or 'pestilence'. In their alternative to pandemic baking, we get a sense of the pair indulging in the ugly feelings that can emerge even around pleasure.” -Francis Whorrall-Campbell, Art Monthly <img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/6b8451e169f2b4c97ad8d51c1439aeea289e94d02fe5ed713c858153952e90d8/gut_wide_05-r.jpg" data-mid="148508954" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/6b8451e169f2b4c97ad8d51c1439aeea289e94d02fe5ed713c858153952e90d8/gut_wide_05-r.jpg" /><img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/49bc8cc8d2f825db763cfda0eb20ea85dbefd26d58bbb117b8677b21e092ec9a/Lou-Lou-Sainsbury_Install-shots_17.jpg" data-mid="148507803" border="0" src="https://freight.cargo.site/w/1000/i/49bc8cc8d2f825db763cfda0eb20ea85dbefd26d58bbb117b8677b21e092ec9a/Lou-Lou-Sainsbury_Install-shots_17.jpg" /><img width="3000" height="2272" width_o="3000" height_o="2272" data-src="https://freight.cargo.site/t/original/i/1db8132dd86a39b808a0818a7ce9edbf744bd4b90e9fd538c56ae314fba4f914/Lou-Lou-Sainsbury_Install-shots_13.jpg" data-mid="148508956" border="0" data-scale="93" src="https://freight.cargo.site/w/1000/i/1db8132dd86a39b808a0818a7ce9edbf744bd4b90e9fd538c56ae314fba4f914/Lou-Lou-Sainsbury_Install-shots_13.jpg" /><img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/8a1888d34a2b0728a9a9c0a08d625d8082732f5b3fecb10461c99c3adba14117/gut_63.jpg" data-mid="148508947" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/8a1888d34a2b0728a9a9c0a08d625d8082732f5b3fecb10461c99c3adba14117/gut_63.jpg" /> <img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/22526d23b4426aaf29e8c4690d8c8a87070b233d88b3356036f5ec39ea1af6c4/gut_65.jpg" data-mid="148508951" border="0" data-scale="53" src="https://freight.cargo.site/w/1000/i/22526d23b4426aaf29e8c4690d8c8a87070b233d88b3356036f5ec39ea1af6c4/gut_65.jpg" /><img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/1de9a83d449864f0f9c6b4fb37d83fdf97157d119a8a415edd8b11a1ddfdeddb/gut_64-r.jpg" data-mid="148508950" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/1de9a83d449864f0f9c6b4fb37d83fdf97157d119a8a415edd8b11a1ddfdeddb/gut_64-r.jpg" /><img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/0993abc3725a95d8ada71c00fa1cdb9edb2ec00272577e4ecb69ca95b85f4ff1/gut_59-r.jpg" data-mid="148508945" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/0993abc3725a95d8ada71c00fa1cdb9edb2ec00272577e4ecb69ca95b85f4ff1/gut_59-r.jpg" /><img width="3000" height="2105" width_o="3000" height_o="2105" data-src="https://freight.cargo.site/t/original/i/cd398eef19ddff89e4910dc8aa883c3a2463053a01a0f51154880cd90d1842db/careful.jpg" data-mid="148508943" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/cd398eef19ddff89e4910dc8aa883c3a2463053a01a0f51154880cd90d1842db/careful.jpg" /> This was commissioned as a part of Lou Lou Sainsbury's solo exhibition 'Earth is a Deadname' at Gasworks with generous support from the Freelands Foundation. https://karileighrosenfeld.com/spiral Sat, 16 Jul 2022 10:39:24 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/spiral “[Nov 30, 2021 at 6:12:27 PM]: just a quick one. whats ya date of birth? im putting u as a witness for my trans form” Portrait of Lou Lou Sainsbury, (Giclee Print on Tyvek, 21x30cm, 2022) Lou Lou Sainsbury’s “Earth is a Deadname”&nbsp; Gasworks, London July 6-September 17, 2022.<img width="3000" height="4001" width_o="3000" height_o="4001" data-src="https://freight.cargo.site/t/original/i/21ea7c3f53e0d9fb016f4f8b8c64ff311e301c27c31030fe5f166b1536091515/Lou-Lou-Sainsbury_Install-shots_arm_reduced.jpg" data-mid="148505224" border="0" data-scale="41" src="https://freight.cargo.site/w/1000/i/21ea7c3f53e0d9fb016f4f8b8c64ff311e301c27c31030fe5f166b1536091515/Lou-Lou-Sainsbury_Install-shots_arm_reduced.jpg" /> <img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/eb04d6985d7564d364e476e42ef5c53bf3623595cb387cb4c123e46a77eda4c2/Earth-is-a-Deadname_Karidocu-9816.jpg" data-mid="152938429" border="0" src="https://freight.cargo.site/w/1000/i/eb04d6985d7564d364e476e42ef5c53bf3623595cb387cb4c123e46a77eda4c2/Earth-is-a-Deadname_Karidocu-9816.jpg" />This was commissioned as a part of Lou Lou Sainsbury's solo exhibition 'Earth is a Deadname' at Gasworks with generous support from the Freelands Foundation. https://karileighrosenfeld.com/Exhaustion Sun, 19 Sep 2021 14:03:25 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/Exhaustion “The Inconvenienced or On the Exhaustion of Other People”Play (19:00) Post Theater, Arnhem, The Netherlands August 24, 2021Dialogue with Batool El Hennawy “Two lights, perhaps stand-ins for bodies, bathed in an intense green wash and mist. Stage lights rotate, shifting position and colours as a conversation plays out via disembodied voices. It’s hard not to read the altering light states as the amorphous nuances of the conversation itself. It’s not clear who the conversation is between. There is talk of resolutions and differences. ‘We’re always a mix of things but we can work through them through commitment to something /&nbsp; And then work through the conflicts / Do you have a way of measuring your desires?’ / I feel like you’re always trying to rationalize our relationship. And I hate it.’ The smoke from the smoke machine becomes metaphorical of thought, or the exhaust fumes of emotional labour. We are eavesdroppers to compelling undecidability, uncertain if the conversation is a recollection, scripted, fragments of other people’s conversations and so on. “If You Like Pina Coladas” plays in the background, bringing an irony and nausea to what we hear, or even variations of what we may have once said ourselves.” -Harun Morrison "We want to feel the inconvenience of other people but only in a certain way. This is what attachment means..." Lauren Berlant, Interview, 2019. "..you are exhausted before birth, before self-realization or realizing anything whatsoever." Gilles Deleuze, The Exhausted,1995."Every evening I died and every evening I was born again." Fight Club, 1999. https://karileighrosenfeld.com/My-Little-Sandman Sun, 19 Sep 2021 14:03:30 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/My-Little-Sandman “My Little Sandman” Film (3:58) Screened as WIP at PAF, St. Erme&nbsp; July 24, 2021 Completed: April 28, 2023 Film Synopsis: Twentieth century Swiss developmental psychologist Jean Piaget determined that an infant reached a pivotal stage of development when they were able to act as if an object (or person) had a permanent existence outside of their perception. The test Piaget constructed to determine if object permanence is reached is conducted as follows: take an object from the child and obscure it, if the child goes looking for it, then the child understands the object’s existence does not hinge on their perception. Piaget relies on two ideas: that of the fully differentiated self, and that of permanence. My Little Sandman questions these premises while using Paiget’s model by suspending it in relationship. What good is object permanence when proximity is what is desired? How can a parent, in this case a cowboy who desires motherhood, relate to a child struggling to understand his own impermanence? In “My Little Sandman,” our protagonist confronts Piaget’s object permanence in the old west. https://karileighrosenfeld.com/Moses-Lives-in-Ramallah Thu, 22 Oct 2020 12:34:54 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/Moses-Lives-in-Ramallah “Moses Lives in Ramallah” Performance (15:00) Motto Books, Berlin DE September 10, 2022 Radio Kootwijk, The Netherlands October 1, 2020 Moses lives in Ramallah is a performance in the tradition of oral story telling. The teller, in a cotton grey sweat with burn holes, sits on a banquet table surrounded by challah and loaves of bread acting as candle holders, and begins to tell the story of an ordinary maybe-prophet. In the story, the narrator accidentally triggers the coming of the Messiah (or second coming of Christ) by stepping too close to the Jordan River and into Jawaal’s* cellular service network&nbsp; (*Jawaal is the Palestian cellular service provider). The narrator confronts their relationship with Lot but after ignoring the advice of Christ, texts Lot and becomes a pillar of salt. G-d the mother gives, takes, and screams at Moses on the mountain of Nebo. Moses fakes his own death so the Jews can enter Canaan but yearns to return to Cairo as he lives out the last of his days in a nursing home in Ramallah. Moses Lives in Ramallah is a performance dealing with idendity, oral tradition, the psychology of love, and the dicotomy of the sacred and the profane. It combines and bends stories of historic Canaan from the Jewish, Muslim and Christian traditions to form a mini-epic that weaves in and out of the ancient holy texts. *READ TEXT HERE* <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0af824599f65eeddf272dd4d0fba1254cf2a8d5afba285681ce12c436a43c160/Canaan.jpg" data-mid="152650762" border="0" src="https://freight.cargo.site/w/1000/i/0af824599f65eeddf272dd4d0fba1254cf2a8d5afba285681ce12c436a43c160/Canaan.jpg" /> https://karileighrosenfeld.com/Why-Do-I-Love-You Thu, 22 Oct 2020 13:20:41 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/Why-Do-I-Love-You Cairo Institute of Liberal Arts and Sciences - Alexandria 2018-2019 “… to begin always anew, to make, to reconstruct, and to not spoil, to refuse to bureaucratize the mind, to understand and to live life as a process — live to become…” -Paulo FreireIn 2013, the Cairo Institute of Liberal Arts and Sciences was founded by scholar Karim Yassim-Goessinger as an autonomous, independent organization that brought together students from different cultural and socioeconomic backgrounds to study various fields of knowledge (mainly arts and culture, humanities, social sciences and natural sciences) in a horizontal, pedagogical set-up highly dependent on discussion-based courses (a method popularized by the Brazilian scholar Paulo Freire). In addition to its year-long study program, CILAS also offers individual thematic courses spanning the four main fields of study, which are open to the public and not restricted to students enrolled in the year-long program.&nbsp;In 2018, myself, Yassim-Goessinger, Batool ElHennawy and Hussain El-Hajj founded CILAS-Alexandria. An offshoot of the original CILAS for the Alexandria community.&nbsp;http://www.ci-las.org/cilas-in-alex-2018-2019.html <img width="3008" height="2000" width_o="3008" height_o="2000" data-src="https://freight.cargo.site/t/original/i/df3b208c14889bd2ae3f409fbfcf4a294630aa90ec4c32d884f901f3ab8c7e7d/cilas-exhibition-jpg-1.JPG" data-mid="164359736" border="0" src="https://freight.cargo.site/w/1000/i/df3b208c14889bd2ae3f409fbfcf4a294630aa90ec4c32d884f901f3ab8c7e7d/cilas-exhibition-jpg-1.JPG" /> Course Example:&nbsp; Why Do I Love You?: The Structures of Beauty&nbsp;*Syllabus* Course Description: "Why do I Love You? (The Structures of Beauty)” is a theoretical course aimed at understanding what gives us the sense that something is beautiful and what this sense has to do with how we understand art. The Enlightenment led to a strict categorization of the beautiful as an autonomous “aesthetic” realm but this severed category was new. This course will look at the development of the “autonomous aesthetic realm” to understand what holds this strict categorization and look at how institutional, neurological, and conceptual structures have contributed to the development of an imaginary realm of autonomous art. We will look at how social, historical, and political context, the development of philosophy, our neurological constitution, and history have affected the way this mysterious sense of beauty moves inside of us. The course will look at the development of the museum and curatorial practices, the big western thinkers on art and beauty, “The Fate of Art” by J. W. Bernstein, the effect of class structures on desire, post-colonial theory, and at what neuroscience has revealed to us about the way the brain understands love and want. We will find ways of communal learning through defining a methodology of collective participation, this could be through rounds of sharing, creating a diagram, exchanging letters to one another, etc. Through the semester we will explore the question: can art show us what is really beautiful? <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2bc8de2c38b51b244c416b6af42a9c4b6af31724315e7f199740ef291d97a4ac/IMG_5569.JPG" data-mid="86382402" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/2bc8de2c38b51b244c416b6af42a9c4b6af31724315e7f199740ef291d97a4ac/IMG_5569.JPG" /> Closing Exhibition, Khalas *pamphlet* <img width="2000" height="3008" width_o="2000" height_o="3008" data-src="https://freight.cargo.site/t/original/i/ceb8f40afe204321bafb4f04fe6dd2ff9482b72939328e5de2bbf82aa6a9807f/cilas-exhibition-jpg-1.jpg" data-mid="164359871" border="0" src="https://freight.cargo.site/w/1000/i/ceb8f40afe204321bafb4f04fe6dd2ff9482b72939328e5de2bbf82aa6a9807f/cilas-exhibition-jpg-1.jpg" /> https://karileighrosenfeld.com/Press-and-Publications Mon, 26 Sep 2022 13:42:05 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/Press-and-Publications Publications, etc. (clickable): WRITING: “History, Vitality, and Glitches, Arts of the Working Class,” April 2023 “Oh! That’s Cute” (invited by&nbsp; Azul DeMonte), Outline Platform, January 2023 (*transcript)“Toward a General Ambivalence About Beauty,” Arts of the Working Class, March 2022ETC: *References, References, References for DAI Radio, April 2021* *Collaboration with Arriving Elsewhere for Mercer Union, Toronto, Summer 2020* *Photos for&nbsp;Arriving Elsewhere workshop as a part of Al Qamar Festival in Frieze* https://karileighrosenfeld.com/About Thu, 07 Sep 2017 15:47:00 +0000 Kari Leigh Rosenfeld https://karileighrosenfeld.com/About ABOUT: Kari Leigh Rosenfeld (b. Houston, TX) is a multi-disciplinary artist based in Berlin, Germany. Kari has degrees in American Studies and Philosophy from the University of Texas at Austin and graduated from Dutch Art Institute Masters of Art Praxis in 2021, was a co-founder and Artist in Residence at the Cairo Institute of Liberal Arts and Science—Alexandria, has had work exhibited at Gasworks, London, Humber Street Gallery, Hull, CLB, Berlin and Motto Books, Berlin, and writing featured in Arts of the Working Class and Outline Platform. E-MAIL: KariLeighRosenfeld@Gmail.com *CLICK HERE CV CLICK HERE* PRESS (clickable): Artforum, Earth is a Deadname, Critics’ Picks, by Dylan Huw, 2022 Frieze Magazine, Lou Lou Sainsbury Dreams of A More Liberated Future, by Juliet Jacques, 2022 Ocula Magazine, Earth is a Deadname Review, by Nguyen Thuy Duong, 2022Art Monthly, Earth is a Deadname, by Frances Whorrall-Campbell, 2022 Mada Masr, Attempting to De-Colonize Pedagogy in CILAS Alexandria by Gian Spina 2019