[1] See Mark Fisher, The Weird and the Eerie (London: Repeater Books, 2017), 53–59. Share on Facebook; Share on Twitter by.

Dec 29, 2019 - Charlie Fox My Head is a Haunted House Karma, New York, 2019 264 pages 6 1⁄2 × 9 1⁄4 inches Edition of 800 An interview with Urs Fischer about his new show “The Kiss” at... Tomoo Gokita “PEEKABOO” exhibition opening and after party at Tokyo Opera City... See Yasmine Eslami’s new S/S 2018 swimwear campaign, BIRKENSTOCK BOX x Rick Owens Launch Party at Rick Owens, Los Angeles, BEST OF THE SEASON F/W 20/21, Paris by Olivier Zahm, Laila Gohar for Purple #34 the LOVE Issue, Purple TV PRESENTS: “Couzin” by Regina Demina, Anna Dubosc’s New Book “Bruit Dedans” Is Out Now, Somaya Critchlow for Purple #34 the LOVE Issue, Purple LOVE Luncheon with Dover Street Market, LA, Purple TV PRESENTS: “Couzin” by Regina Demina But in contrast to David Lynch’s tricks, there are no velvet curtains bordering an outside;1 there is no alternative to rambling through the rooms suffused in green and pink lights and joining the mad tea parties thrown by the resident ghosts and ghouls. (212) 390-8290

Karma, New York, 2016, Alex Da Corte

Recommended reading if you, like me, sometimes need an extra hit of oxygen, his incantatory prose convenes troublemakers Diane Arbus, Leigh Bowery, Claude Cahun, Larry Clark, and Rainer Werner Fassbinder, among others, and turns his “I” into their many eyes. My Head Is a Haunted House, then, enacts the Freudian aesthetics of the “unhomely” (unheimlich) as an emancipatory practice of estrangement from an interior, the mind as much as the body, which is a haunt for and is haunted by desubstantialized ontologies. Fox does not miss addressing the often pathetic psychopathological landscape related to toxic anxieties by excavating the wunderkammer of traumas produced by gothic literature, horror movies, and popular culture. See Jack Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters (Durham, NC: Duke University Press, 1995), 86–106. Cornered, it cries over Stefan Tcherepnin’s Crash Survivor (2018), a red version of Cookie Monster, here corpse-like, annihilated on the floor, and perhaps liberated from their fate of insatiable hunger. Such cross-dressing blossoms in the works of the twenty-seven artists featured in the two shows, which explore feelings related to not only the brittleness of identities and bodies, the unspeakable slippages of gender and sexuality, and traumatic histories, but also to the power of storytelling. Among them is Charlie Fox, the orchestrator of this group show at Sadie Coles HQ and of Dracula’s Wedding at Rodeo, both in London. Find a perfect house and outfit to match in this fashion video from the Gossip Issue IN THE BUBBLE : “The sphere is the interior, disclosed, shared realm inhabited …

For example, Bram Stoker conjured Dracula’s body with fragments of racism, patriarchy, compulsory heterosexuality, classism, and nationalism. Karma, New York, 2019, Bookstore ‘My Head is a Haunted House’ Curated by Charlie Fox. Edition of 800, C-A-T Spells Murder At the same time, they de-monstrate that monsters per se are not the antidote to horrors, means of oppression, or retention of privileges.4 Rather, it is only when their logic of the undone is critically performed that destinies become reversible. Alex Da Corte’s video Slow Graffiti  (2017) retakes Jørgen Leth’s The Perfect Human (1967) but substitutes for the actors—a man and a woman—Boris Karloff and his interpretation of Mary Shelley’s creature in Frankenstein(1931). Edited By Alex Da Corte and Sam McKinniss (212) 390-8290 And in such wayward misbehavior, we haunt back. until 14 August 2019, Krištof Kintera “THE END OF FUN!” at Ikon Gallery, Birmingham, The Texture of Susanne Paesler’s Paintings, Rhythmic Repetition and Hybridized Memories: Sol Calero and Zora Mann at Villa Arson, Nice, How to Deal With Dystopia: “The Missing Planet” at Pecci Centre, Prato, , then, enacts the Freudian aesthetics of the “unhomely” (, Other works expose the body in its fragilities, leaks, horrors, and desires, including Cameron Jamie’s neat composition of formless spillages of urine photographed on the streets of Paris and printed on blue paper (, Fox does not miss addressing the often pathetic psychopathological landscape related to toxic anxieties by excavating the, Rodeo’s windows have been covered with a blood-red film that makes the objects less detectable to the camera of my phone; contours are hazy, and time is out of joint. Marianna Simnett operates an imposing, crude sex scene between a stuffed swan dressed in a silk and tulle emerald gown and a hyena in a laced blue velvet garment, which alludes to Leda’s myth and possibly to the double moral standards related to rape and queerness (Hyena and Swan in the Midst of Sexual Congress, 2019). Charlie Fox, author of the spellbinding collection of essays This Young Monster (2017), has created an exhibition that — with its (evil) twin presentation at Rodeo — offers a complex exploration into deviant identities, unconventional bodies, and historic trauma. “My Head is a Haunted House” at Sadie Coles HQ, London, 2019 Cookies We use cookies to make it easier for you to browse our website.

Fringing the affections and desires of fandom,3 these deliriously excellent shows engage with visible and invisible monstrosities from different moments in (art) history and speculatively reanimate them. 10 Aug 2019. Photo: Robert Glowacki, Matt Copson, Death, Again, 2019, “My Head is a Haunted House” at Sadie Coles HQ, London, 2019 Shelter, New York, 1993). Sam McKinniss, Lydia Discovers Hell, 2015, in the group show My Head is a Haunted House curated by Charlie Fox, now at Sadie Coles HQ Kingly Street @wkndpartyupdate @ghostwoodfox #winonaforever #myheadisahauntedhouse #lydia 188 East 2nd Street

... Finding Sex, Love and Famalay with Alvaro Barrington at Sadie Coles. © Alex Da Corte. Charlie Fox My Head is a Haunted House Karma, New York, 2019 264 pages 6 1 1 My Head Is a Haunted House runs at London’s Sadie Coles HQ, June 4 – August 17, and Dracula’s Wedding runs at Rodeo Gallery, London, June 4 – August 3. shop@karmakarma.org, Gallery John Waters’s John Jr. (2009) retro-inters the present into the past by adding his iconic moustache—a drawn prosthetic—to the reframed print of a tender portrait of him as a child commissioned by his parents. My Head Is a Haunted Houseat Sadie Coles HQ, London [4] For example, Bram Stoker conjured Dracula’s body with fragments of racism, patriarchy, compulsory heterosexuality, classism, and nationalism. Urs Fischer “soft” exhibition at Sadie Coles HQ, London, Borna Sammak’s “Water For Dogs” Exhibition at Sadie Coles HQ, London. Alex Bag’s series Twelve Spells (1999–2012) expands upon these concerns and shows the “obvious” correspondence between astrological sign and favorite drug, commenting on the psychological dependency on prescribed identities. Karma, New York, 2018, Alex Da Corte Photo: Robert Glowacki, “Dracula's Wedding” at Rodeo, London, 2019 United Kingdom. Courtesy: Sadie Coles HQ, London. Marigolds If you continue to use this site we will assume that you are happy with it. © Mike Kelley. [3] See Catherine Grant, “Fans of Feminism: Re-writing Histories of Second-Wave Feminism in Contemporary Art,” Oxford Art Journal 34, no. New York, NY 10009 My Head is a Haunted House Similarly dug up from collective and personal memories, Matt Copson’s Untitled (2019) is a macabre baby crib mobile made of resin bones, while Karen Kilimnik’s approaching night, the edge of the forest (2013) is a romantic and spooky painting of a luring and unsettling threshold: What is beyond there? 5 Jun 2019. Rodeo’s windows have been covered with a blood-red film that makes the objects less detectable to the camera of my phone; contours are hazy, and time is out of joint. 62 Kingly Street. © The artists.

Go to website. 6 1⁄2 × 9 1⁄4 inches Photo: Lewis Ronald, Alex Da Corte, Daggering, 2011, “Dracula's Wedding” at Rodeo, London, 2019 Photo: Lewis Ronald, Takeshi Murata, Candlestick, 2017, “Dracula's Wedding” at Rodeo, London, 2019

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