C. Bain
C. Bain
C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Performance
C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Performance
C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Performance
C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Performance
C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Performance
C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Cardboard, duct tape; Dimensions variable; Photography by Evan Walsh
C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022; Cardboard, duct tape; Dimensions variable; Photography by Evan Walsh
C. Bain; An Informal History of the Atlas of Topographical and Applied Human Anatomy and Its Precedents, 2022
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AN INFORMAL HISTORY OF THE ATLAS OF TOPOGRAPHICAL AND APPLIED HUMAN ANATOMY AND ITS PRECEDENTS
On the other side of time there are men who are making a map of you. They’ve been at it forever and they are sure they will eventually finish; the whole interiority knowable, exposed, transformed into surface. The technology is making the men obsolete. It is doing their work for them. The work is a story which is driven by a certain amount of factual information.
The men have names and faces and in the performance, they are named, faced. They are in their way humanists, invested in humanism.
When it isn’t activated, it is garbage. When it is garbage in a gallery, it is an installation. If there is an empty space, power will reconstruct itself, build itself out of the detritus of what resisted it. Cardboard, mostly. The rest of what’s there is secret, the rest of what’s there is not intended to be seen; to see it you would have to want to look at it, and why would you look at something that was essentially a prop for a performance that’s concluded. The work is remains, is what remains.
BIO
C. Bain is a gender liminal writer, performer, and artist. He was a poet first, and continues to run towards and away from language as his overriding structure. For Tense Renderings as elsewhere, he is focused on the way that the body’s subjection to “knowledge” is both a seduction-compulsion and a fatal practice.
De-normalizing language could perhaps indicate a way to interrupt the codifying, carceral propensities of the body itself—liberation to annihilation, a cyclic dyad: HSV, joint dislocation of left lower extremity, impingement on left rotator cuff, malarial parasites may persist in the blood but it’s unlikely, it has been several years. Skin forming nodules at the self-injury site. Non-current illnesses and their presiding sequelae, HPV, generally being formed as a subject through refusal.
C. Bain has a mental health focused MSW from Hunter College, and an Art MFA from CalArts.
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