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Catherine Opie
Walls, Windows and Blood
19 September - 2 december 2023
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Thomas Dane Gallery, Naples is honoured to premiere Catherine Opie’s Walls, Windows and Blood, a new body of work initiated during the artist’s American Academy in Rome Residency in summer 2021. ‘The idea of City’ was the theme of the Residency invitation and Opie conceived her research on the form, history and architecture of the Vatican City. Fascinated by the idea of this city within a city, with its own rule of law, Opie sought to explore the politics of this place, taking an unflinching look at the architecture of power and how we might make sense of Catholicism, its structures, reach and impact in an age when the ideologies and legacies of Colonialism are being questioned.In this way Walls, Windows and Blood is a continuation of ideas explored in recent bodies of work such as The Modernist (2017), Rhetorical Landscapes (2019) and most recently 2020, a series in which the artist documented an unprecedented year of demonstrations against police brutality and monument iconoclasm on a road trip through North America. In these series, and here again, Opie focuses her eye on the politics of place and its relationship to identity, questioning what is held within these symbols and places of power, and our personal and collective responsibilities in relation to accepted geopolitical structures.
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Blood grid #1, 2023
12 pigment prints
27.9 x 41.9 cm. each
11 x 16 1/2 in.edition of 5 + 2AP
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These architectural corners are echoed in the design of the marble plinths, whose own architectural properties switch orientation in dialogue with the subject. These plinths are both a nod to the rich grandeur of Rome and the Vatican City, and at the same time are reminiscent of an art ‘block’ used to temporarily lean an artwork during installation, or a plinth used to present and protect an object. Here in Opie’s work, they intentionally de-stabilise, creating a sense of vulnerability and a precariousness. Where Opie has asked us previously in 2020 to question what a monument is and our relationship to history, and how society preserves, supports and maintains systems of power through these sites and symbols, here she asks us to question the power symbolised by these architectural structures, and perhaps suggests their foundations might not be as stable as they present.
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Blood grid #2, 2023
12 pigment prints
27.9 x 41.9 cm. each
11 x 16 1/2 in.edition of 5 + 2AP
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Blood grid #3, 202312 pigment prints27.9 x 41.9 cm. each
11 x 16 1/2 in.edition of 5 + 2 APFor the Blood grid works, Opie photographed every single representation of blood and bloody wounds depicted in paintings and tapestries in the collection of the Vatican Museum, capturing these with meticulous close framing in situ. If we consider the Walls and Windows the body of the Vatican, then the Blood grids are its life blood, and make visible the violent histories embedded within the Church. Opie has worked with blood as subject and medium since the early 90s, with works such as Self-Portrait / Cutting (1993) and Pervert (1994) borne out of the context of the AIDS epidemic. The Blood grids explore the grand narratives running through the power structures of the Church as communicated in its art, and ask how we can begin to find a new way of re-telling these stories that forever proceed us. The framed images are presented in a modernist grid as her own taxonomy, but an adaptable and ever moving one. Arranged in aesthetic choices by Opie, hands and feet guide the eye through the grid; every once in a while a detail is repeated, but closer up. Each component part is purposefully separate rather than a composite print: anybody could choose a different system, a different story, if they want to.
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The exhibition ends with No Apology (June 5, 2021), an image of Pope Francis on his papal balcony addressing the Sunday congregation. On this day the Church first acknowledged – but did not apologise for – the bodies of Indigenous children found in unmarked graves in Canada, who died in the abusive care of Church-run, government- funded residential schools whose aim was to assimilate children into Euro-Christian society. Sharing this gallery space, which is almost like a confessional, the work faces Blood grid #4. The following year in 2022, on a papal visit to Canada, Pope Francis made a formal apology to the Indigenous peoples of Canada for the Church’s role in running these torturous institutions – part of a dogmatic European expansionist regime to spread Christianity – and the devastating effect it had on generations of Indigenous peoples.
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Blood grid #4, 2023
12 pigment prints
27.9 x 41.9 cm. each
11 x 16 1/2 in.edition of 5 + 2 AP
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For exhibition and sales enquiries please contact: Federica Sheehan: federica@thomasdanegallery.com
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