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Curating Contemporary Art (MA)

Isabelle Lily Cain

Between the Deep Blue is an invitation to question how we can transform past traumatic histories into new ways of living and healing through a series of ocean-linked workshops and events held in an immersive space. 

“Listen to the water singing the traumas it has been carrying for centuries, to the disappeared stories dragged into the darkness of the ocean. Listen to the forgotten voices and remember their pain.Remember the ones who used to be in this blue immensity.”

Carefully, try to catch the breath of the extinct silent mammal, the sea cow, rebirthing next door through Juha Pekka Matias Laakkonen’s replica of its skeleton. Activating the sea cow as a symbol of the ocean’s witnessing of traumatic experiences, Between the Deep Blue wishes to commune with the wounds of the triangular trade and its present legacies by linking Laakkonen's works to Alexis Pauline Gumbs’ text Undrowned (2020). Honouring the story of the mammal, Gumbs reveals how it was hunted until extinction within 27 years of its discovery as collateral from the colonisation of North America and the hunger for fur and blubber. 

"What can I do to honour you, now that it is too late?I would honour you with the roughness of my skin, the thickness of my boundaries, the warmth of my own fat. I would honour you with my quiet and my breathing, my listening further and further out and in. I would honour you with the slowness of my movement, contemplative and graceful.”

The space is created in collaboration with North Carolina based artist Ambrose Rhapsody Murray and Slovenian sound artist Robertina Šebjanič.

Murray’s textile presented in the room is a new commission engaging with Gumb’s text and exploring migratory flows of people journeying through the seas and its ecological and historical impacts. Šebjanič’s sound piece enters into dialogue with Ambrose's aquatic works to amplify the feeling of immersion into water. Atlantic Tales (2020) is a musical composition sung in traditional Irish sean-nós style, addressing human and non-human oceanic migratory journeys in the age of the Anthropocene. In this multi-sensorial space, invite your body to rest and experience beyond the gaze, allowing senses to wash over you. Navigate in the themes addressed by Between the Deep Blue through the available books and texts. 

Through a series of workshops and events, the space becomes an invitation to actively dive into layered stories. An artist talk between Ambrose and Alexis, a meditation evening held by artist Laetisha Davine Lovelace-Hanson, the screening of Ella Frost, Soha Salem and Aisha Mirza’s film What you love too much to lose (2021) and workshop about more-than-human storytelling, and a plant-based photography development workshop offered by Kathryn Attrill, transform the space, providing tools to heal from past traumas and find new ways of living.

Isabelle Cain is interested in curating space for physical and digital encounters that generate embodied experiences. Fusing olfactory, sound and haptic encounters, she believes we can challenge the meaning of space so that a full understanding of our bodies within that space, and with art, can be explored. Currently Isabelle questions how we can move away from the white cube exhibition aesthetic and connect with space on a more personal and corporeal level.

Recent curatorial examples of galleries and exhibitions that explore this way of thinking are; the Design Museums current Weird Sensation Feels Good: The World of ASMR (13th May – 16th October 2022), which dares visitors to step out from behind their screen and experience digital art that awakens the senses in a shared space; Artist Anick Yi, whose work, such as her Hyundai Commission for Tate’s Turbine Hall (October 2021), relies on digital technologies, yet has a physical presence in space and plays with sensory stimulation through machines.

Isabelle’s curatorial rational stems from the writing of Michael Foucault who examines bodily movement in space and the concept of public surveillance and self-surveillance. This is conceptualised in Bruce Nauman’s piece Going Around the Corner with Live and Taped Monitors (1970). The installation scrutinises pre-emptive surveillance, where people know they are being watched and regulate their behaviour. Further influence is from Paul Preciado’s writing. Preciado looks at how human interventions have affected the body. Most recently Preciado examined the effect coronavirus had on society and how we have become digital tele-produces learning to work from the confines of home. Rooted in the wider significance of the last couple of years, Isabelle believes the pandemics acceleration of the already rapid growth of digital technologies, and the enforced isolation, reiterates the importance of our own physicality and sensory stimulation within the physical sphere.