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Lis Rhodes
In the Kettle





October 19th: Venue: no.w.here: 3rd Floor
£5 /£3 students and no.w.here members.7pm.
£5 /£3 students and no.w.here members.7pm.


Ahead of a major exhibition of her work “Dissonance and Disturbance” (ICA Jan 2012), Lis Rhodes presents In the Kettle (2010) and work in progress Whitehall (2011) alongside Hang on a Minute/ No.8 Bus (1983) made in collaboration with artist Jo Davis. This screening is part of a series of works celebrating no.w.here's new publication of artist writings in Sequence (2) and is a dialogue that will extend to the event on October 20th “Silo Walk”.




Extract from Four Episodes in Space or Out of the Kettle
(Full transcript published in Sequence 2)

she looks at the audience
she listens - she speaks
she looks at the audience - they are moving
they are running - they are being arrested
they are arresting
he shoulders his baton

she looks at her in the kettle - in the kettle she looks out
he is beaten to the ground
in the kettle she looks out - she looks at the audience
evidence inspires intuition that governments lie
the people see symptoms of concealment
the illegality of which they know
it is known
that illegal actions can control the production of flour



Note on excerpt from ‘Whitehall’

This excerpt if from a digital mural. The mural does not exist without figures with the contours of intention, It has no dimension and is without duration. The mural does not exist on a plane in reality - as murals usefully do - but on the grounds of resistance to inequality.

the images step aside in many times and places. None are imaginary - none invented. The only fiction is in the perspective. Reality is in the dialectic. The mural moves through contradiction. Why is Parliament protected from us by armed police? Why do we pay for armed police to protect Parliament from us? This is the choreography of control which ends up in the archives of surveillance.

The mural is not what is seen but what is seen through.



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