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Annals of Roentgenology · Vol · XXII

Drawing the Flight of the Arrow through its Psychosomatic Molting from Indicator to Instigator

A Tragic Comedy in Two Acts:  Peptic Ulcers to Cranial Injuries

A project by David Colosi, 2007
Presented by Galerie Catherine Bastide

 

Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi

February 16 - March 31
opening reception February 15, 7-9 p.m.
performance 7.30 p.m.

GALERIE CATHERINE BASTIDE
62 Chaussee de Forest / Vorstsesteenweg 62
1060 Saint-Gilles - Brussels - Belgium
Tel: + 32 (0) 2 646 29 71
email: info@catherinebastide.com

FOR IMMEDIATE RELEASE: FEBRUARY 2007

Like most of David Colosi’s analytic and/or narrative projects, his new installation at Galerie Catherine Bastide begins with a found object.  Over ten years ago, he found a signed copy of Dr. Jacob Buckstein’s Annals of Roentgenology, Vol. X:  Peptic Ulcers in the trash, and he has been obsessed ever since with the x-ray images contained within.  His interest is not in the ulcers, but in the arrows that indicate them.  Lay people looking at an x-ray, although they do not know what it means, at least know that it is telling them something important, and in many cases their lives depend on the information.  Without medical knowledge of the internal body, most people cannot read an x-ray without the interpretation of a doctor.  If there is a textual interpretation it is often in an esoteric medical language that is just as inaccessible.

By drawing these x-rays out of context and drawing attention to the arrow and its semiotic nature, Colosi’s installation as a whole takes on some similar qualities.  Sculptural arrows become signs at rest or in wait just as traffic signs would appear in a junkyard or store.  Pointing at once to their past context and/or to their future function, the present arrows stand alone.  Yet by its construction an arrow always forces one to turn towards that which it points at.  Its physical make-up makes it invisible by deflecting its presence.  Both Colosi’s title and the installation, like an arrow, indicate evidence of a past performance while anticipating a book to come.  The installation becomes a thick present that points to evidence of an inaccessible past and future but insists on an interpretation of only what is physically present.

On opening night, an intimate audience will be invited to participate in the final stage of the creative process.  Min Tanaka once described Tatsumi Hijikata’s performing body as “a weapon, like a knife…He was always attacking the audience.”   While Colosi’s body will be an arrow, the attacks will go both ways.  Rotten tomatoes will be provided, but viewers are strongly encouraged to bring their own.  Mixing inspiration from Ankoku Butoh, Peter Greenaway’s film The Belly of an Architect, Bruce Robinson’s film How to Get Ahead in Advertising, and vaudeville audience criticism, the black box gallery becomes both a stage of “utter darkness” and the inside of an x-ray of a stomach.  The ulcer x-ray drawings line the upper walls of the gallery.  The stage/stomach/gallery comes alive with tomatoes, ketchup, flour, and “wounds” as a personified arrow enters in the grips of an identity crisis.  Dreaming to no longer point at This, That, and the Other, the frustrated arrow attempts to point at himself.  Recognizing his invisibility as an indicator and envious of the physicality of the archer’s arrow, he dreams of his own flight into physical Being.  Ironically, inadvertently, or the product of wish fulfillment, at the moment he is swallowed in the stomach he achieves his goal.  The foreign object becomes the cause of the ulcer, and, by association, requires another indicator arrow to identify it.  Upon this realization, the arrow molts and metamorphoses.  His skin is left behind, and he ascends the stairs (the gallery’s esophagus) and becomes digested into the head.  The upper gallery is a clean “exhibition ready” space showing objects and drawings of x-rays of individuals who have had foreign objects shot into and through their heads.  Following the performance, the space will remain “as-is” to constitute the final installation.

Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi
Annals of Roentgenology Vol. XXII, Galerie Catherine Bastide, David Colosi

 

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Performance Program

 

I.  This, That, and the Other Thing:  Arrow on the Job

Titine
Composed by:  Bertal
Arranged and Conducted by:  Michel Villard
From the Compilation:  Les Musiques Des Films De Charlie Chaplin
(Blue Moon, Nov. 16, 2004)
From the motion picture Modern Times Charlie Chaplin

Intertitles 1-3:  David Colosi

II.  The Diatribe of the Diagram:  Arrow’s Plight

I Am…I Said
Written by: Neil Diamond, 1971 Prophet Music, Inc. (ASCAP)
From the Compilation:  The Neil Diamond Collection, November 23, 1999, MCA

Intertitles 4-6:  David Colosi

III.  What It’s Like on the Other Side (of the Tomato)

I Wanna Be Free
Composed by: Marc Anthony, Dan Shea, Kara DioGuardi
Performed by:  Marc Anthony
From the CD:  Mended, Columbia/Sony Records, May 21, 2002

IV.  Admiration for the Archer:  Drawing the bow

Fly Away
Produced, Composed, and Performed by:  Lenny Kravitz, Virgin Records, 1998
From the CD:  Lenny Kravitz Greatest Hits, October 24, 2000, Virgin Records, US.

V.  On Being: Arrow flies
(Dasein Goes Insane:  Reversing Throwness)

Theme From Attack of the Killer Tomatoes
Composed by:  John De Bello
(from the Four Square Production motion picture Attack of the Killer Tomatoes, 1977)
Performed by: The Cincinnati Pops Orchestra with Michael Bishop
Conducted by:  Erich Kunzel
From the Compilation:  Scary Music, Telarc, September 24, 2002

Intertitles 7-8:
Robinson, Bruce, Dir.  How to Get a Head in Advertising.  Handmade Films Partnership, (Distribution: MGM Home Entertainment) 1989: DVD Chapter 10.
 (Spoken by the Boil)

VI:  Oh, Molting Me

I Am…I Said
Written by: Neil Diamond, 1971 Prophet Music, Inc. (ASCAP)
Arranged and Performed by:  Killdozer
(Dan Hobson: drums; Bill Hobson: guitar; Michael Gerald: guitar, vocals)
From the CD: Twelve Point Buck/Little Baby Buntin’, 1989
Touch And Go Records, P.O. Box 25520, Chicago, IL 60625

VII.  The Ricochet: Adding injury to Ulcer
(The Hijikata-Kata Shake)

Guitar Solo 5
From the CD:  Neil Young - Dead Man
(from Dead Man, a film by Jim Jarmusch, 1996)
Composed and Performed by:  Neil Young
Produced by:  Neil Young & John Hanlon
Recorded and Mixed by:  John Hanlon
Published by:  Silver Fiddle Music ASCAP
Vapor Records, 1996
Distributed by: Reprise Records, a Time Warner Company

Intertitles 9-11:
Calvino, Italo.  T-Zero.  Trans. William Weaver, New York:  Harcourt Brace Jovanovich Inc. (First Harbrace Paperbound Library Edition), 1969:  p. 95.

VIII.  Hitting the Target:  Metamorphosis or Wishful Success?

Wishing (Will Make it So)
The Glenn Miller Orchestra
From the CD:  The Essential Glenn Miller
(From the RKO motion picture Love Affair)
(Buddy DeSlyva)
Chappell & Co., Inc./Warner Bros. Music (ASCAP)
Vocal by Ray Eberle,
Recorded 4/10/39

Stomach X-ray drawings adapted from: 
Buckstein, Jacob.  Annals of Roentgenology, Vol. X : Peptic Ulcers, Paul Hoeber, Inc. New York, 1930.

Head X-Ray drawings and objects adapted from images culled from the internet
with great respect for the following survivors:
Ronald Hunt, Wayne Gail Creek, Buck No. 9 (Clark County Deer Project), Patrick Lawler, unnamed 23-month-old boy (Brixton bomb blast victim); Alice (The Wonder Dog); Isidro Mejia; Travis Bogumill, and Jed Bryant.

Film Production
Chab Boekmans

Still and moving image contributions by Isabelle Arthulf, Fabien Defendini, Gerard El. G, Vincent Everarts, Lan Cheung

Slide show photo credits: 
Stomach X-Ray drawings: Isabelle Arthulf
Gallery installation shots: D. Colosi
Performance stills: Lan Cheung & Gerard El. G

Special thanks to
Boaz Barkan, Jimmy Raskin, Catherine Sullivan, Ohashi Hiroshi, and Lan Cheung

 

 

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