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<p class="MsoNormal" align="center" style="text-align:center"><a href="https://councilst.us5.list-manage.com/track/click?u=b565b4fdb58f40f266e8ab93a&id=549e0f3c1b&e=2ee9715c3b" target="_blank"><span style="color:blue;text-decoration:none"><img border="0" width="196" style="width:2.0416in" id="_x0000_i1025" src="https://mcusercontent.com/b565b4fdb58f40f266e8ab93a/images/740db013-544f-931f-daea-0bc737547df2.jpeg"></span></a><o:p></o:p></p>
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<span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
</span><strong><span style="font-size:18.0pt;font-family:"Courier New";color:#202020">Lynne Marsh</span></strong><span style="font-family:"Courier New";color:#202020"><br>
<br>
</span><strong><span style="font-size:16.5pt;font-family:"Courier New";color:red">Standing Death Backward</span></strong><span style="font-family:"Helvetica",sans-serif;color:#202020"><o:p></o:p></span></p>
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<span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
<br>
</span><strong><span style="font-size:15.0pt;font-family:"Courier New";color:#202020">June 7th - July 5th</span></strong><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
</span><span style="font-family:"Courier New";color:#202020">Opening Reception Saturday, June 7th from 2 to 5</span><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
<br>
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</span><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">3019 Council St. (or thereabouts) LA 90026. </span><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
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<strong id="docs-internal-guid-3e81651e-7fff-3abc-1f64-a0434f6272ac"><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">Poor Nymphs, Poorer Selves</span></strong><span style="font-family:"Helvetica",sans-serif;color:#202020"><o:p></o:p></span></p>
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<span style="font-size:10.5pt;font-family:"Courier New";color:#202020">These poor nymphs of the present, distorted by the endless screens they must pass through before finding themselves in something resembling “the real world.” Unaccustomed to the weight of
what we might call reality, they fall out of an infinite space-time into the brutal pull, or rather push, of gravity. Contorted and mutilated, their softened features and smooth, undifferentiated, albeit clothed, bodies still possess the residue of some former
grace, now misplaced.</span><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
<br>
</span><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">The nymph has historically been an encapsulation of humanity’s relationship with nature, a more pure, naive, sincere incarnation of life than we could ever hope to embody ourselves.
The three poor, gray nymphs, splayed here at odd angles on the floor or leaning against the wall, rather resemble a shadow of their former selves—an embodiment of our collective decline and failure to reach some technologically enhanced ideal promised by the
21st century. Here, in this state of aspirational purgatory, the poor nymph is caught looking both forward and back, between a nostalgia for the porcelain-skin marble monoliths of ancient Greek and Roman statuary that embodied the height of artistic and, in
terms of the Greek, engineering excellence—standing without tree stump or staff to hold them upright—and the imagined efficiency of our own replication and reconstruction within real and virtual futures that is somehow thought to ease our blight and take away
our pain. </span><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
<br>
</span><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">This muddy space is one of glitches and afterimages, poor images and ever poorer selves. </span><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
<br>
</span><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">The nymphs, or<span class="apple-converted-space"> </span><em><span style="font-family:"Courier New"">ninfa,</span></em><span class="apple-converted-space"> </span>that Aby Warburg
chronicled are “threshold beings,” frozen forever in a state of motion—between mobility and immobility—as an embodiment of universalized gesture (at least to his western, 20th century mind). This collection of innumerably repeated poses, from antiquity to
the art historian’s 1920s present, that comprise his<span class="apple-converted-space"> </span><em><span style="font-family:"Courier New"">Mnemosyne Atlas</span></em>, allegedly reveals “the life of images” or, I might argue by way of Panofsky, a history
of bodily iconology. Yes, the gestures that characterize the figures culled by Warburg unveil a lasting, pseudomorphic correlation between past and present symbolization. We may continue to possess many of the same mannerisms and interpret them similarly,
but no man alive tips his hat as he passes me on the street, and I should rather be alarmed if he makes eye contact at all. So while Panofsky attests that gestures carry some socially embodied and thus timeless meaning, our sociality inevitably shifts and
with it the constant repetition and recontextualization, or more aptly insidious appropriation and manipulation, of gesture becomes the stuff of false narratives, and maybe even false hopes.</span><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
<br>
</span><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">Is it a salute or is it a heil, is it ignorance or is it malice? It’s both, it’s neither; who’s looking and when? </span><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
<br>
</span><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">Now, trapped by the gaze of many lenses, the nymphs of the present are no longer carved in marble or wrought in bronze, but rather captured by the omnipresent presence of detection.
The three individuals who allegedly offered up their bodily incarnations to the banal, algorithmic violence of our machines have here become depersonalized figures—products of a formula, a type. <br>
<br>
They are everyone and they are no one. </span><span style="font-family:"Helvetica",sans-serif;color:#202020"><o:p></o:p></span></p>
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<span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
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</span><strong><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">— Hannah Sage Kay</span></strong><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
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</span><span style="font-size:10.5pt;font-family:"Courier New";color:#202020"><a href="https://councilst.us5.list-manage.com/track/click?u=b565b4fdb58f40f266e8ab93a&id=6f566a61fe&e=2ee9715c3b" target="_blank"><strong><span style="font-family:"Courier New";color:#007C89">Lynne
Marsh</span></strong></a> is a Canadian artist living and working in Los Angeles, where she is Associate Professor in the Art Department at UC Riverside. Solo exhibitions of her work have been presented at the Barbara & Art Culver Center of the Arts at UCR
ARTS, Riverside, USA; Tintype Gallery, London; Berlinische Galerie, Berlin; Opera North, Leeds; ICA, London; Toronto International Film Festival; and Musée d’Art Contemporain de Montréal. Her work has also been featured in numerous group exhibitions and perennial
events, including La Biennale de Montréal; Manif d’art 5–The Québec City Biennial; and the Istanbul Biennial. Her work is held in public collections including Fluentum: Contemporary Time-based Art, Berlin; National Gallery of Canada, Ottawa; Remai Modern,
Saskatoon, Canada; Agnes Etherington Art Centre, Queen’s University, Kingston, Canada; and Musée National Des Beaux-Arts du Québec, Quebec City, Canada. A unique publication, part-reader, part-artist monograph, entitled She Moves Me: Performance, Moving Image,
and Lynne Marsh’s Lens, edited by Sylvie Fortin, will be co-published by Inventory Press and Press Enter this year.<br>
<br>
<a href="https://councilst.us5.list-manage.com/track/click?u=b565b4fdb58f40f266e8ab93a&id=b9403532d2&e=2ee9715c3b" target="_blank"><strong><span style="font-family:"Courier New";color:#007C89">Hannah Sage Kay</span></strong></a> is an arts writer and critic
based in New York, and occasionally Los Angeles. She studied modern and contemporary art at NYU's Institute of Fine Arts and Bard College, and has contributed to Artforum, Autre, The Art Newspaper, The Brooklyn Rail, Financial Times, and Los Angeles Review
of Books, amongst other publications. </span><span style="font-family:"Helvetica",sans-serif;color:#202020"><br>
<br>
</span><strong><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">Image Credit</span></strong><span style="font-size:10.5pt;font-family:"Courier New";color:#202020">: Production image<em><span style="font-family:"Courier New"">, Standing
Death Backward Frame 23, 2025.</span></em></span><span style="font-family:"Helvetica",sans-serif;color:#202020"><o:p></o:p></span></p>
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</span><strong><span style="font-size:9.0pt;font-family:"Helvetica",sans-serif;color:dimgray">council_st</span></strong><span style="font-size:9.0pt;font-family:"Helvetica",sans-serif;color:dimgray"> is located in the <strong><span style="font-family:"Helvetica",sans-serif">Historic
Filipinotown </span></strong>neighborhood of<br>
Los Angeles on Council St. near the intersection of Vendome St. <br>
The address is<strong><span style="font-family:"Helvetica",sans-serif"> 3019</span></strong> <strong><span style="font-family:"Helvetica",sans-serif">Council St. </span></strong>(or thereabouts) Los Angeles CA 90026<br>
email: <strong><span style="font-family:"Helvetica",sans-serif"><a href="mailto:councilstreetgallery@gmail.com"><span style="color:#007C89;font-weight:normal">councilstreetgallery@gmail.com</span></a> </span></strong>website: <strong><span style="font-family:"Helvetica",sans-serif"><a href="http://councilst.com/"><span style="color:#007C89;font-weight:normal">councilst.com</span></a></span></strong>; <br>
instagram: <strong><span style="font-family:"Helvetica",sans-serif">@council_st. </span></strong><b><br>
<strong><span style="font-family:"Helvetica",sans-serif">213-864-4788</span></strong></b></span><span style="font-family:"Helvetica",sans-serif;color:#202020"><o:p></o:p></span></p>
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