ANA KARKAR

The exhibition unveils a new series of figurative paintings by theFrench-American artist, in addition to an installation piece comprisedof video, sculpture and literature. Composed as a temple to eroticism,it explores and universalises the many complex paradoxes of Ishtar,the ancient Mesopotamian goddess of both love and war, as well asfertility and sensuality. As the goddess of paradox, Ishtar is the modelof unity in multiplicity.

Each of us reflects some of her discordance in ourselves, and thisexhibition, Whole Cookie, explores how we strive to gather theseconflicting parts into a semblance of order. Ishtar’s polarities andcontradictions feed the creative spirit, but they also provokeinsecurity and disruption. She represents chaos, going against orderand principle, however this also opens up to possibility and potential.The destructive and harsh in balance with the empowering andtransformative; society coexisting side by side with the cosmic.

Upon entering the exhibition, visitors are faced with the painted imageof a sphinx, the guardian of the temple – and its riddle:MINA (reads): ‘Poor is the man whose pleasures depend on thepermissions of another’?

SPHINX: It’s a Madonna quote. From ‘Justify My Love’... Can we callroom service?

MINA: Gosh, yes, I remember the video. Rather a Helmut Newtonpornographic soiree situation.

SPHINX: So sick, yeah. I think I was conceived to that, maybe? (Laughs)In the desert.

MINA: Your father was a lion and your mother was an eagle owl—correct?

[Excerpt from an accompanying text written by Charlie Fox]

In Karkar’s method of seeing others in the show exploring theinteraction between humans and hybrid figures. Her gestural work isimbued with colour relationships, as expressed by a vibrant palette inwhich her bodies are twisted and blended in a dance macabre thatevoke the work of Egon Schiele.Ana Karkar’s work is influenced by cinematography and images in thecollective unconscious, especially horror and erotic movies. Filmicelements are often noted in her paintings, however for this show, forthe first time Karkar is exhibiting film work, in the video piece Queenof the Night in relation to her painting. This then takes its title from aparticular terracotta relief from the Old Babylonian period, fromMesopotamia (now at the British Museum).

Pervaded by ancient symbolism alongside post-Punk elements andunderground culture references, the film tells the story of the divinelycomplex marriage of Ishtar and Dumuzi and is set to the soundtrack ofBerlin-based band Noj remixed to the Witch house genre, in a tracktitled “Cleopatra’s Nose’.

Like an altar, the film is presented as the backdrop to Karkar’s ownsculpture of a goddess, subversively titled Queen of the Nightlife,under whose feet is positioned a text written by Karim Massoteau, MYANGER, A HARROW WITH GREAT TEETH, HAS TORN THE MOUNTAINAPART, folded and marked ‘REUNIFICATION IN PROCESS’. Visitors cantake a copy of this text with them as they leave the altar.

‘Now clad in terror, opening her chest, she demands the destruction ofthe mountain but is met only with resounding silence.

Whiffs of Cypress and Cedar are smelled.

Fist clenched, she then summons all life in her body and weaves astorm, fury assembles in her heart, her folds, her veins, her very blood,and lava dribbling from her lips, unleashes the shockwaves of herorgasm all around.

She blows one blast of pitiless, pulsing, stroboscopic, energy.’

[An excerpt from Karim Massoteau’s text]

Ana Karkar, via Ishtar, is insisting we face our shadowy contradictions.That we acknowledge who we are, in all our painful and wonderfulcomplexity. At the same time, she steps forward to do the same.

INTERVIEW WITH A SPHINX

By Mina Harker

SPHINX: Did you see my new tattoo, Mina? It tickled.

MINA: They’ve just sent some rather fun questions for you... Favourite scent?

SPHINX: Cake. So it goes from my wing, around the belly to the top of my tail.

MINA (reads): ‘Poor is the man whose pleasures depend on the permissions of another’?

SPHINX: It’s a Madonna quote. From ‘Justify My Love’... Can we call room service?

MINA: Gosh, yes, I remember the video. Rather a Helmut Newton pornographic soiree situation.

SPHINX: So sick, yeah. I think I was conceived to that, maybe? (Laughs) In the desert.

MINA: Your father was a tiger and your mother was an eagle owl— correct?

SPHINX: You’re so clever, Mina, yeah! And they had me, lucky fuckers. Flew straight from my mum’s belly, looked at my wings in the mirror, cried some diamonds. I am so hungry. I’m phoning for some pancakes.

MINA: Was it disturbing, discovering that you weren’t like other girls or boys?

SPHINX: Being in a body is always disturbing, nope? It’s a neverending disturbance. Hormones and growth spurts and mood swings. I guess I should’ve been self-harming in a graveyard, ripping my heart out. Blood always gets me hot, actually. And bones.

MINA: If I get too... hot and bothered, I fetch the opium. Did you enjoy Eyes Wide Shut?

SPHINX: I mean, I’ve been to those rituals and it was a lot sexier, but, yeah, it’s a great Xmas movie. Well done, Stan.

MINA: I enjoy a mask... the mystery.

SPHINX: I liked a lot, actually, my body. Having this weird thing nobody else had. Like a rose. And tiger-stripes on my back.

MINA: I must confess when I saw a tiger at the Zoological Gardens in London once, I did feel a quiver.

SPHINX: Lay the pancakes down there, thank you, baby! Boys are my favourite food, really. You should’ve banged that tiger, Mina! You banged a wolf.

MINA: Yes, well, we all have a past. Favourite erotic film?

SPHINX: Aw, Forbidden Tales! People are scared of themselves. Scared of what they want. It’s all kind of tragic.

MINA: Perhaps the refusal intensifies the urge...

SPHINX: Maybe. I think it’s like a big party and being offered swan to eat and then just saying, Oh, I’ll take this feather.

MINA: But a swan feather caressed upon a delicate area of flesh is —

SPHINX: Like, I broke into this mausoleum with a redhead girl once. Like that Joy Division album cover or whatever? Anyway, she kissed me while we were lying on the slab... MINA: Sphinx, my love! Think of the cadavers, the ghosts —

SPHINX: Shut up, they would’ve clapped! That cold marble on my fur. Miaow. And it was so dark in there. Nice and dark and warm.

MINA: Houdini’s ghost did visit me once, unstitched my corset. SPHINX: Rather naughty. There’s a jungle growling in my belly.

MINA: Forgive my blushes. Celebrity crush?

SPHINX: Hunter Schafer: no question.

MINA: Do you believe in good and evil?

SPHINX: Who came up with that? We need to be pals with our demons and angels and hang out with them and feed each other grapes.

MINA: Like a splendid Titian.

SPHINX: Yeah? Or more Bacon vibe, maybe.

MINA: Favourite body part? SPHINX: On me? Oooh, my wings. I like having someone nestled in there, all cosy. Hold them tight.

MINA: On someone else?

SPHINX: All of it, especially the earlobe. Mina, come and have some food, please. MINA: Dark honey from the continent! Marvelous. Last dream you had?

SPHINX: Ooh, I was looking at this pool of flesh on a marble floor, all red and bloody and sparkling like treasure.

MINA: Crumbs. SPHINX: I know.

— Charlie Fox, artist, writer and curator

Press release courtesy Almine Rech