Present Tense<\/p>\n
Nice dream
\nNice dream
\nNice dream
\nRadiohead lyrics narrate each self-similar day with apocalypse rock, a teenage heartache-for-no-one in the soft gray of nuclear winter. The lo-fi high-strung soundtrack rings true, all anxious outro, all nostalgia for fiction, looping around worlds never named.
\nEfil ym fo flah
\nEfil ym fo flah
\nEfil ym fo flah
\nRiding down the gravity well, it’s a familiar spin round the microwave, where time stands still as it runs out. The toxic desire is to touch down, to crash. Delusions are a secret indulgence, and a dream is a want\/need that never reaches a solution.
\nIt wears her out
\nIt wears her out
\nThat I still throw my little coins away and make my little wishes is, I hope, evidence of a beyond, past the moment that drags on and on, past the electric metronome in an open, airless sky.
\nKeep it moving
\nKeep it moving
\nSuperglue your thumb and index finger together to make a circle, a constant touch. Look through: a hole and a jeweler’s loupe. Loss and wealth. Islands and monuments. Such things belong also to their futures.
\nPlastic stars dance on the ceiling.
\nMade you look.
\nUntil the penny drops,
\nIn you, I’m lost
\nIn you, I’m lost<\/p>\n
– Jenine Marsh<\/p>\n
Toronto-based artist Jenine Marsh\u2019s exhibition at Prairie features a concrete fountain situated on a floor lined with the Canadian newspaper People\u2019s Voice. Marsh has removed select words and phrases from the paper\u2019s pages and replaced them on a bouquet of preserved flowers hung directly above the fountain\u2019s coin-filled central basin. The coins reappear on a pair of purses placed in the gallery\u2019s backroom. A fountain, newspaper, flowers, coins, purses\u2014all paraphernalia of contact and exchange, rearranged to elicit a response to the shared conditions of our times. Marsh\u2019s practice resonates with a utopian spirit: her works are manifestations of hope and failure, possibility and stagnation, amplifying the temporal uncertainty of a present caught between the failures of the past and unrealized futures.<\/p>\n
Jenine Marsh (b. 1984, Calgary AB Canada) received her BFA from the Alberta University of the Arts (2007) and her MFA from the University of Guelph (2013). Marsh\u2019s work has been exhibited in Canadian galleries such as Morris and Helen Belkin Art Gallery, Vancouver (2024); Cooper Cole, Toronto (2023); Joe Project, Montreal (2023); Franz Kaka, Toronto (2019); and Centre Clark, Montreal (2019). She has also exhibited in international museums and galleries including Gianni Manhattan, Vienna (2023); Union Pacific, London (2023); Night Gallery, Los Angeles (2022); Essex Flowers, New York (2020); Palais de Tokyo, Paris (2019), OSL Contemporary, Oslo (2019); Entr\u00e9e Gallery (2018), and Lulu, Mexico City (2015). She has served as artist in residence at the Banff Centre for the Arts (2009, 2010 and 2022), at AiR Bergen at USF Verftet, Bergen (2018); La Datcha, Berlin (2018); SOMA, Mexico City (2018); Rupert, Vilnius (2017); and Vermont Studio Center, Johnson (2011). Marsh lives and works in Toronto, Canada.<\/p>\n","protected":false},"excerpt":{"rendered":"
Present Tense Nice dream Nice dream Nice dream Radiohead lyrics narrate each self-similar day with apocalypse rock, a teenage heartache-for-no-one in the soft gray of nuclear winter. The lo-fi high-strung soundtrack rings true, all anxious outro, all nostalgia for fiction, looping around worlds never named. Efil ym fo flah Efil ym fo flah Efil ymContinue Reading<\/a><\/p>\n","protected":false},"author":18,"featured_media":157893,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[39,5],"tags":[397,159956,257320,158021,167976],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"http:\/\/thevisualist.org\/wp-content\/uploads\/2024\/03\/Jenine-Marsh_IG_04.jpg","_links":{"self":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/157892"}],"collection":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/comments?post=157892"}],"version-history":[{"count":2,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/157892\/revisions"}],"predecessor-version":[{"id":157917,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/157892\/revisions\/157917"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/media\/157893"}],"wp:attachment":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/media?parent=157892"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/categories?post=157892"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/tags?post=157892"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}