Inspired by a glimpse of the sit–up–and–beg wooden clinker Regardless back in March 2013, Allison Katz requested Jerusalem convey her back to the scene of the vessel, in search of metaphorical answers to existential questions. The captain will be consulted on various topics, including: "Do crappy boats still go out fishing in really bad weather?"; "Why are atomic bomb testing structures designed in the shape of a pagoda?"; and "Is Regardless in spite of everything?" Additionally, Katz will explore the tropes of the journey from holiday snapshots to luggage and souvenir gathering throughout the Orford Ness, a sanctuary best known for its birds and WWII bombs. Katz will select a small number of talismans to carry along the trip from London situating, variously, bottle tops, painted portraits, and glass orbs along the Suffolk coastline. The artist intends to produce a new body of work from these mysterious and colourful sights and experiences.
Allison Katz (b.1980) lives and works in London. She graduated with an MFA from Columbia University in 2008. Recent solo exhibitions include ‘The Thames Started Moving. Someone in Oxford is running a bath.’ Johan Berggren, Malmo (2013), ‘Postcard. From… Allison Katz,’ a billboard commission from the Fondazione Pastificio Cerere, Rome and ‘Daymark’, 1857, Oslo (2012). Katz has participated in numerous group shows including ‘Gaylen Gerber’, Museum of Contemporary Art, Chicago (with DAS INSTITUT) and ‘Notes on Neo-Camp’, Studio Voltaire, London and Office Baroque, Antwerp curated by Chris Sharp (2013). Katz’s exhibition at Laura Bartlett opens on 28 September 2013.
REGARDLESS is commissioned as part of JERUSALEM.
Taking the form of collective journeys, JERUSALEM is an ongoing project that commissions artists to make work informed by, housed within or seeking alliance with selected architectural sites across the UK. The fourth chapter of JERUSALEM takes place from 31 August – 1 September, 2013. Participating artists are: Aaron Angell and Allison Katz, accompanied by writer Gil Leung.