On Tuesday 3 September, we invite you to take part in the very first Free Lunch after summer. This time with the American artist Leigh Ledare in conversation with UK-Jutland based artist, Reba Maybury.
After enjoying a collective lunch, we will start off the session by watching Leigh Ledare’s film The Gift from 2007, which will be the starting point for the following conversation. The film is included in the upcoming group exhibition Women in Love opening at Institut Funder Bakke this September, curated by Reba Maybury.
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Participation is free, but registration is required. If you wish to participate in the lunch, please register via rsvp@arthubcopenhagen.dk
Please notice that the conversation will be in English.
There is a limited number of seats.
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ABOUT LEIGH LEDARE
The American artist Leigh Ledare (b. 1976, Seattle) follows in a tradition of critical artists whose works combine conceptual and experiential approaches to examine contradictions at the levels of the subject and society. Introduced to the art world through Pretend You’re Actually Alive (2008) – a project including photography, text and video which, chronicling his family, hinged on his mother’s controversial performance of sexual negation – his work has since extended to mine the intersections between psychoanalysis, social psychology, anthropology and the archive. This has included projects such as his 2017 feature film The Task, situationally based works structured around the combination of photography and existing archives, sculptural works, site specific interventions, and the creation of complex contractual frameworks that he uses to foreground issues of intersubjectivity, agency and consent. Ultimately, Ledare’s works transform the observer into the voyeur of intimate scenes while examining the social constructed nature of reality and the projective assumptions that surround it.
ABOUT REBA MAYBURY
Reba Maybury (1990) is an artist, writer and dominatrix sometimes working under the name Mistress Rebecca. Her work explores the tension between her perceived strength as a figure of fantasy and how through the reality of sex work and gender she turns this power into something tangible. Men are her medium and much of her art practice is physically created by her submissive’s through her direction as a way to further the complicated imbalances of labour under sex work and as an attempt to empower her further from her clients’ desires and entitlements, leaving her with more than just a payment from them. Themes of capital, labour, power, sexuality, female perversion, bureaucracy as torture and humiliation are essential themes to her practice, where the medium of the work ranges from installation, painting, writing and drawing.
