Like the bygone sovereignty of the aristocrat and the flaneur, figures acknowledged in the show’s epigraphic notes, “Game of Pearls” overflows with polymorphic referents and symbols. | ✍️ Annette LePique
As the womxn of Ruschwoman gallery are much smarter than I, I could not tell you what the “game of pearls” entails in the gallery’s current show:
“The Game of Pearls, Prune de Madame, and Other Phantasia .” However, for an exhibition as intricately laced as this one—featuring art as varied as bespoke millinery and fragrance, amongst images of sirens lusciously rendered in oils—I can only imagine the game as something new and old, decadent and severe, a source of pleasure and pain.
Like the bygone sovereignty of the aristocrat and the flaneur, figures acknowledged in the show’s epigraphic notes, “Game of Pearls” overflows with polymorphic referents and symbols. From artist Nicolette Mishkan’s aforementioned merfolk to Andrew Sokol’s crystal chain looping along the space’s baseboards, the queer signifiers “Game of Pearls” plays with are those borne of the people categorized as excess and liminal by a violent state’s mechanisms of control.
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