At Dinner

The second part of this week’s Culture Digest looking at performative meals: an evening of operatics with Grace Schwindt

Curator Rose Lejeune opened Gallery Lejeune in the spare room of her South London apartment in 2015, as a innovative way of thinking about new ways to exhibit, collect and commission ephemeral and performance-based works.

One Thursday evening at the end of October, I arrived at the gallery in the dark – literally and figuratively – for At Dinner, an intriguing-sounding event hosted by Lejeune with the artist Grace Schwindt, which promised to involve food, text, language and sound. Inside, a small gathering of collectors, curators, artists and friends hovered in the hallway, shuffling past one another in search of the source of the haunting notes that filled the apartment. In the gallery space at the end of the corridor, the opera singer Lisa Cassidy stood immobile in a long, hooded Lady Guinevere-style robe, angled slightly towards a metal bird perched on the windowsill. The dress, made by Schwindt, had been overprinted with text – the words of a script by the artist that guests were later invited to recite out loud, by turns, as we gathered around the dinner table.

This additional participatory requirement is significant in the context of Schwindt’s long-standing interest in group dynamics and individual agency. Her best-known work to date, the film Only a Free Individual Can Create a Free Society (2015), explores the potential of the collective to both enable and circumscribe individual action. (It was hard, here, not to read Cassidy’s performance, motionless in her text-wrapped dress and singing to a bird, as relating to cages.) At Dinner was, on a micro-level, an experiment in community building – of the kind that happens all the time in daily life and which, in another context or another industry, might be called networking. Here, though, Schwindt’s intervention made me acutely sensitive of the extent to which we invariably perform ourselves socially, according to cultural norms of which we may or may not always be aware.

Amy Sherlock is deputy editor of frieze and is based in London.

Most Read

With our increasingly porous objects, ubiquitous networks and ambivalent organisms, why artists are drawing inspiration...
From contemporary ink to counter-cultural histories, what to see across the Taiwanese capital
Nicholas Serota calls for freedom of movement to be protected after Brexit; Franco ‘Bifo’ Berardi resigns from DiEM25;...
On the anniversary of the 2016 Orlando massacre, Brendan Fernandes reclaims the dancefloor as a site of resistance
A walk through London gives presence to those the current government would rather render invisible
Who is Françoise Nyssen?
Protests against housing inequality, tourism and a colonialist past have been roiling across the Catalan capital
In a city of maddening contradictions, artists have learned to adapt in manifold ways
The winner of the British Journal of Photography International Photography Award 2017 talks about the ethics of...
Does an automaton-filled future spell the end of work, of life? A report from the future-focused Vienna Biennale 2017
What might the late Mark Fisher have made of the UK’s General Election? Suddenly the end of ‘capitalist realism’ feels...
Highlights from the first edition of Condo New York, a collaborative exhibition by 36 galleries across 16 city-wide...
Reconsidering the ethics and efficacy of ‘strategic essentialism’ via Adrian Piper, ‘We Wanted a Revolution’ and...
In Twin Peaks: The Return, David Lynch’s bone-dry humour rises to the surface, and his lush visuals float free above...
What the Pride flag says about the gentrification of queer politics 
The arrival of the Centro Botín in Santander prompts a reassessment of the ‘Bilbao effect’, and a journey across the...
A guide to the best current shows across the German capital

Latest Magazines

frieze magazine

April 2017

frieze magazine

May 2017

frieze magazine

June – August 2017