new-york

Nashashibi/Skaer

Murray Guy

A number of commentators on recent work by British collaborative duo Nashashibi/Skaer (Rosalind Nashashibi and Lucy Skaer) use head-scratching as a place to start their ostensible analyses. “What do photos of Margaret Thatcher, a washed-up carcass, footage of an American passenger plane and a painting by Paul Nash have in common?” is the way, for instance, a review published last year in The Independent begins its discussion of Our Magnolia, 2009, a single-channel 16-mm film; the review follows this thread through, reiterating the work’s “obscure” and “incomprehensible” nature, yet (or perhaps for that very reason) all the while praising the artists for its affective register.

Our Magnolia (on display at Murray Guy with one other work for the pair’s first US solo show) certainly does call up and openly address the slippery, associative nature of meaning-making on a number of levels: Formal

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