Los Angeles

Liz Larner, Firestone, 2019, glazed ceramic, 21 1⁄2 × 38 × 32".

Liz Larner, Firestone, 2019, glazed ceramic, 21 1⁄2 × 38 × 32".

Liz Larner

Regen Projects

In her 1994 book Nomadic Subjects, Rosi Braidotti frames the body not as a biological category, but as “a point of overlapping between the physical, the symbolic, and the sociological.” The “nomadic” feminism she proposes suggests that subjects could promiscuously seek out interconnectedness by rejecting the coded, exclusionary systems of essentialism and nationalism. In resisting the illusion of fixed identities, then, nomadic feminists formally disrupt the symbolic meanings of the body and the self.

Braidotti’s book was among a number of theoretical and poetic texts that Liz Larner left for visitors to peruse at the gallery’s front desk during her summer exhibition—a quiet example of her commitment to formal interventions as political actions. As Larner has demonstrated throughout her career, feminist transformations of artmaking happen not when one changes the content of the image but

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