"The figure of ‘indebted man’ cuts across the whole of society and calls for new solidarities and new cooperation. We must also take in account how it pervades ‘nature’ and ‘culture’, since neoliberalism has run up our debt to the planet as well as to ourselves as living beings." Maurizio Lazzarato, The Making of the Indebted Man. p.162. Semiotext(e). Distributed by MIT Press: Cambridge, MASS and London, England. 2012
"Debt constitutes the ground for constructing citizenship and subjectivity. Given its ability to constitute our social body, via economies, how does this affect our sense of vision? Shot through our senses, desire drives perception. With Western culture’s primacy on vision how does the figure of the ‘indebted man’ intersect with accumulation’s salient organ, the eyeball? Could our vision be considered in indenture to a larger system of debt structured by bondage through legal arrangements and ‘life taxes’?" Rachal Bradley, Nottingham, November 2017
Drawing on shared personal reference material, artists and friends Patricia L. Boyd and Rachal Bradley discuss the operation of indebted vision. Boyd’s recent projects have focused on ideas of debt and exhaustion, including Operator (2017), a single-channel video installation which uses the calculations of a loan repayment scheme as an organising structure for the edit.
This workshop is part of Interlocutor, Rachal Bradley’s forthcoming solo exhibition at Gasworks.
Due to limited capacity and seats being allocated on a first come, first served basis, audiences are encouraged to arrive early to avoid disappointment.
Patricia L. Boyd (1980) was born in London, UK and currently lives and works in New York, USA. She has had solo exhibitions at 80WSE, New York (2017); 3236RLS, London (2017); Kiria Koula, San Francisco (2015); TG, Nottingham (2015); Jan Kaps, Cologne (2015); Modern Art Oxford, Oxford (2014); and Cubitt, London (2013). Earlier in 2017, she curated an exhibition, AEROSOL, at the 500 Capp Street Foundation, San Francisco. Her work has been featured in group exhibitions at venues such as the Wattis Institute, San Francisco (2017); Steirischer Herbst, Graz (2015); Gasworks, London (2014); and the 12th Biennale de Lyon (2013).
Rachal Bradley was born and raised in Blackpool and is now based in Nottingham, where she lives with her partner and son. Bradley is a lecturer in the Fine Art Department at Nottingham Trent University. Recent solo presentations include, Of Sex, Galerie Gregor Staiger, Frieze, London (2016); Foreign Press, Galerie Gregor Staiger, Zurich; and Only for Loving Medium, Present Future, Artissima, Turin, selected by Fatima Hellberg (both 2015). Selected group exhibitions include, TG, Nottingham at SUNDAY art fair; Le Bourgeois, 3236RLS, London; Neo-Pagan Bitch Witch, curated by Lucy Stein and Franc-Lise McGurn, Evelyn Yard, London; Je Suis Feministe, Penarth Centre, London (all 2016); Repeating, Westfälischer Kunstverein, Münster; and CLINIC, a two-person exhibition with Patricia L Boyd, YEARS, Copenhagen (2014).