In their first joint exhibition since announcing dual representation in 2015, P•P•O•W and Galerie Lelong are pleased to present the two-part solo exhibition by Carolee Schneemann, Further Evidence - Exhibit A and Further Evidence - Exhibit B. Taking Schneemann’s research on both the physical and metaphorical manifestations of the body as its starting point, the exhibition merges Schneemann’s critical but lesser-known works of the eighties, nineties, and the present. Both presentations are centered on representation of bodies in captivity and visualizations of repressed histories of control and confinement. Though Schneemann’s works from the sixties and seventies involving performance and the body are widely known, her later works have not received the same critical attention. Further Evidence – Exhibit A and Further Evidence – Exhibit B present a crucial selection of later works, highlighting in particular Schneemann’s large-scale, multi-media installations that incorporate her research, installations, film, and video.

The two multi-media installations on view in Further Evidence – Exhibit B at Galerie Lelong have an antecedent in Schneemann’s works protesting the Vietnam War, including her films Viet-Flakes (1965), Snows (1967), and Souvenir of Lebanon (1983). These works activate Schneemann’s characteristic process of collecting, filming, editing, and then exposing images which are suppressed. Commissioned by the Tate Liverpool in 2009, and on view in New York for the first time, Precarious is a multi-channel video installation. A motorized mirror system rotates the imagery 360 degrees to physically encapsulate the viewer. Precarious was motivated by Schneemann’s research into the torture of animals, including photographs of cats in cages captured for Chinese food, as well as sequences of animals and prisoners dancing in captivity. Fleeting sequences in which a bird, a bear, prisoners, and Schneemann dancing are edited together within the shifting frames of cages and the confinement of the video format itself.

Exhibit B includes Devour (2003-04), a dual-channel video installation. The work is built upon the juxtaposition between what Schneemann terms the “ecstatic normal” of quotidian moments and atrocities. “Evanescent, fragile elements” of domesticity are contrasted with “violent, concussive, speeding fragments” of “political disasters” and “ambiguous menace." As in Precarious, the momentum of the visual vocabulary belies the horrific subject. The architecture of the grid and the recurring relationship of the body to social politics are present throughout the installation.