Artists

Maggic, Mary

Milik Bersama Rekombinan (Recombinant Commons), 2019
(c) Mary Maggic

What is a queer perspective on the interconnectedness of human, animal, plant, and fungal bodies in the Anthropocene, and what can it effect? Mary Maggic’s practice explores the hormones we ingest, whether by choice or involuntarily. Confronting capitalist and patriarchal material regimes, they sketch speculative body politics designed to neutralize our fear of change in human beings and nature. The result: continual overhaul of our long-outdated notions of the natural.”
Molecular Queering Agency (2017) invites ten participants to join a “ritual of resistance.” Using a sample of their own urine, performers perform a choreography for our “collective alien becoming.”
Milik Bersama Rekombinan (Recombinant Commons, 2019) is an installation in three parts. A river of blue agar and mushroom cultures is flanked by a latex sculpture riddled with garbage. Behind it is a mandala projection complete with audio narration. The work is a retro-futuristic triptych; its spirit animal is the talking river itself - an entity that explains that it can no longer ingest the plastic that is being put into it, and so it must return it all to humanity.
The video to the artist’s GENITAL( * )PANIC (2021) project can be viewed online. Drawing on “anogenital distance” (AGD, or the distance between genital and anus), a biometric scientists use to assess chemically-induced decline in reproductive capacity and an indicator of biological sex, Genital Panic Video imagines transgressive taxonomies, a queer gynecology for alien bodies. The word for “poison” in Nordic languages is also used to mean “marriage.” The analogy is a fitting one for our time - an era in which exploited nature has unleashed a global pandemic. Nothing is ever only toxic. #Queering - Toxicity #PrettyWaste #Estrofeminism
Mary Maggic and their collaborators are queer pirates on the road to the unknown. The future of our bodies belongs to us.

Let’s play.

Text: Eva Tepest; englische Übersetzung: Amy Patton

What is a queer perspective on the interconnectedness of human, animal, plant, and fungal bodies in the Anthropocene, and what can it effect? Mary Maggic’s practice explores the hormones we ingest, whether by choice or involuntarily. Confronting capitalist and patriarchal material regimes, they sketch speculative body politics designed to neutralize our fear of change in human beings and nature. The result: continual overhaul of our long-outdated notions of the natural.”
Molecular Queering Agency (2017) invites ten participants to join a “ritual of resistance.” Using a sample of their own urine, performers perform a choreography for our “collective alien becoming.”
Milik Bersama Rekombinan (Recombinant Commons, 2019) is an installation in three parts. A river of blue agar and mushroom cultures is flanked by a latex sculpture riddled with garbage. Behind it is a mandala projection complete with audio narration. The work is a retro-futuristic triptych; its spirit animal is the talking river itself - an entity that explains that it can no longer ingest the plastic that is being put into it, and so it must return it all to humanity.
The video to the artist’s GENITAL( * )PANIC (2021) project can be viewed online. Drawing on “anogenital distance” (AGD, or the distance between genital and anus), a biometric scientists use to assess chemically-induced decline in reproductive capacity and an indicator of biological sex, Genital Panic Video imagines transgressive taxonomies, a queer gynecology for alien bodies. The word for “poison” in Nordic languages is also used to mean “marriage.” The analogy is a fitting one for our time - an era in which exploited nature has unleashed a global pandemic. Nothing is ever only toxic. #Queering - Toxicity #PrettyWaste #Estrofeminism
Mary Maggic and their collaborators are queer pirates on the road to the unknown. The future of our bodies belongs to us.

Let’s play.

Text: Eva Tepest; englische Übersetzung: Amy Patton

Milik Bersama Rekombinan (Recombinant Commons), 2019
(c) Mary Maggic