artist statement

Through an interdisciplinary practice which spans an intermingling of writing, sculpture, bookmaking, printing, performance I engage with ideas of conversation, nonbinary multiplicities, and the breakdown of simplistic identification and systems of thought. The work is ever-shifting with pieces falling apart to become new ones. Essays are written to become books, lecture-performances, and pdfs. Images culled from all over, primarily the internet, are put to new and distinct uses allowing for meanings to arise in relation to language that I implement in printed form. Print-objects proliferate in the practice exposing the materiality of the printed word and its ability to operate as an image. Sculptural works are put to use as performed objects within the lecture-performances. Theory is put to work as poetry while poetry is used to work through theory. Throughout all of the work there is a constant state of density which is at times frustrating and closed off while simultaneously inviting and meaningful. Success and failure are not taken to be binaristic ideals of what a work can do, but rather constantly shifting states based in a contextual reading on the part of the viewer. Other binaristic modes such as the weight of something, an inside and an outside, and accessible and inaccessible are worked between to prevent the works from operating as static and didactic objects, but rather conversational spaces.

Through Jacques Derrida’s theories of deconstruction, Maurice Merleau-Ponty’s dying examination of the Flesh, and Gilles Deleuze and Felix Guattari’s rhizomatic thinking, meaning is taken as something which is contextual, referential, and always in flux. These theories are opened up by further engagements with thinkers such as Gayatri Chakravorty Spivak, Stefano Harney and Fred Moten, Gordon Hall, Jack Halberstam, Judith Butler, Michel Foucault, Tan Lin, David Getsy, Sampada Aranke, and a large swath more of constantly rotating philosophers, writers, and poets. If the work is to constantly reengage with new ideas of thinking forward then it must consider what comes from conversation as the goal. Instead of creating works which end and prescribe, as Jack Halberstam puts it in his introduction to Harney and Moten’s book The Undercommons: Fugitive Planning and Black Study, “We cannot say what new structures will replace the ones we live with yet, because once we have torn shit down, we will inevitably see more and see differently and feel a new sense of wanting and being and becoming. What we want after ‘the break’ will be different from what we think we want before the break and both are necessarily different from the desire that issues from being in the break.” To be nonbinary is to be open to change and shifting and reworkings of thought. It is to understand that what nonbinary means today is not what it can mean tomorrow. There must be a reengagement every day and that is something I cannot prescribe, it’s only something I can listen for.
























CATACHRESIS /ˌkadəˈkrēsis/ -
noun
  1. the use of a word in a way that is not correct, for example, the use of mitigate for militate.

mid 16th century: from Latin, from Greek katakhrēsis, from katakhrēsthai ‘misuse,’ from kata- ‘down’ (expressing the sense ‘wrongly’) + khrēsthai ‘use.’

Jacques Derrida in his practice of deconstruction says CATACHRESIS is an original incompleteness of meaning; the possibility of reading a text “wrong” to proliferate meaning. As Gayatri Chakravorty Spivak states that this CATACHRESIS extends into masterwords such as woman and worker and is the basis for an open ended reading of the meanings which construct our world. This project I have begun in CATACHRESIS is a kind of publishing, a kind of printing press, a kind of distributor, but with no prerogative except to extend the ability and access I have to put things into the world to artists and writers who have something to say. A project in debt to what Stefano Harney and Fred Moten lay out in The Undercommons: Fugitive Planning & Black Study in which they lay out the work of the subversive intellectual, the need to steal from the University. CATACHRESIS sets itself up to work with these artists and writers to help them put into the world the things which they thought would otherwise fester away in filing cabinets, sketchbooks, harddrives, and storage units. The work published has no limits, just as the book has no limits. If it cannot be printed in a book or book-adjacent form, then it is pointed to by the book form; I am sure someday soon CATACHRESIS will push past just the book format as well. First and foremost I wish to collaborate with passionate people and have conversations about what their work can do in the world, and make sure I do that justice. The world needs passionate people just as much as it needs new ideas, let us make sure that this work does not replicate, but push past that world we already live in.

POLITICAL MIS-READ[INGS] SUBMISSIONS PAGE AND INFO HERE


submissions always accepted,
there are no guidelines for the content that can be submitted except that it be able to be at least pointed to by a book/zine/poster. if the submission is accepted then I will design and contruct a book/zine/poster of the content in conversation with you.
email any content you want considered to catachresis.catachresis@gmail.com


























BIO

Evan Fusco is a Chicago based interdisciplinary artist whose work seeks to challenge definitive notions of subjecthood through a reworking of pressuposed modes of being and looking. They have shown work in varying contexts such as in student shows, digital spaces, zine fairs, and independent art spaces. They were one of the recipients of the first year of the Creativity Works grant at the Cleveland Institute of Art. They have performed in multiple SKNDLSS runway performance shows, curated a small number of group exhibitions, and have self published multiple poetry books. Recently they were in a two person show with Elise Parisian at Apparatus Projects in Chicago, IL. They are currently attending the School of the Art Institute of Chicago for an MFA in Fiber and Material Studies. In the Fall they will be tabling at the Chicago Art Book Fair and in January will be showing their work among other artist in (dis)comfort zones Underrepresentation and Invisibility in the Institution: An Art Exhibition and Symposium at Carroll University in Waukesha, WI.

BIBLIOGRAPHY

On Latham Zearfoss

CIA Grad Evan Fusco Opens Empathetic Solo Show For One Night Only