Evan Fusco / General Antagonism

MAIN / WORK / PUBLISHING / INFO




CV
contact:
evanfusxo@gmail.com
catachresis.catachresis@gmail.com

Artist’s BIO:

Evan Fusco is a producer of texts. Currently, their work circles around ways in which meaning is produced through participatory acts of reading and interpretation. They have a Bachelors of Fine Arts in Sculpture and Expanded Media from the Cleveland Institute of Art and a Masters of Fine Arts in Fiber and Material Studies from the School of the Art Institute of Chicago. They teach at the School of the Art Institute of Chicago in the Printmedia and Contemporary Practices department. They recently published Pathologies of the Margin; a study in dissipation and have a forthcoming essay in Other Form’s Counter-Signals 4: Identity is the Crisis. And their small press GENERAL ANTAGONISM is currently accepting book length submissions to be published in 2022.

CATACHRESIS BIO:
CATACHRESIS WAS FOUNDED ON THE PRINCIPLE THAT THE ACT OF PUBLISHING, AND THE DISTRIBUTION OF INFORMATION IS A POLITICAL  ACT. CATACHRESIS DEDICATES ITSELF TO GIVING A VOICE TO ARTISTS AND  WRITERS. CATACHRESIS LOVES MISMANAGEMENT, DISTORTION, ACCIDENTS,  THE PROVISIONAL, THE FUGITIVE, THE UNREGULATED, THE BROKEN, THE  UNSURE, AND ALL MANNER OF FORM THAT IS ITSELF UNASSIMILABLE BECAUSE  IT CANNOT PRODUCE AS ONE WOULD WISH.

CATACHRESIS IS MALLEABLE, 
MOVABLE, PEOPLE PLEASING, AND GENERALLY THERE FOR WHATEVER IT IS  THAT PEOPLE WANT OR NEED IN THAT MOMENT. IT IS ALWAYS CHANGING

STATEMENT:

Through an intertwined practice of object-making, writing, performance, and publishing I engage structures of valuation, meaning production, distribution, and knowledge in pursuit of an alternative form of what Stefano Harney and Fred Moten refer to as study. By starting from an idea of art as pedagogical and propagandistic (as W.E.B. Dubois would put it) I distort grammatical and structural elements as they produce meaning. Writing and performance practices constantly interweave and undulate, moving between the written mode and the mode of the uttered and the gestured. Past object works have operated as physical object-sentences, creating relationships between what I called word-objects that articulate through relation. Working through different ideas of study necessitates a larger expanse of modal shifts between forms: conversational study sessions; essayistic lecture performances; poetic essays about health justice, faciality, care, and nonbinary queerness; edited publications that think they are galleries; and et cets. This practice is a dedication to the misuse of meaning, codetermined conversation, and social study. I oppose desire for concrete meaning, and search for tangents, rhizomes, inconsistencies, openings, and mismanagements. In the pursuit of study, I work towards a distribution of information that crafts potential, camaraderie, and even friendship. In that sense consider this artist statement less of a direction of understanding, and more of a guiding abstract towards a meaningful relationship.