“We as women need to reclaim the positive value of the fluid, not as the opposite of the solid masculine but as something that can fill the spaces between the binary terms and join them into what Cixous has termed ‘a moving, limitlessly changing ensemble’, or what Deleuze and Guattari describe as an ‘assemblage’”.
Sally Evans in The Anti-Logos Weapon, 2011
The Inflammatory Choir is an on-growing collection of dilated fluids delivered by burning lips; encountered while researching the figure of Ariadne, known in Greek myths as the sister of the Minotaur, guard of Daedalus’s maze, and helper/lover of Theseus.
I wanted to rewrite her in her own name and own decisiveness, erasing the masculine forces which historically governed her story in order to draw a new one. As she crosses different spaces of initiation, empty paths and crowded waters; her story gets surrounded by the collected contributions. Specially edited for the presented magazine, they include interviews, photographs, projects features, novel extracts, poems, theoretical texts and quotes.
The magazine exist in two forms, which display the same content yet in different narratives, proposing alternative routes for accessing the collection:
and in print:
— Issue I: ‘A higher wave in sight’;
— Issue II: ‘Glowing in sweat, Dancing in dazzle’.
Top: Klara Graah. Contribution to The Inflammatory Choir Issue II titled 'Glowing in sweat, Dancing in dazzle'.
Bottom: Manon Bachelier. The Inflammatory Choir, installation view, graduation show, 2018.