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A Biography of Daphne

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A Biography of Daphne A Biography of Daphne A Biography of Daphne A Biography of Daphne demonstrates his power by shooting the Mihnea Mircan myth’s protagonists with two arrows: the god Becky Beasley of the sun is consumed by desire for Daphne, Erik Bünger while she – having resolved to remain a Lauren Burrow A Biography of Daphne revisits the Classical virgin – flees Apollo in horror. At the moment Fabien Giraud & Raphaël Siboni myth of Daphne as the starting point for an of imminent capture, Daphne pleads with her Gabrielle Goliath investigation of trauma and metamorphosis, father, the river god Peneus, to be saved and Ho Tzu Nyen symbiosis and entanglement in contemporary is transformed into the tree that bears her Sanja Iveković art. Daphne, the nymph who turned into a name, the laurel. Defeated, Apollo claims Mathew Jones tree to evade the assault of the god Apollo, the tree as his emblem and – as part of the Candice Lin & P. Staff is recast as a thinking model for the rituals of prognostication at his temples Steve McQueen ruptures between the ‘figures’ and ‘grounds’ – fashions his crown, the crown worn by all Jill Magid of today’s visual, social, political and ‘laureates’ since, from a branch of Daphne’s Nicholas Mangan ecological environments. Daphne also serves new body, which still recoils from his Inge Meijer as a dynamic template for the cyclical touch. Jean-Luc Moulène timelines of myth and their intersections Ciprian Mureșan with technological contexts that frame a While the earliest images of Daphne – in Agostino dei Musi contemporary understanding of transformation, Greek art and in Pompeii frescoes, Coptic wood Jean Painlevé personal or collective. From these carvings and Gallo-Roman art – draw on older Roee Rosen related perspectives, A Biography of Daphne fables around the laurel tree and the ancient Wingu Tingima explores the integrity and vulnerability of cults of trees (‘the first temples of the Mona V t manu & Florin Tudor bodies, their performative or prosthetic gods’ according to Pliny the Elder), the Anthonie Waterloo enhancements, and the alliances they enter – most significant segment in her iconographic Katie West across species or registers of representation – history begins when Ovid is rediscovered by that open identity to the possibility of European theology in the 13th century, and Guest Curator: a radical othering. representations of his myths begin to multiply Mihnea Mircan in manuscripts. Ovidian figures are either Daphne’s earliest surviving co-opted as emblems of Christian virtues, Australian Centre representations, from the Hellenistic Age or as characters in the epoch’s narratives for Contemporary Art in the 5th century BCE, predate the first of the monstrous form, in bestiaries that 26 June–5 September 2021 canonical narration of the myth, in Ovid’s catalogue heterodox and transgressive Metamorphoses: an opus in fifteen books becomings. Medieval illuminations of Daphne’s about transformations in Greek and Roman metamorphosis, reimagined as an example of mythologies, written – like the Iliad and chastity, set into motion one of Western the Odyssey – in dactylic hexameter, and European art’s most significant and enduring completed in 8 CE, during Ovid’s exile at tropes: an extended allegory of body and place, Tomis (currently Constanța, in Romania), at adversity and triumph, subjection and agency. the Eastern frontier of the Roman Empire. The poem integrates 250 myths in a complete Daphne’s representations proliferate in history of the world, from its creation to the Renaissance as a cryptoanatomy that the apotheosis of Julius Caesar. Ovid’s is intersperses the human and the vegetal, and a shape-shifting universe, where all beings as an enigmatic apparition arising at the share a primal substrate of matter: one threshold between figure and landscape. Baroque form turning into another is an exposition artists compose an inventory of almost serial of their fundamental affinity, of their co- permutations of exposure and repulsion, implication in a cosmos where no entity visibility and camouflage around Daphne, whose precedes the sets of relations that it brings transformation is the occasion for myriad into being. variations of the dramatic contrappostos that bind pursuer and prey, anguished flight and Ovid’s poem is an uninterrupted cycle paralysis, as roots stem from the feet of the of dis- and re-embodiments, a vortex of running nymph. mutable shapes that unites gods, demi- gods and mortals as they transform into Modern art – most explicitly through Salvador plants or animals, rivers and stones as Dalí, Paul Delvaux and Ossip Zadkine, temporary personifications of passion and although the motif reverberates through defencelessness, violence and endurance, the practice of many Surrealist artists and change and its permanence. Illustrating their successors – recuperates Daphne as the competition between chaos and form that a figure in and of crisis, whose coherence animates the cosmos, Ovid’s Metamorphoses disaggregates and recomposes in the push and includes Daphne’s myth in its first book, pull between the dark forces of the psyche where her story is used to explain one of and the onslaught of the external world. Apollo’s attributes: the laurel crown. Beyond a preoccupation with the plasticity and Following a contest with Apollo, Cupid spectacle of metamorphosis, what unites these An Iconography of Daphne Francesco del Cossa, Saint Master of Auvergne Lucy 1473, Samuel H. Kress (attributed), Apollo and Collection, The National Tintoretto (Jacopo Daphne, 15th century, in the Jacob Christian Schäffer, Gallery of Art, Washington. Robusti), Daphne Chased by Daphnia, Die Grünen book Christine de Pizan, Pontormo (Jacopo Carucci), [Cf. Fabien Giraud & Apollo and Transformed into Armpolypen / The Green Epistre Othea, collection Apollo and Daphne 1513, Abraham Jamnitzer, Raphaël Siboni] a Laurel Tree 1541, Galeria Branch-Polyps 1755, of the Royal Library, The Bowdoin College Museum Statuette of Daphne, late Estense, Modena. [Cf. Becky th (detail of illustration), Hague. [Cf. Lauren Burrow] of Art, Brunswick, Maine, 16 century, Staatliche Beasley] in the book Wasserflühe/ USA. [Cf. Steve McQueen] Kunstsammlungen, Dresden. [Cf. Nicholas Mangan] Waterfleas. [Cf. Jean Painlevé] Paul Delvaux, The Break of Day 1937, Peggy Guggenheim Collection, Venice. [Cf. Katie West] Claude Cahun, Je tends Ossip Zadkine, Daphne 1953, les bras/I Extend My Arms Zadkine Museum, Paris. [Cf. Pietro Angeletti, Apollo 1932, Cobra Museum of Inge Meijer] and Daphne c 1780, above Modern Art, Amstelveen, Gian Lorenzo Bernini, The Netherlands. [Cf. Apollo and Daphne 1625, Jean-Luc Moulène] Galeria Borghese, Rome. [Cf. Ciprian Mureșan] Pyke Koch, Daphne 1948, Voorlinden Museum, Wassenaar, The Netherlands. [Cf Gabrielle Goliath] John Collier, Priestess of Delphi 1891, Art Gallery of South Australia, Adelaide. [Cf. Roee Rosen] otherwise distinct examples of engagement Daphne as she flees Apollo in the Waterloo The exhibition responds to the violence that between two bodies, pulsating with variations with the myth is a chronological operation: etching, to the thematisation of a continuity precedes the metamorphosis as the brute fact and symmetries: it is being traversed, a repeated update of the myth, often placed between canvas and country, edgeless image of an attack, but also as a symptom within conversely, by the world. Lin and Staff’s work against a contemporaneous backdrop, an act of and geographical expanse, ways of making a larger matrix of aggression and fragility visualises and performs the permeability to visual translation where the transformation pictures and modes of inhabitation, in the to do with life under late capitalism, and change that overcomes prescribed schemas of is reconfigured in relation to new mindsets work by Katie West. The other arc connects the cycles of extinction and reanimation identity, and fashions new forms and behaviours or ideas. In other words, artists gravitate Steve McQueen’s reworking of the Surrealist of the Anthropocene. Crucially, throughout from the spaces between what we have been to Daphne’s paradoxes at times when her trope of the violated eye and Mathew Jones’ these propositions Daphne is not reduced to told we are, that with which we identify, and convulsively interlocked bodies seem able oblique engagement with the temporality the condition of a victim, but portrayed as what we might become. to respond to shifts in each epoch’s and politics of May Gibbs’ Snugglepot and a dialectical figure that short-circuits and imagination, to the interplay between crisis Cuddlepie, a warped relation between present illuminates colossal power differentials, and survival, personhood and anonymity, the and future expressed in a clandestine, veiled that embodies and spatialises a resistance to centripetal tensions that structure the self figure. These perspective lines extend from unconstrained dominance. Demarcating a place and its centrifugal dispersal in a perilous blindspots or obstruction to scenes of visual that is outside the reach of its theoretical world. Like Ovid’s telescopic passage from drift, from seeing almost nothing to the limitlessness, transformed by and triumphing genesis to the present, and like the long excessing of the frame. Such juxtapositions over its violence and toxicity to equal List of Works sequence of revisions the myth undergoes in art in the exhibition aim to replicate Daphne’s extents, Daphne is recast here as a myth from history – via which it is always in the process own figural drama – the ways in which a a new cosmogony, telling of metamorphosed of becoming contemporary – this exhibition metamorphosis becomes an image, by rotating relations – with and in the world – that likewise aims to create an expanded contemporary the axes of orientation of the transformed structure identity and the natural or landscape around Daphne’s becoming, teasing body from ‘portrait’ to ‘landscape’: from symbolic biotopes with which it co-evolves. out a dialogue between her ‘biography’ and the blurs of movement where identities – some of the narratives that shape present-day godly and human, human and vegetal – are in Among various projects in the exhibition notions of transformation and identity.
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