Group Show Exhibtion
Undone
Love Beyond Spectacle
What becomes of tenderness when it is reduced to image?
This call seeks work that emerges from the tension of these questions:
What does love become when it is asked to uplift status as form?
What happens to the body when it wants to be seen but fears being consumed?
Can tenderness survive being aestheticized?
What is the cost of treating need, grief, or confusion as failures of the self?
What gestures undo the limits on relation as spectacle?
What kinds of form makes space for real risk, real contact, real transformation?
Can art still hold the rawness of love without folding it into a brandable object?
What would it mean to make something that sits with the wound?
We are not seeking easy answers, but are instead interested in the embodied work that breathes inside them. Movement that refuses the safety of performance in place of transformation. Art that dares to make feral our orientation to love.
What happens to love when it is asked to perform?
We want you to stay in this mess with us.
Under capitalism, we are taught to curate the self into something consistent, appealing, and easily consumed. Others are made into mirrors or leverage, objects to use or discard when no longer easily digestible. Use and status become proof of value, reducing love and our relations to mere transactions. This exhibition refuses that perception as one grounded in a lack of imaginative care and creativity. We are therefore inviting artists to submit work that lingers in the soft, chaotic, or unresolvable aspects of relation—vulnerability, grief, need, contradiction, uncertainty. We are interested in how creative practice can hold these relational states without turning them into signs of use, icon, or control.
When/Where
October 13th / Bywater, New Orleans
UNDONE
UNDONE
OCT 13 BYWATER NEW ORLEANS
OCT 13 BYWATER NEW ORLEANS
Under capitalism, we experience both love and self as polished products, turning the relation between self and other into transactions. Instead of entering relation as a site of transformation, we approach others to reinforce our curated identity. Vulnerability, interdependence, and emotional messiness—core aspects of real connection—are framed as signs of instability. People become mirrors or leverage, not co-participants. Alienation is marketed as emotional stability. To be untouched is to be good.
Art, shaped by the same system, becomes a double agent. It can open a path back to relation—tender, disruptive, uncontrollable. Or it can reinforce the very machinery it critiques. It can turn feeling into image, rupture into icon, and icon into content. Even when it gestures toward transformation, it can still be absorbed into forms that keep the viewer safe: able to recognize, but not participate.
This exhibition treats art as a threshold—not inherently redemptive, not inherently corrupt, but a ceremonial pressure point along the caldera’s edge