Morag Keil

Morag Keil’s practice is ouroboric: self-referring, self-erasing, self-consuming, regurgitating. Keil’s installations have the bald efficiency of something bargain-bucket but workable. This amateurish construction — of clunky paper-mâché houses downtrodden with office heels, of a low-fi camera’s glitchy rove over motorbikes — actualises her reflection of contemporaneity’s squashing and conditioning of subjectivity, as well as the interlocking of production and pleasure. Beneath the watermark of ...Read more