ABSTRACT
Liz Magor's exhibition "The Mouth and Other Storage Facilities" starts with a stag's head. A sense of disjunction is felt frequently when turning away from the stag's head to confront the bulk of Magor's installation which, at first glance, resembles the aftermath of a festive event. Her material exhibits careful and respectful handling, but there are plenty of indications of abuse, disregard, and violence: the remains of sweets and other foodstuffs are frequently placed on platters, perhaps by a proprietor who was unconcerned with clearing them off. Indeed, Magor's display refuses a clear-cut separation of subject and object, wavering between the condition of "imperious conceptualizer and a desensualized world of things-become-concepts." A foreign object (a bottle, a candy bar) abruptly breaks the seamless and smooth contours of a subject—so sensitively and splendidly described—implying a selfhood that is no longer secure, that is compromised.
