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JULES MARQUIS 2015
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Jules Marquis ia a collaborative project by Daniel Turner and Colin Snapp. As a parody of consumption the works are formed out of extent materials, preferring instead to
illuminate the absurdity of the media we’re exposed to daily. Through Jules Marquis, static codifications like little league baseball games, vintage Hollywood films,
advertisements on the subway, are re-contexualized in a way that exhibits their a-historical aspects, as though they were inviolable “classics” that can neither be created nor
destroyed. In the spirit of play, Jules doesn’t create so much as she recreates the cultural mores that surround us, reciting their signifiers back to us, the viewers, with the
depersonalized indifference of a teleprompter. A neo-conceptualist, Jules Marquis recastes the Lippardian vision of an activist art “confined to no particular style and...best
defined in terms of its functions.”   

The works attributable to Jules Marquis deliberately hover somewhere between concept and realization. Consider, for example, Delta Performance JFK to LGA (2009). The
project was a “performance” in which the rubric of theater had been cast off. No curtain was ever drawn; nothing was ever concealed. Rather, all activity within the
performative context took on a directly efficacious social function. A ticket was purchased and a flight was taken from JFK to LaGuardia airport; everything was
pragmatically enacted. Yet the ticket of purchase remained after the performance, the activity of taking a flight having dissolved into a visible object, like a souvenir. Framed,
the ticket became an art object, and took on a double sense. On the one hand, the price of such a brief flight was made apparent: $493.47. On the other, the ticket indicated an
invisible history, an accomplished fact whose ultimate meaning resisted closure.

Delta Performance was designed to expose the dialectic of distance and proximity within what one would otherwise think to be a continuous area. But there is a moment of
interpretation, of interrogation on the part of the viewer, which inserts him or her into the overall meaning of the piece. Jules becomes the parody of self-alienation pushed to
its extreme limit, where at any moment, the logic of consumption can be reversed. Consuming creatively, transforming mere representations into instruments of genuine
satisfaction, the Eternal Present of need-driven dependency is replaced by the discontinuous duration of authentic enjoyment. Countering the productive necrosis of capital,
a work by Jules is a chance to make art out of virtually anything, even works that violate the standards of Snapp’s and Turner’s individual practices. When Jules Marquis
reflects the world, experience speaks for itself in all its absurdity and mindful destructiveness.