ARE YOU REFERRING to this long interview?
That seems to be dealing/discussing contemporary art with the artist.
: -> Ottmann: Your latest project, GLORIA PATRI, seems to be as much a continuity of questions raised in your previous works as a departure from them.
Kelly: Well, I see it as a departure in some respects; for example, as an installation, it's much more integrated. I thought of it as a complete piece, whereas the previous projects consisted of a number of different sections. The way the work looks has also changed, the unification of materials, that kind of consolidation, visually, was important for me. But, yes, as far as continuity is concerned, there's probably even more I could talk about because all of the works do seem to emerge from a certain form of questioning. For example, in POST PARTUM DOCUMENT, I was looking at the intricacies of maternal desire, but I found at the end of it, I had to ask: what happens at another moment in a woman's life? How would femininity be constructed for her outside that privileged relation? This was what I tried to deal with in the next project, INTERIM. Then, when I was finishing its last section, "Potestas," which concerns the problem of difference and power, I began to think about the inadequacy of certain kinds of theorization of, say, the masquerade, the objectification of the woman, images of women. The whole question of power seemed to involve thinking about the construction of masculinity rather than femininity, for the woman. I also felt it had been altogether too easy to say that men have a less difficult role in the oedipal scenario. I mean, it might also be appropriate to think about the man's relation to the feminine term. So this was on the agenda when I started working on GLORIA PATRI. But then it was really put in place by the events of the Persian Gulf war. .... . . .-> . pathological structuring of masculinity that this specific condition — the Gulf war — provoked.