A tear, engineered in 1856 by Rodolphe—the adulterous lover of Flaubert’s Madame Bovary—is dripped onto a breakup letter and sent to the heroine via messenger. “There ought to have been some tears on this; but I can’t cry; it isn’t my fault,” he says, but not to her. Then, having ’lled a drinking glass with water, Rodolphe dips his ’nger and lets a big drop fall onto the paper, leaving a pale stain on the ink. Cally Spooner’s monograph documents a large eco-system of over 40 works which takes the incident of this false tear as a lynch pin, to re—ect on the outsourcing, hijacking, erosion, decay, or destruction of personal, subjective utterance, in a 21st century hyper connected and ’- nancialized climate. For the monograph, Spooner describes each work in an active, present-tense voice, intercut with diagrams, drawings, culled and censored correspondence. New essays bring into focus central themes that play out in Spooner’s transdisciplinary performance work.›

CALLY SPOONER (*1983, Ascot, UK) is a British artist, based in Athens. Her work is generated through writing and unfolds as installation, sculpture, drawing, sound and performance, which often incorporate duration and rehearsal as a mode of resistance. She has had major solo shows across the US and Europe.