Spectrum of Inevitable Violence (2010 - 12)

‘Spectrum of Inevitable Violence’ is a choreography in quiet paranoia that explodes into irreverence and revolt. This installation and public performance invites participants to survey and analyze their class background across four categories of power: Socioeconomic Status, Cultural Capital, Class Status, and Social Mobility. The resulting scores are mapped onto a four quadrant stage that serves as territory to defend in a dynamic confrontation—with food as ammunition.

More on this work →


Class Anxieties (2012)

A series of looping, two-channel, personal narratives that reveal moments of tension and complexity related to issues of social class. The videos were part of a large-scale installation and performance, ‘Spectrum of Inevitable Violence.’

More on this work →


Secondary Sex Characteristics (2009 - 12)

In Secondary Sex Characteristics, Caitlin Berrigan lovingly inscribes the flecks, curls, and tangles of her subjects’ chest and nipple hair. The ink on vellum drawings linger perversely within notions of the secondary, the trivial, and the liminal.

More on this work →


Adoring Appetite (2011)

Caitlin Berrigan & Anya Liftig often use food in their work as a driving force of desire and social allegory. In this collaborative intervention, they will explore the obsessions, myths and terrors of motherhood through an act of cannibalism. Amidst unsuspecting midday lunchers and farmers market shoppers, the two young & upright mommies coddled, pet, kissed, licked and ultimately devoured life-sized babies cast in chocolate.

More on this work →


Victory Gardening (2011)

A site-specific work created for Governors Island, a former military fortress that has changed hands among nations over the centuries. As a pathetic political gesture, I circled the perimeter of the island for 3 days, endlessly declaring VICTORY in an evaporating medium. The rolling drum left a repeating trail of text, stenciled in water on the pavement for the public, which evaporated slowly under the sun.

More on this work →


Repo Jet (2009 - In progress)

A repossessed jet airplane transformed into an off-grid, mobile living unit. Repo Jet hails from dispossessed economies, American excess, global tourism and placelessness. Designed for flight yet always grounded, it will be pulled by a small fleet of bicycles, traveling across the States to record people's visions for the future and providing spectacle where ghost towns and tent cities stand amidst legendary wilderness and speculation.

More on this work →


Spectrum of Inevitable Violence (2010)

Spectrum of Inevitable Violence is a class warfare food fight about unresolved and elusive forces in cultural and spatial politics. The surveying, mapping, and catharsis of class dynamics come together in this participatory work. The battle provides an outlet for all these tensions that lie below the surface of language.

More on this work →


Marshmallow Crash (2008)

Marshmallow Crash depicts an American Pie character as she violently confronts an oversized marshmallow amidst an idyllic pastoral landscape. The light, fluffy buoyancy promised by the giant marshmallow is never quite delivered as the character repeatedly impacts the marshmallow and is left marked, exhausted and unfulfilled.

More on this work →


The Marshmallow Suicide (2008)

In The Marshmallow Suicide, a desperately nostalgic American Pie character slowly gluttonizes a giant marshmallow while repeating the chorus of Don McLean’s “American Pie.” The cathartic repetition impels the figure to float away on the lake atop the marshmallow, and subsequently drown herself in an act of despair.

More on this work →


Casualties (2009 - Ongoing)

Data spoken sequentially representing violent Iraqi civilian deaths attributed to the U.S. invasion since 2003.

More on this work →


Transfers (2009)

Transfers depicts two performers transferring one full pitcher of milk through the interface of their mouths, to fill an empty pitcher. The action repeats when the first pitcher is emptied and the other is full. This simply choreographed performance evokes tender embraces and the nurture of milk. Yet the transfer of fluids from mouth to mouth and back again adds a layer of repugnance, gently pushing the boundaries of bodily permeability.

More on this work →


Transfers, Live (2009)

Transfers was performed live during an exhibition opening. A full pitcher of milk was transferred to another pitcher, mouthful by mouthful, among four sequential performers. When the first transfer was complete, the pitcher of milk was transferred in the reverse direction. The performers melded with the art-going public, conversing with the audience and moving around the space.The action was therefore not a spectacle, but slowly revealed itself through glimpses of gestures, both intimate and functional.

More on this work →


Transfers, Sweet (2009)

The artist marked the gallery walls with a barely visible line of sweet flavor, level with the height of her mouth. Visitors were invited to find and taste this flavor along the perimeters of the gallery space.

More on this work →


Traces (2009)

Traces is a renewable sculpture of the artist’s own disembodied kidney, cast in frozen spit. Every two hours a new frozen organ is put on display, only to melt and drip away. The artist carefully traced the topography of her internal organ from a 3D MRI in order to materialize its form outside of her body. Traces is a poetic deterritorialization of medical biotechnologies, organs without bodies and fleshy displacements.

More on this work →


Hepatophagy (2008)

Hepatophagy is an artist’s multiple commissioned for the Whitney Museum’s “Initial Public Offerings” & given to the public for free. The Delftware-style coupe plate depicts a portrait of the artist engaging in auto-cannibalism. It is accompanied by a small chocolate truffle cast from a 3D MRI of the artist’s liver.

More on this work →


Life Cycle of a Common Weed (2008-09)

The public is solicited to fertilize dandelions with their blood, in exchange for dandelion root tea and seedlings. The collective pooling of blood from the audience transforms Life Cycle of a Common Weed into a site for the private and public to converge; a space to encounter and analyze anxieties. Intimate dialogue is a natural consequence of this interface.

More on this work →


Viral Confections (2006-07)

These chocolates illustrate the protein structure of the hepatitis C virus. A model of the virus was printed from a magnified 3D cryoelectron micrograph of the virus from the Protein Data Bank. Desire to eat the enticing chocolates is mixed with a repulsion for the infectious virus. This unnerving dialectic has proved to be an exciting and approachable way to ignite discussion and facilitate awareness in public environments.

More on this work →


Viral Shelter (2007-08)

“Tea Party to Befriend a Virus” is a tactical event in which participants are invited to consume the hepatitis C truffles and discuss the virus in a non-medical environment. The individual encounters and conversations at each site are actively productive, if ephemeral. The tea parties are held in a “Viral Shelter,” a geodesic dome that shares the same architecture as the hepatitis C virus.

More on this work →