From Planchette to Baphomet, Ouija’s Deal with the Devil
Come to The Satanic Temple on Oct 7th and experience the dark history of the Ouija board. You’ll see one of the largest talking board exhibits ever to be displayed to the public. Featuring more than 100 pieces from antique boards and planchettes to photographs, advertisements, and ephemera all telling the story of talking boards from 1890 to the present day.
The Witch City in October sets the standard for things spooky and macabre. Known for its dark past and connection to the occult, most know of its Witch trials history but not it’s Witch Board or Ouija history. Witch Boards, Talking Boards, or Devil Boards as they are also known were made in Salem from 1966-1991. In that time they became one of America’s most popular games. At one point outselling Monopoly, the Ouija Board is often a person’s first experience with the occult and available at any toy store. But is it a game? Can you really talk to the dead? “It’s only a game… Isn’t it?”
*Runs through October
Mark Porter was born in Warwick, Rhode Island, but is based in Brooklyn, where he has established a studio that merges sculpture, installation, and innovative construction techniques across mediums. Trained in classical sculpture, Mark worked as Boaz Vaadia’s assistant, finding a great affinity in the artist’s use of space and the natural environment in his sculptures. While Mark does not deliberately court controversy, his combination of the beautiful and the disturbing rendered with a precise technique and modern mindset can lead the casual observer to mistake him for a provocateur. The greater narrative in this work, however, relates to an understanding of the truth that is revealed in the interaction between materials, form, and gesture. In this revelation, strength may be cast in disposable plastics while fragile subtle elements are embodied in steel.
The work of Christopher P. Andres likens the spirit of his work to Clive Barker’s poetic description of the Cenobites as “repulsive glamour” – images and sculptures that reconcile beauty and horror, play things and idols, the sacred and the blasphemous. Andres draws from the proactive attitudes of Joel-Peter Witkin, Pierre et Gilles, Kara Walker, Michael Ray Charles, and Rupaul. His sculptures echo veneration found both in the adult toy collector and the devotee of a saint statue. His photographs reflect contemplations of religious icons and fashion editorials. His work was a constant and delicious challenge the institution where he earned his MFA, The University of Notre Dame.