My heart is drenched in blood! My heart is drenched in blood!

My heart is drenched in blood! My heart is drenched in blood! is an exhibition by Glasgow-based Jericho Mars, developed over seven months in a former schoolhouse. Jericho thinks with practices of repeated, sustained attention, return, withdrawal and duration across site, material and speech. The work treats absence as operative; features of the gallery are included while elements of the work are excluded. These boundaries aren’t stable, elements enter and exit unevenly. Through removed material, infrastructural language, writing and latent performance, Jericho circulates objects and images without stabilising meaning. A stolen “ALL YOU CAN EAT WORLD BUFFET” sign continues to operate after removal, reorganising the gallery’s economy of meaning. Tiered seating prestructures relations of address and audience. A presidential teleprompter asymmetrically regulates the temporality and visibility of speech. Performance is present without accumulating toward event and language emerges without settling what it names. What counts and what doesn’t is distributed across what is present and what continues to act without appearing.

Occupying the north, south, east, and west walls of the gallery, the work emerges through relational grammar and formal reverberations of speech and matter. The already compromised, removed, unknown, over-named, unspoken, and underexplained remain pointing to structure at intervals, seconds, months, epochs, stations, cycles, revolutions, laps, turns, iterations, repetitions, returns, degrees, lines, axes, foci, tangents, folds, strata, faces, nodes, meters, phrases, tenses, moods, tempos, oscillations, units, divisions, steps, thresholds, sums, powers, limits, means, distributions, densities, accelerations, forces, moments, torques, drags, weights, spins, spectra, quanta, entropies


Jericho Mars is an artist, writer and musician attentive to the conditions under which language, sense and form structure the possible and cast out the persistent impossible. Through practices of repeated, sustained attention, return, withdrawal and duration across site, material and speech, Mars lingers on indeterminacy, remaining with what is devoid, latent, unsettled, unsayable. He has contributed writing to!the 23rd TULCA Festival of Visual Arts, Galway, Ireland (2025) and Arika Ep.11,!To End The World As We Know It, Glasgow, Scotland (2024). His film Love after the disappearance of the world!(2023 banned cut1, cut2) screened as part of Open Secret, an autonomous internet-cinema screening programme showing at IMAC Casa de la Cultura, Tecata/ Tijuana (2024); Sk"n" Gallery, Malmö (2024); Millennium Film Workshop, New York City, Etihadieh Space, Tehran (2024); Soft Systems, Chicago (2024); SET Vault, London (2024); Edinburgh College of Art, Edinburgh (2024), P3 Annihilation Eve, Manchester (2024); Underground Space, Toronto (2024); Morph Space, Copenhagen (2024); Trust Support, Berlin (2024); Becoming Press, Casa Do Comum, Lisbon (2025)