e / d

teilnehmende Künstler:


Julia Heyward & Ericka Beckman

Mary Beth Edelson

Bill Hayden & Heji Shin

Jibade-Khalil Huffman

Beatrice Loft Schulz

Kandis Williams

& assorted texts


Kuratoren:

Elisa R. Linn, Lennart Wolff


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Eröffnung:

Samstag, 11. November 2017, 18 Uhr

/


Shoot the Lobster


New York, NY 10002

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The curls of a man; the brow that they hide, A living soul inside; the tender skin; And the folds of his suit at his lap, All things that I saw as a child

— A un cuarp, Pier Paolo Pasolini


The poem A un cuarp  [To A Body] first appears to be an intimate document of the author's sexual desire. However, originally written in Friulian – a marginal language within the hegemonic territory of Italian linguistic culture, which prior to Pasolini’s engagement had not existed in modern literature – it posses a hidden quality as a linguistic and cultural expression that awaits liberation.

Becoming directly sensual, its expression distinctly and uniquely physiological, the poem and its language are the folds of [a] suit that await unfolding, undoing and exposure. To A Body tends to function like the snapshot of an emerging culture for its ability to capture the expressions of a body during a transitive and therefore limited moment of expression.1


To what extent can the body be understood as not only a subject who produces and who, because it produces art, shows us the paradigm of production in general, the power of life, but as a machine into which production and art inscribe themselves?


Departing from Pasolini’s To a Body, the exhibition reflects on the relationship between bodies and language and on the role that art works play both as products and agents in the formation of subjects. Considering the notion of desire, affect and pleasure – as being necessarily entangled with the political – constitutes a starting point for many of the works on view. As desire might be understood as being always a desire for recognition by others, some of the contributions engage with questions of representation and visibility, while addressing its function as an integral part of the ways in which powerful norms and discourses come to be reproduced. Here the need for a subjection to the norms of recognition leads to a fundamental dependency on a discourse that is not chosen, but allows and preserves an ability to act. As  this dependency locates us ‘outside of ourselves’, in a ‘broader sociality’ the works in To A Body employ performance, video, photography, text and sculpture in an attempt to interrupt the process of subjectivization: the formation of a one that is not a self but is the relation of a self to another.


1.  Pasquale Verdicchio, Looters, Photographers, and Thieves: Aspects of Italian Photographic Culture, 2011

To a Body


11/11/2017 - 22/12/2017

installation view

installation view


Bill Hayden, Heji Shin, Untitled, 2015

Beatrice Loft Schulz, You're Not Alone, 2017

Jibade-Khalil Huffman, Duets (A [and in order of appearance]), 2017

Beatrice Loft Schulz, You're Not Alone, 2017

installation view

Kandis Williams, Nathan, Allie, Viola, John, all 2017

Jibade-Khalil Huffman, Duets (A [and in order of appearance]), 2017

Mary Beth Edelson, One Black Holes &  Two Black Holes, 1975

Julia Heyward, Bay of Pig, 1985

Julia Heyward, Bay of Pig, 1985

Pasolini's Bodies and Places. Edited by Michele Mancini and Giuseppe Perrella, Patrick Frey Editions, 2017

Julia Heyward & Ericka Beckman, Circuit City 1992, 1992

Julia Heyward & Ericka Beckman, Circuit City 1992, 1992

Kandis Williams, But it actually blocks memory, quickly becomes a counter-memory. 2016

Beatrice Loft Schulz, You're Not Alone, 2017

Kandis Williams, Nathan, Allie, Viola, John, all 2017

installation view