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---
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date_start: '22-03-2019 16:06'
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date: '22-03-2019 16:06'
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date_end: '03-05-2019 12:38'
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lieux: '12th Floor'
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title: Cicatrices
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artistes: 'Jean-marie appriou, Srijon Chowdhury, John miserendino, Cajsa von zeipel, Adriano amaral, muriel abadie'
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media_order: 'Adriano Amaral, Untitled, 2018.jpg,Adriano Amaral, Untitled, 2018(1).jpg,Adriano Amaral, Untitled, 2018(2).jpg,Cajsa von Zeipel, When_ and Why_, 2019.jpg,Cajsa von Zeipel, Why_, 2019, When_, 2019.jpg,Details of Adriano Amaral, Untitled, 2018.jpg,Details of Cajsa von Zeipel, When_ and Why_, 2019.jpg,Installation Isaac Lythgoe and Muriel Abadie.jpg,Isaac Lythgoe, grip the wheel, look straight ahead, 2016.jpg,Jean-Marie Appriou, Shrimp, 2018.jpg,John Miserendino, L’origine du monde, 2018.jpg,John Miserendino, Mamie and Marco, 2018.jpg,Muriel Abadie, Masked Monkey, 2018.jpg'
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title: 'Cicatrices, '
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artistes: ' Muriel Abadie, Adriano Amaral, Jean-marie Appriou, Srijon Chowdhury, Isaac Lythgoe, John Miserendino, Maïa Régis, Cajsa von Zeipel'
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media_order: 'Installation Isaac Lythgoe and Muriel Abadie.jpg,Jean-Marie Appriou, Shrimp, 2018.jpg,Muriel Abadie, Masked Monkey, 2018.jpg,John Miserendino, Mamie and Marco, 2018.jpg,Adriano Amaral, Untitled, 2018.jpg,John Miserendino, L’origine du monde, 2018.jpg,Isaac Lythgoe, grip the wheel, look straight ahead, 2016.jpg,Details of Adriano Amaral, Untitled, 2018.jpg,Adriano Amaral, Untitled, 2018(2).jpg,Casja von Zeipel ''When?'', 2019.jpg,Adriano Amaral, untitled, 2018, Maïa Regis, Ramon Reyna, 2018.jpg,Details of Cajsa von Zeipel, When? and Why?, 2019.jpg,Cajsa von Zeipel, When? and Why?, 2019.jpg,Adriano Amaral, Untitled, 2018.jpg'
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show_sidebar: false
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aura:
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pagetype: website
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@@ -23,6 +24,7 @@ birth, of being removed from the womb for, which our mothers bear a caesarean se
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we, a snipping away of the umbilical cord? Can the postpartum depression alluded to by
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Srijon Chowdhury’s distracted mother-infant dyad not foreshadow a latter maternal joy, an
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expulsion of postnatal morbidity?
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If we look past the mere a priori and posteriori of the scar we begin its exoneration, its
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acknowledgement as a mode of ‘becoming’ with aesthetic, religious, socio-cultural, and
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adaptive facets. The tattoo reaffirms this, for it not only physically exteriorises the intrinsic,
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@@ -45,6 +47,7 @@ their material makeup, for glass is made out of sand, such works however, conver
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emphasize their static adherence to the gallery wall rendering the objet d’art no different to a
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biological specimen. There is no question of hybridity as with Zeipel or Amaral, urging rather
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recognition through a confrontation with artifice.
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John Miserendino’s variegated marbles too evidentiate their flesh-like striations in order to
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uncover a particularity akin to DNA. Each marble is modeled after, yet not sculpted to
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resemble a figure, breaking with a tradition of purity (white-ness) and the relative anonymity
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@@ -54,4 +57,6 @@ Abadie an idea of recollection, of one's personal rather than cultural history s
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the sketch. Abadie seeks to access a realm of the familiar, to awaken in all of us a forgotten
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memory that can appear through the visual. Her urge is collective, remembrance as
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protection against temporal perdition. Within our efforts to heal, perhaps the same can be
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said for the cicatrice...
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said for the cicatrice.
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Words by Smaranda Ciubotaru
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