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+date_start: '22-03-2019 16:06'
+date_end: '03-05-2019 16:07'
+lieux: '12th Floor'
+title: Cicatrices
+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'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+On an epithelial level, the scar is simply a mark, a regenerated piece of tissue, a healed lesion
+that conventionally follows the infliction of an incision or a burn, either intentional or not. Of
+this trace however, we almost instantly find that it does not suffice to regard it as a mere
+peculiarity of the dermis, as what is crucial to this fibrous section of tissue is the meta-
+cutaneous, its metonymic relationship to a particular event or action. This is the primary trait
+of any scar: that it signifies beyond the skin, beyond the biological palimpsest that it has
+produced. We are, at first, tempted to associate it with the traumatic, with the remnants of
+suffering that make of it a relic of pain, both physical and cognitive, an agonizing recollection
+of consumed passions and jagged embraces, flaming within our psyche and manifest with the
+illuminated perspex sculptures of Isaac Lythgoe. Yet, is it not a scar that also reminds one of
+birth, of being removed from the womb for, which our mothers bear a caesarean section or
+we, a snipping away of the umbilical cord? Can the postpartum depression alluded to by
+Srijon Chowdhury’s distracted mother-infant dyad not foreshadow a latter maternal joy, an
+expulsion of postnatal morbidity?
+If we look past the mere a priori and posteriori of the scar we begin its exoneration, its
+acknowledgement as a mode of ‘becoming’ with aesthetic, religious, socio-cultural, and
+adaptive facets. The tattoo reaffirms this, for it not only physically exteriorises the intrinsic,
+symbolically branding the epidermis, but performs the function of ritual by subjecting one to
+the repeated injection of their beliefs. Such Maia Regis’ effaced protagonist, dog and pistol in
+hand, imparts further potency to its all too visceral surroundings via the snake emblem
+ascending their torso, the scar given agency. The kissing silicone sculptures of Casja von
+Zeipel too recall this piercing and tinting of the skin through selective transparencies and the
+emulation of a cracked reptilian dermis undergoing ecdysis (molting), further inscribing their
+hyper-visiblity by means of their hybridity. Synthetic and organic, their skin, double-layered or
+scaled, appears mechanically superior while still presenting the human characteristic of
+retaining traces, or bearing scars. This dualism, the recalling of an organic anterior, further
+prompt a focus on DNA, one expressed by Adriano Amaral in his employment of natural
+materials such as tree bark and spirulina alongside shapes of contemporary industry. The
+ramifications emerging from Amaral’s tubular structures delineate an ecological scarification
+inflicted upon flora and fauna rather than the human flesh, proposing the solution of
+prosthetics as a method of undoing any damage to the organic. A similar approach lies within
+Jean-Marie Appriou’s sculptures of marine creatures. Displaying a hereditary connection to
+their material makeup, for glass is made out of sand, such works however, conversely,
+emphasize their static adherence to the gallery wall rendering the objet d’art no different to a
+biological specimen. There is no question of hybridity as with Zeipel or Amaral, urging rather
+recognition through a confrontation with artifice.
+John Miserendino’s variegated marbles too evidentiate their flesh-like striations in order to
+uncover a particularity akin to DNA. Each marble is modeled after, yet not sculpted to
+resemble a figure, breaking with a tradition of purity (white-ness) and the relative anonymity
+of material by accentuating surface lesions and vivid chromatic schemes. The notions of
+transmission and trace exist not only within such marbles, for through the work of Muriel
+Abadie an idea of recollection, of one's personal rather than cultural history surfaces with
+the sketch. Abadie seeks to access a realm of the familiar, to awaken in all of us a forgotten
+memory that can appear through the visual. Her urge is collective, remembrance as
+protection against temporal perdition. Within our efforts to heal, perhaps the same can be
+said for the cicatrice...