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+---
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+date_start: '22-03-2019 16:06'
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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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+show_sidebar: false
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+aura:
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+ pagetype: website
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+---
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+
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+On an epithelial level, the scar is simply a mark, a regenerated piece of tissue, a healed lesion
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+that conventionally follows the infliction of an incision or a burn, either intentional or not. Of
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+this trace however, we almost instantly find that it does not suffice to regard it as a mere
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+peculiarity of the dermis, as what is crucial to this fibrous section of tissue is the meta-
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+cutaneous, its metonymic relationship to a particular event or action. This is the primary trait
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+of any scar: that it signifies beyond the skin, beyond the biological palimpsest that it has
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+produced. We are, at first, tempted to associate it with the traumatic, with the remnants of
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+suffering that make of it a relic of pain, both physical and cognitive, an agonizing recollection
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+of consumed passions and jagged embraces, flaming within our psyche and manifest with the
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+illuminated perspex sculptures of Isaac Lythgoe. Yet, is it not a scar that also reminds one of
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+birth, of being removed from the womb for, which our mothers bear a caesarean section or
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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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+symbolically branding the epidermis, but performs the function of ritual by subjecting one to
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+the repeated injection of their beliefs. Such Maia Regis’ effaced protagonist, dog and pistol in
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+hand, imparts further potency to its all too visceral surroundings via the snake emblem
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+ascending their torso, the scar given agency. The kissing silicone sculptures of Casja von
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+Zeipel too recall this piercing and tinting of the skin through selective transparencies and the
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+emulation of a cracked reptilian dermis undergoing ecdysis (molting), further inscribing their
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+hyper-visiblity by means of their hybridity. Synthetic and organic, their skin, double-layered or
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+scaled, appears mechanically superior while still presenting the human characteristic of
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+retaining traces, or bearing scars. This dualism, the recalling of an organic anterior, further
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+prompt a focus on DNA, one expressed by Adriano Amaral in his employment of natural
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+materials such as tree bark and spirulina alongside shapes of contemporary industry. The
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+ramifications emerging from Amaral’s tubular structures delineate an ecological scarification
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+inflicted upon flora and fauna rather than the human flesh, proposing the solution of
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+prosthetics as a method of undoing any damage to the organic. A similar approach lies within
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+Jean-Marie Appriou’s sculptures of marine creatures. Displaying a hereditary connection to
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+their material makeup, for glass is made out of sand, such works however, conversely,
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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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+of material by accentuating surface lesions and vivid chromatic schemes. The notions of
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+transmission and trace exist not only within such marbles, for through the work of Muriel
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+Abadie an idea of recollection, of one's personal rather than cultural history surfaces with
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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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