To bare oneself means to remain exposed as an image, to bring to the surface of the body every arcane depth, because “the world is composed exactly by and only by surfaces on top of surfaces.”
The word “body” refers to every being in space that can be detected through the senses. An exhibit aiming to focus on the exploration of the body and its representations must look not only at the human body as an organic whole, the “physical body”, but also at its more purely materialistic components, as in a dissection.
It's in this space brimming with such vision that bodies manifest themselves in different, disjointed layers. Every bodily part acts as if it’s the protagonist and some recall the others through the display of organic elements.
The sentient body, the one we inter-subjectively recognize as an alter ego, finds in love the recognition of its existence through nudity. The complexity of a hand that has in itself intellect, willfulness, dynamism, aesthetics, touch is one of the ways the sentient body discloses itself. It’s body that becomes matter and matter that becomes flesh.
Paul Mpagi Sepuya: Courtesy of the artist and DOCUMENT, Chicago
Naoki Sutter-Shudo: Courtesy of the artist and Bodega, New York
Victoria Colemegna, Courtesy of the artist and Paul Soto, Los Angeles
Body, Installation View
The phenomenon, the object that cannot be objectified, manifests itself in the shape it reveals, in a constant struggle between taking up space from the viewer and directing its roughness to the viewer, who’s thankfully both using it and admiring it.
The disjointed body, on the edge between a laceration of the flesh and a volcanic explosion, lives where fragmentation flirts with both blood and rubble.
Such a body seems then to dictate the rhythm of a dance, dancing itself in turn and creating new steps, taking forms that recall the different ways of being in the world.
The artist takes into consideration some well-known artists of the last decades, insinuating doubt into certain dominant narratives, forcing us to look differently at or adjust our focus on existing works. At Istituto Svizzero, Milan
In the 19th and early 20th centuries, artists like Cézanne and Matisse took up this motif to express evolving notions about the body, changing ideas about pleasure, one’s relationship to nature, and how the longing for the new (in art) potentially renews a broader and more inclusive understanding of what it means to live with or against societal changes. Greene Naftali, New York
(MERIEM) Ok Mom. So you’re going to play yourself, but as if you existed inside the world of the CAPS. You don’t really have to be in character. I wrote this monologue for your interview scene that we’re going to shoot at the pharmacy. It’s just there to give you ideas but you don’t have to stick to any script as long as you make us believe you’re on the CAPS island in the future (...) At C L E A R I N G, New York