CURA.

INFINITY HAS ITS LIMITS
Kasia Fudakowski, Maria Loboda,  Zoë Paul

curated by
Samuel Leuenberger & Elise Lammer

SALTS, Birsfelden

March 24 – May 19, 2018

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Infinity has its Limits brings together works by Kasia Fudakowski, Maria Loboda and Zoë Paul. All share an interest in re-working elements of traditional sculpture, design and architecture through processes of historical excavation. What are our social norms and how do we navigate them? The exhibition investigates a certain cultural landscape, where historical signifiers are superimposed with contemporary commentaries.

Experience and the memory we create thereof become the catalysts to construct, ar- chive and suggest environments to which our human body (and mind) can relate. We see foam bodies encased in a metal cage, a fractured, figure-like fountain or a stucco cor- ridor filled with health supplements, all of which build a long historical line. From living like a cave-woman, to the ancient Greeks all the way through the Western medieval epoch and jumping to the industrial revolution.

The artists’ attentiveness to traditional crafts mobilises contemporary anachronisms around human labour, understanding craft practices as authentic experiences borne of intimate contact between hand and material. It remains a form of production which bears traces of its makers, as Kasia Fudakowski’s work highlights: indexing labour, geography, memory and language. Craft may also recuperate organic elements and question our dematerialised present—as in Zoë Paul’s work, or rehash history through contemporary fabulations—as in the work of Maria Loboda.

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The New Body 
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The New Body 

ASTRIT ISMAILI
The New Body

a proposition by LambdaLambdaLambda

The New Body includes a live work performed by the artist on the occasion of the opening, of which the video recording is presented as a hologram in the exhibition space.

As a continuation of Ismaili’s interest in using performance and theatrical channels to ex- plore a body politic, the exhibition explores the role presence and absence play in articulat- ing political gestures. Ismaili’s use of hologram technology is propositional—extending the body beyond the standardised frames of representation through which we perceive race, ethnicity, gender, sexuality and class. The shift from live to avatar performatives can thus be considered a way of relating to human bodies outside the temporal and spatial confines of performance. Central to Ismaili’s interest in performance is how identities are constructed and interpreted through contemporary mechanisms, but also how they are heard, asking what it means to sonify a body politic. During the performance, sonic adjuncts installed onto the artist’s body trigger different soundscapes as they move through the gallery. By translating the body’s gestures into sound, the artist aims at disrupting prevailing narra- tives around representation, imagining new and utopic ways of thinking about how bodies inhabit and occupy space.

CREDITS

Photos by Nicholas Gysin and Gunnar Meier Photography
Courtesy of the artists and SALTS

 

 

 

OTHER TIPS
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