I am delighted to be participating as Artist-in-Residence at the CAN, Nauchâtel.
Cette Question qui vous Brûle les Lèvres
Opening April 12, from 6pm
At CAN / Centre d’art, Neuchâtel, Switzerland
Exhibition April 13 – May 19, 2019
Lecture-performances, May 11, from 2pm
With the participation of:
Clémence de La Tour du Pin
Jacques Henri Sennwald
Simon W Marin
Curated by Marie DuPasquier
with Jacques-Henri Sennwald and CAN team
“Thoughts experiments are material matters” (1)
Burn your fingertips and anyone in this region of Neuchâtel and Jura will recommend you to call the person that could heal the wound from afar. The secret. You would then add the thoughts to the many possible creams and ointments applied to protect the scorched spot and with a little bit of chance it would disappear in an impulse of accelerated regeneration.
Sunscreen, regeneration cream, salt of sweat, grease, pelage, carapace or other dwelling are produced or added to this primary shelter that we consider as skin, as many external cloths to the many internal protective strata. This apparent opacity arouses fascination for transparency, as evidence the successful efforts of Dr. Roentgen in the XIXth century to overcome this membrane with x-rays and reach the depths. Often considered as the protective container of organs, mucus and humors, it is nevertheless vulnerable. If it regenerates through the continuous process of composition and decomposition, it also carries our imprints on the lips and tips. It stocks scars, and other traumas, hosts thoughts and desires, to which we add tattoos, piercings, chips and wishes for infinite malleability. Dermographia. Epidermis is a place of storage, a virtual, symbolic and physical data base; a surface with and on which we write. From a surface of protection to an identity marker, it preserves and conveys our own remains and possibly the ones of generations. It becomes a surface of projection. Flattened as if a screen, the 1,7m2 average of our BSA (2) takes the measures of the world. Headquarters of exchanges and transfers of matters, the skin allows our own exchanges, movements and engagement towards the outside and with its multiplicity of others. As a primary contact zone, it is both a separation and rallying line. It is asensitive interface as relations-maker, which individuality is similarly “defined by”.
Cette Question qui vous Brûle les Lèvre(3) magnifies and operates a passage through the contact zone. Starting from the flesh – matter, sensitive surface and interface – the focal gradually moves away from its tissues and extends towards its successive imperceptible layers. The saturated air within a shared space, particles, electromagnetic forces, gigahertz radio signals but also essences, emanations and translucency. Are they relaying parts of our thoughts and actions ? The humidity of the breath, the heat released, the thoughts causing the cheeks blush and reminiscences of tales to be told. Are they junction points, intermediaries or laps in our communications? How do particles sense one another? Do electrons make attraction starts by repulsion? What are we touching when our hand feels the mist on a window, shake a hand or use the tool polished by so many seizures?What or whose bodies are getting in touch in a confined space? And anyway, how much body do we need? And anyway, how much body do we need? By starting at the human scale, as a presence in hollow, the exhibition dives into the ultra-thin; it amplifies uncanny intimacies and the infinitely common that we no longer see. The silhouette seems not to be anymore held by its stable frame but rather spreads and radiates to dissolve into the unclear surroundings. The exhibition shifts slowly towards the floating borders of the epidermis and re-evaluates its tangible limits by opening a series of reflections on the dichotomies depth/surface, mind/body, internal/external, self/other, animate/inanimate, organic and inorganic. It opens on the fluidity and mobility of acting bodies without considering the strict separating lines of beings, things and environments.
Formulated like an open letter, the exhibition is written in multiple hands with the twelve artists, authors and artists-in-residence and addressed to a yet unknown, maybe fantasized, interlocutor. In a synesthetic way, it sketches and weaves correspondences of thoughts, senses and matter between the works presented in the space. They leave traces of relations like “trails of questions”(4), like the one burning in your mind.
Excerpt from exhibition text by Marie Dupasquier
(1) Barad, Karen, On Touching – the Inhuman therefore I am, 2012
(2) Body Surface Area
(3) The title refers to an expression that can be translated literally by “this question that burns your lips” to mean “this question burning in your mind”.
(4) Didi-Hubermann, Georges, Par les temps qui courent, France Culture, 2018
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The first exhibition of 2019 and my first exhibition in the US opens on the 8th of February! I am showing home/land the series of photographs made for the Postcolonialism?residency and exhibition for the Benyamini Contemporary Ceramic Centre, Tel Aviv.
Strange Place at the Law Warschaw Gallery, St Paul, Minnesota
February 8 —March 31, 2019
Opening Reception: Friday, February 8, 6–9 pm
Closing Reception with NCECA: Friday, March 29, 7-9 pm
Co-curated by Jehra Patrick (Law Warschaw Gallery Director & Curator) and Summer Hills-Bonczyk (artist and Visiting Assistant Professor of Ceramics at Macalester), Strange Place brings together contemporary artists from across the United States, Europe and Asia, who look to the language of clay, and ceramics, prioritizing the plasticity of the medium as a prompt to speculate on the behavioral and performative qualities of clay through a range of forms, including video, performance, sculpture, audio, photography and mixed media. Conceptual concerns among artists and objects propose pluralistic notions of “place” — as real, and geographic, fantastic or ethereal, as well as oblique, or pointing to other- and neither-worlds, describing “place” as mythical or through the lens of abstract ethnography.
In the context of the exhibition, the definition for “strange” describes a space of unease that is both possible and impossible – not quite magical nor banal— and the feelings of belonging, presence, and resolve, are negotiated through a relationship with matter, body, and experience. This show takes a forward-looking view of ceramic practice, stretching our expectations for traditional forms and methods. Strange Place views clay less as a medium tied to tradition, and more as a phenomenological substance, well-suited to traverse the pliant landscape of imagined realities.
Featuring work by Neha Kudchadkar (Mumbai, India), Jason Lim (Singapore, SG), Jason Lee Starin (Philadelphia, PA), Allison Schulnik (Sky Valley, CA) and Eva Vogelsang (Bern, Switzerland).