Editorial
365 Curatorship
365 Curatorship : Body/Experience as an Inventive Territory
Carollina Lauriano
12 May 2021, 8:21 am
Starting from the premise that art allows us to experience different possibilities of being, and to experience new ways of perceiving, knowing and thinking about the world and oneself, “Body/Experience as an Inventive Territory” carries out poetic approaches between works by Camila Fontenele, Dora Smék, Élle de Bernardini, Luciana Magno, Rafael BQueer, Rebeca Carapiá, Regina Parra and Terroristas del Amor, in order to highlight the art field as a space for signifying the body.
Thus, this curatorship focuses on the following issues: relationship between body and space; sexuality; inclusion of differences and violence, in order to create a multiple and broad visual narrative, which highlights the body as a place of experiences and constructions of subjectivity. To think about the limits and possibilities of subjectivation processes, from the perspective of gender confrontations and subversions, is to observe how the institutional apparatus and its normative relations imply the domination of bodies considered to be minority, marginal, subversive and dissident.
In this strategy of combat and reclaiming of one’s own identity, such works are motivated by the battle for the right to one’s own body, referring to an attempt to obtain an active voice in one’s own existence and also in society. Such problematizations confront us with the awareness that certain bodies, as living and pulsating matter, are still a place of discomfort.
Dora Smék
“Lap”, 2019
Sculpture: 45 × 30 × 28 cm
Central Galeria
In this context, “Lap”, by Dora Smék, serves as an interesting starting point for thinking about these issues. In it, a female pelvic bone supports a twisted cast iron tube that, while embracing a violent gesture, also reflects on notions of adaptability of a body that welcomes and sustains.
Regina Parra
“Que espécie de coragem?”, 2020
Painting: 56 × 76 cm
Galeria Millan
Camila Fontenele
“When Everything Stops Having Those Names, When Nothing Else Separates Me”, 2020
Photograph: 60 × 25 cm
Piscina
The relationships between vulnerability and the strength of the female body, too, are present in the works “Que espécie de coragem?”, by Regina Parra and “When Everything Stops Having Those Names, When Nothing Else Separates Me”, by Camila Fontenele. While Parra reaffirms the image as a place of investigation for its own power, the erasure contained in Fontenele’s work makes us think about the invisibilities, standards and normativities involved in certain bodies and how the act of disappearing implies an existence free of nomenclatures.
Rebeca Carapiá
“Palavras de ferro e ar — Sculpture 16”,
from the series “Como colocar ar nas palavras”, 2020
Sculpture: 209 × 120 cm
Galeria Leme
Élle de Bernardini
“Pinball” from the series “Essay for the Meeting of Pink and Blue”, 2020
Painting: 50 × 70 × 4 cm
Galeria Karla Osorio
Using metaphorical constructions to mediate conflicts between norms of language and body, Rebeca Carapiá and Élle de Bernardini abstract the image as a way of invoking new fables for their own existence. In “Pinball”, Bernardini brings together elements that discuss gender relations and the search for a neutrality that would allow bodies to be more fluid in moving through their choices, be they sexuality or identity. In “Palavras de ferro e ar — Sculpture 16”, Carapiá uses abstraction as a way of creating writing that escapes colonial markers.
Luciana Magno
Untitled, from the series “Organics”, 2014
Photograph: 80 × 120 cm
Janaina Torres Galeria
Rafael BQueer
“Alice” from the series “Alice and Tea Through the Mirror”, 2016
Photograph: 60 × 80 cm
01.01 Art Platform
The integration of the body with the landscape and surroundings is the determining element for the construction of the images that make up the works by Luciana Magno and Rafael BQueer. While in “Alice” BQueer explores the reinterpretation of the literary character as a non-white LGBTQIA+ figure in the face of a dystopian Brazilian reality, in Untitled, from the series “Organics”, Magno uses a kind of mimesis of the body as nature to denounce political, social and anthropological issues, related to the impact of the development of the Amazon region.
Terroristas del amor
“Terra húmeda”, 2019
Painting: 58 × 99 cm
Nacional TROVOA
The colonizing national heritage, nature and ancestral memory are also elements that fall on “Terra húmeda”, by the collective Terroristas del amor. When evoking the land as a place of belonging, the artists speak directly about their bodies, presenting ways of defense, protection and attack against heterocity.
By promoting new and multiple forms of subjectivation and existence, the works presented in “Body/Experience as an Inventive Territory” reflect how artistic practices, by using freedom practices, affirm an inventive force of the body as a strategy of subversion and resistance for proposing other ways of existing in a world that tries to annihilate them on a daily basis.
Check out the short interview with the curator.
Carollina Lauriano holds a degree in Social Communication with an emphasis on Journalism. Graduated in Coolhunting (research in art, design and fashion) by Central Saint Martins. Among her main projects are the exhibitions Corpo além do corpo, the Céus cruzados solo show by the artist Sol Casal, and A noite não adormecerá jamais nos olhos nossos. Adjunct Curator of the 13th edition of the Mercosul Biennial, show that will take place in Porto Alegre, Brazil, in 2022.
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