The Body is The House, The House is But Haunted
.
Eli Cortiñas’ artistic practice traverses contemporary and historical visual cultures, which she dissects using montage and collage, displacing limiting attributions and creating space for feminist and decolonial narratives. These methods gradually reveal specific patterns which are often inherent in the images themselves. Juxtaposing what seems disparate, drawing parallels and uncovering commonalities, Cortiñas lays bare traditional conventions of representation and identifies surprisingly rigid narrative patterns.

Synchrometrics

Can we design future memories for the body?
Is the body itself the apparatus for remembering cultural processes?Prospectus For a Future Body proposes new perspectives on how the body remembers and invents technological narratives. Central to the project is the study of body movement in dance: How it can evolve, adapt or re-condition to possible futures?Eternal Summer Storm explores the concept of muscle memory transfer as an alternative form of interactive cultural continuities. This concept prototype speculates on a future digital library of body movements or dance techniques that can be experienced beyond the audio-visual conventions. Eternal Summer Storm attempts to recreate legendary Japanese dancer Tatsumi Hijikata’s Butoh dance choreography and experience in ‘A Summer Storm’ (1973) from archival footages.Bionic Movement Research is a collection of experiments on the process of designing digital muscle memory for the body. Inspired by Luigi Galvani discovery (1780) of animal electricity in the human body, these experiments appropriate the techniques of electrical nerve stimulation to choreograph artificial muscle contraction and body movement.

Wall in Blue Ash Tree

“I think that nature as a subject is often seen as something outdated or cliché in contemporary art and especially in nature photos. But I think there is still a lot of scope to play and push the boundaries, “Letha Wilson said. She thus dust off the subject through installations, videos and photo-sculptures and breathe new life into the gallery.
Using photography as a material in its own right, she shakes up conventions and does not hesitate to manipulate her photographs and associate them with other elements such as wood, paint, light or more recently, concrete, giving them a new dimension. One way for her to suggest that the viewer question the desire to be elsewhere and the representation of nature. Letha plays on the fragile balance that exists between the beauty of her images and their sculptural strength and thus creates relationships between nature, objects, exhibition space and wild landscapes. »Géraldyne Masson.

Growth
Wang & Söderström is a Copenhagen based transdisciplinary duo composed of Swedish designer Anny Wang and architect Tim Söderström. The bridging of the physical and digital realms is a major theme in their practice and they are constantly trying to challenge the boundaries between them. Fluctuating between art and design, Wang & Söderström wants to throw out pre-existing conventions regarding the digital and put emphasis on the emotional and tactile side of materials, objects and textures to give the digital a more human-relatable quality and create more meaningful connections. “By 3D scanning elements from nature, like tree trunks, leaves and plants and mixing it with surrealistic materials and behaviors, we wanted to let them continue to grow in a digital environment.”

جانين أنتوني
珍妮安东尼
ג’נין אנטוני
재닌 안토니
Жанин Антони
Mortar and Pestle
“The eye and tongue in “Mortar and pestle” could become the tongue and eye of any advanced intimate partnership.”
Since the 1990s, New York–based artist Janine Antoni has established an international reputation with labor-intensive projects in a wide range of media. She incorporates both art history and personal exploration, investigating the ways in which contemporary definitions of aesthetics and art making are connected to issues of gender identity and sexuality. Inspired by the feminist artists of the 1970s, she reframes and subverts art-historical and societal conventions surrounding women and beauty.

Absent Engagement
Alexandra Zierle (DE) and Paul Carter’s (UK) collaborative work is interdisciplinary, multi-sensory and often site/context responsive, spanning performance, happenings and interventions, sound, video and installation. Through their collaborative practice, Zierle & Carter critically examine different modes of communication and what it means to be human, addressing notions of belonging, dynamics within relationships, and the transformation of limitations. Their work sites an embodied investigation into human interactions and encounters, acting as an invitation to venture into the spaces in-between the external and internal, permanent and transient, spoken and unheard. The work fundamentally explores society’s conventions, traditions, and rituals, often flipping them on their head, reversing orders, and disrupting the norm.

جانين أنتوني
珍妮安东尼
ג’נין אנטוני
재닌 안토니
Жанин Антони
INGROWN
Since the 1990s, New York–based artist Janine Antoni has established an international reputation with labor-intensive projects in a wide range of media. She incorporates both art history and personal exploration, investigating the ways in which contemporary definitions of aesthetics and art making are connected to issues of gender identity and sexuality. Inspired by the feminist artists of the 1970s, she reframes and subverts art-historical and societal conventions surrounding women and beauty.

For ten years, Diogo Pimentão seeks to open the horizon of the drawing and its conventions to other dimensions, other processes and other tools. The act of drawing involves a relationship with him close to the body choreography, which determines the scale of the work: papers mechanically bent by hand to the major compounds of monochrome black lines drawn by the body in motion.
Therefore, the paper or the wood surface no longer appears as flat surface but as a flexible plan, foldable, stretchable, may become volume.

In Preparation No.04
Tom Lovelace works across photography, sculpture and performance, where concept prevails over form and his methodology is one of deconstructing conventions of a conceptual understanding of ‘discipline’. Primarily using the industrial landscape as his sourcing ground, he seeks to manufacture an ephemeral subject, creating environments and interventions that exist solely for the camera.

Internal Collection
FILE SAO PAULO 2017
Internal Collection
Switching up conventions about the body and beauty, the selections from her “Internal Collection” showing at FILE represent internal anatomy in external wearable form. Merging anatomy, fashion, and technology, each piece is created by hand and digital manufacturing technologies. By depicting designs inspired by anatomy, this work communicates that, when we share our likeness and what is going on inside of us, an opportunity is offered for finding beauty within ourselves and connection with others.

ПЕТЕР ФИШЛИ И ДЭВИД ВАЙС
ピーター·フィッシュリ·ヴァイス
彼得菲施利大卫韦斯
Equilibres / Quiet Afternoon
Peter Fischli (né en 1952 à Zurich) et David Weiss (né en 1946 à Zurich) produisent depuis les années 80 un œuvre protéiforme largement récompensée (Lion d’Or de la Biennale de Venise 2003). Le duo utilise de nombreux supports: installations, sculptures, photographies, vidéos… Entre humour et légèreté, métaphysique et ironie, le travail des deux artistes questionne avec distance le monde, s’interroge sur la difficulté à donner un sens à l’existence humaine. Leur art se situe dans la lignée de l’esprit dada en créant de légers décalages, des détournements propres à révéler la dimension incongrue et poétique du réel. Se jouant de l’attente du spectateur, ils interrogent les conventions de l’art en associant les références à la culture savante et à la culture populaire.
“Est-ce qu’il est possible de vivre sans le moindre doute, en ayant pourtant la possibilité de savoir quelque chose qui soit pertinent en ce qui concerne la vie ? ”

Endangered Species
Best-known for her videos and animated films combining drawn art, music and occasionally scratched or reworked cinematic images, Camille Henrot’s work blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the “other” and “elsewhere” in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist’s impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures Endangered Species, for example, the artist has created objects inspired by African art by using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In this way, Camille Henrot’s work questions mental resistances and the past’s resonance, whether it be drawn from myth or from reality.