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The Fragmented Body: Dust Below the Carpet

Exhibition views

Wide views
Wide views
Wall I
Wall I
Wall II
Wall II
Wall III
Wall III
Flyer
Flyer

Works

On the Carpet
On the Carpet
Fiercely Religious...
Fiercely Religious...
Down
Down
Deken
Deken
Au Bord de Mer
Au Bord de Mer
23 Bodies
23 Bodies
Oops ! Your nuclear button...
Oops ! Your nuclear button...
(R)egal I
(R)egal I
Saint
Saint
A Worker´s Arm...
A Worker´s Arm...
Evaporated Glory
Evaporated Glory
This Part of Every Shoe...
This Part of Every Shoe...

Artists

Gina Arizpe (Mexico, 1972) / Christian Bagnat (Argentina, 1971) / Miroslaw Balka (Poland, 1958) / Berlinde De Bruyckere (Belgium, 1964)

Carmela García (Spain, 1964) / Teresa Margolles (Mexico, 1963) / Daniel Paris-Clavel (France, 1975) / Manfred Pernice (Germany, 1963)

Elvira Poxon (Spain, 1977) / Santiago Sierra (Spain, 1966) / Eduardo Villanes (Peru, 1967) / Huang Yong Ping (China, 1954)

Text

The Fragmented Body: Dust Below the Carpet

The works of this group exhibition associate organic bodies with man-made objects normally used to separate interior and exterior. In their works, the artists reflect social tensions of decay, absence or violence where body parts such as arms, feet, torsos, bones, eyes and blood intertwine with architectonic structures, boxes, frames, cans, tapestry, clothes or threads. The fusion of both elements becomes an association of fragments where a chimerical reality exposes itself.

It is unclear whether a barrel of corrosive matter was knocked over or if Aladdin came out of a magic lamp. The dividing line between conscious subjects and unconscious objects oscillates between what is said and unsaid, forgotten and remembered, sealed and perforated, dirty and clean. The artists utilize the fragmented body to address cultural circumstances such as marginalization, religious oppression and abuses of authority. In such conditions, the body appears mutilated, hidden, evaporated, ignored and silenced under brutal truths.

Galatea is dismembered; the myth of Pygmalion inverted itself in a loop. Now that the body became an object the object is not a thing, it is dead. The container made for the masses transformed itself into the mass of an absent individual. It is in these circumstances that the vulnerability of the exhibited work appears in the space through which spectators transit, a place where subjects and objects are interchanged. The work of art is always fragmented and delimited by the parts of its physical and metaphysical body.

Antoine Henry-Jonquères

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