12. Apr–21. Mai 2018

A Fleshly School of Poetry


Foto: Paula Gehrmann

2018 Emotional States

Eröffnung: 12. Apr 2018, 19 Uhr

Ausstellungsdauer: 12. Apr–21. Mai 2018

Künstler_in: Mercedes Azpilicueta, Pauline Curnier Jardin, Valentin Just, Anna KE & Florian Meisenberg, Jill Mulleady, Nazim √únal Yilmaz

Kurator_in: Daniela Brunand, Christian Falsnaes

English below ↓

Die Ausstellung A Fleshly School of Poetry ver¬≠eint Arbeiten einer Gruppe von K√ľnstler_innen, die sich mit dem K√∂rper nicht nur als ein Objekt der Begierde aus¬≠ein¬≠an¬≠der¬≠set¬≠zen. Als Alternative zur tra¬≠di¬≠tio¬≠nel¬≠len Darstellung des K√∂rpers wird der Begriff des Fleisches vor¬≠ge¬≠stellt. Mittels Performance, Malerei, Zeichnung, Video und Ton n√§hern sich die K√ľnstler_innen dem K√∂rper als kom¬≠ple¬≠xes Gebilde an, das sp√ľrt und gesp√ľrt wird, sieht und gese¬≠hen wird. Er ber√ľhrt und wird ber√ľhrt, h√∂rt und wird geh√∂rt. Zudem ist er etwas, das denkt und √ľber das nach¬≠ge¬≠dacht wird.

In the works by Azpilicueta, Just, Ünal Yilmaz, Mulleady, Curnier Jardin and Anna KE & Florian Meisenberg the body is brought into ques­ti­on in its fle­sh­ly mode. This state­ment might sound red­un­dant sin­ce the flesh is alrea­dy often auto­ma­ti­cal­ly rela­ted to the body. But we should point out that this body lies on the oppo­si­te shore of the body tra­di­tio­nal­ly depic­ted throughout the histo­ry of art.

AFSOP brings tog¬≠e¬≠ther dif¬≠fe¬≠rent approa¬≠ches to the non-objec¬≠tive phe¬≠no¬≠me¬≠na of the body, which is not con¬≠cei¬≠ved just as an object of desi¬≠re neit¬≠her is mean to be per¬≠cei¬≠ved as such. On the con¬≠tra¬≠ry, AFSOP focu¬≠ses on the body as a com¬≠plex rever¬≠si¬≠ble being that is able to sen¬≠se and to be sen¬≠sed, to see and to be seen, to touch and to be touched, to hear and to be lis¬≠tened to, to think and to be thought. (Merleau Ponty, 1964) This means a body with affec¬≠ts that expres¬≠si¬≠ve¬≠ly rejec¬≠ts any/all/every divi¬≠si¬≠on bet¬≠ween flesh and soul, body and spi¬≠rit. Hence AFSOF stands against the con¬≠cep¬≠ti¬≠on of the body as a rep¬≠re¬≠sen¬≠ta¬≠ti¬≠on of cano¬≠ni¬≠cal pro¬≠por¬≠ti¬≠ons, as just an image ‚Äďa type of object‚Äď sin¬≠ce it over¬≠sim¬≠pli¬≠fies our richest mode of exis¬≠tence and it leads to obses¬≠si¬≠ons such as the com¬≠pul¬≠si¬≠ve depic¬≠tion of naked women, which has tur¬≠ned into a gen¬≠re its¬≠elf: fema¬≠le nude.

The tit­le refers to a cri­tique that was published by Robert Buchanan against a group of artists that were part of the Pre-Raphaelite Brotherhood. The attack addres­sed the fle­sh­li­ness, the exces­si­ve sen­sua­li­ty, cor­rupt mora­li­ty and the dir­ty, mor­bid natu­re of their works as the can­cer of all socie­ty that would shoot its ulce­rous roots deeper and deeper. (Buchanan 1872)

The pro­po­sal for the exhi­bi­ti­on, far from pre­ten­ding a direct con­nec­tion with the Pre-Raphaelites, seeks to shake and refresh the dis­pu­te con­tai­ned in that cri­tique and update it to a pre­sent in which the post-modern vin­di­ca­ti­on of the body has tur­ned it into a fetish depri­ved of affec­ts. We take this old dis­pa­ra­ging tit­le as initi­al frame for a reflec­tion about the con­cept of Flesh, as well as to give his­to­ri­cal per­spec­tive to a topic that has been inten­se­ly dis­cus­sed sin­ce the modern era.

Azpilicueta, Just, Ünal Yilmaz, Mulleady, Curnier Jardin and Anna KE & Florian Meisenberg for­mu­la­te pro­po­sals for a non-fetis­histic approach to the body and a non-idea­listic con­cep­ti­on of thin­king, aiming for a Spinozian noti­on of both as part of a unity. AFSOP pro­po­ses the spec­ta­tors the exer­ci­se of approa­ching the exhi­bi­ti­on as sen­si­ble sen­ti­ent bodies, as rever­si­ble beings awa­re of the fact that every visi­on takes place some­whe­re in the tac­tile space and that every move­ment of our eyes has its place in the same visi­ble uni­ver­se that we explo­re with them.

Gefördert durch:

Logo Stadt Leipzig Kulturamt Logo Kulturstiftung des Freistaates Sachsen

Kulturamt der Stadt Leipzig, Villa Vassilieff / Pernod Ricard Fellowship, Kulturstiftung des Freistaats Sachsen


Paul Gehrmann, Dora Suńćińá

Vielen Dank an:

Dora Suńćińá