Lettering by Lobbby24Mnemozine, together with head curator Nadina Faljic, curated Sticky Flames/ Bodies, Objects and Affects, an exhibition exploring questions of the body through a variety of lenses. With works by Alexandre Caretti, Bruno Oliveira, Darja Linder, Ksenia Khmelnitskaya and Joni Maus.
On view at Casino Display from 12.11 - 05.12.2021.
Curator’s Note:
In truth, “my body” indicates a possession,
not a property. In other words, an appropriation
without legitimation. I possess my
body, I treat it as I wish, I exercise a jus uti
et abutendi over it. It, however, in its own
turn, possesses me: it pulls or holds me
back, offends me, stops me, pushes me,
pushes me away. We’re both possessed,
a pair of demonic dancers.
Jean-Luc Nancy
Corpus
I do not believe in the absence of form
or in a possible beyond of form any more
than I believe in transcendence or the absence
of negativity. Form is the metamorphisable
but immovable barrier of thought.
Catherine Malabou
Plasticity at the Dusk of Writing
On view at Casino Display from 12.11 - 05.12.2021.
Curator’s Note:
In truth, “my body” indicates a possession,
not a property. In other words, an appropriation
without legitimation. I possess my
body, I treat it as I wish, I exercise a jus uti
et abutendi over it. It, however, in its own
turn, possesses me: it pulls or holds me
back, offends me, stops me, pushes me,
pushes me away. We’re both possessed,
a pair of demonic dancers.
Jean-Luc Nancy
Corpus
I do not believe in the absence of form
or in a possible beyond of form any more
than I believe in transcendence or the absence
of negativity. Form is the metamorphisable
but immovable barrier of thought.
Catherine Malabou
Plasticity at the Dusk of Writing
A membrane extends, stretching,
building tension, releasing and relieving
itself. It tears and aches, moves inward
(where to?) and breaks out (where
from?), spiralling, spluttering into
a room as if it was intimacy itself
that was nervously introducing itself.
It is perpetual movement. Flickering.
Altering poses and positions, swinging,
stumbling, seeking balance in order
to confront – itself.
Vacillating, incessantly, amid everything
that is or could be possible, matter stays
unstable. Deforming, transforming, it
takes shape and takes place among and
along what otherwise would have no form.
There it separates. Into an in-between,
a gap.
An abyss, an opening, an orifice, where
the preconception of the corporeal is
sucked in, moistened, moulded, discarded
into a sticky cesspool.
Where takes place not an encounter
between bodies and other bodies,
not between the body and the other of
the body but where the shape of a wholly
other body might become tangible.
A point of contact, perhaps, where
the body might finally have a chance
to reformulate itself.
building tension, releasing and relieving
itself. It tears and aches, moves inward
(where to?) and breaks out (where
from?), spiralling, spluttering into
a room as if it was intimacy itself
that was nervously introducing itself.
It is perpetual movement. Flickering.
Altering poses and positions, swinging,
stumbling, seeking balance in order
to confront – itself.
Vacillating, incessantly, amid everything
that is or could be possible, matter stays
unstable. Deforming, transforming, it
takes shape and takes place among and
along what otherwise would have no form.
There it separates. Into an in-between,
a gap.
An abyss, an opening, an orifice, where
the preconception of the corporeal is
sucked in, moistened, moulded, discarded
into a sticky cesspool.
Where takes place not an encounter
between bodies and other bodies,
not between the body and the other of
the body but where the shape of a wholly
other body might become tangible.
A point of contact, perhaps, where
the body might finally have a chance
to reformulate itself.
Mnemozine