TREMBLING VEINS QUIVER_detail

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TREMBLING VEINS QUIVER (deprived of the shell)
YOU THOUGHT YOU COULD CARRY THE CELESTIAL VAULT

REDDENED BY FIRE

EVACUATING UPWARDS, EVACUATING DOWNWARDS [...]

Clepsydric Lungs (— until her hands will loosen)

Stimulus / TPSMS

IAIMNOT

ASM (abdominal self massage)

neg

~~BLACKOUT~~

repressiv
Spannung (die)

TREMBLING VEINS QUIVER
(deprived of the shell)

AT
Steel, stainless steel, fat
98x48x162cm
2024

ONE BREATH BLOWING IN TWO DIRECTIONS
Steel (black annealed), stainless steel
96x30x152cm
2024

NOW THIS SITE SITS IN THE CENTER OF MY CHEST AS I SHATTER ITS WALLS
Sound (recorded cardiac arrythmia) on subwoofer,
20:16 min/loop
2024

I R (HEAT ME UP)
Steel, 20 infrared lamps, cable
site-specific dimensions
2024

AT UNTITLED
Glazed ceramics, iron oxide
35x45x13cm
2024

SHED I
Ceramics, wax, petroleum jelly, pigments
117x74x28cm
2023-24

SHED II
Ceramics, wax, petroleum jelly, pigments
100x94x16cm
2024

OVERSTRETCHED
silk screen on thermoplastic, steel, joints and splints
92x115x30cm
2024

Photos © Moritz Haase

The installation TREMBLING VEINS QUIVER (deprived of the shell) is concerned with ~~his~~stories of corporeal permeation, and is testing possibilities of situating, sheltering and dissolving oneself as a body in space. The work invites to move through a scenery of objects, light and sound. In search of counter-narratives, the sculptures, like props or non-animated players, become carriers of stories as they transform in dialogue with each other and in the physical encounter.

A central item of research were the stagings as they took place in the 16th century’s anatomical theatres — which describe both, their explicit circular and hierarchically structured architecture as well as the choreography of dissection during which the inside of the body was exposed to a selected public. The moment of this institutionalised dismemberment, through which the male, scientific gaze writes and defines both the healthy and the sick body, has been a precondition for the development of medicine and treatment of symptoms as well as for biopolitical gestures of capitalism. Here, the skin underwent a change of meaning, from permeable and porous to necessarily shielding.

In the writings on anatomical theatres, one often encounters references to the myth of the Flaying of Marsyas (Ovid's Metamorphoses): as a satyr of Dionysos, Marsyas challenges Apollo to a musical contest in the play of the Aulos (a double piped flute). According to the translation, people started to dance ecstatically to the music of Marsyas, while they fell into a state of awe and silence at Apollo's flute playing. As punishment for his arrogance and liberation of the listening bodies, Marsyas was flayed alive.
The interpretations for this myth confront the principle of reality with thus of pleasure, the limits of the individual in the face of the power of the state, and describe how competition is transplanted into the body. Furthermore it engages with a grotesque body and the vibrancy of its matter.

TREMBLING VEINS QUIVER (deprived of the shell) challenges the boundaries of installation and staging. Moving between aesthetics of the clinical and mythical, it refers to these written narrations while asking what it means today to be an — absolutely imbued and surveilled — body and subject. How can vulnerability be understood as a reason for empowerment? How to remain permeable without losing one’s integrity?

Unlike the choreographies of the performances in the anatomical theatres, which aimed to convey alleged knowledge, the work opens up a poetic space that demands polyphony and direct physical experience.