Kunstverein München opens a solo exhibition of new sculptures and installations by Eva Fàbregas

The First Art Newspaper on the Net    Established in 1996 Saturday, June 22, 2024


Kunstverein München opens a solo exhibition of new sculptures and installations by Eva Fàbregas
Drawing by Eva Fàbregas for Those things that your fingers can tell, 2018 © Kunstverein München e.V., the artist.



MUNICH.- From 9 February until 5 May 2019, Kunstverein München presents Those things that your fingers can tell – a solo exhibition comprised of new sculptures and installations by Eva Fàbregas.

Fàbregas’ practice primarily concerns forms of somatic experimentation, exploring the eroticism of consumer objects, the social engineering of desire, and cultures of wellness, therapy, and heightened sensation. Her recent work concerns all those objects, tools, and instruments that are used with, for, and on our bodies, either to produce sensorial effects (pleasure, relaxation, therapy, euphoria, etc.), to correct our posture, discipline our bodies, or even to become part of them. As a visual glossary for this research, Fàbregas presents a massive drawing on three walls, populated by forms alluding to a wide variety of therapeutic, prosthetic, ergonomic, and erotic instruments that have stimulating effects. Each of these forms refer to products that shape—and are shaped by—the body, implicating how our bodies, desires, experiences, and affects are formed and deformed by the politics of industrial design. By classifying this cosmology of objects and reducing their representations to amorphous symbols, the artist illustrates a genealogy of affective objects through their morphological affinities, while equally proposing the possibility for transformation.

This rejection of fixed form and relations, which can be seen throughout her practice, is reminiscent of Sergei Eisenstein’s characterization of early cartoons, which exhibited an infinite flexibility of figures, and celebrated the polyformic capabilities of instability, inconsistency of form, and the fluidity and suddenness of formation. In the cartoon world, all entities are part of a continuum of endlessly animated matter that can take many shapes and forms. The filmmaker termed this principle “plasmaticity”, based upon the omnipotence of plasma, which contains in “liquid” form all possibilities of future species and forms. In her work, Fabregas is applying this same logic to the realm of material objects and somatic experiences, thereby placing subject and object on an equal plane of experience. In doing so, this exhibition animates the inanimate and points to the possibility of seemingly stable structures to change unexpectedly and channel desires. At times, objects that are normally seen as inert and supplementary are granted an uncanny sentience, where industrial packing materials no longer travel according to human needs, but through their own uncertain logic. At other times, shifts in scale and material allow for a new appraisal of common orthopedic and therapeutic devices such as earplugs, orthodontic braces, and a noseclip, again demonstrating the mutual interaction and mutability of technology and the body. While these forms serve practical purposes, each generates points of intimacy that are erotic in nature and played out through flows of mutual accommodation, attraction, repulsion, discipline, resistance, power, and control.

The centerpiece of the exhibition is a large-scale, immersive 8-channel sound installation, which consists of three bulbous and textured inflatables outfitted with layers of mesh fabric to produce optical effects. Tangled tendrils of medical tubing are attached to the titanic twisting tubes, connecting to sound amplification equipment that not only animates the materiality of the sculptures but also transforms them into resonating membrane. The Jamaican electronic music producers Equiknoxx have produced a soundtrack specifically for this installation, responding to the exhibition’s themes through their idiosyncratic use of cacophonous samples, elastic dancehall ‘riddims’, and cavernous sub-bass dub production. Deploying properties of tactile sound, auditory-tactile synesthesia, and psychoacoustics, this installation encourages altered states of consciousness and physical awareness by locating the act of listening to the skin and bones, the tactile domain. Akin to pulsating tools in physical therapy or a club sound system, the installation allows the beat to throb and traverse different bodies and forms of matter, thereby allowing material communication and interaction between very different entities, human and non-human, and inducing spatial and somatic effects.

In other words, Those things that your fingers can tell is a sinuous parkour of vibrant prosthetics, where the different senses continuously affect each other, where the relations between living and non-living entities are persistently redefined, and where knowledge is felt more than thought.










Today's News

February 9, 2019

Dinosaur that defended itself with spiny backbone found in Patagonia

Groundbreaking Artificial Intelligence artwork to be offered at auction for the first time

Exhibition at Museum Boijmans Van Beuningen presents over 800 Bauhaus objects

Christie's to offer The George Michael Collection

Exhibition at ARKEN features Patricia Piccinini's magical and thought-provoking works

Most comprehensive exhibition of works by Laure Prouvost opens at Museum of Contemporary Art Antwerp

'Angry Young Man' actor Albert Finney dies aged 82

Smithsonian's National Air and Space Museum receives SpaceShipTwo rocket motor from Virgin Galactic

Works spanning Robert Mangold's career from 1967 to 2017 on view at Galerie Greta Meert

Superman and Wonder Woman have landed at Crystal Bridges Museum of American Art

Art Museum of West Virginia University names new Director

The Davis Museum challenges the expected in 'Art_Latin_America: Against the Survey'

First major retrospective of George Shaw's work opens at the Holburne Museum

MIT List Visual Arts Center opens two new solo exhibitions

Quartz Studio opens the first solo show in Italy by the Swedish artist Astrid Svangren

Andréhn-Schiptjenko opens new gallery space with exhibition of works by Tony Matelli

Inaugural Connect Art Fair impresses as friendly fair with steady flow of sales

The Poster Prize for Illustration 2019 winners announced

At last, an exhibition about landscape architecture!

James Freeman Gallery opens a solo exhibition with new work by British artist James Mortimer

FACTION Art Projects opens annual exhibition celebrating the local talent of Harlem

Kunstverein München opens a solo exhibition of new sculptures and installations by Eva Fàbregas

National Museum of the American Indian opens "Section 14: The Other Palm Springs, California"




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful