The fragile, vulnerable to being transformed and even broken, becomes support structure in the work of Nora Aurrekoetxea. The braid pattern turns the hair filament into a tough fabric or lattice. Formed by a multiplicity of hard and elastic units, the braid is a symbol of everyday life and strength. Isolated from the body that carries it or makes it and reproduced in bronze, it refers totemically to the spaces of intimacy and care, revealing the won- derful in its apparent simplicity.
Sarah Bechter shows the ontological density of the soft and tender worlds, conjuring them into vaporous landscapes that subvert the invisible VS vis- ible antagonism. Thus, reality which escapes the dualistic hierarchy of the Western mind – and which also does not wish to disarm its nature-claims its existence. Using transparency, Bechter finds a place in the representa- tional space for the affections that are generated through touch, in everyday and domestic environments.
A polyphonic network of knowledge and traditions, fetishes, projections and echoes is expressed in the work of Michael and Chyian Ho. Navigating between-voices as communicating bodies, they display a mode of attention that allows them to interpret both the
more audible frequencies of western hegemony, like the traces of other sounds whose potency disrupts the landscape. His artistic practice relaxes the modes of perception of the Western ego to attend to the mystery of a world that appears as real as wonderful.
From the transfusions that occur between day and night, vigil and sleep, Augusta Lardy works the dream. As a continuum, shared reality and dream intimacy appear in permeable, hybrid stages. In his painting, color compos- es the emotional sense of ritual scenes where the subject abandons identi- ty. Lardy places faceless bodies in “other” scenarios that, not participating in the cultural social norm, could be called magical.
Sara Torres
Passau University, Germany
