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On June 9 it has been unveiled the Reggio Parma Festival’s project of the year, “Il Bestiario della Terra” by Yuval Avital. A rich program full of events organized all over the year between the cities of Parma and Reggio Emilia, engaging different locations, from museum to theatres, but also communities and local societies.The Reggio Parma Festival, one of the most important and prestigious artistic association in Italy, since 2001 has been realising many activities for cultural promotion in the territories of Parma and Reggio Emilia, together with the Ministry of Culture to support the organization of important musical and theatrical releases, such as Festival Aperto in Reggio Emilia, Teatro Festival and Festival Verdi in Parma.In 2022, in order to face the forced disintegration imposed by the pandemic, the Reggio Parma Festival decided to commit to moving forward in the direction of uniting professionalism, specificity and potential of all the theatres and cities engaged in this project, relying on an artist, Yuval Avital, for the creation of an artistic path that, through events, exhibitions, performances and installations could be able to engage the best artistic expressions, both local and national, on a unique idea and its project.“Il Bestiario della Terra” is the project born thanks to the Reggio Parma Festivals’ initiative, organized in Parma and Reggio Emilia from June to December 2022. The project is a powerful and suggestive reinterpretation of those traditions that have strongly characterized the artistic, religious and scientific culture of this area in Emilia from the Middle Age to today. This project, the result of a great productive and organizational commitment, has been realised engaging many musical, cultural and artistic association of the territory and in close collaboration with the three theatrical foundations which are members of the Reggio Parma Festival: Fondazione I Teatri in Reggio Emilia, Teatro Regio in Parma and Fondazione Teatro Due in Parma, involved by the artist for the elaboration and definition of each activity, in a virtuous match between talents and professionals.Avital, with “Il Bestiario della Terra”, dives into an unconventional investigation about the sense of incompleteness felt by humans, a feeling which turns into a propulsive thrust to look for and discover the innermost fold of the Ego, in a hybridization or contamination with the animal nested in each of us.So where does humanity end and where does bestiality begin? Where is the monster hiding and, above all, who is it? The artist tries to answer to these questions through a multifaceted, experiential and multimedia process, a real artistic ritual composed by dozens of unpublished works, from performances, videoart, visual and photographic works to sculptures, scores, theatrical staging and installations.The presentation on 9th June 2022 kicked off the first two events in the Bestiario: the participative monographic exhibition “Anatomie Squisite”, held in the Musei Civici in Reggio Emilia, and the icon-sounding installation “Il Canto dello Zooforo” at the Casa del suono in Parma.A rich program full of events will be unveiled for the next months, to deliver a dive into Yuval Avital’s imaginary, dropped into history, tradition and local customs. A unique experience to live firsthand.at Reggio Parma Festival, Reggio Emilia and Parmauntil December 11, 2022SKIN IN THE GAMEThere is a phrase that emerged between bankers in the 1980s, they spoke of having ‘skin in the game’. The origin of this phrase is unclear but it has come to mean that one has risked something in an endeavour to gain something, that one has invested personally in a transaction, for what could be more personal than to wager your own skin? Though your skin is only the outer layer of a slimy medley of parts that make digesting, breathing, defecating, reproducing, moving, thinking and living possible, it is the skin we think of as us, and what’s under it is just the mechanics, whirling away in a blood- dark gloom. The body’s largest organ doesn’t feel like an organ in the way that the others do, it’s the only one we wear. It is ever-present in our perception of ourselves, several meters of finely tailored leather of the softest kind, waterproof, insulating, it stops us from evaporating like vampires in the mid-day heat.It’s self-lubricating. It secretes a complex cocktail of sweat laced with pheromones that causes us to find each other unspeakably delicious. Every square centimetre indulges the tremors of a thousand nerve-endings, where pleasure and pain dance hand in hand. Embodied and embounded, both border and battlement. It is a place to be explored, a landscape to be traversed, a feast to be savoured. Protective and requiring of protection, it sheds itself like a snake, regenerating over and over. Your face is a replacement of a pervious version of you.The skin, its supple allure, its erotic folds and its sub-cutaneous thrills is the context for this exhibition. There are three positions on the skin presented in this show, sliced, segmented and sensual. But talk about skin in any art context and you will have to confront the ‘nude’. That idealised evocation of skin, all surface and no sweat, all dimples and no dirt, no hair, no cracks, looked at but never licked. More often than not it is the female body that is treated in this way, left to soak up the one-way longing of the spectator’s desire.Hannah Villiger photographed the varied planes of her own flesh, producing images that have something of aura-photography about them. Using a Polaroid – that alchemist of cameras – these works are both metaphysical emanations and physical studies of her form, photographing herself, in an endless tango between the ‘I’ and the ‘eye’. There is an unfocused immediacy to these images, enlarged over aluminium squares and nailed to the wall in perfect alignment creating modular totems of tantalisingly indistinct flesh. And yet despite this ordered display, we are privy to a bodily proximity reserved for lovers, you can feel her damp breath, feel her foot in your face, almost smell the odour exuded from these shadowy folds. Folds which both hold untold erotic promise and, in these works towards the end of her life, also document her own unsparing exploration of her ailing body.The skin is a record of its environment, a testament to the experiences of its wearer, though we have an unhealthy societal obsession with its tautness, managing and plucking at our faces, chasing a departing tension, like trying to re-stretch an old drum. Martín Soto Climént’s works direct us from unfiltered nakedness back to the gazed-at nude, fetishistic aesthetics are sumptuously staged for the viewer’s pleasure. A hair- less, porny, framed section of a flayed sex doll displayed as a minimalist altarpiece, re- calling those digital filters used for an unreal contemporary perfection. Flesh-coloured stockings seamlessly stretched over frames in an artful and intimate vortex that draw us longingly into their gyre. Despite their distorted form they are uncut, their simultaneous fragility and strength echoing that supple grace of the skin.The third player in this ensemble takes us under the skin, giving subtle form to the subcutaneous. Und Szeemann’s bed-shaped, life-sized sheets of copper, bend in sup- plication to their ghostly weight. All aura, the skin has metamorphosed, these shrouded forms are but traces of a writhing figure, snail-trails of sensation, shining haptic phantoms.Amongst the legends of the Scottish isles there is a folktale about a woman whose husband died young, distraught she returned to his grave to steal his skin which she stuffed with magical herbs. Under the full moon she would sing to it and the skin would reanimate and dance with her until the song finished. These brief minutes of touch were enough to assuage her grief. Underneath it all we are all playing puppet master to the skins we inhabit, we are engaged in an enchanted animation of our- selves. And from all the many cultures who have practiced ritual mummification, we can say that in our imaginations it is the skin that dies last. Leila Peacockat Last Tango, Zurichuntil 16 July 2022Radicants inaugurates its exhibition space Radicants Paris, located at 18 rue Commines, with a solo exhibition of the Israeli artist Bracha L. Ettinger (Tel Aviv, 1948). Her work will be presented by the New York curator Noam Segal.Bracha Lichtenberg Ettinger is an artist, philosopher, and psychoanalyst, as well as a prominent feminist theorist and the creator of ‘matrixial theory’. Despite important international exhibitions (Castello di Rivoli, Turin – 2021; The Warehouse, Dallas – 2020; Biennale of Istanbul – 2015; Fundació Antoni Tàpies, Barcelona – 2010), her work has not been exhibited in Paris since 1990. This exhibition intends to position Bracha L. Ettinger’s work where it belongs: at the forefront of contemporary painting.Bracha L. Ettinger’s work draws on her family history. As members of the Jewish community in Poland, her family were victims of Nazi atrocities during the Second World War. In her work, Bracha subtly shifts the burden of memory towards the feminine and maternal, thereby emphasising the role of transgenerational transmission of traumas. She also revisits the history of art through mythological female figures of trauma such as Eurydice, Chronos, or Medusa. Bracha Ettinger starts with human bodies—mothers, women, and children—and transforms the obscure traces of a violent past into an abstract testimony, marked by spectres. In doing so, she calls into question the healing ability of art.Using some twenty paintings and drawings as well as the artist’s notebooks written in three languages (French, English, and Hebrew), Noam Segal provides a reading of Bracha L. Ettinger’s artistic practice based to his own theories of matrix space and her notion of giving birth. The exhibition presents the series “Annunciation“, “Pietà“, and “Eurydice,” which were started in the mid-1980s and are still in progress.In this debut exhibition at Radicants Paris, Nicolas Bourriaud has chosen to collaborate with Noam Segal to highlight the work of an artist he met in the 1980s:“Bracha L. Ettinger has created a historical painting that does not conjure up images of the past. Let me explain- she paints neither the Holocaust nor the war, but the traumas they have generated. Her work depicts both the present effect of history and the process of erasing memory. As a result, her work is a traumatology: it is a general study of shock.”The exhibition is accompanied by a curator book, which brings together texts by the American art historian Amelia Jones (1961, Durham), the French philosopher Jean-François Lyotard (1924- 98, Paris), the curator Noam Segal, and the artist, poet, and chef Precious Okoyomon (1993, London) in conversation with Bracha L. Ettinger.At Radicants, Parisuntil July 29, 2022

Capital Knowledge in Art (CapitalKA)

by DHAdmann