Light, skin, titan and body-consciousness to navigate between shelter and space: this artist's book shows collages of objects layered around in life size, then spreads out into the book space and installation works using photography and film.
“One of the shortcomings of modernism is its total neglect of visceral, bodily aspects of images and living, which had to be sacrificed to achieve its idealized clean-ness.” A scorpion's entire exoskeleton may act as one giant light receptor, a full-body proto-eye that detects shadows cast by moonlight and starlight. Texts and interviews with Chris Kraus, Anja Casser and Susanne Østby Sæther throw light on the material, tactile as well as the media-conceptual and poetical work and influence structure. The visceral idea is the entanglement beyond any nature / culture divide (and roughly based on A document made by Paul Thek and Edwin Klein).
Susanne M. Winterling (born 1970 in Rehau, Deutschland, lives and works in Berlin and Oslo) is developing image-based metaphors on the material forces that make social life real. We immerse ourselves in the world through touch screens and retina displays while witnessing the ways subjectivity is rendered precarious, in political and economic terms. Winterling reflects on what is refracted from the immersive surfaces, that is the collective production of subjectivity. In the layers she overlaps on one another, tactility appears as a primal material force to address the interrelations that make us who we are in activities like sleep and the ways we interact with animals, plants and inanimate matter in the ecological systems we live in.
