Reconsidering the way in which we look at and through the body, the three artists create a striking visual dialogue capable of unsettling imposed designations.
Yasmine Hatimi’s photographs are thus articulated as an exploration of the constitutive layers of the conception of masculinity in our contemporary societies. Under the evocative title Chasing Butterflies, her series of black and white images create moments suspended in time where the liberating potential of the individual is apprehended in all its fragility. Deconstructing an image of masculinity prescribed by social, traditional and religious injunctions, the artist opens the horizon to further meanings of this notion.
Between the exposure of the streets and the intimacy of the secret garden, Yasmine Hatimi creates an emotional tension that finds its prolongation in the duplication of the bodies in Ignacio Lobera’s work. From paper to sculpture, the bodies unfold in a constant movement and engage a singular space where interior and exterior meld. The artist himself becomes the subject of study in a game of alternating perspective, where questionings and doubts are incorporated in spectral silhouettes revisiting the performances of shadow theatre. The Médula series thus follows a random gesture and traces a sensitive reality where body and space converge. Raising multiple perceptions of the body and its displacements through unstable spaces, the distortion of the figures reflects the inner commotions.
In the continuity of this quest for the unfathomable intimate, Bence Magyarlaki’s sculptures incorporate a constant tension of a body torn between the social system, the family institution and the artist’s own desires for liberation. Questioning the gesture in its social and physical value, the series Body Shema: (Non)Violent Protectors externalises an organic and emotional intimacy of the body. Between the rigidity of the matter and the fluidity of the forms, the artist invites us to rethink the fixity of social and conventional norms around the body and its public and intimate performance. The malleability suggested by the twists and folds of the sculptures thus raises the instability of considerations about and through the body, as well as their potential reversal.