Mothers in Arts is pleased to announce its final exhibition of the trial residency, called Re: Production with works of Cecilia Bengtsson, Cecilia Cavalieri, Aurora Rosales and Csilla Klenyanszki.
Re: Production refers to the conditions under which the works were produced by four dedicated women artists who have supported each other in a crucial period of early parenthood. During the 3 months of residency they took care of each others children receiving in turn, time for their art production and the possibility to continue their artistic practice.
Cecilia Bengtsson's (b. 1984) practice focuses on inter body relations, the interval between bodies, ‘touch’ and the exploration of a traversing our own ego in order to have shared experiences.
“Falling, dropping, resting and the moment of impact. These are the bodily relations in gravity that I have explored during the Mothers in Arts residency. An obsession with the physical object that is pulled downwards. But the work is more. It is also about the human beings around these actions, the physicality and of glimpses of a surrounding and the glitches in-between the fall.”
Cecilia Cavalieri’s (b. 1984) work assembles an artistic practice with theoretical research, relating art, nature and economy/ecology of some crisis with the damaged modern subject in installations, photos, sculptures, texts, objects and videos. The idea is to develop, in each work, an ecology of this subject in a cosmopoetic exercise.
“This was supposed to be a work on milk, on milk as a tongue, as a mother tongue, as language - i noticed that the less my daughter nurses the more she talks, or the more she talks the less she demands my breasts. And now I am here trying to understand what art is, with a child lying in my arms, and also what is the limit of a colonized body that is full of love and nourishes while it is also destroyed. And then I look at the child's body which weighs on my lap and remember that guilt pervades everything, just like the child, who bothers and infiltrates many worlds. The works that I developed here in the Mothers in Arts residency deal with this "infiltration". The child arrives under the table, between the legs, wants to be held, wants our body, wants the world, wants to sleep, wants more milk. She will undo what is not finished yet: but what we call destruction is the construction of her experience as a being. She cries, she leaks, and with her all infiltrations into my body. She is herself the infiltration, she floods under the door, underneath everything, through every possible hole, over the mother, treading softly the withered breast among rubble made of legos and the fossils of rice crackers.”
Aurora Rosales’ (b. 1982) work wants to address female labor trough the use of painted canvas as textile and the action of cleaning as a performance. Textiles are traditionally women’s work and cleanliness is arguable associated as a female virtue.
“I tear the raw canvas apart. Watery paint spilled on the floor, the cloth gently absorbs the painterly fluid while I wipe, I wring and repeat. I let the fabric dry trough the days. I iron these fragments, I sew them, I could go on, but I stop. I spill paint on the floor, I wipe, I wring, and repeat. I let the fabric dry. I weave the fragments into a loom made out of a painting frame. I fill it all. I decide it needs more air.”
Csilla Klenyanszki’s (b. 1986) performative interactions can be seen as personal research for balance between early parenthood and an artistic practice. A constant attraction to physical and mental tension characterizes her work. Her projects play with the borders of nonsense, while her artistic method balances between installation- and a simplified version of performance art. Her current practice gambles with different forms of time-based balance, while exploring her mental and physical equilibrium.
“During the Residency I’ve continued developing a series of exercises that test my capability for creating order and finding harmony. These exercises deal with the passage of time, not just as a symbol or an idea, but as a subjective experience; I need to find time to make time. Making time takes time. The final work “Clock” is based on 12 physically and mentally challenging - one hour - performances which capture my struggle with time, while mechanically making it. The physical body - the right leg used as the minute arm, and the left leg as the hour arm of a clock - shows the passage of time, transforming every single minute into a new posture. 720 different positions are building up the 12 hour clock. To make the work I am literally racing against my own biological clock, as the performer needs to be relatively young to fulfill the choreography.”
3/4/5 June 2017
Opening on the 3rd of June at 16:00
4th and 5th of June open between 12:00 and 17:00
Artist-run space Goleb at de Vlugt
Burgemeester de Vlugtlaan 125
HOW TO GET THERE
14 and 7
Stop Burgemeester Eliasstraat
21 and 80
Stop Burgemeester Eliasstraat
Station Amsterdam Sloterdijk
(20 mins walk, 1.6km)
Station De Vlugtlaan
(9 mins walk, 750m)
A10 / s105 exit from A10/E22
Drive to Burgemeester de Vlugtlaan/s104 in Amsterdam Nieuw-West