WE BECOME THE OBJECTS OF OUR OWN SENSATION

;

Art forms a map for a future world, but who are the cartographers?

;

Vibrations move through us all, life pulsates through all things. We are at once in the world and facing it – seeing and being seen, affecting and being affected. The space between us channels the vibrations, conducting and altering and interpreting them. The viewer can affect the work, but can the work affect the viewer? A work that is activated comes alive – a living object, and life itself is a work of art.

;

Trust and intimacy – trust to give a work to someone else, to allow it to be channelled and conducted through their body and mind; intimacy of movement, intimacy of sound. The space between bodies becomes its own body, organless, bloodless, but pulsing, transmitting, conducting all the same. Bodies affect other bodies – breaking barriers, permeating boundaries, redrawing borders. A new, living structure is created.

;

Movement is greater than the sum of its parts. Awareness of the body is awareness of humanity’s communal existence, of unity as an organic whole of infinitely different constituent parts. We are the primitives of a new era, inventing rituals to make sense of our unfamiliar surroundings, trying to develop a notion of inner self. The music of the universe pulses in through our bodies and out through others. We feel more than our body, more than our own atmosphere. We map our own reality, generating new landscapes of existence.

;

The border between subject and object dissolves, and each one contaminates the other. The work is the process, the progression. The meaning comes from within, and can no longer exist in inert passivity, can no longer be isolated from its executor, from those who conduct its meaning. Structure gives way to gesture, and it is possible to register a new reality of sensations, pure sensations, captured and emitted by the body. We become the objects of our own sensation.

;

×

;

Marion Eele is currently on The Glasgow School of Art's MLitt Curatorial Practice program. This piece is in response to Molding a Contemporary Soul: The Empty-Full of Lygia Clark by Suely Rolnik.

 

Built with Berta.me