Eu armário de mim
Eu armário de mim
text by Laura Erber
woman flush with things
a woman flush with things inquires about the ways of existing. the body, the name, the household, thickness which the subject integrates and which shapes them every day.
in the tiny fracture of a day-to-day gesture a woman flush with herself questions the topography of life flush with things and their uses. the household, the fold, the pronouns. spaces in which to keep things are also places for losing oneself. I, debris of myself. I, remainder. I,furnishing. I, object of myself.
me and my family, as though we were a verbless phrase inside a closet. too much of myself.
should the world be measured by eye?
to live life, to be somebody, to have somewhere to go, what does it mean?
what type of meaning can one infer from the shape of a nose, from the distance between the eyes?
here the answers are gestated in cognitive circularity, in the invitation to self-awareness of parameters. a self-poetics which explores our regulating parameters. to become acquainted with becoming acquainted. a house is also a word awaiting meaning. a woman. all names are improper.
in the artworks presented here there are compact, bravely blunt experiences, the household is the laboratory, the domestic space is untamable, her videos and actions are devoid of promises, there are no illusions, not even the illusion of there being no illusion, Xeroxed papers, drawings, the whole exposes the way in which our experience of ourselves in the world.
the prosaic, but relentless humor, sort of like a cold sweat, from someone who objectifies themselves so as to better portray the power play that constitutes this subjectivity.
armário de mim (closet of myself) is one of the ways to be outside oneself. To create self-observation methods in which the observer observes their own observation. There is something phenomenological and something very political about this gesture.
to express one’s own perceptual capabilities flush with conceptual intuition. the place where measurements are born. a medieval woman flush with the tongue said “we do not own anything on earth except the power to say I.” The power to say I here is the power to lose oneself in oneself.
when the language that is a phenomenon of the body is equally a modality of gesture. not by chance, the presence of language-prayer harks back precisely to the feeling that the voice is a corporeal gesture.
in spite of the fact it is all short-lived, behind each artwork there is a holistic patience, a precision, though never snobbish, a way to make life show its disarray and unsettle out of its measures, and to make the most familiar spaces into the ones that are hardest to access. even though it may only last one minute.