Inspired by Julia Kristeva's 1980 essay «Powers of the Horrors: An essay
on Abjection», the show explores her notion of the abject and its «psychic origins and mechanisms of revulsion and disgust» emerging out of a confrontation with death, with violence, with vulnerability of decay.
You might think the famous opening paragraph of Kristeva's 1980 book, Powers of Horror: An Essay
on Abjection, would make an appropriate epigraph for the Emin show, especially if you substitute «art» when the word «literature» is mentioned.
Not exact matches
Masterful performances abound, though it's the brutalized women who come out
on top in spite of their
abjection.
«Throughout a night without images but buffeted by black sounds; amidst a throng of forsaken bodies beset with no longing but to last against all odds and for nothing;
on a page where I plotted out the convolutions of those who, in transference, presented me with the gift of their void — I have spelled out
abjection.
Through video, she examines painting and other visceral acts connected with associations of desire and
abjection placed
on female bodies in culture, and opposed to associations of power and virility placed
on male bodies.
Hijikata situated butoh as an outlaw, literary, and surrealist dance form, drawing
on themes of death, criminality,
abjection, and corporeality.
As Weber writes in the catalogue, the painting alludes to Jasper Johns but also, in its
abjection, to Mike Kelley's Janitorial Banner (1984); some observers at the time seized
on it as a «feminist gesture.»
The show accompanies and expands
on the London - based artist and writer's novella Virus, also published by Arcadia Missa, and follows the Stupart's concerns with gender, language mutation and
abjection in a «virulent and embodied critique of sexism and structural violence in art and artworlds.»