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'The Leaking Bodies Series' by Barbara Kapusta at Gianni Manhattan, Vienna

 
 


         You feel like a
      global fluid.
  
   I penetrate
 all boundaries.
  
 Dripping
    and oozing.
  
      I am longing for you
        to share
            your wetness.
  
  
GIANNI MANHATTAN is pleased to present The Leaking Bodies Series, Barbara Kapusta’s second solo show with the gallery.
  
Kapusta’s immersive three-channel video installation The Leaking Bodies and her most recent acrylic glass works seek to describe the effects of environmental, social and emotional stress, the increasing toxicity of landscapes, political instability and how our relationship to these events work in, and on, our bodies.
  
The Leaking Bodies traces the connection between capital, migration, toxicity, activism, health and identity through the routes of fluids, linking acts such as the privatisation of drinking water and the forestation of crude oil streams. The installation weaves stories about leaking pipelines, contamination of water and terrain, ecological protest, identity and the permeability of our bodies and borders.
  
Stemming from this concept of the permeability of skin and borders, The Leaking Bodies follows a fragmented body that is exposed to the effects of pollution and ecological disaster and in the process becomes contaminated through the leaks and holes in its skin.
  
For Kapusta, skin here assumes the position of a zone of transition, a membrane, acting simultaneously permeable and a barrier. A fertile zone where transformations, new compositions and multiplications occur, while at the same time contending with a constant and real threat of pollution, extinction and poisoning, all deriving from the vicious loop of capitalism, consumerism and our actions within it.
  
.. we should cultivate thoughtfulness as to the technologies we use–borders, laws, doors, pipes, bowls, boats, baths, flood-barriers, and scalpels–in order to hold, release, and manage water. When is it time to release a boundary? When is it time to keep a point (cervix like) firmly sealed? At what point (cervix like) must the wall come down? When is a bandage ready to come off? How can a city be open to strangers and closed to tsunamis? (Sophie Lewis) 

9.12.20 — 23.1.21

Gianni Manhattan

'ABSINTHE', Group Show Curated by PLAGUE at Smena, Kazan

'Pupila' by Elizabeth Burmann Littin at Two seven two gallery, Toronto

'Auxiliary Lights' by Kai Philip Trausenegger at Bildraum 07, Vienna

'Inferno' by Matthew Tully Dugan at Lomex, New York

'Зamok', Off-Site Group Project at dentistry Dr. Blumkin, Moscow

'Dog, No Leash', Group Show at Spazio Orr, Brescia

'Syllables in Heart' by Thomas Bremerstent at Salgshallen, Oslo

'Out-of-place artifact', Off-Site Project by Artem Briukhov in Birsk Fortress, Bi

'Gardening' by Daniel Drabek at Toni Areal, Zurich

'HALF TRUTHS', Group Show at Hackney Road, E2 8ET, London

'Unknown Unknowns' by Christian Roncea at West End, The Hague

'Thinking About Things That Are Thinking' by Nicolás Lamas at Meessen De Clercq,

‘Funny / Sad’, Group Show by Ian Bruner, Don Elektro & Halo, curated by Rhizome P

'Don’t Die', Group Show at No Gallery, New York

'Almost Begin' by Bronson Smillie at Afternoon Projects, Vancouver

'I'll Carry Your Heart's Gray Wing with a Trembling Hand to My Old Age', Group Sh

'hapy like a fly' by Clément Courgeon at Colette Mariana, Barcelona

'Fear of the Dark' by Jack Evans at Soup, London

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