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Rachel Libeskind & Carmen Winant: sensation—sensitivity—creativity—productivity—communication
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Rachel Libeskind & Carmen Winant: sensation—sensitivity—creativity—productivity—communication
Exhibition
Rachel Libeskind & Carmen Winant: sensation—sensitivity—creativity—productivity—communication
2 Jun 2019 – 14 Jul 2019
Regular hours
- Tuesday
- 12:00 – 18:00
- Wednesday
- 12:00 – 18:00
- Thursday
- 12:00 – 18:00
- Friday
- 12:00 – 18:00
- Saturday
- 12:00 – 18:00
Address
- 102 Forsyth Street
- New York
New York - 10002
- United States
signs and symbols is pleased to present sensation—sensitivity—creativity—productivity—communication, an exhibition of new works by Rachel Libeskind and Carmen Winant.
About
A two-person show between artists who have long been in conversation, the works presented expand on their shared practice of collage as a vehicle of social disturbance. Libeskind and Winant, who practice feminism and motherhood, both explore the manner in which the body itself comes apart, is force to manipulation, and can come to re-define its center.Libeskind’s new body of work consists of a series of collages shaped as rocks, adopting a sculptural nature in both material and form. Applying a new technique - using fabric hardener on ultra-light Japanese paper – Libeskind deals in appropriated images from a 1940s British board game that calls on its players to arrange the facial expressions of expressionless, ahistorical white faces. Across this work those reconstructed faces register as grotesque re-formations. Close by, Libeskind’s hyper-colorful, shrunken rocks pervert relative scale and comfortability, shrinking the monumental to the near-miniature. As with the collages, they trouble expectations of (social and material) flatness and weight.
For this series of three kindred collages, Winant has culled found images of women undergoing embodied treatment (dance therapy; movement therapy; talk therapy; contact therapy; scream therapy). In these works, Winant tests the very potential of process itself: is it possible to demonstrate healing pictorially? Can we trace reparative impact through language? Can the act of making itself repair a body? Unlike past works, which have existed purely as and through pictorial narratives, she has massaged text – another form of unfastening and reiteration — into the process. The handwriting that runs throughout the collages is, importantly, her own; touch is everywhere.
