"SUPER-NATURAL, Until the end", MASSIMO, Milan. Janaina Wagner, "Licantropia" (2020). Photo by Mattia Angelini

Videos by Brazilian artists are featured in “SUPER-NATURAL, Until the end”

(Milan, Italy)

MASSIMO presents SUPER-NATURAL, Until the end, an exhibition that will take place until September 26, 2021. The group show brings together seven videos by the artists Adriano Amaral (Brazil), Nídia Aranha (Brazil),Vitória Cribb (Brazil), Débora Delmar (Mexico), Ilê Sartuzi (Brazil), Wisrah Villefort (Brazil), and Janaina Wagner (Brazil) whose research engages in questions around the speculative dimension of the dissolution of the nature-culture binomial, especially considering the modern heritage of the construction of these concepts.

Check out below a bit about some of the artists’ works:

In Milking (2020), Nídia Aranha documents the extraction and monitoring of the breast milk flow from her own body, that of a synthetic woman, in the artist’s words.This process is part of a biohacking investigation conducted on the possibilities of induced lactation in transvestite bodies through specific hormonal diet and mechanical extraction stimuli. The research reveals an almost fictional reality that resides in the limiting hegemonic inconsistency about the corporeality of the species.

Rurais (2017), by Adriano Amaral, features night shots of the artist’s grandparents’ farm. Filmed with a drone, the footage of storage sheds, empty spaces, and abandoned farming utensils conjures a post-apocalyptic scenario reminiscent of the pictures taken by robots during the Fukushima nuclear disaster. Known as ASMR (Autonomous Sensory Meridian Response), the accompanying audio is designed to elicit physical sensations in the listener’s body, not unlike a sound-tact kinesthesia phenomenon.

With Caput (2021), Ilê Sartuzi weaves an associative tissue of links and references between the image of Walt Disney’s head and the decapitated heads that were portrayed by Caravaggio. This two-channel video essay establishes two distinct narratives, in parallel, having the relationship with death and the visual proximity of an iconography of the decapitated head as the core of this approximation. The work maps a trajectory of ideas in overlapping layers speculating, ultimately, about cryogenics, virtualization, and death.

Licantropia (2019) is an atonement by Janaina Wagner of the figure of the werewolf, a creature shaped by men-kind as a scapegoat to give contour to cruel acts perpetrated by humanity through the course of history. Narrated by the moon during the course of a night and merging fiction and reality, the film is a collage of 16mm, digital, engravings, text and anonymous testimonies. The werewolf, a hybrid being, operates always “in between”, transitioning around the limits of reality and invention, lie and truth, history and stories: it is an amalgam that merges in one single image the human and the animal, operating as an approachable bridge to investigate civilizing processes of domination through history.

In São Paulo, SUPER-NATURAL was organized by Ilê Sartuzi, Wisrah Villefort and OLHÃO. In Europe, the exhibition takes place in a partnership between MASSIMO (Milan, Italy), OLHÃO (São Paulo, Brazil) and BPA (Cologne, Germany)

“SUPER-NATURAL, Until the end”,
From September 14h to 26th, 2021

via Degli Scipioni 7, 20129, Milan, Italy
on the weekend: from 3pm to 7pm;
during the week: only by appointment

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