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“Hannah Villiger: Amaze Me” is a component exhibition, half fleshed-out topography. On the bottom flooring, Skuptural, 1984–85, presents twelve enlarged snaps of the artist’s armpit hair. Right here as elsewhere within the present, the structured repetition of Villiger’s material banalizes its which means; the sexualized reverts to the ontological and again. The appreciable scale of her work is a tongue-in-cheek rejoinder to all those that, fairly actually, would make an enormous deal out of the feminine physique.
Upstairs, the pictures on view are now not a provocation however, as a substitute, acts of affection. Within the framed testimony of Arbeit, 1980, Villiger’s freckles associate with the crimson lipstick of her lover (additionally her collaborator and frequent mannequin) as the 2 crouch underneath a desk. Each are compressed by the claustrophobic composition, however they preserve their chins up. In Block III, 1988, the Polaroid’s flash obscures greater than it reveals: A budget lighting flattens the floor of a torso, remodeling it right into a white canvas, a tabula rasa interrupted solely by a pair of pink nipples. After her separation from her associate, Villiger started to duplicate her physique utilizing mirrors. Generally, the top outcomes are as playful as a kaleidoscope, as in Block XVI, 1989. In others, like Block XXX, 1993–94, the artist distorts her physique into one thing monstrous, an amalgamation of pretzeled limbs and lonely toes. In longing, we duplicate ourselves. Once more, and once more, and once more.
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