Page 48 - "he 2020 Guggenheim issue of World of Art Contemporary Art Magazine
P. 48

For exp. 3, Sinthujan Varatharajah and Osías
                                                              Yanov explore different tracings of the body and
                                                              the imprints of its collective geographies. Their
                                                              contributions center around the obstacles and
                                                              objects that keep us apart, but that occasionally
         EXP. 3:                                              become penetrable, allowing bodies to press
         11TH BERLIN BIENNALE                                 together, move through, and flow. How can we
         THE BONES OF THE WORLD                               understand bodies as reservoirs of historical and
                                                              sensual memories, bodies as borders in and of
         Affect Archives. Sinthujan Varatharajah – Osías Yanov
                                                              themselves? Varatharajah is a researcher building
                                                              an archive of living memory; Yanov is an artist who
         Since September 2019, the 11th Berlin Biennale for
                                                              excavates the body, queering it into a source of
         Contemporary Art has been unfolding as a process through
                                                              archaic meaning. At stake are not only different
         a series of lived experiences with exp. 1, exp. 2, and exp. 3.
                                                              modes of reconstructing lost journeys but also ways
         In a fourth step, conceived as an epilogue, the 11th Berlin
                                                              of shaping the future memories of ourselves.
         Biennale will bring these experiences together with artistic
         participation from around the world. In their diverse modes
         of articulating solidarity, vulnerability, and resistance, these
         contributions rise up to materialize the complicated beauty   The umbilical cord of a newborn child holds special meaning. It is a
         of life amidst the turbulent times we inhabit.       reminder of the link between the child and his mother and, by extension,
                                                              her family, her community and her culture. When the chord falls off it is
                                                              preserved in a hide container embroidered with prayes for protection and
                                                              long life. Typically shaped like a turtle for a girl and a lizard or snake for a
         Umbilical Cord Amulet (Niitsitapi, 1830–1856) and Belt with Umbilical Cord   boy, these amulets are attached to cradles as a baby’s first toy. They are
         Amulet (Oceti Sakowin, 1930–1950) from the McCord Museum’s Indigenous   later worn throughout a child’s life and in some cases buried with him or
         Cultures collection, Montreal, Canada                her in old age.
















































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