Invasive Body A multidisciplinary project by Nelly César
Friday, 07 March 2014 11:07
Written by Elizabeth Flores
Earth, cavities, depths, contact… woman at floor level. The artist Nelly César places herself at that level and seeks to erase the tensions between the vertical and horizontal, the penetrating and the penetrable, animal and human. Here, she turns to the nomadic woman, the animal woman unharmed by the dominant logical thinking of bipolarized gender.
Like a mouse caught in the contemporary urban environment, César carries out an anti-institutional struggle against a society so concerned with symbolic connotations that it forgets to see itself as what it is - a body. She asserts the body’s value as a cognitive instrument and uses it to explore reality, arguing that the scientific objectivity celebrated by modernity has overlooked the subjectivity of empiricism and self-knowledge.
The results of César’s research are not objects, drawings or actions, but experiences in themselves, with which she traces her own path and says STOP to male judgment. Digging a hole, savoring the earth, breathing under the concrete streets; now she decides what and how to feel.
Adhering firmly to her opinions on gender, César invites the viewer to collect their own experiences and reminds us that today there is still much to be explored and values to be defended.
Earth, cavities, depths, contact… woman at floor level. The artist Nelly César places herself at that level and seeks to erase the tensions between the vertical and horizontal, the penetrating and the penetrable, animal and human. Here, she turns to the nomadic woman, the animal woman unharmed by the dominant logical thinking of bipolarized gender.
Like a mouse caught in the contemporary urban environment, César carries out an anti-institutional struggle against a society so concerned with symbolic connotations that it forgets to see itself as what it is - a body. She asserts the body’s value as a cognitive instrument and uses it to explore reality, arguing that the scientific objectivity celebrated by modernity has overlooked the subjectivity of empiricism and self-knowledge.
The results of César’s research are not objects, drawings or actions, but experiences in themselves, with which she traces her own path and says STOP to male judgment. Digging a hole, savoring the earth, breathing under the concrete streets; now she decides what and how to feel.
Adhering firmly to her opinions on gender, César invites the viewer to collect their own experiences and reminds us that today there is still much to be explored and values to be defended.