Orinomancia

Orinomancia, solo exhibition, Terzo Fronte, Roma

From the 17.12.2021 to the 15.01.2022

Curated by Georgia René-Worms and Colin Ledoux

With the support of Wallonie Brussels International

 » How to seize, give visibility to our anarchical bodies, create for them a new, more personal language, far from the barbarity of the scientific language.

The pieces presented at Terzo Fronte, between painting and domestic sculptures, are at the basis for the creation of a support for narrative works revolving around the history of the body and the illness, from a feminist perspective. There are historical quotations like the two crossed hand, symbol of Italian feminists, popular references and of course her personal history, like the Spoon Theory, a vernacular system set up in conversation forums by people with chronic diseases to measure their fatigue.

At Terzo Fronte, the works of Laurie Charles play with the identity of our space, a place of both domestic life and exhibition. The space is modulated, it exchanges its robes according to the hour, and the visitors who come through. With her domestic sculptures Laurie Charles enrobes Terzo Fronte with a new body, a carnal and sometimes even visceral body, her own. This body that Terzo Fronte has come to shed is of those we are usually reluctant to talk about it: the body that is said to be in poor health.

But does a body in perfect health exist? Isn’t good health an idealised projection of an impossible norm for the body, produced by an authoritarian language, that of medicine? Isn’t disease itself a form of life for the body, one of its singularities with which we have to learn to live by inventing modes of existence that allow it its place?

In Migraine Laurie Charles projects us in a double real-size representation of her

body, the first exposes the medieval idea of the body as a map exposing a geographic territory and healing techniques that can be applied to it. In the second, the body is emptied of its organs, subject matter witnessing the trauma experienced. We then think of Artaud’s text The body without organs.

The exhibition Intervallo (I) Oniromanzia articulates the works of Laurie Charles with texts that support the artist’s practice and her reflection on the history of sick bodies. These texts associated with Laurie Charles’ textile pieces, form a set of dreamed fictions, proposals of existence, which free the body of normative discourse, to restore their greatness to our singularities.  » Georgia René-Worms

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