White Columns

White Columns Online 'PLS' curated by Francisco Correa Cordero 

"A limit can be understood as something to be pushed and/or reached beyond; as a maximum or minimum capacity to act; or, as the threshold beyond which one can never reach. The limit, then, is highly significant to our understanding of what a body could be and its inhabitation of space. Uncovering, experiencing, or experimenting with what, where and when the limits of the body are, [...] can make evident or potentially disrupt our notion of what it means to be a human being in the world." – Sebastian Abrahamsson, The limits of the body: boundaries, capacities, thresholds (2011)

“PLS,” short for “phantom limb sensations” or “phantom limb syndrome,” refers to the feelings (sometimes pain) in limbs that are no longer part of oneself, and is perceived outside of the limits and borders of the body. It was originally believed that it was caused by the grieving over the loss of the limb, but as opposed to other types of chronic pain, psychological factors are not precisely the cause. In some cases, this feeling is perceived in limbs that never existed in the first place. It is actually due to a reorganization of the nervous system. This peculiar phenomenon and adaptation to new conditions, is at the core of this exhibition.

Augmentation, loss, longing, allusions to schematics and a desire to reach and see beyond what is perceived are among the themes in the work of the artists included in PLS; each responding with different degrees of anxiety and tension to their environment, their own limits and their own materiality.

Under certain circumstances the brain’s representation of the body can be extended, and can assimilate external objects as part of itself. Conversely, the brain is also able to deny ownership of its own limbs. The works included in PLS occupy an unstable space in which they are both at comfort and unease with themselves. They are familiar while compellingly strange and foreign, becoming whole in their own entropy.

Francisco Correa Cordero is the founder and director of the contemporary art space Lubov in Lower Manhattan and the executive coordinator at Independent Curators International (ICI) in New York. 

This exhibition is the seventh in a series of online exhibitions; this exhibition was curated from White Columns' Artist Registry.

Participating Artists Include:
Daryl Bergman
Jerry Blackman
Gabriel Simon Cohen
Kristine Eudey
Nicolas Fleming
Tania Jade Houtzager
Daniel Jensen
Katie Kirk
SaraNoa Mark
Chris Pousette-Dart
John J. Richardson
Barb Smith

For more information: registry.whitecolumns.org


 

Daryl Bergman
Egg, 2017
Oil on linen 
10 x 12 in.
Courtesy of the artist

Gabriel Simon Cohen
The Long and Short of (all of it), 2016
Foam, Wood, Fluorescent Light, Fossilized Crinoid Stalks (collected on a beach by my mother), Dried Flower (gifted to me by Molly), Brass ring (gifted to me by Samantha), Plastic Container
23 x 22 x 12 in.
Courtesy of the artist

Katie Kirk
Moi et Toi Series - Satin Black, 2016
Glazed ceramic
24 x 24 x 11 in.
Courtesy of the artist

Kristine Eudey 
Untitled (Trinitron), 2017
Burned Sony Trinitron television, Carrara marble, fiberglass, maple, enamel
42 x 32 x 48 in.
Courtesy of the artist

SaraNoa Mark 
Shaping Sand, 2018
Carved paper clay
10.25 x 13.5 in.
Courtesy of the artist

Jerry Blackman
Mustache, 2011
Acrylic glass, steel, spray lacquer
6 ft.
Courtesy of the artist

Daniel Jensen
Cobra, 2015
Sand cast aluminium and enamel paint
46 x 30 x 13 cm
Courtesy of the artist

Barb Smith
Untitled, 2016
Memory Foam, Aqua Resin, and impressions from 2 bodies
Dimensions variable
Courtesy of the artist

Daryl Bergman
Rigali, 2017
Oil on linen
10 x 12 in.
Courtesy of the artist

Nicolas Fleming
High Hopes, 2016
Drywall, plaster, pigment, varnish, acrylic medium
34 x 52 in.
Courtesy of the artist

Chris Pousette-Dart
9201 172, 2013
Colored pencil on paper 
30 x 22 in.
Courtesy of the artist

John J Richardson
Case Study No. 25, 2012
Wood, urethane 
40 in.
Courtesy of the artist

Tania Jade Houtzager
Tooth Ache, 2017
Hydrocal, graphite, powder pigment, wood 
38 x 30 in.
Courtesy of the artist