For her first personal exhibition at Galerie Escougnou-Cetraro, entitled physical self, Laura Gozlan worked on the texture of images as if it was skin epidermis, conjured literally or more elusively by its texture, its colour, its processing, its membranes. Discreet but omnipresent, the body’s presence is suggested in its subtraction by the entanglements between skin and stone, or by more striking operations such as disfiguration. This disfiguration affects the figure in a straightjacket, in its iden- tity appropriation and in its narcissism. The disfiguration agents include the drawing, historically the medium that shaped the human face, and special effects from zombie movies that Laura Gozlan is passionate about, especially the ones by Lucio Fulci, with its heads simmering at high temperature and decomposing before the eyes of the spectators. A third disfigura- tion agent is, more trivially, a bad scan made by a Kinect infrared camera. The technology used here does not project the future its perfecting techniques allow us to imagine, but forces us into thinking back to the present.
As a whole, Laura Gozlan’s exhibition is filled with a narrative latency or, more specifically, with a length of time, with a time span lived away from the chronos. It appears intangibly in the white noise made out of sounds and voices forging linkage between the exhibition pieces as much as, in a more material way, in the screen sculptures and in the projection of refracted moving images. Dwelling in this chronotope – which evokes the dystopian ambiances found in science fiction, seizing a parallel time more than a time to come – is a significant challenge launched by physical self.
Excerpt from a text written by Riccardo Venturi, catalog physical self, forthcoming in May 2017 text by Riccardo Venturi, design by Myriam Barchechat, Éditions Galerie Escougnou-Cetraro