Submission
Group Show

Speaking in Tongues

Angelika Loderer, Anna Lena Grau, Carolin Eidner, Christian Hoosen, David Schiesser, Dorothy Iannone, Garrett Nelson, Lotte Meret, Nat Marcus, Sarah Bernauer, Una Szeemann, Young Boy Dancing Group


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Left: Dorothy Iannone, Follow Me, 1978, Leporello / Right: Una Szeemann, As we lay on fingers, 2021, Rope, shrinking tube, metal, 920 x 20cm, variable
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Una Szeemann, As we lay on fingers, 2021, Rope, shrinking tube, metal, 920 x 20 cm, variable (Detail)
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Sarah Bernauer, Die Umarmung, 2020, Oil on canvas, 120 x 70 cm
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Wall: Carolin Eidner, Fertility Breakdown II, 2021, pigmented plaster mounted on styrofoam, 50 x 70 x 3 cm / Floor: Anna Lena Grau, Packstück 5, 2017/18, brass, 18 x 36 x 21 cm
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Angelika Loderer, Operator (Nose), 2020, brass, 6,5 x 11,5 x 7,5 cm
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Video: Young Boy Dancing Group, 2021, HD, Loop, 3:44 min / Wall: Caroline Eidner, Untitled (Lady T-Rex), 2019, pigmented plaster, mounted on styrofoam, wood, 155 × 65 cm / Artist Book: Dorothy Iannone, Follow Me, 1978
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Audio Piece: Garrett Nelson, Unknown Core Take 2, 2017, Audio Recording, Mono, 00:47 / Wall: Christian Hoosen, Portrait Geist 7 + 8, 2021, Oil on canvas, 30 x 24 cm
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Dorothy Iannone, Follow Me, 1978, Leporello, artist book with vinyl, 25 x 19,5 cm (folded size)
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David Schiesser, Reflux, 2021, Watercolor drawing on paper, Mounted and framed, 29,5 x 41,7 cm
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Anna Lena Grau, Tränke, 2020, Plaster, epoxy resin, pigeon defense, water, 30 x 39 x 40 cm
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Anna Lena Grau, Tränke, 2020, Plaster, epoxy resin, pigeon defense, water, 30 x 39 x 40 cm (Detail)
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Christian Hoosen, Blick aus meinem Arsch, 2020, Oil on canvas, 120 x 150 cm
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Nat Marcus, Lebenstechnik, 2021, Silkscreen on cotton, 215 x 153 cm
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Nat Marcus, Lebenstechnik, 2021, silkscreen on cotton, 215 x 153 cm (Detail)
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Group Show: Speaking in Tongues, Installation View, Blake & Vargas
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Anna Lena Grau, Not yet titled, 2021, Pigmented plaster, 84 x 48 x 21 cm
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David Schiesser, ICE 577, 2020, canvas, charcoal, dimensions variable (Detail)
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Lotte Meret, To Fear, Hope and Desire Again, 2020, Video- & spatial installation, 14:38 min, 2K
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Lotte Meret, To Fear, Hope and Desire Again, 2020, Video- & spatial installation, 14:38 min, 2K (detail)
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Speaking in Tongues, Installation View, Blake & Vargas

Speaking in Tongues, also called glossolalia, refers
to the act of speaking in an unknown language.

With his vision of a new theater, the Theater of
Cruelty, Antonin Artaud sought to dissolve the
boundaries between art and life, stage and
audience. In lieu of classical narrative and dialogue,
he experimented with movements, sounds, and
utterances in an imaginary language.
His final work, the radio play To be done with the
judgment of god
from 1947, begins with glossolalia
and ends with the proclamation:

„When you will have made him a body without
organs, then you will have delivered him from all his
automatic reactions and restored him to his true
freedom.“

Torn by the dichotomy whereby the body is both
body and mind, Artaud desires a body that is not
defined by the needs and functions of its organs.

In A Thousand Plateaus (Deleuze / Guattari, 1980),
Gilles Deleuze poses the question:
„How do you make yourself a body
without organs?“

A Body without Organs creates and forms itself
from the infinite possibilities of its virtual potential,
independently of its organism. The Body without
Organs operates in the free flow of its intensities,
desires, and language. In the exchange and intermingling
with other bodies, it is continually renewing
itself.

The collective body in Speaking in Tongues,
which is composed of the individual works in this
exhibition, can be read as an artistic exploration of
a Body without Organs. This imaginary body reveals
itself without solidifying, constantly reshaping its
contours. Through its permeable surface, it is able to
meld with other bodies. Speaking in tongues, the
language of its body comes into existence by
speaking equally to the inside and to the outside.

Sarah Bernauer