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Exhibition: Streams of Warm Impermanence (16 Sept – 10 Dec 2016)

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Thurs 15 Sept, 6–8pm  Opening Reception of the exhibition with artists and curators.

Sat 12 Nov, 4pm  Artist’s tour with Justin Fitzpatrick

Sat 19 Nov, 2–6pm Symposium Ch-ch-ch-ch-changes. Cultural perspectives on flesh from the 1980s to now with Cadence Kinsey, Olivia Laing, Matthew McLean, Tommaso Speretta

Sat 3 Dec, 4pm Artist’s talk with Renate Bertlmann

Sat 10 Dec, 3pm Artist’s tour with Athena Papadopoulos 

Streams of Warm Impermanence is a group exhibition at DRAF focusing on new iterations of flesh in a networked era. With Kelly Akashi, Jean-Marie Appriou, Dora Budor, Justin Fitzpatrick, Ann Hirsch, Max Hooper Schneider, Donna Huanca, Renaud Jerez, Jason Matthew Lee, Athena Papadopoulos, Anna Uddenberg, Stewart Uoo, Issy Wood; and works by Renate Bertlmann, Carolee Schneemann, David Wojnarowicz, Martin Wong.

The body has always generated discussion in literature, politics, performance studies, fashion, biology, and more recently in cultural theory, bioethics and information technologies. The body has been scrutinised, reconsidered, modified and reconquered as both a subject and an object, a constructed material and a matter to form. Yet, the body is still not exhausted: it escapes, it decays, and ways to control it (fitness, plastic surgery, cosmetics, diets etc) only emphasise its plasticity, its malleability, its inescapable putrefaction.

Streams of Warm Impermanence looks beyond well-rehearsed anxieties about human corporeity rendered either excluded and redundant, or abstracted and vacuous. The glossy, photoshopped, hyper-hygienic image only represents the surface of our online-body, a mirage of identity. The exhibition re-focuses attention from the body to its more basic matter: flesh, in it material, cultural, sexual, medical or cosmetic aspects.

Flesh is the matter of empowered bodies, ‘informed bodies’ operating through networks and fields of information (social, cultural, medical, etc) to perform, transform, transcribe, reconfigure or reinvent themselves. This exhibition wishes to consider flesh not as a category to read, decode or classify, but as a material that acts as much as is acted upon, infiltrates and is informed by the systems around it.

The artists are surgeons or Frankensteins, creating, opening, re-inventing and hacking bodies, at once violating and celebrating the flesh. The exhibition is constituted of fragmented, precarious, abject and complex organs and systems. Eventually, the works re-inform the art of portraiture blurring the boundaries between human/animal/object/technological. They articulate a vision of flesh as both material and a locus of fluid identity. Neither static and solid nor fully fluid, be they infected, pollinated or mutated, flesh has the potential to be “trans-” in its literal meaning: across, through, beyond.

The exhibition includes sculptures, paintings, drawings and installations never previously presented in London and new commissions. Practices by international contemporary artists are accompanied by historical works that point to key moments of shift in artists’ engagement with the flesh and the body: liberated with Carolee Schneemann, feminist with Renate Bertlmann, contaminated with David Wojnarowicz and the multi-cultural with Martin Wong.

This exhibition is curated and produced by Vincent Honoré (Chief Curator, DRAF) with Nicoletta Lambertucci (Curator, DRAF), and Cedric Fauq, Callum Kirkbride and Serge Legagneux (Curatorial Assistants).

Thanks to the Institut Francais for supporting the participation of Renaud Jerez.

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  • Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
    1/25Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
  • (left to right) Jean-Marie Appriou, In The Rye, 2016; Kelly Akashi, Downtime Machine, 2016;
David Wojnarowicz, Untitled (Eye with Ants), 1988-89. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy Jean-Marie Appriou and Jan Kaps, Cologne / Kelly
Akashi and Ghebaly Gallery, Los Angeles / the Estate of David Wojnarowicz and P.P.O.W Gallery,
New York. Photo: Tim Bowditch
    2/25(left to right) Jean-Marie Appriou, In The Rye, 2016; Kelly Akashi, Downtime Machine, 2016; David Wojnarowicz, Untitled (Eye with Ants), 1988-89. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy Jean-Marie Appriou and Jan Kaps, Cologne / Kelly Akashi and Ghebaly Gallery, Los Angeles / the Estate of David Wojnarowicz and P.P.O.W Gallery, New York. Photo: Tim Bowditch
  • Kelly Akashi, Downtime Machine, 2016 (detail). Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and Ghebaly Gallery, Los Angeles. Photo: Tim
Bowditch
    3/25Kelly Akashi, Downtime Machine, 2016 (detail). Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and Ghebaly Gallery, Los Angeles. Photo: Tim Bowditch
  • Martin Wong, Man Carries Unborn Twin Inside His Head, 1982. Installation view in Streams of
Warm Impermanence at DRAF, 2016. Courtesy the Estate of Martin Wong and P.P.O.W Gallery,
New York. Photo: Tim Bowditch
    4/25Martin Wong, Man Carries Unborn Twin Inside His Head, 1982. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the Estate of Martin Wong and P.P.O.W Gallery, New York. Photo: Tim Bowditch
  • Renate Bertlmann, Wurm Gehängt II, 1973; Jean Marie Appriou, Hysteria, 2015. Installation
view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artists and Richard Saltoun, London / Jan Kaps Cologne. Photo: Tim Bowditch.
    5/25Renate Bertlmann, Wurm Gehängt II, 1973; Jean Marie Appriou, Hysteria, 2015. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artists and Richard Saltoun, London / Jan Kaps Cologne. Photo: Tim Bowditch.
  • Max Hooper Schneider, Pet Semiosis 12: MALARIA (Hindi), 2016. Private Collection. Installation
view in Streams of Warm Impermanence at DRAF, 2016. Courtesy of the artist and Jenny’s, Los
Angeles. Photo: Tim Bowditch.
    6/25Max Hooper Schneider, Pet Semiosis 12: MALARIA (Hindi), 2016. Private Collection. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy of the artist and Jenny’s, Los Angeles. Photo: Tim Bowditch.
  • (left to right) Renate Bertlmann, Wurm Gehängt I [Worm Hanged I], 1973; Anna Uddenberg, BFF
Twin Torso, 2015; Jason Matthew Lee, Payphone Dyptich, 2015. Installation view in Streams of
Warm Impermanence at DRAF, 2016. Courtesy the artists and Richard Saltoun, London / Galerie
Crevecoeur, Paris / Sandy Brown, Berlin. Photo: Tim Bowditch.
    7/25(left to right) Renate Bertlmann, Wurm Gehängt I [Worm Hanged I], 1973; Anna Uddenberg, BFF Twin Torso, 2015; Jason Matthew Lee, Payphone Dyptich, 2015. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artists and Richard Saltoun, London / Galerie Crevecoeur, Paris / Sandy Brown, Berlin. Photo: Tim Bowditch.
  • Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
    8/25Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
  • Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
    9/25Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
  • Stewart Uoo, Curtain Moment II (Lighting a match in Daylight), 2016. Installation view in
Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist, Galerie Buchholz, Cologne/
Berlin/ New York 47 Canal, New York. Photo: Tim Bowditch.
    10/25Stewart Uoo, Curtain Moment II (Lighting a match in Daylight), 2016. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist, Galerie Buchholz, Cologne/ Berlin/ New York 47 Canal, New York. Photo: Tim Bowditch.
  • Stewart Uoo, Security Window Grill VI, 2014. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist, Galerie Buchholz, Cologne/ Berlin/ New York
47 Canal, New York. Photo: Tim Bowditch.
    11/25Stewart Uoo, Security Window Grill VI, 2014. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist, Galerie Buchholz, Cologne/ Berlin/ New York 47 Canal, New York. Photo: Tim Bowditch.
  • (left to right) Justin Fitzpatrick, Sehnsucht (for John Craxton) and Working Out (Giraffe), 2016; Athena Papadopoulos, Untitled (Curtains from The Smoke Shows), 2015; and David Wojnarowicz, Untitled, 1984. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy
Justin Fitzpatrick / Athena Papadopoulos and Supportico Lopez, Berlin / the Estate of David Wojnarowicz and
P.P.O.W Gallery, New You. Photo: Tim Bowditch
    12/25(left to right) Justin Fitzpatrick, Sehnsucht (for John Craxton) and Working Out (Giraffe), 2016; Athena Papadopoulos, Untitled (Curtains from The Smoke Shows), 2015; and David Wojnarowicz, Untitled, 1984. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy Justin Fitzpatrick / Athena Papadopoulos and Supportico Lopez, Berlin / the Estate of David Wojnarowicz and P.P.O.W Gallery, New You. Photo: Tim Bowditch
  • Athena Papadopoulos, Untitled (Curtains from The Smoke Shows), 2015 and David Wojnarowicz,
Untitled, 1984. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy Athena Papadopoulos and Supportico Lopez, Berlin / the Estate of David Wojnarowicz and
P.P.O.W Gallery, New You. Photo: Tim Bowditch
    13/25Athena Papadopoulos, Untitled (Curtains from The Smoke Shows), 2015 and David Wojnarowicz, Untitled, 1984. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy Athena Papadopoulos and Supportico Lopez, Berlin / the Estate of David Wojnarowicz and P.P.O.W Gallery, New You. Photo: Tim Bowditch
  • Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
    14/25Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
  • (clockwise from foreground) Renaud Jerez, Green Doll, 2016 and Carolee Schneemann, Nude on Tracks D & E, 1975/2005 and Magnetization Reaching, 1968. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artists and Galerie Crevecoeur, Paris / P.P.P.W Gallery, New York, Galerie Lelong, New York and Hales Gallery, London and New York.
Photo: Tim Bowditch.
    15/25(clockwise from foreground) Renaud Jerez, Green Doll, 2016 and Carolee Schneemann, Nude on Tracks D & E, 1975/2005 and Magnetization Reaching, 1968. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artists and Galerie Crevecoeur, Paris / P.P.P.W Gallery, New York, Galerie Lelong, New York and Hales Gallery, London and New York. Photo: Tim Bowditch.
  • Carolee Schneemann, Nude on Tracks D & E, 1975/2005. Installation view in Streams of Warm
Impermanence at DRAF, 2016. Courtesy the artist, P.P.P.W Gallery, New York, Galerie Lelong, New York and Hales Gallery, London/New York. Photo: Tim Bowditch.
    16/25Carolee Schneemann, Nude on Tracks D & E, 1975/2005. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist, P.P.P.W Gallery, New York, Galerie Lelong, New York and Hales Gallery, London/New York. Photo: Tim Bowditch.
  • (left to right) Donna Huanca, Untitled, 2015, Radix, 2016, Liberthenite, 2016 and Stretch Marks,
2015. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist
and Peres Projects, Berlin. Photo: Tim Bowditch.
    17/25(left to right) Donna Huanca, Untitled, 2015, Radix, 2016, Liberthenite, 2016 and Stretch Marks, 2015. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and Peres Projects, Berlin. Photo: Tim Bowditch.
  • Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
    18/25Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
  • Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
    19/25Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
  • Dora Budor, One Million and One Years of Feeling Nothing, 2015. Installation view of Streams of
Warm Impermanence at DRAF, 2016. Courtesy the artist and private collection, Paris. Photo: Tim
Bowditch
    20/25Dora Budor, One Million and One Years of Feeling Nothing, 2015. Installation view of Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and private collection, Paris. Photo: Tim Bowditch
  • Ann Hirsch, Q, Picard and Jeannie, 2016. Installation view of Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and Arcadia Missa, London. Photo: Tim Bowditch
    21/25Ann Hirsch, Q, Picard and Jeannie, 2016. Installation view of Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and Arcadia Missa, London. Photo: Tim Bowditch
  • Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
    22/25Installation view of Streams of Warm Impermanence at DRAF, 2016. Photo: Tim Bowditch
  • Athena Papadopoulos, The Smoke Show, 2015 (detail). Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and Supportico Lopez, Berlin. Photo: Tim
Bowditch
    23/25Athena Papadopoulos, The Smoke Show, 2015 (detail). Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and Supportico Lopez, Berlin. Photo: Tim Bowditch
  • Athena Papadopoulos, The Smoke Show, 2015 (detail). Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and Supportico Lopez, Berlin. Photo: Tim Bowditch
    24/25Athena Papadopoulos, The Smoke Show, 2015 (detail). Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artist and Supportico Lopez, Berlin. Photo: Tim Bowditch
  • Athena Papadopoulos, The Smoke Show, 2015 (detail) and Issy Wood, Untitled, 2016. Installation
view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artists and Supportico
Lopez, Berlin. Photo: Tim Bowditch
    25/25Athena Papadopoulos, The Smoke Show, 2015 (detail) and Issy Wood, Untitled, 2016. Installation view in Streams of Warm Impermanence at DRAF, 2016. Courtesy the artists and Supportico Lopez, Berlin. Photo: Tim Bowditch