Nov. 03rd to Dec. 03rd - Inventando Corpus | Ana Amélia Genioli
The work of the artist Ana Amélia Genioli has been marked by the subtlety and by the perception of specific ways to see/feel life experiences. In different moments, Ana has transformed into art a handful of dirt, messages from friends, mourning, superposed images of the city and people. Her challenge is to provide materiality to emotional mappings. This time, in Inventing Corpus, her creation uses lines drawn on sheets of paper as a starting point. But it is not what it seems to be.
The Czech philosopher Vilém Flusser who said that lines are discourses of points and each point symbolizes that something exists. For this reason he understood that lines represented the world as you project it successively.
This exhibition may be an ideal example for his hypothesis. The raw material seems to be the line, but, in fact, are the displacements and representations. Would these be the discourse of symbolic worlds?
Ana trails paths of indicia that make the observer an accomplice of the creation process, suggesting other questionings and enigmas: Up to what point the fragmented image of a body activates certain immunity to all and every notion of wholeness and fulfillment?
Who draws the line: the hand or the eye?
What happens when space and time are transformed in experiences of discontinuity?
In invented landscapes, the fragment does not limit or amputate, but points to reentries. The images that are seen require an exercise of imagination so that it is possible to create nexus of meanings between the lines, the photographed places and the bodies. The line builds an image but it does not remain as a stable trace paralyzed residually from the gesture of the artist.
Using the technique of frottage, the drawings migrate through the sheet of paper, flow out to another paper and finally to the wall creating a cartography of perceptions. The dynamic of these migrations indicate that the gesture does not complete itself in the vestige of the movement on the paper or in framing the image in some place. Rather, it creates spaces without imprisoning itself.
There are no clear identities, no starting or arrival points.
In the end, one can conclude that it is precisely the unseen gesture that is presented as the poetic moment of thought and rescues us from our ordinary places.
Professor of the Department of Body Languages at PUC SP in the courses of Communication of Body Arts and in the Program of Graduation Studies in Communication and Semiotics.