JOAO BISCAINHO
BODY TERMINALS
OCTOBER 8 - NOVEMBER 5, 2022
BODY TERMINALS in UMBIGO MAGAZINE
Text by Adam Geczy >>> REVIEW
REQUEST CATALOGUE
BODY TERMINALS
OCTOBER 8 - NOVEMBER 5, 2022
BODY TERMINALS in UMBIGO MAGAZINE
Text by Adam Geczy >>> REVIEW
REQUEST CATALOGUE
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" - Give me your tired, your poor, Your huddled body parts, Spare terminals yearning to breathe free ."
- A satirical appropriation of the poem "The New Colossus”
by Emma Lazarus
Body Terminals is a series of sculpture, installation and work on paper to explore the evolution of the body in a post-human context. The affirmation of the free individual in society, as acquired in modernity, has been progressively fragmented by the division of their own identity, by the division and possible transformation of the parts of their own bodies, as terminals of connection and undifferentiated functioning of their origin.
For Biscainho, these terminals are now autonomous organs or quick-replacement body parts, which establish simultaneous and networked connections with other organs, other bodies, devices, electronic machines and screens. This is the result of an already established social organization fuelled by the production and consumption of new technologies in amalgamation with commerce and chemistry, biology and genetics.
Born 1979 Portalegre, João Biscainho is an academic, artist and curator based in Lisbon, Portugal. Recently appointed guest curator at MNAC - National Museum for Contemporary Art, Lisbon and published in Garage Journal – an initiative by Garage Museum of Contemporary Art Moscow.
Biscainho has presented solo institutional exhibitions at SE8 Gallery, London supported by Fundação Calouste Gulbenkian, Lisbon, Centro Artes Espetáculo Portalegre (CAEP) and Galeria Fundação Amélia de Mello, UCP, Lisbon.
Selected institutional group exhibition include Whitechapel Gallery, London and Museum of Contemporary Art and National Gallery Mala Stanica, Skopje. Forthcoming solo presentation at Appleton, Lisbon (2023).
Public collections include Foundation Leal Rios Collection, Lisbon, Museum of Installation, London, Collection of Budapest Galeria, Budapest, Faculdade Belas Artes, Lisbon, Collection Luís & Safira Serpa, Lisbon and Collection Luís Valadas Fernandes, Lisbon.
" - Give me your tired, your poor, Your huddled body parts, Spare terminals yearning to breathe free ."
- A satirical appropriation of the poem "The New Colossus”
by Emma Lazarus
Body Terminals is a series of sculpture, installation and work on paper to explore the evolution of the body in a post-human context. The affirmation of the free individual in society, as acquired in modernity, has been progressively fragmented by the division of their own identity, by the division and possible transformation of the parts of their own bodies, as terminals of connection and undifferentiated functioning of their origin.
For Biscainho, these terminals are now autonomous organs or quick-replacement body parts, which establish simultaneous and networked connections with other organs, other bodies, devices, electronic machines and screens. This is the result of an already established social organization fuelled by the production and consumption of new technologies in amalgamation with commerce and chemistry, biology and genetics.
Born 1979 Portalegre, João Biscainho is an academic, artist and curator based in Lisbon, Portugal. Recently appointed guest curator at MNAC - National Museum for Contemporary Art, Lisbon and published in Garage Journal – an initiative by Garage Museum of Contemporary Art Moscow.
Biscainho has presented solo institutional exhibitions at SE8 Gallery, London supported by Fundação Calouste Gulbenkian, Lisbon, Centro Artes Espetáculo Portalegre (CAEP) and Galeria Fundação Amélia de Mello, UCP, Lisbon.
Selected institutional group exhibition include Whitechapel Gallery, London and Museum of Contemporary Art and National Gallery Mala Stanica, Skopje. Forthcoming solo presentation at Appleton, Lisbon (2023).
Public collections include Foundation Leal Rios Collection, Lisbon, Museum of Installation, London, Collection of Budapest Galeria, Budapest, Faculdade Belas Artes, Lisbon, Collection Luís & Safira Serpa, Lisbon and Collection Luís Valadas Fernandes, Lisbon.
Need to Forget (eraser)
Silicon rubber; 2,5 (Ø) x 6,7 cm, glass, chroma key colour (Pantone 354C) paint
25 x 21.7 x 0.3 cm
2008
“... a silicon rubber casting of the artist’s thumb placed on glass underneath painted in choma key colour. In particular, the artist brings to attention ‘chroma keying’ which is widely used as digital post-production editing technique in cinematic media for replacing backgrounds, scenarios, landscapes that spatially frame the filmed objects and actions.
Need to Forget (eraser) (2008) could be perceived as symbolic for the transition of human social life into the digital sphere – our individual self are willing participants namely through the gesture of the thumb sliding on the glass of a smartphone. “
- from catalogue text.
Silicon rubber; 2,5 (Ø) x 6,7 cm, glass, chroma key colour (Pantone 354C) paint
25 x 21.7 x 0.3 cm
2008
“... a silicon rubber casting of the artist’s thumb placed on glass underneath painted in choma key colour. In particular, the artist brings to attention ‘chroma keying’ which is widely used as digital post-production editing technique in cinematic media for replacing backgrounds, scenarios, landscapes that spatially frame the filmed objects and actions.
Need to Forget (eraser) (2008) could be perceived as symbolic for the transition of human social life into the digital sphere – our individual self are willing participants namely through the gesture of the thumb sliding on the glass of a smartphone. “
- from catalogue text.
L’Origine du Monde
Melted plastic
10,5 x 4,6 x 2,2 cm
2009
Melted plastic
10,5 x 4,6 x 2,2 cm
2009
João Biscainho
Collapsed Bubbles (diptych no.1)
Soap, water, Radio Frequency blocking ink, squid and India black ink on paper
35,6 x 66 cm unframed
Unique
2021
(framing suggestions provided on purchase)
Collapsed Bubbles (diptych no.1)
Soap, water, Radio Frequency blocking ink, squid and India black ink on paper
35,6 x 66 cm unframed
Unique
2021
(framing suggestions provided on purchase)
Corner Batch
Raw Alpaca wool
80 x 80 x 80 cm (X,Y,Z axis)
2022
Raw Alpaca wool
80 x 80 x 80 cm (X,Y,Z axis)
2022
Glazing Gaze
Polished stainless steel, glucose glazing, shelving unit
2022
Polished stainless steel, glucose glazing, shelving unit
2022
