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<channel>
	<title>Body Archive Project</title>
	<link>https://bodyarchive.net</link>
	<description>Body Archive Project</description>
	<pubDate>Tue, 09 Jun 2026 09:26:27 +0000</pubDate>
	<generator>https://bodyarchive.net</generator>
	<language>en</language>
	
		
	<item>
		<title>Contact</title>
				
		<link>https://bodyarchive.net/Contact</link>

		<pubDate>Tue, 02 Jun 2026 13:45:34 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

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info@bodyarchive.net

+41 79 746 53 80&#38;nbsp;

@bodyarchivezurich






































































































































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	<item>
		<title>BSC</title>
				
		<link>https://bodyarchive.net/BSC</link>

		<pubDate>Tue, 02 Jun 2026 13:30:27 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/BSC</guid>

		<description>

Positioned within the transitional spaces of a vacant office building, OFFICE SUPPLY introduces a modified vending machine that disrupts the logic of the workplace break room. Shifting the automated transaction into a critical reflection on value, labor, and the art market, the machine dispenses two distinct categories of identical boxes.The machine functions as a decentralized exhibition unit, dispensing works, objects, and site-specific interventions. These boxes contain limited editions, unique works and contributions curated for this corporate environment, bringing critical and physical artistic practices directly into the automated circuit.Alongside the artist works, the machine features our own conceptual response to workplace burnout: Survival Kit : Me, Myself, and My Deficit. A curated multi-pack engineered for systemic maintenance within the contemporary workspace.This compilation of minor physical interventions addresses the symptoms of corporate acceleration, structural fatigue, and low workplace morale, offering immediate chemical and emotional stabilization to keep the human resource functional, tools for navigating the daily institutional void. Prices within this unit are entirely detached from product value. Instead, they reflect a strategy scaled to your personal self-worth and professional tax bracket. Choosing a higher price functions as a financial flex: a direct subsidy to Body Archive that validates your status as an indispensable asset to our independent infrastructure. Pay more, because you are worth it.

Malik Abdi &#38;amp; Dimitri Erhard, Yumna Al-Arashi, Marcello Concari, Valentina Demicheli Jitsattayakul, Sebastian Eduardo, Mai-Thu Perret, Orlando Press, Iouri Podladtchikov, Azur Sabic, Cassidy Toner, and Jiajia Zhang.



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Supported by Selecta


















































































































































































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	<item>
		<title>Noah Kohlbrenner</title>
				
		<link>https://bodyarchive.net/Noah-Kohlbrenner</link>

		<pubDate>Tue, 02 Jun 2026 13:51:09 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Noah-Kohlbrenner</guid>

		<description>



The large-scale paintings by Noah Kohlbrenner revolve around the Aletsch Glacier and the Märjelen region, a landscape closely tied to his family history. At first glance, these works appear as abstract pictorial spaces that resist immediate interpretation. Only over time do their surfaces begin to reveal fragments of this landscape. This delayed recognition is essential: the paintings challenge the idea of landscape as a distant view and instead point to an understanding of it as something alive.


One point of departure are the Valais legends about spirits and “poor souls,” stories that helped people make sense of floods, natural disasters, and existential threats. The glacier was not seen as an inert mass, but as a force that could react. It was feared and personified. Within this worldview, life, death, and transformation are deeply intertwined.


In the work Walking into silence with pockets full of dust, this exploration becomes particularly condensed. Archival images of gates form the starting point for a pictorial space that moves between reality and transcendence. The gate does not function merely as an architectural detail, but as a threshold: between visibility and invisibility, between the present and memory. The figure of the ghost does not appear as a narrative illustration, but rather as a form of persistence, as something that remains stored within the landscape, even as it physically withdraws.


Kohlbrenner uses glazing techniques reminiscent of Renaissance painting. Through multiple translucent layers, he creates pictorial spaces of great depth in which different moments of time overlap. Historically, this technique referred to painting as a “window onto the world.” In his works, however, this „window“ becomes unstable. It no longer opens onto a single, clear reality, but onto in-between spaces where past, myth, and present appear simultaneously. The layers thus function not only as a painterly method, but also as a structure of memory itself.


Within the intimate setting of this apartment presentation, the focus begins to shift, away from the glacier and toward the margins. In weeds grow apace 1 &#38;amp; 2, the thistle appears. Not a decorative floral element, but a plant considered a weed, growing at the edges of monocultures, where systems of control begin to break down. The two additional small-scale works Cardsharp &#38;amp; swindler extend this zone further. Figures appear in the scene alongside the thistles without clearly belonging to it. Protagonists or antagonists. Observers or intruders. The portrait carries a subtle echo of “The Cardsharps” by Caravaggio, a play of gazes, deception, and staging.


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	<item>
		<title>Echo Chamber</title>
				
		<link>https://bodyarchive.net/Echo-Chamber</link>

		<pubDate>Tue, 02 Jun 2026 13:52:12 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Echo-Chamber</guid>

		<description>

The exhibition develops as a dialogue between space, sound and material. Frequencies and vibrations pass through the rooms as audible and tangible elements, while water, sound and sculptural structures create zones of transition, between solid and liquid, visible and invisible, collective and individual. Water appears as a medium of change and memory, shifting between states, storing information and leaving traces. It interacts with urban and organic matter, revealing processes of erosion, dissolution and reformation. Sound behaves in a comparable way, moving through space, dissolving, resonating and generating an invisible yet perceptible network. Architecture introduces another layer: openings, grids and thresholds mark passages and interruptions, framing perspectives and exposing how space regulates access and perception, while at the same time showing how these structures can be displaced and reimagined.&#38;nbsp;Together, these practices intersect as shifting forces—water shaping and eroding, sound penetrating and transforming, architecture framing and redirecting. The exhibition emerges as a field of relations in which memory, transmission and transformation are negotiated.

Sebastian Eduardo, Haryung Lee, Lou Masduraud


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Shower61 Duteopbawi-roYongsan-gu04336 SeoulSouth Korea 




















































































</description>
		
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	<item>
		<title>Beyond the Looking Glass</title>
				
		<link>https://bodyarchive.net/Beyond-the-Looking-Glass</link>

		<pubDate>Tue, 09 Jun 2026 09:26:27 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Beyond-the-Looking-Glass</guid>

		<description>

In the exhibition "Beyond the Looking Glass" - inspired by Lewis Carroll's "Through the&#38;nbsp;Looking-Glass" - Works will be exhibited that deal with following thematic areas:&#38;nbsp;Transformation and Metamorphosis, Technological Interventions, Mirrors and Reflections.&#38;nbsp;

Works by artists will be displayed, functioning within the exhibition as reflections: both&#38;nbsp;internally, between the artists and viewers. The works exist within a liminal context of the&#38;nbsp;exhibition, encompassing both artificially intelligent based images - technology within our&#38;nbsp;visualized and socialized worlds - as well as physical objects that equally address&#38;nbsp;contemporary themes of self-mediated personalities and compositions that evoke situations&#38;nbsp;reminiscent of classical portraits from art history.&#38;nbsp;

Ideas of authenticity and authorship are challenged and rejected upon viewing the works.&#38;nbsp;Bodies are considered akin to history, landscapes are seen as new realities, and at times, are&#38;nbsp;led into the realm of the grotesque. The works reflect the contemporary world, where digital&#38;nbsp;and physical realities merge and the boundaries between them blur.&#38;nbsp;

Transformation and Metamorphosis in the exhibition focuse on how artworks can prompt viewers to contemplate their&#38;nbsp;own identity and self-perception. Through the exploration of various perspective and forms&#38;nbsp;of expression, visitors are encouraged to engage with questions of personal identity, selfawareness,&#38;nbsp;and inner journey.&#38;nbsp;The exhibition investigates how modern technologies such as artificial intelligence can be used&#38;nbsp;to create alternative realities and landscapes.



Mirrors and Reflections explores the symbolic significance of mirrors and reflections in art.&#38;nbsp;Artworks may employ the concept of reflection, both literally and metaphorically, to raise&#38;nbsp;questions about identity, self-awareness, and dual reality. Through the observation of these&#38;nbsp;works, visitors are prompted to contemplate the relationship between the self and the world&#38;nbsp;around them. Societal, political, and cultural realities that shape our world are also&#38;nbsp;addressed.


Alfredo Aceto, Victoria Cantons, Sylvie Fleury, Dorota Gawęda and Eglė Kulbokaitė, Thomas&#38;nbsp;Julier, Klaudia Schifferle, Xu Yang, Sinae YooDorota Gawęda and Eglė Kulbokaitė


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galerie lange + pult 
Rämistrasse 27
8001 Zurich









































































































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	</item>
		
		
	<item>
		<title>same things make us laugh, make us cry</title>
				
		<link>https://bodyarchive.net/same-things-make-us-laugh-make-us-cry</link>

		<pubDate>Tue, 16 Aug 2022 10:50:54 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/same-things-make-us-laugh-make-us-cry</guid>

		<description>


We invite the community and local people to
explore and practice critical thinking with us in times of multiplicity and
complexity. There will be a focus on the importance of emancipatory action,
collective growth and transformation. 



 Artistic interventions represent an attempt to
look beyond existing systems and engage with new perspectives. The ecological
alternatives are a new holistic thinking that connects cosmology and nature in
a spiritual way and affirms the need for respect diversity in both human and
non-human forms. To deepen the notion of biodiversity, the home - our soil and
soul of our non-human kinfolks will form a refuge and center for body, art and
unity. With "Same things make us laugh, make us cry" we establish our
own language to explore and present new ways of thinking.



 Between the aims and values of our curatorial
practice and those of sustainable agro-ecosystem science, there are key
similarities in terms of opening up new sustainable systems of knowledge, and
implementing concrete solutions. In this regard, we are engaged with
biodiversity, the harmonious merging of tradition and modernity, and working to
strengthen communities. We are about being pro-active in the community by
curatorially trying to set activist and healing gestures.&#38;nbsp;

Valentina Demicheli, Catherina De Nicola, Olamiju Fajemisin, Jasmine Gregory, Shuang Li, Manutcher Milani, Ceylan Öztrük, Mai-Thu Perret, Tabita Rezaire, Jordan Selophane



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HAC
Hädeliweg 19
8092 Zurich


































































































































































</description>
		
	</item>
		
		
	<item>
		<title>Dorota Gawęda and Eglė Kulbokaitė</title>
				
		<link>https://bodyarchive.net/Dorota-Gaweda-and-Egle-Kulbokaite</link>

		<pubDate>Tue, 16 Aug 2022 10:51:04 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Dorota-Gaweda-and-Egle-Kulbokaite</guid>

		<description>Dorota Gawęda and Eglė KulbokaitėGusła


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Get your own Petrichor fragrance! A distinctive scent, usually described as earhy, pleasant or sweet. It is part of the ongoing exhibition. Contact us for more information ︎︎










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MOUTHLESS Script, 2020

︎Download PDFThe Polish word gusła&#38;nbsp;can be
loosely translated as “witchcraft.” Traditionally, the term encompasses a
diversity of practices and beliefs that transcend both the prescriptive
framework of religious morality and the positive absolutism of scientific
rationality. Besides representations in popular culture and critical surveys of
attested persecutions, witchcraft remains most manifest in the variety of
rituals and superstitions related to the evocation or conjuration of spirits on
account of their power over the living and nature. While witchcraft in the West
is habitually characterized by an ambivalent narrative of control and
repression from ecclesiastic and secular authorities alike, the history of
occultism in Eastern Europe often remains attached to the eerie tales of an
extant folk culture surviving through a syncretism of religion and pagan
traditions. 


In their exhibition at Body Archive Project, artist duo Dorota Gawęda
and Eglė Kulbokaitė build up their current research about witchcraft as a
transcultural and transhistorical signifier across disciplinary, social,
geographic, and traditional boundaries. The multimedia body of work emerging
from their ongoing engagement with this polysemic subject matter
correspondingly represents as many fragments of an open narrative that seeks to
inhabit the gaps between these diverse—and at times antagonistic—discourses.
Within this multisensorial assemblage of triggers and implicit references to
rural folklore, spiritualism, and memory, the viewer is enjoined to play an
essential role in reconciling the heterogeneous components of a project at the
intersection between esotericism and science, folklore and technology, feminism
and ecology as well as cultural history and speculative fiction.
</description>
		
	</item>
		
		
	<item>
		<title>Esther Hunziker</title>
				
		<link>https://bodyarchive.net/Esther-Hunziker</link>

		<pubDate>Tue, 16 Aug 2022 10:51:14 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Esther-Hunziker</guid>

		<description>HBSC IRL

Esther Hunziker

03.07.20&#38;nbsp;– 12.07.20

&#60;img width="1600" height="914" width_o="1600" height_o="914" data-src="https://freight.cargo.site/t/original/i/53c82fcdfc6a9966c941a5b67d25862efdc33a2ad614c113a06fbd8248a51120/esther-hunziker_projection_01.jpg" data-mid="150528205" border="0"  src="https://freight.cargo.site/w/1000/i/53c82fcdfc6a9966c941a5b67d25862efdc33a2ad614c113a06fbd8248a51120/esther-hunziker_projection_01.jpg" /&#62;
&#60;img width="1600" height="914" width_o="1600" height_o="914" data-src="https://freight.cargo.site/t/original/i/31f6a6a3295de6229e7a87c04a06d08c6d594d3a164d995ec152525d9057568a/esther-hunziker_projection_02.jpg" data-mid="150528206" border="0"  src="https://freight.cargo.site/w/1000/i/31f6a6a3295de6229e7a87c04a06d08c6d594d3a164d995ec152525d9057568a/esther-hunziker_projection_02.jpg" /&#62;
&#60;img width="1600" height="914" width_o="1600" height_o="914" data-src="https://freight.cargo.site/t/original/i/e7fbb75853c126afcaed531b371dfcc0b8f91ae67abd465046c814aab5275610/esther-hunziker_projection_06.jpg" data-mid="150528208" border="0"  src="https://freight.cargo.site/w/1000/i/e7fbb75853c126afcaed531b371dfcc0b8f91ae67abd465046c814aab5275610/esther-hunziker_projection_06.jpg" /&#62;
&#60;img width="1600" height="914" width_o="1600" height_o="914" data-src="https://freight.cargo.site/t/original/i/ab6bacaddd81d4440e706712e4694fbd3ad3d1106d04c683ab1eb7d0334843d3/esther-hunziker_projection_05.jpg" data-mid="150528207" border="0"  src="https://freight.cargo.site/w/1000/i/ab6bacaddd81d4440e706712e4694fbd3ad3d1106d04c683ab1eb7d0334843d3/esther-hunziker_projection_05.jpg" /&#62;

Projection&#38;nbsp;
2 Channel Videoinstallation, 22 Min. Loop, Audio, 2020
&#60;img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/e9910efe29da5eb128fc5ab27616c9dcdb772d2ee66c2ecf86324a1b652fd66b/esther-hunziker-projection_M01.jpg" data-mid="150528195" border="0"  src="https://freight.cargo.site/w/1000/i/e9910efe29da5eb128fc5ab27616c9dcdb772d2ee66c2ecf86324a1b652fd66b/esther-hunziker-projection_M01.jpg" /&#62;



















cw: Human skin scar (photo: stockphoto.com) — Filmstill from Alien,
Ridley Scott, USA 1979 — Ectoplasm photography: The medium Stanislawa P:
emission and resorption of an ectoplasmic substance through the mouth. Albert
von Schrenck-Notzing, 1913 —&#38;nbsp;Long sinuous, helical coiled and polarized
filament with conical apex (&#38;lt;1.3 μm) and terminal heterocyst in the Orgueil
meteorite. Source: Fossils of Cyanobacteria in CI1 Carbonaceous
Meteorites: Implications to Life on Comets, Europa, and Enceladus, Richard
B. Hoover (photo: Journal of Cosmology / NASA) — Videostill from Projection,
Esther Hunziker, 2020








&#60;img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/0736429d03f1a56906049ceecfb1d19d7818f63c8aee497e2fc1d34a1fafa22c/esther-hunziker-projection_M02.jpg" data-mid="150528196" border="0"  src="https://freight.cargo.site/w/1000/i/0736429d03f1a56906049ceecfb1d19d7818f63c8aee497e2fc1d34a1fafa22c/esther-hunziker-projection_M02.jpg" /&#62;

cw: Videostill from Projection,
Esther Hunziker, 2020 — Filmstill from It Came from Beneath the Sea,
Robert Gordon, USA 1955 — Portrait of Sigmund Freud, photography by Max
Halberstadt, 1921 — Ancient microfossils. Source: Silica-Carbonate Structures
and Detection of Ancient Microfossils, Science Vol 302, 2003 — Mike
Kelley, Trickle Down and Swaddling Clothes, 1986. Source: mikekelleyfoundation.org







&#60;img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/e874ee67faa022edf191800a895fdeb8e11ab1c3e6c43dfdf6a352a3c4ed399c/esther-hunziker-projection_M03.jpg" data-mid="150528197" border="0"  src="https://freight.cargo.site/w/1000/i/e874ee67faa022edf191800a895fdeb8e11ab1c3e6c43dfdf6a352a3c4ed399c/esther-hunziker-projection_M03.jpg" /&#62;cw: Extract from Monsters,
Perversion, and Enjoyment: Toward a Psychoanalytic Theory of Postmodern Horror,
Han-yu Huang, Tamkang University — Mike Kelley, photograph from The
Poltergeist, 1979. Source: Photographs / Sculptures, published
at Wako Works of Art, Tokyo, 2009&#60;img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/2cbe6de745fbf61ca12bacc6a7f63575ce6cc0276bba50666899233bc9d6176c/esther-hunziker-projection_M04.jpg" data-mid="150528199" border="0"  src="https://freight.cargo.site/w/1000/i/2cbe6de745fbf61ca12bacc6a7f63575ce6cc0276bba50666899233bc9d6176c/esther-hunziker-projection_M04.jpg" /&#62;cw: Videostill from Projection,
Esther Hunziker, 2020 — Skin texture from the video Projection,
Esther Hunziker, 2020 — Figure of the Uncanny Valley Effect with
the classification of various objects and creatures. Source: wikipedia.org/wiki/Uncanny Valley. —
Videostill from Projection, Esther Hunziker, 2020 — Louise
Bourgeois Cell XXII (Retrato), 2000. Source: questranhaformadevida.blogspot.com






&#60;img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/6377115317720b04002a697320c167abc911fa77f9356b030bccfc20f35e40fe/esther-hunziker-projection_M05.jpg" data-mid="150528200" border="0"  src="https://freight.cargo.site/w/1000/i/6377115317720b04002a697320c167abc911fa77f9356b030bccfc20f35e40fe/esther-hunziker-projection_M05.jpg" /&#62;cw: Franz West, Sculpture
Rose Drama, Centre Pompidou (photo: © Philippe Migeat) — Abstract
from Materialising the Medium: Ectoplasm and the Quest for Supra-Normal
Biology in Fin-de-Siècle Science and Art, Robert Brain, University of
British Columbia, Vancouver — Nabelschnurknoten (photo: Imke Dubs, Sonographie
von Plazenta, Fruchtwasser und Nabelschnur) — Schema L by
Jacques Lacan. Source: Jacques Lacan Écrits, Paris,1966&#60;img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/d46a551f89c56037bac83f96bb9fcb95bbcdec9b607a31b4b735b27f2df19f41/esther-hunziker-projection_M06.jpg" data-mid="150528201" border="0"  src="https://freight.cargo.site/w/1000/i/d46a551f89c56037bac83f96bb9fcb95bbcdec9b607a31b4b735b27f2df19f41/esther-hunziker-projection_M06.jpg" /&#62;cw: Image and Energy Dispersive X-Ray Spectroscopy
elemental data for filaments found embedded in the Ivuna CI1 carbonaceous
meteorite. Source: Fossils of Cyanobacteria in CI1 Carbonaceous
Meteorites: Implications to Life on Comets, Europa and Enceladus, Richard
B. Hoover (photo: Journal of Cosmology / NASA) — Videostill from Projection,
Esther Hunziker, 2020 — Filmstill from The Quatermass Xperiment (aka The
Creeping Unknown),&#38;nbsp; UK 1955&#60;img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/ef14d93b83a1d24f0bf137ff8122750c9820621e6d649308a9f542b5cb003057/esther-hunziker-projection_M07.jpg" data-mid="150528202" border="0"  src="https://freight.cargo.site/w/1000/i/ef14d93b83a1d24f0bf137ff8122750c9820621e6d649308a9f542b5cb003057/esther-hunziker-projection_M07.jpg" /&#62;cw: Colon surgery due to megacolon
disease — Sarah Lucas, Nud (24), 2010. Source: tate.org.uk (photo: © Sarah Lucas)
— Sarah Lucas, NOBBY BLOKE, 2017. Source: cfa-berlin.de — A male and female
pair of Schistosoma parasites. Source: Eye of Science / Science Source —
Louise Bourgeois Crouching Spider, 2003 (photo: © The Easton
Foundation/VAGA at ARS, NY)
&#60;img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/1faae4797294942d52cb5ad28a910101f2896a93424eff7e1575290cd1992539/esther-hunziker-projection_M08.jpg" data-mid="150528203" border="0"  src="https://freight.cargo.site/w/1000/i/1faae4797294942d52cb5ad28a910101f2896a93424eff7e1575290cd1992539/esther-hunziker-projection_M08.jpg" /&#62;cw: Skin disease (photo: dreamstime.com) — Videostill from Projection,
Esther Hunziker, 2020 — Cover from Mike Kelley: The Uncanny,
published by Sonsbeek 1993 — Louise Bourgeois wearing a latex cast of her work Avenza (photo:
The Easton Foundation/Licensed by VAGA, New York; Mark Setteducati) — Skin
disease (photo: 123rf.com)&#60;img width="1600" height="1000" width_o="1600" height_o="1000" data-src="https://freight.cargo.site/t/original/i/421e23a5e94c61e4dbe19b2e9d9ed886d4765309096c26dfcafc7849048e736b/esther-hunziker-projection_M09.jpg" data-mid="150528204" border="0"  src="https://freight.cargo.site/w/1000/i/421e23a5e94c61e4dbe19b2e9d9ed886d4765309096c26dfcafc7849048e736b/esther-hunziker-projection_M09.jpg" /&#62;cw:
Extract from Genetics Indicates Extraterrestrial Origins for Life: The
First Gene, Rhawn Joseph and N. Chandra Wickramasinghe, Journal of
Cosmology, Volume 16, 2011 — Videostill from Professor John Bonner’s microscope
film showing the curiously collective nature of slime molds. Source: princeton.edu — Movieposter
inspired by The Blob by Jemma Klein. Source: posterspy.com








</description>
		
	</item>
		
		
	<item>
		<title>Stella</title>
				
		<link>https://bodyarchive.net/Stella</link>

		<pubDate>Tue, 16 Aug 2022 10:51:21 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Stella</guid>

		<description>HBSC IRL

Stella
Das Lachen der Medusa und das Weinen des Sterns20.06.20&#38;nbsp;– 28.06.20&#38;nbsp;


&#60;img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/3e5650a5440fe55194a1041d9530cc2abc683c25288c44364c1a8f35da446ab0/Stella_Installationsansicht.jpg" data-mid="150528252" border="0"  src="https://freight.cargo.site/w/1000/i/3e5650a5440fe55194a1041d9530cc2abc683c25288c44364c1a8f35da446ab0/Stella_Installationsansicht.jpg" /&#62;
&#60;img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/fc2968182e183191782b6921057dd46338f89624de804b0ae68d12ed55353b9f/Stella_Closeup_Boden.jpg" data-mid="150528250" border="0"  src="https://freight.cargo.site/w/1000/i/fc2968182e183191782b6921057dd46338f89624de804b0ae68d12ed55353b9f/Stella_Closeup_Boden.jpg" /&#62;
&#60;img width="4010" height="6015" width_o="4010" height_o="6015" data-src="https://freight.cargo.site/t/original/i/7ee6e9651bb29d7deca4b9aa6b2422928efefcbf1942fd16676de42b9ca12c05/Stella_Closeup_Tasche.jpg" data-mid="150528251" border="0"  src="https://freight.cargo.site/w/1000/i/7ee6e9651bb29d7deca4b9aa6b2422928efefcbf1942fd16676de42b9ca12c05/Stella_Closeup_Tasche.jpg" /&#62;
&#60;img width="5392" height="3595" width_o="5392" height_o="3595" data-src="https://freight.cargo.site/t/original/i/c619043124201b24c3989376bceb91784489806e532d6c581817086192c33e43/Stella_Raum.jpg" data-mid="150528253" border="0"  src="https://freight.cargo.site/w/1000/i/c619043124201b24c3989376bceb91784489806e532d6c581817086192c33e43/Stella_Raum.jpg" /&#62;
&#60;img width="6060" height="4040" width_o="6060" height_o="4040" data-src="https://freight.cargo.site/t/original/i/f21fd44c169a260335b8798f99e3a4dac2fea441ce0da839574393f3d09d5d94/Stella_Blumenstrauss.jpg" data-mid="150528249" border="0"  src="https://freight.cargo.site/w/1000/i/f21fd44c169a260335b8798f99e3a4dac2fea441ce0da839574393f3d09d5d94/Stella_Blumenstrauss.jpg" /&#62;
&#60;img width="3271" height="2181" width_o="3271" height_o="2181" data-src="https://freight.cargo.site/t/original/i/c9d0adfa3937da8d2823c61f484e34f85c076b2bca708f2ad9a1600df793467a/Medusa-2020--No.-1.jpg" data-mid="150528254" border="0"  src="https://freight.cargo.site/w/1000/i/c9d0adfa3937da8d2823c61f484e34f85c076b2bca708f2ad9a1600df793467a/Medusa-2020--No.-1.jpg" /&#62;
&#60;img width="2952" height="1968" width_o="2952" height_o="1968" data-src="https://freight.cargo.site/t/original/i/610a9a109b8f047d12a4159a51d87210fdc485e5668c801547860c6ba1ec483a/Medusa-2020--No.-2.jpg" data-mid="150528255" border="0"  src="https://freight.cargo.site/w/1000/i/610a9a109b8f047d12a4159a51d87210fdc485e5668c801547860c6ba1ec483a/Medusa-2020--No.-2.jpg" /&#62;
&#60;img width="2906" height="1938" width_o="2906" height_o="1938" data-src="https://freight.cargo.site/t/original/i/4f0778146cb855b7cec83aa0066f18f0b3193becb3e9f7172dce770ef32ba90b/Medusa-2020--No.-3.jpg" data-mid="150528256" border="0"  src="https://freight.cargo.site/w/1000/i/4f0778146cb855b7cec83aa0066f18f0b3193becb3e9f7172dce770ef32ba90b/Medusa-2020--No.-3.jpg" /&#62;
&#60;img width="3380" height="2254" width_o="3380" height_o="2254" data-src="https://freight.cargo.site/t/original/i/d8d0d0485a831c592b5126656eade3fa9703a8fd643b1d1f90e873a951c78bb3/Medusa-2020--No.-5.png" data-mid="150528258" border="0"  src="https://freight.cargo.site/w/1000/i/d8d0d0485a831c592b5126656eade3fa9703a8fd643b1d1f90e873a951c78bb3/Medusa-2020--No.-5.png" /&#62;
&#60;img width="3816" height="2544" width_o="3816" height_o="2544" data-src="https://freight.cargo.site/t/original/i/579ba37845db3b15b22816250b06aa49e420739d96856375e65692181e9fb07d/Medusa-2020--No.-4.jpg" data-mid="150528257" border="0"  src="https://freight.cargo.site/w/1000/i/579ba37845db3b15b22816250b06aa49e420739d96856375e65692181e9fb07d/Medusa-2020--No.-4.jpg" /&#62;
&#60;img width="2820" height="1879" width_o="2820" height_o="1879" data-src="https://freight.cargo.site/t/original/i/a9ca9363b2c78665d7f2b38428b3a139783edde9f79b80c732cd4de4036553fa/Medusa-2020--No.-6.jpg" data-mid="150528259" border="0"  src="https://freight.cargo.site/w/1000/i/a9ca9363b2c78665d7f2b38428b3a139783edde9f79b80c732cd4de4036553fa/Medusa-2020--No.-6.jpg" /&#62;
&#60;img width="4091" height="2728" width_o="4091" height_o="2728" data-src="https://freight.cargo.site/t/original/i/f2daf79d171d33b56a1634553ae45df4da4ce966405ebc81c479f444668a943c/Medusa-2020--No.-10.jpg" data-mid="150528260" border="0"  src="https://freight.cargo.site/w/1000/i/f2daf79d171d33b56a1634553ae45df4da4ce966405ebc81c479f444668a943c/Medusa-2020--No.-10.jpg" /&#62;
&#60;img width="3286" height="2190" width_o="3286" height_o="2190" data-src="https://freight.cargo.site/t/original/i/23f28f00e03083d161f372e2f4f0ba5860eb77f0ca9b68556158c2d8e589f9e8/Medusa-2020--No.-12.jpg" data-mid="150528262" border="0"  src="https://freight.cargo.site/w/1000/i/23f28f00e03083d161f372e2f4f0ba5860eb77f0ca9b68556158c2d8e589f9e8/Medusa-2020--No.-12.jpg" /&#62;
&#60;img width="4052" height="2702" width_o="4052" height_o="2702" data-src="https://freight.cargo.site/t/original/i/9daf842d316dda78ec236b1dff3df15c5060221eefa3c9ba7f73cb843cf836b6/Medusa-2020--No.-15.jpg" data-mid="150528263" border="0"  src="https://freight.cargo.site/w/1000/i/9daf842d316dda78ec236b1dff3df15c5060221eefa3c9ba7f73cb843cf836b6/Medusa-2020--No.-15.jpg" /&#62;
&#60;img width="3442" height="2295" width_o="3442" height_o="2295" data-src="https://freight.cargo.site/t/original/i/1d8f243a561d058d9b5d5a44b4b4513e8c71c50aa96bf1d0632c376f313bab57/Medusa-2020--No.-16.jpg" data-mid="150528264" border="0"  src="https://freight.cargo.site/w/1000/i/1d8f243a561d058d9b5d5a44b4b4513e8c71c50aa96bf1d0632c376f313bab57/Medusa-2020--No.-16.jpg" /&#62;
&#60;img width="3420" height="2280" width_o="3420" height_o="2280" data-src="https://freight.cargo.site/t/original/i/83e06d5dd8387d9e5259ec08b5cd7e143220c0b78c09215de668e8c6913d4574/Medusa-2020--No.8.jpg" data-mid="150528265" border="0"  src="https://freight.cargo.site/w/1000/i/83e06d5dd8387d9e5259ec08b5cd7e143220c0b78c09215de668e8c6913d4574/Medusa-2020--No.8.jpg" /&#62;
&#60;img width="3364" height="2243" width_o="3364" height_o="2243" data-src="https://freight.cargo.site/t/original/i/f2fe72b8c0cf7c949d3c520ab2981c7a8aae9b3b6d0f9ccf30cf8178f4d40179/Medusa-2020--No.9.jpg" data-mid="150528266" border="0"  src="https://freight.cargo.site/w/1000/i/f2fe72b8c0cf7c949d3c520ab2981c7a8aae9b3b6d0f9ccf30cf8178f4d40179/Medusa-2020--No.9.jpg" /&#62;
&#60;img width="3340" height="2226" width_o="3340" height_o="2226" data-src="https://freight.cargo.site/t/original/i/b87200811bde3b6bdb2a58fa0ef76525c784011e1329d35038fadbdac55a226b/Medusa-2020--No.14.jpg" data-mid="150528267" border="0"  src="https://freight.cargo.site/w/1000/i/b87200811bde3b6bdb2a58fa0ef76525c784011e1329d35038fadbdac55a226b/Medusa-2020--No.14.jpg" /&#62;



After Poseidon raped Medusa in a temple dedicated to Athena, the goddess was so furious that she transformed the victim into a monster whose ugliness would turn anyone looking at her into stone. Even after she was beheaded by Perseus, Medusa’s head remained under this curse, although it was in fact turned into a powerful weapon once the head was placed on Athena’s shield. Medusa’s legend can thus be interpreted as yet another story where a rape victim was punished for what was in reality inflicted upon her at her own expenses. In this case, the penalty being that she could no longer be looked at and, conversely, look at anyone; in other terms, she was very symbolically denied the right to exist—as a person and as a victim—in the eyes of the entire world.


When Gianni Versace appropriated the iconography of Medusa’s head as a logo for his eponymous brand, he strategically exploited the ambiguity related to this emblem to turn it into a token of power and strength—just like Medusa’s head passed from the negative connotation of repulsiveness to being a protective charm when Athena started using it as a weapon. Between the lines, one thus understands that real beauty doesn’t lie in aesthetics but rather in empowerment and the power of fascination.


Stella’s crafted bags pay tribute to Medusa. Made out of recycled packaging, dried flowers and found objects, they allude to the myth of ugliness turned into beauty. If Versace’s iconic logo is not visible on the bags, it is precisely because the bags themselves become the epitome of Medusa’s head.









</description>
		
	</item>
		
		
	<item>
		<title>Noëmi Ceresola</title>
				
		<link>https://bodyarchive.net/Noemi-Ceresola</link>

		<pubDate>Tue, 16 Aug 2022 10:51:30 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Noemi-Ceresola</guid>

		<description>HBSC IRL

Noëmi Ceresola07.06.20&#38;nbsp;– 14.06.20


&#60;img width="3919" height="2717" width_o="3919" height_o="2717" data-src="https://freight.cargo.site/t/original/i/f84279cd9297d26d1a36da18157e6a80c6c77cb23a3dd89d120ec6fe50770245/IMG_1358-Kopie-Kopie.jpg" data-mid="150528305" border="0"  src="https://freight.cargo.site/w/1000/i/f84279cd9297d26d1a36da18157e6a80c6c77cb23a3dd89d120ec6fe50770245/IMG_1358-Kopie-Kopie.jpg" /&#62;
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&#38;nbsp;







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