Id gladly surrender myself to you, body and soul (2012)
Richard Ibghy & Marilou Lemmens
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G Gallery
Toronto, Canada
November 2 - December 23, 2012
Organised by Kevin Rogers
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I’d gladly surrender myself to you, body and soul presents works that share a common concern with bringing abstract systems to materiality, particularly as they are confronted with the human body. Through a combination of archival research, diagrammatic drawings, sculpture and performance, the works explore non-goal oriented action and counter-productivity as tactics for subverting the economisation of life.

A pivotal piece in the exhibition is a video work consisting of a series of performances realized in an empty office building in Glasgow. Centred on the intricate alliance between the body (labour, manpower) and the soul (affects, language) in post-industrial economies, Real failure needs no excuse (2012) explores the transgressive potential of non-productive action and its relation to labour, the workplace, and the imagination.

By literalizing metaphors like ‘equilibrium’ and ‘balance,’ Models for the Monologue of Reason (2011), a series of small sculptural pieces produced with household materials, renders scientific forms into makeshift models while The Revolutions of Capitalism (2011) uses diagrammatic drawing to underscore how familiar structures - from express-lane supermarket checkouts to airport security - shape not only our way of moving and doing things but our relationship with spaces and objects.

Other works in the exhibition open up the idea of what research can be, approaching it as a performative act in itself while also examining the possibilities for movement to initiate processes of physical, intellectual and political transformation.
I’d gladly surrender myself to you, body and soul presents works that share a common concern with bringing abstract systems to materiality, particularly as they are confronted with the human body. Through a combination of archival research, diagrammatic drawings, sculpture and performance, the works explore non-goal oriented action and counter-productivity as tactics for subverting the economisation of life.

A pivotal piece in the exhibition is a video work consisting of a series of performances realized in an empty office building in Glasgow. Centred on the intricate alliance between the body (labour, manpower) and the soul (affects, language) in post-industrial economies, Real failure needs no excuse (2012) explores the transgressive potential of non-productive action and its relation to labour, the workplace, and the imagination.

By literalizing metaphors like ‘equilibrium’ and ‘balance,’ Models for the Monologue of Reason (2011), a series of small sculptural pieces produced with household materials, renders scientific forms into makeshift models while The Revolutions of Capitalism (2011) uses diagrammatic drawing to underscore how familiar structures - from express-lane supermarket checkouts to airport security - shape not only our way of moving and doing things but our relationship with spaces and objects.

Other works in the exhibition open up the idea of what research can be, approaching it as a performative act in itself while also examining the possibilities for movement to initiate processes of physical, intellectual and political transformation.
I’d gladly surrender myself to you, body and soul presents works that share a common concern with bringing abstract systems to materiality, particularly as they are confronted with the human body. Through a combination of archival research, diagrammatic drawings, sculpture and performance, the works explore non-goal oriented action and counter-productivity as tactics for subverting the economisation of life.

A pivotal piece in the exhibition is a video work consisting of a series of performances realized in an empty office building in Glasgow. Centred on the intricate alliance between the body and the soul in post-industrial economies, Real failure needs no excuse (2012) explores the transgressive potential of non-productive action and its relation to labour, the workplace, and the imagination.

By literalizing metaphors like ‘equilibrium’ and ‘balance,’ Models for the Monologue of Reason (2011), a series of small sculptural pieces produced with household materials, renders scientific forms into makeshift models while The Revolutions of Capitalism (2011) uses diagrammatic drawing to underscore how familiar structures - from express-lane supermarket checkouts to airport security - shape not only our way of moving and doing things but our relationship with spaces and objects.

Other works in the exhibition open up the idea of what research can be, approaching it as a performative act in itself while also examining the possibilities for movement to initiate processes of physical, intellectual and political transformation.