Passing through the swinging doors constitutes minimal democratic effort to enter the vestibule. At that point, the shadow of Gal Knockout emerges saying: I love you, but under certain conditions, and I don’t count on you to satisfy them all.
This charming reception by Gal knockout in the vestibule also refers as much to human anatomy, as it does to antechambers that are traditionally present in certain homes. In the latter case it serves as a waiting place, physical preparation (we ready ourselves and we inspect ourselves) mixes with psychological conditioning (to discussions yet to come, to future joys and sorrows and to all sorts of strategies). The spatial synthesis of this exhibition, functioning through a system of open flaps and mazes, releases our inner animal which tries to understand its role and its determinations. To the image of a psychodynamic political zigzag - what could constitute the escape of the animal- The possibilities of interpretation are exhausted only when fatigue outweighs the reality of exposure anaesthetising us.
But this psychologization must resist the multiplying rumours that circulate the figure of Gal Knockout which represents as much, a species of pig “Used” for xenograft operations as it does, a “pretty” or “beautiful” human body assigned woman. In this chimerical association of two different bodies, Shirin Yousefi provides clues for which we are not the indispensable story tellers, although we are the epicentre of their experience: bizarre names are invoked in sub-text, like Rala or Sufu, many sounds specific to activities or movements such as the cracking and whistling of whips appear and follow us in tandem with our movements, lights slightly coloured with Kefir irradiate the exhibition with its beneficial properties for the intestinal flora, or even bottom holders or bionic forks, ready for use. It is as though we have become the inner monologues of potential incompetent actors who could not help but comment on real productions, but absent from the vestibule: the law of silence and its spectres (the commentary and its paranoid forms) as a place of exercise of power.
To the supposed indivisibility of our bodies, Shirin Yousefi then proposes a collaboration in production, a woman or a pig, between the burrowing snout and the Melusine, which operates on and dismembers organisms in as many ways as there are beliefs in our emotions as accountants, anatomists, doctors, politicians, manipulators, claimants and writers of children’s stories.
From October 9 to November 27, 2020
Opening Thursday, 8 October.
Images Copyrights : Théa Giglio