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According to the Zohar, or Book of Mystics, skin is the tunic that is said to have clothed Adam and Eve after the Fall. A paradoxical garment, it is both what separates the individual from the world and what enables a relationship with it—simultaneously a point of contact and a boundary. It is this permeable zone, this site of passage and inflection, that Hudinilson Jr., Matthias Odin, and Nobuko Tsuchiya each explore in their own way, revealing skin as a sensitive space where self-perception, relations to others, and construction of new imaginaries intersect.
In the work of Hudinilson Jr. (1957–2013, Brazil), skin becomes an abstract landscape, a territory to beprobed. From the late 1970s onward, photocopying became his primary medium: immediate, reproducible, and mechanical, it allowed him to manipulate, fragment, and decenter his own body until it became unrecognizable. With the collective 3NÓS3, he repurposed the printers of the Universi…
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According to the Zohar, or Book of Mystics, skin is the tunic that is said to have clothed Adam and Eve after the Fall. A paradoxical garment, it is both what separates the individual from the world and what enables a relationship with it—simultaneously a point of contact and a boundary. It is this permeable zone, this site of passage and inflection, that Hudinilson Jr., Matthias Odin, and Nobuko Tsuchiya each explore in their own way, revealing skin as a sensitive space where self-perception, relations to others, and construction of new imaginaries intersect.
In the work of Hudinilson Jr. (1957–2013, Brazil), skin becomes an abstract landscape, a territory to beprobed. From the late 1970s onward, photocopying became his primary medium: immediate, reproducible, and mechanical, it allowed him to manipulate, fragment, and decenter his own body until it became unrecognizable. With the collective 3NÓS3, he repurposed the printers of the Universi…
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