[thetuesdayafter]

Jon Rafman at Zach Feuer

[fleshaesthetic]

Manifold B, 2015

archival pigment print mounted on dibond

[ source ]

[ortut]

Yoan Capote - Tear Duct, 2001-2010

[fleshaesthetic]

[ more about the artist ]

[fleshaesthetic]

Young In Hong | White Cranes and Snowfall, 2024

White Cranes and Snowfall (2024) was produced as an outcome of Young In Hong's research trip to the Demilitarised Zone (DMZ) in the winter of 2023, observing a number of rare cranes migrating to the area. The work seeks to represent a hybrid territory where humans, birds, and their relations are metaphorically re-envisaged through a set of sedge-woven shoes for cranes. These shoes theatrically express the presence of cranes, humorously mimicking the human world by wearing individually designed boots.

[fleshaesthetic]

Liao Wen | Almost Collapsing Balance, 2024-2025

Inspired in part by the lightweight, body-moulded wooden splints developed by designers Charles and Ray Eames for injured soldiers during World War II, Wanderer explores how bodies respond to impact, care, and constraint. The sculpture's reactive posture and sprung limbs evoke instinctive protective movements, complicating classical bodily ideals of uprightness and poise. Rather than viewing disability negatively, the work embraces the creativity of adapted movement and the innovation of assistive design.

[fleshaesthetic]

Kray Chen | Iron Lungs, 2025

Iron Lungs brings together sculptural form and sound to reflect on what the body holds beneath its surface. At the centre of the installation are rubanoide speakers, a rare ribbon-based audio technology whose curved, slender structures take on a quietly torso-like presence. Activated by sound, they seem to pulse and breathe, giving each sculpture a sense of living rhythm. The soundtrack plays on 417 Hz, a frequency linked in popular wellness traditions to the lungs and renewal. For Chen, this resonance is deeply personal as the X-ray of his body reveals a laparoscoplc adjustable gastric band, an elective Intervention meant for welght management, that continues to shape his awareness of his body both internally and externally.

[ listen ]

[thenervebible]

Helena Almeida (1934 - 2018), Untitled, 1996

[fleshaesthetic]

... the artist found in photography a means of overcoming the exteriority of painting, and of allowing “being” and “doing” to coexist in the same medium, “as if I were continuing to affirm: my painting is my body, my work is my body.”

[ read more ]

[ortut]

César Baldaccini - Expansion au pot à lait, 1989 (Resin and steel)

[disease]

“DID I LEAVE THE LIGHTS ON?” ANNA PARK // 2019 [charcoal and graphite on paper | 42 ¼ x 59″]

[fleshaesthetic]

[ Park often sources her imagery from internet searches, reflecting the overwhelming flood of digital media that shapes modern existence. ]

[fagunt]

Gaurav Gupta couture spring 2026

[kuutamosonaatti]

x-ray images, 1916-1931

[zegalba]

Melli Ink: Transparent Skeleton (2007)

[fleshaesthetic]

Inspired by Albrecht Dürer's famous woodcut "The Four Horsemen of the Apocalypse".

[ full body ]

From her exhibition "Apocalyptic Riders" (Wiensowski & Harbord, Berlin September 29 - November 24, 2007)

[ installation views ]

[ more here ]

[withlov3always]

bio pop (12/11) bianca censori

[fleshaesthetic]

She is reclaiming the unauthorized clones...

[ source ]

[ women's bodies with contortionist furniture ]

[eyesaremosaics]

The watcher in the woods (1980)

[fleshaesthetic]

[ trailer ]

[voicevoices-deactivated20200623]

[fleshaesthetic]

Helmut Newton | Legs coming home, Monte Carlo, 1987

[raycastelo]

Experimento Azul, Ray Castelo 2019.

[marzipandildo]

[fleshaesthetic]

Mark Prent | Drosophila, 1984

“My figures are always morphing, mutating, or transitioning into, or from, something else.”

[ winged figure doing a handstand on a 16-foot-long balance beam; Birth Machine Baby feat. Giger ]

[arsvitaest-deactivated20260111]

David Alfaro Siqueiros, Tempestad (The Storm), 1939, pyroxylin on Paragon paper

[fleshaesthetic]

a key example of his "controlled accident" technique, using dripping pyroxylin (Duco) to create dramatic, textured forms. Exhibited at the Pierre Matisse Gallery in 1940, this work explores the chaotic, destructive imagery of war and nature.

[ catalogue note ]