{"id":24490,"date":"2018-12-21T16:20:55","date_gmt":"2018-12-21T16:20:55","guid":{"rendered":"https:\/\/zen-morse.176-96-136-90.plesk.page\/?post_type=kb_exhibition&#038;p=24490"},"modified":"2019-01-14T12:52:34","modified_gmt":"2019-01-14T12:52:34","slug":"oscar-enberg","status":"publish","type":"kb_exhibition","link":"https:\/\/bethanien.de\/en\/exhibitions\/oscar-enberg\/","title":{"rendered":"Oscar Enberg"},"content":{"rendered":"<p class=\"p1\"><span class=\"s1\">No wonder Enberg suffuses his objects with too many directions. Too many capabilities. He extends their relations, pushing precisely this intertwining of the relational, of croissance, no longer so simply limited to physical vitality, to the physical limit of the body, but to their extenuated circumstances. <\/span><span class=\"s1\">As Nigel Thrift points out, the physical body doesn\u2019t stop at the flesh, it extends across a permeable matrix of relational operations. It is contiguous. (1)<br \/>\n<\/span><span class=\"s1\">Even at its core it is a motley collection of fungible forms interrelating. In Serres\u2019 terminology this is a kind of &#8220;Exo-Darwinism&#8221; (2), no longer just a physical evolutionary dance, but a cultural, semiotic tool-use that always makes us more than one but less than two (to use Donna Haraway\u2019s phrasing). (3)<br \/>\n<\/span><span class=\"s1\">&#8220;I labour this overlapping because I think it\u2019s a useful way to read Enberg\u2019s preoccupation with entropy. Indeed, what could be more defunct than the nativity scene? And yet in calling it the historical gesture Enberg\u2019s practice not only renews the narrative, making it a kind of inversion in which one can be reborn, <\/span><span class=\"s1\">but also exposes the structural equilibrium of that narrative.&#8221; (Extract from <\/span><span class=\"s2\">Rosencrantz and Guildenstern are still dead!<\/span><span class=\"s1\">, Hamish Win, 2017).<\/span><\/p>\n<p class=\"p3\"><span class=\"s3\">(1) Nigel Thrift, Non-Representational Theory: Space, Politics, Affect (London, New York: Routledge, 2008)<br \/>\n<\/span><span class=\"s3\">(2) Michel Serres, Malfeasance; Appropriation Through Pollution, trans. Anne-Marie\u00a0<\/span><span class=\"s3\">Feenberg-Dibon (Stanford: Stanford University Press, 2011): 37<br \/>\n<\/span><span class=\"s3\">(3) Donna Haraway, When Species Meet (Minneapolis: University Minnesota Press, 2008).<\/span><\/p>\n","protected":false},"template":"","categories":[],"class_list":["post-24490","kb_exhibition","type-kb_exhibition","status-publish","hentry"],"acf":{"article_image":24492,"article_image_bu_de":"","article_image_bu_en":"","datum_suche":"2018-12-21 16:20:55"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Oscar Enberg - Bethanien %<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bethanien.de\/en\/exhibitions\/oscar-enberg\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Oscar Enberg - Bethanien %\" \/>\n<meta property=\"og:description\" content=\"No wonder Enberg suffuses his objects with too many directions. 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