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Perpendicular mutation of biological mode,
2021
Radoslav Maglov
Fine Art Drawings : pencil, paper
32 x 21.5 x 0.1 cm 12.6 x 8.5 x 0 inch
$1,003
1 003 $US
Secure delivery : Australia
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About the artwork
Type
Unique work
Signature
Not Signed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
32 x 21.5 x 0.1 cm 12.6 x 8.5 x 0 inch Height x Width x Depth
Support
Framing
Brown frame
Artwork dimensions including frame
49 x 32.2 x 1 cm 19.3 x 12.7 x 0.4 inch
Tags
Artwork sold in perfect condition
Artwork location: Bulgaria
The exhibition “Ontologies of the Uncanny" interrogates the freedom of experience through the body as a primary method for dismantling categories and breaking free from taboos surrounding corporeality. Amorphous flesh, nervously pulsating between the organic and the inorganic, a verbal image, or sheer madness—whatever interpretation is applied to the work of Maglov, and whatever rationale is given, it cannot be veiled by conventional conceptuality.
These forms of “matter" are shapeless, indefinable. They resist classification, defy assimilation into any concept or abstraction. Rather than defining the uncanny and the monstrous as exceptions to the norm, the works presented in this exhibition establish difference as the norm itself. For Maglov, everything we label as monstrous or horrifying is, in its essence, unique and unclassifiable. It cannot be perceived as a deviation from the normal because it emerges from the very same context that gives rise to what is deemed normal.
By articulating what is categorized as horrifying, deformed, and consequently marginalized, the exhibition argues for its existence, rendering it conceivable through an ironically pseudo-scientific taxonomy that translates and makes it accessible within a broader societal context.
Through this approach, Maglov seeks to challenge the necessity of categorization. Convention inherently excludes what it cannot assimilate. The conventional approach defines the normative, while everything outside of it—the Other—remains indefinable. However, by confronting what terrifies and repulses, it becomes conceivable and thus equivalent to what is conventionally accepted. In this way, dichotomies lose their oppressive characteristics, and stereotyping and prejudice are stripped of their power.
Society tends to consolidate more readily around shared parameters of what is considered repulsive than around what is considered appealing. It is more efficient at recognizing, suppressing, and marginalizing the Other than at acknowledging it as a product of the same contextual reality.
Through his works, Maglov dismantles taboos and normative frameworks, opening up the possibility of interpreting the repulsive and the grotesque, legitimizing their existence precisely because they are real and not mere fiction.
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Little Bird Place • Bulgaria
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Presentation
Radoslav Maglov, born in 1978, is a Bulgarian artist who lives and works in Sofia.
His work delves into the potential overflow of essences from object to subject and vice versa, as well as the capacity to assign moral categories to subjective sensations. In Maglov's artistic endeavors, the bodily experience serves both as a medium and an outcome, inseparably intertwined with every aesthetic encounter. Through his interdisciplinary and experimental approach, Maglov aims to challenge conventional notions of the body and its relationship to ethical categories and social prejudices. Maglov's work invites the audience to reflect on the transformative nature of the body, presenting it as a mental resource that can be consumed in a transgressive form of expression.
He employs a variety of media, including video, installations, sculptures, and paintings, to convey his message.
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