CONDYLURA03
w/ELEONORA LUCCARINI


2021
Edition of 100
20 pages
Broadsheet


6 €    BUY

Condylura publishes a free digital copy at sold-out



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What happens if a poetry book meets a performance project in a fanzine stand?
Digging, the condylura got into a motion of revolution: as a movement of the body and the word across the pages and as a movement of the word and the body across the norms that regulate them.


TEXT


From front to back cover, Léonard Santé performs a movement of revolution, an orbit that crosses serenity, insecurity, pride, anger, introspection, pain. It is a body that yields and rises up, to fight, that disarticulates and caresses, in exploring itself, that bears on its face the sign of a binomial & pissed-off heart.
Eleonora Luccarini transfigures the pages of the newspaper, bringing together a book of poetry with a performance project in a fanzine stand. Presenting five poems by the alter-ego Santé – I baby babies best, Basilico, I’m hyper aware in my car, Seno, Living at the peak – combined with drawings, graphics and other short texts, sentences collected by the artist, which infiltrate the writing.
Since its first, disembodied, appearance in the reading Léonard Santé, 13 poems (2020), the poetry of Léonard Santé has crossed different forms and media, with each iteration changing the extremes of the relationship among language, image, and body. The alter-ego returns in the publication under a new drawing, but recognizable from the videos 4 hooves don’t leave footprints (2021) and Just 1 poem (2021), in which figures such as a CGI character, replacing the artist in the performance. It is a further expression of a broader interdisciplinary and intermedial project, which investigates poetic language as a performative practice and finds a way of becoming corporeal even on the printed page. The pace, feels reminiscent of the recent performance Lezioni (2021), where Eleonora Luccarini interfered with a yoga course held in precarious conditions.
Léonard Santé’s poems outline a developing identity, fragile but not docile, merging biography and fiction to open up a space of possibility, of bilingual and transgender intermediation between the experiences and sensibilities of the artist and the alter-ego, where the performativity of the self, affections and cultural criticism can be inquired.

hey I’m hyper aware / I ask myself about womanhood / there must be something I can   hide / from anyone else including the Mother / at this point / I feel betrayed / so I ask myself about manhood

An in-between space, that does not look for resolution, giving rise to conscious research, yet indulgent with the contradictory movements of life.

ma che muoiano tutti i mariti e le mogli / tranne i miei genitori

Asking herself what the revolutionary potential of poetic language is, Julia Kristeva advanced the thesis of writing as puttting the identity of the subject en procès (playing with the double meaning of in process/on trial), a challenge to the Cartesian vision of the subject as a unitary, determined, given nucleus. For the French philosopher, art, and poetry in particular, is a flow of juissance into language, a subversion of the symbolic space of representation through ambiguity, infiltration, instinct, murder.

how could a revolution be shaped in 2020? / everything I did before this time / looks strangely unfamiliar & deeply useless

Léonard Santé does not only perform a motion of revolution as a movement of the body and the word across the pages, but also a revolutionary movement of the word and the body across the norms that regulate them. I is another [Je est un autre], argued Rimbaud of exposing oneself to writing. To the revolution corresponds a rotation, on the axis, like that of a celestial body (Perseverance, but the rover) or of a body in free fall, bringing the feet to the head as to make a cocoon (I’m good with my life expectancy)


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