UofT students are pretty lucky. Our campus is located in the core of downtown Toronto and we have access to so many artistic and cultural opportunities. However, due to the high volume of external events and exhibits, we often tend to forget about the many exciting things happening right here on campus. In fact, many students are unaware of the Justina M. Barnicke Gallery and University of Toronto Art Centre that exist at our very own Hart House Student Centre.
These establishments feature contemporary Canadian artists, as well as select historical pieces, all year round. Over the past few months, they have showcased a large collective of artists in a very special exhibit called The Flesh of The World, which managed to leave a lingering impression.
Inspired by the philosopher Maurive Merleau-Ponty, as well as the 2015 XVII Pan and Parapan American Games, which occurred in Toronto this past summer, The Flesh of The World challenges our preconceived notions about the human body and questions society’s idea of a “normal body.” The compelling questions brought forth are, “What does normal even mean?” and “How can such a standard exist in a society as complex as our own?”
This exhibit provides viewers with an inside look at several physical disabilities and conditions along with the ways they limit quotidian functions. The various art media of the exhibit examine the relationship between physical appearance and psychological perception of self.
Through a series of photographs, Alexa Wright captures people who have amputated limbs or serious skin conditions. The subjects in these photographs demonstrate how a bodies’ athleticism is unfixed and limitless. This provides a necessary narrative for these communities, who are often discussed in terms of their limitations and not their accomplishments. The lack of positive representation can lead these athletes to feel ashamed, as they feel they don’t represent what society considers a “normal” human experience.
One subject importantly states, “This is definitely something that happened to me, and yet at the same time it is what makes me me.” It is this demonstration of the human spirit that the exhibit captures at its core. The Flesh of the World strives to deconstruct our idea of what is “normal” and replace it with the recognition that everyone is different. Simply put, it reminds us that people come in many shapes, colours, and sizes, and that’s okay. In fact, that is beauty in its purest and most natural form.
For example, artist Tim Lee uses video to illustrate “how one person’s stable perspective might be another person’s warped one.” He films a man rolling on the ground at several different camera angles, creating a loop of non-stop motion. This distorted shot leaves the viewer feeling dizzy and disoriented, and prompts us to broaden our perspectives by considering the billions of people that exist in the world who feel ignored and unrecognized. Furthermore, Lee encourages us to be grateful for the opportunities we are granted every day.
In a different video installation, Helen Dowling investigates human interaction. She records a meeting between John, who lives with cerebral palsy, and a break-dancer. Dowling asks John to mimic the break-dancer’s movements and she asks the break-dancer to mimic John’s movements. She comments on imitation, as it can serve as a form of flattery, but can also inflict serious harm, which John has to endure on a regular basis. She effectively turns an act of cruelty into a challenge that is admirable, promoting universal acceptance.
The Flesh of the World is on at Hart House until October 10, and I would highly recommend that you see the exhibit before it ends.
