Cecilia Bengolea “Liquid Guru” Installation view of the exhibition at Andréhn-Schiptjenko, Stockholm, 2020. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Cecilia Bengolea “Liquid Guru” Installation view of the exhibition at Andréhn-Schiptjenko, Stockholm, 2020. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Anemone Fragment, 2019. Natural, fired earthenware, painted with acrylic colour. Body: 17 3/8 x 21 5/8 x 17 3/4 in. Strings: 6 1/4 x 24 3/4 x 11 3/4 in. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Anchor Fish, 2019. Natural, fired earthenware. 17 3/8 x 13 3/4 x 8 5/8 in. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Danse au fond de la mer, 2019. Video still. 12′ 52”. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Cecilia Bengolea “Liquid Guru” Installation view of the exhibition at Andréhn-Schiptjenko, Stockholm, 2020. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Pampa Kingston Sunrise, 2020. Lenticular print. 37 1/8 x 47 1/4 in. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Umbrella Fish, 2019. Natural, fired earthenware. 26 3/4 x 14 5/8 x 15 in. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Deep Sea Worm, 2019. Natural, fired earthenware. 24 1/8 x 15 3/4 x 31 1/2 in. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Salton Friends, 2020. Lenticular print. Diameter: 46 1/8 in. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Bombom in the Salton Sea, 2020. Lenticular print. Diameter: 46 1/8 in. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
Pampa Kingston Sunset, 2020. Lenticular print. 40 1/8 x 47 1/4 in. Courtesy of the artist and Andréhn-Schiptjenko, Stockholm / Paris.
At Andréhn-Schiptjenko in Stockholm is presented “Liquid Guru” the first solo exhibition in Scandinavia of Cecilia Bengolea’s work, a multidisciplinary artist using dance as a tool and a medium for radical empathy and emotional exchange.
Dance may be one of our most advanced forms of bodily expression, but it demands that we consider the figure as pure medium devoid of functionality. Adaptive physical intelligence is, for Bengolea, the basis of a practice that has been centred around the creation of new bodies of thought. The other mind that is the focus of her attention is a body without boundaries, a fully eroticized being born of a state of constant rehearsal.
The exhibition at Andréhn-Schiptjenko consists of two video works – Bestiaire and Danse au fond de la Mer – as well as sculptures and lenticular prints, best described as two- dimensional 3D images in constant motion.