YUGOSLAVIA AS AN ATLAS OF YOUR BODY
In his works Galuzin (b. 1979) continuously deals with the human body as a source for scientific and aesthetical studies. This spirit of enquiry lays ground for unbiased ways of expression, be it painterly gestures, film-productions, text or performance. In his last show at Kunstnerforbundet, Oslo, Galuzin exhibited tent canvases stretched on wooden frames; fabric constructed for the purpose of being transitory houses. Another understated piece was a seagull found dead at a Ligurian beach that Galuzin salted, dried and packed into a cardboard; a precise articulation of negotiation between abstraction and the urgent fact that certain physical and political realities lie and rot under the rectangle. For the inauguration show at Konkret Galuzin continues his use of scientific knowledge / discourse which could be summed up as an incommensurable materiality of a body and immateriality of what bodies produce. The leftovers after cooking a stock are spread on a surface, cheese is made out of PVA- glue. A series of bags; tent bags, a Russian postal-bag and laundry bag from Oslo City Hospital is mounted upside down as failed Christmas socks. The meaning is drained from the objects, which has lost their function as vessels for content in favour of form and surface. This refusal to perform its original duty mirrors the post-modern propensity that the surface or the superficial is more real or important then the content found inside.