Looking For The Body

Let’s remind ourselves in an era when everything is turned into an object of desire and marketed. A time quite far from the time of the frog turning into a prince with the kiss of the princess … Now, we are in a time where any and all products, from perfume bottle to water bottle from mobile phone to oven, from hospital to political party are turned into body and released to the universe. Body image has occupied our visible, fragile atmosphere. The body that hid in the frog at the time of Grimm is now everywhere and clearly visible … Because goods have to be sold. There is one single way, stimulating desire! And yet, it is an era of disembodiment, the era of meta-bodies, good bodies, product bodies instead of real ones.

Body paintings by Lolita Asil must be considered as the images of the disembodied era. The scream of those who lost their bodies is echoed in the silent body of Asil. The painter attempts to remind again. In an attempt to remind of reality, reminding of bodily reality. Today, people reach toward the desired object with the fetish-meta they have grasped. Therefore, they take their place within the universe of those who are desired and reached their desire. The body has turned into an image with the object in her hand and even into the screen-body. Yet, such a body neither has a heart, nor blood vessels nor vertebrae, brain, nor fingers; such a body neither has an inside nor an outside. Lolita Asil shows the body once again in the world of non-existent bodies. These are human bodies in the most perfect style, in a style suggesting the style of Leonardo Da Vinci’s time. Lolita Asil’s bodies are the bodies of disembodied time.

The life of the virtual body is as long as the life of the desire. In which tense are Lolita Asil’s paintings of the body? In which brush strokes in these paintings are past, present and even future tenses hidden?

Think about this: Once the present tense has become present, it becomes past tense. Past does not exist anymore, but it follows us attached to the present. The dead continues his/her life on the shoulders of the living. What else he/she can do after all? Past has been lived, it does not exist materially, it is alive, dead, yet it speaks. It speaks from the body of the living, from the shoulders of the living. In Lolita Asil’s paintings we see this case, our case, ourselves. Each one of us is “present-past”! All of us are “the dead-alive”.

In fact, just as we get rid of the burdens on us, just as we shed our dead cells, just as a fall, we should bury our deaths, our dead parts. But such a burial does not mean a complete burial, covering with soil forever. This is an act of repetition. Every reanimation takes place with death; we leave a part of the past and save space for the present, but what we call present consists of the raw material of the past. It is formed in each and every moment.

Lolita Asil paints this infinite repetition, this indefinite “once upon a time”.

Özcan Yüksek, 2009

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