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More than once during a screening of French artist Camille Henrot\u2019s<\/a> film, <\/span>Tuesday<\/span><\/i> at <\/span>K\u00f6nig Galerie<\/span><\/a> in Berlin, the unmistakable sharp intake of breath that accompanies stifled laughter could be heard. It\u2019s not that the film is funny exactly (not at all in fact), but it presents the competitive world of martial arts in such an unexpected and sensual light that some viewers reacted surprisingly to the tender, slow, even romantic representation of male bodies on screen. The twenty-minute-long film focuses on Brazilian Jiu-Jitsu fighters wrestling each other. While the sport is commonly associated with extreme displays of strength and determination, built around its focus on \u2018ground fighting\u2019 or grappling, Henrot\u2019s lens magnifies the excessive intensity and closeness of the body, hinged on her desire to make a film that would be \u201csugar for the eyes.\u201d<\/span><\/p>\n

“I was thinking of <\/span>[feminist film theorist]<\/span> Laura Mulvey\u2019s analysis of how images of women are often associated with slow motion (and the eroticisation of bodies),\u201d the artist, who was awarded the Silver Lion <\/span>for her video <\/span>Grosse Fatigue<\/span><\/i> at the 2013 Venice Biennale, tells SLEEK<\/span>. \u201cThere is something masochistic in Brazilian Jiu-Jitsu: the way the fighters brag of their near death experience and their \u2018cauliflower ears\u2019, the way they enjoy the strength of the embrace. <\/span>Tuesday<\/span><\/i> transforms the search for efficiency and strength into an exaggerated, obsessive visual pleasure.\u201d Through long, contemplative sequences, set to a compelling ambient electro soundtrack where breathing is often emphasised, Henrot\u2019s film casts the viewer\u2019s attention toward the dewy drops of sweat on a forehead, for example, or the intimacy of a mouth against an ear, where you can almost hear the whistle of breath, or the dance of bodies tumbling across the floor in slow motion. This is martial arts as you\u2019ve never seen it before. <\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":76804,"id":76804,"title":"Camille Henrot, video still, Tuesday, 2017 (6)","filename":"Camille-Henrot-video-still-Tuesday-2017-6.jpg","filesize":565360,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-6.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/camille-henrot-tuesday\/camille-henrot-video-still-tuesday-2017-6-2\/","alt":"","author":"1","description":"","caption":"","name":"camille-henrot-video-still-tuesday-2017-6-2","status":"inherit","uploaded_to":76795,"date":"2019-05-20 15:11:09","modified":"2019-05-20 15:11:09","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1500,"height":791,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-6.jpg","thumbnail-width":128,"thumbnail-height":67,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-6.jpg","medium-width":1500,"medium-height":791,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-6.jpg","medium_large-width":1500,"medium_large-height":791,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-6.jpg","large-width":1500,"large-height":791,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-6.jpg","1536x1536-width":1500,"1536x1536-height":791,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-6.jpg","2048x2048-width":1500,"2048x2048-height":791,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-6.jpg","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":9,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-6.jpg","wpvr_mobile-width":1500,"wpvr_mobile-height":791}}],"settings":{"fit_width":"10","caption":"Camille Henrot, video still, Tuesday, 2017. "}},{"acf_fc_layout":"text_area","text_area":"

Henrot, who is currently working towards two solo shows at Tokyo Opera City Art Gallery and The National Gallery of Victoria, juxtaposes the scenes of the fighters with equally poetic close-ups of thoroughbred horses, carefully groomed and prepared for a race. Here, Henrot zooms in on a horse\u2019s eye, bestowing the creature with human-like emotion and feeling; other shots, track the gentle slide of foam glistening on the animal’s smooth hair as it is washed by its owner. Often, these equine sequences are mirrored by the images of the fighters: the intricate plaiting of the horse\u2019s mane is matched by the careful tying of the fighter\u2019s belt; the beads of sweat on a balding competitor\u2019s head intensified by the splash of soapy water on the horse\u2019s back. <\/span><\/p>\n

The pairing of horse racing with Brazilian Jiu-Jitsu is not random, however, but a conscious choice by the artist intended to question concepts surrounding power, valour and contest. \u201cHorse racing and martial arts are the most direct and archaic manifestation of power and competition functioning in a very binary way. It all comes down to: who is the fastest and who is the strongest,\u201d explains Henrot. \u201cIt is a primal form of war that is socially accepted in our ordinary lives as a game. The idea for Tuesday<\/em> was not to challenge the traditional representation of power but rather to show the effect of the eroticisation of these archetypes and how the whole concept of binary conflict collapses in the process.\u201d<\/span><\/p>\n"},{"acf_fc_layout":"gallery","gallery":[{"ID":76802,"id":76802,"title":"Camille Henrot, video still, Tuesday, 2017 (4)","filename":"Camille-Henrot-video-still-Tuesday-2017-4.jpg","filesize":602967,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/Camille-Henrot-video-still-Tuesday-2017-4.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/camille-henrot-tuesday\/camille-henrot-video-still-tuesday-2017-4\/","alt":"","author":"1","description":"","caption":"","name":"camille-henrot-video-still-tuesday-2017-4","status":"inherit","uploaded_to":76795,"date":"2019-05-20 15:11:04","modified":"2019-05-20 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Henrot, video still, Tuesday (2017, Courtesy kamel mennour, Paris\/London; Ko\u0308nig Galerie, Berlin; Metro Pictures, New York"}},{"acf_fc_layout":"text_area","text_area":"

The film\u2019s focus on power and competition has its roots in its name. In latin, \u2018Tuesday\u2019 translates to \u201cday of Mars\u201d\u2014 the day dedicated to the god of war. Since ancient times, the second day of the week has been associated with qualities related to victory, strength and vigour. Interestingly, Henrot\u2019s film is only one element in a much larger inquiry related to the meanings we ascribe to the days of the week (and to systems in general in her work). <\/span>Tuesday<\/span><\/i> was first presented at her solo exhibition, <\/span>Days Are Dogs<\/span><\/i><\/a>, which investigated the semantics of the seven day cycle, at Paris\u2019 Palais de Tokyo from 2017-18. Henrot says that this grew from a desire to challenge the concept of the week, \u201cthe most banal structure \u2014 so banal in fact that it is never questioned.\u201d Instead, through a series of elaborate installations, videos and sculpture, she explored its status as an arbitrary construct of governance. \u201cThe week is a repetitive unit of time, both reassuring in its predictability and disquieting in its creation of obligations,\u201d notes Henrot.<\/span><\/p>\n

Accompanying <\/span>Tuesday<\/span><\/i> are two strange sculptures: <\/span>Wait What<\/span><\/i> \u2014\u00a0a bronze creature mounted atop a wooden Greek column \u2014 and <\/span>Defeated<\/span><\/i>, a chrome humanoid shape wrestling with a pillowed form. The sculptures, drained and draped, and suspended limply in action, illustrate the crux of what Henrot is trying to convey in<\/span> Tuesday<\/span><\/i>: the moment of struggle, rather than the victory \u2014\u00a0neither the fighting sequences or the horse racing scenes depict the actual moment of winning. Instead, Henrot is fascinated by the exhausted body, the loss of breath, \u201cthe paralysis that the struggle creates.\u201d Competition is reduced to the instance of stillness, before something is about to happen. Or as she puts it, \u201cwhen one opposing force meets the other in some kind of equilibrium, the pressure against another pressure, resulting into a live sculpture of two bodies intertwined.\u201d<\/span><\/p>\n"},{"acf_fc_layout":"text_area","text_area":"

Tuesday <\/span><\/a>runs through to 26 May at K\u00f6nig Galerie, Berlin. <\/span><\/em><\/p>\n

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