Galli’s solo exhibition, “So, So, So,” at Goldsmiths Centre for Contemporary Art in London delves into the artist’s exploration of the body as a battleground. Born small for her age at the end of World War II, Galli’s work reflects the universal experience of the body as a site of contestation and politicization. The paintings from the 1980s and ’90s draw on the avant-garde countercultures in West Berlin and advocate for feminist, queer, and disability rights.
The exhibition showcases Galli’s ambiguous figures that exist in a constant state of metamorphosis between formation and deformation. The paintings are both violent and sensual, using a complex visual language that challenges the viewer’s analytical eye. For example, in “o.T., (750 Jahre Galerie Nothelfer)” (1988), deformed bodies appear to be dancing, with elements of joy and potential violence depicted in a childlike innocence.
In addition to paintings, the exhibition features drawings on A4 paper, artist books, and index card pictures that depict fantastical bodies and folkloric characters. These works defy conventional exhibition conditions, with double-sided index card pieces that will be flipped halfway through the exhibition to create an alternative narrative arc.
While some of Galli’s early works draw on literary and mythological sources, later paintings in the exhibition take on a more domestic scope. These works allude to objects like kettles and teacups, with limbs stretching from enclosed spaces, symbolizing themes of enclosure and confinement. Throughout Galli’s body of work, there is a tension between breaking free from the limitations of the politicized body and re-engaging with its visceral complexity.
“Galli: So, So, So” is a thought-provoking exhibition that invites viewers to contemplate the complexities of the body and its representation in art. Curated by Sarah McCrory, the exhibition runs at Goldsmiths Centre for Contemporary Art in London until May 4.
