《止汗露》（特定场域）
2020至2022年
乙烯基塑料打印
作品由艺术家和 La Maîtrise画廊（巴黎）惠允
马吉拉选择止汗露容器作为展览的视觉象征。止汗露既是一种化妆品，也是通过控制和消除异味来改造人体的工具。此次在北京展示的《止汗露》是在原作基础上调整后的新版本，并与美术馆外立面的作品《纪念碑》合并。走进木木艺术社区，这幅止汗露的纪念性照片立刻进入观者视野，日常物品图像被艺术家提升为展览的主视觉元素，几个月以来，不断出现在各类展览宣传资料中。
在人类历史中，止汗露作为一种化妆品，直到当代才被广泛使用，其背后原因主要来自商业社会的广告推广。止汗露通过隐藏旨在调节身体内部温度的汗液，既掩盖了时间在身体上流逝的痕迹，又用工业合成气味取代了天然体味。于是，身体成为一个非人化的、临床的空壳，对精力消耗、恐惧和压力都不再敏感，最终达到当代文化对于完美表相的定义标准。此外，止汗露触及皮肤，并且能够改变一个人的内在与外部世界之间的交流。因此，止汗露可被视为当下时代痴迷于卫生的象征之一，它标志着工业化的身体护理，证明我们渴望控制一切“威胁”我们理想外表的身体变形。矛盾的是，在这一关于束缚的语境中，止汗露却获取了另一重欲念意味。它暗示我们，理想的身体其实是一个“不可渗透”的身体。因此，马吉拉将关注点转向日常物品以及它们如何讲述背后隐藏的私人故事。与此同时，马吉拉抹去了止汗露标签上的成分说明，并以展览信息取而代之。
Deodorant (in situ)
2020-2022
Print on vinyl
Courtesy the artist and La Maîtrise, Paris
Margiela has chosen the deodorant stick to be the symbol of the exhibition. A cosmetic product and tool for transforming the human body through the controlling and elimination of odor. Now in Beijing, Deodorant has been revised and merged with the work Monument on the façade of the museum. Visitors to the museum are greeted by a monumental photograph of a deodorant stick whose image has been used for several months to promote the exhibition. Like a readymade, Martin Margiela has elevated this banal object to become the image of the project.
Deodorant sticks, as a cosmetic product, have only been adopted very recently in human history. The success of the deodorant stick has largely been driven by the advertising industry. Deodorant both stops the traces of time passing on the body, by hiding perspiration, which is designed to regulate the body's internal temperature, and replaces the naturally produced odour of the body with a synthetic scent. This process can be seen as both clinical and unnatural, insensitive to effort, fear, and by products of stress on a person—a surface which contemporary culture designates as undesirable. It also touches the skin and alters the exchanges between one's interiority and the exterior. Deodorant is thus a modern symbol for our hygienic obsession, a sign of the industrialization of the body. A modern obsession that seeks to control all forms of metamorphosis that threatens our clinical society. Paradoxically, it has also gained an erotic dimension, implicitly signifying that a desirable body is an ‘impermeable' one. Margiela is thus interested in the objects that surround us and how they tell stories about ourselves. On the label, he has removed all the deodorant's ingredients, and has replaced them with the information of the exhibition.
2020-2022
Print on vinyl
Courtesy the artist and La Maîtrise, Paris
Margiela has chosen the deodorant stick to be the symbol of the exhibition. A cosmetic product and tool for transforming the human body through the controlling and elimination of odor. Now in Beijing, Deodorant has been revised and merged with the work Monument on the façade of the museum. Visitors to the museum are greeted by a monumental photograph of a deodorant stick whose image has been used for several months to promote the exhibition. Like a readymade, Martin Margiela has elevated this banal object to become the image of the project.
Deodorant sticks, as a cosmetic product, have only been adopted very recently in human history. The success of the deodorant stick has largely been driven by the advertising industry. Deodorant both stops the traces of time passing on the body, by hiding perspiration, which is designed to regulate the body's internal temperature, and replaces the naturally produced odour of the body with a synthetic scent. This process can be seen as both clinical and unnatural, insensitive to effort, fear, and by products of stress on a person—a surface which contemporary culture designates as undesirable. It also touches the skin and alters the exchanges between one's interiority and the exterior. Deodorant is thus a modern symbol for our hygienic obsession, a sign of the industrialization of the body. A modern obsession that seeks to control all forms of metamorphosis that threatens our clinical society. Paradoxically, it has also gained an erotic dimension, implicitly signifying that a desirable body is an ‘impermeable' one. Margiela is thus interested in the objects that surround us and how they tell stories about ourselves. On the label, he has removed all the deodorant's ingredients, and has replaced them with the information of the exhibition.
