In the K. project the artist’s body serves as a departure point for a series of playful interventions directed at the institutional gaze. Formed within 19th-century criminology, the concept of the individual is a product of the system, which today organizes individual existence. The resulting documents present a reductive take on the subject. Despite their seeming exactitude, they accommodate a multitude of loopholes and areas of fuzziness. With this in mind, the artist appropriates the techniques of intelligibility and their attributes of identity as instruments of artistic production. The project’s title bears reference to Franz Kafka’s character Josef K. whose opposition to the Law makes him an unwitting participant in his disciplinary subjection.
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