A CORRECTIVE SYSTEM OF EXERCISING
Alby Álamo
September 26th - November 15th, 2015

 

Installation view
A corrective system of exercising, 2015
Junefirst Gallery

 

Installation view
A corrective system of exercising, 2015
Junefirst Gallery

 

Alby Álamo
High jump, 2015
Acrylic on canvas and bicycle wall mount.
150 x 100 cm

 

Alby Álamo
High jump, 2015 (detail)
Acrylic on canvas and bicycle wall mount.
150 x 100 cm

 

Alby Álamo
Fall, 2015
Polystyrene rigid foam blocks and color digital print.
Dimensions variable

 

Alby Álamo
Fall, 2015 (detail)
Polystyrene rigid foam blocks and color digital print.
Dimensions variable

 

Alby Álamo
Running tracks, 2015 (detail)
Acrylic on wall.
Dimensions variable

 

Alby Álamo
World Record, 2015
HDV, color.
5:51 min

 

Alby Álamo
World Record, 2015
HDV, color.
5:51 min

 

Alby Álamo
World Record, 2015
HDV, color.
5:51 min

 

Alby Álamo
Strength and visibility, 2015
Curl bar, breathable running shirt.
Curl bar: 125 x 2,8 cm and 6,5 Kg

 

Alby Álamo
Strength and visibility, 2015 (detail)
Curl bar, breathable running shirt.
Curl bar: 125 x 2,8 cm and 6,5 Kg

 

Installation view
A corrective system of exercising, 2015
Junefirst Gallery

 

Alby Álamo
Downloading (Jason Collins), 2013
Oil on canvas and bicycle wall mount.
140 x 100 cm

 

Alby Álamo
Downloading (Jason Collins), 2013 (detail)
Oil on canvas and bicycle wall mount.
140 x 100 cm

 

 


A CORRECTIVE SYSTEM OF EXERCISING
Alby Álamo
September 26th - November 15th, 2015

 

“A corrective system of exercising” is an allusion to the book by Joseph Pilates, first published in 1934 under the title “Your Health: A Corrective System Of Exercising That Revolutionizes The Entire Field Of Physical Education”. In it, he develops the doctrine of fitness he defined as “contrology”, which aims to restore the integrity of a physical form away from the corrupting effects of the modern way of life. It focuses on self-control and the use of custom designed instruments that provide for a contained method of improvement, an economical balance of effort and the resulting effects. Pilates’ discipline reached its utmost popularity in the midst of a bursting postcapitalism that finds its core in the individual as its operation center. Through the appearance of desire, the body becomes the first form of governability and a platform for this powerful machinery to expand.
The attention to oneself as a disordered body, as well as the focus on self-realization and management in an efficient way become a permanent obligation for the contemporary subject, and a form of labor. Producing an image of this constantly updated body is essential to the contemporary demand and it becomes an institutionalized practice.

Under this light, athletics appears as an emblematic field of this conjunction: it only operates under the logic of success and everything else is a collateral contingency, a means to an end. The ethic of effort and sacrifice is revealed in the equation by which there is no achievement without pain, and such a process requires a rigid discipline and self-command. The practice of ascetism, aksesis, was not the renouncing of the self but the process of a progressive consideration of subjectivity and it consisted of exercises in which the subject places himself to verify if he can overcome them. While meditatio was the exercise of imaginary experience in thought, gymnasia was the training in a real situation. Thus, gymnasia includes a long tradition of physical privation, sexual abstinence and rituals of purification1. The specific devices developed by Pilates embodied the paradox of a larger apparatus of torment; his instruments often resemble those used for torturing but aim to serve the purpose of empowering the individual with the control of his own body by achieving excellence of shape and purity of form.
Detached from its original context, the exercising of aksesis has survived to the present day as a certain understanding of the body and the mind as one same thing in the doctrine of individualism, in a superficial mixture of spiritual believes and scientific positions which induce practices such as Pilates’ to be widely acclaimed.

Alby Álamo’s research develops as an observation of the way our desires are shaped in the common ground of phenomenon like the glorification the athletic life, the duty of self-projection and the status of the celebrity as a paradigm of global success. His work deals with the resulting production of images and the question of how they are reorganized and assumed.

 

___________________________________________

1. Michel Focault, Technologies of the Self.

Image retouching: María León.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A CORRECTIVE SYSTEM OF EXERCISING
September 26th - November 15th, 2015
Alby Alamo
+ info

 

UPBEAT HEIGHTS
June 20th - July 20th, 2015
David Bestué - Gabriele De Santis
+ info

 

THE INCLINATION OF THE ANGLE
April 18th - May 16th, 2015
Josep Maynou, J.E. Oldendorf, Marco Montiel-Soto, Raphaël Constant
+ info

 

FOOD NOW. ORGANIC DEVICES OF APPLIED LINGUISTICS
September 27th, 2014 - October 25th, 2014
Daniel Steegmann, Fermín Jiménez Landa, Daniel Jacoby, Wilfredo Prieto
+ info

 

BIOPOLITICS OF THE SOUTH SIDE
July 17th, 2014 - August 17th, 2014
Rui Calçada Bastos, Paco Guillén, PSJM, Lorenzo Sandoval, José Otero, Martinka Bobrikova & Oscar de Carmen, Adrián Martínez
Guest curator Arístides Santana
+ info

 

RECREATIONAL DUTY
April 25th, 2014 - May 16th, 2014
Laia Estruch, Jaakko Pallasvuo, Ryan Rivadeneyra, Sergi Botella
+ info

 

 

ARCHAEOLOGY FABRICATED
March 22th, 2014 - April 23th, 2014
Karlos Gil, Martin Llavaneras, Javier Fresneda, Xavier Ristol, Raúl Artiles, Moneiba Lemes, Mirak Jamal
+ info

 

FLYING SAUCERS
COLLOQUIAL EXPLORATIONS OF SCIENCE FICTION
February 15th, 2014 - March 15th, 2014
Víctor Jaenada, Serafín Álvarez, Josep Dominguez, Black Tulip, Mike Ruiz
+ info

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

JUNEFIRST GALLERY
Scharnweberstr 35
10247 Berlin


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JUNEFIRST is a project space.
It is directed and curated by Sira Pizà and Ricardo Trigo.
June first is the length of the first phase of this curatorial project, as well as a constant state of expectation for the long awaited spring.