Representations of disfigured bodies, anatomical structures, organs, and stripped bones are proven painterly tropes employed to explore the human condition. Seen within the context of Sanya Kantarovsky’s recent exhibition at Capitain Petzel in Berlin, such motives invite a reading as a visceral reaction to violent conflicts in the present. The artist draws some of these connections himself, but foregrounds the more fundamental, timeless themes that underlie his new body of work. For example, the transience of life. But also, as Louisa Elderton elucidates, the intrinsic human drive to find hope.
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