Excerpt:
“Studying Bourgeois next to Maghazehe, the theme of rupture emerges again and again. What it means when materials are pierced, pressured, torn—or when the body is treated as just another material to manipulate. In Bourgeois’ “Head on Fire” (2000), a reserved face seems resigned to the fact that her hair has become flame, the fire already overtaking an ear. In Maghazehe’s “Morning Sands II” (2021), a girl tosses back a drink with one hand on a trashcan, split between the dual desires of consumption and disregard. For both Maghazehe and Bourgeois, women seem to embody such paradoxes; they are capable—and often forced—to be many things at once.”
