Tala Madani at Pilar Corrias: Daughter B.W.A.S.M.

The new paintings extend concerns already visible in earlier works such as Mom in Bathroom (2015) and Dirty Protest (2019), where bodily excess and breakdown disrupt normative structures of behaviour. Here, however, the tension is sharpened through the introduction of a technological counterpart. The encounter is not staged as opposition but as entanglement, where neither body nor system maintains authority.

The moving image works deepen this instability through repetition and citation. In S.M. Ascends (2025), a figure is caught in a continuous cycle of ascent, echoing the fragmented temporality of Eadweard Muybridge’s motion studies produced between 1878 and 1887. The sequence resets endlessly, refusing narrative progression. In Shitmom Learning How to Walk (2025), Madani inserts her figure into these historical frameworks of movement, where women were once recorded as subjects of analysis. The attempt to learn becomes an ongoing failure, the body collapsing and reforming without achieving mastery.