​From Auguste Rodin to Duane Hanson, from Georg Baselitz to Ana Mendieta, from David Hammons to Marlene Dumas, from Arthur Jafa to Ali Cherri, some forty artists explore, through painting, sculpture, photography, video, and drawing, the links between body and mind.

"In the matrix-like curves of the Bourse de Commerce, echoing the circle of bodies inhabiting the vast painted panorama encircling the building's glass dome, the exhibition "Body and Soul" explores, through the works of some forty artists from the Pinault Collection, the pervasiveness of the body in contemporary thought. Freed from any mimetic shackles, the body, whether photographed, drawn, sculpted, filmed, or painted, constantly reinvents itself, giving art an essential organicity that allows it, like an umbilical cord, to take the pulse of the human body and soul."

Art captures energies, the vital flows of thought and inner life, to invite an engaged and humanist experience of otherness. Forms are transformed, reconnecting with figuration or breaking free from it to grasp, retain, and allow the soul and consciousness to surface. It is no longer a matter of embodying forms but of capturing forces and making visible what is buried, invisible, of illuminating shadows. In the Rotunda, Arthur Jafa's work, "Love is the Message, the Message is Death," transforms the space into a sounding board for the music and commitment of African-American icons such as Martin Luther King Jr., Jimi Hendrix, Barack Obama, and Beyoncé, giving them a universal reach.

In resonance with the exhibition, a rich musical program makes "Body and Soul" a polyphonic event. Emma Lavigne, Executive Director of the Collection, General Curator.

With: Georges Adéagbo / Terry Adkins / Gideon Appah / Diane & Allan Arbus / Michael Armitage / Richard Avedon / Georg Baselitz / Cecilia Bengolea / Constantin Brancusi / Miriam Cahn / Claude Cahun / Ali Cherri / Peter Doig / Marlene Dumas / Robert Frank / Latoya Ruby Frazier / Philip Guston / Anna Halprin & Seth Hill / David Hammons / Duane Hanson / Kudzanai‑Violet Hwami / Anne Imhof / Arthur Jafa / William Kentridge / Deana Lawson / Sherrie Levine / Kerry James Marshall / Ana Mendieta / Zanele Muholi / Senga Nengudi / Antonio Obá / Irving Penn / Man Ray / Robin Rhode / Auguste Rodin / Niki De Saint Phalle / Mira Schor / Lorna Simpson / Wolfgang Tillmans / Kara Walker / Lynette Yiadom-Boakye

General curator: Emma Lavigne, general director of the Collection, general curator

The Leventis Municipal Museum of Nicosia is presenting its temporary exhibition entitled Sector 2: Nicosia. It is a different, experiential exhibition, which is intended to tell, through an innovative museological approach and experience, the story of the Green Line, a line which for 60 years now has been splitting the last divided capital of Europe.
The title selected for the exhibition, Sector 2: Nicosia, carries symbolic significance. It not only describes the geographical division of Nicosia within the areas of control established by the United Nations Peacekeeping Force, but also emphasises, devoid of sentimentality, the shared ‘fate’ of the city under a different light determined as Sector 2.
Four thematic units which are marked by the chronological milestones of 1956, 1958, 1963, 1964 and 1974 determine the museological trail, while they also unlock the evidence which comprises all the pieces of the puzzle in relation to the evolution of bicommunal relations and their impact on Nicosia.
The first section features the era of coexistence among all communities and the social bonds they shared. The second section explores the events occurring in Nicosia from 21 to 30 December 1963, which led to the first official establishment of the Green Line. In the third and more experiential section an anthropocentric lens highlights the distance and isolation experienced by the two communities, showcasing the development of two parallel worlds in everyday life. Finally, the fourth section focusses on positive initiatives and actions, preserving hope for future reunification.
Specifically, the exhibition Sector 2: Nicosia, through the presentation of diverse historical documents, objects, works of art, oral testimonies and artistic interventions (installations and video art), aims to illuminate lesser-known aspects of this period. It invites visitors to grasp the collective trauma experienced by the people of Nicosia on both sides of the dividing line, who navigate a city that is both familiar and foreign to them simultaneously. The exhibition space becomes labyrinthine and dense, expressing, on the one hand, the narrow dead-end streets of Nicosia and, on the other hand, the gradual alienation and dead ends in the life of its citizens over the course of these six decades.
The research and the collection of material was begun almost two years ago by the Curator of the Leventis Municipal Museum of Nicosia and exhibition curator, Chrysostomos Sakallis, in order for the exhibition material to meet the artistic gaze of the director Magdalena Zira and of the set designer Elena Katsouri for the whole presentation to be afforded an air of experiential immediacy.
The general coordination was organised by Tzeni Lymperopoulou Savvidou, Director of the Leventis Municipal Museum of Nicosia, who also acted as co-curator of the exhibition with Maria Patsalosavvi, the Museum’s Deputy Director.
Furthermore, the consulting role of Loukia Loizou Hadjigavriel, Director of the Anastasios G. Leventis Foundation and of the A. G. Leventis Gallery, as well as the advice of Demetra Theodotou Anagnostopoulou, Museum Consultant for the A. G. Leventis Foundation, the A. G. Leventis Gallery and the Leventis Municipal Museum of Nicosia, was also vital to the creation of the exhibition.
Crucial interventions across all stages of the scientific documentation were also offered by Dr Petros Papapolyviou, historian and Dean of the Faculty of Philosophy of the University of Cyprus, as well as by Dr Antigone Heraclidou, historian and Senior Research Associate at the CYENS Centre of Excellence.
The exhibition is accompanied by a publication rich in essays and photographs, complemented with the historical timeline of the exhibition, along with important testimonies.
It should be noted that the exhibition could not have been realised without the kind loans of photographs, objects and various testimonial material from organisations, bodies and private collectors, as well as the people of Nicosia who lived through the events.

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