Matthew Barney’s art often engages the human body as a metaphor, but is also highly corporeal in its choice of materials. Ambiguous gender markers, slime or bone structures are juxtaposed with a glossy Hollywood aesthetic. With a background in athletics, Barney’s performances explore fundamental aspects of existence by focusing on physicalities, notably within Cremaster Cycle (1995–2002), a film series that delves into gender emergence through a unique aesthetic cosmology, comprising five films accompanied by sculptures, artist books, and photographs. The latest works, part of the Secondary series (2022–), reflect on a tragic football accident in 1978, resulting in a player’s paralysis. Barney’s exploration of masculinity in relation to disability reveals the complex dynamics within professional sports, highlighting the celebration of masculine strength juxtaposed with its inherent violence. Furthermore, Barney’s involvement with the Hands Off Our Revolution artist collective in 2017 reflects his political stance against the rightward shift in US politics following Donald Trump’s inauguration, embedding his artistic practice in contemporary sociopolitical discourse. Patriot (2024), a sculpture crafted from polyethylene, Barney’s signature material, references human bone and embodies the sportswear typical of athletes, without literal flesh. This transformation of material and concept challenges traditional notions of a fit, fertile masculinity, effectively turning the fascist ideal of corporeal supremacy on its head. In the drawing titled Impact Object (2024), which serves as a complementary piece to the associated sculptural work, the depiction of colliding bodies is rendered in delicate pencil lines. The intricate layering of multiple semi-transparent perspectives creates an evocative visual that can be interpreted as a mass of visceral forms emerging from sports attire. This imagery, while suggestive of biological complexity, may also be construed as a representation of a copulating same-sex couple, inviting a nuanced exploration of themes related to suppressed intimacy and toxic athleticism.

WORKS IN THE EXHIBITION: Patriot (2024), 4 high-density polyethylene, N.F.L. jersey, 213.4 × 182.9 × 182.9 cm; Impact Object (2024), colour pencil on paper, in high-density polyethylene frame, 37.5 × 43.8 × 3.5 cm. Courtesy of the artist, Gladstone, Sadie Coles HQ, Regen Projects, and Galerie Max Hetzler