Look deeper and eventually you’ll find nothing
It would come at first glance, in order to gather the diversity of materials displayed, to distinguish between visual works, installations and works of a more conspicuously speculative mark, if this were not the very gesture that defaults what is shown here. Already the title, direct and at the same time mocking, exhorts through the gaze to reflect the relation of meaning, going beyond an attribution of it by familiarity (screens with screens, images with images, objects with objects), but above all beyond the definition of what in each of the objects is specific, beyond any of their singularity. To put it better, this singularity is given, but it is given by multiplication, by repetition and difference: whether we consider the works one by one as much as, I would say, if we force ourselves to think of them together as emanations of a conflict each time specific. In other words: the repetition of the gaze precedes, and it is it that makes possible, the conceptual formulation of the meaning of, say, a broken glass or the marks imprinted by the weather or by the vehicles of urban cleaning. Likewise, in an even more pronounced way, of the mound of cups or the casting of engraved beads, in the irony of the phrase (read in both senses, as the giving or dissipating of the true) they compose. Repetition as a matrix of meaning is, however, above all in the echoes that reach from one work to another: the narrative linearity (here abnormal) of the photonovel, already in itself questioned by the specificity of its medium, is even more so if the unfolding of its reel is superimposed on the frozen, interdicted continuity of the sentences on the teleprompter; equally could be said of the mimetic illusion constructed by the story on which one can only pronounce oneself by taking into account the hypotheses on linguistic and temporal truth formulated elsewhere. The non-dialectical, then, but cumulative, additional juxtaposition in and between works is a very speculative hypothesis, as if even before self-referentiality each medium first of all refers back to its relation to discourse, to language. And therefore makes it impossible – eventually – to sink into it, since it is only and always surface.
Subterranean profluvium
Subterranean profluvium The mapping of semantic and syntactic structures from an ancient, organic human language into a contemporary, artificial computational model that challenges stability and predictability. Between the folds of matter and the invisible fabric of chemistry, the artist moves like a modern-day alchemist, navigating the boundary between the myth of ritual and the […]
