Curated by Chiara Vecchiarelli, the group show features the work of six international artists: Luciana Lamothe, David Horvitz, Jojo Gronostay, Eva L’Hoest, Nicola Pecoraro and Enrique Ramírez, who relate with one another via the operative tension that inhabits the chosen artworks.
The sensible life of wooden fibers bending in the work of Luciana Lamothe becomes perceptible for us as we too bend in an attempt to read a plan yet undetermined, concealing nothing but a potential. Looking like water droplets, glass phials reminding of Duchamp’s Air de Paris were sent across the ocean by David Horvitz. They reached Venice where they brought air from Los Angeles (Air de L.A.), in which black particles stay in suspension, like an inframince inhabiting the space in between a forest and the wildfire that released them into the air.
In the film “Pareidolia” by Eva L’Hoest, the nocturnal gaze of a camera expands and contracts through a moving threshold, stretched between water and the mineral, inorganic landscape of a desert island made up of lava reef and pink granite. Figures appear looking like images that are none, and a sense is contingently created that nothing precedes.
An ambiguity in their material and weight characterizes Nicola Pecoraro’s sculptures, whose substance resembles an unknown, outer space metal, melted as it fell, fallen as it melted from a distant space, a planet or its reverse, in which all matter is denser, unnamed.
A visual and semantic ambivalence informs the poetic and political cosmicity of “La Gravedad” by Enrique Ramírez, in which entities float like thrown bodies and wandering ideas, which advance and recede like the images of lithographs Blanchiment, created as they are effaced in a dance between the image, the stone, the water and the sand.
Jojo Gronostay’s sculptures (Kreaturen. V Forest) made out of perfume bottles, inhabit the gaps of such a cosmos as they fill, like shifters or in-between creatures — like a fluctuation in meaning between a representation of the other and a form just yet invented.
All are relational tensions, formless like water until it understands, and becomes, the very form of the relationship it tends to.