I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Exhibition view: Artur Lescher, Asterismos, Galería OMR, Mexico City (14 July–8 September 2018). Courtesy Galería OMR. Photo: Enrique Macías © 2018.
Asterismos. Sustantivo plural. Patrón prominente o conjunto de estrellas que, vistas desde la Tierra, parecen formar una figura geométrica. A diferencia de una constelación, no tienen reconocimiento oficial por parte de la comunidad científica.
Con el anterior texto, rotulado en el umbral de la planta baja de la Galería OMR, inicia el diálogo geométrico con la exhibición del mismo nombre del artista brasileño Artur Lescher.
Planta baja. Cinco piezas, aunque parecen más. Todas se proyectan de aquí para allá en todas direcciones del espacio, como una luz que se proyecta sin extinción en el vacío.
Artur Lescher’s work represents his constant experimentation with materials, their physical qualities and objectual characteristics. Through his works, the artist makes reference to natural elements which, when impeccably reproduced by means of industrial processes, reveal and, at the same time, deny these very real origins.
Another key component in Lescher’s body of work is architecture, both in synthesis and context. In an abstraction exercise of in-situ installations, the artist adopts the spatial situations of the exhibition space to transform corners, walls and doors into large-scale installations. His works emerge subtly as poetic gestures in space transmitting force and instability, balance and movement, tension and silence. Neutralized, the functionality of the object ceases to exist and the possibilities of interpretation and meaning multiply.
Artur Lescher emerged in the mid-80’s into the Brazilian art scene, influenced by the Neo-Concrete movement of Mira Schendel, Helio Oiticica and Sergio Camargo. Since then he has presented his work in the major museums and institutions of Brazil including: the Sao Paulo Biennale, Biennale MercoSur, the Museum of Contemporary Art and the Museum of Modern Art in Sao Paulo. He has also exhibited his work in the USA, Germany, Mexico, Argentina, Colombia, Spain and France.
Since the beginning of his practice at the age of twenty-two years old, artist Artur Lescher (b. 1962, São Paulo, Brazil) has worked with geometrical forms and the composition they assume when staged in dialogue in a specific architectonic space. Presenting his third major solo show at OMR gallery entitled Asterismos, Lescher turns the white-cube into a new cosmic space inspired by the idea of 'asterismo,' a place undecipherable by science. Indeed, such a term differs from 'constellation,' mostly in that, while the latter is an officially recognised area of the sky, asterismos do not have officially determined boundaries.
For this occasion, the artist presents a series of pieces specifically conceived for the first floor space of the gallery. The main installation is composed of various geometrical forms; cylinders and cones made of brass, fishing wire and stainless steel are merged into a unique ensemble-they disappear in their singularity to become a new form that is impossible to describe through the lexicon of geometry and architecture. In the same way, asterismos play in a space of the uncertain and incalculable.
In Lescher's words, 'the materials are actors;' he merely listens to their intrinsic energy and lays out a stage for them to express their vocations and potentialities when combined in a dialogue, not only with the space they are posed in, but also when they communicate between each other. Geometrical forms, when put in dialogue as an installation, create a fictional space of a sky. While, indeed, as spectators we pass through them in a terrestrial space like the ground floor of the gallery, their ancestral energy escape the confines of the room to fly until they reach the incommensurability of the sky.
Through the use of geometry, architecture and materials, Artur Lescher does not follow the prescribed objective dictionary of scientific knowledge, but instead reveals its inconsistency by simply re-articulating the elements-like the basic geometrical forms that compose its rigid lexicon. Lescher's main installation gives us tools for making different compositions and implores us not to give for-granted narrations constructed only by conventional disciplines. When we walk through those celestial entities, there is the possibility to make an alternative and fictional discourse to alter reality. A reality that constantly moves, even imperceptibly, like the hanging objects presented in the upper gallery floor where different pendulums create an imaginative forest, one that we can only see if we recombine elements into a new narration from the unstable, the uncertain, and the immeasurable.
PIA CAMIL'S STUDIO in Mexico City is an expansive, windowless room on the ground floor of an old building tucked away between a wide arterial road and the city's Parque de Chapultepec. She keeps the basement-like space orderly, and during the workday it is almost impossible to imagine it moonlighting as El Cisne (The Swan), a lively cabaret Camil...
Joep Van Lieshout is a highly unreasonable artist. That, at any rate, was the verdict of the Louvre, which abruptly pulled one of his sculptures from a planned installation in the Jardin des Tuileries in 2017. It was easy to see why: the huge structure, entitled Domestikator, suggested an agricultural shed that had, Transformer-like, assumed the...
Ciudad de México (N22/Redacción)–Realizada in situ, Telón de boca, es una pieza de la artista Pia Camil, que se construye con playeras de bandas musicales. Esto como una forma de invocar las historias que guarda el Tianguis Cultural del Chopo. Camil buscaba una obra que, como dijo en una entrevista publicada por el propio museo, “tuviera algo de...
Candida Höfer, 74, one of the biggest names in contemporary photography, is best known for photographs of interiors of public buildings such as libraries, museums and theaters without human presence in them.
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