Sculpture installation and drawings. Variable size

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This exhibition contains a set of interrelated works that are deployed as an installation. Its generative moment was the MONU#mentalisms project, within the framework of the En Residencia program, developed with 4th grade students from a high school. I realized then the reality expressed by Robert Musil: “There is nothing more invisible than a monument”. Indeed, for those teenagers, the monumental presences in the public space were invisible and indifferent, mere deaf and mute trinkets in their everyday life. This was the starting point of a work consisting of connecting in a critical and performative way the transitoriness of the adolescent stage and the will to permanence of the monumentalist drift.

Over time, this thematic axis has been articulated with other concerns. However, following Boris Groys, I have the feeling that my work has been taking the present as a place of permanent writing of both the past and the future. Getting involved in working on sculptural pieces and series of drawings, and unfolding them as a set of traversable interrelations, allows me to prolong reflection, generate dead time and invite a delay in the search for meaning in times of permaneny crisis that we live.

The phrase that gives the title to this exhibition (nothing is possible, everything moves) corresponds to Peter Pal Pelbart. This Hungarian philosopher, in some fundamental texts on time, disease and biopolitics, draws an interval where “nothing is possible” and “everything moves”. Pelbart defines the crisis not as a result, but as the condition of possibility for something to happen and be inaugurated. Thus, these post-monuments function as a prospective archeology of the future; they come from the past and unfold horizontally; they become dismembered remains to illustrate that the linearity of historical time is contrasted with geological time. The climate crisis as a phenomenon of anthropogenic origin has introduced a variable that bursts into our lives and into the eschatological horizon of human history.

MONU#mentalisms. Iron supports and Black-foil aluminum molds. 2017-2022
Atlas. 25 collages with photocopies. 42 x 30 cm, each one. 2017
Beam II. Pine wood, iron, felt and text transcriptions with graphite pencil. 145 x 334 x 66 cm. 2022
Hands (Black Bilis). Charcoal and graphite powder on paper. 76 x 56 cm, each one. 2020
Black Fludd. Charcoal and graphite powder on paper. 100 x 70 cm. 2020
Timeline. PVC cylinder, holographic vinyl and copper tape. Variable dimensions. 2022
Black Square. 54 reliefs with Black-foil aluminum moulds. 30 x 20 cm, each one. 2022