Intro. Twist.
This being the second phase, one of contemplation, I shall allow myself to present some associations of the ennui (Tedium)?? which simultaneously physically define the show. These are shifts of previous discoveries, especially everything connected with symmetries (and their desires), gravity (and adolescent Twist). Curious phenomena too, such as rationalistic-animism (ex-Soviet, ex-masculine), or botany concealed inside the back of objects. All of which have become detached from the earlier process of personalizing and re-monumentalizing the Central Bank of Georgia building and were expressed in the 1st stage of the exhibition “Promise”. It should be said that in this stage the Workshop space will comprise three large sheets measuring 150 x 200 cm, a monotone wall (in stylistic and thematic terms) with conclusive pieces of the “Promise” stage. From this phase, the 6 framed and “graduated” pieces of the self-pitying process will be kept.
Three drawings enlarged on photographic paper. (200×150 cm).
About the 3 frozen 200×150 cm. photographs. Three notice sheets? (in collaboration with Esteban Torres Ayastuy).
Is it something that monumentalizes itself? What techniques do we possess for making something big – without giving it much importance- and at the same time cherishing it a great deal; for isolating a moment from the many “moments” that became detached from the –cracked and talkative- stage of “Promise”? I guess that if someone asks me why I’ve enlarged 3 sheets to 200×150 cm, I’ll say that, rather than making them big, I wanted to give them a space. … wanted them to trumpet their frozen moment; sure that they’re worth talking about. My three enlarged sheets have decided to occupy much of the space taken up by sketches, and drifts, from the previous “Promise” exhibition. The thing is to gain a greater visual span for the viewer, more devotees from any of the angles of space in the Workshop. Capture more opinion with its simple presence. A solitude, which is more a warning. It’s not a melancholic solitude. It’s not solemn either, because they are enlargements that only seek to trap a gaze, at no point do they consciously work at the solemn form, they don’t deploy all the formal fanfare that accompany the sale of such sizy pieces in the (male) adult market. They are not photogenically large, their effect is that of the magnifying glass paradox, it is a magnifier over a formally young sheet; the acne of a surface that is more dreamy than materialized comes into view. This new size has been given it by someone (Me) who wants –as part of a scientific pastime- to warn of their presence. Rediscovering them outside of the self-pitying drift process that was managed on the wall of “Promise”.
Due to their new size, all 3 of the sheets that are hanging have a panoramic ambition: not to let go of the visitor’s gaze when they move in embarrassment or disapproval. Between the 3 of them they activate a surface of more than 5×2 metres. Rocking one’s head, or looking away –among the gentle, agreed (not vulgar, that is) movements of disapproval- is unlikely to get rid of them. After the swaying of the gaze, you will return to the same sheet, or to one of its sister sheets. Such is the advantage of size. Once again; solitude. The arrogance of this monumentality, this imposed solitude, it must be said, comes from an awareness of emancipation.
“Twist”. Display leaflet.
In “Twist”, the three sheets and the big parent Wall present a modelling session, an autonomous structuring game where the remains of the building work as patterns with which a kind of portfolio of poses is tailored. Their motions now seem more the product of a drift of their own, than of the personal construction (projection) of the “Promise” stage. They are forms that are evidently engrossed in their capacities of movement and sociability, creating a whole repertoire of events spanning the monumental and collapse …
Twist exhibition. Large mural above, three enlarged drawings and a table with references to the work.