Days and Horizons

Exposición / Mendes Wood DM - New York - [ESPACIO CERRADO] / 60 East 66 Street / Nueva York, New York, Estados Unidos
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Cuándo:
03 mar de 2017 - 29 abr de 2017

Inauguración:
03 mar de 2017

Comisariada por:
Chris Sharp

Organizada por:
Mendes Wood DM

Artistas participantes:
Lucas Arruda, On Kawara

       

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Descripción de la Exposición

HIC SVNT DRACONES, a project space shared by Mendes Wood DM and Michael Werner Gallery, is pleased to present Lucas Arruda and On Kawara: Days and Horizons. The exhibition will display selected paintings from On Kawara’s Today series and Lucas Arruda’s Deserto-Modelo series, which demarcate the passage of time as a highly metric and yet intimately subjective experience. Curator Chris Sharp writes: What might at first seem to be an unusual pairing—the date paintings of conceptualism’s late-great existentialist On Kawara and a Brazilian painter born in 1983 who is predominantly given to depicting imaginary seascape horizon lines—is actually quite, if not heartbreakingly, apt. The first, and perhaps most obvious point of contact is repetition, and variation within that repetition. Where Kawara was known to portray a given date on the day of that date, Lucas Arruda is largely, although not exclusively, committed to painting the same motif. In both cases, the works point toward the daily practice of making art as a way of negotiating life in a more general, and yet fundamental sense. Although both artists seek to, if not arrest, then pay homage to the passage of that which they respectively depict—days and horizons—they flow beyond the ken of the paintings with the inexorability of a memento mori. Thus, the pathos of this work can be located, at least in part, in its failure to arrest that which cannot be arrested. Another part can be found in the presumed trauma at the heart of both bodies of work—for as everyone knows, repetition, at least where Freud is concerned, always points toward a trauma. Although both Kawara and Arruda’s work is in varying degrees autobiographical, the exact content of their respective autobiographies is negligible. What matters is the profoundly human compulsion that underlies them. That compulsion is, of course, the highly existential quest for purpose, which is distilled, by both artists, to an essence. It could be argued that in distilling that quest into a pictorial motif, they are putting it in brackets, actually suspending it, and rendering that compulsion absurd. But when all is said and done, what is suspended is more the noise that surrounds it. Both bodies of work incontestably share a capacity to create silence and to contain and transmit the meditative frame of mind which marked their very creation. And when I say creation, I mean in the wholly absorbed sense of making and crafting. For as is well known On Kawara personally painted, with preternatural precision, his date paintings, while the fact, the facture of making is evident in Arruda’s pictures. Thus the shared paradox of this work: despite the trauma at its core—a trauma, I suspect, that has less to do with a given personal experience than with the simple fact of being born—it is the stuff of silence. These paintings are liable to engender an extraordinary calm, a profoundly human and meditative peace, if you let them.

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