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Heuristic, Numen and the Scandal of Self-contradiction
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Exhibition floor plan
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Left: Robert Mapplethorpe, Bread, 1979, siver gelatin, 66 x 68 cm, edition 3 of 10. Right: Anton Stoianov, Untitled (Candy), 2014, metal, plaster, carbon fiber vinyl, 95 x 75 x 20 cm
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Robert Mapplethorpe, Bread, 1979, silver gelatin, 34 x 34 cm 3/10
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Anton Stoianov, Untitled (Candy), 2014, metal, plaster, carbon fiber vinyl, 95 x 75 x 20 cm
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Left: Carmelo Tedeschi, Untitled (Black & Brown), 2014, hand stitched vegetable tanned leather, 55 x 90 x 70 cm. Right: Paul McCarthy, Tree, 2014, chocolate carupana 70%, 13 x 25 cm, unlimited edition
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Eleonora Meoni, The numinous is everywhere and does not even need light to manifest its presence, 2014, removed neon tube, variable dimensions
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Louis-Philippe Scoufaras, Outlet, 2014, six month grown hair and beard shaved in Jerusalem, bronze, 8 x 8 cm, unique
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Left: Francisco Berná, Untitled (ceiling), 2013, mixed media, 220 x 60 x 60 cm. Right: Gengoroh Tagame, Fundoshi, 1994, ink on paper, 55 x 42 cm
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Francisco Berna, Untitled (ceiling), 2013, mixed media, 220 x 60 x 60 cm
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Gengoroh Tagame, Fundoshi of Loyalty, 1994, Ink on paper, 55,5 x 42,5 cm (Image 26,5 x 18,5 cm)
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Adrian Hermanides, Untitled, 2014, found photographs and brass shelf, 18 x 30 cm. Right: Sturtevant, Duchamp Wanted, 1991, corrected ready-made, 37 x 31 cm
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adrian hermanides, Untitled, 2014, found photographs and brass shelf,18 x 30 cm
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Sturtevant, Duchamp Wanted, 1991, corrected ready-made, 37 x 31 cm
heuristic, numen and the scandal of self-contradiction
FRANCISCO BERNÁ, ADRIAN HERMANIDES, ROBERT MAPPLETHORPE, PAUL McCARTHY, ELEONORA MEONI, LOUIS-PHILIPPE SCOUFARAS, ANTON STOIANOV, STURTEVANT, GENGOROH TAGAME and CARMELO TEDESCHI.
This exhibition presents free associations, as the ones used in computational algorithms or psychoanalytic séances – expecting the sum of its parts to express a deepest truth.
The following series of playful combinations reveal correspondences and similarities or differences and oppositions between selected formal and conceptual strategies:
Robert Mapplethorpe and Anton Stoianov’s fetishisation of the object and its libidinal allusion, Carmelo Tedeschi and Paul McCarthy’s archaic shapes with atypical material such as leather or chocolate, Eleonora Meoni and Louis-Philippe Scoufaras’ quest for the numinous, Francisco Berná and Gengoroh Tagame’s allegories of the tormented flesh, Adrian Hermanides and Sturtevant’s appropriation and simulacra.
