10
Quadro 21 Gallery
Str. Samuil Micu nr. 7

0734478728

Quadro 21 a fost fondată în 2016 ca o galerie de artă mobilă sub numele de Z Angles Gallery. La începutul anului 2018 galeria a trecut printr-un proces de re-branding și este acum o galerie de artă contemporană brick-and-mortar, parte a centrului de artă Quadro din Cluj. Galeria urmărește să sprijine creația artistică contribuind la producerea și integrarea sa în societate și promovând-o prin patronaj artistic și prin activități culturale și comerciale.

The End of Caresses. Taurus

INSTALATIE


Tip eveniment
VERNISAJ la NAG
Perioada Expozitie
11.10.2019 - 19.11.2019
Program
  • 20:00 - Deschidere
  • 12:00 - Inchidere

Enric Fort Ballester The End of Caresses. Taurus. This exhibition presents a chapter from the artist’s overarching project. “TheEnd of Caresses” represents the timeline for his recent works, drawings,performances and sculpture-installations dealing with issues of latecapitalism. Thus, one of his works, “Machine”, puts into operation amechanism which is preparing for an era which, hopefully, will not bedominated by money. The machine sorts 1 cent coins according to theirshades of colour, creating an absurd situation in which money loses itsconventional financial meaning. A computer program archives for “eternity”an image and every detail of each sorted coin.The inspirational trigger of the works exhibited is the Biblical story ofPharaoh’s dream as related to Joseph (Genesis 41), according to whichPharaoh “saw seven fat, healthy cows coming up out of the river” and beingeaten by “seven thin, bony cows”. In this image Enric recognises thecyclicality of nature and society, the “eternal return” understood as the self-regulating law of a universe with limited resources. Miniature drawings fromthe series “Small sketches for large actions” capture an arcane ritual inwhich humans and machines are shown manipulating an unusual publicmonument: two upside-down bulls stuck together by their feet. Theprocedure of the ritual is that people periodically dig up the monument andinvert it in such a way that there is always only one part of it visible: the thin,bony bull or the fat, healthy one. This anti-monument proposes a dynamic approach toward monuments: awhole community could be involved in periodically turning the sculptureover. Thus, performance and temporality form part of it. This takesperformance and performers back to the era when there was as yet nomoney, an era dominated by astrology and agriculture. The art of that timewas indeed based on cyclicality and participative performance. “Eternalreturn” shows one of the major and strongest features of Enric’s practice: thealternation of rest and action in his performances. Thus, one can see a staticsculpture in a certain period – an artwork according to the classical definition– and then later can see this activated and employed as the machine ofsome new ritual.The exhibition is dominated by large-scale aluminium sculpture-installations.The surfaces of the recycled aluminium plates are engraved with well-knownmythological scenes that have Taurus as their main actor, yet as aslaughtered victim. From the body of the aluminium plates – a material of the modern age – the image of Taurus has been cut out, with the result that theanimal is present in the work only by his absence. “The End of Caresses” takes place as follows: Taurus, the object of desire(and a disguise assumed by Zeus when he set off on one of his journeys ofdesire), and hunted, first in Sumerian and then in Greco-Roman myths andpresent too with many meanings in the Judaeo-Christian tradition, can nolonger be touched or owned, becomes immaterial. The caducous bull-shaped cut-outs form the raw material for the above-mentioned anti-monument, which Enric hopes to be able to create one day.The exhibition at Quadro 21 Gallery, this “chapter” of “The End of Caresses”,would appear to coincide with a period in which the artist is rehearsing thestories and fantasies people have expressed down through the ages throughthe image of Taurus. He is neither illustrating nor making a collage ofnarratives. Rather, he is making a collection of mythological images, ascenographic landscape for his lengthy processes, in which he includes thehuman heritage as an opensource storeroom, while leaving all the meaningsactive. What is beyond doubt is that from this landscape, from these engravedplates, the Bull is missing at this present moment. Maybe he has become sothin and bony that he is now invisible - but he may soon reappear... Sebestyén Székely