ART-PREVIEW:Theory of Inevitable Convergece
In addition to formal artistic intersections, the chosen works in the exhibition “Theory of Inevitable Convergece” carry important questions that three artists have recurrently posed to the public such as the way in which their works relate to the surrounding space; be it through interference and disruption or suggesting an unknown place, linked or not the physical realm.
By Dimitris Lempesis
Photo: Galeria Nara Roesler Archive
The exhibition “Theory of Inevitable Convergece” highlights untapped convergence points between the narratives of Artur Lescher, Carlito Carvalhosa and Marco Maggi. This procedure invites the viewer to experience new circumstances and perhaps rethink their relationship to the world around them. Arthur Lescher presents “Finials”, small sculptures on pedestals meant to reference architectural structures: the top end of a church or temple, a corporate building or as the artist ironically puts it, the tip of a missile, justly evoking the power and eloquence of man. The artist’s Pendulums resemble vibrating instruments and magnetic sources, sensitive to the disturbances of the space around them as well as the transient state of the observer. Subject to the force of gravity, the pendulums could act as instruments of an invisible writing, incessantly suggesting a new history/memory to both the space they are situated in and the works that surround them. Carlito Carvalhosa’s installation, in turn, is composed of mirrored aluminum oils hanging or leaning against tubular lamps symmetrically arranged on the wall. The mirrored pieces offer a singular experience: the viewer is prevented from seeing the visitor’s full reflection, either only able to experience it partially or in a distorted manner due to the almost fully painted surfaces. Given the current social context, in which everyone constantly sees and shares images of throughout different networks, Carvalhosa’s installation triggers a strange feeling within the viewer, who instantly pauses and enters somewhat of a “non-place”, where the lack of narrative can be disconcerting. Marco Maggi presents “Podium”, a triptych of three panels each different sizes and colors composed of signs carved with precision on metallic sheets placed inside slide frames. Although the title and colors immediately suggest a narrative, when approaching the work, the viewer realizes that each slide offers a unique abstract image that have the ability to gain different meanings. In the words of the artist: “If there is no complicity with the spectator, the work does not exist”. The work is an invitation to another temporality, creating the opportunity to get lost and get carried away by the abstract narrative of the artist. The formality and rigor present in Maggi’s delicate geometric creation is also discoverable in Lescher’s work, throughout its precise forms, that lack excess. These, in turn, composed of essentially reflective surfaces, find a counterpoint in Carvalhosa’s painted aluminum while at the same time circling back to Maggi, who poses the same questions through his carvings in metallic sheets.
Info: Galeria Nara Roesler, 22 East 69th Street 3R, New York, Duration: 16/11-22/12/17, Days & Hours: Mon-Sat 10:00-18:00, https://nararoesler.art
