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PRESS RELEASE

LAWRENCE WEINER

SWEPT ACROSS
curated by Helena Juncosa

Galería Horrach Moyà
Plaça de la Drassana 15 - 07012 Palma

 

Galería Horrach Moyà presents the second solo exhibition in its venue by the American artist Lawrence Weiner, one of the most influential figures of the art of the second half of the twentieth century.

SWEPT ACROSSis a project created for the gallery, whose location – in the city of Palma, on the island of Mallorca and in the Mediterranean Sea – it is perceived in the speech although his work tends to be universal. On the basis of the concept of insularity, with clear references to travel and displacement, but also as an interior journey, to introspection, to finding oneself, to the search for an existential position and an identity, emotional landscapes are formed, in those that displacement is the important thing, the end in itself, as it is in life.

Lawrence Weiner (1942, Bronx, New York) is one of the pioneers of the Conceptual Art in the 1960s. Weiner considers himself a sculptor – more than a conceptual artist – and has redefined the relationship between the artist and the viewer using language as his primary medium, as the territory of his reflection and action.

In 1968 he concluded that the realization of the work is not essential for its existence. In that year he installed a work outside Windham College in Vermont, a grid of stakes stuck in the ground and joined by ropes were modified by the students but which he continued to consider valid. In 1969 he set out the basic parameters of his art in his well-known Statement of Intent:

1. THE ARTIST MAY CONSTRUCT THE PIECE
2. THE PIECE MAY BE FABRICATED
3. THE PIECE NEED NOT BE BUILT


Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership. So that, according to Weiner, art does not need any physical support, it is enough to communicate an idea, something purely intellectual and as such not tangible.

The artist works with associations of possible words and meanings, referring to an idea. He sculpts with words. Weiner defines its sculptural medium simply as LANGUAGE + THE MATERIALS REFERRED TO, in the sense that language is a material for construction. “The fact is – he states – they are sculptures, since they show the relationship of objects to objects and that is the idea and purpose of sculpture.”

His works are descriptive rather than prescriptive. They do not instruct the viewer to perform a particular action or interpret the piece in any unequivocal sense. To the contrary, they present to the viewer with an infinite number of meanings and equally infinite possibilities for realization.

Occupying the first floor of the gallery, SWEPT ACROSS consists of a language-based sculptural installation, sculpture made with vinyl words displayed on the wall. Weiner always uses capital letters thus canceling the hierarchy between the letters and each word appear as it is to be able to be part of a global set. The texts are in English, Spanish and Catalan. The translation from one language to another and the simultaneous presentation meet the public’s needs for understanding, root the work in its specific context and open more possibilities to read and interpret the work. The exhibition is complemented with 5 drawings or “maps”, an invitation to navigate, to move, to drift, a trip to nowhere. Although in his sculptures, Weiner uses language with maximum objectivity and in a rigorous way, his drawings denote greater creative freedom in which you can see the folds of the paper after having been folded, Weiner’s usual practice to facilitate his shipping and reduce border problems. The choice of the paper type and the folds are an inherent part of the drawing and shape its cultural context.

The title of the work SAND SWEPT ACROSS A HORIZONTAL SURFACE suggests a beach. In the drawings there are mentions of ships, the sea and displacements, descriptive terms of an island landscape. The ships are us. Insularity can also be understood as an inner journey, a metaphor for life, of the yearnings and hopes that give it meaning and form.

 


 
     
 
 
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