In Lines And Realignments
In Lines and Realignments is an exhibition taking place across both Simon Lee spaces, in London and in Hong Kong. The Hong Kong part of the exhibition brings together new works by Carla Zaccagnini and André Komatsu along with documentation of a work by Brazilian conceptual artist Cildo Meireles. The exhibition's starting point is Meireles' work O Sermão da Montanha: Fiat Lux (The Sermon on the Mount: Let There Be Light), which took place in Rio de Janeiro in 1979 as a twenty-four hour performance event. This piece consists of a mirrored basement room with a floor covered in sandpaper, on the sandpaper sits a pile of 126,000 matchboxes watched over by a group of security guards. On the surfaces of the mirrors are phrases taken from the Sermon on the Mount, as described in the Gospel of Matthew. The work lies somewhere between a sculpture and a performance, its essential quality being its potential for activation, its latent sense of precariousness and imminent transformation.
The two exhibitions gather together a set of works around these ideas of suspended action, artwork that exists on the cusp of change or transformation. The works in the exhibition embody ideas of performance whilst simultaneously remaining fixed.
André Komatsu's practice deals with senses of measurement, how we construct systems of understanding and of quantification to help us deal with a disordered and ultimately chaotic world. Choque de ordem 3 (2013) is the third in a series of sculptures, with another part of the series appearing in the London exhibition. The piece is a table like construction with a laser level that delineates a broken, orderless section of the surface. Komatsu is also presenting two other works, Base Hierarquica (Hong Kong) (2011) and Substrato Economico 2 (2013). Base Hierarquica is a series of works that adapt to the country in which they are made. The piece consists of a pile of the standard blocks used for constructing buildings in the country supported by a set of the most basic drinking vessels used by the people of the
country, this version of the piece uses the ceramic cups used throughout Hong Kong. Within this is set a smashed crystal wine glass, conflating two types of social orders beneath the physical elements of the city. Substrato Economico 2 also uses building blocks, this time smashed into small pieces and painted gold. The piece spreads out across the whole gallery, gathering in the corners of the space.
Carla Zaccagnini's work addresses our interaction with the world, extending the exhibition to the streets surrounding
the gallery. Si essa rua fosse minha (2013) proposes a different form of attention to street signs, finding moments of unintended meaning by removing letters from the street names. The piece is anchored in the gallery with a wall text based on Hong Kong's streets. The viewer is invited to take away a set of stickers for altering the nearby signs, suggesting an array of possibilities for re-imagining the texts of the city.
b. 1978, São Paulo
Lives and works in São Paulo
Recent exhibitions include Corpo Dócil at Galeria Vermelho, São Paulo and O Abrigo e o Terreno. Arte e Sociedade no
Brasil at Museu de Arte do Rio [MAR], Rio de Janeiro. In 2012 he was shortlisted for the Future Generation Art Prize
with an exhibition at PinchukArtCentre, Kiev.
b. Buenos Aires, Argentina,1973
Lives and works in São Paulo and Berlin
Recent solo exhibitions include Elements of Beauty at Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain, 2012 and Plano de Falla at Ignacio Liprandi Arte Contemporaneo, Buenos Aires, Argentina. Recent group exhibitions include Para além do Arquivo at CCBNB - Centro Cultural Banco do Nordeste, Fortaleza, Brasil, 2012 and the Bénin Biennale,
Cotonou, Bénin 2012.