Vanessa Billy (b 1978, Geneva CH) in based in Zurich CH. A selection of group shows are In Conversation at Hilary Crisp Gallery, London (2013) Open Cube, curated by Adriano Pedrosa, White Cube Gallery, London (2013) Brutalidade Jardim curated by Kiki Mazzucchelli, Gallery Marília Razuk, São Paulo (2013) A Sense of Things, Zabludowicz Collection, London (2014) Postcodes: Kind, Coletor, São Paulo (2014) Flet, SpazioA, Pistoia (2014) Mendes Wood DM, São Paulo (2015) Múrias Centeno, Porto (2015) Solo exhibitions include Galeria Transversal, São Paulo (2012) Space in Between, London (2014). In 2014 received the award of the Kenneth Armitage Young Sculptor Prize. Blurring the boundaries between object and space, composition and dispersion, painting and sculpture, Amaral creates site-specific installations, responding to the spatial and architectural elements of the exhibition space or gallery.Īdriano Amaral received his MA in Sculpture from The Royal College of Art, London, UK (2012-2014) currently he is an artist in residency at De Ateliers, in Amsterdam (2014-2016). – Katrina Palmer, Relief (A Remote Object of Thought) In: The Fabricator’s TaleĪdriano Amaral (b. 1982, Ribeirão Preto, Brasil) lives and works in Amsterdam and São Paulo.Īmaralʼs work encompasses an examination of the nature of things – the stuff of the world its substance, value, materiality and mutability. ‘Do not stare directly into the object – it is only properly received if looked at askance’ Perhaps assimilating a whole without comprehending everything that is pertinent to single events (object in becoming) entails some kind of magic that can be only achieved through discontinuous thinking processes, or broken thoughts.Exploring the territory between memory and perception, the exhibition places objects in a renewed perspective, accumulating secret links and plotting various stratagems to laterally affect our comprehension and to leave us simply enchanted in the encounter with the objects. Yet, it is humans producing those very theories. The works outline a chance that such enormous complexity linked to the life of objects is articulated by a ‘ distorted and fragmentary nature of our perceptual faculties’*. If some properties of objects, (basic or uncertain or undefined), are maintained through transformation, grasping that object might mean following the traces of those properties through the metamorphosis, like trying to recollect a narrative from oral tradition. Recent speculative approaches to objects’ studies have explored their qualities in terms of pre- and continuous existence, constant transformation in an infinite chain of connections – taking distance from the idea that all that they are is intelligible to humans. The exhibition, ‘The Infinite Lawn’, is a collection, an anthology operating on the scale of small gestures, marginal notes and things noticed from the corner of the eye, in order to unfold thinking in new ways.
#Italo calvino mr palomar archive#
The universe, collection of celestial bodies, nebulas, fine dust, force fields, intersections of fields, collections of collections.’Ī creation of archive is understood as an activity which preserves everyday objects in terms of their impermanency. The universe perhaps finite but countless, unstable within its borders, which discloses other universes within itself. The universe as regular and ordered cosmos or as chaotic proliferation. He is trying to apply to the universe everything he has thought about the lawn.
He no longer thinks of the lawn: he thinks of the universe. Palomar’s mind has wandered, he has stopped pulling up weeds. It describes Palomar’s lawn as a collection of objects, namely grasses. ‘The Infinite Lawn’ is the title of a chapter of Italo Calvino’s novel ‘Mr.
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