Caminar la línea
Max Estrella Gallery, Madrid
24 March – 12 May 2012
Walk the line leads us through a journey with an unpredictable route and destination. It seems that walking is something that must be done. An action that inevitably involves putting the body in motion. However, “the line” is difficult to define, and if we have to walk it, we will not know very well where it leads us – but it does lead us- and this fact can generate some fear in us.
Walk the Line is therefore something that entails risk, as it involves the body in the course of something not yet planned. The exhibition as a whole reflects upon questions such as bodies, weights, forces, tensions and influences in search of this delicate state, at times unattainable, almost always sought after.
Balance is the theme of this exhibition, the common denominator of the selected works by the five guest artists: Alejandro Almanza (Mexico), Primoz Bizjak (Slovenia), Carlos Garaicoa (Cuba), André Komatsu (Brazil) and Jorge Perianes (Spain), who bring different proposals for this idea and central engine, while each one of them shares a history of having worked with this inspiring subject.
Equilibrium in its multiple meanings: as a compensation of forces working in opposite directions (to achieve unexpected inaction, an extraordinary situation, the surprise of immobility); as a reciprocally motionless situation or stasis between opposites, meaning closer to another which defines it as “just measure”; as harmony or proportion in the distribution of things. But it is also used to name the simple lack of support of something, which, nevertheless, maintains standing.
Some of the pieces that make up the exhibition were already produced, others have been created especially for the occasion, so the exhibit is configured in an unexpected way, making it work with its own balance, and like balance itself, leaving the bodies, weights and different works to exercise their own games of resistance, as a necessary element to enable “talking about other things”.
The curatorial process therefore intends to generate a collective show of authorship, where the experience of the works and the dialogues between them offer the possibility of surprise, (not only to the viewer, but to all those involved in the event) within the limits of the possible, or conceiving the unthinkable.
At this point I can only invite everyone to “walk the line” and enjoy the unpredictable.
Marlon de Azambuja