MUDANÇAS [CHANGES]
urban insertion and exhibition
MUDANÇAS [CHANCES]2016 urban insertion and exhibition
Video 2015-2016 2’58’’ on looping six projectord on two screens of 2,65 x 14,40 m eachCarrinhos [Carts] 2016 aluminum and galvanized steel 0,71 x 1,01 x 0,42 m eachPainéis Debatedores [Tossing Panels] 2016 acm inox plate 1,20 x 3,00 x 0,01 each Escadas-Plataformas [Platform-Ladders] 2016 aluminum and acm inox plate 2,20 x 1,60 x 0,62 m
1,95 x 1,40 x 0,61 m
1,70 x 1,21 x 0,59 m
Caminhão [Truck] 2016 aluminum and steel3,44 x 7,18 x 2,25 m | 2,51 x 5,50 x 2,25 m trailer
Thus, as we enter into Changes, our presence activates the work; it lives and lets itself live, the sight is energized with our walk. Our steps around it become part of the work: the different metallic structures created — ladders, panels and carts — allow the dialogue between looking and our transit-word by means of a mirrored and speculative modular combination. This is also an important expression in the artistic lexicon of Eliane Prolik — the double meaning of locomotion-transport and passage-experience.
It is a fleeting glimpse, a bodily and sensorial contemplation emphatically rarefied and therefore always in transit, such is the inclusion of duration within them, that is, a feeling impregnated with a new temporalization (what Bergson potentialized as another measure, another sense of time — curiously an important title by Giuseppe Ungaretti). This creates an itinerary open to spatial speculation, so that the installation produces its perceptive, cognitive swirls and becomes a sculptural machinery, capable of transmitting its own signals, of activating the space that is inscribed in the work and vice versa. A constant attention to the flow, to how all components of the installation-intervention feed themselves back (lights, reflections, sculptural objects, architecture); in this visual scape in diaspora, the thick warp and the plot are interwoven into an almost infinite criss-crossing.
[...] Like a series of three-dimensional pieces wishing to conquer the fourth dimension, with us inside, always paradoxically: we are and we are not — we disappear, like the cars —, thanks to the structural inclusion of the mirrors and their cut out formation, always specific objects of speculation not only visual but also identitarian (while we are subjects submerged in the power of the audience, metaphor of the collective). Of a visual rebound in which we are submerged, in an abysmal way.
It is a fleeting glimpse, a bodily and sensorial contemplation emphatically rarefied and therefore always in transit, such is the inclusion of duration within them, that is, a feeling impregnated with a new temporalization (what Bergson potentialized as another measure, another sense of time — curiously an important title by Giuseppe Ungaretti). This creates an itinerary open to spatial speculation, so that the installation produces its perceptive, cognitive swirls and becomes a sculptural machinery, capable of transmitting its own signals, of activating the space that is inscribed in the work and vice versa. A constant attention to the flow, to how all components of the installation-intervention feed themselves back (lights, reflections, sculptural objects, architecture); in this visual scape in diaspora, the thick warp and the plot are interwoven into an almost infinite criss-crossing.
[...] Like a series of three-dimensional pieces wishing to conquer the fourth dimension, with us inside, always paradoxically: we are and we are not — we disappear, like the cars —, thanks to the structural inclusion of the mirrors and their cut out formation, always specific objects of speculation not only visual but also identitarian (while we are subjects submerged in the power of the audience, metaphor of the collective). Of a visual rebound in which we are submerged, in an abysmal way.
E pur si muove. Even more so in the extension of the work that travels, a sculpture-truck with a significant opening in the loading part as a new space of vision. Also playing ironically with frame and contour references, the truck allows itself to be, in turn, receiver and transmitter when moving around the city or when parked. There it goes, in any kind of way, producing images, frameworks, frames of the real, as we somehow do every day without ever having the chance of a possible edit. Like a sculptural cinematographer, the truck films the city's exteriors, undisclosed and unfixed immaterial images, an urban repertoire of images in absolute motion and mutation: its imagetic river is still Heraclitian, since we bathe in it, it being always different.
[...] The common aluminum material, of curled nature, will also be found in the modular parts (carts almost like chests or seat benches of some imaginary station). Its raw material, always reflective and conductive of light, receives its inclusion in the luminous whirlpool of the video Red Ahead that contaminates the place of action of the sculptures set, arranged in such a way so as to increase our impression of coordinates being altered.
[...] Inside, an intense visual kaleidoscope is produced that contaminates the space with its speed, dilation, distortions, concatenations, red light streams of car headlights and the subsequent visual metabolization of cars moving in the street outside the exhibition room with its lights reflected in turn in assemblage, with the images of the video in the architecture.
to read the full text
[...] The common aluminum material, of curled nature, will also be found in the modular parts (carts almost like chests or seat benches of some imaginary station). Its raw material, always reflective and conductive of light, receives its inclusion in the luminous whirlpool of the video Red Ahead that contaminates the place of action of the sculptures set, arranged in such a way so as to increase our impression of coordinates being altered.
[...] Inside, an intense visual kaleidoscope is produced that contaminates the space with its speed, dilation, distortions, concatenations, red light streams of car headlights and the subsequent visual metabolization of cars moving in the street outside the exhibition room with its lights reflected in turn in assemblage, with the images of the video in the architecture.
to read the full text
Adolfo Montejo Navas, critic and curator, in text E pur si muove, 2019
Adolfo Montejo Navas, critic and curator, in text E pur si muove, 2019