‘Broken Parliament’, ‘Curriculum Vitae’ and ‘Deep Surface’ navigate over spaces while referring to the lack of solid references, a sort of gel-form that characterizes the society of advanced capitalism. There is no distance or possible emancipation from the paradoxical multi-reality we live in, as there is no difference between private and public, immaterial and material, or virtual and physical. These melt and get mixed up in the global context, in which solid referents or models transform into viscous entities making the task of moving on consistently difficult, while forcing a permanent mobility.
Metaphors are representations of the mind and thus impossible to escape. They are hypothetical cognitive symbols that depict the external reality and are therefore, translations, or even betrayals. Spanish philosopher Santiago López Petit uses the metaphor of gelling to depict a society where surface and depth blur and fluctuation is continuous: a society trapped between abandonment and dependence on a set of invisible but tight networks. The feeling of gelling serves to describe the paradoxical friction between abandonment and fastening; an in-between state that is neither liquid nor solid, which never stops moving and can act upon events yet without changing them.
Viscous fluids like gel, which are the result of colliding particles moving at different velocities, need a significant stress in order to overcome the friction and move on. When particles of a fluid move at different velocities and collide they form what we know as viscosity. The perpetual mobilisation in which we are currently stuck turns into a set of precarious conditions, which eventually generate necessary systems supported by alternative forces. Those forces, such as affection and care, are what the immaterial economies are based upon.
The structures presented in the exhibition reflect upon a set of elements within the different stages of art production and the parts that remain hidden in the process of showing final results; quasi-labour and hidden lapses, such as an economy of affection, the knot of precariousness, support and maintenance and the übermateriality, named by Preciado to speak about the unclear thresholds between material and immaterial work. What is to grasp here is not the unit but its process, which turns it into some kind of problematic; the matter of a society made out of fluctuant entities, coexisting through a gelling process.
Lorenzo Sandoval’s expansive projects are spatial storytellers and include the presence of other practitioners, which become almost equally valuable parts of a more complex whole. This new site specific production is meant to unfold with a program over the duration of the exhibition and serve as a proposition in order to renegotiate and reconstruct the common space, while looking for common symbols and systems. The program host in the piece ‘Broken parliament’ will include contributions by John Holten, Deborah Ligorio, Paul Feigelfeld, and Suza Husse.
Text by Gabriela Acha.