28.01.2011 – 15.05.2011
Catàleg “Kerry James Marshall” Postal Black LoveMore information
Nuria Enguita Mayo.
Considering that, for Aranberri, an exhibition is an aesthetic and spatial form of great significant potential, Organogramme can be seen as a new incarnation,an original mould for already existing materials and works. It is not so much a mise-en-scène, as a mise-en-oeuvre, realised by subordinating the various series to a structure of right angles that, as in a multiform organism, absorbs and eliminates the individual identity of each series and forces them to overlap.
Organogramme proposes an elusive and immaterial geography through a game of re-significationof recuperated materials and works made especially for the exhibition. In all of them, languages, architectures, topographies and powers relate in a reciprocal manner in order to make connections or to unravel structures and images archetypical of the place attributed to them by collective memory. Against a seemingly fractured order of the real and the symbolic, language is treated as matter, proposing the anti-form as a possible way forward: the sculptural is pushed to the margins of the classic stable, finished and preconceived form; it becomes indeterminate and tends to unfold along ever-changing morphologies and experiences of the space. And it is here where a series of linguistic operations such as underlining, replica and displacement are inserted, producing works that are halfway between the sculpture and the writing, the form and the information, theretrospection of the past and the prospecting of the future, and that by mixing and blending together provoke violent disruptions of their meaning. The result goes against the accumulative logic of the archive: it resembles an unstable configuration at the point where non-linearstorytelling and abstraction meet.
Territories and experiences without possible representation are codified by emptying the image and pointing at its consequences or collateral effects. The reverse side, real but absent, can only be understood in the context of the exhibition space. The clues that hide behind the works, their development and mutation, the ensemble of objects and images that compose them and the different meanings they contain, are subordinated to a formal and organisational law that veers towards opacity and proposes ways of cognitive transmission that are nearer to abstraction. This ephemeral order appears in an experimental manner on the different levels of the reformed space of the Fundació Antoni Tàpies, with one architecture inserted into another. The architecture of the exhibition space articulates the codes of the works by providing a continuity where the difference between background and figure becomes diluted. Rather than showing the works as mere documentation, or as a three-dimensional edition, Organogramme constructs a parallel and autonomous existence in the form of a temporary exhibition.