is pleased to announce an exhibition of new works by Mauro Giaconi,
marking the artist's third solo presentation with the gallery.
December 1, 2014, Mauro Giaconi will exhibit “Revolt"; a
series of moving sculptures based on the ephemeral site-specific
mural “Volver a Girar” done at the Museo del Palacio de Bellas
Artes, Mexico in May 2013. By deconstructing the mural and wall
fragments detached from its walls, Giaconi launches a poetic
exploration on detachment, fragility, rupture and social
breakdown. By accepting the possibility of loss, of an end,
Giaconi provokes a spatial reconfiguration of the memory of a static
image. Its traces are then used to evoke past events and erect upon
its ruins a dreamlike environment, which by stirring the past builds
a future, in order to turn again.
part of the exhibit, he will be showing his new video Linea
Transversal,(Transversal Line), in the video-room and a collection of
recent drawing in the project room.
2013, during the exhibition of “Panorámica. Paisajes [Overview:
Landscapes] 1969-2013” at Museo del Palacio de Bellas Artes, Mauro
Giaconi had an outstanding participation with an ephemeral
intervention on some of its walls. Under the title Volver
a girar[To Turn Around Once Again], he showed a monumental work made with
graphite, a sander, a kneaded eraser, and cleaning products. The
drawing was recovering the landscape of the historic city center
surrounding the Palacio de Bellas Artes building, among other
abstract shapes and erasures with which Giaconi often builds spaces.
The overlaying of elements in his drawing makes constant allusions to
the idea of ruins, and the extent of the disorder implicit in them —
in the debris of buildings — also brings about a dislocation of
time. In Volver
a girar[To Turn Around Once Again], one of the most outstanding elements was
the building dome, which was shown still under construction. However,
the ambiance was definitely different from the one in Mexico at the
beginning of the twentieth century (when the original picture had
been taken): The place is overrun with water and affected by other
natural phenomena, which transports the viewer to a would-be future.
Born in Argentina, Giaconi appropriated for himself a fragment of
Mexico City, as he has taken possession of other sites in different
regions of the world, such as the attack on the Twin Towers in New
York City, or the burning of books during the dictatorships in Chile
InRevuelta[Re-turn], the work this exhibition is named after, Mauro Giaconi
recovers the prop on which he made Volver
a girar[To Turn Around Once Again], belying the inevitable fate of a plaster
layer in order to make another kinetic drawing. The fragmentation of
the original image, its random arrangement in the moving structures,
and the rhythm of the hypnotic twirling of the pieces do not allow
the viewer to identify its allusions. The figurative images from the
original work have disappeared — only the purpose of Revuelta[Re-turn], i.e., the reconstruction of the material, remains. The
dichotomy between construction and deconstruction is present on an
ongoing basis in the author’s creative process, starting with the
materials he uses: Graphite is the key raw material in his works;
however, the kneaded eraser, for the purpose of effacing some of his
strokes, is as important.
professional training as an architect is evident: In his works, the
lines, as architectural elements, have a special weight; even though
most of the times he cuts them short, one feels as if they have an
unguarded density, a decisive, unavoidable breakdown.
literally pushes drawing towards other possibilities; he uses its
formal elements as a tool in order to build and tear down; it looks
as if he is refusing to surrender to architecture’s quality of
permanence, as well as to the formal boundaries of the drawing.
made his video, Cross-sectional
inspired by the book Memorias
del calabozo [Memoirs
from the Dungeon]
and apropos of a violent present, which is his own, and about which
he has something to say, in this case from a hopeful point of view.
The book, written by Mauricio Rosencof and Eleuterio Fernández
Huidobro (in which two political prisoners, during the Uruguayan
dictatorship, find a way to emotionally survive, using an improvised
Morse code, tapping through the wall that separates their cells), is
the source for this videotaped action, in which the graphite pencils
are continuously being nailed to a wall until they succeed in
piercing it. Giaconi manages to produce a simple, poetic, extremely
intense language in order to break the wall’s silence — a symbol
of an overwhelming circumstance. Through a harmonious tapping, we
witness another unexpected possibility of the graphite pencil: for
Mauro Giaconi, that material beginning of the drawing becomes a
fundamental part of his line of research, and it is this what makes
him expand its uses and reinvent it, even with its own destruction,
if need be.