A Thousand Ways of the Same.
Exhibited in A Space for the Work That Never Took Place, curated by Lara Marmor.Fondo Nacional de las Artes, Buenos Aires.
[Silence is] the most desirable state. In one sense a special use of words and pictures can conduce silence.
A Thousand Ways of the Same is an unrealised project that proposed moving and placing an enormous stone located two thousand metres above sea level inside an underground crypt, covered with gold leaf.
Volatile leaves as evocation, as aspiration. Adhering to the stone and taking its form like a mask: an attempt to alter nature, to create distance, to elevate or open that distance—not only upwards, but around the entire contour, expanded as a volume that shines and opens.
The project involves displacement—dragging the stone—and translation—elevating it. Translation as interpretation and, more radically, as the act of moving, positioning and creating a version: translation as a displacement of meaning. Gold refers to divine light, absent from the world. Here it is anchored to the stone’s weight, bound to the world. A tension emerges between opposing forces: elevation and its counterpoint in anchoring and sinking. Weight as a constant, invisible action.
Silence as presence. The magical object. The stone that is a stone. Dazzlement, wonder. Order, contained drive. Disrespect.
A Thousand Ways of the Same.
Exhibited in A Space for the Work That Never Took Place, curated by Lara Marmor.Fondo Nacional de las Artes, Buenos Aires.
[Silence is] the most desirable state. In one sense a special use of words and pictures can conduce silence.
A Thousand Ways of the Same is an unrealised project that proposed moving and placing an enormous stone located two thousand metres above sea level inside an underground crypt, covered with gold leaf.
Volatile leaves as evocation, as aspiration. Adhering to the stone and taking its form like a mask: an attempt to alter nature, to create distance, to elevate or open that distance—not only upwards, but around the entire contour, expanded as a volume that shines and opens.
The project involves displacement—dragging the stone—and translation—elevating it. Translation as interpretation and, more radically, as the act of moving, positioning and creating a version: translation as a displacement of meaning. Gold refers to divine light, absent from the world. Here it is anchored to the stone’s weight, bound to the world. A tension emerges between opposing forces: elevation and its counterpoint in anchoring and sinking. Weight as a constant, invisible action.
Silence as presence. The magical object. The stone that is a stone. Dazzlement, wonder. Order, contained drive. Disrespect.