2018.09.21
2018.11.09
Opening
Studio
CarrerasMugica is pleased to present AMORTIGUAR LA CAÍDA, ZURETZAT LEKUA IZAN, the first exhibition by Zuhar Iruretagoiena at the gallery’s studio.
Support, frame, stretcher. What is not named but is essential to sustain the image. A small support that prevents the figure from collapsing, from a vertical fall. Contrapposto is a technical art term used in sculpture made up of the prefix and preposition ‘contra-‘ (against, in opposition) and ‘posto’, past particle of the verb ‘porre’ (to place, to put). Put against. Placed in opposition. To look for balance and to avoid chaos. The concepts of opposing and balancing intersect in figures of divinities and athletes that break away from the hieraticism of the archaic korai and kouroi and take a further step towards the emancipation from the pedestal. Looking for empty space, to free themselves from the block of stone, to move the body (…)
“We have seen that the gap, the interval between two movements, sketches out an empty place which prefigures the human subject in so far as he appropriates perception to himself,” Deleuze said about Vertov’s films and the notion of montage in movement-image. “The originality of the Vertovian theory of the interval is that that it no longer marks a gap which is carved out, a distancing between two consecutive images but, on the contrary, a correlation of two images which are distant (and incommensurable from the viewpoint of our human perception.”[1]
Interval, montage, thread like that invisible something that sustains and also combines two distant images, classical statues and the postures of pole dancing. From inert stone to the frozen body in motion. Flash. Film still. Imago (…)
“A thing is less an object that a mode of actioning the absolutely unforeseen. Unexpected and unrecognizable, yet clearly there, it expresses its own extraneousness. The thing is determinate vagueness.”[2] Neither you nor I. Always between-the-two (…)
[1] Deleuze, Gilles. Cinema 1: The Movement Image. Continuum: London - New York, 1986, pp. 81-82.
[2] Lepecki, André. “Moving as some thing (or, some things want to run)” in Singularities, Dance in the Age of Performance, Routledge: London - New York, 2016, p. 36.
Support, frame, stretcher. What is not named but is essential to sustain the image. A small support that prevents the figure from collapsing, from a vertical fall. Contrapposto is a technical art term used in sculpture made up of the prefix and preposition ‘contra-‘ (against, in opposition) and ‘posto’, past particle of the verb ‘porre’ (to place, to put). Put against. Placed in opposition. To look for balance and to avoid chaos. The concepts of opposing and balancing intersect in figures of divinities and athletes that break away from the hieraticism of the archaic korai and kouroi and take a further step towards the emancipation from the pedestal. Looking for empty space, to free themselves from the block of stone, to move the body (…)
“We have seen that the gap, the interval between two movements, sketches out an empty place which prefigures the human subject in so far as he appropriates perception to himself,” Deleuze said about Vertov’s films and the notion of montage in movement-image. “The originality of the Vertovian theory of the interval is that that it no longer marks a gap which is carved out, a distancing between two consecutive images but, on the contrary, a correlation of two images which are distant (and incommensurable from the viewpoint of our human perception.”[1]
Interval, montage, thread like that invisible something that sustains and also combines two distant images, classical statues and the postures of pole dancing. From inert stone to the frozen body in motion. Flash. Film still. Imago (…)
“A thing is less an object that a mode of actioning the absolutely unforeseen. Unexpected and unrecognizable, yet clearly there, it expresses its own extraneousness. The thing is determinate vagueness.”[2] Neither you nor I. Always between-the-two (…)
[1] Deleuze, Gilles. Cinema 1: The Movement Image. Continuum: London - New York, 1986, pp. 81-82.
[2] Lepecki, André. “Moving as some thing (or, some things want to run)” in Singularities, Dance in the Age of Performance, Routledge: London - New York, 2016, p. 36.
