IN LINES AND REALIGNMENTS

IN LINES AND REALIGNMENTS

installation view, simon lee gallery, london

Installation View, Simon Lee Gallery, London

installation view, simon lee gallery, london

Installation View, Simon Lee Gallery, London

installation view, simon lee gallery, london

Installation View, Simon Lee Gallery, London

installation view, simon lee gallery, london

Installation View, Simon Lee Gallery, London

installation view, simon lee gallery, london

Installation View, Simon Lee Gallery, London

installation view, simon lee gallery, london

Installation View, Simon Lee Gallery, London

documentation of cildo meireles’ ‘o sermão da montanha: fiat lux’

Documentation of Cildo Meireles’ ‘O Sermão da Montanha: Fiat Lux’, 1979

Preis auf Anfrage

Mittwoch, 26. Juni 2013Mittwoch, 28. August 2013


London, United Kingdom

Simon Lee Gallery is proud to present In Lines and Realignments, a group exhibition curated by Luiza Teixeira de Freitas and Thom O’Nions.

The exhibition brings together the work of six artists currently living and working in São Paulo along with documentation of a work by Brazilian conceptual artist Cildo Meireles. The exhibition's starting point is Meireles' work O Sermão da Montanha: Fiat Lux (The Sermon on the Mount: Let There Be Light), which took place in Rio de Janeiro in 1979 as a twenty-four hour performance event. This piece consists of a mirrored basement room with floor covered in sandpaper, on the sandpaper sits a pile of 126,000 matchboxes watched over by a group of security guards. On the surfaces of the mirrors are phrases taken from the Sermon on the Mount, as described in the Gospel of Matthew. The work lies somewhere between a sculpture and a performance. The key to the work is its potential for activation, its latent sense of precariousness and imminent transformation.

The exhibition gathers a set of works around these ideas of suspended action, artwork that exists on the cusp of change or transformation. The works in the exhibition embody ideas of performance whilst simultaneously remaining fixed.

Marcius Galan's practice involves the construction of installations, objects and videos that deal with ideas of geometry and balance, often using this as a way of framing social, political and economic conditions. His work in the exhibition consists of a site specific installation of nails in the wall that produces a diaphanous construction of light and shadow, hovering between presence and absence. This oscillation between light and shadow also occurs in Nicolas Robbio's work in which a projection of a window blind occupies a section of the wall, an imaginary threshold that is both an image and a physical presence in the room.

The presence of the viewer and their movement within the exhibition space is a key concern of Roberto Winter. His work in the exhibition consists of a scaled down model of a section of the room, containing a prism that reflects and refracts the light and space around it. Carla Zaccagnini's work addresses our interaction with the world, extending the exhibition to the streets surrounding the gallery. The work proposes a different form of attention to street signs, finding moments of unintended meaning through removing letters from the street names. The piece is anchored in the gallery with a wall text and the viewer invited to take away a set of stickers for altering the nearby signs, re-imagining the texts of the city.

Adriano Costa's work deals with the physicality of the world, animating materials to reveal a shared physical quality with the viewer. These ideas also circulate within André Komatsu's practice. His work deals with a sense of measurement, how we construct systems of understanding and of quantification to help us deal with a disordered and ultimately chaotic world.