Make a drawing.
By Anthony Gagliano
In "The place of drawing in the civil war of signs" , impeccable lecture some years ago at the Centro Cultural Recoleta in Buenos Aires, Lux Lindner marksmanship dug with a phrase emblematic of Richard Serra. "There is no way to finish a drawing, there is only one drawing" said the American sculptor. Beyond the impossible translation that disappears in the double sense of drawing and you lose the original pun - aimed to highlight the sentence waived registration drawing in time, giving the status of action rather than object. Let's say, from the perspective of Serra and the Sixties in general, every object is a dead zombie process and potentially, given the power to co-opt and "resurrection" of the market.
Enrolled in a horizon of expectations and very different, these "Recent Drawings" Mauricio Limon (Mexico City, 1979), Paola Sman (Mexico City, 1972) and Tania Ximena
( Ciudad Sahagun, Hidalgo , 1985) to us in the gallery Known Address, seem to say something about the timeliness of this sentence. For if today the procedural work is unusual position and the "project" the ultimate packaging model, the pieces presented here appear just as dibujandos: spaces still convulsed, timely incomplete and effervescent. Mauricio Limón landscape shows off a journey, a journey based lysergic points, lines and phosphorescence. This is a piece written as a score, as a sequence of chords to Panda Bear, but now out of context in a tropical setting. Paola Sman has a modular structure drawings very small, where everyone goes to the next coupling, generating a lot of references Proliferative mapping. Landlocked islands connected appear with thumbnails of architectural agencies, or fragments of precious objects futuristic maze of some lost civilization. Tania Ximena minute piece shares a black and white where the landscape negative defines the contours of the human, which is located in the heart wander and partially submerged. In his work reverberates certain tradition, historically associated with the art, longing for a place outside the world of signs, a space of silence and truth unattainable.
But in addition to the musculature and fat, it is interesting to reveal the skeleton, something that has always been drawing as well. I think a confluence of these works: all operate on an array, the point crochet particular. And as a fabric, each piece can measure miles if conditions were different. At this point, it might be more intelligent approach to criteria for "time spent" with a suitcase full of visual resources, metrics and space. Maybe there is a possibility so remote from our part, to avoid any confusion with the dead (or zombie) drawing an ever-burning.
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