For his first solo show in Portugal, Pedro Wirz presents the exhibition “Dobrar de espinho, anzol”, consisting of a series of wall pieces encircling the space and a poised sequence of sculptures and plinths that traverse the space along a single axis. The enchantment expressed in this presentation is primarily with an apperception of nature that arises from a culturally given symbolic context, where the memory of encounters with the animate and the inanimate entwine, and are cultivated by a shared experience of language and assimilation. In the wall pieces and sculptures, coextensive relationships between perceptual experience and its intellectual reconstruction are translated into physical bodies (human, reptilian, and arborous) that conflate their physiognomy with abundant banal forms found either in the scraps of natural sites or in the patterning of industrial production.
Each of the bodies that we engage with in the exhibition seek to link the inversions of our...perceptual activity with the ontogenic “inversions” necessary for creatures to flourish in a world that is defined by continuous processes of transitivity and co-determination in nature. In the ceramic series of pieces titled Guard'águas, the motif of a segmented snake coiling around a casted plaster egg is repeated in thirteen individual pieces. While their spiral forms already replicate the blueprint of transformation ingrained in nature, on two of the eggs, two conspicuous “frescos” depicting a pipe and a small burning flame, appear faintly promethean in their expression. In the cast bronze features titled Glyphsetters, two half-tree, half-human like forms are impelled into an intersection in which narrative structure and mimetic language combine to explore the creatures own reality and meaning. Structuring the relationship between these different “living objects” that populate the exhibition, a rhythmic sequence of hyperbolic plinths cross cuts through the space. The play of contrasts, uphold, disclosure and obliteration between the plinths and the sculptural pieces, alludes to the fixation and sequencing of perceptual frames in lived experience. Animated by life like proportion, they remind us that there is a constant two-way reference between bodily reality, our actual experience of our surroundings, and the way we absorb the world by seeing, and by the structuring of seeing.
(text by Gabriel Lima)
Pedro Wirz (* 1981 in São Paulo, Brazil) lives and works in Porto, Portugal and Basel, Switzerland. He received a Bachelor degree of Fine Arts at FHNW HGK Institute of Arts in Basel (Switzerland). He also studied one year at the Staatliche Akademie der Bildenden Künste Stuttgart (Germany) - Institute of Arts, under the advisors Rainer Ganahl, Birgit Brenner, and Christian Jankowski. His work has been presented at the Tinguely Museum, Switzerland (2016), Kai Matsumiya Gallery (2016), CCS Bard Hessel Museum of Art, USA (2015), Künstlerhaus Stuttgart, Germany (2013), Dortmunder Kunstverein, Germany (2013), Palais de Tokyo, France (2013), Galerie Mendes Wood DM, Brazil (2013), Centro Cultural São Paulo, Brazil (2013), Post Studio Tales (Germany) (2012) and Kunsthalle Basel, Switzerland (2011) and in October (2017) he will be part of the Sculpture Park Cologne, curated by Chus Martinez. This year he was nominated as a fellow of the Young Academy - Akademie der Künste Berlin, and in the past he was a resident at the Swiss Institute, Rome (2016), at Cité international des Arts, Paris (2012) and at Residency Unlimited, New York (2014). He is the co-founder, together with Raphael Linsi, of the "Panorama Boa Vista" in Porto, Portugal.
Imágenes de la Exposición
Pedro Wirz | Dobrar de espinho, anzol | 2017 installation view at Múrias Centeno, Porto | photo credits: Bruno Lopes URL fuente
Entrada actualizada el el 26 sep de 2017
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