La Bruja (1979-1981), de Cildo Meireles, parte de una simple proposición: una escoba que ensucia en vez de limpiar. De ahí, algo similar a un realismo mágico sucede: de una escoba de madera, arrinconada en una sala oscura, salen una cantidad inconmensurable de hilos que, entre descontrol y contaminación, toman el espacio. Al artista le interesan, aquí, las paradojas entre el contenido y el continente, entre el caos y el orden.
La Bruja fue montada por primera vez en la Bienal de São Paulo de 1981. Nació tímida: reclusa en uno de los nichos de la Bienal, sus 2000 kilómetros de hilos visitaban algunas de las obras adyacentes. Algunos artistas vecinos se quejaron: La Bruja invadía y contaminaba estéticamente sus trabajos. Cildo tampoco logró el permiso para llevar, como había soñado, los hilos al Parque de Ibirapuera, donde está ubicado el edificio de la Bienal.
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Every part contains the whole. Faced with...what we call reality, that is, the set of perceptible phenomena, quantum physics affirms the existence of a hidden network that reconnects them incessantly. Every fragment is intertwined and in constant flux: there is no possible separation between subject and object, observer and observed. Now it is necessary to find a new notion of order, measure and structure that considers that uninterrupted and undivided wholeness, leaving behind the Cartesian form of understanding the world, one that divides, fractions and controls.
Close to Far Away is the first exhibition in Chile of the Brazilian artist Cildo Meireles. Its conceptual matrix induces a set of asymmetric logics, insoluble cases, juxtapositions and a continuous whole. Taking the entire exhibition space, the work La Bruja [The Witch] (1979-1981) starts from a simple proposition: a broom that dirties instead of cleaning. From there, something similar to magical realism happens when from the wooden broom cornered in a dark room comes an immeasurable quantity of threads that take over the space. The artist is interested, here, in the paradox between content and continent, between chaos and order.
La Bruja was initially assembled at the XVI Bienal de São Paulo in 1981. It started shy, confined in one of the niches of the Biennial. Its 2,000 kilometers of thread visited the adjacent works and some neighbouring artists complained: The Witch invaded and aesthetically contaminated their works.
At the Cerrillos National Center for Contemporary Art, La Bruja gains full power. Its 7,000 kilometers of textile material take control of the modern architecture of this old airport and spill down the stairs, go outside and visit, even, other works of the artist.
Alternating between chaos and order, the same strands of The Witch make up, in one of the rooms, Volumes Virtuais [Virtual Volumes] (1968-1969), sculptures that build fantastic architecture species by crossing Euclidean geometry, continuously deforming and lengthening the space beyond the plane.
In two exhibition rooms Mebs / Caraxia (1970-1971) sounds constantly, the first sound experimentation of Meireles. A graphic representing a Moebius strip and a second one containing the drawing of a spiral, between snail and galaxy, gave rise, by means of a frequency oscillator, to two sound tracks: Mebs and Caraxia. This sound sculpture models a structure of topology in sound, converting space into time, and fraction into a dynamic process of totality.
Inverted spaces, circuit without borders. Nothing seems stable in this mutable logic of the modular infinity, in which what is inside is outside and the logic of equivalence seems to follow the parameters of conversion and continuity. The field of the visual is the least reliable and, simultaneously, the most elastic precisely because of its inaccuracy. Cildo Meireles installs, in this first individual exhibition in Chile, an emphatic and at the same time paradoxical reflection in which, due to the amazement of indeterminacy, we are led to other possible orders.
Entrada actualizada el el 11 sep de 2019
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