Mauricio Ianês presents the solo show Salvo o Nome (Sauf Le Nom [On the Name]) with works that explore the limits of language in a radical way, focusing once more in the written discourse. Weak and insufficient, language is and unable to perform its function, it gets closed in itself and disappears, leaving room for the emergence of other forms of communication.
Although Salvo o Nome (Sauf Le Nom [On the Name]) refers to the homonymous book of the post-structuralist philosopher Jacques Derrida, who died in 2004, it was in L’Écriture du Désastre by Maurice Blanchot where Ianês found resonance and support for his ideas about language. These ideas become materialized in the unprecedented photographic series BLANCHOT, Maurice, L’Écriture du Désastre (Gallimard, 1980).
Pages of Blanchot’s book were covered by different pictorial procedures and later photographed. The outcome is of darkened landscapes loaded with subjective content leveled by the digital image of the photographic camera. In BLANCHOT, Maurice, L’Écriture du Désastre (Gallimard, 1980) the word remains saturated with meanings. However, these meanings are weak and open to the inclusion of the other.
Solipsistas (Solipsists) (2010) is composed of four sentences that refer to the first meaning of the term, in a sense that they shut on themselves. These four sentences were mounted individually in a non-linear way pointing to the subjective nature of reality. In this case the “private” language prevails, it emanates from the communicator assuming its tragic and weak aspect and leaving an open gap to the receiver. The structured language collapses and what is left is the nameless void.
This solo show also includes a sculpture series Advérbios (Adverbs) (2009-2010), which is composed of wooden sculptures and O Nome/ O Inominável (Name/The Unnamable) (2009), a serigraphy piece.
Mauricio Ianês presents the solo show Salvo o Nome (Sauf Le Nom [On the Name]) with works that explore the limits of language in a radical way, focusing once more in the written discourse. Weak and insufficient, language is and unable to perform its function, it gets closed in itself and disappears, leaving room for the emergence of other forms of communication.
Although Salvo o Nome (Sauf Le Nom [On the Name]) refers to the homonymous book of the post-structuralist philosopher Jacques Derrida, who died in 2004, it was in L’Écriture du Désastre by Maurice Blanchot where Ianês found resonance and support for his ideas about language. These ideas become materialized in the unprecedented photographic series BLANCHOT, Maurice, L’Écriture du Désastre (Gallimard, 1980).
Pages of Blanchot’s book were covered by different pictorial procedures and later photographed. The outcome is of darkened landscapes loaded with subjective content leveled by the digital image of the photographic camera. In BLANCHOT, Maurice, L’Écriture du Désastre (Gallimard, 1980) the word remains saturated with meanings. However, these meanings are weak and open to the inclusion of the other.
Solipsistas (Solipsists) (2010) is composed of four sentences that refer to the first meaning of the term, in a sense that they shut on themselves. These four sentences were mounted individually in a non-linear way pointing to the subjective nature of reality. In this case the “private” language prevails, it emanates from the communicator assuming its tragic and weak aspect and leaving an open gap to the receiver. The structured language collapses and what is left is the nameless void.
This solo show also includes a sculpture series Advérbios (Adverbs) (2009-2010), which is composed of wooden sculptures and O Nome/ O Inominável (Name/The Unnamable) (2009), a serigraphy piece.
