Appropriation and intervention are key words in Sopa Nômade [Nomad Soup]. The show presents images from different sources, such as photographs, books, old documents, posters, files, maps and anonymous biographies, approaching the idea of a palimpsest where pictures and texts are support for new procedures and meanings created by Mlászho.
“Nomad Soup” is also the title of the series created with transferable letters that after being photographed and enlarged suggest fields of images that, although symmetrical, disrupts their linear hierarchy and meanings.
In “Contrapesos e Vasos Comunicantes” (Counterweights and Vessels), the artist appropriates from parts of the book Finnegans Wake by James Joyce, and creates a sculpture composed of 100 typographic wooden letters. With the same typography Mlászho also writes phrases, such as “Dedicated Enemy”, “Quiet Bone”, “Private Prisons” and “Tough love”. A French edition of Finnegan’s Wake is also the basis for two large collages. Of the original pages, however, Mlászho withdrew layers of paper and ink transforming the original content created by Joyce.
In “White Trash Stuff” Mlászho removes hundreds of labels of clothes and objects and presents its inside suggesting the impossibility of language to contain all its meanings. Five sculptures entitled “Blind Books” complete the show.
The pieces were built with ten copies of the German encyclopedia Brokhaus. In this case, the action of the artist transforms issues from large book collections into single sculptures. In “Nomad Soup”, Mlászho reaffirms his trajectory, prospecting and rearranging terms and procedures in disuse in our society.
Appropriation and intervention are key words in Sopa Nômade [Nomad Soup]. The show presents images from different sources, such as photographs, books, old documents, posters, files, maps and anonymous biographies, approaching the idea of a palimpsest where pictures and texts are support for new procedures and meanings created by Mlászho.
“Nomad Soup” is also the title of the series created with transferable letters that after being photographed and enlarged suggest fields of images that, although symmetrical, disrupts their linear hierarchy and meanings.
In “Contrapesos e Vasos Comunicantes” (Counterweights and Vessels), the artist appropriates from parts of the book Finnegans Wake by James Joyce, and creates a sculpture composed of 100 typographic wooden letters. With the same typography Mlászho also writes phrases, such as “Dedicated Enemy”, “Quiet Bone”, “Private Prisons” and “Tough love”. A French edition of Finnegan’s Wake is also the basis for two large collages. Of the original pages, however, Mlászho withdrew layers of paper and ink transforming the original content created by Joyce.
In “White Trash Stuff” Mlászho removes hundreds of labels of clothes and objects and presents its inside suggesting the impossibility of language to contain all its meanings. Five sculptures entitled “Blind Books” complete the show.
The pieces were built with ten copies of the German encyclopedia Brokhaus. In this case, the action of the artist transforms issues from large book collections into single sculptures. In “Nomad Soup”, Mlászho reaffirms his trajectory, prospecting and rearranging terms and procedures in disuse in our society.
