At this show Detanico and Lain, who since 2002 have been living in Paris, are presenting works that establish dynamics among words, their meanings and the way we read them.
Lending the exhibition its title is the installation Rio Corrente (2012) which uses adhesive vinyl to present a vertically organized text arranged in alphabetical order. The words that begin with the letter A are located high on the wall, those with the letter B are immediately below these, and so on. This arrangement breaks the text’s syntactic structure, creating multiple readings.
Composed of circular stainless steel cutouts laid atop one another on the floor of the exhibition space, the installation Pulsar (2012) was created based on the Amplitude (2012) typography, which assigns each letter of the alphabet to a determined number of circles. The circles accumulate in geometric progression from A to Z; for example, the word “Pulsar” is made with 16 circles for the let-ter P, 21 for U, 12 for L, 19 for S, 1 for A and 18 for R.
In Room 2, Detanico and Lain are presenting the animation Horizonte de ondas (um e dois meios) [Wave Horizon (One and Two Mediums)] (2012) composed of B&W projections and a printed musical score. The work combines geometric shapes and sinusoidal sound waves, whose image is similar to the movement of ocean, sound and light waves. In the installation, eight bands of graphic and sonic elements glide in the field of the image, creating a horizon in movement. Each band is composed of three elements ( /\ \ / ) corresponding to the behavior of the waves. The nearer bands glide faster and have a higher-pitched sound; the more distant ones glide more slowly and are lower pitched. The combination of these elements constructs a geometric landscape of sound waves. The projection is accompanied by a map that describes the structure of the composition as a palindrome, that is, it can be read from right to left or from left to right.
The solo show is capped off by the installation Palavras Compostas [Compound Words] (2012). In it, words with opposite meanings, such as yes/no, always/never, or full/empty, are positioned in a such a way as to constitute a single pattern. To do this, the duo uses the upper half of each word and positions it precisely above its opposite, creating an abstract pattern made of antonyms. On the gallery’s façade, the attentive observer can read “dentro/fora” [inside/outside], a choice that points to not only the transitoriness of every word but also to that of space as a whole.
At this show Detanico and Lain, who since 2002 have been living in Paris, are presenting works that establish dynamics among words, their meanings and the way we read them.
Lending the exhibition its title is the installation Rio Corrente (2012) which uses adhesive vinyl to present a vertically organized text arranged in alphabetical order. The words that begin with the letter A are located high on the wall, those with the letter B are immediately below these, and so on. This arrangement breaks the text’s syntactic structure, creating multiple readings.
Composed of circular stainless steel cutouts laid atop one another on the floor of the exhibition space, the installation Pulsar (2012) was created based on the Amplitude (2012) typography, which assigns each letter of the alphabet to a determined number of circles. The circles accumulate in geometric progression from A to Z; for example, the word “Pulsar” is made with 16 circles for the let-ter P, 21 for U, 12 for L, 19 for S, 1 for A and 18 for R.
In Room 2, Detanico and Lain are presenting the animation Horizonte de ondas (um e dois meios) [Wave Horizon (One and Two Mediums)] (2012) composed of B&W projections and a printed musical score. The work combines geometric shapes and sinusoidal sound waves, whose image is similar to the movement of ocean, sound and light waves. In the installation, eight bands of graphic and sonic elements glide in the field of the image, creating a horizon in movement. Each band is composed of three elements ( /\ \ / ) corresponding to the behavior of the waves. The nearer bands glide faster and have a higher-pitched sound; the more distant ones glide more slowly and are lower pitched. The combination of these elements constructs a geometric landscape of sound waves. The projection is accompanied by a map that describes the structure of the composition as a palindrome, that is, it can be read from right to left or from left to right.
The solo show is capped off by the installation Palavras Compostas [Compound Words] (2012). In it, words with opposite meanings, such as yes/no, always/never, or full/empty, are positioned in a such a way as to constitute a single pattern. To do this, the duo uses the upper half of each word and positions it precisely above its opposite, creating an abstract pattern made of antonyms. On the gallery’s façade, the attentive observer can read “dentro/fora” [inside/outside], a choice that points to not only the transitoriness of every word but also to that of space as a whole.
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