There is Always a Third Time is the second collaboration between myself and Carlito Carvalhosa, a Sao Paulo born, Rio based artist. It dialogues with I Do Everything To Do Nothing, an exhibition that we conceived jointly at Sao Paulo\u2019s Galeria Nara Roesler in November 2017, expanding equations that we proposed ourselves on that occasion. The majestic fabric that hangs from the ceiling, which in the aforementioned show had some of its parts suspended in such way as to form inverted mountain-like shapes, reemerges with a new choreography, more labyrinthian. It is an emblematic work within Carvalhosa\u2019s vocabulary, one which has been shown several times throughout his career, each of which anew \u2013 among these, in A soma dos dias (2010) at Pinacoteca do Estado de S\u00e3o Paulo and Sum of Days (2011) at MoMA in New York. That is to say, there\u2019s nothing \u2018third\u2019 about this situation.<\/p>\n\n\n\n
The pataphysics present in the title of the exhibition aims to direct the spectator not towards the lack of logic \u2013 for that we have in abundance \u2013 but to a blend of lightness and seriousness that essentially shapes the artist\u2019s practice in whichever form it materialises itself. And throughout his career, there\u2019ve been several. After studying Architecture at Sao Paulo\u2019s USP, Carvalhosa began his artistic experiments as a painter towards the end of the 1980s, subsequently exploring nearly every language recognised as art \u2013 either by himself or through collaborations, such as the ones with musicians Phillip Glass and Arto Lindsay.<\/p>\n\n\n\n
As of IDETDN, here we emulate the will to exhibit artworks that reflect the artist\u2019s myriad interests, as well as different moments from his career \u2013 the older artwork on show is from the early 1990s whereas the most recent was made earlier this month. The intention is to establish atemporal narratives, given that Carvalhosa\u2019s trajectory cannot be told in linear terms of cause and effect \u2013 where one interest leads directly towards another \u2013 but rather through crooked paths, where elements disappear and reemerge after a time gap, even if the river is never the same. Illustrative of this logic is the wall immediately to the right of the entrance door, where we see a large wax-based piece (Untitled, 1993) whose yellowish colour, together with a few creases on its surface, are indexes of its age. Hung to its left is a small 2018 wax work, intensely white; its fairness will likely be perpetrated by the fact that the piece is concealed by an acrylic box.<\/p>\n\n\n\n
If at Nara Roesler such non-linearity was reinforced by the very display of the works, where pieces were hanged on different heights, at times one on top of the other, the challenge here was to seek this non-chronology through a cartesian display. All works share a same axis, forming two long lines on the main walls; such axis is maintained even when the ceiling becomes taller, in the room with the fabric installation. Eventually, in different moments in each of the walls, the lines simply cease to exist.<\/p>\n\n\n\n
This immense horizontality aims to counterpart the intrinsic verticality of the fabric, as well as of the lamps installation \u2013 which is equally pending from the ceiling. That\u2019s another signature work of Carvalhosa, which is present here, was presented then and also in several other occasions, each time with a unique disposition. Likewise, artworks that were exhibited at IDETDN are also displayed in this show, such as a mirror painted with white plaster, simulating the silhouette of a human\u2019s bust, thus impeding the narcissistic reflex of the figure. Whereas there it was placed in one of the most crowded walls of the show, dictating its pace, here it is hung alone and imposingly, dominating one of the surfaces.<\/p>\n\n\n\n
Considering the exhibition is set in a domestic environment, we took as our motto the notion of contamination, that is, to infiltrate ourselves in a given situation. For instance, the technical reserve that hosts some of the collection\u2019s artworks temporarily gained three lamps hanging from the ceiling, as well as a small painting by the artist. Also our display remits to our motto, since the internal walls of the space always cut off the works on the outer walls, partially concealing its view, prioritising occupation to contemplation. Added to the fact that most of the works on show make use of reflective surfaces, that enables them to constantly reshape the space, as if things were in permanent motion, analogously to the Stalker \u2019s \u2018Zone\u2019. Objects reveal and shelter themselves as the spectator strolls through the venue.<\/p>\n\n\n\n
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A 1979 film directed by Andrei Tarkovsky. The narrative basically unfolds inside this area called \u2018Zone\u2019, a military protected land which presents great dangers. Inside it lies the \u2018Room\u2019, which grants a wish to those who reach it. However, in the path that leads there \u2013 where the safest way is never the obvious one \u2013 the surrounding is in permanent motion.<\/p>\n\n\n
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