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carlos amorales - la vida en los pliegues

57th International Art exhibition
La Biennale di Venezia - Venice
Pavillion of Mexico
May 13 – November 26, 2017
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Carlos Amorales, The Cursed Village (video still), 2017. Courtesy of Estudio Amorales and kurimanzutto, Mexico City.

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Carlos Amorales, Geometric Splendor 8, 2015
. Courtesy of Estudio Amorales and kurimanzutto, Mexico City.

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Carlos Amorales, Score for ocarinas (general group), 2016. Courtesy of Estudio Amorales and kurimanzutto, Mexico City.

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Carlos Amorales, Ocarinas for Life in the Folds, 2017. Courtesy of Estudio Amorales and kurimanzutto, Mexico City.

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Carlos Amorales, The Cursed Village (video still), 2017. Courtesy of Estudio Amorales and kurimanzutto, Mexico City.

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Carlos Amorales, Geometric Splendor 8, 2015
. Courtesy of Estudio Amorales and kurimanzutto, Mexico City.

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Carlos Amorales, Score for ocarinas (general group), 2016. Courtesy of Estudio Amorales and kurimanzutto, Mexico City.

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Carlos Amorales, Ocarinas for Life in the Folds, 2017. Courtesy of Estudio Amorales and kurimanzutto, Mexico City.

Life in the folds is the outcome of an extensive research, in which the artist introduces a formal language that unfolds in a variety of media within the installation. The exhibition opens with a painting of the series The geometric splendor, a project completed in 2015, and which gave birth to the abstract forms seen in Life in the folds. At the center of the installation is a set of poems written with an encrypted alphabet. The texts, displayed on tables that refer us to paper sheets, imply a transition from the typographic to the phonetic, since each letter, which is a three-dimensional object, is also a ceramic wind instrument: an ocarina that when played, releases a particular sound for each letter. A graphic score composed of 74 photocopies, made from these characters, is interpreted by a music ensemble with the ocarinas. Part of the installation is the film The cursed village that articulates the diverse levels of language, and which narrates the story of a migrant family that is lynched as they arrive to a foreign town. In the film, a puppeteer controls the characters of the story in a miniature theater, object that is also present in the exhibition and that is activated in a performance by actors and musicians.
 
Carlos Amorales highlights that Life in the folds, title that makes reference to Henri Michaux’s novel published in 1949, “arises from the tension between the very concrete and the very abstract, it is here where a series of poetic images related to the places where we find life, appear; not in the middle of the pages but in the folds, in the cracks, and in the breaches, in the smallest things”.

The incomprehension of the text requires that the public faces, from bewilderment, an encrypted world where they will have to decipher the messages and question the diverse interpretations of reality. Life in the folds is a total artwork, one where the different involved disciplines, visual arts, animation, cinematography, music, literature, poetry and performance converge, creating tensions, activating thought and destabilizing its parameters.
 
In a biennial that, from its title VIVA ARTE VIVA, celebrates art and its capacity of embracing existence and facing the reality of a world full of conflict, Life in the folds invents new vocabularies, languages, images and sounds so that human life can be reinvented.

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