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Karl Ove Knausgård has a fondness for the baroque. In the second volume of the magnus opus that is his autobiography, the Norwegian writer, an epigone of Proust, notes: “…and when the mobility that art cultivated became immobile, this was what should be avoided and to which one should turn his back” (1). If mobility is an essential condition for art not to fossilize, then the idea of a hypothetical structure understood as a constraint could announce its dissolution. And what if it were the prerequisite for a rebirth instead?
In the exhibition “Hidden Structures,” Triangolo gathers the perspective of a group of artists who, knowingly or not, and through various mediums, engage in reflections on such a theme. What are the structural limits of a work of art? To what extent is the artist aware of their existence?
We have been taught the precept that, precisely where the composition of a painting seems dictated by free will, in reality, pyramids and circles support the...More
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Karl Ove Knausgård has a fondness for the baroque. In the second volume of the magnus opus that is his autobiography, the Norwegian writer, an epigone of Proust, notes: “…and when the mobility that art cultivated became immobile, this was what should be avoided and to which one should turn his back” (1). If mobility is an essential condition for art not to fossilize, then the idea of a hypothetical structure understood as a constraint could announce its dissolution. And what if it were the prerequisite for a rebirth instead?
In the exhibition “Hidden Structures,” Triangolo gathers the perspective of a group of artists who, knowingly or not, and through various mediums, engage in reflections on such a theme. What are the structural limits of a work of art? To what extent is the artist aware of their existence?
We have been taught the precept that, precisely where the composition of a painting seems dictated by free will, in reality, pyramids and circles support the...More
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