O voo e queda de Ícaro
2015 | Mute Art Gallery, Lisbon
The formless concept – created by George Bataille and developed by Yve-Alain Bois and Rosalind Krauss in his formless essay – is based on four operational lines: pulse, beat representing the separation of space and time; base materialism, qualification of matter; entropy, as an element related to the structural order of systems, and horizontality, which according to George Bataille functions as a spatial mapping system.
Although there are points of contact between these four operations, and the images that make up the project O voo e queda de Ícaro, is all the reflection presented in the chapter of horizontality that seems to be the guiding line of its questioning and conception – the association of the passage from the horizontal plane inherent to the bed object, to the vertical plane in which the images are exposed, is associated with the dialectic between death and life, between the human and the divine.
Thus, this exhibition invites to a journey – flight – that starts from the observation of hot beds, from where someone has just lifted, moment when occurs the first inversion of the axis of observation, leaving the representations of the horizontal axis / anus characteristic of the animal state, ascending to the vertical axis, status reserved for Man while superior being.
It is also a mapping, through which we fiction the role of Icarus by flying over these maps, maps that make us dream, such as islands or unknown territories and, as the mythological legend describes us, we also do not resist to the temptation to fly too close to the Sun, being forced irremediably to return to the iniciatic point of view – horizontal – to the (by) the condition of mere mortals.
1 Bois, Yve-Alain; Krauss, Rosalind E. (1997) Formless : a user’s guide, New York, Zone Books
2 Buci-Gluksmann, Christine (1998) ‘Cartografias ou Icartografias’ in Pavão, Isabel Cartographies.
Henrique Vieira Ribeiro