Curated by Andrés González
This exhibition is about the possibility of new realisms. Or maybe it’s about the failure of realism and the inception of a new way of using painting as a representational tool. Well, it’s not actually “new”. But it has been revisited- reshaped-reframed. I don’t think this is an aesthetic style, but rather a mindset. And what this exhibition deals with is the distance between the mindset and the representation of this self-imposed “perspective” within the pictorial realm. The contemporary world is hard to look at, even more difficult to comprehend! Reality seems to be constituted of an acidic liquid that burns our hands when we try to grasp it and see through the transparencies and brief glimmers. Violent & fluid ambiguity.
Henri Rousseau was harshly criticized by the French press during his first exhibitions, his painting style was called pre-primitive. The pre-primitive realm is populated by children, animals and non-western cultures. If this so called pre- primitivism allows us to shake the foundations of our epistemological pride, then this “perspective” is a valuable one, that should be re-activated constantly in times of visual overconfidence.
Innocence and naiveté are powerful tools that can respond to the cartoonish usage of theory and criticism nowadays. A subtle demand for a new rigor, new perspectives on intimacy, and a plea for a more humble notion of humanity (trying to deflate the rationalistic pride of modernity, irremediably present to in art- making in recent years).
TRAVESIA CUATRO presents Not all those who wander are lost, the new solo exhibition by Jose Dávila, from September 12th until the 10th of November 2018. In addition to this and on the occasion of Apertura Madrid Gallery Weekend, Travesía Cuatro will present an installation of sculptures by the artist at Madrid’s Royal Botanical Garden from September 12th to 16th.
Both exhibitions will present a parallel research by the artist within sculptural and pictorial language.
At Madrid’s Royal Botanical Garden Jose Dávila will construct an accumulative glyptotheque that summarizes both materially and formally the recurring elements that can be found throughout the history of sculpture. In the same way that William S. Burroughs and Brion Gysin used the cut-up technique in order to produce new written works with cropped and re-arranged text, Dávila develops a similar procedure by creating vertical compositions like totems that expand the definition of sculpture by merging organic and industrial materials, found objects, minimal, figurative and classical elements.
The exhibition at Travesía Cuatro will bring together a group of paintings and silkscreens, in which a series of scientific texts are interrupted and contradicted by abstract forms that are reminiscent to modernist geometric art and neo-concrete graphics. The elements conforming these works are specific references or citations from his awareness on art history, however, the result allows for an intersubjective exchange with the public in which the superimposition of graphics and text creates a free flow of associations and ideas from where new meaning can occur.
His art making contributes to a different perception and intelligibility of the world, in an exercise that sparks our own sensorial and visual memory and addresses the concrete capacity of language to emulate and conduct human perception in the most essential level.