• text
  • pictures
  • Gonzalo Lebrija
Madrid, Spain
Love or the lack of it
30 May 2015 - 27 Jul 2015
Love or the Lack of It

Exhibition view.

"Untitled", 1992

Félix González-Torres.
Candies individually wrapped in variously colored cellophane, endless supply.
Overall dimensions vary with installation.
Original size: 5.08 x 121.2 x 121.2 cm.
Courtesy of Andrea Rosen Galery, New York, U.S.A.

Three White Horses, 2001

Gonzalo Lebrija

Love or the Lack of It


Before and after, 2011

Thea Djordjadze.
Before and after, 2011 plaster, wire, fabric.
46 x 36 x 6 cm.
Courtesy of Sprüth Magers Gallery, Berlin, Germany.

It could be a memory, 2005

Thea Djordjadze

Love or the Lack of It


Love or the Lack of It


Untitled (Pareja asaltada en Chapultepec, hombre muerto), 1995

Enrique Metinides

If you leave me - Can I come too?, 2015

Friedrich Kunath

Star in a Jar, 2011

Matt Johnson

Star in a Jar, 2011

Matt Johnson.
Glass, electronics.
16.5 x 8.9 x 8.9 cm; Pedestal: 102.9 x 53.3 x 53.3 cm.
Courtesy of 303 Gallery, New York, U.S.A., and Blum and Poe Gallery, Los Angeles, U.S.A.


Margarete Jakschik.
61 x 66 cm.
Courtesy of Shane Campbell gallery, Chicago, U.S.A., and Galerie Gisela Capitain, Cologne, Germany.

Flash, Nº3, 2015

Theodora Allen

Una página de amor, 2013

Gonzalo Lebrija

Joy of Sex, 1972

Charles Raymond

But you love me... you said so, 2009

René Ricard.
Oil stick on board.
54.6 x 71 cm.
Courtesy of Half Gallery, New York, U.S.A.

I am goodbye, 2009

Friedrich Kunath.
Neon tubes, acrylic glass, electric transformer.
94 x 97 x 6 cm.
Courtesy of BQ Gallery, Berlin, Germany.

Untitled (pigeons)

Jochen Lempert

Paul Newman, 2002

Sam Taylor – Johnson

Tim Roth, 2002

Sam Taylor – Johnson.
99.2 x 99.2 cm.
Courtesy of White Cube, London, U.K.

Kris Kristofferson, 2003

Sam Taylor – Johnson

Ray Winstone, 2004

Sam Taylor – Johnson

Travesía Cuatro presents the group exhibition LOVE OR THE LACK OF IT, curated by Friedrich Kunath. This exhibition explores the duality of love and the emptiness that stands on the opposite end of the spectrum, and therefore a report on the travel between these two perspectives. The removal of the mechanics of sentimentalism results in a ‘love’ that is a cold hard fact. Some works overdose on sentimentality, and others are stripped bare and only show the ruins of love. Kunath wants to know what misery looks like and at the same time how euphoria tastes.


“Loneliness remembers what happiness forgets.”
Gladys Knight
What is evidence of love?
What is an artifact of its ruin?
Is one more important than the other?
What if I find comfort in melancholy or sadness?
Is it the consolation buried within?
Can I find the intimacy in loss that others find in love?
That is, if I know real loss. I mean, I think I know real loss.
Or am I just an observer missing the true experience by romanticizing it?
And what went wrong?
And by the way, when did it become easier to say fuck you than I love you?
And why is there then something instead of nothing?
I remember you once told me ‘sometimes darkness can give you the brightest light.’
Either way, how could one ever think anything is permanent?
Love, and the lack of it…It’s all I care about.
By Friedrich Kunath