We can dream about the last writer, with whom would disappear, without anyone noticing it, the little mystery of writing. […] What would be the result? Apparently a great silence.
Maurice Blanchot, The Book to Come
With the statement Toda letra es la última letra [Every letter is the last letter], Jorge Méndez Blake sets the stage for his new exhibition at Travesia Cuatro in Madrid.
The phrase contains the creative moment of language, a place where something begins and something ends. A turning point where the fragility of culture as an instrument of communication is exposed, placing us in a historical moment close to the catastrophe. With its dissection, each letter acquires autonomy, taking up different formats. There seems to be a will to pay homage to the sign, in a kind of melancholic act towards the creation of the alphabet more than 5,000 years ago with which civilization was formed.
We are signs, we are language.
On the threshold of post-language, where the death of the alphabet, of the writer, of literature is gestated, Toda letra es la última letra [Every letter is the last letter] rises before the threat of a possible dystopia and at the same time as a cry for help and warning not to lose our world, to save the signs that constitute who we are, a poetic cry in big headlines so that we keep the what is left of humans in the word.
Jorge Méndez Blake explores the possible intersections between literature, visual arts and architecture, fusing different historic and geographical elements, provoking new readings on the role of language in our culture.
The artist employs analysis and synthesis as tools to transform the narrative and the poetic into visual compositions, attempting to shed a light on the material aspects that are implied in the act of writing. Similarly, Méndez Blake has devoted a significant part of his work to studying libraries as relational systems in which historical and cultural dimensions of a given context converge.
The work of Méndez Blake (b.1974, Guadalajara, Mexico) has been the subject of solo exhibitions at Casa de México en España; Kunsthalle Mulhouse, France; MARFA Contemporary; MCA Denver, Museum of La- tin-American Art, LA, US; Museo D’Arte Contemporanea Villa Croce, Geneva, Italy, Museo Universitario Arte Contemporáneo, MX, Museo Tamayo, MX; Sala de Arte Público Siqueiros, MX and Museo de Arte Moderno, MX.
He has also exhibited at the XIII Biennale of La Habana, Cuba; the Rashid Karami International Fair, Tripoli, Lebanon; NGV Triennale, Melbourne, Australia, 2017; Musée d’Art Moderne, Paris, Musée Mac/Val in Paris; the Bass Museum, Miami; the Aspen Art Museum; Hessel Museum of Art in NY; the MCA Santa Barbara; Fundación PROA in Buenos Aires; Fundación Botín, Santander; La Casa Encendida, Madrid; Stedelijk Museum and Frankendael Foundation in Amsterdam, Netherlands; the Queensland Art Gallery, Brisbane; the National Gallery of Victoria, Melbourne; the ASU Museum of Art, Phoenix; BOZAR, Brussels; Zacheta National Gallery of Art, Warsaw and Fundación Jumex, Mexico City, among others.