Bruno Cidra’s third solo show at Galeria Baginski, titled MEXICANO, is a moment of consolidation of the work that Cidra has been developing, which results from a thought process brought forth from his experience at an Artistic Residency in São Paulo, in 2013.
The place that gives title to the exhibition is subliminally imported to the Gallery’s space. In that place, where shapes are arranged under a condition of an inventory, bodies rest in contingency of their matter. This evidence between the being e the origin is the challenge that Cidra proposes: a dialogue between matter, shape and space, directed to the unknown and enigmatic space. Without ever intending for realistic replica, Cidra explores the potentialities of paper through the formal mimicry, as well as through the behavior between paper and iron, constantly testing the qualities and characteristics of materials and challenging their definition. The relation to the works becomes, therefore, necessarily imposed by the processing of their inherent qualities and the deconstruction of the composition of the bodies in Space.
Cidra recurrently explores a circumstance of formal vulnerability based on the ambiguity implied by the qualities of the objects. The use and manipulation of materials whose properties directly oppose – such as in paper and iron -, combining them in a single unified element, operates fields of force and equilibrium, exploring antagonistic values as resistance and fragility, weight and weightlessness, permanence and ephemerality. The presented objects, existing in the relation between each other and their materiality, impel towards the confirmation of a particular shared Space, of an atmosphere. Apart from the objects that occupy the floor and walls, in a dormant and surrealist attitude of weights and permanencies, lines draw the space, decadent or reminiscent structures evoking a setting of ruin or rubble.
Transported to a state of false distinctness, the uncommon disquiet of that what they represent, object and structures cause the viewer to readjust to their apprehension, promoting an involuntary choreograph around spatial framings and perceptions. The limits are, thus, traced over the physical field as well as over the deductive one, and rely upon the relation between whole, empty, outlines and auras.
Photos by Bruno Lopes.
Bruno Cidra - MEXICANO
Galeria Baginski, March 30 - May 7