Rather than an end in itself, let us look at the “exhibition” as an active instrument in the production and reception of the work of art. The exhibition can be read as a constellation that articulates these two binomials – production and reception - around the subjects. Thaus, they are voices, images, cultures, beliefs and bodies in a movement determined by rules, traditions and creations consensually established by all.
As the constellation is represented, where the artist, the work, the audience, the gallery and the exhibition itself within an exhibition, are all elements that constitute Matrioshka, the final exhibition in progress. As a demarcation line or border, the constellation may function within a culture, as a way of organizing time, and may also serve to divide and define various lines or levels of the work and of the creators, i.e., the artists presented here.
In each line and in each time, the constellation is different, because since the representation of a work of art and its complex of non-verbal subjectivities, the borders are more or less visible, depending on the effect that is sought. We will have several lines and times according to whomever says “I” in the configuration of the group exhibition, solo exhibition and of the works created collectively. We will also have distinct lines and times according to the accident or impact that applies to the individual and collective production, and the exhibition that devours it all, thus, giving rise to the constellation.
The Matrioshka constellation in the exhibition does not only function to mark lines and times, but also allows us to read the fictions from the exhibited pieces, the sometimes harmonious, but also contradictory, correlation of the subjects involved, styles, identities, and the art world. And, in a quantity of times, because cultural beliefs are not synchronized with the division of time and of the work in the art world, dragging previous stages or temporalities, that at times, one could even say, are archaic.
*Projeto Vênus is the gallery from which the curator Ricardo Sardenberg develops his projects.