Antonio Guiotto | Manuel Larrazábal Scano
13.03.13 – 06.04.13
Anyspace Gallery, Bruxelles
for French and Italian please download the pdf
Michela > We have put Manuel Larrazábal Scano’s and Antonio Guiotto’s artistic practices together because of a euphoric intuition, that of promoting the encounter, in the same space, of the anarchist machines of the former and the funambulist creations of the latter. The dialogue that has since taken place is one between devices experimenting the power relationship between certain elements and the space containing them. These elements are the objects, sculptures and drawings, the sounds that they produce or contain and the interaction that keeps them balanced or makes them implode in a random motion.
The elaboration of a form of balance is present throughout Antonio Guiotto’s works, which, like funambulists, reestablish their center of gravity in relation to the space in which they take position. This research is visible in the series of support systems, constituted by casts of domestic objects, as well as by the machines made from instruments and waste materials of constructions sites, solidly anchored to the ground. In his latest works, Antonio builds devices diffusing sound frequencies picked for their therapeutic effect on the people surrounding them. These anthropomorphous constructions whisper or whistle the intimately recomposed stories that have generated them, those of the artist, even of art itself.
Francesca > Antonio Guiotto’s last work appears to be producing the paradox of stability generating movement, even though at times it only is purely cerebral movement. Hominid sculptures, creators of balance, occupy the space in which they operate. It almost seems as though they entered in a tight group, like a team of construction workers at the crack of dawn, dividing up the walls and corners that will be their work for the day. They replace columns and buttresses of old times. And even though this action is seemingly useless, it becomes necessary in order to stop the frenzy of our everyday activities, which make us indifferent to the details of architecture;
this action stresses the walls of the gallery having been painted countless times, or those at home eternally waiting to be painted…
But when one’s attention is awakened by the movement produced by external objects, one can be filled with pleasure… when, in those hot summer days, the air finally moves thanks to the fans hanging from the ceiling, or when the blender is activated to bring pleasure to our taste buds…
Or when the washer lets us know that it’s almost done and, as it does so, it throws on the ground the wooden spoon left on the kitchen top which, in turn, causes the water in Rover’s bowl to spill, as it falls in it from above. When these weak and mechanic movements follow one another in a random manner, they produce a noise and sort of melody and a dance without a rhythm, making us all happy in some way.
Observing these ordinary and every day like mechanisms, pushing to the extreme their movement and thus overpowering the utilitarian rules of engineering is how Manuel Larrazábal Scano has fun. What he produces are useless machines, indistinct accumulations of waste materials that can fall to the ground and break, instruments able to grind the plaster on the wall through the rotational motion of a drum stick glued to a second-class fan, that can also generate colorful scribbles on a piece of paper… To be concise: real mechanisms that are fully defunctionalized.
Michela > Manuel’s installations and drawings are like music scores made of pencils, pieces of wood, threads, waste, fragments and mechanic elements that are put in action in a reiterated motion. The scores are created through superimposition, accumulation and repetition of simple gestures impressed upon paper and upon the space. Each repetition produces another repetition, in a spontaneous automatism, which generates twelve-tone chords. Manuel’s compositions integrate within themselves randomness, revealing the process of auto-organization which brings the balance between order and chaos.
Francesca > This cohabitation between Antonio and Manuel in Anyspace’s space takes the shape of an essay on movement, in which the chapter on statics has been written with a pen and a mixer, and the chapter on centripetal movement with a ruler. co|oc is the proposition for a dialogical project which takes the form of an artistic cohabitation in a given space. Two artists are invited to share a space of creation. The notion of space is each time redefined and it can either be a physical space or a real or imaginary situation. co|oc invites two artists to travel with a simple piece of hand luggage and spend a short time in a city where they have never been exposed, in order for them to reconsider the notion of creative process and its formalization.