108, ARNAUD LIARD, GRAPHIC SURGERY, MONEYLESS and NELIO.
4 May – 15 June 2018 - PLASTIC MURS - Calle Denia 45, 40006. Valencia, Spain
Regime of Draft When one morning in 1935, at the Concours Lépine inventor’s fair, Marcel Duchamp put his gramophone on the table and turned his first series of Rotoreliefs on it, there was no one betting on those cardboard discs. But it is known that, that same night, his eccentric circles were still spinning in the eyes of a few “scouts” at a variable speed between 40 and 60 revolutions per minute. Showing the modern fascination for the machine, the constant movement and the optical illusion, the Rotoreliefs scratched the surface of cardboard to generate an unusual depth in the game between the sight and a proper rotation regime. The works selected by Plastic Murs for their new collective to suggest the possibility of the creative process understood as a spin, as a game looking from the walls of the city to the walls of the gallery, rehearsed from one piece to another and vice versa, as happens with the large organic, black spots, with which the Italian 108 fills papers that he then folds and unfolds following a precise geometry of lines, or in the drawings where the French Nelio is adding more and more orchestrated marker strokes. They suggest a reversible line of growth on paper. Likewise, this process of idea is in the conception of the Ritournelle of the Frenchman Arnaud Liard, who are substitutes for torn walls with iridescent and metallic inserts that we activate when moving; in the surgical assemblages of overlapping wooden frames of the Dutch Graphic Surgery, who challenge us to get tangled up in their black latticework; or in the two works presented by the Italian Moneyless and that takes us to a renewal of the geometric line, to that revolution of the circle, to the spring that appears by rotation and displacement. Thus, this evolution of forms in process can also be tested throughout the assembly, adjusting our speed selector at each step, in case we succeed in finding in the rotation around each one of the works at not a single fixed point but -like Octavio Paz would say- the infinite rotation of infinite points that moves the whole constellation of signs of our wandering time, which end sand begins at every moment, still without a name, in constant rotation regime, as corresponds to a disc. Ricardo Forriols Universitat Politècnica de València.
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