Musumeci Contemporary Bruxelles
June 2017 - January 2018
La fatigue de pas finir
Text by Daniele Capra
Musumeci Contemporay is delighted of introducing the Linda Carrara’s open studio, a follow up of her residence at our venue in August-September. The event will allow the public to know the artist’s pictorial practice, as well as her strong experimental attitude, both in the subject’s choice and in terms of visual language. In the exhibition space, works on paper and canvas, photos, and a small video, will take place side by side with professional tools and unfinished projects.
The Brussels residence follows a stay in Kronstadt (Saint Petersbourg), during which the artist studied water and the floating objects – leaves, wood pieces, rubbish, and even human belongings - that seas, rivers, or channels, bring about. Once back in the Belgian capital, she started an in-depth exploration of the city channels, ending up with the choice as pictorial subject of the very same water surface, and the endlessly changing materials going along. By no means, though, this makes room for the exactitude inherent to the concept of representation, as what is aimed at is rather showing the outcome of a manual work by which the artist stresses the multifold sides of the likelihood linking the random act of painting with reality.
What is shown here is a process painting, made of material gestures and technique, while the subject is often no more than a pretext, if not just an excuse, hiding an inquiry into the meta-pictorial and metaphysics. Carrara does not show the visible, the mere film surrounding the objects’ and the world’s surface; she alludes to that thick and profound substratum within which the Being endlessly sinks. Thus, the almost total disappearing of the subject becomes a tool for freeing painting of its representative functions in favor of an artistic practice rooted into the definition of flux and the control of randomness. In this perspective, the fatigue de ne pas finir a work tells how her thought and the relentless revision/rereading of reality push the artist toward the difficulty of finding the final, fixed, form, the one that cannot be bettered or modified. Ne pas finir springs out of the willingness of abstaining from the gesture which could definitively shut/seal the microcosm of acts generating the work.
Such an effort arises from the attempt at preserving the thousands chances, the thousands possible facets, still inherent in the artwork. What is at stake here is the search for a poetic revelation, one which avoid to transmit to the observer a captive content.