April 21st, 2015
Artist: Adriana Lara
Venue: Algus Greenspon, New York
Exhibition Title: Underlying Patterns: Tragedy and Comedy
Date: February 21 – April 11, 2015
Full gallery of videos, images, press release and link available after the jump.
Adriana Lara, installation documentation of Que Barbaro, 2008-15, 16mm film transferred onto media player, looped, carpet
Adriana Lara, installation documentation of 5, from the series Numbers (Disambiguation), 2010-15, PowerPoint presentation looped and projected on painted wall with soundtrack
Adriana Lara, installation documentation of Time Capsule (Feat. Traffic), 2015, film looped, LCD screen, lacquered wood, interior: still-life installation with objects
Adriana Lara, installation documentation of Time Capsule (Feat. Birth) and Time Capsule (Feat. Momentum), 2015
Adriana Lara, installation documentation of Animated Palm, 2015
Videos and images courtesy of Algus Greenspon, New York
Underlying Patterns: Tragedy and Comedy Were Improvisations at First, is a quote by Aristotle used by the artist to title this exhibition.
Art and language are expressions of life: imagistic, linguistic, symbolic, and poetic. Each is a container to be filled, animated, and reconstituted. Each prompt abstract ruminations, make impressions that are always in flux and mutable, never conclude but are infinitely replaced by alternative suggestions.
Mexico City-based artist Adriana Lara focuses on the instability of meaning, how structures and styles scramble and efface content, in turn challenging any number of givens: a definition, a market, a social role, use value, or historical importance. Her work employs various sign systems as a kind of artistic material; letters, numbers, actors, brands, and cultures, are overlapped and overlaid as Lara creates her recombinant objects, videos, and performances, genetically modified by this bringing together – which is ultimately a taking apart.
The artist’s approach stays hovering somewhere between purely formal and conceptually reflexive, which may offer some indication about how tenuous information is, at this moment when paradoxically it is so abundant and free. What is offered here are a series of suggestions in the form of moving images and actions, a group of works that Lara made between 2008 and 2015. Circling back on her own, albeit brief history, offers the potential to prompt a reflective state in the absence of stasis, a resistance to the shark-like forward motion expected of an artist, where little meaning but lots of news and events gather and spike, circulate, until overshadowed by what’s next.
«Its great to know we will leave a piece of ourselves» is said in the moment that two actors are about to place an explosive inside a cinema, to which follows; «Come on, lets not exaggerate, everybody does it all the time.» The artist thinks of these two lines from a dialogue in a fotonovela by Harry Gamboa Jr. (Blessed Bag Bombers, 1982), when talking about art as an expression of life.
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