A minimally folded surface, perhaps a piece of paper with a perimeter boundary, can function to train ‘posthuman vision’. Enigmatic delimitation that recalls the empty map of Lewis Carroll, the narrator who crossed the mirror with his peculiar insane logic. Perhaps, this surface of potentialities is generated from a phenomenological reduction in a minimalizing radicalization of the ‘Minimal’ tradition itself. Manu Arregui (Santander, 1970) has composed a seductive choreography in which the bodies reveal their qualities in a strange friction with geometric pieces that evidently refer to ‘Untitled (L-Beams)’ that Robert Morris made in 1965. Standard Related News Yes The victory in three rounds of Matt Mullican Francisco Carpio standard Yes ‘Fueled, Oasis, Fueled’, by Mónica Mays in the Pedro Cera gallery: Dream or nightmare? Nerea UbietoIn her exhibition in 2017 in this same Espacio Mínimo gallery, Arregui presented, along with a video with naked bodies that move or almost dance while being subjected to “positional analysis”, some graphics established in the book ‘Homosexual Matrix’ by the psychotherapist CA Tripp who account for the different degrees of ‘flexibility’, and, in a certain sense, curvature, of the diverse movements of the homosexual body. In the subtle and even fun pieces of ’25 figures of Lament and Restitution’, Arregui makes some performers burst into the space of abstraction, moving beyond the “denial of the anthropomorphic” in Morris. It is worth remembering that this artist was not merely a dogmatist of ‘ideal datidad’, but that his work is extraordinarily ambiguous, including everything from performativity and dance to the presentation of his naked body in an object similar to a schematic vertical coffin, going from photos dressed in sadomasochistic appearance to the creation of astronomical observatories. The labyrinthine imagination of that sculptor who defended the ‘antiform’ functioned as a very complex nomadic war machine against Greenbergian modernism. What interests Manu Arregui is not to participate in the nostalgic academization of Minimalism but, on the contrary, his desire is to deconstruct a supposed formal purity. As Hal Foster warned, the reductionist geometry of ‘Minimal’ functions as the religion of the cargo sculptor or, better, it is a materialization of commodity fetishism. In top shape. Some of the ’25 figures of lament and restitution’, by Santander native M. Arregui in his gallery in Madrid. We cannot repeat Stella’s phrase “what you see is what you see” like a mantra unless our intention is to make communion with wheels millstone or ‘pedestalize’ truisms. Although Arregui titles one of his works ‘Paralepipeds that hide nothing’, in reality his ‘dancing steps’ are revelations in which he almost reaches baroque and Lacanian excess in which the disjointed is intertwined in ornamental configurations. Arregui’s photographic compositions They can be understood as ‘still lifes’ of masculinity. In the video ‘Right Angles’ (2021), he gives free rein, in ‘performances’ in which the schematic is decisive, to a sarcastic tone against the ‘heteropatriarchal pomposity’ that is also sedimented in the perfect minimalist angulations. Thus, the ‘sculpture’ of the Smartphone that closes the route of this exhibition extends the meaning to dating applications in a parody of the post-Foucauldian panopticon, in that ‘quadrillage’ that is one more element of contemporary zoombification.Manu Arregui ‘ 25 figures of lament and restitution’. Minimum Space Gallery. Madrid. C/ Doctor Fourquet, 17. Until January 18. Four starsThe desert of reality of the Baudrillardian Matrix is also the frozen air of a hyper-emotional world usually led by geekism. We are, as one of Arregui’s ‘figures’ points out, between pathos and frenzy, retreating to the ‘Leibnizian’ monad, without doors or windows, excited by the dizzying catalog of profiles to satisfy our desire that, I regret to say, is already It has no otherness.
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