FuturDome is glad to announce the most complete monographic survey of Andrè Komatsu (1978, São Paulo). As un-finished house and independent museum, FuturDome, on September 27, turns its spaces into a deconstructive cradle for the Brazilian artist.
Andrè Komatsu: Ordem Casual
A project curated by: Atto Belloli Ardessi and Ginevra Bria, Isisuf
27 September - 14 December, 2018
The exhibition includes his most representative endurance narratives and it’ll become a paradoxical, extreme domestic stage for site-specific and unpublished installations. An in-depth connection conceived in parallel with its brand new solo show at Vermelho Gallery (Sao Paulo, 28 August – 29 September 2018) and completely assembled in FuturDome.
With its title enshrining the unpredictable reaction to an emergency, a physical state, Ordem Casual brings together a series of new and recent works, which like most of Komatsu’s compositional process, revolve around the politics of his negational attitude in creating consumptive art. A process developed as determinate practice identifying the constructed nature of our knowledge. Although, as a subject of (non)representation, his abstracted concreteness has occupied a central position within the practice of the artist, the strategies of its scrutiny and politicisation have undergone a gradual transformation throughout the past sixteen years.
In FuturDome, Ordem Casual, stepping aside from performance (Encouraçado, 2002; Afrontamento 2003; Mato sem cachorro não tem dono, 2005; and Ou até onde o sol pode alcançar, 2006) as a medium and the performative act of production, best characterised by Komatsu’s studio-based compositions, his exhibition at FuturDome marks the major transiency transfers in the practice of the artist, materialising a new form of sculptural animism and a new subversive processing in domestic spaces, while underlining the instrumentalization of the sculpture into a series of coincidental and strictly conceptual acts (Construção de Valores, 2012).
In Ordem Casual each architectural body has not vanished but has been dematerialised and reborn into a new materiality of anthropic prosthesis. The form of their surfaces, their volumes, their context, palpable physicality and suspended function, operates as a continuous reminder of artificial limbs (Movimento invisìvel, 2015), which in fact, in many ways, affirms the presence of the sculpture, through its obvious decommissioning (Tres Vidros, 2012). On the one hand the display has been choreographed to unbound the categorical limits of medium specificity, while on the other, to construct an arena for it to perform its labor in terms of territorial repossessions (Sem Titulo (tumor), 2010). Through the final installation and the build-up of relations between individual sculptures and their parts (Estados das Coisas I, 2011), Komatsu addresses our present-day understanding of dematerialised expanded fields, where its physicality, through the possibility of its interchangeability has been rendered secondary, feeding thus our understanding of memories as a (virtual) container, which accommodates the brain (Sem Tìtulo #7 [Soma Neutra], 2009).
The obvious prioritization of collapsing laws as a re-occurring motive in the exhibition, despite its assumed hierarchy (Kamikaze Ou Para Todos A Queles Que Acreditaram…, 2006), is levelled with other elements through strategies of display, inversions and through repetition that suggests an interchangeable identity (Volàtil 2, 2016).
In Ordem Casual, each work proved to be an image of double foreboding, a subversive man attacking a condemned building (Sem Titulo #2 [Soma Neutra], 2009). The documentation of ephemeral art has produced a legacy of recent work in which Andrè elaborated modelled grid are constructed to be framed, then filmed or photographed, (Ordem Casual, 2011) Komatsu’s interventions also seem to have been structured in anticipation of the images that would be their only residual trace. Shaped incisions were cut into a succession of walls, running through the length and depth of building components (Um Dia de Gloria 3, [Refluxo Sazonal], 2005), so our eyes’ view through the foreground aperture reveals planes of receding depth that are then sandwiched into a single shape by the video-radiography’s flattening of space (Desgovernado, 2012). It is a superimposition of layers into what Michael Fried called ‘the medium of shape’, which Komatsu considers to be the essence of Modernist abstract painting’s structuralism (Sem Tìtulo 4, da Sèrie Campos Imaginarios, 2011). In this sense, Andrè Komatsu’s practice is transitional, with as much old Modernism as new Minimalism in its bloodstream.
Works such as Campo Aberto 1 (2013) and Coperativa Antagonica (2013) conforms to an anti-art aesthetic that is synonymous with the presentation of early Conceptualism as a form of didactic research that is careless of niceties. Paradoxically, it calls attention to itself more than a standard wooden frame would (Anexo 1, 2014). The air of scientific, architectural objectivity is evident in the artist’s narration on repetition of differences increasing our capacity for judgement, which makes (Assombraçao, 2014) somewhere between an archaeological dig and an engineering equation to be solved through great ingenuity.
And this happenstance is subject to the contingencies of the causal order. Instead, uniformity of applications (Esquadria Disciplinar/ Ordem Marginal, 2013) is learned through a causal association of the appearance of portioned surfaces, and the linguistic token of codes. The patterning of language then, follows the patterns discerned in nature, and thereby through the isomorphy of the sculpturing relation, translates them into normative discourse (Insustentavel Paraiso 1, 2014).
The dismissable criticism of the compositions qualifies this reading. It is a reminder that as much as Komatsu’s art is an act of violence (Sem Tìtulo (Olho Gordo), Da sèerie Territorio Bruto, 2014), it is also a defiance of time and gravity. And also (Flitz Zoom Ou Constituçao para Uma Nova Arquitetura, 2006) suggests a mechanistic metaphor. Like the inside of a clock, by piercing its shell, time is figured in space and thereby circumvented. The images resist the transience that is their ultimate subject by metaphorically comprehending it. In Samuel Beckett’s words: ‘Time has turned into space and there will be no more time, till I get out of here.’