Future Exhibitions

  • June / Laura Lima / BALé LITERAL, 29/06 – 30/08


    Act of throwing something or someone violently through the window (literal). Eliminate (for example, politically), expressly dismiss, marginalize, exclude (figurative) someone.

    Although the etymologies researched on the origin of the word are divergent, the act that points as a reference to the use of the term is an episode that took place on May 23, 1618, in Prague, known as the ‘Defenestrations of Prague’. On that occasion Bohemians invaded the castle of Hradsin, interrupting a meeting between imperial commissioners and state deputies, and threw two commissioners and their secretaries out of the window, prompting, as a result, the events of the Thirty Years’ War.

    The recurring practice of the seventeenth century is taken up again at the end of the second decade of the 21st century by the artist Laura Lima in Literal Ballet.

    In active defenestration, we have – according to the list of works (in progress) read by the artist, from memory, ‘by heart’, remembered at dawn, written down, and repeated at the table of a bar and transcribed here: curtain with safety pins and dry ice; chandelier of coxinhas; rags; LGBT flag (don’t know how many); phrase 1 (‘trust is a balaclava’); phrase 2; phrase 3; phrase 4; phrase 5; small flaming pieces of wood; Kite; a donkey; sculpture; fish 1; fish 2; fish 3; fish 4; fish 5; poo; bee clothes; rocket banner; cups of cachaça on a tray; FREE LULA flag; Laura & Modé clothing; Laura & Fernanda clothing; white artwork with moving objects inside; still life; Bosch still life with hollow geometric forms that, with the light behind them, make it necessary to focus the retina; painting by Hieronymus Bosch (to be worked on with Nina the lighting technician); maybe a fern; Black Malevich (black cross); Red Malevich (red cross); some insults; sardines; Santos Dumont staircase (will not be possible to execute).

    Historical referential antecedent for the proposed defenestration: a horse thrown from stairs that ends up falling; scene from the Soviet film Andrey Rublev, by Tarkovsky (1966). Vaguely based on the life of the painter Andrei Rublev (who lived roughly between 1360-1430), the Russian monk is credited with liberating painting from religious icons in Russia in the Byzantine traditions of art.

    The active defenestrations of Balé Literal (Literal Ballet) are loosely based on historical antecedents and throw themselves violently into the de-sacralization of works and of the exhibition space, simultaneously, in a literal and figurative, double, sense. Through the acts of falling, pausing, and ascension, defenestrated works free themselves from the archaic and confined traditions of art by moving toward the use and the delight of the public in public space, openly, for free appropriation. Please eat.

    Michelle Sommer