Joël Andrianomearisoa / Tomorrow, tomorrow. Those are words. You love flowers. How about tomorrow?
text by Domenico de Chirico
April 13 – 29 July, 2019
Sabrina Amrani Gallery
Madera, 23
28004 Madrid, Spain
The impact strength of the work of Joël Andrianomearisoa, the tracing he left in
space, his mark, has always had an ostentatiously present character. The
energy it generates continually recalls its presence, emphasizes the lack of
time, a space created from chronological laws, an incisiveness that shakes the
monochrome. This aspect that constitutes the totality of the artistic production
of Andrianomearisoa plays with the no-time, highlighting its repetition, marking
the rhythm of a not before and not after, when using references that sink their
roots in ancient rites and therefore they seem to look to the past; what they
really do is bring to light, in visual and spatial terms, the visceral beginnings of
humanity, the non-chronological but inextricably constitutive roots of human
nature and its way of being in the world.
space, his mark, has always had an ostentatiously present character. The
energy it generates continually recalls its presence, emphasizes the lack of
time, a space created from chronological laws, an incisiveness that shakes the
monochrome. This aspect that constitutes the totality of the artistic production
of Andrianomearisoa plays with the no-time, highlighting its repetition, marking
the rhythm of a not before and not after, when using references that sink their
roots in ancient rites and therefore they seem to look to the past; what they
really do is bring to light, in visual and spatial terms, the visceral beginnings of
humanity, the non-chronological but inextricably constitutive roots of human
nature and its way of being in the world.
The use that Andrianomearisoa has always made of different expressive tools is
presented here in all its wealth of details that highlight the procedural
excellence and the basic meaning dictated by the fold, the meticulousness:
aspects through which the space reveals the secrets of color, its evolutions and
its density. The operation carried out by the artist for this personal exhibition
may seem at first sight a contradiction with what has been said up to now,
especially if the accent is placed on the expressive and almost pungent force of
the presented works, whose invisible needles annoy the air, or perhaps they
stimulate their retreat to make room for the advance of a trinitarian or
destructive dimension of any space-time division.
presented here in all its wealth of details that highlight the procedural
excellence and the basic meaning dictated by the fold, the meticulousness:
aspects through which the space reveals the secrets of color, its evolutions and
its density. The operation carried out by the artist for this personal exhibition
may seem at first sight a contradiction with what has been said up to now,
especially if the accent is placed on the expressive and almost pungent force of
the presented works, whose invisible needles annoy the air, or perhaps they
stimulate their retreat to make room for the advance of a trinitarian or
destructive dimension of any space-time division.
In fact, the division proposed by the tour within the exhibition space is a real
ironic position, subtle and profound at the same time with respect to the
conception of time. The questioning in relation to the most hidden meaning of
the past, the most appropriate meaning of the present and the most probable of
ironic position, subtle and profound at the same time with respect to the
conception of time. The questioning in relation to the most hidden meaning of
the past, the most appropriate meaning of the present and the most probable of
the future is investigated even more deeply when the artist uses these
chronological compartments considering them as different moments of his
artistic career and, therefore, using himself as a guinea pig.
chronological compartments considering them as different moments of his
artistic career and, therefore, using himself as a guinea pig.
The entrance to the gallery consists of the presence of a work entitled Dark Sky
(2013), which acts as a representation of the past, but which gives the
impression of being a door to the revelation of the work itself. The visitor is
faced with having to deal with a game whose purpose is to find the real
entrance to the exhibition space, which underscores the intrinsic difficulty of
coming into explicit contact with the work and, once the correct form of
entrance is found, light is revealed, the revelation is fulfilled. It seems like to be
entering the creative process of the artist, that process made only of moments
in which the form is revealed in its dimensionality and in which Bergsonian
duration finds its vertex of expression: a temporary absence in which the
creative gesture lasts in its absolute manifestation.
(2013), which acts as a representation of the past, but which gives the
impression of being a door to the revelation of the work itself. The visitor is
faced with having to deal with a game whose purpose is to find the real
entrance to the exhibition space, which underscores the intrinsic difficulty of
coming into explicit contact with the work and, once the correct form of
entrance is found, light is revealed, the revelation is fulfilled. It seems like to be
entering the creative process of the artist, that process made only of moments
in which the form is revealed in its dimensionality and in which Bergsonian
duration finds its vertex of expression: a temporary absence in which the
creative gesture lasts in its absolute manifestation.
The second part of the exhibition consists of an installation that refers to the
present: through a set of works, suspended or not, the artist’s most recent
production is presented and what is visible here is not time, the work of art as
such. The composite elements of mirrors, besides constituting the whole work,
act as a visual game of reflections of the past and the future or, therefore, of
their conjunction in a single timeless stage that develops in several directions.
present: through a set of works, suspended or not, the artist’s most recent
production is presented and what is visible here is not time, the work of art as
such. The composite elements of mirrors, besides constituting the whole work,
act as a visual game of reflections of the past and the future or, therefore, of
their conjunction in a single timeless stage that develops in several directions.
The third and final part of the exhibition renders clear the artist’s radical
questioning of the most appropriate meaning of these temporal giants by
ironising about the customary conception of the future term, as well as shared
expectations towards this temporal dimension.
questioning of the most appropriate meaning of these temporal giants by
ironising about the customary conception of the future term, as well as shared
expectations towards this temporal dimension.
The future is now so visible and clear that it is clearer than the present. So
clear as to be declared, to be self-declared: a true visual tautology. Finally,
what in reality probably this textile wall and its repeated words “Tomorrow,
tomorrow” want to represent is a space trampoline, an immediate reference to
the space of the present that also includes that tomorrow or that includes it
without naming it. And you, do you like flowers?
clear as to be declared, to be self-declared: a true visual tautology. Finally,
what in reality probably this textile wall and its repeated words “Tomorrow,
tomorrow” want to represent is a space trampoline, an immediate reference to
the space of the present that also includes that tomorrow or that includes it
without naming it. And you, do you like flowers?
– Domenico de Chirico