Laberintome
For his second solo exhibition entitled Laberintome at T293, Martin Soto Climent presents a new series of works realized by adopting a performative attitude to various objectual components. The action, hardly ever visible to the public, is a substantial part of his research in the sense of past action, a sort of hidden ritual which constantly acts through time and behind the objects.
In Laberintome the artist takes a path in which his present experience overlaps a series of events that occurred in Mexico in the late 60s. The time spent in Naples by the artist (September and October) coincides, after more than forty years, with the period that preceded the inauguration of the Olympic Games in Mexico City in 1968, when hundreds of protesting students were massacred in the Square of the Three Cultures. The recent Soto Climent’s return to Naples no longer has as immediate consequence a production that plunges into an evocative, mysterious space, but is arranged in many layers interweaving the great experience of the place with personal memories. Each work inverts the rules of imagination and tries to inform as much as possible about the relationship between the various elements and to unveil the mechanisms of the meaning that are hidden in the media communication. The complexity of references doesn’t make the exhibited works be ”indifferent residuals” of an event, but the product of a vital experience as well as a past performance that generates narratives steeped in social and political allegories.
In Laberintome the artist takes a path in which his present experience overlaps a series of events that occurred in Mexico in the late 60s. The time spent in Naples by the artist (September and October) coincides, after more than forty years, with the period that preceded the inauguration of the Olympic Games in Mexico City in 1968, when hundreds of protesting students were massacred in the Square of the Three Cultures. The recent Soto Climent’s return to Naples no longer has as immediate consequence a production that plunges into an evocative, mysterious space, but is arranged in many layers interweaving the great experience of the place with personal memories. Each work inverts the rules of imagination and tries to inform as much as possible about the relationship between the various elements and to unveil the mechanisms of the meaning that are hidden in the media communication. The complexity of references doesn’t make the exhibited works be ”indifferent residuals” of an event, but the product of a vital experience as well as a past performance that generates narratives steeped in social and political allegories.
