Collective exhibition. Gallery Havana, Street Linea Nr. 460 between E and F, Vedado. March of 2019
Chrislie Pérez Pérez. March, 2019
Since I was a little girl, the strokes that together formed a sort of line have caught my attention. Not the irrevocable one, which had to be done without lifting the pencil as the teacher used to say and which ended up dividing the leaf into irreconcilable halves. These were different, they left open spaces and, most often, they were part of the instructions to show unequivocally what should be done. Precisely was this function of indicating, the one that caused me certain concern and, at the same time, the necessity of not doing what they commanded.
Later, I understood that the world is full of those lines that say what can or cannot be done, what is or is not allowed, how far one should go; although in the same way I realized that the spaces that they restrict are not immovable, and that they can contract and expand constantly, because the limit is not the cliché image of an inaccessible wall, but the intermediate point between two realities. However, the limit possesses a strong subjective trait, because as it has been understood as antagonistic to freedom, it has a direct implication in the will. Then, we could say that every limit is more or less penetrable.
Barriers can be applied to almost all areas of existence and, in this case, the word game refers to the emphasis on this possibility of transgression which is inherent to the limit. Being dis-continuous, embodies a dual comprehension of the line: means division, contention; but at the same time, is an invitation to cross them. Interpretation is influenced by their conceptual implication, the same one that concerned me during my childhood, and on the other hand, their formal construction, that breaks with the idea of insurmountable barrier. The fact of leaving free spaces reinforces the subjective notion of the limit and allows us to think that the sides generated in this division can become contaminated.
the reason for this exhibition is to response to this necessity of questioning
the function of the discontinuous line. A show that focuses, precisely, on the
way in which the flexibility of limits is assumed, which is articulated through
the poetics of twenty artists and approached from different points of view
involving the geographical, political, physical, social, mental issues and, of
course, those generated within the artistic field itself. This idea allowed me
to imbricate such well-known and dissimilar discourses, and to incorporate
works which are difficult to classify. An exhibition that, in my mind, could
not have other title than Dis-continous
lines in an intention to play with the frontiers that implies the language