In order to review the turns and courses of the works; the exhibition emerges from the notion of “translation movement.” This concept can be approached as a movement of interpretation. By definition, a translation is taking something from one place to another, and this movement is precisely a passage; then, translate is a synonym of interpretation and comes from Latin traducĕre, to translate from one place to another.
According to Walter Benjamin, a good translation happens inside languages. In the case of these artworks, it happens inside painting. The translation movement occurs within, instead of between languages; namely, it doesn’t break the conventions of painting, but is a movement within painting itself.
What new forms arise from this “movement”? The participant artists apply different uses or actions of this generating idea. Each one starts and uses media owned by the language of painting, and translates inside it. Translation, implies a movement not just as a change of place, but upgrading and promoting an infinite revival of the form, producing displacement as a new pictorial exercise, just as the translation of a text sprouts from the original to signify in another language and expand its horizon.
Karin Sander’s paintings carry the trails of movement, adding evident traces from each exhibit. On the other hand, in Jonathan Binet’s we see remains of performance, an action that is intimate and antagonist to the natural elasticity of the canvas. In Nathan Peter’s work, movement stretches the limits of painting beyond the surface, to lead it towards the object.
The language is updated and reborn when used and with each generation, every language shelters infinitude and singularity inside.
JONATHAN BINET (Paris, 1984) has presented his work in solo shows such as Les mains Dans les poches, pleines, Gaudel de Stampa, Paris and Art Basel Statemens. His work has been part of collective exhibitions like Beloufa, Binet, Bourouissa, Galleria Zero, in Milan o Telephone Paintings commissioned by Nicolas Trembley, Almine Rech Gallery. He has been awarded by the Lauréat du Prix des amis des Beaux-Arts and Prix Gérard Viquel.
NATHAN PETER (Minneapolis, 1978) has developed solo shows such as Lemon Schmidt & Handrup, Cologne, Germany; or o Manifold at PSM Gallery, Berlin; as well as collective exhibitions like Material World in Denver Art Museum, or 836Km, Scheublein Fine Art, in Zurich.
KARIN SANDER (Bensberg, Germany, 1957) has presented solo shows such as Project 46, The Museum of Modern Art en Nueva York; Budget Bureau for language and applications in Geneva, Switzerland; Guestbook in i8 Galerie, Reykjavik, Iceland. Her work has been part of collective exhibitions like Edition 5 Erstfeld, Haus für Kunst Uri in Altdorf, Switzerland or Maintenance required, The Kitchen, New York City.