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Cae la tarde

Galeria Luisa Strina, São Paulo, Brazil
November 22, 2016 – January 28, 2017




Paving stones, city, step, feet, country, earth

meters, paving stone, earth.
paving stone, city, joints, cement, lime.
city, cement, bricks, lime earth.
rug, kilometers.
walls earth stakes, rug.
wall, ground, streets, sidewalks, doors.
country, earth cement.
room, walls, lime, paint
chair table, paintings, glasses, bottles, walls, ground.
continuation, houses, street
earth, flower pot, small room , hand, desk.
minutes, earth
hand, ditch, earth.
plain, dust, earth
dust, wind, movement
sun, grain, earth, light, dust, ground.
surface, ground, light, millimeters, particles, darkness
foot earth, darkness
direction, walls.
tree, light, trunk, side shadow.
light, trunk, ground.
tree, leaves, colors.
tree, leaves earth
tree, earth, trunk wood shadow, light, leaves
leaves, tree, light
table lamp, room.
door, sidewalk, walls, direction, house, friend

– Ricardo Carreira (Poemas, Editorial Atuel, 1996)

Cae la tarde [Evening Falls] proposes repetition as method to occupy forms and wait as means to produce thought. A state of mind that we find in a bar, at siesta time, or when traffic is heavy, those places where signs compress into inhabitable geometries and durations, and where opinions are located at the edges of more visible activities like underlining a newspaper, breaking an object, or playing cards.

The works here are not static, or entirely finished, but rather open to the orchestration of the details that appear in them and that end up shaping a zenithal landscape at an intermediate moment of the day —neither too late nor too early. A zone of drifting described in the poem by Argentine writer Ricardo Carreira translated into ideograms by a software program that Accinelli developed in 2013 and in the hexagonal screws that make reference to the system used by the characters in Tarkovsky’s Stalker to identify radioactivity in the air.


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