{"id":1389,"date":"2018-03-13T17:18:01","date_gmt":"2018-03-13T15:18:01","guid":{"rendered":"http:\/\/uba.lt\/kim\/?p=1389"},"modified":"2018-04-27T23:03:22","modified_gmt":"2018-04-27T20:03:22","slug":"the-shakiest-of-things","status":"publish","type":"post","link":"https:\/\/kim.lv\/en\/the-shakiest-of-things\/","title":{"rendered":"Rodrigo Hern\u00e1ndez &#8220;The Shakiest of Things&#8221;"},"content":{"rendered":"The title of the exhibition derives from the Swiss novelist\u2019s Robert Walser\u2019s work <em>Microscripts<\/em> (<em>Mikrogramme, <\/em>published posthumously in 1956). And while German philosopher Walter Benjamin has pointed out two of the characteristics of Robert Walser\u2019s microscripts: \u201ca complete insignificance of content and the denial of style\u201d, Latvian J\u0101nis Taurens notes, that (reading Walser), \u201cYou feel that something is amiss, it seems, he isn\u2019t writing <em>right<\/em>, as one should, and then, at this very moment, you catch yourself in that feeling, and it seduces you.\u201d<\/p>\n<span class=\"indent\"><\/span>In preparation for the exhibition and all the while dimensionally approaching the limits of legibility of a condensed (writing) format, Rodrigo Hernandez has collected anonymous drawings-<em>scribbles<\/em> by children published on the Internet. Made into a small collection it became the basis of a new series of work combining materials of earlier use as well as new\/unexpected ones aimed at creating new meanings. This seemingly humble archive of anonymous drawings appears liberating as it is used in the exact same way in which the artist might use his own personal theme and material repertoire \u2013 free to alter and transform without any particular piety, focus or an artistic <em>agenda<\/em>, directed by a specific message.<\/p>\n<span class=\"indent\"><\/span>Also the installation time in Riga has a touch of experimental treatment of \u201cstudio work\u201d, that is, central exhibition work is created in-situ in the Kim? exhibition rooms: a site-specific installation of <em>papier-m\u00e2ch\u00e9<\/em>, that includes the architecture of the space, as well as engages the younger audience \u2013 children \u2013 in the making of the art work.<\/p>\n<span class=\"indent\"><\/span>Working with paper pulp is time-consuming, which turns an exhibition into an event that unfolds in time; although marginal and elusive to the eyes, however, change occurs throughout \u2013 as the material is drying out completely. The process itself, again, is associated with Walser\u2019s <em>Microscripts<\/em> through its characteristic deficiencies and its \u201cchaotic dispersal\u201d, which, in turn, confirms the artist&#8217;s interest in themes such as perception, the message, imagination and uncertainty, all in its various forms of representation.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"text-decoration: underline;\">Rodrigo Hern\u00e1ndez<\/span> (Mexico City, 1983) studied visual arts in the la Escuela Nacional de Pintura, Escultura y Grabado, \u201cLa Esmeralda\u201d in Mexico City and he completed his masters at the Akademie der bildenden K\u00fcnste Karlsruhe, in Karlsruhe, Germany in the class of Silvia B\u00e4chli. In 2014 he concluded a postgraduate program in Jan Van Eyck Academie in Maastricht, The Netherlands. In 2015 he was fellow of the Laurenz-Haus Stiftung, in Basel, Switzerland. His work has been shown in Kunsthalle Basel; Kurimanzutto, Mexico City; Museum Haus Konstruktiv, Zurich; 5<sup>th<\/sup> Moscow Bienal, Museo del Chopo, Mexico City; Bonnefantenmuseum, Maastricht; Elizabeth Foundation of the Arts, New York; NuMU &#8211; Nuevo Museo de Arte Contempor\u00e1neo, Guatemala; David Roberts Art Foundation, London; Parallel, Oaxaca; FRAC Marseille; Kunsthalle Baden-Baden; Kunsthaus Baselland; Walker Art Center, Minneapolis; Kunstverein Freiburg and Museo de Arte Moderno Mexico City, amongst others.","protected":false},"excerpt":{"rendered":"<p>The title of the exhibition derives from the Swiss novelist\u2019s Robert Walser\u2019s work Microscripts (Mikrogramme, published posthumously in 1956). And while German philosopher Walter Benjamin has pointed out two of the characteristics of Robert Walser\u2019s microscripts: \u201ca complete insignificance of content and the denial of style\u201d, Latvian J\u0101nis Taurens notes, that (reading Walser), \u201cYou feel [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[3,4,26],"tags":[],"class_list":["post-1389","post","type-post","status-publish","format-standard","hentry","category-2017-exhibitions","category-kim-exhibitions","category-past-exhibitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Rodrigo Hern\u00e1ndez &quot;The Shakiest of Things&quot; - Kim? 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