The exhibition “Táctica Sintáctica” subverts museum guidelines to supply a outstanding area for the physique. Artwork works are scattered within the rooms, some partly hidden, others can solely be considered when guests are keen to squat, climb or kneel down: a real playground for guests. For this exhibition, artist Diego Bianchi transforms along with poet and curator Mariano Mayer a number of artwork works from the Museo CA2M Assortment and the ARCO Basis Assortment (Spain). The choice contains work by David Hockney, Julia Spínola, Bruce Talamon, Dan Flavin, Zoe Leonard, Dora García, Jimmie Durham, Günther Förg, Joachim Koester, and lots of others. With Bianchi’s personal works added a brand new technique (táctica) of free ends (sintáctica) comes into existence. By reframing the collections, additionally they displace the identification and sensuality of the our bodies round them. “Táctica Sintáctica” thus invitations guests to maneuver and play to find infinite views. The unconventional query is: what actions and identities are hidden and mirrored in artwork exhibitions? And what does the physique need?

“Táctica Sintáctica” began in 2022 as a part of the collection Dubbing the Voice of the Museo Centro de Arte Dos de Mayo in Madrid. On this collection, artists are invited to supply new views on the collections. By way of disruptions, unexpected interpretations and new methods of talking, artists open up collections for brand new productions. To re-load and design “Táctica Sintáctica” in Marres marks the second part of this opening-up course of. Right here, the exhibition provides not a perspective on an anchored assortment however as a substitute a bunch present unmoored from institutional historical past and reminiscence.

Diego Bianchi and Mariano Mayer: “It began as a sport. We wished to construct a whole panorama of works inside a museum. One composed of heterodox parts, rising excessive and piled on high of one another, capable of function a critique of the clinicality and neutrality wherein artworks are exhibited. We wished to take a while to think about that works have been as soon as once more issues of the world. In doing so, we started to see them as particles circulating, uncovered to gentle or hazard. The delicate bond we re-establish with objects permits us to rediscover our tactility and recollection. To forestall our tactile feelings from turning into a haze that may engulf the works, we wanted to launch supplies that have been unfinished, comfortable, sizzling, chilly, exhausting, tough. Caressing, massaging, elongating the supplies; discovering different varieties within the repetition, within the contact and really feel, within the gestures. Sculptural objects embody a second in time; they educate us to suppose with our arms. Our eyes enable us to find the space that exists between our physique and what we wish to contact. They don’t have anything to do with our visible enjoyment; they merely measure how removed from or near no matter we wish to contact we’re.”

at Marres, Maastricht
till Might 28, 2023