Untrained Voices, 2015

Untrained Voices is a proposal of a new alphabet consisting of 48 silhouettes, an ongoing exploration of the potential of writing as a production method.

The resulting code is not subjected to any determined language or grammatical rules; trying to evidence the basis of the linguistic constitution of human beings, which is not restricted by interpretative guidelines. Meaning relies on the multiple subjective mechanisms of understanding.

Each of the proposed signs reveals one or multiple faces. Possible portraits waiting to interact with the viewers, enouncing different discourses freed of interpretation.

The exhibition is conformed by a series of communicative rehearsals, using the human form not as a reference point, but as an open symbol.

The gallery space is the tasting area of a new language that is still on trial.

View of the exhibition at gallery Travesía Cuatro Guadalajara

Novembre 2015

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Untitled (Discurso #6), 2015

Ink and gouache on canvas and metal shelf

Note: The repetition of a composition generates an object. The repetition of a composition generates an object. 

Untitled (Discurso #1), 2015

Ink and gouache on canvas and metal shelf

Sculptural objects don't sleep.

They don't sleep and that's it.

They don't sleep because they think all the time.

They don't sleep because they expand so much the scenario of possibilities that to unravel them it would take all the sleeping time. 

They don't sleep because they receive so many external projections about their possible representations that to come back is exhausting​ just to start again minutes before opening to the public. 

The sculptural objects on room three don't sleep, they discolor, they dry out, they crumble.

(front)

Leontyne Price cantando Hostias de Messa di Requiem de Giuseppe Verdi, 2015 

Copper and museum bench

(back)

Kim, Kylie y Khloé. 2015

Ink and oil on canvas and metal shelf

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The stone idols recognized language as a vicious practice; they decided to assume secret lives. Human beings felt great jealousy of these ungrateful idols, so they tried to impose daily life to them: going for long walks, talking for hours and covering them with blankets for protecting them from the cold weather. They never understood that simply occupying space could be a form of communication.

(front)

Martha Argerich tocando Chopin's Polonaise #6 L'Héröique, 2015 

Copper and museum bench

(back)

Svetlana Aksenova como Cio-Cio San en Madama Butterfly. 2015

Ink on canvas with acrylic frame

We thought the piece located on the left was mute. It dislikes to be exposed to intense lighting because it outshines its dim purple hue. One night it escaped.

© Gabriel Rosas Alemán, 2020