Fricciones

Fricciones | 2022 | Ruth Benzacar Gallery | Buenos Aires | Argentina

The throbs of matter
Ana Inciarte

For a decade now, Luciana Lamothe has insisted on connecting with the sensible life of materials. By conceiving them as living bodies, she pays careful attention to their pulsations and latencies. She perceives the subtle activity of the muscles and nerves of supposedly inert materials, to endow them with life.

But this plasticity is exposed at the precise moment in which direct contact with another body befalls.

Lamothe highlights the plasticity of wood, a long-standing material in her repertoire, based on simple and effective procedures that intervene in its behavior, such as changing scale or layering. Since the vitality of matter is relational, Fricciones sculptures are endowed with life at the exact and fleeting moment in which they are touched by another body, the human. When the contact ends, when the ephemeral breath of life ceases, the body of the wood returns to its original state: like a compression spring, that stores energy and is released from it to return to its initial form, the turbulence calms down.

The experience of transformation that Lamothe’s work engenders is not the substantial modification of matter, but rather the intensification of its elasticity by marking the point of contact between bodies as a seismic epicenter. This transformation is not repeated in a unique and identical way but differently each time, depending on the force, pressure, size or location of the body that rubs.

In each of the exhibited works, different possibilities of transformation are presented upon contact. The tables of the structures that accompany the performance Invocar el acto are flexed by the force and pressure of the performers, who bend the cubes and open the wedges. The large entrance funnel to room 2 opens only by the push of whoever enters it, without the possibility of going back. In her interest in stretching the limits of contact between the human body and materials, Lamothe made models with wooden boards where the figures rehearse impossible postures that accentuate the vertigo that accompanies, to a lesser or greater extent, any intense experience. Lastly, in a humorous gesture, the artist herself challenged her search to grant flexibility to rigid materials, to instead seek rigidity in what is already flexed, as occurs in the video.

The word friction refers to the action and effect of rubbing two bodies. At the precise moment of friction, the two bodies transform themselves, and it is that moment of mutation that Lamothe proposes to investigate by provoking the friction of the body of the materials with the body of the performers, the spectators, and the artist herself. At that moment she concentrates the minimal gesture that moves away from any previous concept, the dispossession that intensifies, the distillation that reveals and makes emerge what remained veiled: the throbs of matter, the modes of existence of each body.

Fricciones | 2022 | Ruth Benzacar Gallery | Buenos Aires | Argentina
Fricciones | 2022 | Ruth Benzacar Gallery | Buenos Aires | Argentina
Fricciones | 2022 | Ruth Benzacar Gallery | Buenos Aires | Argentina
Fricciones | 2022 | Ruth Benzacar Gallery | Buenos Aires | Argentina
Fricciones | 2022 | Ruth Benzacar Gallery | Buenos Aires | Argentina
Fricciones | 2022 | Ruth Benzacar Gallery | Buenos Aires | Argentina

Fricciones | 2022

Exhibition view: Ruth Benzacar Gallery | Buenos Aires | Argentina
Ph: Ignacio Iasparra
Video