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Caelis Galería is delighted to announce the grand opening of its long-awaited new space at M50, marking a significant milestone for the gallery. The inaugural exhibition, "Musing by the Riverbank," will run from September 5 to October 28, 2023, featuring works from fifteen diverse artists.
"Musing by the Riverbank" draws its inspiration from the timeless dialogue sparked by the saying, "No man ever steps in the same river twice." In ancient Greek times, Heraclitus' philosophy of "everything flows" laid the foundation for a universal cosmogony based on sensory experiences. Franz Rosenzweig compared the worldview to a bowl immersed in a river, contemplating the world through this bowl, where he believed that what we hold and scoop from the river is but an isolated and static fragment of the flowing world. In the 1940s, Somerset Maugham wrote, the river flows on, and the water you dip into is as refreshing as the water flowing by, exploring the inner realm of the spirit and individual consciousness, transcending the confines of societal time.
If we delve beyond the surface flow of the river, the fundamental question of time comes to the fore. Often interconnected with the deep structures of society, it ranges from the spatiotemporal attributes and non-abstract nature bestowed by ancient economies to the irreversible linear vector of time rendered by messianism and the standardization of homogeneous time influenced by the industrial revolution. Under the yardstick, we can glimpse the features of modern time: individual freedom compressed by the publicization of time and the elevation of the future. It is in this context that Heidegger's "Four-Dimensional Time" - the foreign, the present, the past, and their interplay (Zuspiel) - constitutes a profound critique of the modern conception of time: time is the existential state of "being-there" (Dasein) due to the "being-together" (Zeitung). This breakthrough exploration of the duality of subject and object, as well as the emphasis on the state of "being-in-time," serves as a prelude to this exhibition.
In their artistic endeavors, creators must confront currents of varying depths and unknowns, each presenting itself in different states of turbulence, meandering, and grandeur. Yet, every current is imbued with change, murmuring as it flows forward. The ten artists featured in this exhibition are rooted in diverse cultural contexts. Their works converge along the banks of the Suzhou River, posing questions to the flowing currents that have sparked contemplation in ancient philosophers, seeking solutions to the intricate complexities of contemporary issues.
The quest for the "being-there" (Dasein) jointly defined by time and existence is evident in Arol's reflection on the worship of speed, transcending the dominating power of time by transferring the stratified experiments of computer painting, resulting in a reenactment of visual metaphoric aesthetics. August Vilella fully harnesses the subconscious, delicately capturing the authentic thoughts deep within, bridging the gateway to the unnamed world. Debbie Reda embarks on a color exploration through the aesthetic conventions of classic cartoon illustrations, sharing interpretations of collective memory and synchronicity. Skolyshev, renowned for "Red Girl," presents two minimalist works with a dark yellow background, wherein the girl abandons her formulaic smile, heralding an alternative and stirring call for individual power.
Jaime Sancorlo explores the topic of media transfer, juxtaposing substitute cartoon characters with black-and-white vintage photo subjects, revealing the true "images" of the adult world. Niall Campbell presents warning allegories of the human world on cardboard, spray paint, acrylic, and wood, constructing a world where animals evolve outside of human control. Keigo Nakamura inherits the classical realism image genes, constructing the complex and ever-changing inner landscapes of contemporary people from a psychological perspective. Sniqus employs sneakers as a medium to freeze the 1980s, delving into the desires, glories, and rebellions that permeate subcultures.
Moreover, some works respond to Heidegger's definition of the state of "being-there" (Dasein), namely "care" (Sorge), with a distinct light-hearted mood. In Adam's impromptu creation of a UFO abduction scene, the Bumblebee Girl embarks on a journey away from home, and the iconic ghostly figure exhibiting a pastel cloud-like appearance, metaphorically symbolizing the gentle relationship established with destiny. Cesc Abad, skilled in weaving expressive visual intentions, employs Pyrenees landscapes, simultaneously referencing post-impressionist techniques, gradually unveiling the gateway to a dystopian world. Fanny Brodar's vibrant iconic puppet figures originate from screen characters deep in memory, inviting the audience to explore their own narratives and perceptions.
Xavi Carbonell's return to the perspective of life's inception illuminates his brushstrokes, guiding viewers through the shimmering and psychedelic elements to establish a self-constructed connection. Jacob Vilató captures the focused moments of consciousness, presenting the flow of thoughts beneath the still surface. @GONHDO's spatial experiment in the paintings presents juxtaposed elements of plates, maps, and tablecloths, breaking free from the confines of frames to create an Italian feast, losing oneself in the historical corners amidst rhythmic beats. Esther Ziher pays tribute to the brighter side of life, crafting unique "Googly eyes" for characters, conveying humorous praise for the mundane daily life.

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