Created in 1960 in Paris, on the initiative of Raymond Queneau, OuLiPo (Ouvroir de littérature potentielle) set itself the task of discovering new potentialities of language and modernizing language by way of writing games. Born two years earlier, Chema Madoz couldn't have been a part of the adventure. Located on the borders of surrealism and the absurd, and using all the rhetorical procedures (from allegory to metonymy, by way of accumulation, hypallage, and concatenation), his photographic apply comes very near it: diverting objects from their main which means, associating them with others by way of their figurative (or secondary) which means to reveal their hidden which means; his uncommon marriages or diversions of objects staged before being photographed seem in effect as “ouvroirs” of pictures and potential meanings.
A sewing needle caught in the grooves of a fingerprint, a curtain product of blond hair, a house of playing cards imprisoned in scaffolding, an ear adorned with a crown of thorns, an axe swaddled in bandages… The newest collection of black and white pictures by the Spanish artist doesn't deny the legacy of the Rely of Lautréamont and his well-known verse-maximus from Les Chants de Maldoror: “Lovely as the prospect meeting on a dissection table of a sewing machine and an umbrella.”
Chema Madoz
Galeria Elvira González
Hermnos Alvarez Quintero, 1
Madrid
Till 16 July
Stéphanie Dulout
L’article CHEMA MADOZ est apparu en premier sur Galerie Joseph.
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