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Huis Clos
Mario García Torres, Peter Nadin, Roman Ondak, Mungo Thomson.
A curatorial project by Magali Arriola
Peter Nadin Nine Days Work
Mungo Thomson Pushpin
Roman Ondak Untitled
During 1978, Christopher D’Arcangelo and Peter Nadin asked the gallerists that hired them to build plastered walls or ceilings, that the transitory structures they had just built be shown to the public. By designating the space as their artwork and making it visible for a few hours in between shows, D’Arcangelo and Nadin activated the aesthetic properties of their interventions (expressed in terms of function, design, surface, materials, execution and purchaser) as a “means of survival in a capitalist economy”. Moreover, they prompted the exhibiting artist to consider as artworks the walls on which he or she was to install his or her work, and thus renegotiate the significance of his own practice within this cumulative logic.
Using this as a backdrop, Huis Clos stands as a sort of prelude to Proyectos Monclova’s program in its new space detailing, in a rather generic manner, the different elements that conform an exhibition. Rather than providing for a linear reading, the works’ interaction results in a situation that culminates in a revolving inertia or dead end (a similar confinement to absurdity that characterises No Exit – Huis Clos –, the play by Jean Paul Sartre, from which the exhibition borrows its name).
Upon request, Peter Nadin has recognised the walls of the new gallery as an extension of his and D’Arcangelo’s practice, knowing that one of the main premises of their work was, precisely, that it could be adapted to different contexts. On these walls is lodged Mungo Thomson’s Pushpin, a porcelain replica of a tag which denies its functionality as it points to blank space – probably that left by Mario García Torres’s Missing Piece, a fundamentally lost work that is only to be found in a checklist. It is from that perspective that Roman Ondak’s sign can be read as an add-on, or a consequence, that repeatedly announces the postponement of a deadline. A pause is thus generated within the art system and its market, allowing to rethink exhibition models and the spaces they create.
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Works in the exhitibion:
Mario García Torres
Untitled (Missing Piece), 2005
Intervention in a checklist
Variable dimensions
Courtesy of the artist and Jan Mot
Peter Nadin
Nine Days Work; 9 x 4 mts., 11 x 5 mts., 9 x 4 mts., 11 x 3 mts., 3.30 x 3.10 mts., 3.30 x 3.10 mts.; Function by José García; Design by function; Execution by Isauro Maldonado, Fernándo López and Eduardo Cervantes; Materials: Drywall, Lath and Nails; Purchased by Proyectos Monclova, 2008
Sheetrock
Courtesy of the artist
Roman Ondak
Untitled, 2005
Plastic sign and cotton cord
Variable Dimensions
Courtesy of the artist
Mungo Thompson
Pushpin, 2004
Porcelain
.25 x .25 x .50 in.
Courtesy of the artist
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