The pleasure of letting go. How many brushstrokes does a canvas need to be complete? This question seems like a metaphor for existence itself. An approximate answer? Impossible to know \u2014 perhaps that\u2019s the pleasure of letting go.<\/p>\n\n\n\n
Magdalena Kluth (Datteln, Germany, 1997) merges with pigment (interception), and once she becomes pigment, she fuses with the canvas (absorption). This act is repetitive, but never the same. Perhaps this is the enigma of all pleasure: continuity and discontinuity. But between one situation and the next, the \u2018crack\u2019 inevitably appears.<\/p>\n\n\n\n
The \u2018crack\u2019 is a kind of rupture\u2014derived from the vulgar Latin \u2018crepta,\u2019 meaning \u2018to burst\u2019\u2014 it is, strictly speaking, an \u2018explosion.\u2019 Isn\u2019t the act of painting an explosion between pigment and canvas? Kluth understands this well. In this back-and-forth of intentions, intensities, and repetitions oscillating toward difference, Kluth embraces the lack of control\u2014that is, the inexplicable emergence of color.<\/p>\n\n\n\n
To think of the explosion is to think of death, but also the birth of a wave in the ocean\u2014the moment when the water breaks. The burst can be painful but also invigorating\u2014 above all, uncontrollable. It is an image of movement, the intersection between coming\/going\/coming, beginning\/farewell\/beginning. Magdalena Kluth\u2019s works flow through phases of transformation, interception and absorption \u2014 a play between taking and letting go of control.<\/p>\n\n\n\n
_________________________________________________<\/p>\n\n\n\n
El placer del descontrol. \u00bfCu\u00e1ntas pinceladas necesita un lienzo para estar completo? Esta pregunta parece ser una met\u00e1fora de la existencia misma. Una respuesta aproximada: imposible de saber; tal vez esa sea el placer del descontrol.<\/p>\n\n\n\n
Magdalena Kluth (Datteln, Alemania, 1997) se fusiona con el pigmento (intercepci\u00f3n), y una vez que se convierte en pigmento, se funde con el lienzo (absorci\u00f3n). Este acto es repetitivo, pero nunca es el mismo. Quiz\u00e1s este sea el enigma de todo placer: continuidad y discontinuidad. Pero entre una situaci\u00f3n y la siguiente, inevitablemente aparece la “fisura”.<\/p>\n\n\n\n
La “fisura” es una especie de ruptura\u2014derivada del lat\u00edn vulgar “crepta”, que significa “estallar”\u2014es, estrictamente hablando, una “explosi\u00f3n”. \u00bfNo es el acto de pintar una explosi\u00f3n entre pigmento y lienzo? Kluth entiende esto bien. En este ir y venir de intenciones, intensidades y repeticiones oscilando hacia la diferencia, Kluth abraza la falta de control\u2014es decir, la emergencia inexplicable del color.<\/p>\n\n\n\n
Pensar en la explosi\u00f3n es pensar en la muerte, pero tambi\u00e9n en el nacimiento de una ola en el oc\u00e9ano\u2014el momento en que el agua rompe. El estallido puede ser doloroso, pero tambi\u00e9n vigorizante\u2014sobre todo, incontrolable. Es una imagen de movimiento, la intersecci\u00f3n entre venir\/ir\/venir, comienzo\/despedida\/comienzo. Las piezas de Magdalena Kluth son ires y devenires de la intercepci\u00f3n y la absorci\u00f3n, luego entonces viene la grieta, el colorido estallido de lo incontrolable.<\/p>\n\n\n\n
_____________________________________<\/p>\n\n\n\n
Magdalena Kluth (she\/her)<\/p>\n\n\n\n
\ud83d\udcc5 Apertura: 21 de septiembre, 6:00 PM
\ud83d\udccd KOIK Contemporary: Revillagigedo 75, Colonia Centro, CDMX<\/p>\n\n\n\n
\u00a1Te esperamos para compartir esta experiencia art\u00edstica \u00fanica! \u2728<\/p>","protected":false},"excerpt":{"rendered":"
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