kurimanzutto is pleased to announce Gabriel Kuri’s 2012, a Mexican artist who returns after five years to exhibit in the gallery, from April 24th to June 16th, 2012.
This exhibition consists of a heterogeneous crafting group of sculptures. A printing upon a big nylon fabric, visible only through a wall, which imposes upon the spectator when he comes in; a line of tables, of personal taxonomy? For public service? For the practice of suffrage? With a spread of ordered objects, forged as well as found; a copying machine and some filling cabinets, denied of their function; a series of light boxes showing the side of their contents and a stone which wants to be an image of itself. Although it might seem as if there was an insistence upon the expression of improbability or denial through these objects, actually, they try to be the concrete and therefore affirmative expression of their own paradox.
Gabriel Kuri’s work shows an interest in the consideration of sculptural practice as a medium to administer the material and the coins of symbolic exchange. Sculptured gestures, such as order, piling, inserting, folding, heaping, covering and of course signaling, have an undeniable administrative effect, even on its physical impulse, primordial or pre-rational, maybe that is why a certain bureaucratic atmosphere surrounds the present exhibit.
In spite of his present practice being mainly focused on sculpture, the information, the image and the epistemology remain recurrent issues, which he paradoxically takes on through the possibilities of space. Frequently, the space on which he insists, more than a stable field, comfortable or physically graspable, is a lapse, a space between two objects, states or circumstances.
With his sculptural practice, Kuri looks to redeem that interstitial space. Also, certain pieces on the exhibition (such as the printed fabric hanged face to the wall, the copying machine or the blinded filling cabinets) pretend, from sculpture, to research the cognitive and inaccessible space, product of the information’s hiding.
Without moving away from the crafting and the more current modes of production in his practice, as the arrangement and classification of found objects, the employment of consumption, waste or building materials, the use of mediums for the display of information, etc., the present group of work looks to direct their questions more particularly to the social order.