, May 10 – Jun 14, 2008
The Pedro Cera Gallery is pleased to announce the first solo exhibition by Pedro Neves Marques, titled “Abbreviated Imagetics”, made up of a set of six texts by the artist presented on photographic print and of two videos, “Attempt at: The Rhine Divers (Basel; August 2007)” and “Bridges of Basel (Johanniterbrücke; Mittlerebrücke; Wettsteinbrücke)”.
In Abbreviated Imagetics
, Pedro Neves Marques surveys specific congregations of the individual/collective binomial, alluding to moments of its emancipation in relation to an order, with an explicit presence of the individual in and as a constituent element of a collective; that is, the more or less evident exposing of a capacity and acknowledgement of the individual, in what this involves (will; critical judgement) and his permanent dissolution within the social and/or collective whole.
The series, which was begun in 2006, ends with a work produced in early 2008. The temporal arc of making the works led part of the series from fiction to reality; from construction to the recognition of the making, culminating in determination as to making this activity a reality in “Attempt at: The Rhine Divers (Basel; August 2007)” and in the planned “The Wadden Walkers”, by fixing within them the temporality of the action obtained through recourse to the dating of the situations. That is, if in the first works of Abbreviated Imagetics (The Ladder for Two or the Communist Ladder; The Tautological Stadium) the making had been carried out, in an attitude close to performance, the following works, although they were carried out with similar structural presuppositions, gained their own geography or dating.
For Pedro Neves Marques the use of writing is on the one hand intimately connected to the inability to translate experience through visuality or image, and on the other hand to that which Jacques Rancière defines as, with Modernity, the constituting of writing in its democratic potential. Writing thus appears here as intimately associated to that power of the subjectivity of the individual or collective subject.
If in its fidelity, the image is as close to what it documents as it therefore remains distant from that which it documents; that is, if the image both represents and impedes the penetrability of the subject in the deconstruction of the object, writing confronts the image and takes its distance from it, yet including it, with this being its inner strength.
In these works the writing, in its literal and abstract nature, necessarily, if not obligatorily, commits the spectator to what is written. Recourse to writing as an element of documentation or approach to events and precise situations allows the permanence of the event in a non-representable world and the displaying of the spectator’s subjectivity in the conception, memorising and communication of it.
Pedro Neves Marques was born in 1984 in Lisbon, where he usually lives and works, residing temporarily in Berlin. He has a Degree in Plastic Arts from the Lisbon Fine Arts Faculty (2007), and of note in his career are his participations in the exhibitions, “Besrevelação 2007”, at the Casa de Serralves, Oporto, and “Eurasia – Ten New Artists at the Anastácio Gonçalves House-Museum” in Lisbon.