Laura Lima
Monte de Irônicos: Palhaço com jarro de flores, 2005/2024
tecido, couro, papel machê, pastel, aquarela, jarro de madeira, flores secas e segredo
[fabric, leather, paper mache, pastels, watercolor, wood jar, dry flowers and secret]
[fabric, leather, paper mache, pastels, watercolor, wood jar, dry flowers and secret]
dimensões variáveis
[variable dimensions]
[variable dimensions]
Copyright O Artista
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São palhaços. Um monte é um “tanto”, uma “porção”, como também uma “montanha”. É uma palavra-paisagem. A presença desses palhaços no espaço expositivo equivale às duas coisas, tanto em forma...
São palhaços. Um monte é um “tanto”, uma “porção”, como também uma “montanha”. É uma palavra-paisagem. A presença desses palhaços no espaço expositivo equivale às duas coisas, tanto em forma como em conteúdo. Segundo a artista, a montagem ideal é que ele, sentado com o calcanhar esquerdo fixo em cima do seu jarro de flores secas, seja um objeto esquecido, jogado no espaço, sem protagonismo algum; que ele entre numa exposição cuja proposta curatorial não o encaixe, como se esse monte tivesse sido “deixado” ali.
[They're clowns. The word for bunch in the original title, monte, means "some", a "portion", as well as a "mountain". It's a word-landscape. The presence of these clowns in the exhibition space is equivalent to both, in form and content. According to the artist, the ideal set-up is for it to figure in exhibitions as if left there by chance, as an unnoticed object with no direct connection to the curatorial premise of the show, sitting down still with his left heel fixed on top of a dried flower jar, thrown into space, without any protagonism; as if this pile had been "left" there.]
[They're clowns. The word for bunch in the original title, monte, means "some", a "portion", as well as a "mountain". It's a word-landscape. The presence of these clowns in the exhibition space is equivalent to both, in form and content. According to the artist, the ideal set-up is for it to figure in exhibitions as if left there by chance, as an unnoticed object with no direct connection to the curatorial premise of the show, sitting down still with his left heel fixed on top of a dried flower jar, thrown into space, without any protagonism; as if this pile had been "left" there.]