Transition
Paramo Gallery, Guadalajara
January 30 - March 19, 2016

Transitions is comprised of three new bodies of work. The individual works are simultaneously independent and interconnected as they come together to form a provocative, reactive installation. Evoking questions of power and bravado found in musical and social environments, the works investigate the underlying themes of intimacy, performativity, sexuality and excess. Naama Tsabar and Fielded, a New York-based musician, will join a group of local musicians in activating the works for a space-specific performance on the opening night.

Continuing her ongoing Work On Felt sculptures, Tsabar moves the work from the floor to the wall with three new Felt Variations. The new wall-based pieces liken to a Minimialist tradition while also compelling a tactile approach, as they can be plucked and played by the participant. The pitch of the string can be changed through the act of pressing one’s body against the object, thereby introducing an erotic undercurrent to these new works. Extending or shortening the curvature of the work, allows an intimate experience between the object and its catalyst.

The Transitions works are an entirely new series in which the artist has inverted amplifiers and speakers by emptying out their inside components before reinserting the elements as visual components onto cotton and linen canvases. The wires punctured in and out of them to create a visual composition. When connected to power, each canvas retains its functional role with a set sound and volume level.

In the exhibition, four Transitions works will be hooked up to the work Barricade, a work composed by a set of sixteen microphones arranged in a square formation, each side feeding one of the canvases around, to create a performative negative space. The arrangement and structure of the microphone stands acts as both barrier and enabler as the performative space in Barricade is compressed both physically and sonically. The performer and performance are contained inside the border of the square, but upon activation the sound is funneled to the gallery walls, filling the architectural space of the gallery. The cables on the gallery floor double as a sketch or gallery plan of the transmitted sound.

A fifth Transitions canvas will be on view with dangling cables, unattached from any sound-making devices. The dual existence of these pieces is essential to their understanding, as the canvases constantly move from one field of reading to the other (much like the Felt Variations). They are visually surreal as they hold a potential of sound and continuously shift, maintaining a constant state of transition.