L’Innominabile, confuso alla Porta dei Leoni

Magazzino is happy to announce the third solo exhibition by Jorge Peris (1969, Alzira) at the gallery after Diamante in 2007 and Dolmen, Sinfonia nr. 7 in 2015. The exhibition is the ideal completion of a trilogy initiated in 2020 with Dark Man a lomos del pájaro de fuego (IVAM, Valencia) followed in 2021 by Desembarco en el País de Nunca Jamás (Nicodim Gallery, Los Angeles). The exhibition at Magazzino will open to the public from April 7 to May 14, 2022.

L’innominabile, confuso alla Porta dei Leoni (The Unnamed, confused at the Lion Gate) builds on the tradition, well rooted in Peris’ work, of free associations between seemingly distant elements, collocated in a system of references that goes from music to mythology, from the history of arts to psychology and philosophy.

The chronology of this exhibition consisted, for Peris, in a play of subtractions: a stable balance of forms and spurious combinations, that is, the result of a distillation of elements and forced but yet harmonious material mergers. From a dross of objects of uncertain provenance and diverse histories (where any), Peris was able to restitute an harmonious, organic whole, maybe still acephalous like the lionesses in Mycenae, but indeed polypus. One of the key characteristics of Peris’ work is to be the result of an assemblage of opposites, similar to the conceptual binomials typical of philosophy, that convey to surface conflicts or dichotomies through their tensions and equilibriums: full and void, light and heavy, stasis and dynamism.

The nomadic studio of these three exhibition plays, again, the role of an alchemic place for the fulfillment of an unspecified albedo; as in a opposition to the one that led to the 2015 exhibition, in this new process the forms enter the studio completed and come out exploded, the objects enter distinct and come out fused. In the exhibition, the viewer experiences of an apparent chaos, the result of a complex design and a complete reconstruction. The path between the works on display responds to a logic of balance, the same logic intrinsic to each sculpture; the highly individual and explosive tension of the single work is contrasted, as a whole, by a domestication to the rules, as certain as they are arbitrary, of a geometry of the irrational.