enjambment
Charlotte Moth
10.09.2020 - 05.12.2020, opening 10.09.2020
To a favourite tree, 2020
metal cube frame with oiled finish, heat-treated bronze, natural mat varnish
330 x 288 x 237 cm
unique
Photo : Aurélien Mole for Marcelle Alix
Still Life in a White Cube, 2019
16mm digitally transferred film, colour, sound
8 min
ed 5 + 1
photo Patricia Nieto, exhibition view, CA2M, Mostoles (ES), 2019
production Centro Arte Dos de Mayo, Mostoles (ES)
morning noon and evening #5, 2020
black and white analog print
15 x 22.5 cm
ed 3 + 1
morning noon and evening #3, 2020
black and white analog print
11 x 16,5 cm
ed 3 + 1
morning noon and evening #4, 2020
black and white analog print
14 x 21 cm
ed 3 + 1
morning noon and evening #1,
black and white analog print
27 x 39,5 cm
ed 3 + 1
placement #10, 2020
wood, paint, aluminium, plexiglas, glue
12 x 21.5 x 9.5 cm
unique
Photo : Aurélien Mole
placement #7, 2020
card box, cotton dripped in wax
15 x 19.5 x 2.5 cm
unique
Photo : Aurélien Mole
placement #6, 2020
dripped in wax, convex lens
20.5 x 14.5 x 4.5 cm
unique
Photo : Aurélien Mole
placement #2, 2020
foam, ostrich feather
20 x 25,5 x 8,5 cm
unique
«S·he who has thought most deeply loves what is most alive.»
Friedrich Hölderlin
Our relationship with living beings is complicated, even for those who have never had this impression from a personal point of view. Today, it's a never-ending concern. This crisis of sensitivity is more than ever transmitted by artists whose work it is to become affiliated with the living, never losing sight of sociopolitical and natural relations. The exhibition, if it is a décor, can nonetheless help you to feel alive and to become reacquainted with phenomena that are to do with both the tree of the forest and the exhibited sculpture. These phenomena include gravity as much as the feeling of spanning a multitude because of a tree that is growing or a human being who can see. We know that tree branches softly slump at the end of the day to begin a phase of rest. Charlotte Moth has also been attentive to what is going on when you try to find a calm space, a deep thought, or a belief in nature. The exhibition doesn't escape from life's flux and Charlotte has always defended this by replacing certain forms in our imaginations, by seeking the two sides of an exhibition: knowledge and sensitivity. If the exhibition reconstitutes some of the paths of sensitivity, nurturing kinship, it is also a place of revitalisation. There, we can find forms of attention, as well as an availability with regard to the living. The restful silence of Charlotte Moth's exhibition opens this new exhibition programme in response to these times, that are rich in meaning, where we were «both a youth and a girl, a bush and a bird, and a sea-leaping, voyaging fish.»*