- CHERT LUEDDE

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Text adaptation: "Esta canción ya tuvo aplausos" (This song already had applause)

"Esta canción ya tuvo aplausos" is the phrase of an Argentine singer that called my attention.
When saying it on stage to his audience, he indicated that what he was going to sing, 
was something that had already been recognized by an audience in a past time.

I still don't know if the project really should have this name, but I liked the idea of
taking it as the beginning of what may be the exhibition in Berlin. I got interested
in the phrase in relation to my sculptures  (the clay ovens) that I have been making 
for a couple of years)   Its important to understand that these sculptural pieces that
I make what they actually do, is bringing to the present something that for us 
(the Argentines) is invisible in museum showcases: small ceramic pieces from 
indigenous cultures that are part of our identity but that the nation's project made
invisible. These ceramics that I take as references for my work, as the phrase of
the popular singer indicates, have already had applause. They were part of a 
community that was its public, that used them, that activated them.

So what I try to do with my pieces, is to think how these forms of invisible identity
have survived to the present. I realize this, first of all, when I look at my face 
(with indigenous features), but I also see it in the forms, such as the clay oven for 
example, which is nothing more than a primitive form included in our present.
To reach these conclusions I have developed a concept that I call "Genealogy of Form”:

It has to do with understanding the process by which the surfaces of things adopt a 
certain shape with the course of time and in that process, they continue to mutate under
a genealogical line. For example, a cube is a cube but we could say that it is the cousin 
of a sphere because inside it there is a perfect fit for a sphere. If we analyze the cube
genealogically we will be able to find all the forms that it adopts until it becomes a
sphere or vice versa. The addition and subtraction will then be the external factors 
that determine the forms.

For the exhibition in Berlin, I want to develop a fictional musical system that connects 
two oven-sculptures (two central pieces of medium scale:
200 cm x120 cm x120 cm each) I would place them in the largest rooms of the gallery, 
and in the rooms of the basement or in the smallest rooms, I would build a system of
pipes as arteries that connect but are independent at the same time. This pipe system 
would be built in adobe with bronze inlays (see reference images).
I am interested in the presence of music in the exhibition, and I want to develop a series
of small and medium sculptures made with bronze pipes, connected to each other, 
that draw lines in space and at the same time allude to musical instruments such
as a flute, a harp or a guitar.
The exhibition would develop this mentioned concept that I call the genealogy of form, 
emphasizing the presence of music (almost imperceptible) but very present through the
clay ovens that build an adobe system and give presence to the image of a music that 
"already had applause"

Gabriel Chaile.
 

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