In this new series, the artist examines the space between the possibility and the impossibility of communication. What moves within the frame, and is the frame itself not movable? It is about social and political ties and relationships, their “infinite” diversity and future possibilities, but also about the impossibility of human communication. The line between them seems malleable and is often unrecognizable. And even in this impossibility, this breakdown of human communication, beauty can always be found, Life’s experiences teach us that success and failure, sense and nonsense, the logical and the paralogical, are closely linked in communication.

 

In today’s global climate of daily hypertrophic communication and its phenomena, the big news stories and the small messages, the law and finance, we see a growing mistrust, which generally brings together linguistically structured systems. The title of the exhibition invites us to contemplate things from the edge again, because when the centre is closed, we must be open to discovering and enabling other places, fields and spaces. These need not be very far away, and can be very close to us.

 

C.1. Play (Transparent), C.3.Play (Transparent), A.4.Play (Orange), B.5.Play (White), 2016. Silkscreen on acrylglas thermoformed. 82 x 76 x 6 cm. Cortesía del artista y Galería Helga de Alvear, Madrid.

 

A hundred thousand billion societies, 2018. 16 cubes, colour printed cardboard. 90 x 90 x 90 cm c/u. Cortesía del artista y Galería Helga de Alvear, Madrid.

 

Round table, 2018. Metal, chrom, wood, different colours of formica, engraved. 7 chairs and 2 stools. Cortesía del artista y Galería Helga de Alvear, Madrid.

 

B.Hang.Frame.Grid (Bertoia)…ground, frame, the gap… / A.Hang.Frame.Grid (Bertoia)…more or less restrated… / C.Hang.Frame.Grid (Bertoia)…oh no…, 2019. Bertoia wire chair (black), acrylic paint, text on different aluminium elements (different shapes), wire. 73,3 x 54 x 57 cm c/u. Cortesía del artista y Galería Helga de Alvear, Madrid.

 

Communication, 2018. Digital print on formica on wood, metal. Cortesía del artista y Galería Helga de Alvear, Madrid.

 

Vista de la exposición. Thomas Locher, The Shape of Words to Come: Edge/Corner/Margin, 2019. Cortesía del artista y Galería Helga de Alvear, Madrid. © Joaquín Cortés.

 

Vista de la exposición. Thomas Locher, The Shape of Words to Come: Edge/Corner/Margin, 2019. Cortesía del artista y Galería Helga de Alvear, Madrid. © Joaquín Cortés.