Los Carpinteros

Galerie Peter Kilchmann is pleased to present this single exhibition by Los Carpinteros. Graduated from the Superior Art Institute of Havana, the collective, consisting of Dagoberto Rodríguez (*1969) and Marco Castillo (*1971). On the occasion of this exhibition Los Carpinteros will be showing a series of new works, including sculptures, large works on paper, and their new art film Pellejo.

Upon entering the gallery, one encounters forty metal sculptures that seem to cover the floor of the first gallery space. Clavos Torcidos [Twisted Nails] (2013) is an installation comprised of large-format nails (approx. 150 – 200 cm, each). Seemingly twisted and rusty the nails look like they have been extracted from their former purpose and discarded. The motif of “Failure” comes to mind. Bent out of shape, the nails have lost their purpose, when in reality the sculptures have been carefully crafted. Here, the ordinary becomes extraordinary. The different contours drawn by Clavos Torcidos resemble lying bodies, which are sleeping in different positions or the falled men after combat – in both cases the work discusses on the human shape and its suffering. This physicality finds an echo in the second gallery space, where the video work Pellejo is shown.

Pellejo [Skin](2013) is the second film made by the collective. A black and white HD projection shows the passing of time while two actors perform a sexual scene with each other. As an analysis of life and the essence of human existence, the film is a meditation on the meaning of time. The title itself refers to “skin”, the part of the body that displays the most physical signs of aging and therefore may be seen as a symbol for change and temporality.

Additionally, Los Carpinteros are showing new works on paper. Situating an object against an empty background that seems to convey some sort of landscape, the playful title of the works reveals what is in front of the viewer: Mohawk, Mullet, and Punk (all 2013, 87 x 121 cm, framed. Thus the drawings refer to different hairstyles that became famous during the 1980s fashioned out of wooden poles stuck in sand dunes and furniture.

The large-format sculpture Bola de Pelo [Hairball] (2013) marks the final peak of the exhibition. Continuing with the tendency of Los Carpinteros to formulate one motif in a variety of techniques, the sculpture shows the hairball as an abstract sculpture. While traditional sculpture is a reflection on volume, this piece shifts the focus to the idea of a possible "skin" of the sculpture. Despite the black coarse hair, the figure seems to more like a floating cloud than anything else.