Andrés Laracuente

Andrés Laracuente

Work from Eyes Have No Cash.

“For his second solo exhibition in Paris, Andrés Laracuente has created a rhythm of kinesthetic thought in a new series of photographs and sculpture. The artist grounds light-weight objects and procedures which are disassociated with the physical by marrying them to an especially earthly form of Juju. Throughout the exhibition Laracuente leans heavily on the word “model” taking it for many turns, cross pollinating hand models, the prototype, and social models of technology, communication, fashion and desire.

The four photographs of the hand modeling series feature human hands saturated with pigments of RGB. They are unexpectedly paired with their intimate counterparts of interface in the form of printed images. Images created by scanning specialized wipes used for cleaning wood, leather, and steel are modeled alongside those of keypad components removed from the interior of mobile phones. Without picture making abilities, Photomodel is like a haptic camera. The artist replaces micro-processors with red clay leaving only the optics, the LCD, and the camera’s armature. This work would suggest the photographic image is crude, base, and modeled like an object, while emphasizing the memory of the body.

Ford Tracer, implicit of foot worship, Henry Ford’s Model T, and the fashion model is a fragile clay form shaped from the underside of the high heel shoe. With this work and throughout, Laracuente creates an underlying relationship to the earth and the ground. In the work Extended Vibration: Intercourse two twin mobile phones vibrate continuously, spinning slowly like the minute hand on a clock. Of a make and model from the recent past, the perpetual motion of the mobiles begin to create a choreography of human relationship and communication. The work is an unanswered endless call from a familiar void, and absurdly persistent.” – Galerie Yukiko Kawase

via VVORK.