My disbelief to see, in I‘m still here, the unlucky Joaquin Phoenix falling into a grotesque and swirling professional and personal failure, catch me and stimulates me as a viewer, in a subtle game in which any information that is passed, falls into the hypothetical midpoint existing between reality and fiction.In the contemporary paradox of a Phoenix that, in 2010 Casey Affleck’s mokumentary, says goodbye to his acting career and to the stage, in order to pursue an unlikely career as Mc, the highest level of knowledge and awareness of truth, is accompanied by an ease of modification, similar to pre-writing oral narratives.
In a violent switch, this knowledge, together with the recent vision of the exhibition of Neil Beloufa(1985), Superlatives and Resolutions, at Mendes Wood gallery, Sao Paulo, makes me think that, perhaps, I’m still here and his works are not so different. Beloufa’s work is a balanced and reasoned combination of fiction and reality, aimed to creating complex, credible and real narratives, even if completely built and fictitious.
Through its structures, the objects, and his videos, the artist analyzes and draws attention exactly on language dynamics and on its more subtle facets. Above all its infinite possibilities of production and stimulation of visions that arise from general knowledge and preconceived ideas that each viewer brings with himself. With a strong sense of irony, Beloufa, create displays that manipulate and mix the narrative, surfing the reality and the fiction, producing a kind of new oral transmission approachable language.
In this mood, the Franco-Algerian artist, has opened its first solo show in Brazil, on display until July 26. In the branch spaces of gallery Mendes Wood -Vila Romana- Beloufa exposes a series of installations, video works, thought in relation to the exhibition space. Several modular pieces, which consist of several common objects, create a multidimensional landscape in which to move, jumping from one suggestion to another. The objects become focal points of the space and the viewer is suddenly immersed in a strangely plausible and recognizable landscape, though made up of uncertain and lame images.
As in the work Maya SP, the effect; the causes and the fall (2014), in which, from the title, we are led to the perception of something deeply wrong, anachronistic and far from our understanding. At the same time, we read in it a sort of hidden and encrypted truth, that we think to be able to understand, convincing ourselves that through the use of a fan and a domestic plant, the artist, is suggesting us a cross-section view of a – more or less – old historic event.
A powerful and seductive exhibition that presents in the best way the work of a complex and dynamic artist, able to play with that fine line between the possible and the impossible, that captures and entertains the viewer. How would it be possible to think that Joaquin Phoenix really did himself a disservice.