Tag: Rodrigo Moura

The Warehouse Extends DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES

JULY 10, 2017 – APRIL 14, 2018

In the short story William Wilson, Edgar Allan Poe presents a sinister plot: the tale of a character who, from his childhood, experiences the apparition of a figure who in everything resembles and haunts him with similitude and repetition – until he turns out to be himself. It is the doppelgänger, or double, a recurring figure in literature (from Dostoyevsky to Borges and Wilde) and in all the arts. The very act of representing – oneself or the other – can be understood as a gesture of creation of parallel realities, thus doubles to those in which we live. The exhibition DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES takes this literary figure as a starting point to create an inventory of situations in which otherness and duplication/repetition are manifested in works from The Rachofsky Collection, The Rose Collection, The Collection of Marguerite Steed Hoffman, and the Dallas Museum of Art, among others, assuming diverse configurations: from forms of representation that occur through replicas, shadowing, and mirroring to logical-formal exercises that are expressed by the use of halves and doubles. The narrative departs from works in which the theme of the double appears explicitly – the most striking example being Felix Gonzalez-Torres’ “Untitled” (Perfect Lovers), an iconic piece from the collection with its identical but different clocks – to arrive at the idiom of abstraction, where virtual space and its relationship between exterior and interior constitute a bridge to the rapports between the self and the other.

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES, 2017
Gallery 1: work by Jorge Macchi and object from the Yoruba peoples, courtesy The Warehouse

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES includes work by John Ahearn, Eija-Liisa Ahtila, Kai Althoff, Laurie Anderson, Giovanni Anselmo, Janine Antoni, Jo Baer, Robert Barry, Georg Baselitz, Alighiero Boetti, Marcel Broodthaers, Vija Celmins, Chung Chang-Sup, Alice Channer, Lygia Clark, Bruce Conner, Alexandre da Cunha, Jessica Dickinson, Rineke Dijkstra, Marlene Dumas, Luciano Fabro, Saul Fletcher, Lucio Fontana, Gilbert & George, Robert Gober, Fernanda Gomes, Felix Gonzalez-Torres, Mona Hatoum, Lee Kangso, Ellsworth Kelly, Mary Kelly, Lee Kun-Yong, Luisa Lambri, Glenn Ligon , Seung-Taek Lee, Jorge Macchi, Mangelos, Babette Mangolte, Piero Manzoni, Robert Mapplethorpe, Kris Martin, Allan McCollum, Gabriel Orozco, Damián Ortega, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, R.H. Quaytman, Charles Ray, Ad Reinhardt, Mauro Restiffe, Medardo Rosso, Salvatore Scarpitta, John Schabel, Richard Serra, Jiro Takamatsu, Richard Tuttle, Luc Tuymans, Lee Ufan, William Wegman, Rachel Whiteread, Steve Wolfe, and Lynette Yiadom-Boakye, as well as objects from Dallas Museum of Art’s Ancient Art of the Americas and Arts of Africa collections.

Rodrigo Moura
Exhibition Curator

 

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES is the first in a series of guest-curated exhibitions at The Warehouse.

Watch an Interview with curator Rodrigo Moura

The Warehouse Presents DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES

Félix González-Torres, Untitled (Perfect Lovers), 1987-1990, Dallas Museum of Art, fractional gift of The Rachofsky Collection

 

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES

July 10 – December 29, 2017

 

In the short story “William Wilson,” Edgar Allan Poe presents the sinister tale of a character who from his childhood encounters a figure that resembles him in every way. The apparition haunts him with similitude and repetition—until it turns out to be himself. It is the doppelgänger, or double, a recurring figure in literature (from Dostoyevsky to Borges) and in all the arts. The very act of representing oneself or the other can be understood as creating parallel realities, thus doubles of those in which we live.

 

The exhibition DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES takes this literary figure as a starting point to create an inventory of artworks in which alterity and duplicity are manifested. In a succession of galleries, the theme is developed into different groupings of works—from forms of representation that occur through replicas, shadowing, and mirroring to logical-formal exercises that are expressed by the use of halves and doubles in geometric abstraction. Works from the African and ancient American art collections at the Dallas Museum of Art have been incorporated into the show and bring complexity to the role of representation and representatives in object making throughout art history.

 

The title of the exhibition involves a play on words drawn from three languages: English (the de facto national language), Spanish (the language of the Other), and Portuguese (my language). Doubles (the original term), dobros (Portuguese for “two times something”), pliegues (Spanish for “folds,” or, in Portuguese, dobras, the feminine counterpart of dobros), pares (“pairs”), twins, and mitades (“halves”).

 

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES draws works from The Rachofsky Collection, Dallas Museum of Art, Collection of Marguerite and Robert Hoffman, Collection of Marguerite Steed Hoffman, Deedie Rose, and Jennifer and John Eagle.

 

Rodrigo Moura

Exhibition Curator