Region/Concept: Latin America, Myth
Sub-Concepts: Disorientation, Immensity, The Labyrinth, The Elsewhere
Description: Brazilian artist Henrique Oliveira creates installation of wooden caverns.
Theory: Artificial primordialism; hypothetical exodus; prophetic wilderness. An artist-sculptor takes the debris from splintered wood and restructures its pieces into a vast sequence of coils and turning lairs, the pseudo-site of an uprooted forest. Once wasted particles have now become a continuous network of excess and immensity, the catacomb of some child or savage’s dream (terrifying innocence). The consequence: an assembled geography of enclosures and subterranean halls (the tunnel, the labyrinth, the corridor, the cylinder, the cave); appearance of an untouched world; manipulated sublimity. These arteries are but the collective lie of an origin (only their hollowness is universal). Such is the experience of the radical elsewhere: traveling beneath, within the underpass and the curvature. Such is the experience of spatial bewilderment: where one goes to join the lost, the aimless, and the disoriented.