FUGA gallery presents Vacilaciones. Estados de visibilidad, an exhibition by Iván Candeo that brings together models, drawings, photographic images and other devices that explore different temporal states of visibility. Through works that play with repetition, waiting and change, the exhibition proposes a journey in which immobility and transformation place historical experience in a state of hesitation. Far from affirming immobility, the exhibition points to the paradox of a present that accepts the existing order as dysfunctional and failed, but does so from a position of critical and potential tension.

The exhibition opens with the installation Malevich transparente, which contains a model made of balsa wood that reconstructs the historic Suprematist exhibition 0.10, where Kazimir Malevich first presented his famous Black Square. A model—traditionally associated with the anticipation of a future project—functions here as a projection into the past: the reconstruction of an event that took place more than a century ago, based on a single photographic record. The model is accompanied by a series of 35 mm photographs taken from different angles and types of shots, offering a multiplicity of perspectives of the model distributed throughout the space. The installation proposes to symbolically traverse that opaque surface that has been read as the ‘zero degree’ of art. Making the black square transparent implies reorienting the gaze to another material context, offering a view from different dimensions of a historical scene considered radical and impenetrable.

From this zero point, the exhibition moves on to drawings of Paul Klee's Angelus Novus, interpreted by Walter Benjamin as the figure of the ‘angel of history’: the one who observes the ruins of the past with horror and is paralysed by that vision, while an unstoppable force pushes him towards the future. Candeo creates a series of these drawings “from memory” and with his eyes closed, producing a sequence of repetitions made without seeing. In this serialisation, the Angel multiplies and fragments: each image is similar and different at the same time, revealing minimal differences within the same form. These variations form an untamed story, constructed blindly, in a state of suspense or paralysis.

FUGA gallery presents Vacilaciones. Estados de visibilidad, an exhibition by Iván Candeo that brings together models, drawings, photographic images and other devices that explore different temporal states of visibility. Through works that play with repetition, waiting and change, the exhibition proposes a journey in which immobility and transformation place historical experience in a state of hesitation. Far from affirming immobility, the exhibition points to the paradox of a present that accepts the existing order as dysfunctional and failed, but does so from a position of critical and potential tension.

The exhibition opens with the installation Malevich transparente, which contains a model made of balsa wood that reconstructs the historic Suprematist exhibition 0.10, where Kazimir Malevich first presented his famous Black Square. A model—traditionally associated with the anticipation of a future project—functions here as a projection into the past: the reconstruction of an event that took place more than a century ago, based on a single photographic record. The model is accompanied by a series of 35 mm photographs taken from different angles and types of shots, offering a multiplicity of perspectives of the model distributed throughout the space. The installation proposes to symbolically traverse that opaque surface that has been read as the ‘zero degree’ of art. Making the black square transparent implies reorienting the gaze to another material context, offering a view from different dimensions of a historical scene considered radical and impenetrable.

From this zero point, the exhibition moves on to drawings of Paul Klee's Angelus Novus, interpreted by Walter Benjamin as the figure of the ‘angel of history’: the one who observes the ruins of the past with horror and is paralysed by that vision, while an unstoppable force pushes him towards the future. Candeo creates a series of these drawings “from memory” and with his eyes closed, producing a sequence of repetitions made without seeing. In this serialisation, the Angel multiplies and fragments: each image is similar and different at the same time, revealing minimal differences within the same form. These variations form an untamed story, constructed blindly, in a state of suspense or paralysis.