On the Cover:
Solange Pessoa, installation view at Kunsthaus Bregenz, with (foreground) Miracéus, 2004–23, various bird feathers and fabric. Photo: Markus Tretter, © Solange Pessoa, Kunsthaus Bregenz, Courtesy the artist and Mendes Wood DM.
Editor’s Letter:
“There’s a concept called ‘archaeological lacunas,’” says Gabriel Chaile in an interview this month,
“in which you attempt to reconstruct missing pieces of a broken object with plaster, but you’re not sure if you’ve filled them in correctly. Filling in this white space of the archaeological lacuna is what I do in my practice; I invent it.” His statement could serve as an allegory of all artistic efforts: trying to fill in gaps in a knowledge structure. For Chaile, this often means drawing inspiration from ancestors, by, for instance, working in adobe. Camiel Van Breedam is also inspired by his ancestors, dedicating sculptural pieces to his artistic forebears like Paul Klee and El Lissitzky or using materials and tools from the workshops of family members. Solange Pessoa, in her sculptural installations and objects, frequently employs materials redolent of the Brazilian past and culture, like chicken feathers and soapstone. Grace Woodcock’s biomorphic objects explore, and thereby fill out our understanding of, interoception and proprioception, while Andrés Aizicovich’s often interactive, and sometimes wearable, objects as well as his installations investigate communication and the impediments to it. And speaking of communication, don’t forget to trumpet your love of sculpture on the 9th annual ISDay, which falls on April 27 this year. ——Daniel Kunitz, Editor-in-Chief
