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León Ferrari

Ruth Benzacar Galeria de Arte

Trying to read León Ferrari’s scribbles is almost embarrassing. It’s like intruding on a private realm, seeing things never meant for our eyes, overhearing a whispered conversation. Indeed, this selection of Ferrari’s drawings, curated by Victoria Noorthoorn, seemed like an open diary: the artist’s silent and most private attempt at finding a self—in any case a search for something at times almost within reach, at other times completely inaccessible, but always as elusive as quicksilver. These calligraphic line drawings, mostly ink on paper, which first appeared around 1961 and have continued throughout the artist’s career, sometimes resemble the works Henri Michaux did under the influence of mescaline. But however akin formally, the two artists’ works are in fact born out of quite different spirits. Ferrari’s practice of drawing does not seek the derangement of the senses as Michaux’s

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