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Rui Chafes, Tranquila ferida do sim, faca do não (Quiet Wound of the Yes, Knife of the No), 2000–13, iron, light projectors, each element 118 1/8 x 10 5/8 x 30 3/4", overall dimensions variable.

Rui Chafes

Galeria Filomena Soares

Rui Chafes, Tranquila ferida do sim, faca do não (Quiet Wound of the Yes, Knife of the No), 2000–13, iron, light projectors, each element 118 1/8 x 10 5/8 x 30 3/4", overall dimensions variable.

It has become a clich. to talk about the overflow of images in our time. We hear again and again about an excess producing a kind of blindness, as if images were so pervasive as to have become transparent, slippery. Another current clich. is that the constant flow of images and information in which we are immersed has accelerated time, leaving us increasingly unable to pause long enough to look, think, or experience in a sustained manner. Yet these truisms can still be useful starting points for reflection, as demonstrated in Rui Chafes’s recent installation Tranquila ferida do sim, faca do não (Quiet Wound of the Yes, Knife of the No), 2000–13. The artist’s work to date has been an attempt to arrest time, in part by denying or defeating the senses through a fabrication of a mute and unchanging darkness. But with this exhibition, Chafes seemed to take this tendency further than

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