san-francisco

View of “Alejandro Cesarco,” 2015. From left: Untitled (Blue Frame), 2015; Allegory, or, The Perils of the Present Tense, 2015.

Alejandro Cesarco

Kiria Koula

View of “Alejandro Cesarco,” 2015. From left: Untitled (Blue Frame), 2015; Allegory, or, The Perils of the Present Tense, 2015.

Alejandro Cesarco’s show at Kiria Koula comprised two films, a print, and a wall silk screen, each of which revisited his abiding themes of time, memory, and the visual and textual signifiers that mediate our experiences of them—rendering (however imperfectly) such immaterial phenomena communicable. One of the artist’s interests is books, as both material objects and conceptual systems that organize narrative, structuring the relationship between author and reader. He is especially attuned to those aspects of writing that are slightly marginal to the text proper. For example, in a series of works made between 2000 and 2012, Cesarco created indices for unwritten books—keywords and themes that evoke stories obliquely rather than simply tell them, as well as a book consisting solely of reproduced dedication pages, which foreground authors’ personal rather than public

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