The photographic works in Rodrigo Valenzuela’s “Hedonic Reversal” (all works 2014) depict ruins, or representations of ruins, which have been constructed from stark white elementslath, chalk, a crumbling material that might be drywall or polystyreneand set against a saturated black background. They have the air of abandoned infrastructure projects, neglected social housing, or generic buildings that become visible only as they decay. The destruction seems to be ongoing. They are broken, disintegrating into white dust, worn away altogether, leaving only lines of chalk.
Valenzuela assembles these structures in his studio, photographs them over time, and then destroys them, so that the photographs remain the only evidence that they ever existed, thus generating the kind of temporal tension often in play when artists photograph sculpture. But Valenzuela’s images sit uneasily
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