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View of “Iran do Espírito Santo,” 2016. Foreground: Cúpula (Dome), 2013–14. On wall: Fuso (detail), 2016. Photo: Eduardo Ortega.

Iran do Espírito Santo

Fortes D’Aloia & Gabriel | Galeria

View of “Iran do Espírito Santo,” 2016. Foreground: Cúpula (Dome), 2013–14. On wall: Fuso (detail), 2016. Photo: Eduardo Ortega.

Iran do Espírito Santo’s recent exhibition “Fuso” included one site-specific wall work and two sculptures, all anchored in the concept of time. The Portuguese titlehas both temporal and mechanical implications. It can refer to the time difference between geographic zones (fuso horário), the spiral thread of a nut or bolt (fuso mecânico), the mainspring of a clock, or an apparatus used in the spinning of thread in preindustrial times, that is, a spindle. The point of intersection between ideas that revolve around industrial evolution and its effects on art—its making and its form—is recurrent in the artist’s work, and the tensions between possible meanings and an expansive range of associations instilled the sense of displacement so familiar in contemporary art of Duchampian heritage.

Do Espírito Santo chose to use the gallery’s existing spatial division—the exhibition

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