reviews

Lara Almarcegui, Rocks of Spitsbergen (Svalbard), 2014, self-adhesive vinyl, dimensions variable.

Lara Almarcegui and Mohamed Namou

mor charpentier

Lara Almarcegui, Rocks of Spitsbergen (Svalbard), 2014, self-adhesive vinyl, dimensions variable.

A shared concern for the composition of territory was revealed through a visual dialogue between works by eminent Spanish artist Lara Almarcegui and Mohamed Namou, a recent graduate of the École National Supérieure des Beaux-Arts in Paris. Such intergenerational pairings are favored by mor charpentier, and in this case, the common vocabulary that emerged from the artists’ concrete conversation enabled a deeper understanding of each practice.

On the ground floor, Almarcegui’s Rocks of Spitzbergen (Svalbard), 2014, plainly listed, in crisp black text on the gallery’s white wall, the range of mineral deposits (carbonate to vulcanite in kilometers cubed) present within land the artist has leased on a Norwegian island. “My project consists of acquiring the mineral rights to a subterranean mineral deposit, which is not being exploited, with the intention of studying it,” Almarcegui

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