São Paulo

Daniel Steegmann Mangrané, Natureza geométrica/biología (Geometric Nature/Biology), 2018, branch, rubber bands, ropes, metal, dimensions variable.

Daniel Steegmann Mangrané

Mendes Wood DM | São Paulo

Daniel Steegmann Mangrané, Natureza geométrica/biología (Geometric Nature/Biology), 2018, branch, rubber bands, ropes, metal, dimensions variable.

Some gallerygoers may remember the duck-rabbit illusion used in the psychology of form, which demonstrates that perception depends on the mind’s expectations of what one will see. But its blurring of the dichotomy between seeing and knowing depends on two recognizable animals. What if one takes such a lesson to the realm of geometric abstraction and to the opposition between nature and culture?

In Daniel Steegmann Mangrané’s recent exhibition, a árvore entrelaçada (The Tangled Tree) (all works 2018) occupied the center of the gallery. The work consisted of cables hung from the ceiling’s exposed rafters, intersecting to form an irregular, open, downward-pointing structure, vaguely reminiscent of an upside-down pyramid or Venezuelan artist Gego’s seminal netlike Reticulárea, 1969. Hanging from the cables were 164 elongated brass and nickel forms, their varying weight and distribution

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the January 2019 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.