Beto de Volder

September 28th - November 29th, 2012

Hours: 7-10


In Beto de Volder’s work, the notion of a gesture in motion is essential. Each piece indicates or signals a process, and captures it as a form frozen in time that seems to have the potential to spread out, to multiply itself and to become a set of changing possibilities, of “developments,” as we have in fact verified from some of his other works. His “objects”—to use again the name favored by Neo-Concretists, ever watchful, like him, for the organicity of forms and even for their communicating vessels with the body—belong to an adjoining territory where endless displacements of various natures take place.

The diagram De Volder used to synthesize his artistic trajectory[1]as a web of non-linear interrelations proves that he shares with Marcel Duchamp a fascination with the machinations of the thought process, with the invisible wheels of mental motions which manifest themselves (or not)—just like the thought process of a chess player looking at the board in front of him—in the form of a gesture, a piece or an object

[1] The diagram serves as introduction to the book De Volder, Books on Artists collection, Adriana Hidalgo Publishing House, Buenos Aires, 2011.