Alegrías is the second solo show of Pablo Accinelli (Buenos Aires, 1983) at the gallery. The title refers to the liveliest of the flamenco dancing styles, whose musical scope is filled by sets of beats (and claps) that strongly mark its structure, and also the cadence of the movements of the dancing body. Through the festive character it emanates, the style calls for sharing, social reunion and the lightness that is characteristic to the experience of celebration. One could say that, in the context of the exhibition, the Alegrías serve both as a paradox and a background; the works do not only suggest the atmosphere of the event, but they also mirror, from the very beginning, the metrical accuracy, the repetition of the gesture, sometimes exhaustive, which makes certain elements and aspects transit between pieces and balance the works between different categories (there are sculptures that are paintings, paintings that are drawings, etc).

Objectively, the exhibition is composed by three independent and correlated moments. On the side walls, we find – symetrically displayed, 7 on each side – a series of 14 drawings of “dancing” clips on milimetric paper filled in and following one-on-one-off pattern, adding an unexpected tactile layer to the drawing, a kind of an embroidered texture that puts works in a transitional space, hard to name in terms of category. On the horizontal plane, the sculpture-bonfire, or a set of tridimensional paintings, expands the circular shape of the clip drawings (or vice-versa), now with 4,30 meters of diameter; one after the other, the 60 charcoal bags are juxtaposed to form the space of social union or just to ponctuate the metrics of time measurement, as it happens with the counting of a traditional watch – they are a bonfire and they are a watch, sculpture and painting, not one instead of the other, but both at the same time. Finally, both the circular form of the bonfire, as well as the content that transforms it, for example, in an object of time measurement, are mirrored in the front wall, from the perspective of who enters the gallery. The circular object, resembling an watch as well – composed by holes on the wall and three rods that could be revealing hours, minutes or seconds -, is vertically displayed, as painting and drawing are usually read; nevertheless, this object has a profound tactile nature that could be understood not only as a sculpture, but as something that could be perceived without the sense of sight.

Maria Joana Vilela