One day, Martín Huberman called me from Buenos Aires inviting me to curate an exhibition there. For the show, two teams of Spanish artists would produce site-specific works. Sodimac, a multinational chain of hardware and home improvement stores, would sponsor the event and make its catalogue of products available to the artists. From over 10,000 kilometers away, then, opportunity had come knocking.
The exhibition might be seen as a laboratory on today’s global world. It contemplated the conditions in which professionals and amateurs alike construct the environment.
It was decided to take this logistical challenge to the extreme, as if it were a playing field. No additional elements would be used.
We invited MAIO and Taller de Casquería to take part in the show. In their process, we saw technical creations that were treated like constructions full of potential meanings, constructions to be activated.
THE WAY THINGS GO is about how things circulate as well as how we can establish relationships between them.
The show connects, in a rather unorthodox manner, a set of objects and subjects in Argentina and Spain to explore the idea of distribution as contemporary context that provokes exchanges between the modern, the commercial, the counter-historical, and the popular. It signals the importance of and the opportunity offered by the arrangement of media and methods pertinent to management, strategy, negotiation, and other fields in the current economic framework.
The title makes reference to the Rube Goldberg machine that Fischli&Weiss constructed in 1987. Like the pieces in this exhibition, that machine activated a network of more or less unlikely relationships between a series of elements that normally work differently.
THE WAY THINGS GO is produced on the basis of a set of instructions for the construction of devices using products found at a “home center.” In it, MAIO and Taller de Casquería deploy the commercial archive of Sodimac, “La Casa de Latinoamérica,” modifying its symbolic order with ingenuity and wit. They intervene in the no-place of the hardware and home improvement store to signal the possibility of activating the products of the present for new futures by altering the networks of knowledge of which those products form part.
Paula García Masedo
Way Things Go
Photographies by Manuel Ciarlotti