Carte blanche: Anxiety

Visible things can be invisible. If somebody rides a horse through a wood, at first one sees them, and then not, yet one knows that they are there. In Carte Blanche (1965), the rider is hiding the trees, and the trees are hiding her. However, our powers of thought grasp both the visible and the invisible – and I make use of painting to render thoughts visible.” — René Magritte


When someone says, “I have it on paper”, it usually refers to something that binds two or more parties in a legal sense. It is an official promise that something must be done, more likely within a certain time frame. This marks the end of a negotiation. In the arts, however, it is almost the complete opposite. Paper is treated as a start, as a beginning. It is used for sketching, it is used before things become paintings, sculptures, installations, or whatever. It is okay to be wrong on paper. Paper represents ideas, thoughts, and try-outs. There is no certain time frame for things on paper to be executed. This exhibition begins with questioning the idea of paper as a representative of ideas. What power does paper have? What power does it render?

Curated by Grace Samboh, this exhibition showcases works by Anang Saptoto, Bambang “Toko” Witjaksono, Cinanti Astria Johansjah, Cut and Rescue, Handiwirman Saputra, Iwan Effendi, Julia Sarisetiati, Kokok P. Sancoko, Krack, Priyanto Sunarto, and R.E. Hartanto.

A group show
Mizuma Gallery, Singapore
27  May  – 24 June 2017
Exhibition shot here
Curatorial introduction the catalogue here

About Grace Samboh

Believes in unicorn, conviviality and the struggle towards collective subjectivities—even temporarily.
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