David Lamelas: Fiction of a production

 David Lamelas,  Untitled (Falling Wall) , 1993, Dry wall, wood, screws, acrylic paint, and reclaimed lumber Courtesy David Lamelas and Maccarone New York/Los Angeles.

David Lamelas, Untitled (Falling Wall), 1993, Dry wall, wood, screws, acrylic paint, and reclaimed lumber Courtesy David Lamelas and Maccarone New York/Los Angeles.

June 2, 2018 – Jan 6, 2019

David Lamelas is widely recognized as a pioneer of conceptual art. Ranging from sculpture to film, photography, and performance, his interdisciplinary practice has influenced artists across the Americas and Europe. A key member of the Argentinean avant-garde during the 1960s, Lamelas participated in landmark exhibitions in Buenos Aires and showed frequently at the influential Instituto Torcuato di Tella, an experimental space directed by critic and theorist Jorge Romero Brest. After representing Argentina at the Venice Biennale in 1968, he relocated to London, where he initially showed his work at Wide White Space in Antwerp, one of a handful of galleries in Europe exhibiting conceptual art practices at the time.

Fiction of a Production, Lamelas's first solo exhibition in the American Midwest, focuses on sculptures and site-specific works that analyze and deconstruct architectural space, repositioning sculpture as a relationship between place, space, and time. Featuring early sculptures presented in Buenos Aires during the 1960s and reconstructions of works that respond to the architecture of our Zaha Hadid-designed museum, the exhibition also explores the ways in which the sequential structure of film has influenced the artist's practice and how time, consequently, becomes sculptural material. The show takes its title from an essay by Lamelas's artist friend Raúl Escari, who writes that, unlike artworks that try to disguise how they are made, maintaining an illusion that exceeds their materials, Lamelas's work reveals the activity of their making, the fiction of their production.

David Lamelas: Fiction of a Production is organized by the Eli and Edythe Broad Art Museum at Michigan State University and curated by Carla Acevedo-Yates, Associate Curator. Support for this exhibition is provided by MSU Federal Credit Union and the Eli and Edythe Broad endowed exhibitions fund. Special thanks to the Institute for Studies on Latin American Art (ISLAA) and to its President and Founder, Ariel Aisiks.

For  more information: MSU BROAD