DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES

Curated By: Rodrigo Moura July 10, 2017 - April 15, 2018

In the short story William Wilson, Edgar Allan Poe presents a sinister plot: the tale of a character who, from his childhood, experiences the apparition of a figure who in everything resembles and haunts him with similitude and repetition – until he turns out to be himself. It is the doppelgänger, or double, a recurring figure in literature (from Dostoyevsky to Borges and Wilde) and in all the arts. The very act of representing – oneself or the other – can be understood as a gesture of creation of parallel realities, thus doubles to those in which we live. The exhibition DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES takes this literary figure as a starting point to create an inventory of situations in which otherness and duplication/repetition are manifested in works from The Rachofsky Collection, The Rose Collection, The Collection of Marguerite Steed Hoffman, and the Dallas Museum of Art, among others, assuming diverse configurations: from forms of representation that occur through replicas, shadowing, and mirroring to logical-formal exercises that are expressed by the use of halves and doubles. The narrative departs from works in which the theme of the double appears explicitly – the most striking example being Felix Gonzalez-Torres’ “Untitled” (Perfect Lovers), an iconic piece from the collection with its identical but different clocks – to arrive at the idiom of abstraction, where virtual space and its relationship between exterior and interior constitute a bridge to the rapports between the self and the other.

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES includes work by John Ahearn, Eija-Liisa Ahtila, Kai Althoff, Laurie Anderson, Giovanni Anselmo, Janine Antoni, Jo Baer, Robert Barry, Georg Baselitz, Alighiero Boetti, Marcel Broodthaers, Vija Celmins, Chung Chang-Sup, Alice Channer, Lygia Clark, Bruce Conner, Alexandre da Cunha, Jessica Dickinson, Rineke Dijkstra, Marlene Dumas, Luciano Fabro, Saul Fletcher, Lucio Fontana, Gilbert & George, Robert Gober, Fernanda Gomes, Felix Gonzalez-Torres, Mona Hatoum, Lee Kangso, Ellsworth Kelly, Mary Kelly, Lee Kun-Yong, Luisa Lambri, Glenn Ligon , Seung-Taek Lee, Jorge Macchi, Mangelos, Babette Mangolte, Piero Manzoni, Robert Mapplethorpe, Kris Martin, Allan McCollum, Gabriel Orozco, Damián Ortega, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, R.H. Quaytman, Charles Ray, Ad Reinhardt, Mauro Restiffe, Medardo Rosso, Salvatore Scarpitta, John Schabel, Richard Serra, Jiro Takamatsu, Richard Tuttle, Luc Tuymans, Lee Ufan, William Wegman, Rachel Whiteread, Steve Wolfe, and Lynette Yiadom-Boakye, as well as objects from Dallas Museum of Art’s Ancient Art of the Americas and Arts of Africa collections.

Rodrigo Moura
Exhibition Curator

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES is the first in a series of guest-curated exhibitions at The Warehouse.

Rodrigo Moura is a curator, writer and editor currently serving as the Chief Curator of El Museo del Barrio, New York. Moura was formerly the Adjunct Curator of Brazilian Art at Museu de Arte de São Paulo Assis Chateaubriand (MASP), where he curated or co-curated exhibitions such as Djanira: Picturing Brazil (2019), Melvin Edwards: Lynch Fragments (2018), Images of the Aleijadinho (2018), and Who’s Afraid of Teresinha Soares? (MASP, 2017). He was the Artistic Director of Instituto Inhotim (Minas Gerais, Brasil) between 2014 and 2015, where he also worked as a curator between 2004 and 2013.

Installation Views

INTERVIEW WITH CURATOR RODRIGO MOURA

INTRODUCTION

THE EXHIBITION TITLE IN THREE LANGUAGES

WORKS THAT ARE CENTRAL TO THE EXHIBITION

THE SIGNIFICANCE OF AFRICAN AND ANCIENT AMERICAN OBJECTS

GEOMETRIC ABSTRACTION

DAMIÁN ORTEGA AND GALLERY 12

ARCHITECTURE AND ABSENCE/PRESENCE

MIRRORS