SculptureCenter presents Soy el final de la reproducción, a group show organized by guest curator Beatriz Herráez. Soy el final de la reproducción will be on view September 7–November 30, 2008 with an opening reception on Sunday, September 7, 4-6pm. Soy el final de la reproducción offers perspectives on architecture and sculpture through literary references, leading to an examination of self-dissolution, transience, erosion, and mechanisms of accumulation. It is through the presentation of archives, suggestive moments, and para... Read more

SculptureCenter presents Soy el final de la reproducción, a group show organized by guest curator Beatriz Herráez. Soy el final de la reproducción will be on view September 7–November 30, 2008 with an opening reception on Sunday, September 7, 4-6pm.

Soy el final de la reproducción offers perspectives on architecture and sculpture through literary references, leading to an examination of self-dissolution, transience, erosion, and mechanisms of accumulation. It is through the presentation of archives, suggestive moments, and paradoxically the disappearance of information that the exhibition communicates these ideas. This exhibition presents five Spanish artists who span three generations. In many cases, their artistic practice involves theoretical writings and a curatorial interest grounded in historical exhibitions.

Soy el final de la reproducción, translated as I am the End of Reproduction, is a celebration of recessive and transient aesthetics. In the book Bartleby & Co, Spanish writer Enrique Vila-Matas introduces the notion of “writers of No”, writers who, when faced with the possibility of writing, “would prefer not to”. All quietly forsook vanity and tried instead to contain the possible space for “the writing to come” – ultimately retreating from production and creativity. In an era where we seek generative systems, Soy el Final de la Reproducción looks at studies of space, or modes of operation, that state themselves (or their intentions) to be recessive. This exhibition explores the fleeting, grey space of “No”.

The works in the show are investments in alternative time and hostile to the cult of efficiency. Each work acts as an infinite and silently hermetic repetitive or accumulative system. This methodical, inexhaustible mode of creation constitutes a cold, unemotional process, conscious that if there were a conclusion, it would not end well.