TABOU

Irene Laub Gallery, Bruxelles (BE)

Tabou

PEDRO A.H. PAIXÃO

Curated by Sofia Lemos

 

Irène Laub Gallery is proud to introduce Portuguese artist Pedro A.H. Paixão (born in 1971, Lobito, Angola), on the occasion of the first solo show in the gallery’s new exhibition space.

Curated by Sofia Lemos, Tabou presents a new series of turquoise pencil and graphite drawings on paper, combining an oneiric atmosphere with complex histories of struggle and emancipation. In Pedro A.H. Paixão’s work, simultaneously laborious and delicate, the seemingly quiet form and the multi-layered content make no concessions.

 

Read more about Pedro A.H. Paixão

 

Sofia Lemos is a researcher and public programmer currently based in Berlin. Lemos has been involved in the organization of exhibitions in various institutions including PRAXES (Berlin), and The David Roberts Art Foundation (London). Her professional focuses lie at the intersection of artists’ moving image and the history of science, touching also on architecture and feminism. Lemos has contributed to several international publications and journals of theory and architecture.

 

 

Pedro A.H. Paixão is known for his dedicated bright red drawings that, beyond all necessity and all possibility, have in the last two decades located the exigency of repair by returning, in remembrance and experience, to the strain.

In Tabou, a new series of large format drawings, “Open Letter (young George Washington Williams as Patrice Lumumba)” and “The Birth of Drawing” as well as “Two painters in a transit camp (Luc Tuymans and Kerry James Marshall)” (all 2017) confront the viewer and voyeur with the inextricable rhythm of interlocution: these gazes look back to the disjointed history of politics, the expropriation of self-determinacy, the objectification of desire, the uncertainty of the cannon, all in all they gaze at the impossibility of concluding the past.

A smaller series of turquoise blue drawings point to a moment of the Pan-African revolution in its painful discovery of its own contradictions, tasks and real possibilities. Such is the The Big Wave Rider (2017) the capturing of Patrice Lumumba (1925-1961) in image after liberation that would become the sorrowful symbol for the legacy of a counter-hegemonic movement that was alienated from its common loyalty. A new series of graphite drawings turn the subconscious into a force majeure as simultaneously destructive and constructive encounters with the cannon of art history.

– Sofia Lemos