Adriana Marmorek, Máquinas Deseantes (Desiring Machines), 2010. Metal frame, engine, magnifying glass, halogen bulbs, glass and alcohol, edition of 8, 6 x 8 meters (dimensions vary). Courtesy of Nohra Haime Gallery.
Máquinas Deseantes, in SITIO at ARTBO
October 1–4, 2015
Nohra Haime Gallery presents Adriana Marmorek’s Máquinas Deseantes (Desiring Machines) at ARTBO’s SITIO section. The installation is inspired by the Colombian artist’s interest in the significant potency of movement to talk about desire. With Máquinas Deseantes, Marmorek proposes a physical and conceptual interaction and invites a pensive movement from the space and position of the spectator.
Marmorek began as a sculptor, later expanding her horizons toward other mediums such as photography, video, installation, and to what she calls the “architecture of the desire.” This is an evolutionary and contemporary concept that defines the parameters of the artist’s creative activity, and constitutes a sociological analysis about desire in our world.
In Marmorek’s brilliant career, there is a clear line of work, a personal mark that evolves and flourishes around the concepts of desire and pleasure. Her artistic expression is not limited to the erotic element of desire, but also incorporates social, historical and human elements fundamentally relative to the Western world’s imagination and questioning.
Máquinas Deseantes refers directly to Deleuze’s description of the mechanistic nature of desire as a “desiring machine” that produces a flow of desire from itself, and that is connected to a larger circuit of other machines, interacting with each other. Marmorek invites the spectator to an introspective process in a closed, dark area, with a visual projection in the ceiling that comes from the three desiring machines, and in which the individual participates, sheltered by the darkness’s embrace.
Each machine is composed of a cylinder through which light penetrates, heating up the alcohol at the end of a blown glass structure and making it boil to ultimately create the image that will be projected onto the ceiling. When observed, these images remind us of Duchamp’s rotoscope, a product of chance that was not planned in the initial project, and that emerged through Marmorek’s dialogue with Deleuze’s theories. This process, with its rhythmic noises and almost organic movement, is deeply connected to the eroticism that flows in Marmorek’s work.
The location of each machine follows the golden ratio, as part of that sacred geometry that composes the architecture of desire. In this mysterious space, which seems almost like an alchemist’s lab, the spectator’s participative action contributes to the ultimate and complete creation.
Adriana Marmorek was born in Bogotá in 1969. She developed her career around publicity and television, from which she would later take certain elements to rethink through her artistic practice. She got her Masters in Plastic and Visual Arts from the Universidad Nacional de Colombia. Her work has been exhibited in several museums and institutions, not only on a national level, but also in countries such as Ecuador, Argentina, Italy, Belgium, Austria and the U.S. Her works are represented in several private and public collections. She participated in the Salón de Arte Joven-Artecámara in 2007 and was nominated for the Premio Bienal de Arte de Bogotá in 2010. She represented Colombia in the art fair ARCO Madrid 2015.