The exhibition (Cut) Text Without Words by Fernanda Fragateiro at Baginski Galeria/ Projectos (May 23rd to September 15th
2012) was composed by a set of new pieces, which dynamic relation overcomes the sheer affinity of the minimalistic formal repertoire, unfolding subtle conceptual associations focused on the idea of cut as the key element.
The objects conceived by Fragateiro result from the precise intervention over Art and Architecture publications, ranging from books, to magazines and catalogues, on which the subtraction of matter functions as means of autonomy from their former purpose. This action is, according to the artist, one of delicacy towards the world, asserting the possibility of creating from destruction. Theory, that thickens and deepens Art and Architecture related discourses, is now asserted as image, and as the body that materializes the artistic object.
This requalification as sculptural printed medium does not, however, escape its previous theoretical implications which necessarily come across its new objectified identity, interlocking subject-matter and medium. The preference for published material from the sixties and seventies relies not only on the printing systems used then, with pictorial properties on their color and composition, but also on the contexts those decades evoke, of changes on social, political and artistic fields.
Fernanda Fragateiro proposes a reflection about the devices of construction, preservation and circulation of subject-matter, and therefore, of memory. The possibility of translating and producing space by visual and text references in Art and Architecture, it is stated in pieces such as Concetto Spaziale, After Lucio Fontana, 2012, returning the Italian artist's incisions to the two-dimensions of the pictorial surface, or as Building Blocks, where the modular logic of the printed matter as blocks follows the modernist vocabulary evoked by its title.
The reference to contemporary editing processes jargon, (cut, copy, paste) resonates not only in the physical action that produces the object, whether it is made by a paper-cutter, the dismantlement and detachment of printed matter, or by the cases which block the possibility of reading, but also in the artist's possibility of reassuming ultimate control in reshaping the subjects addressed by the printed sources used, thus proposing its reinterpretation by the disclosure of new points of view.