Cecilia Costa introduces us to a work of art that, once again,
marks the absence of a unique register in her work. Despite the
several supports used by her, the present show emphasizes her
usual questions about symmetry. In the artist’s understanding,
the question of symmetry confronts us with a nongeometrical
matter - our existence, or the lack of it, the idea of complementarity
in elements that are opposed to each other. It´s the symmetrical
position of these four boxes that suggest their complementarity,
traduced by the sounds that are coming out of them. The four boxes
join each other creating a unique melody that, in spite of its binary,
ternary or quaternary origin, comes out in multiple arrangements that
will be, certainly, different from the single sum of its parts.
The clearance of elementary sounds that compose this piece resulted
in the number four. A number shared by many structures that inhabit
our (in)visible world. For example the quaternary bases (adenine–thymine
and guanine–cytosine) of our DNA or even the four phases of the moon
that structure that “one” time under which we rule ourselves. There are also
four birds sitting on a perch of the homonymous work of Paul Klee, dated
of 1922. The “Twittering Machine” of Klee leaves us with a doubt: the
sound we are waiting for does it really come out of the birds’ beaks or
does it come from the structure, the machine, itself, fragile and clumsy as
it is? We can even expect an ironic/tragic collaboration between the
organic singing of the birds and the mechanic twirl of the crank. Here, as
well as in the work of Klee, it suits to the viewer to reveal randomly (or not)
the content of this “mechanical orchestra”. This content that has its
immateriality and invisibility accentuated by the nature of the boxes that
serve them as a home. Thus, “art does not reproduce the visible, it makes
things visible” (Paul Klee).
