“The dissolution of firm, plastic and linear form into something moving and incapable of being grasped; the obliteration of frontiers and contours, to arouse the impression of the unlimited, the immeasurable and the infinite; the transformation of static, rigid, objective being into a becoming, a function, an interdependence between the subject and the object.“ “Impossible Sculptures no. 26” is a work that features all these attributes. Static figures are perched on a mountainous surface and the movement is given by thin particles that rise upwards, recalling hell as represented in "The Damned Being Cast into Hell" (1605-1610) by the Flemish Baroque painter Frans Francken the Younger. The choirs of the ominous soundtrack give the sensation of witnessing a moment of the apocalypse from the point of view of those who caused it; sure, we can get close to the crystallised figures in the pit, but we can't help them. Movement is the central quality of Baroque art as much as of ha:ar’s works. The elements are arranged by the artists in such a way as to make the beholders’ eyes move without being able to find a beginning and an end to the scenes in front of them. The poses and appearance of the human figures play an important role in this dynamic. Disoriented, the beholders can’t help but look at the bodies to guess the scale of the scenes and understand how they are told to feel by the artists. The mannequin-like figures seem to be taken from the concept of transhumanism, a future (present?) where flesh and metal come together.
Text: Filippo Lorenzin
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