Omul Mulțime. Lolo & Sosaku
Curated by Tangent Projects
Produced in Iasi by Barcelona based artists Lolo y Sosaku, Hombre Masa is an exhibition in two parts.
Taking place simultaneously in the Palace of Culture and Borderline Art Space, the show aims to connect
the spaces by reflecting on their social scope, inherent connotations, or adapted expectations, as well as
its possibilities.
"Dancer (Palace)", a large-scale parallelogram shaped kinetic sculpture, contracts and unfolds in steady
intervals in a continuous interplay of force and counterforce, action and reaction. Harmonising with the
neo-gothic architecture of the Palace of Culture, it classifies itself within the building’s history and
conforms to its expectations of its representative space. The work expresses inspiration in movement,
interpreting dance as a ritual, a custom and a form of social interaction, but due to its dimensions and
rigidity in movement, it appears cold and distant, isolating itself within its inscribed circle.
As an antithesis to this, the sound-piece "Hombre Masa" pervades the entire exhibition at Borderline Art
Space. An ensemble of sound recordings carried out during the construction of the sculpture and
merged with recordings made in public spaces, "Hombre Masa" reflects on its social components,
especially on the collaborative creation process with local welders. Centrepiece of the exhibition at
Borderline Art Space is a large rotating asymmetrical cross, without any religious implications. Moving
continously, the horizontal bar hits the gallery walls and provokes friction between the metal material and
the limits of the space. All the while producing sounds and leaving erosive scratches on the walls. The
cross serves as a kind of revolving door through which the spectator, after observation, acceptance and
awareness, is able to enter the gallery and find some space after having overcome these obstacles.
As a rotating X mark - an indicator or common concept of negation - the cross states our presence in
time and space. Seemingly at odds with its environment, the work imposes on the space not only with its
obstructive nature and ambitious size, but also with the physical corrosion evoked on the walls. These
elements are again part of the two iron plates, "Esquema I" and "Esquema II", exhibited at the entrance of
the gallery and are graphic interpretations of the sculpture’s movement, its form and friction. On their
plain surface, they display deep marks produced with the same tools used to create the sculptural
intervention.
The works exhibited at Borderline Art Space and the Palace of Culture unite as a monument to conjoint
sacrifice and labour - a necessary conscious presence within history and evolution as an outcome of
social values like cooperation and collaboration that go beyond conformity and complacency - similar to
Ortega y Gasset’s concept of the "hombre masa". The "hombre masa“ (mass man) is described in his
essay "Revolt of the Masses" (1930), wherein he examined the political and social crisis of Europe and of
Western civilisation in general, which is extremely pertinent in this time of hyper-democracy. The hombre
masa is a warning against the conformity of the masses and their tendency to negate individual creativity
and freedom, an intensifier of crushing mass movements of ideologies that have dominated Europe and
the world for a considerable time - and remains relevant today.