In the exhibition Letters to Hélio Oiticica, a group of works produced between 1999 and 2021, composed of wall works, objects and a mobile, examine modern residues and their imprint in the contemporary time we inhabit, combining refuse and relics through found objects.

Among other pieces, the unsettling series of works made from fragments of a modernist linoleum floor found among demolition rubble in a skip in Stockholm, demands its silent attention by displacing a floor that now occupies a wall, thus leaving us viewers without a ground in an uncertain and unstable place. Laura Erber writes in the exhibition’s text; “By exhibiting the pieces of floor that can no longer be trodden, on the wall, Laercio Redondo shows the fragility of the ground on which the modernisation project was built”.

Erber continues, “Letters to Hélio Oiticica enables us to move through this disparate set of artworks and procedures, reflecting on the addressing and on what is contemporary and steadily aging, growing increasingly distant from the promises of heroic modernity and obliging us to re-examine certain misunderstandings”.

Photos: Pedro Mota