ENSER
[IN-BEING]
Solo exhibition, Galería Cànem. From 18th of may 'til 6th of july, 2019.

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Cànem Galeria is delighted to announce the third solo exhibition of Spanish artist Mar Arza at the gallery, in which she addresses the notion of being and its loss through the concept she coined as enser, centred in the notion of Being. Featuring Arza's latest works, this exhibition displays the development of her visual language while revealing an increasing complexity of her practice. This show represents her most personal and delicate one at the time.

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This project is based on an irreparable loss. It happens in an overwhelming mourning, for which there are no words. In any case, not the right ones, not the fair ones, not the necessary ones. The works that make up this series aim to approach the feeling of emptiness after the close death and to limit the trace of absurdity and disorientation that happens to it.

"Enser" is that ontological category that allows us to deal with the life that remains after a close death. It is the space that gives rise to countless unanswered questions that assault the intellect. It comes from "in his being" and was used in the inventories during roll call. The artistic object here takes up the original ritualistic character and appeals to sacred enclosures of memory. It brings back the presence of those who are not there through gestures and rituals, repeated actions, close objects. That is, of everything that keeps the trace of life alive, because one lives leaving traces.





The exhibition points in different directions.Firstly, the adoption of a new word to name in positive the feeling of presence that a person leaves behind and is materialized in the concept "enser” (in being). Enser seems to capture the presence of someone, even when she is not there, from everything that is close to her, that brings back her memory, her essence... She is still present, by my side, to every thought that assaults, to every shared object. Here she remains in all her being, even when we cannot see through our physical eyes. At every word, in every conversation, lodged in the corners of the house, her being is still present.
The word is formed from the contraction of "in its being", "in its presence". It was used when making inventories in order to list the presence of the objects found.





Maria Zambrano allegorizes the restlessness of the soul in a whole forest, in the search of its clearings to imagine a state of thought that accesses an untouched enclosure, which is not always possible to access because it is not always possible to endure so much clairvoyance. They are "places of the voice where one goes to learn by ear", she says. Going through a period of mourning not only brings a clearing in the forest, but also a period of shade. A thick shadow. A shadow that involves silence and partially can be unraveled surrounded by things that bring back the bond in all its dimensions, in its ritual of celebration, sleeplessness and anxieties.

There is a transversal consideration that relates the flow of life with the flow of creation,as it has cumulative effects over time. It questions the difficulty of defining the accurate period that the realization of an artistic work implies, the complexity of locating the exact origin of a work in a precise point where it begins, the moment when it is activated, processed or concluded. We are used to seeing a date, a specific year, in the technical data sheet or on a label. Here in this exhibition, technical data point to another way of describing the material line, linking it to the vicissitudes of the time of life and the time of creation. In some cases they go back twenty years back, where one could trace the beginning with the taking of a photograph, the discovery of a paper marked by time, the possibility of picking up a wooden trunk from a fallen tree; in other words, the time of the accident, the chance, the relationships and personal circumstances that surround a work of art, but also the constancy that is manifested in following it. The time of creation-production is a continuous thread, which does not stop but links successively to the experiences, spaces and places through which it passes.




LIFE INVENTORY

«In the presence, in existence, in your being. The word enser comes from the desire to inventory all possessions, as well as a certain desire for exhaustiveness. In the past, when we recall and name what we came across, we wrote it down as “in being” just to differentiate what we found from what is not present, which does not exist accordingly. In this way, what was found was confirmed against what was not present. Having in being is then reflected in writing in ordered columns that list the presence, while absence is revealed in silence.

The ascertainment and questioning if something is present is a constant in life after an irreparable loss. After the disappearance of being, an internal and continuous process of verification starts. It is in the non-being, where the physical resistance to accept the silence of the daily voice is manifested, in the hopeful, consoling expectation of hearing it again, always to the point of auguring and projecting its echo into the sounding board of memory. So that an extension of being continues to be and remains present through the various materialities that populate the shared life recesses.

Furthermore, in the original form of the word, the nominalisation of the expression in its plural form: Enseres – Belongings – refers to the possessions as a whole, objects, furniture, household or professional tools and instruments that are necessary for the exercise of a profession. Everything is necessary to the artistic profession, especially the unnecessary. In order to create a work of art, all the unnecessary becomes necessary. Everything that is material as well as everything that is immaterial like experiences, conversations, memories, fears and sorrows. Everything, from everyday to unheard objects or discards, are collected with the sole function of their presence in being, in their being, in order to delve into the reminiscences and evocations, into the targets or gaps, into the meanings of this irreparable life in its account of absences of unpronounceable pain.

In this gathering of presences to conjure up emptiness, in this search for the exact perimeter of loss, griefs and thoughts come together. Presences that insistently sustain the voice of absence. Presences that collapse the uncertain practice of trying to pronounce that which has no body of speech, attracting numerous questions: facing loss raises the question of whether the absence is certainly somewhere inaccessible to understanding.

This exhibition brings the undeniable presence of the most loved; it recounts the immaterial that has been subtracted from the experience of life; it condenses every look, every gesture, and it gives substance to the loss in a plural form. It is, in fact, an allegory of the reality of the artistic, in its capacity to materialize what is absent in form.

On the other side of the mirror of the word enser appears a belly, a centre, a bark, a breath, an alliance, an aurora, a forest. On the other side of the mirror, in its twists and turns, objects bring hidden feelings to the surface. In this inventory of life, one can find objects that have been carved out of a beautiful dark mime of the immaterial».

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