Un golpe invisible y redondo * Partido de vuelta

We present ‘Un golpe invisible y redondo * Partido de vuelta’, Casa Antillón’s second solo exhibition at El Chico. This exhibition shows a new body of work by the collective; with the game and the ball as creative axes, the sculptures in this exhibition represent an unprecedented exploration in the artists’ practice, both figuratively and in terms of form and material. Playfulness is at the heart of the collective and it is from there that they have approached the group of these works; how is the game and the rules for playing it constructed? We could apply this question to art and all its disciplines. The artists confront the void from different places and Casa Antillón decides to do so from the most innocent gaze possible, however, it is no longer possible for them to return to looking like children, so in order to get closer, they focus on the elements that are necessary to engage in a game. Thus, in these sculptures we see elements of playtime represented, but also more conscientious abstractions of these elements.

“The game has led us, on this occasion, to observe the ball. A very close object with which, since childhood, we have played.

The rational world has told us that, in its geometry, the ball is a sphere. In turn, the sphere is the volume that the ball has only in a certain state. The ball, on the other hand, takes on a multitude of shapes when it is hit: it is for us the evidence of an irrational world. A world full of emotions and freedom that show how deformed the ball is. This distortion represents what the eye does not see, what is invisible. It is through its imprint that gesture, action, strength, and aim are finally represented.

This protagonist object has provoked a playful look towards collective creation. The game, an activity far removed from everyday life, is in essence something more, it is a bounded social space where other rules guide the course of time.

Un golpe invisible y redondo explores the unproductiveness of the game as a mechanism of artistic production. It is through unlearning that we want to trace a line of investigation that deforms the creative process. Casa Antillón, as a collective project, operates at the intersection of multiple disciplines, trying to play with the limits of the professions and the contexts in which its practice is inscribed”.