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Absolute Horror

"Terror is a man" and horror is our fascination for it. Whatever comes out of its fanged gnawing mouth leaves no absolute space for thinking, its awesome indescribability drawn from the probability of the unseen or even the unimaginable come alive. This re-engagement with the morbid fantasy of prepubescent awakening by Fangoria and Clive Barker mixed in with the horror vacui- jeepney graphics profusely converge in Louie Cordero's latest exhibit Absolute Horror opening at Mo_space on June 28 until July27 2008.

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10000 paintings, i must paint before i die

Red, yellow, blue, black, white, red, yellow, blue, black, white, red, yellow, blue black, white, - one after the other, over and over again. The painted canvasses attached onto clipboards are arranged like a grid and cover the entire walls of the gallery; transforming the space into a meditative chamber on the five colors. A neon text which reads 10,000 Paintings I Must Paint Before I Die refers to a guide book on art history. At first glance, Roberto Chabet's installation may seem self-evident and basic, but to a viewer of a certain frame of mind, it is the epitome of substance within which all things exist.

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Death Scream

Death Scream is a collaborative exhibit of large scale drawings, paintings and sculpture by Mariano Ching and Louie Cordero. Theirs is a world of mutilation and candy cane destruction. Images of gore and violence, cannibals, guns, monsters and other creatures of a post apocalyptic world are depicted with a strangely appealing pop surreal sensibility, reminiscent of viewing late afternoon cartoon shows of a bygone era.

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Life Expectancies

Douglas Huebler's blunt pronouncement is a double-edged sword - "The world is full of objects, more or less interesting; I do not wish to add anymore." On the first reading, it completely dispenses with the necessity for producing anything more as the source, the world, is amply equipped with it already. The second reading begs for any of those objects to be ultimately framed and transubstantiated from generic utility to an object of wonderment and sublimity by the mere arbitrary choice of the artist, still practically useless just the same. Manzoni encompasses that pronouncement with an iron pedestal for the whole world itself, a cubic Atlas bearing the conceit of such pronouncement, the finality of all possible propositions for a subject.

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