Peça de embalar (double, long and surprise version)

EXPERIMENTING
The ping-pong table has been transformed into a sculpture because its function has been modified, metamorphosed into a moment of suspended time. The ball is suspended, hesitant between the two fields beneath the shifting of air produced by the fan. It is a mutant entity, between its previous function, which we recognise, and the kinetic quality that the time suspension grants it, the sound of the air and the motor of the fan making a soundtrack that is as neutral as the noise of the air conditioning.
Ricardo Jacinto’s work is a cross between sculpture, sound (because he is also a musician), and architecture (which is his original training), creating devices that are very complex in their conception and often very simple and effective in their presence in space. Over recent years these several fields (sculpture, architecture and sound) have been coming together in the construction of situations that confront the spectator with a riddle, a mystery: one moment we have to decipher a complex game of references and stories, another moment we are confronted with a situation into which we literally dive, our senses taken over by an atmosphere in which sound, sight, space, imbalance, the lack of spatial coordinates, the temperature or touch mark our hypersensorialised relationship with the space.
In these atmospheres the task of interpretation we often exaggeratedly attribute to our relationship with contemporary art is suspended and put into parentheses, because as spectators we are asked to exercise our best capacity for attention and to make ourselves available for the disturbance of senses proposed to us.
His sculpture and his atmospheres are designed to be aimed at this opening.

Delfim Sardo