Initially, the aim was to exhibit a recent selection of the artist’s work, but by analyzing the works and talking about their origins during a studio visit, the prose evolved into an interdisciplinary field far beyond the visual arts, where the content, form and concept of the show mix various plastic and poetic languages as a theoretical and empirical presentation of these recent debates, in which we perceive light as a medium, motif, measure and matter.

Noites Brancas (White Nights) is mainly made up of a number of presences: the central group of seven sculptures whose names allude to Russian stories and histories, two series of studies that mix writings and drawings of these same characters of a hybrid artistic-literary nature, and also certain objects “infiltrated” at certain points in the narrative and exhibition space – including a direct intervention on the façade of the building.

The phenomenon of white nights occurs in the weeks around the summer solstice in northern Russia, and in scientific terms represents the so-called civil twilight – when the sun doesn’t set completely, but remains behind the horizon for a few hours before rising again, so there is no absolute darkness. Night then merges into day, and as a result, atmospheric perception temporarily affects the behavior and dynamics of local society.

Fernando Mota