The exhibition by Jerónimo Rüedi (Argentina, 1981) takes its name from Lecture on Nothing by the American experimental composer John Cage 1. Rüedi is aware of the resonance that this text has with art in general, but particularly with abstract painting. Rüedi's work has the same structure as Cage's text; it is a cacophony that enunciates everything, and at the same time it does not say anything.

 

The work of Rüedi appeals to this same logic. We observe unfinished forms, traces that seem to be born out of nowhere, like a sneeze, gestures that could be the beginnings of an idea or a written language. In moments, the color is constructed in the form of a stain, in others in the form of a line. Rüedi suggests. Some paintings are made up of a pair of black strokes on the white subjugation of the canvas. Nothing enunciates. While in other pieces, it seems that Rüedi seeks to explore all the things that painting can be, but above all, it does. These paintings are constructed as a kind of reverse archaeological process, one layer covering the other with clues of what was before. In the cover silence. In the silence reveals.

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As much as Rüedi recognizes the limitations of the pictorial articulation as what it can mean, and rather understands it as what it simply is, something happens in the attempt to express the inexpressible. That is, what is pronounced in his work is contained in each gesture. The paintings of Rüedi are.

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 But why ramble more about this, when the paintings are?

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