Jorge Feijão | Mundus, Mundi
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Jorge Feijão
Mundus, mundi
March 10 to June 10 2018


"Mundus, mundi" is an installation consisting of 16 panels in paper that, in the lineage of the religious painting tradition of the Middle Ages, presents itself as a polyptych, a large altarpiece with images of different origins that between them articulate a narrative. The CIAJG Drawing Cabinet, where, from the first hour, there are several declinations of the drawing, one sees now, by the hand of Jorge Feijão, transformed into a real office of drawing, that is to say, a proto-museological structure where one can accede to a large number of graphic representations arranged on the walls of an enclosed room. A drawing cabinet is not exactly a file (with visual or written documents), but rather an atlas of images that holds a sense of wholeness: the worlds of the world or the world in the world. The title of the present installation hesitates between the semantic redundancy of two words - mundus and mundi - which are virtually synonymous, and the ambiguity of meaning which together engender. If mundus refers to the world, the universal, the globe, the sky, or the inhabited world, mundus, mundi refers to toiletries (especially feminine), ornaments, or decorations. Jacques Derrida, French philosopher, highlights the proximity to the Greek word Cosmos, which also means the world and refers to arrangement or cosmetic decoration. We are therefore faced with a vast and complex work which aspires romantically to the whole world, of all things, noble or poor, sublime or dirty, flying or crawling, the world as on the first day of Genesis, through the joining of the parts . An astounding cosmogony in drawing - in the sense that it brings with it the astonishment of man before the world and all its species; which refers back to the appearance of the drawing, in the childhood of humanity, and in the way in which man draws brings clairvoyance to the world at a time when things and beings were not distinguished from each other, man was not distinguished from animal, the adult child, in which things still had no names. It is not strange, therefore, that this installation, which actually functions as a pictorial environment that submerges the viewer in a very particular spatio-temporal dimension, integrates large drawings consisting of small individually drawn sheets of paper (some of them designed by children of teaching basic), then glued and then redesigned. The parts that make up the whole or a representation of the whole unrepresentable, "Mundus, mundi" shows us how drawing, as graphic language without words can offer us, in the sense of translating, the immeasurable world of imagination.