Removal

Bruno Pacheco

Removal, 2022

Oliver Laric, Tree Etching (Beech Tree, Volkspark Hasenheide, Berlin), 2022 (detail)

Similarly to Laric’s practice, the exhibition title rejects the notion of uniqueness and originality, pointing instead to an aesthetic of repetition inherent to the digital paradigm but also, as Laric suggests, to all of art history. Exoskeleton at Pedro Cera is the third consecutive exhibition where Laric uses the title. The exhibition, like much of Laric’s practice, explores the idea of a version as a constantly evolving form, pointing to the interdependency between forms and subjects may these be found in nature or in culture.

Oliver Laric, Tree Etching (Beech Tree, Volkspark Hasenheide, Berlin), 2022 (detail)

Similarly to Laric’s practice, the exhibition title rejects the notion of uniqueness and originality, pointing instead to an aesthetic of repetition inherent to the digital paradigm but also, as Laric suggests, to all of art history. Exoskeleton at Pedro Cera is the third consecutive exhibition where Laric uses the title. The exhibition, like much of Laric’s practice, explores the idea of a version as a constantly evolving form, pointing to the interdependency between forms and subjects may these be found in nature or in culture.

Bruno Pacheco is based between London and Lisbon. His work has been exhibited at the 31st São Paulo Biennial, Sharjah Biennial, Culturgest (Lisbon), Van Abbemuseum (Eindhoven), Serralves Museum of Contemporary Art (Porto), Whitechapel Gallery (London) among other. His work is part of the Fundação Calouste Gulbenkian – CAM (Lisbon), Fundação de Serralves (Porto), Kadist Art Fioundation (Paris), The UBS Art Collection (London), Van Abbe Museum (Eidenhoven), Sharjan Arts Foundation collection and the MCA – Museum of Contemporary Art Chicago collection, among other.