In Inconstância Material the endless but purposeless passing of bricks nullifies the act in terms of productivity. But the bricklayers are not just working — they're passing rehearsed comments back and forth along with the bricks. Zamora has invited the Brazilian poet and artist Nuno Ramos to create a spoken piece, Gigante ["Giant"] (2012), to accompany the physical one. Colloquial expressions that refer to parts of the body have been gathered and organized for the workmen to shout in a sequence that dismantles their phrasing, distributing a unified body on a circuit. This site-specific geometry of speech correlates with the shape of the movement. By momentarily formalizing bits of working-class language within the walls of the gallery, an uncategorizable moment between stasis and movement, work and leisure, art and life, arises. Typical of Zamora's oeuvre as a whole, Inconstância material suggests the possibilities for creativity and play even in the most confining of circumstances.
The ceramic brick is an object that continually recurs throughout Zamora's work. In projects like 6, da série Potencialidades ["6, from the Potentialities series"] (São Paulo, 2009) and H20 (São Paulo, 2010), the brick itself is materially deconstructed; in other projects, most notably De Belg wordt geboren met een baksteen in de maag ["Every Belgian is born with a brick in his stomach"] (2008), the stratification of the laboring classes themselves is deconstructed.
(Taken from Elvia Wilk entitled "Tactics of suspension and deceleration — on Héctor Zamora", wrote for the catalogue published on the occasion of the exhibition Inconstância Material. Courtesy of Héctor Zamora & Luciana Brito Galeria).
Video by Registro de Arte
Héctor Zamora: Inconstância Material
Galeria Luciana Brito
São Paulo, Brazil