On September 19, 2024, The Palm Beach opened its doors for Sedentarismo Global by Dourone (Fabio Lopez Gonzalo and Elodie Arshak). This unique gallery, a liminal space between intimacy and art, presents an extraordinary exhibition designed specifically for this distinctive setting that merges home and gallery.
The arrangement of the works creates an introspective journey from the entrance to the installation on the upper floor. Each piece finds its place within the Art Deco house, resembling precious furniture that can only be appreciated up close. The constraints of this domestic exhibition space compel a more intimate engagement with the paintings, as viewing them from a distance is not possible.
The title Sedentarismo Global is a reference to Calentamiento Global (“Global Warming” in Spanish, the artist’s native language). This choice highlights the central theme of the exhibition: change, particularly the transition from a nomadic to a sedentary lifestyle (Sedentarismo). By inviting the audience to reflect on their role in the world through art, the term Global encourages a broader contemplation of humanity’s place on the planet. El poder del arte (the power of art) thus facilitates the creation of a collective memory: “These imaginary works speak of a current reality, a contemporary memory. An artwork is appreciated individually, but it is also shared. The discussions that arise around it create collective memory.” The essence of these pieces is grounded in engaged thought that steers clear of militantism, fostering reflection first on ourselves and then on society.
The exhibition revolves around a concept of duality, with two central protagonists: the house and fire. The symbolism of these elements embodies this intrinsic binary. The house, representing our intimacy and refugio (refuge), serves as both a space for our inner selves and, by metonymy, the world around us. Fire is a natural force that is both destructora (destructive) and transformadora (transformative). The relationship – and even interaction – between these complementary yet contradictory elements highlights “the fragility of the human being and of our world.” This dual presence is underscored by the omnipresence of humanity: “My work always focuses on the human; its presence and impact resonate with me.” Dourone’s works explore human perception and emotion, inviting reflection on behavior and how we interact with our surroundings. This imaginary world, with its surreal qualities, aims to create an opportunity to “despertar una emoción” (awaken an emotion).
The characters are in the foreground, while in the background, giants loom over the houses, leaning on them, observing or diverting their attention elsewhere. Even in the absence of humans, their presence remains latent; in fact, the focus of this exhibition is the home itself. Observing these figures reveals a sense of emotional detachment and unsettling reactions, especially since it’s hard to tell whether their averted gaze is a sign of distraction or a deliberate choice to ignore the fire. Additionally, the composition conveys a sense of serenity: “the quiet strength of an open possibility.” We can relate to these behaviors, as we have all grappled with free will: “For me, current events are a concern, but like everyone else, the rest of the world stays the same, and I carry on with my life.”
Everything is filled with potential. We are witnesses to either an impending tragedy or a happy ending. The fire has not yet erupted into catastrophe; it is contained, like the flames of a fireplace. This fire casts an orange light that colors the paintings: “nothing is yet damaged, so the threshold of destruction is rebirth or transformation.” Hypnotized by the fire’s glow, we are drawn to the color: “I use color powerfully so that people can feel it and it has an impact. The color must activate el sentido (the senses) of the viewer.” Color is always infused with emotion and creates a physical response. The intensity of the color demands a visceral connection to the artwork, while the contrasts and duality between hot and cold in the paintings elicit a physical reaction, capable of sparking introspective reflection. This immersive experience culminates in the installation. We encounter a double mise en abyme (an installation house within a gallery-house). Mirando de dentro hacia afuera (Looking from the inside out: the facade of a house within a home) invites total immersion, allowing the spectator to become part of their own artwork. The final painting in the small house serves as a gateway to the next exhibition. It is the only piece that depicts the decomposition of the human form. Human amputation symbolizes the fragility of humanity and critiques consumerist society, where our limbs are reduced to objects of consumption: “Spoiler alert, we are not complete beings. This decomposition should be viewed as a regeneration, not just as disintegration.”
In these works, which are constructed with multiple layers of meaning, “intimacy seeks its interior through the spectator.” Ultimately, we come to understand that this binary dynamic concerns us personally. We are both spectators of Dourone’s imagined reality and participants in our own reality and in the events unfolding in the world.
Article by Alice Ros, published in collaboration with That’s Nice.
Photos by Fabio Lopez Gonzalo
